AIMS
- To reflect on the reflective journal.
- To introduce the french Haute Couture system.
- To introduce fashion and celebrity.
- To introduce fashion theory (conspicuous consumption).
1. REFLECTIVE JOURNAL
GIBB'S REFLECTIVE CYCLE
Description - record significant learning situations and events.
Feelings - record your reactions to these situations and events.
Evaluation - consider the positive and negative aspects of the experience.
Analysis - consider how the learning processes within academic research compare to the learning processes within studio practice.
Conclusion - summarise what you have learned and how you might respond in future. (McMillan and Weyers, 2013, pp.33-34).
See STUDY SKILLS REFLECTIVE THINKING AND WRITING PAGE for more information.
Read this FASHION FICTION QUOTE POST from RESEARCH BLOG:
http://bcottextilesforfashion.weebly.com/2/post/2013/06/book-quote-dressmaking.html
Discuss and reflect on your reading/learning experience in pairs.
Reflective journal from You Tube:
http://www.youtube.com/watch?v=pxtKMTNPWZY
Keeping a Journal. W. Cleon Skousen, 1996
Study skills Pinterest:
http://www.pinterest.com/pcourtenay1/study-skills-plus-videos/
GIBB'S REFLECTIVE CYCLE
Description - record significant learning situations and events.
Feelings - record your reactions to these situations and events.
Evaluation - consider the positive and negative aspects of the experience.
Analysis - consider how the learning processes within academic research compare to the learning processes within studio practice.
Conclusion - summarise what you have learned and how you might respond in future. (McMillan and Weyers, 2013, pp.33-34).
See STUDY SKILLS REFLECTIVE THINKING AND WRITING PAGE for more information.
Read this FASHION FICTION QUOTE POST from RESEARCH BLOG:
http://bcottextilesforfashion.weebly.com/2/post/2013/06/book-quote-dressmaking.html
Discuss and reflect on your reading/learning experience in pairs.
Reflective journal from You Tube:
http://www.youtube.com/watch?v=pxtKMTNPWZY
Keeping a Journal. W. Cleon Skousen, 1996
Study skills Pinterest:
http://www.pinterest.com/pcourtenay1/study-skills-plus-videos/
2. HAUTE COUTURE
What do you remember from this week's CLASS READING - CHARLES WORTH AND HAUTE COUTURE?
Historical and technical (easy)?
Social and theoretical (difficult)?
Watch this as a reminder:
http://www.youtube.com/watch?v=ZOe6Nsf-KGA
The Work Song from Cinderella
Charles Frederick Worth is credited with founding and formalising the modern Haute-Couture industry, crystallising the role of the designer as an arbiter of style and raising the status of dressmaking from anonymous trade to artistic endeavour. ...
From his outset he cultivated an exclusive image. In contrast to existing dressmakers he elevated his own status to that of an artist to whose judgement his customers were forced to defer. Coupled with his unparalleled dressmaking skills, this earned his creations the nomenclature 'Haute Couture' - literally, high dressmaking. (Mackenzie, 2009, p.44).
The Worth style:
Worth's designs were characterised by his use of lavish materials, and his early gowns were distinguished by the use of the crinoline. Historical references are also evident in his designs and were likely influenced by time spent perusing the art galleries of London and Paris. 'Leg o' mutton' sleeves, his last great contribution to the fashion of the 19th century, were based on those worn in the Elizabethan era. (Mackenzie, 2009, p.47).
What do you remember from this week's CLASS READING - CHARLES WORTH AND HAUTE COUTURE?
Historical and technical (easy)?
Social and theoretical (difficult)?
Watch this as a reminder:
http://www.youtube.com/watch?v=ZOe6Nsf-KGA
The Work Song from Cinderella
Charles Frederick Worth is credited with founding and formalising the modern Haute-Couture industry, crystallising the role of the designer as an arbiter of style and raising the status of dressmaking from anonymous trade to artistic endeavour. ...
