After my essay on cybercultures, I knew I didnt want to carry this on further into level 3. I decided I wanted a new direction which would hold my interest for 8000 words! My tutorial with Toby left me somewhat confused, but one of his suggestions got me interested. Abject and sexuality in fashion. I have looked into the abject in some of my previous projects, and I find it really interesting.
Some designers I could look into include; Galliano, McQueen, Comme des Garcons, Maison Martin Margiela, Vivienne Westwood, Ann Demeulemeester, Rodarte, Shelley Fox.
The Powers of Horror, Julia Kristeva: a book on the abject and its relation to fear, love, death, religion, sexuality etc.
The History of Sexuality, Michel Foucault volumes 1,2 & 3
The Edge of Fashion: looks into the relationship between fashion and the abject (amongst other things) highlighting important designers/collections etc.
Fetish of the abject?
Feminism
How abject and sexuality relate through fashion.
Wednesday, 2 June 2010
Thursday, 22 April 2010
Essay Feedback
'Natalie
Some very interesting points here with lots to follow up if you wanted to. The whole subject of the web how it’s effecting the changing nature of fashion is an interesting subject and you could take it down a number of different paths:
1) The sociology of fashion. Look @ how the internet is changing the whole idea of ‘peer’ led fashion. As lookbook and facebook change what ‘peers’ means so ideas of influence change. Maybe consider the changing face of peer-led fashion from ‘friends’ to ‘facebook frends’. More Bauman ( Liquid Modernity esp) would help.
2) psychoanalysis. In particular, the obsession with the fetish of the virtual. Increasingly, it could be argued, we’re becoming more attuned to fetishising the virtual. But has this always been the case. Jacques Lacan’s idea of the petit objet a might merit a read here.
3) institutional critique (Marxism perhaps): how fashion uses the web to create new systems of consumption and production. The Frankfurt School (esp. Adorno) will help you find the language with which to take on more advanced states of capitalist production.
Generally, I liked the essay. But I do wonder if you’re heart really isn’t in it at times. If you’re interested in identity and fashion in cyberculture, say so. I think sometimes the essay tended to veer off and enter new areas (clearly define your terms ‘virtual’ ‘online’ and ‘cyber’ they’re not the same thing).
I would recommend a mark in the high 60s. It is well written and the reading shows evidence of an intelligent reading of cybercultures. I think we’re still not stuck on a clear method yet, but there’s time to develop this.
Lots of potential here Natalie, we just need to think about where we could take it.'
I agree with Toby, that my heart wasn't in it. I chose the subject out of desperation, almost, as time was running out. There were other things from different lectures which interested me more. Fairly pleased with a high 60, although obviously a first is essentially what I want. There are some interesting points that I could follow up, however I'm not sure my dissertation could lead on from this essay, as I dont think it could hold my interest enough.
Some very interesting points here with lots to follow up if you wanted to. The whole subject of the web how it’s effecting the changing nature of fashion is an interesting subject and you could take it down a number of different paths:
1) The sociology of fashion. Look @ how the internet is changing the whole idea of ‘peer’ led fashion. As lookbook and facebook change what ‘peers’ means so ideas of influence change. Maybe consider the changing face of peer-led fashion from ‘friends’ to ‘facebook frends’. More Bauman ( Liquid Modernity esp) would help.
2) psychoanalysis. In particular, the obsession with the fetish of the virtual. Increasingly, it could be argued, we’re becoming more attuned to fetishising the virtual. But has this always been the case. Jacques Lacan’s idea of the petit objet a might merit a read here.
3) institutional critique (Marxism perhaps): how fashion uses the web to create new systems of consumption and production. The Frankfurt School (esp. Adorno) will help you find the language with which to take on more advanced states of capitalist production.
Generally, I liked the essay. But I do wonder if you’re heart really isn’t in it at times. If you’re interested in identity and fashion in cyberculture, say so. I think sometimes the essay tended to veer off and enter new areas (clearly define your terms ‘virtual’ ‘online’ and ‘cyber’ they’re not the same thing).
