Download and Read Free Online Fashion, Culture, and Identity Fred Davis Fashion, Culture, and Identity by Fred Davis Free PDF d0wnl0ad, audio books. Dr Jessica Bugg The shifting focus: Culture, Fashion & Identity This paper gives an overview of the shifting contexts for fashion design and fashion. English language. doi: /fspc_5 Fashion on Television: Identity and Celebrity Culture, Helen Warner (), London, New Delhi, New York and.
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Fashion Culture and Identity PDF - Free download as PDF File .pdf), Text File . txt) or read online for free. Fashion-culture-and-identity-pdf. Download Citation on ResearchGate | Fashion, Culture and Identity, by Fred Davis | What do our clothes say about who we are or who we think we are?. Fashion, Culture and Identity by Fred Davis. Chicago: University of Chicago Press, pp. $ Reviewed by. Henri Peretz. University of Paris.
Indiana University Press. Cultural identity and fashion sense, but rather more specifically with how these. By Linda Matheson. There has been a continual exchange and from the later part of the s the distinction became difficult to draw. Consumer groups are changing, we live in a culture focused on youth markets and seemingly unattainable airbrushed images of fashion ideals. Boardwalk Empire —, USA:
The mass market consumes ideas and looks far more quickly and designer products are counterfeited and reproduced cheaply abroad undermining the social standing of the designer and the brand English, p. Garment manufacture in the UK is also now predominantly outsourced to other countries where production is far cheaper.
The fashion system itself has started to fragment and the traditional 'trickle down effect' where couture and catwalk looks feed down to the high street is being turned on its head, as several writers point out Entwistle, , p. As more emphasis is put on consumption of fashion and the fashion image, the designer's own process is shifting. High-end designers appear unsettled by a range of rapid contemporary shifts.
High street designers and manufacturers are able, through access to the Internet, to copy designs straight from the catwalks before the designers themselves can get their garments into the shops. The lack of trend direction from the catwalks of London, Paris and Milan over recent years English p. There is a growing divide between conceptual and commercial fashion in the UK and this is reinforced by the growing number of practitioners involved at the image generation end of the industry: This current period could be viewed as one of the most challenging to the fixed divisions between levels of cultural outputs and creative discipline boundaries.
The relationship between fashion and art is a significant feature of the changes in the fashion industry over the past ten years.
There has been a continual exchange and from the later part of the s the distinction became difficult to draw. Some high-end designers in response to the lack of control afforded in a consumer driven system are dividing up areas of their practice and functioning in different contexts and commercial and non-commercial spaces simultaneously.
Alongside their commercial lines, they are stepping out of the fashion cycle, rejecting seasons and recycling of historical periods, as well as the business of constant renewal, to find a more holistic, creative and in-depth process that is more akin to the origins of couture and more in keeping with personal philosophies. Designers such as Shelly Fox, Dai Rees have returned to a process led approach to design rejecting fashion seasons and commercial imperatives.
Others such as Miyake, Martin Margiela, Hussein Chalayan, Rai Kawakubo, Simon Thorogood, Helen Storey and Lucy Orta, are selecting more permanent and culturally significant contexts in which to communicate their work or are challenging the contemporary fashion system, making socio political comment through there work supported through patronage and or creative funding bodies.
Fashion now serves a range of functions and means different things to different audiences and consumers in different contexts. The importance of the expanding playing field of fashion and its wider application led me to question the fashion designers process and to look at how the shift to consumption and the growing contexts for fashion communication and design.
It was these shifts that led me to question my own work having trained as a fashion designer and now finding myself working in a range of different contexts from exhibition, contemporary dance to the music industry.
Initially, responding to the growth of performance and theatricality on the catwalks of designers such as John Galliano, Alexander McQueen and Hussein Challayan. As Dejan Sudjic observed: In this context my research questioned whether these interdisciplinary methods of communication were being employed as a means of spectacle and publicity to increase sales or whether there was more behind this practice. This was interrogated through theory and practice that investigated the intersection of fashion, art and performance.
It became evident, through the contextual review and the interviews undertaken with practitioners employing these methods, that alternative strategies for fashion design and communication were being implemented.
This was supported by Caroline Evans in her in her book Fashion at the Edge Caroline Evans which came out during the period of the research, where she describes the conceptual practice of these key designers as 'experimental fashion'. It became evident through the research that in certain cases these approaches were concept and context-led, rather than being driven by publicity, commerce, the market and trends although I would argue that they do have wider commercial applications.
Through analysis of my practice within the case studies I was able to explore and propose new strategies for conceptual and experimental fashion design that tested the parameters of fashion in a range of contexts and disciplines.
It also enabled a practical investigation of the complex communication between designer, wearer and viewer of clothing in specific contexts, extending an understanding of how designers can communicate to wearers and viewers through clothing. This network of communication and the findings of the case studies can be applied in whole or in part to inform the design processes employed by designers working in new and interdisciplinary contexts as it focuses on the central issues of fashion: It became clear through the research that, although the project initially was set outside of a commercial arena, It has commercial applications where clothing is central to the communication such as design for performance, fashion promotion, fashion photography and fashion film, styling, curation, art direction etc.
It is also suggested that this information can inform fashion designers in respect of developing design methods for particular contexts, as well as selecting contexts appropriate to the design intention of their work. The research suggested that if a designer is working for a new context then clear attention needs to be paid to the new context in which the designer is working, as integral to the design methodology. Context goes beyond a physical space and includes the discipline context; the wearer of the clothing; the new audience resulting from this context and the participants within the arena.
This attention to context should directly inform the design process and as a result allow for a more grounded and fully considered communication in the final work itself. Conclusion I have illustrated that the hierarchy in the fashion industry has clearly shifted from the couture and mass production to a multifaceted fashion industry with many more levels and markets, at the same time designers and fashion itself is diversifying, serving new purposes and meeting wider audiences and markets.
