Overall, in my experience, the process of completing tasks one to ten has broadly developed my critical thinking skills. Throughout this module I have become increasingly aware of the complex relationship that exists between fashion and textiles and a wide range of factors including society, history, ethics and philosophy. This improved awareness has allowed me to develop a more analytical mind-set which I feel has already begun to contextualise my practice as a designer. At the start of the module I had already begun to question the paradigm of society in relation to sustainable fashion (as a result of my profound interest in Kate Fletcher’s pioneering work) but I had limited knowledge of other contemporary issues related to fashion and textiles such as gender stereotyping. On reflection, I now have a more informed viewpoint which has opened up more possibility for me to think radically and foster innovation within my visual practice.

I have really enjoyed the research aspect of the module, especially the opportunity to explore my own personal interests within this. For example in several tasks I focussed on the practice of sustainable fashion designers and academics and I have already gone on to integrate this research into my studio practice. In fact, I have begun to define and shape my identity as a designer through deliberately pursuing subjects that inspire me. I noticed that I am especially drawn to using fashion as a tool to question the paradigm of society and I propose to continue tailoring my research in a way that supports the development of my critical thinking and understanding around this. Maintaining an up-to-date awareness of the fashion industry, including the latest advancements in sustainable fashion and textiles, will also support me in becoming a more informed fashion designer with the ability to design within the context of our contemporary society.

One key issue that I had with all the tasks was that I unintendedly complicated the process of expressing my ideas in a written form and this made them overly time-consuming. Despite having numerous ideas from my extensive research, I found it challenging to clearly express myself in an academic style. I noticed that as a result of my preconceptions around academic writing I am very critical of my work so I struggle to express myself quickly. I think this contributed to my incoherent writing style in places because when I am over-thinking each minute detail the clarity of my ideas is often diluted. Furthermore, given that I regularly attempted to use more advanced vocabulary (using a dictionary to look up new words), the process of completing each written task became even more complex and time-costly. As I came across unfamiliar terminology in academic texts and during lectures for example, I compiled my own personal dictionary which I plan to add to throughout my degree. In the short-term this could be seen as an inefficient procedure; however in my opinion the long-term benefits of having this resource will outweigh this minor drawback. To conclude, in future written tasks I propose to comprehensively plan out my ideas so that they are clear and relevant. I will then experiment with writing in a more natural style where my viewpoint can be expressed with clarity, using predominantly my own vocabulary with a selection of new terminology where appropriate.

From my point of view as a young woman, this advertisement for the New York suit designer Duncan Quinn is disturbing and highly offensive. It was published in 2008 as the first campaign used to promote the brand, immediately reflecting their motive to associate with a target market of ‘gentlemen and rogues’ (Duncan Quinn, 2017). This sarcastic description leads me to assume that the violent content of the image is designed to be amusing or even attractive as an idea to their powerful, wealthy male customers. With this in mind, the effortlessly classy look of the actor falsely and inappropriately advertises that wearing a Duncan Quinn suit will allow the wearer to exert complete control over women. This could be viewed as an example of male chauvinism, highlighting the ethical issues around presenting male domination within the media.

The photograph depicts this alpha-male type character standing over a young woman, who is laid in a pool of blood, with his tie tied around her neck. From this scene one makes the assumption that this gentleman has just violently murdered and even perhaps sexually abused or raped the vulnerable female. The actor exudes complete masculine control not only through the hierarchical positioning standing over the woman but also through physically forcing her to look up at him using his tie. This metaphorically stresses his male omnipotence in the situation especially because his gaze is directed towards the camera which implies a lack of genuine interest in her. This is further reinforced by the smug look on the actor’s face suggesting his amusement at the situation almost as if the serious ethical matter of violence and murder is trivial. In my opinion, presenting violence within the media is a highly inappropriate and serious matter because ‘it condones violent attitudes and behavior and contributes to exaggerated fear of violence among those encouraged to see themselves as its potential victims’ (Kay Weaver, 2003).

