• 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.

RESEARCH SCRAPBOOK - textiles and politics exhibition

2/12/2013

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Picture
Textiles are usually low on the pecking order of objects in museums and galleries. "As far as we know," says Amelia Peck, Interwoven Globe's lead curator, "this is the first time that anyone has created an exhibition that uses textiles to tell the story of worldwide trade in the early modern period. (Vickery, 2013b).
http://www.theguardian.com/artanddesign/2013/nov/30/interwoven-globe-global-trade-textile-new-york-art
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RESEARCH SCRAPBOOK - research or teaching?

24/10/2013

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Many academics prefer research, writing and conferencing to the hard tutorial grind. (Jenkins, 2013).
http://www.theguardian.com/commentisfree/2013/oct/23/universities-ditch-talk-investing-future
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RESEARCH SCRAPBOOK - oral history in Kenya

21/10/2013

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Some historians fetishise documents, and historians of empire are among the most hide-bound. For decades, these scholars have viewed written evidence as sacrosanct. That documents – like all forms of evidence – must be triangulated, and interrogated for veracity using other forms of evidence, including oral testimonies from colonised populations, mattered little. (Elkins, 2013).
http://www.theguardian.com/commentisfree/2013/oct/21/kenya-british-empire-myths-historians
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RESEARCH SCRAPBOOK - children's bedtimes

14/10/2013

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Children with erratic bedtimes are more likely to have behavioural problems – including hyperactivity, problems with peers and emotional difficulties – and demonstrate symptoms similar to jet lag. (Topping, 2013).
http://www.theguardian.com/lifeandstyle/2013/oct/14/children-regular-bedtimes-behaviour
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RESEARCH SCRAPBOOK - David Bowie exhibition includes his favourite books for Canada

1/10/2013

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As the Guardian's Alexis Petridis pointed out at the time, the Bowie story is so well-known that "unless it's content to retell a very hackneyed story indeed, David Bowie Is has to find a way of casting new light on some of the most over-analysed and discussed music in rock history." (Bury, 2013b).
http://www.theguardian.com/books/2013/oct/01/david-bowie-books-kerouac-milligan
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RESEARCH SCRAPBOOK - erotic shunga exhibition at British Museum

1/10/2013

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Picture
Although shunga, meaning "spring picture" or "pillow picture", was a mainstream artistic genre for several centuries, enjoyed by ordinary townspeople as well as aristocrats, it was suppressed in the 20th century when Japan opened up to the west and the country went through an accelerated "modernisation".

At that point, instead of being regarded as a part of the texture of everyday life, presented to brides upon their marriages for instruction, arousal or amusement, shunga "was treated like pornography", (Higgins, 2013b).

http://www.theguardian.com/artanddesign/2013/oct/01/british-museum-shunga-explicit
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RESEARCH SCRAPBOOK - pre-schoolchildren do better for sleeping

24/9/2013

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For the study, psychologists went into pre-school classrooms and taught 40 children aged three to nearly five years old a simple computer game. It required them to memorise the positions on a grid of images including a cat, an umbrella, and a policeman. The children were trained from 10am until they could remember the positions of around 75% of the pictures.

The scientists visited each child twice over the course of the study. On one visit, the child slept for an hour or so between 1pm and 3pm, and stayed awake on the other. To see how sleep affected their memory, the scientists tested each child again later the same afternoon.

Those who napped saw no change in their morning score of 75%, but the ones who stayed awake fared much worse, averaging scores of 65%, according to a report in the Proceedings of the National Academy of Sciences.

"If they stayed awake they forgot more of the items they had remembered in the morning, whereas if they took a nap, they remembered all the items they had learned in the morning," said Rebecca Spencer at the University of Massachusetts in Amherst. (Sample. 2013).

http://www.theguardian.com/society/2013/sep/23/midday-nap-helps-preschool-children-learn-new-study
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RESEARCH SCRAPBOOK - Elizabethan portraits exhibition at the National Portrait Gallery

21/8/2013

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Picture
It dates from around 1580, and is believed to be the earliest depiction of the animal in England. It was painted at a time when guinea pigs, tender chunks of protein in South America, were beginning to be imported by the Spanish as exotic pets for wealthy Europeans.

The identity of the three solemn children, magnificently and uncomfortably dressed at seven, six and five years old, is also unknown. The youngest is holding a goldfinch, popular pets with children because of their beautiful plumage, but often with religious overtones in portraits because the birds were also used in depictions of the infant Christ. The sturdy older brother was evidently judged too grown up at six for a pet. (Kennedy, 2013a).

http://www.theguardian.com/artanddesign/2013/aug/20/elizabethan-portraits-snapshot-fashion-exotic-pets
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RESEARCH SCRAPBOOK - new book on Modernism reviewed ('The Problem with Pleasure: Modernism and its Discontents' by Laura Frost, Columbia University Press)

5/8/2013

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'Make it new.' Ezra Pound commanded Modernist artists. They did so, and critics have been trying to explain their work ever since. Traditionally, art was supposed to either portray the world or else inspire its audience with ideas of beauty, truth and goodness. Modernist art appeared to do  neither. Paintings seemed to be a mixture of strange abstractions and savage distortions; novels appeared to have abandoned grammar and syntax as well as story and plot, while poetry had collapsed into a heap of broken images. It no longer even rhymed, for goodness' sake.

Was this the end of civilisation? Well, yes, it was actually. the First World War destroyed the belief that history was progress and that human behaviour improved with each passing age. There was nothing beautiful or good about the dead at Verdun. How did one speak about such horrors? ...

One of the main characteristics of Modernist art was its passion for experiment. The world had changed and so must art. However tempted we may be to think of the notorious complexity of Modernism as a form of intellectual indulgence, it was, in fact, a genuine attempt to find adequate forms of representation for discoveries such as those by Sigmund Freud in psychoanalysis and Albert Einstein in physics.

But there are those scholars, most notably John Carey, who see Modernism as no more than an exercise in snobbery. Modernist art, he claims in 'The Intellectuals and the Masses' (1992), was designed to exclude hoi polloi, which was the next best thing to exterminating them. James Joyce's remark about 'Ulysses', that he'd "put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant" may seem to lend some support to Carey's claim, until we remember that Joyce's characters are as flawed and fleshy as those who outraged artistic sensibilities by having fun in Blackpool. Nevertheless, there is a case for seeing the development of Modernism as a reaction to the rise of popular culture. ...

Enter Laura Frost, pooh-poohing such nonsense. The idea that there is a fundamental opposition between Modernism and mass culture is a myth, albeit a stubborn one. This is not a particularly original idea: there are versions of it in Andreas Huyssen's 1986 work 'After the Great Divide: Modernism, Mass Culture, Postmodernism' and, more recently, John Xiros Cooper in  'Modernism and the Culture of Market Society' (2004). In fact the argument was in danger of dwindling into a cliche. But not any longer: Frost has reanimated the whole debate. (Day, 2013, pp.46-47).
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RESEARCH SCRAPBOOK - 1980s clubland exhibition

9/7/2013

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The subcultures explored include familiar ones like New Romantic (see that pirate shirt and stagewear worn by Toyah Wilcox), Goth and Rave, represented with Vivienne Westwood's spring/summer 1985 collection complete with that badge from Shoom.

Then there are more obscure ones, ripe for discovery by a new generation of fashion students. (Cochrane, 2013a).

http://www.guardian.co.uk/artanddesign/2013/jul/08/1980s-club-to-catwalk-vanda-fashion
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