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Abstract
This dissertation explores the historical precursors of fast fashion to encourage a deeper understanding of how today’s unsustainable fashion system came to be through changes in both modes of production and ways of thinking. It employs multimodal critical discourse analysis to investigate how mail-order catalogs at the turn of the twentieth century contributed to the production of a particular discourse of consumption that emphasizes variety, style, convenience, and affordability. In particular, this study focuses on how shirtwaists were presented in Sears, Roebuck & Co. catalogs distributed between 1898 and 1912. This analysis is coupled with a theoretical examination of consumer culture to provide a comprehensive perspective of the enabling conditions that facilitated increasingly extreme forms of clothing production and consumption. The illustrations and vague descriptions presented in these catalogs made it difficult for people to appreciate the material qualities of the garments shown and to discern their true value. While they appeared to offer an abundance of choices, a formal analysis of these catalogs indicates that, like the “models” shown, the depicted garments only vary in small details, helping to perpetuate conformity in style as well as hegemonic beauty standards. Furthermore, the absence of any explicit discussion on the manufacturing processes of these garments helped to create a cognitive distance between consumers and the harsh realities of ready-made clothing production. The similarities between historical mail-order catalogs and contemporary fast and ultra-fast fashion retailers like Shein underscore the influence of visual culture in shaping consumer perceptions and behavior. This dissertation demonstrates that this shift was not tied to an inherent identity or desires, but rather stemmed from corporate efforts to boost profits by promoting cheap, uniform goods. This transformation molded Americans into ready-made consumers, erasing individual tastes, sizes, and identities. This study aims to contribute to reshaping the ways in which fashion history is taught and researched by decentering the design and consumption of high-end clothing by privileged consumers and using sustainability to frame historical inquiry. By reevaluating prevailing narratives surrounding the “democratization” of style, it opens avenues for imagining alternative fashion systems that prioritize ethical production and consumption practices.