• ANNOUNCEMENTS (INCLUDES QUOTE OF THE WEEK AND NEWS STORY OF THE WEEK)
  • THE EASY (COLOUR-CODED) GUIDE TO HOW TO REFERENCE A BOOK OR AN INTERNET SITE
  • COURSE INFORMATION
    • COURSE INFORMATION - ACADEMIC SUPPORT
    • COURSE INFORMATION - LEARNING OUTCOMES
    • COURSE INFORMATION - BLOOM'S TAXONOMY OF KNOWLEDGE
    • COURSE INFORMATION - BA1 HISTORICAL AND THEORETICAL STUDIES
    • COURSE INFORMATION - BA2 HISTORICAL AND THEORETICAL STUDIES
    • COURSE INFORMATION - BA3 HISTORICAL AND THEORETICAL STUDIES
  • PROJECT BRIEFS, INFORMATION AND SUBMISSION DATES
    • BA2 PROJECT BRIEFS AND SUBMISSION DATES
    • BA3 PROJECT BRIEFS AND SUBMISSION DATES
    • PROJECT BRIEF - RESEARCH FILE
    • PROJECT BRIEF - CRITICAL RESEARCH REPORT
    • PROJECT INFORMATION - CRITICAL RESEARCH REPORT STRUCTURE GUIDELINES
    • PROJECT BRIEF - REFLECTIVE JOURNAL
    • PROJECT BRIEF - ANNOTATED BIBLIOGRAPHY - NON-ASSESSED
    • PROJECT BRIEF - RESEARCH PROPOSAL needs doing...
    • PROJECT BRIEF - LITERATURE REVIEW - NON-ASSESSED
    • PROJECT BRIEF - GROUP SEMINAR PRESENTATION AND RESEARCH PRESENTATIONS 1, 2 AND 3 >
      • PROJECT BRIEF - GROUP SEMINAR PRESENTATION - NON-ASSESSED
      • PROJECT BRIEF - RESEARCH PRESENTATION 1 - ANNOTATED BIBLIOGRAPHY AND RESEARCH PROPOSAL needs visuals
      • PROJECT BRIEF - RESEARCH PRESENTATION 2 - INTRODUCTION, LITERATURE REVIEW, METHODOLOGY
      • PROJECT BRIEF - RESEARCH PRESENTATION 3 - DISCUSSION AND EVALUATION
  • REFERENCING - HARVARD PLEASE!
    • REFERENCING - WHAT IS REFERENCING?
    • REFERENCING (HARVARD) - USING CITATIONS AND QUOTATIONS
    • REFERENCING (HARVARD) - REFERENCE LIST/BIBLIOGRAPHY
    • REFERENCING (HARVARD) - HOW TO REFERENCE ANYTHING
  • 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)
    • MATHS READING - PI (FOR GEEKS)
    • MATHS READING - ON LABOUR'S PROPOSAL TO MAKE MATHS COMPULSORY POST-16 (HE'S GOT A POINT)
    • 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
  • MY REFLECTIVE JOURNAL
  • DYSLEXIA (INCLUDES THE BRITISH DYSLEXIA ASSOCIATION ADULT CHECKLIST)
  • ARE YOU STRESSED?
    • ARE YOU STRESSED? - WRITERS' BLOCK
    • ARE YOU STRESSED? - MANAGING STRESS
    • ARE YOU STRESSED? - PINTEREST FOR STRESS
  • 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.

BA2 CLASS READING - TEXTILES IN SOCIETY - GANDHI AND KHADI CLOTH GROUP SEMINAR PRESENTATION - this reading is extracts (...) from the set text.


GANDHI AND 'KHADI', THE FABRIC  OF INDIAN INDEPENDENCE. SUSAN S. BEAN 1989.

Cloth was central to the Indian struggle for national self-government - cloth as an economic product and cloth as a medium of communication. Cloth was officially incorporated into the nationalist program in 1921 when the Indian National Congress resolved to campaign for the boycott of foreign cloth, to require its officers and workers to spin cotton yarn and wear hand-spun, hand-woven cloth (khaki), and to adopt a flag with the spinning wheel in the centre. Mahatma Gandhi was the force behind the adoption of these resolutions, but they were successful because Gandhi had achieved an understanding of the role of cloth in Indian life, the culmination of decades of experimentation with cloth as a medium of communication and means of livelihood.

