Jose Teunissen

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Papers by Jose Teunissen

The Effect of Weekend on the Implicit and Explicit Attitude towards (Un)Healthy Snacks

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State of Fashion: Searching for the New Luxury. Imagination, sustainability, Embodied Practice, Craft Revival, New narratives

Bloomsbury eBooks, Feb 16, 2019

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Towards an Inclusive Fashion System

Sustainable Textiles, 2023

Deconstructing Belgian and Dutch Fashion Dreams: From Global Trends to Local Crafts

Fashion Theory, Jun 1, 2011

Abstract During the 1990s, both Belgium and the Netherlands built up a name in the international ... more Abstract During the 1990s, both Belgium and the Netherlands built up a name in the international fashion world. This article, which takes the Belgian success as its starting point to explore the less-known Dutch case, discusses what is meant by Dutch and Belgian fashion. A comparison of the history of fashion and clothing culture of the two countries—which border each other and in places speak the same language—reveals many similarities. For a long time both countries were influenced by Paris fashion. The proximity to Paris connected the Belgian clothing and textile industry to French couture, whereas the Netherlands was more reticent. Historically the Netherlands has had its own style with regard to clothing since the seventeenth century, and in the nineteenth century, this resulted in a flourishing culture of regional clothing, which is still worn in some parts of the Netherlands. In the 1980s, the Belgian government took its first initiatives to support young fashion talent. In 1988 this was followed by similar support on the part of the Dutch government. But whereas Belgium supported fashion designers through financial incentives for the textile and clothing industry, the Netherlands made fashion designers eligible for “art grants.” The different approaches of the two countries in the 1980s had an influence on the outcome. On the one hand the Belgian designers were commercially more successful and became known worldwide in the field of fashion, while the Dutch were left behind. On the other hand they can also be related to the different background and fashion culture at the time. From different historical and industrial backgrounds the Belgian and the Dutch fashion cultures build up different concepts of “national identity” in fashion.

State of Fashion: Searching for the New Luxury

APRIA, Feb 1, 2020

In the last few years, it has often been said that the current fashion system is outdated, still ... more In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the &amp;#39;star designer&amp;#39;. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.

Extract from Global Fashion Local Tradition

Routledge eBooks, Jul 21, 2020

De kracht van het domme blondje. Marilyn Monroe in THE SEVEN YEAR ITCH

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A Fashion Odyssey: progress in fashion and sustainability

There is great pressure on the phenomenon of fashion as we know it today, and the way in which th... more There is great pressure on the phenomenon of fashion as we know it today, and the way in which the current clothing and textile industries function. Under the influence of the ever-increasing need for more sustainable fashion on the one hand, and technological development on the other, fashion is changing irrevocably. This process of change is still in the early stages, but it is certain that the technological manufacturing processes – working from a drawing to a pattern and stitching clothes together on a sewing machine – are going to change radically in the collaboration between sustainability and technology. Who knows, as consumers, we may soon be able to make a knitted or woven item of clothing roll out of a 3D printer. And the question is how long we will keep working with cotton and wool now that we can make new fabrics and materials,which are not damaging to the environment, out of grasses and organic waste. This book focuses on various themes that play a role in the sustainability debate that is currently taking place. Can slow fashion really give new value to the concept of fashion? What possibilities do new technologies offer? What is the influence of activist citizen’s initiatives such as repairing and recycling? And finally, how do new values and new methods of production in fashion lead to new (more sustainable) business models?

‘The Future of Fashion is Now’ in Shanghai

‘The Future of Fashion is Now’ at the OCT Art & Design Gallery, Shenzhen, China, was guest cu... more ‘The Future of Fashion is Now’ at the OCT Art & Design Gallery, Shenzhen, China, was guest curated by Jose Teunissen. The third instalment of ‘The Future of Fashion is Now’ – previously on show in Rotterdam, The Netherlands and Shanghai, China – marked an important new addition, as five Chinese designers were commissioned to create new work. These new works were shown alongside acclaimed designers such as Iris van Herpen, Viktor & Rolf and Martin Margiela.

Kleider in Bewegung: Die modern, unabhangige Frau in den Medien

Why are the fashion show and the involvement of audiovisual media so crucial for the fashion syst... more Why are the fashion show and the involvement of audiovisual media so crucial for the fashion system? For more than a century every new collection is launched with a fashion show, where models wearing the latest trends move fluidly to music whilst displaying themselves to an audience. Fashion coverage in magazines, television and social media is an essential part of fashion. First of all clothing on a body looks much better than on a hanger. But more importantly, without a show or photo coverage the consumer wouldn't know how to wear/perform the clothes on a dynamic body. Which each new fashion trend a new way of posing and strolling with the right gestures are displayed. Without the fashion show and the pictures in the fashion magazines, this subtle combination of details and the proper way to display fashion on the body would remain invisible. Fashion, in our modern society, needs a body with presence, a body that knows how to move without looking artificial. As such, it is reflecting our modern, democratic society connected to the ideal of unsophistication. By transforming woman's outfit as well as by introducing a completely new way of capturing fashion using new media as film and photography, fashion expressed and underlined the fact that women from the-1910s were taking part in an active, independent, outdoor and public life. The rise of the Dandy as a start of modern life. Fashion is much more than just wearing the right look with the right silhouette and the right color. Fashion is a visual art form, with the self as a medium. i And therefore a performance art where the display of a body in action in public life is an essential element. With fashion we present our social-and individual identity to the world, all captured in the shifting moments of our public appearance. As such fashion is a cultural phenomenon that reflects cultural and social values of specific time periods by different aesthetics. When in the early 1860s the first French couture houses started to design the first made-to-measure outfits they started to use models to show their new creations to customers in their salon. Exactly here starts the modernization of women dress.

