Vestoj Magazine Issue 8 is available now on loremnotipsum.com. Vestoj (meaning ‘clothing’ in Esperanto) is an annual journal about dress, bridging the gap between academia, literature and industry within fashion. Vestoj provides a platform for academics to co-exist with practitioners, for cross-pollination, learning and mutual understanding, and also a way for readers interested in fashion and dress to come at the topic from a slightly off-kilter angle that aims to be both inclusive and challenging to the status quo.
Vestoj is a forum where academia, the museum world and the fashion industry can work together and with active communication. We write about the cultural phenomenon that is fashion in a manner that opens up for dialogue between theory and practice in order to raise awareness for fashion as a cultural phenomena and field of research and cultivate an even greater understanding for the discipline. Vestoj will exist outside of seasonally-based trends and news-focused articles. Instead we aim to encourage and champion the critical and independent voice within fashion as well as absolute creative freedom. In order to ensure that we remain free in thought and action Vestoj will have no advertising. Vestoj Magazine focuses solely on sartorial matters, bringing together academia and industry in a bid to combine academic theory, critical thinking and a bit of good old fashioned glamour. Vestoj is produced under the patronage of London College of Fashion.
In this issue:
In consumer capitalism authenticity has taken on a supreme importance: in fashion it’s the holy grail. Terms like ‘artisanal,’ ‘heritage,’ ‘craftsmanship’ and ‘storytelling’ have become buzzwords, and conglomerates are fond of referring to their offices as ‘campus’ and co-workers as ‘family.’
But what are we getting at when associating these terms with fashion?
Overall, the issue is looking at our relationship to dress and appearance to reflect on questions like, Is there such a thing as a ‘real me’ or a ‘genuine self’? How does one live an authentic life? And is it possible to do so in fashion, an environment so characterized by the mood of the moment, so dependent on chameleon-like behaviour. Are fashion and authenticity really antithetical, and if so, what can be learnt from looking at the relationship between the two?