Gandhi's changing sociopolitical identity can be traced through his costume changes as well as through his speeches, writings, and activities. As he came to appreciate the semiotic properties of cloth, he learned to use it to communicate his most important messages to followers and opponents and to manipulate social events. Once he had appreciated the economic importance of cloth in India, he made it the centrepiece of his program for independence and self-government. ...



When Mohandas K. Gandhi disembarked at Southampton in 1888, he was wearing white flannels given to him by a friend and saved especially for the occasion, ... Later he replaced his Bombay-style clothing, which he thought 'unsuitable for English society' (Gandhi 1957:50), with an evening suit from Bond Street, patent leather shoes with spats, and a high silk hat ... Gandhi was sensitive to the connection between costume and social status, and perceived that changes in social position required changes in costume. ...


In 1891 when Ghandi returned home to Rajkot, a barrister, he promoted the westernisation of his household, begun for him by his brother, by adding items of European dress (Gandhi 1957:92). Gandhi believed his success was dependent on westernisation. ...


Soon the prospect began to fade that one could be an Indian and a full citizen of the British empire by wearing Indian headgear with an English suit. For one thing, it had become clear that the colour of one's skin was as much a part of one's costume as a frock coat, ... he began to admire Indian dress. ...


By 1908 he had come to believe that Indians could not be Englishmen and that India should be ruled for the benefit of India by Indians. He set forth these views in 'Hind Swaraj (Indian Home Rule)' (1908), ... By 1908 he no longer believed that European garments were an index of civilisation and Indian ones of its lack. ...


By 1921, 'khadi' (homespun cloth) had become central to his politics. The intervening years were full of experiments with costume and with the production of handmade cloth.

Gandhi's campaign for 'khadi' was a product of economic nationalism. Gandhi's views on cloth and clothing were unique, but the elements of which they were composed were not. According to the economic nationalists, India's decline was due largely to British destruction of Indian manufactures beginning in the late eighteenth century. Cotton textiles had been India's premier industry. ...


Indians could fight the destructive power of the English government by using Indian products in preference to foreign ones. The ideology and practice of 'swadeshi' grew among nationalists ...

English cloth had become the most potent symbol of English political domination and economic exploitation. As cloth is used mainly in clothing, the results of English exploitation - the demise of indigenous industry - were constantly there for all to see, on the backs of Indians who wore Manchester cloth made into British-style garments. 'Swadeshi'', an attempt to revive and promote Indian industry, required that each person be counted as a patriot-nationalist or a supporter of English domination and exploitation. An individual's political views, encoded in his or her costume, were exposed to public view. ...

Gandhi's final costume change took place in 1921 when he began his national program for the revival of handmade cloth. Khadi (homespun) was scarce and expensive, so he urged his followers to wear as little cloth as possible:



'I know that many will find it difficult to replace their foreign cloth all at once. ... Let them be satisfied with a mere loin cloth. ... I  propose to discard at least up to the 31st of October my 'topi' (cap) and vest, and to content myself with only a loin cloth, and a 'chaddar' (shawl) whenever found necessary for the protection of the body.' ... (29 September 1921, quoted in Jaju 1951:98). ...


He used his appearance to communicate his most important messages in a form comprehensible to all Indians. Engaged in the simple labour of spinning, dressed as one of the poor in loincloth and 'chaddar', this important and powerful man communicated the dignity of poverty, the dignity of labour, the equality of all Indians, and the greatness of Indian civilisation, as well as his own saintliness. The communicative power of costume transcended the limitations of language in multilingual and illiterate India. The image transcended cultural boundaries as well. His impact on the West was enhanced by his resemblance, in his simplicity of dress and his saintly manner, to Christ on the Cross.' (Bean in Hemmings, 2012, pp.234-242).


REFERENCE

Bean, S. in Hemmings, J. (ed.) (2012) The textile reader. London: Berg.

Powered by Create your own unique website with customizable templates.