In this text Sanda Miller demonstrates that fashion magazines have a double function in society: they are not only “repositories of the progress of fashion and culture”, but also “self-styled barometers of taste”. She bases her argument on the historical evolution of the fashion magazine, that she traces back to its origins in 1672 (Jean Donneau de Visé’s ‘Le Mercure Galant’). Given that its apparition coincides with the birth of philosophical aesthetics and the emergence of the art critic in the midst of the Salons, Sanda Miller proposes that the role of the fashion magazine is more complex than a simple portrayal of popular dress. It can instead be a testimony of dramatic transformations in society. Furthermore, Miller concludes that it is the only source to encompass every aspect of change in eighteenth-century society, thus justifying the attribute “mirrors of their time”.

Miller reflects on the role and meaning of fashion as it evolves through the centuries. To take her idea further, it is also important to understand it’s significance today.
Ayesha Barenblat, the founder of Remake and slow fashion enthusiast, published an article in the Huffington Post on 26th July 2017, entitled “Three Ways the Fashion Industry Is Changing the World”. She describes her family’s background in clothing factories, stating firstly that fashion is for her “a way to create jobs with dignity that empower women”. She then goes on to say that fashion can be considered as “an extension of our identity” in that our choice of clothing and accessories can define (to a certain extent) our values and personality. Ayesha Barenblat views the role of fashion from a more subjective angle that Sanda Miller, but it is no less true.

As she demonstrates the theoretical worth of fashion, Miller discusses the subject of taste. Her definition of the concept (based on the writings of the eighteenth-century philosophers) describes taste as “an inborn special evaluative faculty”. But this seems to defeat the purpose of fashion magazines: why do we need to be told what is tasteful if this faculty is “inborn” and universal? Why has ‘fashionable’ become a synonym of ‘tasteful’? It could also be said that the idea is contradictory to another aspect of fashion that is personal expression: surely we all have our own individual tastes and shouldn’t have to adhere to popular preferences? In response to this, Jukka Gronow paraphrases Colin Campbell in her book ‘The Sociology of Taste’, stating that fashion “can be said to form a universal standard of taste which, however, allows for the singularity and subjectivity of individual tastes”. Fashion has become another word for popularity but it does allow for different styles that cater to individual preferences. The charm of novelty and status that fashion endows ensure it’s continual influence on our society. But when Miller goes on to say that “fashion is a functional equivalent to the principle of good taste”, her argument seems a little thin. It is evident that fashion forms a standard of taste but how to determine whether it is good taste remains unclear. A little further on Miller does nuance the statement by focusing on the word “functional”, but the question remains: how do you determine the intrinsic value of an object?

And so the appearance of philosophical aesthetics does, as pointed out by Sanda Miller, seem linked to the development of the fashion magazine and the concept of taste that it presented. But then if her final claim that fashion magazines are “mirrors of their time” is also true, what does current fashion, often described as rich and diverse yet transitory, say about our society?

BIBLIOGRAPHY
• Barenblat A. “Three Ways the Fashion Industry Is Changing the World” Huffington Post, 26th July 2017
• Gronow J. (1997) ‘The Sociology of Taste’, (Chapter: The Social Function of Style and Fashion), London, first published by Routledge

Mood board of inspiration for Valentino’s exclusive one-off Haute Couture Collection ‘Sala Bianca 945’

Maris Berenson photographed by Henry Clarke for vogue 1968

Valentino’s exclusive one-off Haute Couture Collection to celebrate the opening of their new flagship store on Fifth Avenue was inspired by Valentino Garavani’s iconic 1968 white collection from which Jackie Kennedy chose her wedding dress to marry Aristotle Onassis. It was also inspired by the work of Robert Ryman, a famous painter in the 1950’s and 60’s from which his work with painting white on white in a minimalistic style shot him to fame.

The photo I chose was taken by Henry Clarke for vogue 1968 and features Maris Berenson leisurely sat in a delicate white organza Valentino dress, stylish tights and elaborate white bow top shoes. The model is surrounded by a few well selected & positioned pieces of antique French style furniture, minimal lines and elegant lilies. The laid-back pose of the model suggests boredom or perhaps a level of comfort to her luxurious surroundings, which puts across the feeling that she’s used to an expensive and decadent lifestyle. The use of the white pet cockatoo, diamond jewels and flamboyant hair give a very old Hollywood glamour vibe which fits with the style vogue was trying to put across within that era. The sharp contrasting carpet with its distinct black lines, frame the image and create a distinctive crisp backdrop on which the image is built.