I would recommend a mark in the high 60s. It is well written and the reading shows evidence of an intelligent reading of cybercultures. I think we’re still not stuck on a clear method yet, but there’s time to develop this.
Lots of potential here Natalie, we just need to think about where we could take it.'
I agree with Toby, that my heart wasn't in it. I chose the subject out of desperation, almost, as time was running out. There were other things from different lectures which interested me more. Fairly pleased with a high 60, although obviously a first is essentially what I want. There are some interesting points that I could follow up, however I'm not sure my dissertation could lead on from this essay, as I dont think it could hold my interest enough.
Bibliography/Literature Search
Bauman, Z (2001) Community: Seeking Safety in an Insecure World, (Cambridge: Polity)
Bauman, Z (2001) Identity, (Cambridge: Polity)
Bauman, Z (2005) Liquid Life, Cambridge: Polity
Bauman, Z (2006) Liquid Fear, Cambridge: Polity
Bauman, Z (2000) Liquid Modernity, Cambridge: Polity
Bell, D and Kennedy B (2000) The Cybercultures Reader, London: Routledge
Dery, M (1996) Escape Velocity: Cyberculture at the end of the Century, New York: Grove
Gauntlett, D and Horsley R (2000) Web.Studies, London: Arnold
Gauntlett, D (2008) Media, Gender and Identity: an Introduction, London: Routledge
Goffman, E (1990) Presentation of Self in Everyday Life, London: Penguin
Jenkins, R (2008) Social Identity, Oxon: Routledge
Jones, S (1997) Virtual Culture: Identity and Communication in Cybersociety, London: Sage Publications
Kennedy, B (2000) The Cybercultures Reader, London: Routledge
Woodward, K (1997) Identity and Difference, Milton Keynes: Open University Press
Merchant, G Identity, Social Networks and Online Communication (2006) http://www.wwwords.co.uk/pdf/validate.asp?j=elea&vol=3&issue=2&year=2006&article=9_Merchant_ELEA_3_2_web [Accessed on 22nd March 2010]
Prevos, P From Chicago to Frankfurt: Goffman and Marcuse on Identity (2006) http://www.prevos.net/ola/goffman_marcuse.pdf [Accessed on 21st March 2010]
Suler, J Identity in Cyberspace (Article revised 2000) http://www-usr.rider.edu/~suler/psycyber/identitymanage.html [Accessed 21st March 2010]
http://www.blogger.com/
http://www.lookbook.nu/
http://www.mycelebrityfashion.co.uk/
Bauman, Z (2001) Identity, (Cambridge: Polity)
Bauman, Z (2005) Liquid Life, Cambridge: Polity
Bauman, Z (2006) Liquid Fear, Cambridge: Polity
Bauman, Z (2000) Liquid Modernity, Cambridge: Polity
Bell, D and Kennedy B (2000) The Cybercultures Reader, London: Routledge
Dery, M (1996) Escape Velocity: Cyberculture at the end of the Century, New York: Grove
Gauntlett, D and Horsley R (2000) Web.Studies, London: Arnold
Gauntlett, D (2008) Media, Gender and Identity: an Introduction, London: Routledge
Goffman, E (1990) Presentation of Self in Everyday Life, London: Penguin
Jenkins, R (2008) Social Identity, Oxon: Routledge
Jones, S (1997) Virtual Culture: Identity and Communication in Cybersociety, London: Sage Publications
Kennedy, B (2000) The Cybercultures Reader, London: Routledge
Woodward, K (1997) Identity and Difference, Milton Keynes: Open University Press
Merchant, G Identity, Social Networks and Online Communication (2006) http://www.wwwords.co.uk/pdf/validate.asp?j=elea&vol=3&issue=2&year=2006&article=9_Merchant_ELEA_3_2_web [Accessed on 22nd March 2010]
Prevos, P From Chicago to Frankfurt: Goffman and Marcuse on Identity (2006) http://www.prevos.net/ola/goffman_marcuse.pdf [Accessed on 21st March 2010]
Suler, J Identity in Cyberspace (Article revised 2000) http://www-usr.rider.edu/~suler/psycyber/identitymanage.html [Accessed 21st March 2010]
http://www.blogger.com/
http://www.lookbook.nu/
http://www.mycelebrityfashion.co.uk/
Thursday, 15 April 2010
Burberry in 3D
It seems 3D is definatly the way things are headed...