Similarly, the content of this advertisement also highlights the issue around presenting demeaning female stereotypes within the media. Women are often devalued and dehumanized by the mass media and presented as passive, innocent beings, as demonstrated in this photograph. The choice of camera angle here visually focuses on the actress’s body and conceals her facial features; in this way women are conveyed as mere sexual objects with no individuality. Furthermore, the idea of female vulnerability is clearly reinforced by the woman’s unconscious state particularly given the revealing underwear she is wearing. Elizabeth Wilson explains how underwear is associated with ‘sexuality and eroticism’ (Wilson, 1985: 106) and thus one could conclude that this advertisement inappropriately presents women as male-dominated sex toys.

Finally, through presenting a stereotypically slim and youthful actress as an example of an attractive female, Quinn’s advertisement raises the controversial ethical issue of ‘the cult of the slender figure’ (Wilson, 1985: 114). As is often presented in the media, this woman’s physique is an unrealistic ideal for most females in our current society. Moreover she is clearly much younger than the actor and this reflects the stereotype that men are predominantly attracted to young women. This inescapable and often unachievable vision of beauty that is broadcasted by the media, for example in this advertisement, leads to the oppression of women by society (Wilson, 1985: 115).

 

References:

BuzzFeed Staff (2013). The Violent Exploitation Of Women In Fashion Continues…. [online] BuzzFeed. Available at: https://www.buzzfeed.com/copyranter/violence-against-women-in-fashion-continues-unabated?utm_term=.rkLgdyQg6#.vjE82mL8E [Accessed 22 Nov. 2017].

Duncan Quinn. (2017). About. [online] Available at: http://duncanquinn.com/about/ [Accessed 22 Nov. 2017].

Kay Weaver, C. (2003). Violence: Dr C Kay Weaver on violence as an advertising and marketing strategy. (Advertising).. [online] Business.highbeam.com. Available at: https://business.highbeam.com/6504/article-1G1-105368567/violence-dr-c-kay-weaver-violence-advertising-and-marketing [Accessed 24 Nov. 2017].

Wilson, E. (1985) Adorned in Dreams: Fashion and Modernity, London. Virago

 

The introduction to ‘Fashion as Communication’ by Malcolm Barnard offers a broad overview of the highly complex term fashion, exploring the ‘complicated network of similarities’ with the words clothing, dress, adornment and style as recognised in Wittgenstein’s theory of  ‘family resemblance’ (Wittgenstein 1958: 66-7). Throughout the text Barnard highlights the ambivalence of fashion, explaining the importance of considering context in order to ‘determine whether a garment is being referred to as fashion’ as apposed to anti-fashion (fixed dress/ costume). This distinction between fashion and anti-fashion supports Barnard’s analysis with evidence from several theories by Polhemus and Procteur, Flugel, Braudel and Simmel which I find especially thought-provoking. Barnard refers to how this lack of clarity is reflected in the ‘ambivalent response of society’ which once again highlights the complexity of fashion and its inescapability in our western capitalist society. The text goes on to briefly examine the gender stereotyping within the fashion industry including its status as a “degraded and unacceptable face of art” (Wilson 1990:209). In my opinion the underlying message that Barnard conveys is that fashion is an inevitable ‘cultural phenomenon’ (Barnard, 2002:11) that exists at the intersection of ‘history, economics, anthropology, sociology and psychology’ (Tickner 1977: 56).

For me the most fascinating aspect of the chapter is the reference to Braudel’s thesis that fashion exists as a result of the wealth and freedom of aristocracy ‘where upward movement between classes is both possible and desirable’ (Braudel: 1981: 313). I find it particularly interesting that Braudel viewed the dress of the poor as anti-fashion during the time he was developing his philosophy. During the same decade Behling (1985) brought out the integrated theory model which appears to contradict with Braudel’s ideas, explaining how fashion was influenced by a range of factors including subcultures. Having read ‘Fashion Trends: Analysis and Forecasting’, I have developed the viewpoint that Behling’s model is much more suited to reflect the changes in fashion in our highly complex society; it not only combines aspects of the trickle-down and trickle-up theories but also considers the population and economy of a country (Kim, Fiore, Kim: 2011:15). In my opinion, this model proves that the trickle-down theory alone (which Braudel appears to advocate) is inadequate for analysing fashion trends. My disagreement with Braudel’s views around poverty and fashion is further evidenced by the subculture, street-style influences of the 1970’s punk trend that was prominent during the time he developed this thesis.