The seated image of the woman is central to the image, which is traditionally framed by the surrounding minimalistic room.

The high angle of the camera suggests the feeling of imposing, as if being a fly on the wall within a wealthy apartment. The open door and positioning of an empty chair behind the model could symbolise waiting for someone to arrive or exasperation of someone having departed. Overall the visual effect of the photograph is well balanced, elegant, simplistic and yet striking.

Bibliography:

Mhairi Graham, (2014) AnOther, Avalable from: http://www.anothermag.com/fashion-beauty/4185/the-inspiration-behind-valentino-haute-couture (accessed 25/11/2017)

Linda Sharkey, (2014) INDEPENDANT, Avalable from: http://www.independent.co.uk/life-style/fashion/news/valentinos-white-haute-couture-collection-9918175.html#gallery (accessed 25/11/2017)

Upon reading this chapter, I have devised my own opinion ad have reflected on the opinion of others expressed to get a clear understanding of the issues raised in this period of time within the industry.

During the 18^th century, there was a movement called ‘The Enlightenment’ also known as [1]‘The Age of Reason’, this was intellectually based on the progress within: the arts, philosophy and politics. The progress, being people’s freedom of opinion.

Can art and fashion be one?

Through people’s strong opinions and disagreements, it sparked the French Revolution. However, during this time, it was thought that the first fashion magazine to combine both fashion and art was published by Le Brun Tossa but it was short lived and ended in 1793 after already being renamed twice.

[2]“we wonder how concerns about taste and fashion were possible at all.” This quote shows that many were shocked that people were still being so open with their opinions and taste within this new magazine as all this freedom caused san up raw in France at the time.I believe this is why Miller and many others questioned whether it was a fashion magazine or a journal of taste as it didn’t last long. This caused a huge gap within the fashion media.

[3]“All of Europe was paying attention to fashion.” 1912 saw the rise in fashion magazines when Vogel inspired Bidou to take a risk in bringing back fashion and art magazines and for them to be seen as one.

Furthermore, the way that I interpreted it was that although Bidou wanted them to be seen equally, he still wanted art to be superior to fashion. This could possibly be because there was concerns that history could repeat it’s self and it would be an embarrassment on Bidou’s behalf in thinking it would be a success . To support this {4}“ the silhouettes which would become the true trendsetters for the season” and “Another set of watercolours would represent the outfits invented” This gives the impression that Bidou was subtly trying to separate the two which would later inform as to why the  fashion industry felt threatened by art in this period of time.

For my second source, I wanted to use a more modern source and show where this is still happening within the fashion media and how I’ve approached it. “fashion magazines can be addressed to men or to women, but also to both” I feel like there’s a lot of importance buried in this quote as I’ve noticed gender fluidity is being explored more and openly spoken about in this day and age than ever before. Especially in the fashion industry, for example a great number of brands/designers are doing unisex clothing .

Comparing the two sources, it shows us that if genders, which is a more serious and sensitive subject can be seen as one then why can’t fashion and art?

To conclude, I agree that fashion and art do in fact work together and is definitely more generalised in the 21^st century and doesn’t get as criticised like it was when referenced within this chapter. I personally think the fashion industry is growing a lot faster now and there’s more of a demand for it in comparison to art.

Bibliography:

(1) Historywiz,available from:http://www.historywiz.com/enlightenment.htm, accessed 25^th November

(2)Bartlett, D and Cole, S and Rocamora, A (2013) Fashion Media: Past and Present, 1st Edition, London/New York, Bloomsbury Academic. – Page 18 Line 17

(3) Bartlett, D and Cole, S and Rocamora, A (2013) Fashion Media: Past and Present, 1st Edition, London/New York, Bloomsbury Academic. – Page 19 Line 9

(4) Bartlett, D and Cole, S and Rocamora, A (2013) Fashion Media: Past and Present, 1st Edition, London/New York, Bloomsbury Academic. – Page 19 Line 25,26 and 27

[5]Rocamora,R,2009,fashioning the city Paris, fashion and the media,I.B. Tauris &Co Ltd – Page 61 Line 27

In the Fashion as Communication book, Barnard (2002) explored etymology, which is concerned with the origins and developments of the meanings of words. Barnard believed “ etymology was used to shed a little light” on the meaning behind the word fashion. He explored how fashion plays a role in society through union and individualisation as well as how it differs through different societies as it may not really be called fashion but adornment and dress instead. Barnard then conclude that the “context in which the words appear must always be taken into consideration when deciding whether a garment is being understood or used as an item of fashion or clothing”.

