Whereas Modernism was characterised by logic, simplicity, a break from history and functionality, the Postmodern age dispensed with linearity in favour of eclecticism, parody and cultural hybridity (Mackenzie, 2009, p.122).

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For who can produce a really scholarly work when he is sitting shivering in a too heavy overcoat, struggling all the time against the temptation to go out and get himself a warming cup of coffee?' (Pym, 2009, p.77).

She had done well at school, and went to an arts college where she became a graphic designer, which seemed an agreeable way of spending her time until she married. (Lessing, 1989, p.11).

He wasn't learning anything, but then plenty of children did not: they put in time at school, that was all. (Lessing, 1989, p.128).


As everyone knows, all these schools have a layer, like a sediment, of the uneducable, the unassimilable, the hopeless, who move up the school from class to class, waiting for the happy moment when they can leave.(Lessing, 1989, p.145).

Is fashionable dress part of the oppression of women, or is it a form of adult play? (Wilson, E. in Welters, L. and Lillethun, 2011, p.324).


This unresolved tension marks a number of feminists debates, for example the debate about heterosexual love, the controversies over pornography and romantic fiction, and the debate about dress and feminist attitudes to personal adornment ... (Wilson, E. in Welters, L. and Lillethun, 2011, p.324).


... the thesis is that fashion is oppressive, the antithesis that we find it pleasurable ... (Wilson, E. in Welters, L. and Lillethun, 2011, p.324).

“None of these books agree with each other.” (Bradbury, 2008, p.52).

And I thought about books. And for the first time I realised that a man was behind each one of the books. A man had to think them up. A man had to take a long time to put them down on paper. (Bradbury, 2008, pp.68-69).

“Do you know that books smell like nutmeg or some spice from a foreign land? ” (Bradbury, 2008, p.106).

“Books can be beaten down with reason.” (Bradbury, 2008, pp.109-110).

'“What traitors books can be! You think they're backing you up, and they turn on you. Others can use them, too, and there you are, lost in the middle of the moor, in a great welter of nouns and verbs and adjectives.” (Bradbury, 2008, p.139).

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Modernism is an umbrella term for a number of movements united in their rejection of historicism during the early 20th century. Modernists embraced progress and sought to enhance human experience of the modern age by breaking with the past ... (Mackenzie, 2009, pp.74-75).

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In addition, new comfortable fluid fabrics in a neutral palette of navy, black, beige and grey were utilised. (Mackenzie, 2009, pp.74-75).

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This new androgynous style was christened the 'garconne' look and dominated fashion until 1929. Hemlines were raised significantly, peaking in 1926 at just below the knee; waistlines dropped towards the hips; hair was bobbed, shingled or even cropped ... (Mackenzie, 2009, pp.74-75).

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She is credited with introducing the 'little black dress' and promoting the principle of simplicity as elegance. (Mackenzie, 2009, pp.74-75). 

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In keeping with the spirit of Modernism, and aided by the development of rayon and the simple shapes of the garments, rapid dissemination of styles was made possible. What was shown in the couture salons was soon readily available to the mass market via copy houses or paper patterns. (Mackenzie, 2009, pp.74-75).

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Chanel deviated from the elitist nature of haute couture both by creating a 'working-class look' through her choice of non-luxuriant fabric - her inspiration being drawn primarily from working-class male attire - and by embracing a philosophy of copying and mass production, which denied exclusiveness and uniqueness. ...

she aimed to create an image of middle-class informality rather than emphasising the affectations of the upper classes, yet her garments were consistently priced in a bracket far above the economic means of the average working girl. ... Despite the apparent lack of what Veblen (1965) refers to as 'conspicuous consumption' in her garments, hems were always hand-rolled and weighted chains were inserted into the backs of the jackets. When she dressed her clients in garments of austere simplicity, she would then heap strands of costume jewellery around their necks, on their wrists, hands and ears. (English, 2013, p.41).

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The new fashion demanded a radical shift in the ideal female form and women endeavoured to become lithe and youthful with a flat bust, no hips and a childlike slenderness. Corsets were replaced by roll-on, reinforced 'flattners' and dieting was vigorously promoted as the best way to achieve a fashionable physique. (Mackenzie, 2009, pp.74-75).

Whereas Modernism was characterised by logic, simplicity, a break from history and functionality, the Postmodern age dispensed with linearity in favour of eclecticism, parody and cultural hybridity (Mackenzie, 2009, p.122).

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It is more difficult than I had imagined, setting down things that happened so long ago. I question the accuracy of my memory. (Twan Eng, 2013, p.113).

I discovered how much clutter bounced around in my head. (Twan Eng, 2013, p.157).

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