From his outset he cultivated an exclusive image. In contrast to existing dressmakers he elevated his own status to that of an artist to whose judgement his customers were forced to defer. Coupled with his unparalleled dressmaking skills, this earned his creations the nomenclature 'Haute Couture' - literally, high dressmaking. (Mackenzie, 2009, p.44).
The Worth style:
Worth's designs were characterised by his use of lavish materials, and his early gowns were distinguished by the use of the crinoline. Historical references are also evident in his designs and were likely influenced by time spent perusing the art galleries of London and Paris. 'Leg o' mutton' sleeves, his last great contribution to the fashion of the 19th century, were based on those worn in the Elizabethan era. (Mackenzie, 2009, p.47).
http://www.vam.ac.uk/content/articles/c/corsets-and-crinolines-in-victorian-fashion/
Crinoline cage c.1860
Pinterest underwear:
http://www.pinterest.com/pcourtenay1/underwear/
Crinoline cage c.1860
Pinterest underwear:
http://www.pinterest.com/pcourtenay1/underwear/
https://thepragmaticcostumer.wordpress.com/2013/08/08/
Worth wedding dress with leg of mutton sleeves, c.1896
Worth wedding dress with leg of mutton sleeves, c.1896
http://tudorhistory.org/elizabeth/gallery.html
The Darnley portrait of Elizabeth I, unknown artist c. 1575
Elizabethan leg of mutton sleeves
3. FASHION AND CELEBRITY
Worth's reputation and success were cemented when Empress Eugenie, wife of Napoleon III, admired one of his creations and instructed him to supply her with gowns. So impressed was she that by 1864 Worth had become responsible for all her state and evening wear. Considering that state balls were frequent, no gown could be worn twice and with most ladies wishing to emulate the princess, Worth could easily be asked to supply in excess of a thousand different gowns for a single event. (Mackenzie, 2009, p.44).
Worth's reputation and success were cemented when Empress Eugenie, wife of Napoleon III, admired one of his creations and instructed him to supply her with gowns. So impressed was she that by 1864 Worth had become responsible for all her state and evening wear. Considering that state balls were frequent, no gown could be worn twice and with most ladies wishing to emulate the princess, Worth could easily be asked to supply in excess of a thousand different gowns for a single event. (Mackenzie, 2009, p.44).
http://www.napoleon.org/en/essential_napoleon/key_painting/files/winterhalter_eugenie_ladies.asp
The Empress Eugenie surrounded by her ladies in waiting, Franz Xaver Winterhalter, 1855
The Empress Eugenie surrounded by her ladies in waiting, Franz Xaver Winterhalter, 1855
http://www.vogue.com/vogue-daily/article/kate-middletons-wedding-dress/#1
Kate Middleton and her sister Pippa, 2011
See also Kate leaving hospital FASHION SCRAPBOOK POST from RESEARCH BLOG:
http://bcottextilesforfashion.weebly.com/2/post/2013/07/july-24th-2013.html
Kate Middleton and her sister Pippa, 2011
See also Kate leaving hospital FASHION SCRAPBOOK POST from RESEARCH BLOG:
http://bcottextilesforfashion.weebly.com/2/post/2013/07/july-24th-2013.html
4. CONSPICUOUS CONSUMPTION
For centuries, royal courts used fashion as a means of publicising their superiority, strength and influence across Europe. Louis XIV, for example, demanded that his courtiers pay scrupulous attention to their grooming, and insisted on the conspicuous display of finery at all palace events.
In 'The Theory of the Leisure Class', originally published in 1899, he (Thornstein Veblen) maintains - making reference to Victorian female trappings - that 'the hindrances of women's dress .. is evidence of her economic dependence on a man, and is reflective of male pecuniary strength in society' (Veblen 1965). (English, 2013, pp.5-6).
For centuries, royal courts used fashion as a means of publicising their superiority, strength and influence across Europe. Louis XIV, for example, demanded that his courtiers pay scrupulous attention to their grooming, and insisted on the conspicuous display of finery at all palace events.
