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  • REFERENCING - HARVARD PLEASE!
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  • BA1 CLASS READINGS AND VISUALS
    • BA1 CLASS READINGS - INTRODUCTION TO FASHION THEORY GROUP SEMINAR PRESENTATIONS >
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - CONSPICUOUS CONSUMPTION (THE REGULATION OF FASHION) GROUP SEMINAR PRESENTATION (THE HISTORICAL ONE)
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - CONSUMER CULTURE (BEAU BRUMMELL) GROUP SEMINAR PRESENTATION (THE PERSONAL ONE)
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - TRICKLE-DOWN/BUBBLE-(TRICKLE)-UP (JEANS) GROUP SEMINAR PRESENTATION (THE EASY ONE)
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - GENDER AND SEXUALITY (STILETTOS) GROUP SEMINAR PRESENTATION (THE SEXY ONE)
      • BA1 CLASS READING INTRODUCTION TO FASHION THEORY - SEMIOTICS (TIES) GROUP SEMINAR PRESENTATION (THE DIFFICULT ONE)
    • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY >
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - CONSPICUOUS CONSUMPTION (THE REGULATION OF FASHION)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - CONSUMER CULTURE (BEAU BRUMMELL)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - TRICKLE-DOWN/BUBBLE-(TRICKLE)-UP (JEANS)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - SEMIOTICS (STILETTOS)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - SEMIOTICS (TIES)
    • BA1 CLASS READINGS - INTRODUCTION TO TEXTILES AND CULTURE GROUP SEMINAR PRESENTATIONS >
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - THE FABRIC OF EXISTENCE (TEXTILES IN HUMAN CONSCIOUSNESS) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - THE TIES THAT BIND (SOCIAL MEANINGS) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - CLOTH AND TEMPORAL POWER (MONEY, TRADE, STATUS AND CONTROL) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - CLOTH AS COMMUNICATION (MEANING, MESSAGES AND BEAUTY) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - TEXTILES AND THE SPIRIT (SACRED, SPIRITUAL AND HEALING SIGNIFICANCE) GROUP SEMINAR PRESENTATION
  • BA2 CLASS READINGS AND VISUALS
    • BA2 CLASS READINGS - FASHION IN SOCIETY GROUP SEMINAR PRESENTATIONS >
      • BA2 CLASS READING - FASHION IN SOCIETY - VEILING GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - THE SECOND HAND MARKET GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - FEMINISM AND FASHION GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - HOMOSEXUAL FASHION GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - JAPANESE STREET FASHION GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - FASHION IN INDIA GROUP SEMINAR PRESENTATION
    • BA2 CLASS VISUALS - FASHION IN SOCIETY >
      • BA2 CLASS VISUALS - FASHION IN SOCIETY - THE SECONDHAND MARKET
      • BA2 CLASS VISUALS - FASHION IN SOCIETY - JAPANESE STREET FASHION
      • BA2 CLASS VISUALS - FASHION IN SOCIETY - INDIAN FASHION
    • BA2 CLASS READINGS - TEXTILES IN SOCIETY GROUP SEMINAR PRESENTATIONS >
      • BA2 CLASS READING - TEXTILES IN SOCIETY - WEAVING AS POLITICAL SYMBOL (YOU ARE GOING TO LOVE THIS ONE) GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - THE SUBVERSIVE STITCH GROUP SEMNAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - GANDHI AND KHADI CLOTH GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - THE FEMALE TRADITION OF TEXTILES GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - KNITTING AS ART GROUP SEMINAR PRESENTATION
    • BA2 CLASS VISUALS - TEXTILES IN SOCIETY >