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State of Fashion: Searching for the New LuxuryPop-up Berlin

As curator of State of Fashion: Searching for the New Luxury, Teunissen curated a pop up version ... more As curator of State of Fashion: Searching for the New Luxury, Teunissen curated a pop up version of the State of Fashion exhibition, which travelled to Berlin Bread&&Butter. After a successful first edition in Arnhem, the Netherlands, State of Fashion traveled on to Germany. Between 31 August and 2 September 2018, the work of 12 designers was shown at Zalando's fashion festival Bread&&Butter. Bread&&Butter attracted a record amount of 35,000 visitors over the course of three days this year. In an industrial space on the banks of the river Spree, we showcased works of amongst others ArtEZ alumni Iris van Herpen, Pauline van Dongen and Liselore Frowijn, but also international activist designers VIN + OMI (United Kingdom), Osklen (Brazil) and Bethany Williams (United Kingdom). Williams was also the main guest in a special Berlin edition of our Whataboutery

Fashion, graphic design and the body

In The Triumph of Typography, twenty-one international experts in the fields of typography and co... more In The Triumph of Typography, twenty-one international experts in the fields of typography and communication share their expertise with fascinating analyses and examples. This book not only dwells on what moves and inspires today’s typographer, but also elaborates on new developments in the field of typography.

The ideal woman

Understanding Fashion Through The Museum

Clogs on High Heels: Dutch Cultural Heritage and Fashion

Delft Blue to Denim Blue

Contemporary fashion in the Netherlands shows a unique mix of playful individualism, conceptual s... more Contemporary fashion in the Netherlands shows a unique mix of playful individualism, conceptual strength, and organisational innovation. Delft Blue to Denim Blue maps the landscape of Dutch fashion in all its rich variety and complexity. Luxuriously illustrated in colour, the book uncovers the cultural roots of Dutch fashion in a globalized context. The authors debunk myths surrounding Dutch fashion, dig up new facts and stories, and explore the creative relation of fashion design to cultural heritage. Written by experts in the field, Delft Blue to Denim Blue gives a rich overview of designers, ranging from G-Star jeans, and affordable retailer C&A, to a savvy brand like Vanilia, and from the famous designer duo Viktor&Rolf to a futuristic designer like Iris van Herpen. The book assesses the diversity of Dutch fashion designers, firms and brands in their historical and cultural contexts.

Fashion-Tech: Future Recruitment Strategies and Assessment of Emerging Talent

INTED2022 Proceedings

The Hackathon Model as a Framework for Competence Mapping of Research, Conceptual Ideation, Technical Realisation and Entrepreneurship at Masters Level Education for Fashion-Tech Design

INTED2019 Proceedings, 2019

Fashion-tech is an interdisciplinary field that intersects design, natural sciences, engineering,... more

Global Fashion, Local Tradition

Teunissen co-edited this publication with Jan Brand. The book explored how the internet has globa... more Teunissen co-edited this publication with Jan Brand. The book explored how the internet has globalised the fashion industry. Via websites and a network of world wide accessible fashion weeks, young designers from all over the world have access to a fashion industry that used to be very eurocentric. Teunissen wrote the introduction "Global Fashion, Local Tradition", pp. 9-21

Going Eco, Going Dutch : Inheriting and Developing Culture – the Fashion Connotation

This paper presents the results of the research project ‘Going Eco, Going Dutch’ (2015- 2017), wh... more This paper presents the results of the research project ‘Going Eco, Going Dutch’ (2015- 2017), which investigated the production, design and branding of fashion textiles made from locally produced hemp fibers in the Netherlands. For fashion labels and designers it is often difficult to scrutinize the production of textile fabrics manufactured in non-European countries due to physical distance and, often, non-transparency. At the same time, many designers and established fashion brands increasingly search for sustainable textiles that could be recycled or upcycled after being used by consumers. For the project ‘Going Eco, Going Dutch’, local textile manufacturers and fashion brands closely collaborated to explore how to develop fashionable textiles made from locally produced hemp – from the very first fiber to the final branding of the fashion product. In addition to the technical insights on the production of hemp, this paper will present and highlight the importance of the visual i...

Everything But Clothes: Fashion, Photography, Magazines

Everything But Clothes features all the big (Dutch) fashion photographers since the nineties. The... more Everything But Clothes features all the big (Dutch) fashion photographers since the nineties. The book focuses on the importance of (fashion) magazines such as Avenue, Re magazine, Glamcult, BLVD and Fantastic Man and how their innovative concepts and experimental forms have established an international reputation. The book places extra attention on the rise of digital magazines, fashion blogs and vlogs and their influence on fashion photography. The specific themes and trends of each decade are discussed as well. In the eighties and nineties identity and eroticism were the keywords whereas from the year 2000 drama and personal stories - artificial versus natural - become a more important theme.

Jose Teunissen

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