Our understanding of fashion itself has altered dramatically as commerce and faster approaches to fashion came into play. High end designers have reacted against this shift in a variety of ways dealing with political and global issues to make social comment through their work, taking the subject back to process and craft and are working in interdisciplinary contexts as well as with interdisciplinary methods or collaborating with other disciplines and the exploration of technologies and communication advancements is also moving designers practice and creative thought forward.
In a Global context fashion as an industry is being forced to re assess its role in different countries in different ways in response to these changes. The impact of this is significant and raises many questions for example it may be that the terminology of fashion itself may need to change as it is understood differently in different cultures, the globalization of fashion arguably requires us to find new shared languages through which to understand the subject and its methodologies and practices.
The pace of change in the industry requires us to re assess and re evaluate our social constructs and understand fashion in its new intertextual cultural, global and multidisciplinary contexts.
I would also argue that context focused approaches to design may need developing. Fashion is in its very nature is continuously in a state of flux shifting and changing its intention and reading as it recontextualises itself in different times, contexts and to different audiences responding to social change.
Barnard, M. Routledge Bruzzi, S. Theories, Explorations and Analysis. Routledge Chambers Twentieth Century Dictionary. Berg Entwistle, J.
Polity Evans, C. Yale University Press Jameson, F. Selected Writings on the Postmodern Berg Melossi, G.
It highlights intersections and tensions between fashion and television, and their semiotic links to celebrity culture and consumers.
The book is aptly titled and delivers what the title suggests.
The table of contents covers all the ground necessary, and the preface, which defines, historicizes and reviews the literature, is a rich source of information — accurate, broad and appropriately thick with theory from intersecting fields. The foreword by Pamela Church Gibson proposes the underlying premise, when after discussing American Gigolo Schrader, as a launching pad for the career of Giorgio Armani, she argues that perhaps it was not movies, but television of the era, that provided the greater influence on the imagination and buying habits of the general public.
This volume consists of nine chapters divided into three parts: The illustrations listed are useful and provocative, and the conclusion appropriate and forward-looking. Fashion in Entertainment special issues. Relevant points are made and conclusions drawn that infer a contentious landscape with highly gendered, discriminatory and fragmented aspects.
Warner sees this as a dying profession that is being replaced by television stylists, who like costume designers must have some knowledge of semiotics. Warner argues that fashion programming and its characters are defined in part by their relationship to consumption, including moral dilemmas about fashion that are inherent in the scripts.
Consequently, on-screen fashion does not just express narrative, or distract through excess, but provides a site where issues of identity are negotiated and consumer competencies learned, thus exacerbating the complexity of the relationships between the fashion worn by the character, the actor and the script.
Visual and narrative tropes of the feminine genre, such as shopping in Sex and the City and makeover and transformation scenes in Ugly Betty, supply these spectacles. Chapter 6 continues with similar discussions about spectacle and narrative within the context of the period dramas Mad Men and Boardwalk Empire. Part III tracks the meanings ascribed to television fashion in other entertainment and fashion spheres.
She posits that celebrity images in fashion magazines convey what it is to be a fashion consumer in our contemporary world, calling celebrities tastemakers and cultural intermediaries. Sarah Jessica Parker and Blake Lively become case studies, while America Ferrera is the subject for an analysis of the tangled concepts of authenticity, ethnicity and gender. This text builds on the significant shift in current scholarly and artistic discourses on television and theatrical costume practice.
It reinforces the position that costume performs and produces identity either with or without the body Church Gibson ; Bruzzi and Church Gibson ; Hannah and Mehzoud ; Monks ; Gilligan The characterization and meaning-making happens in adapting the costume fashion to the character and is stabilized through its visual performance.
This performance may or may not be directed by the script. This theory marks an enhancement rather than a departure from traditional Hollywood costuming referenced by Gaines and Herzog , where wardrobe serves only character and narrative; here wardrobe also serves performance, and the viewer who may be a consumer. Meanings established in meetings between the actor and costume designer directors, producers and writers may or may not be present invite audience participation and interpretation; consequently, as Warner suggests, this area of reception is the next frontier for examination.
Regarding performance, reception and the exchange of meaning, this text aligns with the school of symbolic interaction, especially its dramaturgical perspective that sees time, place and audience as affecting interactions.
With its roots established by pragmatist philosophers and sociologists like Cooley and Mead , it was perpetuated by the University of Chicago and such scholars as Goffman , , Blumer , Davis , , McCracken , Stone and Kaiser This list does not purport to be exclusive. Although it generally deals with regular clothes, not on-screen ones, there are significant and perhaps enriching theoretical intersections.
The definition adopted follows Kawamura , and treats fashion as a symbolic rather than material product.
Warner claims that this implies it has meaning, unlike clothes, which do not, but are the raw materials of fashion. They demand a clear explanation. This troubling nomenclature could be resolved by the provision of a more fluid definition of costume that Warner calls for, but does not supply.
Warner has given us a provocative analysis of the flow of information through fashion within the apparatus of fashion programming and the wider celebrity intertexts. The pertinent premises put forward and thoughtful conclusions drawn garner applause for this book and richly deserved praise for its author.
By uncovering some of the complexities and ambiguities that attend the practice of fashioning on-screen character representations; it perpetuates the critical need for further studies in this oft-neglected area.
Boardwalk Empire —, USA: Home Box Office. Tauris, pp. University of Chicago Press. Gaines, Jane and Herzog, Charlotte , Fabrications: Berg, pp. Anchor Books. Gossip Girl —, USA: CW Television Network. On the Authoring of Space, Prague: