But need to hone it down... am i focusing on the history ? or the craft side of things - women coming together to craft and create makes them infinately stronger? Performance and how it's key to coming to an identity, or supposed identity? the development of technology and its influence on
Because of the lack of clothes choice people became experiemental with their clothing - popping collars or altering
AGAINST FASHION
page 2
"fashion did not exist before the second half of the fourteenth century."
"described by Lipovetsky as "more than a fashion, it is a metaphor for the advent of modern, buraucratic societies"
"Thorstein Veblen's classical assumption of "dress as an expression of pecuniary culture" which it is, but not solely so. give example of how women changed the rules and dress, BUT IT IS NOW
page3
"For Baudelaire, the essential question is where "fashion should be considered a symptom of the taste for an idea lingering on in the human brain above all that is crude, mundane, and vile brought by the natural life, as a sublime deformation of nature"
"The historical avantgardes would appropriate dress design as aprivelged field in which the artist could over step the limits of "pure" art and act directly on daily life."
page4
"for Louis Magron, "the true Romantic, the abracadabrant individual, does not make any concession. He does not acquiensce to an acccepted fashion, he creates his own. Instead of resembling everyone else, he aspires to be just himself"....
"Too important to be left to the clothing trade, dress should become an artistic concern" Use this in arguement against fashion. Gautiers text De La Mode.
page5
"Clothing, Morris argued, should be designed on the basis of an intimate relationship with the human body rather than being dictated by fashions whims" when talking about alterations
page6
e.w.goodwin.. no clothing, the most elegant or suiting of dress/coat is powerful enough to stay "the restless hand of fickle fashion"
page7
edward william godwin, one of the great figures of 19th century architecture - "Godwin considered dress design to be as important as his architectural practise ... "To construct and decorate a covering for the human body that shall be beautiful and healthy is as important as to build a shelter for it when so covered that shall be beautiful and healthy"
In the late 1800's, 'artificial, fashionable body construction, such as the corset and the crinoline, were rejected in favor of a type of clothing that was more respectful of the "natural" body.
page 8
"ONE SHOULD EITHER BE A WORK OF ART, OR WEAR A WORK OF ART" wilde
But it was still the artists making for their wives. The women had no self-expression just performed as a mannequin for their husbands.
page13
William Morris "nothing... will enter our home except what I have conceived and designed myself" dress yourself without following others or designers. by utterly what feels good and is timeless
which is utterly relavent in todays times. People should imagine their own clothing rather than have fashion enforced upon them. Yellow should be worn by a happy-go-lucky woman in cheer, rather than by those who are told yellow is the new black.
Just when a breakthrough was being made with dress, it was turned into an accessory, with Van de Velde dressing his wife as to "match the color of her dresses with that of the vegetable puree served at the table"
page14
"Fashion is flighty, unfaithful, coquettish, and naturally delusive." It is morally to blame, as it is primarily motivated by profit. However, it is also to blame from an aesthetic point of view. Its renewal is only apparent, affecting mere trifles, aspects of minor importance, through changes of silly details such as the width of skirts, the number of flounces, or the pleating. Since fashion is essentially immoral, being greedy, and rediculous, because of its superficiality, it cannot be radically changed."
page 53
around the 1930s , Fedorov-Davydov "such attire (universal dress) was even more important in a socialist society, where common specialized dress not only functioned as a protective garment but also had an organizational character that could reinforce the feeling of belonging to a community" like in schools, where uniform is the norm, the similarities in appearance encourage people to find other ways to express themselves. There are some groups existing that still chose to simulate dress outside of work and education. The scouts, the patchworks (quotes from that)
"PROZODEZHDA is distingueshed by its primary anti-aestheticism. The deicisive element in its design was not the aesthetic dimension but its social impact.
SPETSODESHDA a specialised garment with a specific productive function"
PAGE54
1930s
Adolf Hitler Mein Kampf "The young man eho in summer walks about in a long pipe-like grouses, covered up to the neck, loses, merely through his clothing a stimulant for his physical fitness" This caused him to introduce sports clothing to encourage activity and fitness. Clothes that were "Easy to wear, cut simply and without buttons, which limit freedom of movement". So clothing affects us physically as well as mentally. Clothing itself is a prompt for performance. A corset prohibits lung capacity therefore prohibiting any excessive movement or excersise. In modern days an example is a crop top. By exposing the midriff it encourages the wearer to not overeat, or slump in fear of rolls or bloating. A large baggy t-shirt over a pair of leggings screams activity and movement. The flexibility of the material allows muscle flexing without constriction.
page56
fashion "levels people without taking into account the characteristics and shortcomings of their bodies"
lamanova, 'concerning contemporary dress", page 174 .This is why altering, self making and personalisation, at peak in the ----'s was so key and important to individuals.
Dress reform concept of EIGENKLEID or personalised dress
ELIZABETHER CADY STANTON the new dress (the lily 4 )april 1852)
"why should i, a short woman, with a short plump arm, destroy the proportions of my figure by wearing a great flowing sleeve, and a bag of an undersleeve, because some tall thing woman, with an endless arm must resort to some such conceit, to break up the monotony of its length?"
"it is not the woman,but the drapery that strikes you as more graceful" when speaking of long dress and bodice "Are not the free easy motions of the woman herself, more beautiful than the flowing of her drapery?
page 178
the cut of modern clothes should suit the requirements of our life, taking into account all possibilities.
FASHION AS COMMUNICATION
PAGE167
Efrat Tseelon "the bodys covering can conceal and reveal identity and create a space from where one can play out desires and fears" TICK
"when fashion and clothing are considered as masquerade, one performs ones gender and social identities, for example, rather than fashion referring to or reflecting some original and authentic identity"
PAGE 168
"questions such as 'is it art?', 'is it design?', and is it 'fashion?' seem equaly impor=ssible to answer with a simple 'yes' or 'no' such is the way one shades into the other."
PAGE 2
"id magazine, points out that, for some people, 'to be fashion conscious' or 'fashionable' is still deemed to make you 'fickle', 'dumb', 'ephemeral' [and] 'fascist'" (i-D magazine 1985/6). The ways in which clothing, fashion and textiles festure in everyday colloquialisms reflect this view, a much less welcoming and trusting view. In many everyday figures of speech, fashion, clothing and textiles are associated with triviality and deciet". (such as 'mutton dressed as lamb' or 'fashion victim")
PAGE3
fashion victim "the implication is that they will follow the fashion unquestioningly when, in reality, there are other, much more important things to be attended to" link to loss of identity through fashion, how people lose their morals to follow fashion - nike child labour etc
"It is a common prejudice that fashion and textiles students will be only too happy to shorten a pair of trousers or run off a scarf, for example, because that is what they do, that is what their subjects are about. The idea that fashion and textiles are not perhaps as serious or as important as other subjects is often not one that junior education ministers of government do much to combat... Timothy Eggar, for examples, who was Minister of State for Education and Science in October 1990, suggested on Radio Four's today programme that 'able children' should study proper subjects like Classics or a second language in the National Curriculum, while 'less able children' should study design (Clough 1990: 3)"
links to....
PAGE 4
"From one side, fashion and clothing represent objects that are desirable and sexy and practices that are both glamourous and respectable. From the other side, they represent deceitful, exploitative trivia to be pursued only by the intellectually challenged."
PAGE69
"while members of lower class generally dress up to go out, members of higher social classes generally dress down. Members of lower classes will want to look smarter than they do while maybe working manually during the day. Members of higher classes however, will want to wear something less formal than the relatively smart clothing they have been wearing all day" Clothes are used as a pro-concieved part of performance and personality re-allignment. Those following orders all day will use an outgoing outfit to gain attention and fill the role of the fun lover and...
Those barking orders to others, probably in a suit, will dress casually as if to reistate to themselves, and those around them that they are approachable, friendly.