Comparatively, I think that Braudel’s philosophy of aristocracy-driven fashion would be more relevant between the fourteenth century and the beginning of the industrial revolution when the class system was rigidly structured and ‘dictated styles of dress’ (Wilson, 1985:22). In ‘Adorned in Dreams: Fashion and Modernity’ Wilson reflects upon how, during this period, individuals belonging to different social levels (including different professions and callings within these) were limited to distinctive dress (Wilson, 1985:22). In my opinion this strict system of dress, with its origins in class, seems to reinforce how the trickle-down theory dominated fashion trends before the societal shift that occurred during the industrial revolution. Overall I agree with Barnard, Braudel and Wilson’s mutual viewpoint that historically the movement of fashion demonstrated a desire to associate with an increased social position.

 

References:

Kim, E.  Fiore, A M. and Kim, H (2011) Fashion Trends: Analysis and Forecasting, London. Berg

Lister, K. (2017). Anarchy In The UK: A Brief History Of Punk Fashion. [online] Marie Claire. Available at: http://www.marieclaire.co.uk/fashion/a-brief-history-of-punk-fashion-79145 [Accessed 20 Nov. 2017].

Wilson, E. (1985) Adorned in Dreams: Fashion and Modernity, London. Virago

This photograph by William Klein depicts former model and actress, Dorothea McGowan, wearing a tweed suit by Chanel.  The quintessential white Chanel jacket, wrap-over pencil skirt and hat (with black braid and Chanel buttons) were featured in Vogue in1960, six years after her revolutionary suit collection was first released. This medium shot effectively highlights the fashionable Chanel suit as the focus of the composition whilst subtly juxtaposing the banks of the Seine in Paris, France. Klein captures McGowan as if in motion, presenting her as a busy, independent and modern woman with a purpose, thus reflecting Chanel’s aspiration to liberate women and enable them “to move with ease” (Alexander, 2013).

Although initially disregarded by the French press because of “alleged links to the Nazis” (Nelson Best, 2017), Chanel’s controversial 1954 collection was embraced by the United States as “more than a style; a revolution” (according to the popular American magazine, Life (Chanel, 2012)). At the time the fashion industry was “desperately struggling for modernity” (Chanel, 2012). It had become dominated by male designers creating flamboyant, feminine styles with little consideration for functionality. Chanel’s iconic military-inspired suit revolutionised this 1950’s trend for wasp-waists, balconette necklines and froufrou with a stark, almost masculine “nonchalant elegance” (Chanel, 2012). It was designed for utility, allowing freedom for movement with functional pockets and working button-holes (which were unique at the time).

The classic colour palette of this outfit reflects Gabrielle Chanel’s preference for black and white which was partly influenced by her childhood in the Aubazine Abbey Orphanage. The “Romanesque purity of religious garments” and the “monastic rigour” (Chanel, 2012) in this environment are clearly referenced in the austere and minimal aesthetic of Chanel’s designs. Here the predominant choice of white tweed visually contrasts with Chanel’s original 1926 ‘Little Black Dress’ which famously re-invented black, detaching it from its formal reservation for servants’ uniform and mourning dress.

In summation, Chanel’s revolutionary suit has been a timeless classic since its conception and is still today at the “cornerstone of contemporary fashion” (Karl Lagerfeld, 2012).

References:

