Drastic changes in the career aspirations of women in the developed world have resulted in a new, globalised market for off-the-peg designer clothes created by independent artisans. This book reports on a phenomenon that seems to exemplify the twin imperatives of globalisation and female emancipation. A major conceptual contribution to the literatures on globalisation, fashion and gender, analysing the ways in which women’s entry into the labour force over the past thirty years in the developed world has underpinned new forms of aestheticised production and consumption as well as the growth of ‘work-style’ businesses - A vital contribution to the burgeoning literature on culture and creative industries which often ignores the significant roles taken by women as entrepreneurs and designers rather than mere consumers - Introduces fashion scholars and economic geographers to a paradigmatic example of the new designer fashion industries emerging in a range of countries not traditionally associated with fashion - Takes a fresh perspective on an industry in which Third World garment workers have been the subject of exhaustive analysis but first world women have been largely ignored “Fashioning Globalisationprovides a comprehensive and fascinating view of an industry which provides new insights into the ways in which globalization proceeds and provides an alternative and authoritative account of the role of the fashion design industry in a globalising world.” ( New Zealand Geographer , 24 April 2015) "This is a wonderful and timely contribution to fashion scholarship and to cultural geography and sociology. The authors produce a highly original and meticulously researched account of the entrepreneurial activities of women fashion designer in New Zealand while also raising many issues about work and employment in this sector as a whole." ― A ngela McRobbie , Professor of Communications, Goldsmiths, University of London, UK "In this path breaking book, Molloy and Larner weave a theoretically sophisticated and empirically rich account of gender and globalisation that captures the diverse forms of embodied subjectivity and work that characterise the global fashion industry. While previous studies of fashion emphasise first world consumers and third world workers, Molloy and Larner illustrate how globalisation has impacted the lives of female fashion designers in New Zealand, giving rise to new possibilities as well as constraints. They present a fascinating account of how a female-dominated creative industry gained a high profile within neoliberal policy-making circles in New Zealand, a story that illuminates the impossibility of separating the material and the symbolic, economy and culture, and production and consumption in an understanding of globalisation." ― Deborah Leslie , Professor of Geography, University of Toronto, Canada There have been endless studies mapping the iniquities of globalised capital, especially the employment practices of the garment industry in the Third World. Yet even as women (and others) in outsourced sweat shops suffer a form of modern-day bondage, women in developed nations are carving out new careers in the fashion industry as mid-level entrepreneurial designers. Operating between the spectacular pleonasms of haute couture and ubiquitous ‘designer diffusion’ lines such as DKNY, these artisans of ‘high casual’ fashion evince a number of features of late capitalism, such as ‘creative cities’, cultural mediation and ‘work-style’ businesses that are distinctively gendered. At the heart of this volume, which focuses in depth on the dynamics of independent fashion design in New Zealand, lies the assertion that there exist as-yet untraced links between the entry of first world women into paid employment, and the wider processes of globalisation. This revealing study of New Zealand fashion demonstrates that economic globalisation, the movement of middle-class women into the labour force, and the changing structure of the fashion industry are not only coterminous but intrinsically connected. There have been endless studies mapping the iniquities of globalised capital, especially the employment practices of the garment industry in the Third World. Yet even as women (and others) in outsourced sweat shops suffer a form of modern-day bondage, women in developed nations are carving out new careers in the fashion industry as mid-level entrepreneurial designers. Operating between the spectacular pleonasms of haute couture and ubiquitous ‘designer diffusion’ lines such as DKNY, these artisans of ‘high casual’ fashion evince a number of features of late capitalism, such as ‘creative cities’, cultural mediation and ‘work-style’ businesses that are distinctively gendered. At the heart of this volume, which focuses in depth on the dynamics of independent fashion design in New Zealand, lies the assertion that there exist as-yet untraced links between the entry of first world women into paid employment,