PAGE25
"wilson suggested that 'fashion is the degraded or unacceptable face of art' (wilson 1990: 209); again, this is the idea that fashion and feshion design seem to dpresent two faces, one acceptable and one not. The best thing that fashion design could do to improve its status would be to call itself an applied art, perhaps, which would at least have the neveft of getting the word 'art' into the designation. The problem, however, is that many people, including fashion designers, consider fashion design to be an art and in no need of a change of name. Angela McRobbie notes, for example , that 'the designers i interviewed all percieved themselves as artsts' (1998: 6)
So why cant others see clothing design as the powerful tool that it is, its enpowered women, etc etc, just as fine art paintings have
PAGE 27
'the difference between appearing quaint and appearing rediculous is thirty years" Laver
PAGE29
"fashion and clothing are forms of nonverbal communication in that they do not use spoken or written words"
PAGE31
"everyday experience, in which clothes are selected according to what one will be doing that day, what mood one is in, whom one expects to meet and so on, appears to confirm the view that fashions and clothing are used to send messages about oneself to others. There are various problems with this model, however. There is the question as to who is the sender of the message. Common sense might suggest that it is the wearer of the garment, but the designer might also be said to have a claim, in that it was their intentions that informed the production of the garment in the first place" So by wearing clothes designed for intent by someone else, we are masking our true selves, and although we initially chose which garment out of thousands to buy, and then wear out of many, we're still technically being puppetted by the designers to feel a certain way .
"It does not seem to be the case that anyone ever thinks that someone else is wearing something meaningless, Nor does one look at someones clothes and thing, 'i wonder what they mean by that?'. But when we get dressed in the morning, we put on a persona with the clothing.
PAGE32
"IT is not the case that an individual is first a skinhead and then wears all the gear, but that the gear constitutes the individual as a skinhead. It is the social interacting, by means of the clothing, that produces the individual as a member of the group rather than vice-versa, that one is member of the group and then interacts socially" Thus proving that the addition of clothing to a body induces a type of behaviour or confidence that then leads to different outcomes. THIS RELATES TO KNITTING GROUPS ETC
ETHICS IN FASHION
page 81
'simmel stated, "the more an article becomes subject to rapid changes of fashion, the greater the demand for cheap products of its kind, not only because the larger and therefore poorer classes nevertheless have enough purchasing power to regulate industry and demand objects... [and] even the higher circles of society could not afford to adopt the rapid changes in fashion forced upon them by the imitation of the lower circles if the objects were not relatively cheap" [p.81 Ethics]
page80
'the industrial revolution permitted the spread of fashion diffusion by enabling a greater number of people to afford the fashions that could finally be mass-produced'
'people are willing to forgo other, less visible, needs and comforts in order to support a certain amount of wasteful consumption, such as purchasing fashion items' [p.80 Ethics]
FASHION OUT OF ORDER
page 20
'The history of female fashions could be condensed into the history of the corset. Corsets shape bodies according to the ideals of beauty and fashion of the day. Corsets are restrictive. They enforce an erect posture and prevent stooping. corsets signify gentility and demonstrate leisure. corsets are surrogates for real bodies, they veil and tempt revealment.
ALISON LURIE - the language of clothes
this didnt used to be true, women we dressed by their husbands etc link to history. then link this to the freedom of clothes that women have fought for. then say how can clothes be used for a better purpose now
"for thousands of years human beings have communicated with one another first in the language of dress... by the time we meet and converse we have already spoken to each other in an older and more universal tongue" page 3
"within every language of clothes there are many different dialects and accents, some
THE FACE OF FASHION
p.44
devotion to fashion in dress was adduced as a natural weakness of women, something they could not help. this view was strengthened in the nineteenth century, when masculine and feminine clothing became so much more different in fabric, trim and construction. elegant mens clothing during this time was actually no less complex, demanding, and uncomfortable, but it tended to be more subdued and abstract in the way it looked. womens clothing was extremely expressive, almost literary, and very deliberately decorative and noticeable. [Hollander 1980, p.44-45 Face of Fashion]
p.55
the revival of crafts and homemaking in the 1980s is not a nostalgic hankering for simpler pasts, but sublime 'surrogacy for practices that might construct another self; another place for women'
'constitutes practical com
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