Kathleen Horton
Biographic Data
| ID | 3649372 |
|---|---|
| NAME | Kathleen Horton |
| GIVEN NAMES | Kathleen |
| FAMILY NAME | Horton |
| SIGNATURE | HORTON K |
| AFFILIATIONS | Queensland University of Technology |
| ORCID | 0000-0002-8200-9089 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 16 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
The Social Dynamics of Circular Textile Economies
Mainstream representations of circular fashion systems, designed with the goal of delivering economic and environmental benefits, often emphasise technocratic or idealised solutions. However, these models frequently overlook the critical role social interactions play in facilitating circular fashion. Employing a framework of social practice theory, this article examines three small‐to‐medium enterprises in Brisbane, Australia that have developed …
Soft Studio
In Australia, the rate of clothing consumption and disposal is high and increasing rapidly. New methods of approaching consumption and intervening in waste streams are needed to develop a more circular system. While the textile economy is global, a circular textile economy can start at a local level through webs of smaller economies. In line with a small-scale approach, we developed Soft Studio, an experimental design studio that re-values post-c…
This hashtag is just my style
The emergence of digital fashion activism in the second decade of the twenty-first century coincides with ‘popular feminism’. As trend forecasting site, Worth Global Style Network (WGSN) noted in 2014 ‘the idea of feminism in itself has become almost fashionable’. In this paper we explore how the appropriation of feminism as a fashionable slogan relates to the framing of fashion as a feminist issue, via digital campaigns such as Fashion Revolutio…
Crafting symbolic value
It has been suggested that independent fashion exists at the intersection of ‘art, craft and fashion’ implying that both its identity and its value emerge directly from its connection with these adjacent cultural fields. But what are the precise circumstances under which independent fashion ‘intersects’ with the art and craft sectors and how exactly is symbolic value negotiated along cultural value chains? This article uses a case study approach …
Just Use What You Have
The rise of fast fashion has meant that young women (even those on relatively low incomes) are able to 'regularly consume and discard fashionable clothing' [Buckley, Cheryl, and Hazel Clark. 2012. "Conceptualizing Fashion in Everyday Lives." Design Issues 28 (4): 18–28. doi:10.1162/DESI_a_00172., 21]. While this development may be aligned with the democratisation of fashion—the fact that the supply chains that deliver fast fashion are not consist…
The hard work of leisure
Since the 2000s activewear has grown as a fashion category, and the tropes of gym wear – leggings, leotards and block colours – have become fashionable attire for both men and women outside the gym. This article examines the rise of activewear in the context of an on-going dialogue between fashion and sport since the beginning of the twentieth century. Through an analysis of the Australian activewear label, Lorna Jane, we consider the fashionable…
Just Use What You Have
The rise of fast fashion has meant that young women (even those on relatively low incomes) are able to 'regularly consume and discard fashionable clothing' [Buckley, Cheryl, and Hazel Clark. 2012. "Conceptualizing Fashion in Everyday Lives." Design Issues 28 (4): 18–28. doi:10.1162/DESI_a_00172., 21]. While this development may be aligned with the democratisation of fashion—the fact that the supply chains that deliver fast fashion are not consist…
The hard work of leisure
Since the 2000s activewear has grown as a fashion category, and the tropes of gym wear – leggings, leotards and block colours – have become fashionable attire for both men and women outside the gym. This article examines the rise of activewear in the context of an on-going dialogue between fashion and sport since the beginning of the twentieth century. Through an analysis of the Australian activewear label, Lorna Jane, we consider the fashionable…
This hashtag is just my style
The emergence of digital fashion activism in the second decade of the twenty-first century coincides with ‘popular feminism’. As trend forecasting site, Worth Global Style Network (WGSN) noted in 2014 ‘the idea of feminism in itself has become almost fashionable’. In this paper we explore how the appropriation of feminism as a fashionable slogan relates to the framing of fashion as a feminist issue, via digital campaigns such as Fashion Revolutio…
The hard work of leisure
Since the 2000s activewear has grown as a fashion category, and the tropes of gym wear – leggings, leotards and block colours – have become fashionable attire for both men and women outside the gym. This article examines the rise of activewear in the context of an on-going dialogue between fashion and sport since the beginning of the twentieth century. Through an analysis of the Australian activewear label, Lorna Jane, we consider the fashionable…
Just Use What You Have
The rise of fast fashion has meant that young women (even those on relatively low incomes) are able to 'regularly consume and discard fashionable clothing' [Buckley, Cheryl, and Hazel Clark. 2012. "Conceptualizing Fashion in Everyday Lives." Design Issues 28 (4): 18–28. doi:10.1162/DESI_a_00172., 21]. While this development may be aligned with the democratisation of fashion—the fact that the supply chains that deliver fast fashion are not consist…
Crafting symbolic value
It has been suggested that independent fashion exists at the intersection of ‘art, craft and fashion’ implying that both its identity and its value emerge directly from its connection with these adjacent cultural fields. But what are the precise circumstances under which independent fashion ‘intersects’ with the art and craft sectors and how exactly is symbolic value negotiated along cultural value chains? This article uses a case study approach …
This hashtag is just my style
The emergence of digital fashion activism in the second decade of the twenty-first century coincides with ‘popular feminism’. As trend forecasting site, Worth Global Style Network (WGSN) noted in 2014 ‘the idea of feminism in itself has become almost fashionable’. In this paper we explore how the appropriation of feminism as a fashionable slogan relates to the framing of fashion as a feminist issue, via digital campaigns such as Fashion Revolutio…
Soft Studio
In Australia, the rate of clothing consumption and disposal is high and increasing rapidly. New methods of approaching consumption and intervening in waste streams are needed to develop a more circular system. While the textile economy is global, a circular textile economy can start at a local level through webs of smaller economies. In line with a small-scale approach, we developed Soft Studio, an experimental design studio that re-values post-c…
The Social Dynamics of Circular Textile Economies
Mainstream representations of circular fashion systems, designed with the goal of delivering economic and environmental benefits, often emphasise technocratic or idealised solutions. However, these models frequently overlook the critical role social interactions play in facilitating circular fashion. Employing a framework of social practice theory, this article examines three small‐to‐medium enterprises in Brisbane, Australia that have developed …
Clothing (6 works) · Fashion and Cultural Textiles (6 works) · Sociology (6 works) · Business (4 works) · Crafts, Textile, and Design (4 works) · Cultural Industries and Urban Development (4 works) · Political science (4 works) · Computer Science (3 works) · Marketing (3 works) · Psychology (3 works)