Wilson (1992) in Fashion as Communication, believed “fashionable clothing is used in western capitalist societies to affirm both membership of various social and cultural groups and individual, personal identity” and as western societies are also referred to as complex societies it is believed that the “demands of society are challenged by individualisation”. Frances Corner (2014) explored individualisation in the book, why fashion matters (Reason 28) she wrote that individuals develop a “unique and personal approach to dress” or in other words their own ‘philosophy’ of fashion. This allows individuals to free themselves from industry trends where they create their own identity but they also maintain a relationship with social and cultural groups.

Flugel (1930) in Fashion as Communication, looked at fixed and modish costume. Fixed costume “changes slowly in time but varies greatly in space” meaning it is associated with particular area and has different ‘social bodies’ in different areas or ‘localities’. In Adorned by dreams: fashion and modernity by Elizabeth Wilson (1985). Wilson found that it was after world war two that clothing was mass produced and ready-to-wear which lead to it to becoming the standard wear for everyone which can be seen through ‘fixed costume’ but amongst those who do not have a lot of money as it was noted that the poor wore “out of date and shabby clothes”, suggesting that money plays a factor in fashion which is why there is not just on type of costume across the globe.

In my opinion, I believe that fashion is apart of an individual’s identity but mainly in western societies as in other societies fashion is the least of their problems. Corner believed that individuals free themselves of industry trends when they create their own identity or ‘philosophy’ of fashion which in some cases are true but any item of fashion comes from a trend it may not be a current trend but it was so it is not exactly a unique identity it could be considered a recycled one which is evident in recent trends where what was worn 20 years ago that after a while was no longer a trend has been recycle into a new trend. For example, The Nike Air Max Plus trainers which were originally released in 1998 which have now been re-released and are currently being sold for over £100, 19 years later.

Bibliography

• Barnard, M. (2002) Fashion as communication; 2nd edition, Routledge.
• Wilson, E. (1985) Adorned in Dreams: Fashion and Modernity, London: Virago.
• Corner, F. (2014) Why fashion matters, London: Thames and Hudson Ltd.

After reading chapter 1 of ‘Fashion Media: Past and Present’, it seems to me that Sanda Miller believes the emergence of the “fashion magazine” to have begun in 18^th century France and it heavily depended on art as a driver for success. She talks about the period of enlightenment, particularly in France, which allowed for the expression of opinion without judgement, which then gave individuals the ability to have a ‘taste’ in contrast to the “‘dark’ middle ages” [1]. This allowed for early fashion plates that “were also representations of ‘real life’”. [2- Source 2] showing a link to the arts, and the ‘first’ women’s fashion magazine to be published by Le Brun Tossa until 1793 due to the French revolution.

Miller then questions whether it was a magazine at all due to fact it had “coincided with the French Revolution” [3] which could imply that the combination of art and fashion was and is still equally a blessing and a curse as it proved how much the magazines relied on the industry to bring its status up. It could also suggest that with their being such an abundance of opinions, that is what caused tensions to rise in the lead up to the revolution itself.

However, after a period of reflection on what Miller described as “the bloodiest revolution in European history” [4], the 20^th century saw another rise in the fashion magazine industry, particularly in 1912 with Henri Bidou’s Gazette du bon ton. It’s clear he felt that art needed to collaborate with fashion again, but he “was not prepared to leave anything to chance or indeed to the couturiers.” [5] supporting the idea Miller believes art is what makes or breaks the fashion industry as from then onwards Europe had been influenced by France to create similar zine’s.

