Dr Rosie Findlay is a writer and scholar of digital fashion media and the spaces in which material and experiential converge in fashion and dress.

She grew up in Sydney, Australia, where she got her PhD at the University of Sydney. She is currently based at the London College of Fashion where she is Course Leader for MA Fashion Cultures.




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Personal Style Blogs: Appearances that Fascinate (Bristol: Intellect, 2017) closely examines the practice of personal style blogging to chart its history and development as a genre of digital fashion media. It maps style blogging's affective dimensions and the impact it has had on notions of the private in public, women's writing, the fashionable ideal, and how we can understand online communication as intimacy enacted at a distance.

In taking a macro look at aspects of style blogging such as writing and readership, the performance of self online, and the criticism blogging attracts, this book also traces the transformation of the style blogosphere from an alternative, experimental space to one dominated by the logics of the fashion industry. The work touches on notions of individuality, aesthetics and performance on both sides of the digital platform, asking: what can style blogging teach us about women's writing and the digital performance of a private self? And what drives style bloggers to develop a personal space online?

Personal Style Blogs: Appearances that Fascinate is available here.

Academic Writing

Journal Articles

‘Trust Us, We’re You’: Aspirational Realness in the Digital Communication of Contemporary Fashion and Beauty Brands
Communication, Culture and Critique, 2019.

As an aesthetic, aspirational realness champions beautiful women with normalizing “flaws,” as opposed to the flawless hegemonic fashionable ideal. The photographs in which these women appear bear qualities of the transient and the partial: the frame is close-cropped so only half of her face is visible, or the expensive sandals on her feet are shot amidst a galaxy of blackened gum on the sidewalk. The copy that renders these images legible to potential consumers addresses them as familiars. As a trope, it seeks to collapse the distance between brand and consumer, constructing a discourse of intimacy and equivalence by drawing the consumer into the world of the brand whilst suggesting that she is the brand and that it is her.” (2019, n.p.)

"How Fashion Travels: The Fashionable Ideal in the Age of Instagram" (co-authored with Karen de Perthuis)
Fashion Theory 23: 2, 2019.

These qualities become particularly marked in the present era, in which digital influencers simultaneously assume the roles of cultural producer, model and consumer whilst implicitly embodying the fashionable ideal. At the moment of their publication, the labour of producing these images seems to evaporate, as bodies with no material limitation are presented with immediacy, and figure, commodity and surrounds collapse into one” (2019, abstract).

"Sartorial Remembrance: Exploring the Weave between Costume, Memory, and the Performing Self" (co-authored with Natalia Romagosa)
About Performance 16: Fashioning Performance/ Performing Dress, 2018. (Co-edited with Dr Amanda Card, University of Sydney), 2018.

In mapping the ways that memory, costume, and a performer’s embodied self interrelate, we seek to outline the ways in which a performer’s material, affective, and perceptual experiences of costume help structure their experience of performing, and to evidence the ways in which costumes work on/with/against the body as a presence that must be incorporated in the presentation of a performing self” (2018, 130).

"Things To Be Seen: Spectacle and the Performance of Brand in Contemporary Fashion Shows"
About Performance 14/15: Here, (over) there, now, 2017.

"Fashion shows function as a crucial site at which symbolic meanings are circulated around the fashion product, offering an environment within which the elements of performance metaphorically clad the clothing worn by the models" (2017, 106).

"'Such Stuff as Dreams are Made On: Encountering Clothes, Imagining Selves"
Cultural Studies Review 22:1 : Fashioning, 2016.

"An invitation to dream: such is the gift of good writing, and, as I’ll discuss here, such can be the promise of clothing, namely when particular garments resonate with us, seeming to offer the possibility of metamorphosis in their wearing" (2016, 79).

"The Short, Passionate and Close-Knit History of Personal Style Blogs"
Fashion Theory 19:2, 2015.

"If first wave style blogging was characterized by independence, second wave style blogging is characterized by aspiration" (2015, 172).

"At one remove from reality: Style bloggers and outfit posts"
Australasian Journal of Popular Culture 2:2, 2011.

"When style bloggers step in front of the camera, what they are showing us is 'them-in-their-clothes', an expression of self literally made material by their clothing" (2011, 202).


Book Chapter

'The best way I knew- through fashion': On Personal Style Bloggers and Self-Expression
Fashion and Its Multi-Cultural Facets, eds. P. Hunt-Hurst and S. Ramsamy-Iranah, Oxford: Inter-Disciplinary Press, 2014.

Editor's Letters

(with Dr Amanda Card) About Performance 16: Fashioning Performance/ Performing Dress, 2018.

"Dressing the Body: Introduction"
(with Dr Prudence Black) Cultural Studies Review 22:1 : Fashioning, 2016.


"Exhibition Review- Strange and Familiar: Britain as Revealed by International Photographers, Curated by Martin Parr, Barbican Centre, London, 16 March 2016- 19 June 2016"
Australasian Journal of Popular Culture 5:2-3, 2016.

"Book Review- Joanne Entwistle, 'The Fashioned Body' (2015)"
Australian Feminist Studies 31: 87, 2016.



Other writing and reviews


For all freelance writing, guest lectures, and consulting enquiries, or to discuss my work in more detail, please email me at r.findlay (at) fashion.arts.ac.uk