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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'
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    • FICTION READING - DAWN FRENCH'S 'A TINY BIT MARVELLOUS'
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    • 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)
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    • ARE YOU STRESSED? - WRITERS' BLOCK
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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 - TRICKLE-DOWN/BUBBLE- (TRICKLE)-UP (JEANS) GROUP SEMINAR PRESENTATION (THE EASY ONE) - this reading is extracts (...) from the set text.

FASHION THEORY - TRICKLE-DOWN/BUBBLE- (TRICKLE)-UP

Trickle-down 

George Simmel's theory that the elites set the fashions that are copied by the lower classes or masses thereby producing a cycle of creation and innovation followed by imitation and modification. As a fashion ceases to be distinctive because of its dissemination to wider groups, the elite adopt new fashions to remain different. The cycle of fashion speeds up during periods of rapid social change as the elite seek to maintain their aloof status.



Trickle-up


The theory that reverses the trickle-down thesis and argues that more often, especially in recent decades, fashion impulses come from everyday subcultural, or street influences and are adopted by an influential set of fashion aspirants. Once new fads and fashions are popularised, they are appropriated by the mainstream fashion industry. While the street type embodies a badge of identity and difference, the designer version is oriented around stylishness and nowness. (Craik, 2009, p.338).


The trickle-down theory emerged with debates about the nature of class society. Initially associated with the spread of fashion from royalty to the aristocracy and middle classes, trickle-down theory came to epitomise the development of capitalist society. Fashion became a mechanism to display class difference through the adoption of new styles of dress that differentiated the elite from the mass. However, as new styles were  popularised and copied by the masses in a trickle-down process, the elite felt impelled to conjure up a new style that maintained their distinctiveness ...


... trickle-up theory ... In this reversal of the theory, it is argued that some fashions and sales originate among the non-elite or subcultures but are adopted by the elite. (Craik, 2009, pp.106-7).


See also


The Collective Behaviour Model of Fashion


In contrast to the top-down theory, Herbert Blumer argued that, rather than the elite setting fashion trends, fashion emerged from a collective desire to be 'in fashion' through the articulation of a sense of taste at a given moment and endorsement of certain styles and looks over others. In this way, a fashion emerges from the collective unconscious of a culture rather than beings imposed from above in a process of collective selection. (Craik, 2009, pp.107-8).

JEANS

Jeans seem to have originated in seventeenth-century Europe ... Jeans had two precursors. One was the pants made of denim, a cotton-wool blend manufactured in Nimes, in the south of France. The other was a fustian fabric of cotton, wool, and/or silk produced in Genoa, Italy, around the same time. The word 'denim' came from Nimes, while 'jeans' came from Genoa. The popularity of these trousers for French rural workers and Genovese sailors was exported to England with the expansion of pan-European trade.

Jeans travelled with migrants from Europe to America with New World expansion, since their practicality and durability suited the frontier lifestyle. With the mid-nineteenth-century and the expansion of the goldfields in California, jeans really came into their own. The figure usually credited with the rise of jeans is Levi Strauss (1829-1902), who started up a dry-goods supply house in the early 1850s. From the start, he retailed durable denim work pants. Around this time, the term 'jeans' shifted from a descriptor for the fabric to the name of the style of pants: jeans were born!

The difficulty of finding sufficiently robust jeans able to withstand the rigours of manual labour and strong sales of the lines of jeans carried by Strauss prompted him to manufacture his own brand beginning in 1873. The special quality he introduced was was copper rivets to reinforce the five pockets, a technique that was immediately adopted by the miners and soon copied by competitors ...

Levi Strauss added the leather tag bearing his name to the rear in 1886, created the signature 501 style in 1890, and added the red tab to the seat in 1936. These have remained key brand symbols ...

Although jeans were largely identified with male culture, women's involvement in the workforce in World War 11 saw the adoption of denim in their factory work clothes ...  Postwar, most respectable girls eschewed jeans for skirts or tailored trousers. Most American universities banned jeans on campus well into the 1960s and 1970s, especially for women.

Jeans, however, were adopted by artistic communities as a statement of an alternative lifestyle. Jack Kerouac's classic book 'On the Road' (1957) was reportedly responsible for selling a million pairs of jeans. The 1950s ushered in the most major transformation, as Hollywood heroes and emerging cult figures in popular music such as Robert Mitchum, Marlon Brando, James Dean, and Elvis Presley chose jeans and denim jackets. The three films most commonly associated with establishing the iconic status of jeans in popular youth culture were 'A Streetcar Named Desire" (1951). 'The Wild One' (1953), and 'Rebel without a Cause' (1955). As a result of these three films, a quasi uniform of jeans, T-shirts, and leather jackets became irrevocably associated with youth rebellion ...

By the 1960s, jeans were de rigeur for young people, who were now relabelled teenagers. This created its own moral panic as respectable manufacturers of jeans resented the connotations of delinquency that denim had acquired. They were selling more but, in their eyes, to the wrong people ...

Another phase of the jeans story was in the making. Increasingly, consumers were looking for more stylish jeans than the standard workingman's jeans, and the main brands (Levi Strauss, Lee, Wrangler, and Cooper) were being pushed to develop new denim looks that complemented new youth fashions. Innovations included bell-bottom legs; a variety of colours instead of the traditional indigo; and stone-washed, faded, marbled, torn, distressed, patched, and embroidered jeans. Most key designers, including Paris couturiers, began to include jeans within their ranges, often as a keynote or bestselling line that cross-subsidised their more esoteric ranges.
(Craik and Peoples in Craik, 2011, pp.124-6).


KEY TERMS

None - this is an easy one!

KEY POINTS FOR DISCUSSION


1. The double heritage of the terms denim and jeans and the expansion of the term jeans to include not just the fabric but the garment. (Are there any other examples of this?) ...

2. The 501 red tag as a brand symbol. (What other examples are there of this?) ...

3. The adoption of trousers by women during World War 2 ...

4. The adoption of jeans by artistic communities and youth ... 

5. The development of style and fashion in jeans ...


REFERENCE

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