@article{4182849,
  abstract     = {{Fashion is a powerful cultural phenomenon in its ability to impose on fashion items, its wearers and producers a quality of forwardness or backwardness. As a temporal designation, both scholars and industry professionals tend to regard fashion as rooted in the present. Yet hitherto academic debate has not sufficiently scrutinized the fashion present and its boundaries. The idea of being up-to-date necessitates a relational temporal order in which the present or the modern is constituted vis-à-vis the outmoded. Through a concise historization of the temporal anchorage of fashion, this article argues that we primarily read the present of fashion in a chronological way. Today we take as given the sequential transience of fashion, characterized by the ultimate absence of fashion history. Moreover, the variety of chronometric operations that allow for control over fashion changes enable the field of high fashion production to engage in a politics of time in which it displays its own forwardness by picturing (the sartorial choices of) others as ‘so last season’ or, to put it in other words, as lagging behind the industry’s referential time.}},
  author       = {{Van de Peer, Aurélie}},
  issn         = {{1362-704X}},
  journal      = {{FASHION THEORY-THE JOURNAL OF DRESS BODY & CULTURE}},
  keywords     = {{referential coevalness,temporal architecture,politics of time,the fashion present}},
  language     = {{eng}},
  number       = {{3}},
  pages        = {{317--339}},
  title        = {{So last season: the production of the fashion present in the politics of time}},
  url          = {{http://dx.doi.org/10.2752/175174114X13938552557880}},
  volume       = {{18}},
  year         = {{2014}},
}

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