      • BA2 CLASS VISUALS - TEXTILES IN SOCIETY - WEAVING AS POLITICAL SYMBOL
      • BA2 CLASS VISUALS - TEXTILES IN SOCIETY - THE FEMALE TRADITION OF TEXTILES
      • BA2 CLASS VISUALS - TEXTILES IN SOCIETY - THE SUBVERSIVE STITCH
  • BA3 CLASS READINGS
    • BA3 CLASS READING - THE FIVE STAGES OF REFLECTIVE WRITING
  • THEORY READINGS AND VISUALS (GENERAL REFERENCE TO SUPPORT YOUR RESEARCH)
    • THEORY READING - WHY STUDY FASHION?
    • THEORY READING - WHAT IS A THEORY?
    • THEORY READING - INTRODUCTION TO BA1 FASHION THEORY
    • THEORY READING - FASHION CYCLES (CONSPICUOUS CONSUMPTION, TRICKLE-DOWN/UP/ACROSS)
    • THEORY READING CLASS VISUALS - FASHION CYCYES (CONSPICUOUS CONSUMPTION, TRICKLE-DOWN/UP/ACROSS)
    • THEORY READING - KEY TERMS IN FASHION THEORY
    • THEORY READING - TEXTILE METAPHORS
  • FICTION READINGS (FOR WHEN YOU ARE BORED)
    • FICTION READING - ELIZABETH JANE HOWARD'S 'THE BEAUTIFUL VISIT'
    • FICTION READING - ANITA BROOKNER'S 'PROVIDENCE'
    • FICTION READING - RUMER GODDEN'S 'BLACK NARCISSUS'
    • FICTION READING - THE BROTHERS GRIMMS' 'HOW SOME CHILDREN PLAYED AT SLAUGHTERING'
    • FICTION READING - THOMAS HARDY'S 'JUDE THE OBSCURE' - THE PIG SLAUGHTERING (NOT FOR VEGETARIANS OR THE FAINTHEARTED)
    • FICTION READING - THE BROTHERS GRIMMS' 'RUMPELSTILTSKIN'
    • FICTION READING - GREEK MYTHOLOGY'S 'THESEUS AND THE MINOTAUR'
    • FICTION READING - GREEK MYTHOLOGY'S 'PROKNE AND PHILOMELA'
    • FICTION READING - DAWN FRENCH'S 'A TINY BIT MARVELLOUS'
  • MATHS READINGS (FOR WHEN YOU ARE REALLY BORED)
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    • MATHS READING - WHY WE NEED PYTHAGORAS (WHAT DOES LILY ALLEN KNOW?) ​
    • MATHS READING - FORMULA FOR WORKING OUT AGATHA CHRISTIE WHODUNNIT (I THOUGHT THIS WAS AN APRIL FOOL)
    • MATHS READING - ORDER AND PATTERN AS THE BASIS OF EVERYTHING (ARTY) ​
    • MATHS READING - WRITER SHIRLEY CONRAN'S MATHS EBOOK FOR GIRLS (I FAILED MATHS TWICE)
    • MATHS READING - RELATIVITY VERSUS QUANTUM MECHANICS (I ACTUALLY UNDERSTOOD SOME OF THIS)
    • MATHS READING - WHY WE SHOULD ALL LEARN COMPUTER CODING (VERY LONG... IF YOU MANAGE TO GET TO THE END OF IT I WILL BUY YOU A DRINK)
    • MATHS READING - DO WE REALLY NEED MATHS? (SAYS IT ALL)
    • MATHS READING - THE 'BEAUTY' OF EINSTEIN (I LOST THE WILL TO LIVE)
  • MY RESEARCH BLOGS AND RESEARCH PINTEREST
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  • DYSLEXIA (INCLUDES THE BRITISH DYSLEXIA ASSOCIATION ADULT CHECKLIST)
  • ARE YOU STRESSED?
    • ARE YOU STRESSED? - WRITERS' BLOCK
    • ARE YOU STRESSED? - MANAGING STRESS
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  • TO DO
  • REFERENCES
  • BA2 BUSINESS STUDIES - GLOBAL AND ENVIRONMENTAL
    • BA2 BUSINESS STUDIES PROGRAMME - GLOBAL AND ENVIRONMENTAL
    • BA2 BUSINESS STUDIES PROJECT BRIEF - GLOBAL FASHION AND TEXTILE MANUFACTURING REPORT 2014-15
    • BA2 BUSINESS STUDIES CLASS - GLOBAL AND ENVIRONMENTAL - INTRODUCTION TO CORPORATE SOCIAL RESPONSIBILITY
    • BA2 BUSINESS STUDIES CLASS - THE ALTERNATIVE PROJECT BRIEF
    • BA2 BUSINESS STUDIES CLASS - GLOBAL AND ENVIRONMENTAL - PEST AND CSR
    • BA2 BUSINESS STUDIES CLASS - GLOBAL AND ENVIRONMENTAL - ETHICS AND DISSERTATION
    • BA2 BUSINESS STUDIES CLASS READING - GLOBAL AND ENVIRONMENTAL - GLOBALIZATION ​
    • BA2 BUSINESS STUDIES CLASS READING - GLOBAL AND ENVIRONMENTAL - ENVIRONMENTAL
    • BA2 BUSINESS STUDIES CLASS READING - GLOBAL AND ENVIRONMENTAL - ETHICAL
  • THE REFERENCING TEST
  BCOT BA Textiles for Fashion
Historical and Theoretical Studies theory classes and readings.

BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - CONSUMER CULTURE (BEAU BRUMMELL) GROUP SEMINAR PRESENTATION (THE PERSONAL ONE) - this reading is extracts (...) from the set text. 

FASHION THEORY - CONSUMER CULTURE

Consumer culture

A culture permeated by consumerism in which people take their identity from the value of the goods they purchase as much as from social values. (Craik, 2009, p.323).



... the fashion machine sped up in Europe with the coming of industrialisation and urbanisation ...  Once there were means of producing and distributing goods that could be purchased by other people, the trade in goods created an economy of value alongside consumer markets. People could buy a cultural identity and thus social credentials. Mass production accelerated the process, and with mass-produced goods came mass markets for clothing and fashion. At this point, fashion became as much a consumer culture as it was a culture of identity, status, and role.(Craik, 2009, p.67).


BEAU BRUMMELL

Beau Brummell has a reputation based on leadership in fashion in the late eighteenth and early nineteenth centuries. However his fastidious attention to clothes was only part of the story. He was devoted to the management of impressions, and his behaviour was a device for evoking and controlling the effects he had on others ...

Beau Brummell was born George Brummell in 1778 in London. His grandfather was a valet, and his father, Billy Brummell, was secretary and right-hand man to Lord North. Billy Brummell, as one of the rising civil servants, had grown prosperous and managed to send his sons to Eton ...

After the death of both his parents by 1794, George, at fifteen, went to Oxford University. He only stayed a few months. He managed to convince the chief executor of his father's will to allow him to use his inheritance to buy an army commission. At seventeen, he took up the rank of cornet in the glamorous 10th Light Dragoons, the Prince of Wales's own regiment.

In the army, Brummell not only met the heir to the throne, Prince George, who was in his early thirties, but, as a member of the military, began to circulate within the same aristocratic social circle. The English aristocracy was a tight elite, and their numbers were small, consisting of no more than 1,200 ultrafashionable people, who closely controlled their image and access to their social circle.

Brummell was required to purchase the alarmingly expensive uniform of the 10th Light Dragoons uniform ... This was Brummell's passport to the elite class.

Full-length trousers, or pantaloons, as they were called, had been adopted by the highly fashionable Dragoons. Long pants were a new concept to both the middle and upper classes ... European gentlemen had, prior to the French Revolution, indicated their class by wearing knee-length breeches. The revolution had seen the adoption of the pants of workers, the sans culottes. The full-length trouser was exported back to Britain and absorbed into the military uniform as pantaloons ...