In 'The Theory of the Leisure Class', originally published in 1899, he (Thornstein Veblen) maintains - making reference to Victorian female trappings - that 'the hindrances of women's dress .. is evidence of her economic dependence on a man, and is reflective of male pecuniary strength in society' (Veblen 1965). (English, 2013, pp.5-6).
http://commons.wikimedia.org/wiki/File:Louis_XIV_of_France.jpg
Louis XIV , Hyacinthe Rigaud, 1701
French court as conspicuous consumption
Louis XIV , Hyacinthe Rigaud, 1701
French court as conspicuous consumption
http://www.tate.org.uk/search/tissot
The ball on shipboard, James Tissot, 1874
Victorian dress as conspicuous consumption
The ball on shipboard, James Tissot, 1874
Victorian dress as conspicuous consumption
http://www.theguardian.com/fashion/2013/sep/24/milan-fashion-week-10-point-guide
Dolce and Gabbana Centurion coin dress, spring 2014
Literal conspicuous consumption from Milan fashion week
Dolce and Gabbana Centurion coin dress, spring 2014
Literal conspicuous consumption from Milan fashion week
CONCLUSION
Remember the Anita Brookner reading.
This was the Quote of the Week from it:
http://quoteoftheweekblog.tumblr.com/post/53759407365/quote-of-the-week-24-6-13-anita-brookner-yet
Remember the Anita Brookner reading.
This was the Quote of the Week from it:
http://quoteoftheweekblog.tumblr.com/post/53759407365/quote-of-the-week-24-6-13-anita-brookner-yet
WHAT HAVE YOU LEARNED?
WHAT HAVE I LEARNED?
I am still doing this at 6am...
WHAT HAVE I LEARNED?
I am still doing this at 6am...
REFERENCES
Brookner, A. (1983) Providence. London: Triad Grafton.
Cartner-Morley, J. (2013b) 'Kate gets the Lindo Steps Look spot on', Guardian 23 July [Online]. Available at: http://www.guardian.co.uk/uk-news/2013/jul/23/kate-duchess-cambridge-jenny-packham-dress (Accessed 24 July 2013).
English, B. (2013) A cultural history of fashion in the 20th and 21st centuries. 2nd edn. London: Bloomsbury.
Mackenzie, M. (2009) …Isms understanding fashion. New York: Universe.
McMillan, K. and Weyers, J. (2013) How to improve your critical thinking and reflective skills. Harlow: Pearson.
Murdoch, I. (1979) The sandcastle. London: Triad/Panther.
Moore, S. (2013d) 'David Bowie's top-100 reading list is virtually poetry in itself', Guardian 2 October [Online]. Available at: http://www.theguardian.com/commentisfree/2013/oct/02/david-bowie-top-100-reading-list (Accessed 4 October 2013).
Brookner, A. (1983) Providence. London: Triad Grafton.
Cartner-Morley, J. (2013b) 'Kate gets the Lindo Steps Look spot on', Guardian 23 July [Online]. Available at: http://www.guardian.co.uk/uk-news/2013/jul/23/kate-duchess-cambridge-jenny-packham-dress (Accessed 24 July 2013).
English, B. (2013) A cultural history of fashion in the 20th and 21st centuries. 2nd edn. London: Bloomsbury.
Mackenzie, M. (2009) …Isms understanding fashion. New York: Universe.
McMillan, K. and Weyers, J. (2013) How to improve your critical thinking and reflective skills. Harlow: Pearson.
Murdoch, I. (1979) The sandcastle. London: Triad/Panther.
Moore, S. (2013d) 'David Bowie's top-100 reading list is virtually poetry in itself', Guardian 2 October [Online]. Available at: http://www.theguardian.com/commentisfree/2013/oct/02/david-bowie-top-100-reading-list (Accessed 4 October 2013).
RSS Feed
