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Cited by 101Fashion and Cultural TextilesDecolonial Thought and EpistemologiesLatin American Cultural Politics

Fashion and the Phantasmagoria of Modernity: An Introduction to Decolonial Fashion Discourse

Jansen, M. Angela·2020·Fashion Theory
DOI 10.1080/1362704x.2020.1802098
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Abstract

Although eurocentrism in fashion studies has been contested for nearly four decades, the topic is as timely and urgent as ever. While critiques focus on symptoms such as discrimination, inequality and exploitation, the actual “decease,” the modernity/coloniality structure, persists. The way fashion, as a noun, is being defined according to a temporality (contemporaneity), a system (of power) and an industry (of capitalism) particular to modernity, coloniality is inherent to its definition. Whereas fashion as a verb, the act of fashioning the body, is of all temporalities and geographies and operates beyond the colonial difference. Decolonial fashion discourse constitutes a framework that enables to redefine fashion as a multitude of possibilities rather than a normative framework falsely claiming universality, to humble modernity’s narrative by recognizing its own epitomical limits, to listen to and acknowledge an episteme plurality outside of modernity and to decenter the production of knowledge in regard to fashion. It aims to critique the denial and erasure of a diversity of ways to fashioning the body due to unequal global power relations based on modern-colonial order, the Euro-American canon of normativity and the exploitation and abuse of cultural heritages, human beings and natural resources.

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34 of 34 references verified0 citation errors · 0 not checkable

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  • Decolonial fashion discourse prompts a new definition of fashion that includes other ways of fashioning the body that exist outside of modernity, making space for Indigenous fashion to be celebrated as a fashion practice outside of colonial thought.

    “Decolonial fashion discourse prompts a new definition of fashion that includes other ways of fashioning the body that exist outside of modernity, making space for Indigenous fashion to be celebrated as a fashion practice outside of colonial thought (Jansen, 2020).”

    From Indigenous Fashion: A Genealogy of Material Brilliance (2025) · cites this paper as Jansen, 2020

  • Decolonial fashion discourse is not about including other fashioning systems into contemporary fashion history and assimilating them into the canon of contemporary fashion's Euroamerican normativity, but about restoring, revaluing and acknowledging a diversity of ways of fashioning the body as well as their histories, genealogies and esthetics.

    “decolonial fashion discourse is not about including other fashioning systems into contemporary fashion history, acknowledging them as contemporary fashion and assimilating them into the canon of contemporary fashion's Euroamerican normativity, but about restoring, revaluing and acknowledging a diversity of ways of fashioning the body as well as their histories, genealogies and esthetics”

    From Indigenous Fashion: A Genealogy of Material Brilliance (2025) · cites this paper as Jansen, 2020

  • Decolonial fashion discourse is a radical redefinition of fashion by delinking it from modernity and coloniality, redefining it as a multitude of possibilities rather than a normative framework falsely claiming universality.

    “Jansen (2020) discusses decolonial fashion discourse as a”

    From Indigenous Fashion: A Genealogy of Material Brilliance (2025) · cites this paper as Jansen, 2020

  • Decolonial fashion discourse offers a critically informed framework to resist and refuse the dominant fashion system's role in upholding oppressive social structures that privilege heteropatriarchy, white supremacy and capitalism, and makes space to dream alternative worlds generated and built by our own pathways toward liberation.

    “Decolonial fashion discourse offers a critically informed framework to resist and refuse the dominant fashion system's role in upholding oppressive social structures that privilege heteropatriarchy, white supremacy and capitalism, and makes space to dream alternative worlds generated and built by our own pathways toward liberation.”

    From Indigenous Fashion: A Genealogy of Material Brilliance (2025) · cites this paper as Jansen, 2020

Cites

Flagged first, then by citations

Research works printed but not linked: 8

  1. Craik Jennifer., 1994, The Face of Fashion
  2. Jansen M. Angela., 2020, Creating African Fashion Histories: Politics, Museums and Sartorial Practice
  3. Maynard Margaret., 2004, Dress and Globalization
  4. Niessen Sandra, 2003, Re-Orienting Fashion: The Globalization of Asian Dress
  5. Riello Giorgio, 2020, Dressing Global Bodies: The Political Power of Dress in Global History
  6. Riello Giorgio, 2010, The Fashion Reader: Global Perspectives
  7. Vázquez Rolando., 2010, Borderlands, 9, 1
  8. Vázquez, Rolando, and Walter Mignolo. 2013. “Decolonial AestheSis: Colonial Wounds, Decolonial Healings.” Social Text Journal July 15. https://socialtextjournal.org/periscope_topic/decolonial_aesthesis/

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Authors
Jansen, M. A.
Corresponding author
Jansen, M. Angela
Venue
Fashion Theory
Publisher
Informa UK Limited
Published
2020-08-07
Volume
24
Issue
6
Pages
815-836
ISSN
  • 1362-704X (ISSN-L)
  • 1751-7419
DOI
10.1080/1362704x.2020.1802098
OpenAlex
W3048179445
Cited by
101
References
34
Citations by year
2026: 23 · 2025: 21 · 2024: 24 · 2023: 14 · 2022: 10 · 2021: 9
FWCI
80.71
Type
journal article
Language
en
Open access
closed
Locations
Fashion Theory (publishedVersion)
Topics
  • Social Sciences › Arts and Humanities › Museology › Fashion and Cultural Textiles
  • Social Sciences › Anthropology › Decolonial Thought and Epistemologies
  • Social Sciences › Anthropology › Latin American Cultural Politics
Keywords
Eurocentrism, coloniality, modernity, fashion studies, epistemological pluralism, global power relations, cultural heritage exploitation, normativity, temporality

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