Many other people do agree with Miller in that France was where ‘Fashion’ began and this can be seen in in ‘Fashion Brands’ where “Everything began in Paris. – From the days when the couturier Worth designed dresses for Empress Eugénie”. [7- source 3]. However, France couldn’t have been the only country to produce these types of zines? I found an article that suggested this as “The women’s magazine as we know it—a lavishly illustrated celebration of consumption and beauty aimed at a popular audience—emerged in England in the 1870s.” [6- Source 2]. Although this is just an article I found on the internet, it’s clear there is an ambivalence towards what a fashion magazine is and how it is identified and this could explain why Miller questioned Le Brun Tossa. Furthermore, the fact other countries had prints with similar content does suggest that France wasn’t the birth place, but rather it could have been the first depending on what critics considered to be fashion, as can be seen in the discussion about etymology in source 4.

Overall, I agree with Miller that although being separate identities, art and fashion do go in hand-in-hand but I don’t agree totally that France was the birth place of fashion media. I rather believe that depending on how you see and interpret the word fashion itself, will determine where fashion media started, for it can mean so many things as whilst not all art is fashion, all fashion is art.

Bibliography

[1-]Szalay, J (July 2016) What Was the Enlightenment? https://www.livescience.com/55327-the-enlightenment.html Accessed: 23/11/2017

[2- source 1] Bartlett, D. Cole, S And Rocamora, A. (2013- reprinted 2016) Fashion Media: Past and Present. London, NY, Bloomsbury Publishing Plc. Page 17 Line 14- 15.

[3] Bartlett, D. Cole, S And Rocamora, A. (2013- reprinted 2016) Fashion Media: Past and Present. London, NY, Bloomsbury Publishing Plc. Page 18  Line 17

[4] Bartlett, D. Cole, S And Rocamora, A. (2013- reprinted 2016) Fashion Media: Past and Present. London, NY, Bloomsbury Publishing Plc Page Line 17 25- 26

[5] Bartlett, D. Cole, S And Rocamora, A. (2013- reprinted 2016) Fashion Media: Past and Present. London, NY, Bloomsbury Publishing Plc Page 19 Line 30

[6- Source 2] Gershon, L (December 2015) The Birth of Fashion Magazines https://daily.jstor.org/birth-fashion-magazines/ Accessed: 24/11/2017

[7- source 3] Tungate, M. (2015) Fashion Brands: Branding style from Armani to Zara- third edition. First Published in Great Britain & the US by Kogan Page Limited. Chapter 1 page 5

[Source 4] Barnard, M. (2002) Fashion as Communication. 2^nd edition.  London, Routledge. Chapter 1. conclusion.

‘Fashion as communication’  chapter one can be summarised in the way that Barnard tries to find the meaning of the word ‘Fashion’. Barnard says that fashion itself has no singular meaning and can be used loosely in many different ways, words such as ‘style’ ‘dress’ and ‘clothing’ are ones that can be defined and linked by one another. “It could also be said that, while all clothing is an adornment, not all clothing is fashion”[Source 1, Page 9, Paragraph 3, Line 8] this shows how all these words are connected and can be used in different ways. A main aspect of this chapter which I found interesting was taken from Simmel and it is the concept that without the natural human instinct to be apart of social groups contrasted with the need to be seen as an individual fashion would be non-existent. Fashion exists within society because, Wilson writes, ‘we want to look like our friends but not to be clones’  The want to be an individual within society forces people to use fashion as a way to show their personal identity. Carrying on from this he says fashion trends in the western world change fast. This is because, as it says in the first chapter, the constant consumption of fashion comes from people’s desire to climb the social ladder. Keeping up with the trends suggests someones need for change in their life and in the world they live in.

I want to focus on the concept of clothing as a way to climb the social ladder and develop the ideas behind it further with more research and opinions, an article I found online gives evidence supporting this theory. The title “Women ratchet themselves s up the social ladder one high heel at a time” [Source 2, title of article] gives an interesting insight into social group dynamics. This text reviews research of women’s shoe shopping in different states in America. The results show that the richer the state the more likely it is that a woman will base her shoe choice on what those around her are wearing, where as in poorer states women will try and avoid fitting in with their surrounding when choosing shoes. This text contributes to aspects of ‘Fashion as communication’ taking forward the ideas that we as a species want to fit in when in socially achieving and wealthy groups whereas in comparison want to stand out when in lower ranking social groups to distinguish yourself as an individual. I find this very intriguing as I had not considered fashion as a social construct previous to reading about it. Comparing this idea to the contents of ‘The Sociology of Taste’ the overall concept is laid out simply, questioning how fashion, as a social need, can produce “the process of collective taste”[Source 3, page 93, paragraph 4, line 6] This then comes back to the ideas within the first source, that as fashion evolves and changes so does the western world.

