Abstract
![CDATA[In 2003, the Dutch avant-garde design duo, Viktor & Rolf, confirmed British actress Tilda Swinton’s status as a fashion icon and muse when they sent her down the catwalk for their Autumn-Winter collection, followed by an army of ‘Tilda’ clones. A decade later, Swinton collaborated with the curator Olivier Saillard on the performance piece The Impossible Wardrobe (2012). Once described as “a text on which ideologies are written” (Barbazon 1994), Swinton’s persona was forged in performance art and avant-garde cinema. This performativity resonates throughout her many fashion editorials, fashion films, fashion shows and campaigns – always, she is edgy, offbeat and cool. Swinton wears fashion deeply, but she is not a fashion model; and as a fashion icon, she does not always get it right. In this paper, I explore how Swinton’s embodiment of fashion’s values of metamorphosis, transformation and artifice work to expose the seams of fashion’s exacting aesthetic standards and argue that, in her performance of the fashionable ideal, Tilda Swinton is not modeling, but performing, fashion.]]
Original language | English |
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Title of host publication | Popular Culture Association of Australia, Asia, and New Zealand (PopCAANZ) 7th International Conference, Sydney University Village, Sydney, Australia, 29 June to 1 July 2016 |
Publisher | Popular Culture Association of Australia, Asia, and New Zealand |
Number of pages | 1 |
Publication status | Published - 2016 |
Event | Popular Culture Association of Australia, Asia, and New Zealand. Conference - Duration: 1 Jan 2016 → … |
Conference
Conference | Popular Culture Association of Australia, Asia, and New Zealand. Conference |
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Period | 1/01/16 → … |