The 10th Light Dragoons were a cavalry regiment and horses were a part of that uniform. As dress is also a technology, the relationship between the horse and the rider came into play. The British style of riding had developed into a riding system of controlling the horse with one's legs. These pants, knitted on stocking frames, enabled close contact between the horse and the rider, and the absence of underwear increased the rider's sensitivity (Kelly 2006: 126).

These close-fit pants also reflected the neoclassical fashions of the day. The white or cream pants showed every fold and bump of the genitals, like the classical white marble statues that were being brought to England from Greece and Italy. The fashion for women at the time was sheer white muslin tunics that revealed the anatomy beneath.

Brummell continued to wear this style of trousers after leaving the 10th Dragoons in 1799. Leather stirrups ensured that Brummell's pants stretched from braces to feet. He employed tailors experienced in military dress, who willingly complied with his exacting demands. He wore plain, lightly starched shirts with the collar high enough almost to touch his ears. This was followed by a triangle of fine Irish muslin neck cloth that was perfectly tied and became the trademark of the dandies who followed his lead. His sombre-coloured jackets were padded between the lining and the outer fabric, sculpting the appearance of a muscular body beneath.

Brummell's body beneath his clothes was subjected to constant attention to weight and a strict regime of cleanliness. He performed a daily levee (a ritual of dressing before an audience) for his coterie to observe how he dressed, to learn the exactitude of the wardrobe, to care for the body, and to display the understood chic that became his hallmark. Even the Prince of Wales attended these morning routines, which is curious, as a levee was considered a practice of the monarchy that was viewed by his subjects ...

Dressed as such, he set his sights on continuing to mix in the same tight social world of the Prince of Wales, under whom Brummell had served. After resigning his commission, he entered full-time into London society, where he was in growing demand. Here he acquired the nickname 'Beau' Brummell.

He used his inheritance to establish a modest London address, from which he sortied out every day into society. He had no occupation. He relied on situations, scenes, and encounters. His daily routine consisted of his famous entrances and exits at exclusive clubs, private balls and entertainments, soirees, fashionable promenades, racetracks, private gambling clubs, and elegant salons ... He perceived that the ceremony of style was what separated the aristocracy from the other classes ...

... Brummell was on show at all times. Uniforms contributed to a regime of discipline and masculinity that was well defined in the eighteenth century. Continuing this practice, it was not only the meticulous self-surveillance he learned in the military, but also his awareness of having an audience. His conspicuousness was a source of continuous fascination in gossip, reportage, and anecdotes by diarists, chroniclers, and biographers.

When entertaining, Brummell positioned himself to be seen. At one of his exclusive clubs, Whites, Brummell would arrange his place to be in the bow of the windows at the front, where he would spend hours in conversation with his circle of acquaintances ...

His extravagant lifestyle and gambling debts mounted to such as extent that he was forced to leave England for France in 1816. he slipped away quietly, as he could no longer maintain the position he had constructed for himself in London society. He lived in Calais, where he did not require a passport ...

Unfortunately, Brummell contracted syphilis. There is no record of when this occurred. He has been described as asexual and never formed a conventional sexual relationship ... It was his management of impressions, the perfection of every aspect of his behaviour and dress, and his manipulation of social settings with ultimate subtlety for which he is remembered. Rising up to a life of high aestheticism and decadence from the upper middle class, he created the concept or cult of the dandy, which continues today.
(Peoples in Craik, 2009, pp.93-5).


KEY TERMS

sans culottes
neoclassicsm

levee
dandy/dandyism



KEY POINTS FOR DISCUSSION

1. The importance of the aristocracy and the army in the early 19th C as a part of elite society ...

2. The development of men's trousers from the French Revolution and new military uniform ...

3. Neoclassicism's display of the body and how this was adopted by Beau Brummell ...

4. Beau Brummell's sense of 'performance' for his audience ... 



5. Contemporary dandyism ...

REFERENCE

Craik, J. (2009) Fashion - the key concepts.
 Oxford: Berg.




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