Fashion is a construct developed to show social status and wealth. However, fashion can also be viewed as a personal preference, not every trend is always followed and although we are told subliminally what we should and should not wear I believe that at the end of the day it is up to each individual what fashion means to them and the social group they associate with.

“Fashion seems to embrace two opposite goals—fitting in with the crowd and standing out from it”[Source 2, Paragraph 1, Line 1]

[Source 1] Book – Barnard, M.B (1996) Fashion as Communication, Routledge [Accessed 10th November]

[Source 2]  Website – The University of North Carolina at Chapel Hill (2016) Women ratchet themselves up the social ladder one high heel at a time, Available from http://uncnews.unc.edu/2016/05/04/women-ratchet-social-ladder-one-high-heel-time/ [Accessed 20th November]

[Source 3] Book – Gronow, J.G (1997) The Sociology of Taste,  London, Routledge [Accessed 20th November]

Throughout reading the first chapter of ‘FASHION MEDIA, PAST AND PRESENT. 1. TASTE, FASHION AND THE FRENCH FASHION MAGAZINE by Sandra Miller’. I felt that Miller was passionate about how threatened the fashion industry was and is by the art industry, how once they collaborated with one another but now no more. The collaboration gave a superiority to the fashion industry, it was the source of inspiration for many artists and was the ‘leader’ within their relationship.  

Within the article there has been a strong reference of the influence of the French Revolution and how this redefined the placement of the French within Fashion; there is a reclusive block missing from the Parisian fashion timeline, this is conclusively down to The French Revolution. Especially as it was referred to as ‘the bloodiest revolution in European History’ Miller.S (2013) ‘TASTE, FASHION AND THE FRENCH FASHION MAGAZINE’, within ‘FASHION MEDIA, PAST AND PRESENT’, New York, Bloomsbury Academic 2014.  p17.  

One element discussed within the beginning of the sub-section of ‘TASTE AND THE EMERGENCE OF THE CRITIC’ was the ‘experience of beauty transcended personal opinion’; to me it gave a different insight between the aesthetic acceptance and the appreciation of artwork; giving the context of ‘taste’. Throughout the article Miller has used numerous references which have credited her work; several being Anthony Ashley-Cooper, David Hume and Edmund Blake; their more philosophical work is based with “Beauty is in the eyes of the beholder’-affirming that there is no common denominator in our lives’.

I extended research to discover more about the French Revolution, trying to understand how the people must have felt during this time and why the revolution started; within the article Miller uses the words ‘a society about to disappear’. These words became eerie and unsettling.
Finding a painting depicting an aristocratic lady ‘suckling’ Miller.S (2013) ‘TASTE, FASHION AND THE FRENCH FASHION MAGAZINE’, within ‘FASHION MEDIA, PAST AND PRESENT’, New York, Bloomsbury Academic 2014   p17 her baby. The high aristocratic life was about to collapse to the Revolution, a barrier once separating artist Pierre-Thomas Le Clerc from his work was giving way.

I watched a video that exercised the history of revolution through a song performed by Jeffery Lewis. Lewis claimed that the revolution was ‘the biggest change that shaped our western world today’, this I agree with. It removed the relationship that artists and designers have and the content of what they paint. The revolution created a pause within the Fashion industry and designers became less intrigued with Paris and sought inspiration from the remaining close world, London, Britain.  

The most significant element for me is the recognition that fashion is something to take seriously, it’s a necessary subject and isn’t something to be dismissed.Within the book: ‘ADORNED IN DREAMS, FASHION AND MODERNITY’ by Elizabeth Wilson after a quote by Lehmann, Ulrich (1999), ‘Tigersprung’. Following this Wilson says, ‘Thus fashion, most marginalised of all arts, lives at the heart of history’. Clearly this shows that Fashion is the essence of history, the most intense and large aspects of art in a sense, Fashion is history.

Miller.S (2013) ‘TASTE, FASHION AND THE FRENCH FASHION MAGAZINE’, within ‘FASHION MEDIA, PAST AND PRESENT’, New York, Bloomsbury Academic 2014   p13-21 

History (n.a) ‘FRENCH REVOLUTION’
http://www.history.com/topics/french-revolution
(9th November 2017) 

Wilson.E (1985) ‘ADORNED IN DREAMS, FASHION AND MODERNITY’, I.B Tauris & Co. Ltd London, New York. P227.

