• 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.

THEORY READING -INTRODUCTION TO BA1 FASHION THEORY


BA1 CLASS READINGS - INTRODUCTION TO FASHION THEORY 

CONSPICUOUS CONSUMPTION
A phrase coined by Theodore Veblen in 1899 to describe the tendency to mark social status through the competitive display of possessions. (Craik, 2009, p.323).

The expanding universe of fashion coincided with the rise of mercantilism and consumerism as the acquisition and trade of material goods expanded, and thus the possibility of literally fashioning an identity and way of life out of consumer objects. In turn, these material possessions became symbols of well-being and of social status. In an effort to control the multiplication of material culture, political regimes enacted laws known as sumptuary laws across Europe to regulate the ownership and display of material goods, for example, luxury items, certain colours, garments, and accessories ... (Craik, 2009, p.28).



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).



TRICKLE-DOWN/TRICKLE (BUBBLE) 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).



SEXUALITY

Sexuality

The cultural connotations relating to matters pertaining to sex and gender, involving biological, psychological, and sociological dimensions. Developed in the early nineteenth century to denote the quality of being sexual, sexuality refers both to normative heterosexual behaviour and to other sexual leanings and so-called perversions. The term has attracted controversy concerning whether sexuality is natural or socially constructed in different cultural and historical contexts. (Craik, 2009, p.335).

Feminist approaches privilege the specific gendered implications of the manipulation of fashion systems to construct desired images of femininity ...

Psychoanalytic approaches explain fashion behaviour in terms of unconscious sexual desires and erotic tendencies related to the formation of the ego and the id ...

Masculinity and queer studies explore the particularities of men's relationship with fashion and the construction of masculinity and other sexualised identities ... (Craik, 2009, p.117).



SEMIOTICS
Semiology of fashion

The meaning of the formal properties and signs of garment decorations. (Craik, 2009, p.335).

... fashion is not just a covering for the body but a means of communicating about the body and can thus be considered a symbolic system where clothes and the rules that govern how they can be worn can be seen as a type of language or set of signs.

The theorist most strongly associated with this approach is Roland Barthes, who wrote the now-classic book 'The Fashion System' (1984). Barthes was influenced by the theory of structuralism in postwar French anthropology and linguistics, which examined social phenomena as a set of interrelated components making up a complex whole. In the case of fashion, this meant examining the garments and elements of an outfit or a look that composed a vocabulary and a grammar ...

Fashion, he argues, is the product of the social relations and activities that are involved in putting an outfit together. Fashion is actualised through the way the garments are worn. Barthes makes a distinction between three kinds of garments -  the real garment, the represented garment, and the used garment - corresponding to the processes of production, distribution, and consumption. (Craik, 2009, pp.109-10).


REFERENCE

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


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