@misc{60544, author = {{Kraft, Kerstin and Haase, Birgit}}, publisher = {{De Gruyter}}, title = {{{Mode – Kleidung – Textil. Grundlegung und Methode}}}, year = {{2025}}, } @inbook{60545, author = {{Kraft, Kerstin}}, booktitle = {{Erzählte Mode. Transdisziplinäre Perspektiven auf Text- und Bildgewebe}}, editor = {{Schäfer, Iris and Karentzos, Alexandra and Wernli, Martina}}, isbn = {{978-3-8376-7395-1}}, pages = {{19--38}}, publisher = {{transcript Verlag}}, title = {{{Sich in Worte kleiden. Über das Verhältnis von Texten und Textilien}}}, doi = {{10.14361/9783839473955-003}}, year = {{2025}}, } @misc{52529, author = {{Kraft, Kerstin}}, publisher = {{Kraft, Kerstin, et al. “A Short Introduction to the Film Glove and Touch Studies.” Fashion Studies, vol. 5, no. 1, 2024, pp. 1-11, https://www.fashionstudies.ca/introduction-to-glove-and-touch-studies/, https://doi.org/10.38055/FS050108.}}, title = {{{“A Short Introduction to the Film Glove and Touch Studies.”}}}, year = {{2024}}, } @misc{54278, author = {{Kraft, Kerstin}}, publisher = {{Über das Forschen im Textildepot, in: DASA Arbeitswelt Ausstellung/Professur für Museologie der Universität Würzburg/Institut für Museumsforschung (Hg.): Besser ausstellen. Innovative Wege der Konzeption und Evaluation von Ausstellungen, Bielefeld: transcript 2024, S. 103-120}}, title = {{{Kraft, Kerstin und Regina Lösel: Forscherinnen und Kleidung in Bewegung. }}}, year = {{2024}}, } @misc{60546, author = {{Kraft, Kerstin}}, pages = {{16}}, publisher = {{Alltagskultur im Vormärz, Jahrbuch 2024, 30. Jg, Forum Vormärz Forschung}}, title = {{{Mit Kleidung lügen. Über Vestimentäres und Modisches im Vormärz}}}, volume = {{S. 89-105}}, year = {{2024}}, } @misc{60547, author = {{Kraft, Kerstin and Haase, Birgit}}, title = {{{Zur Mode im deutschen Kulturraum. Materialien, Textilien, Texte. }}}, year = {{2024}}, } @misc{52527, author = {{Kraft, Kerstin}}, publisher = {{Kraft K. & Schmitt S. 2023. Almost Fragrant Pseudobotany: A Bouquet of Encounters With Faux Flora Across Time – A Visual Essay. In: Philippopoulos-Mihalopoulos, A et al (eds.), SMELL. London: University of Westminster Press. DOI: https://doi.org/10.16997/book68.d}}, title = {{{A Bouquet of Encounters With Faux Flora Across Time – A Visual Essay.}}}, year = {{2023}}, } @article{48440, abstract = {{Virtual fashion, meaning clothes that exist not as physical textile objects but rather as files is gaining popularity. The Fabricant, a digital-only fashion label from Amsterdam is particularly famous for its creations. Within the fashion industry, virtual fashion is taken as a pioneering innovation that can solve problems such as lacking sustainability and unrealistic bodily ideals precisely because it is understood as immaterial. In contrast, this paper argues that virtual fashion is in fact a material phenomenon. For example, to be perceptible to humans in the first place, virtual fashion depends upon various technologies and devices. These devices are themselves subject to specific non-sustainable production processes. Virtual fashion can further be understood as material insofar that it is almost indistinguishable from other mediatized representations of physical fashion. Lastly, just like its physical counterpart, virtual fashion is bound to human bodies and largely adheres to existing bodily ideals.}}, author = {{Brachtendorf, Charlotte and Behrmann, Helga and Brachem, Judith}}, journal = {{Jahrbuch Netzwerk Mode Textil}}, pages = {{95--103}}, title = {{{Materialitäten virtueller Mode: das Fallbeispiel The Fabricant}}}, doi = {{https://doi.org/10.53193/221421485G}}, volume = {{2022}}, year = {{2023}}, } @misc{48728, author = {{Brachtendorf, Charlotte}}, title = {{{Auf Tuchfühlung mit dem Tod.}}}, year = {{2023}}, } @misc{60540, author = {{Kraft, Kerstin and Haller, Melanie}}, pages = {{11}}, publisher = {{Netzwerk Mode Textil }}, title = {{{Couture von Frauen für Frauen}}}, volume = {{S. 29-40}}, year = {{2023}}, } @article{48429, abstract = {{Since her debut on Instagram in 2016, Lil Miquela has amassed over 3 million followers. She was the first of many virtual influencers; avatars with a hyper-realistic humanoid appearance who operate on social media. This article investigates how the fashioning of virtual influencers informs the relationship between virtual and human bodies. A visual and textual analysis of virtual influencers on Instagram has revealed that they are emblematic of a coalescence between the virtual and the actual. Virtual influencers often evoke discussions about human nature because their cyberpunk narratives and uncanny appearance position them as autonomous posthuman subjects. Virtual influencers are positioned as Bodies without Organs, as their bodies can be manipulated into any form. Yet, they adhere to normative ideals of youth, slimness and beauty, encouraging their audiences to follow suit. Their fashion reflects the streetwear aesthetic but is often designed by luxury brands. This strategy positions virtual influencers as authentic, while generating visibility within the attention economy. Further, the Deleuzian concept of the fold serves as a metaphor to understand fashion as an interface between surface and depth. It is fashion in its folded form that hominizes virtual influencers, although they are merely a fashionable surface.}}, author = {{Brachtendorf, Charlotte}}, issn = {{2050-0734}}, journal = {{Fashion, Style & Popular Culture}}, keywords = {{authenticity, body-without-organs, Deleuze, digital avatars, fashionable ideal, hominization, Instagram}}, number = {{4}}, pages = {{483--499}}, title = {{{Lil Miquela in the Folds of Fashion: (Ad-)Dressing Virtual Influencers}}}, doi = {{10.1386/fspc_00157_1}}, volume = {{9}}, year = {{2022}}, } @book{39422, editor = {{Haller, Melanie and Mallon, Stefanie and Helmers, Traute }}, publisher = {{Waxmann-Verlag}}, title = {{{Der Tod und das Ding. Textilien und Vergänglichkeiten}}}, year = {{2020}}, } @book{39391, author = {{Haller, Melanie}}, publisher = {{Transcript}}, title = {{{Abstimmung in Bewegung. Intersubjektivität im Tango Argentino}}}, year = {{2013}}, }