FASHION MEDIA: PAST AND PRESENT

“The moot of the question to be asked at this point is whether this unprecedented link was the result of the ideological revolution brought about by the Enlightenment or simply an attempt to elevate fashion above its existing status – hitherto relegated to the world of merchants, tailors and shopkeepers – to a subject worthy of intellectual pursuit.”

Here, I realised it is explaining the link between the concepts of fashion and taste. When the link first began it was a foreign nature to link the two, especially with French fashion magazines. Therefore, in the quote above they are debating whether the link was made because of gradual understanding of the fashion industry or if it was because fashion enthusiasts forced the connection to help the fashion industry rise above its previously unworthy reputation. Also mentioning that most people did not see fashion as something that deserved their interest.

In Adorned in Dreams: Fashion and Modernity, Elizabeth Wilson states that fashion has had to constantly justify itself as a subject of honest and serious pursuit. I agree, as someone studying fashion, that there are times where the fashion industry has to be explained as something needed in the world. She also continues to say that fashion writers other than her have to explain exactly why the fashion industry is such an vital pathway to express people and culture; “..adornment of the body pre-dates all other known forms of decoration..” Wilson is trying to address that fashion has been wrongly assigned a category in people’s minds where it is not to be taken seriously.

Personally, studying fashion is extremely important to how people are portrayed whether it is their mood, status, personality or ethnic background. Although fashion is rising as an acceptable career path and subject, there are still debates and decisions that are making it hard for creative subjects (not just fashion) to be studied well and taught well.

It is clear when on the article Is Fashion education selling a false dream? they talk about students that have either been satisfied or dissatisfied with their studies. The survey showed that everything within the courses they were on were good, they had sufficient materials and support but none after they left. The students did not have the training or experience or even the help they needed to get started on their career in the fashion industry.

This would definitely be a problem for me since I have chosen this career path and I need to be able to get a job and understand my place within the industry. Yet, if there is an issue with the follow up of fashion education then it will threaten my career.

Monique Olowu

References:
Bartlett, Djurdja; Cole, Shaun; Rocamora, Agnes; 2013, Fashion Media: Past and Present, London, Bloomsbury
Wilson, Elizabeth, 1985, Adorned in Dreams: Fashion and Modernity, 2003 edition, London, Virago Press Ltd
Amed, Imran; Mellery-Pratt Robin; 2017, Business of Fashion, https://www.businessoffashion.com/articles/education/global-fashion-school-rankings-2015, September 28 2017

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

I am interested in our Royal family’s Fashion, past and present. In the Library I came across a book called ‘Fashionista A century of style Icons’. Aware that Royals have been very influential on our fashion I began to flick through this book to see which ones were mentioned. I came across the Title ‘The Duchess of Windsor’ and with further reading I learnt that just for her honeymoon she took sixty-six dresses!

Looking more into the Royal’s fashion I remembered about an exhibition that had previously been on. I searched this and found on Vogue’s website there was an article about this exhibition which was called ‘Fashion Rules Restyled’ that occurred at Kensington Palace. By reading this it was interesting to find out what the people that designed the Royal’s clothes need to consider such as keeping to one block colour so that the Royal is visible.

I then found an article in Vogues most recent edition which talked about the Queen and her life. Although this article focused less on her fashion It still gave a good representation of the Queen herself which I think intern is reflected into her clothes. They talk about the Queen being ‘a sensible girl’, which I think explains the sensibleness of the clothes she wears. It talks about the Queen’s dresses and explains why they have not changed too much in the many years she has reigned.

Looking at these different articles I found it interesting the different views and scopes taken on such an iconic families. It is a much discussed subject about the way they dress and from this I think that we can see how fashion is important in representing our individuality.

Bibliography

Book:
Werle, S (2009) Fashionista A Century of Style Icons London: Prestel Publishing

Website:
Milligan, L (2016) Inside Three Royal Wardrobes Available from:
http://www.vogue.co.uk/gallery/queen-princess-diana-exhibition-fashion-rules-restyled[Accessed 13 November 2017]

Magazine Article:
Smith, Z (2017) Mrs Windsor, Vogue, December, 135 – 138