Alexander, E. (2013) Vogue.co.uk: Coco And Her Little Chanel Jacket. Available from: http://www.vogue.co.uk/article/coco-chanel-chanel-jacket-story-film [Accessed 28 October 2017].
Anon. (2012) Inside Chanel: The Jacket – Inside CHANEL. Available from: http://inside.chanel.com/en/jacket/video [Accessed 28 October 2017].
Anon. (2012) Inside Chanel: THE COLORS OF CHANEL – Inside CHANEL. Available from: http://inside.chanel.com/en/colors-of-chanel [Accessed 28 October 2017].
Anon. (2014) Littleblackdress.co.uk: Chanel challenges the designs of Christian Dior | Little Black Dress. Available from: https://www.littleblackdress.co.uk/life-of-chanel/chanel-v-christian-dior.html [Accessed 28 October 2017].
Anon. (2017) Tourismelimousin.com: Chanel, Correzian inspired elegance. Available from: http://www.tourismelimousin.com/en/Visionneuse2/Limousin-the-dawning-of-luxury/Chanel-Correzian-inspired-elegance [Accessed 29 October 2017].
Foreman, K. (2014) Bbc.co.uk: The Little Black Dress: Never out of style. Available from: http://www.bbc.co.uk/culture/story/20131209-the-dress-thats-always-in-style [Accessed 27 October 2017].
Harper’s Bazaar Staff (2013) Harper’s BAZAAR: The Real Polly Maggoo. Available from: http://www.harpersbazaar.com/culture/features/g2739/dororthy-mcgowan-profile-0613/?slide=1 [Accessed 29 October 2017].
Klein, W. (2008) YouTube: Qui êtes-vous, Polly Maggoo? (Opening Scene). Available from: https://www.youtube.com/watch?v=I8x40g8bPyg [Accessed 29 October 2017].
Moura, G. (2014) Elementsofcinema.com: SHOT SIZES: Telling What They See. Available from: http://www.elementsofcinema.com/cinematography/framing-shot-sizes/ [Accessed 29 October 2017].
Nelson Best, K. (2017) Google Books: The History of Fashion Journalism. Available from: https://books.google.co.uk/books?id=6L9NDQAAQBAJ&pg=PT142&lpg=PT142&dq=chanel+1954+french+press+information&source=bl&ots=VPDpxrvqva&sig=0XcHE2aSXo67kQukFrAS15YNfw0&hl=en&sa=X&ved=0ahUKEwjR5d2_lZbXAhWmL8AKHdUcBY0Q6AEIWTAM#v=onepage&q=chanel%201954%20french%20press%20information&f=false [Accessed 28 October 2017].

Kate Fletcher’s pioneering work and progressive outlook within the fashion and textile industry has a huge influence on my own practice and identity as a designer. Reading the second edition of her book: ‘Sustainable Fashion and Textiles – Design Journeys’ introduced me to ground-breaking and controversial ideologies questioning “the superfluity of mass production and unlimited consumption” within “an industry linked to abuses of workers’ rights and the creation of waste” (Fletcher, 2014). This initial encounter with Fletcher’s ideas sparked my profound fascination for sustainable and ethical fashion so I have used this as the starting point for my research.

In particular, as an emerging designer in the industry, I noticed that much of Fletcher’s philosophies, as expressed in ‘Sustainable Fashion and Textiles – Design Journeys’ (Second Edition), are of poignant interest and relevance to me. To exemplify this, the following notion has become a fundamental consideration within my own practice:

“Fashion, by definition, reflects its context; and its context patently includes its people, ecosystems and soil. So when we frame fashion as ‘limit-less’ and/ or achievable only through ever greater consumption, this blinkered ‘performance’ is, quite simply, no longer fashion.” (Fletcher, 2014: 141)

To progress with my investigation, I then consulted the bibliography in ‘Sustainable Fashion and Textiles – Design Journeys’ (Second Edition) from which I selected various websites as reliable sources to explore further. From these online references I was most inspired to focus on Fletcher’s ‘Craft of Use’ initiative because I am excited by the concept that “novelty is gained not from consumption but through practising the ‘craft of use’. Here use is framed not as a static act of purchase, but a process of learning, education and the development of new skills over time” (Fletcher, 2017).

Finally I chose to investigate Fletcher’s ‘Craft of Use’ initiative further, looking at an article she wrote titled ‘Fashion is seen as frivolous but it’s at the heart of contemporary culture’ on the reputable ‘the Guardian’ website. I was fascinated to learn about her latest ‘Local Wisdom’ research project including the rich database of individual’s stories (documenting sustainable ‘usership’ within fashion) that it generated. To summarise my findings I have chosen to conclude with Fletcher’s notion that “Fashion provision and expression is a broad spectrum featuring garments, supply chains, skills, stories, ideas, behaviours and individuals” (Fletcher, 2014).

References:

Fletcher, K. (2014) Sustainable Fashion and Textiles – Design Journeys, 2nd ed. Oxon: Routledge.

Fletcher, K. (2017) Craftofuse.org: Craft of Use – Home. Available from: http://www.craftofuse.org/ [Accessed 30 October 2017].

Fletcher, K. (2014) the Guardian: Fashion is seen as frivolous but it’s at the heart of contemporary culture. Available from: https://www.theguardian.com/sustainable-business/sustainable-fashion-blog/fashion-frivolous-contemporary-culture-ownership-usership [Accessed 30 October 2017].