'Those without private-screening room invitations could watch the show live in 2D at live.burberry.com and on global online news sites, as well as comment on the show in real-time, using their Facebook and Twitter accounts. And, instead of the usual six-month wait, the 'Burberry Cadet Girls Collection' - a military parade of naval reefer jackets and sheepskin aviator coats with zipped detailing - is already available on Burberry.com.' (http://www.wallpaper.com/fashion/burberry-streams-3d-fashion-show/4319)
As if fashion wasnt fast enough, as designers embrace new technology, I'm not sure I can keep up!
Avatar
I finally went to see Avatar, fully expecting to hate it. I felt like I had been bullied into seeing it by the rest of the world, and the fact that it was in 3D, and 'the most expensive film ever made', didnt do anything to improve my preconceptions, expecting it to be a little gimmicky and a sort of 'all style no substance' type film. However, it completely confounded my expectations. Despite the plot being completely unoriginal (see Pocahontas, The Last Samurai) with a dollop of American cheese, I really enjoyed it and the 3D-ness of it all definatly worked.
Exhibition Review: Hussein Chalayan at the Design Museum
The Design Museum in London, located by the Thames, was founded in 1989. It claims to be the first museum of modern design and has exhibited the work of many important designers including Zaha Hadid, Paul Smith and Jan Kaplicky. Currently they are showing the Brit Insurance Design of the Year awards, which includes the work of Alexander McQueen, Min-Kyu Choi.
2009 saw the showcase of the legendary Turkish designer (preferring to call himself a 'design artist') Hussein Chalayan, renowned for his innovation in use of materials, pattern cutting and technology. Chalayan graduated from Central St Martins in 1993, and has won 'British Designer of the Year award twice. Currently, he works as the creative director for Puma, and lives in London where he works from his East London studio, though preferring to show in Paris.
Exploring fifteen years worth of his work and inspiration, the exhibition is the first of its kind, being that there hasnt previously been a solo exhition of Chalayans work in the UK until now, making this a rather important retrospective. It includes collections such as 'Readings', an impressive display of moving lasers which make up the dress; 'Airborne', garments comprised of LED lights and Swarovzki crystals and the more recent 'Inertia', which is 'clothes inspired by the shape a body might make in the propulsion of a car crash'.
There are several projections, including one of the 'Afterwards' collection, which involved furniture transforming (with the help of the models) into clothing, and a short film, 'Place to Passage'.
What struck me, as I walked around was how different the designs look in person, as opposed to the countless fashion magazine images they are seen in. There is so much detail that is easily missed, such as rich embroidery on the 'Ambimorphous' collection of 2002, and the sculpted, laser cut, 'puffs' of tulle, of the 'Before Minus Now' collection of 2000, It has to be said, seeing some of the garments up close did lend to me being slightly dissapointed, particularly the 'Inertia' pieces, which, I feel, looked more pleasing in the pages of the magazines.
I did think that it was cut slightly short, as I expected to be there alot longer. Considering Chalayans contribution to the design world, I thought perhaps he deserved a little more. That said, I thought it was a visually stimulating overview of his work, and it moved along at a nice pace. It was particlarly nice to see his pieces up close and fully appreciate his work.
2009 saw the showcase of the legendary Turkish designer (preferring to call himself a 'design artist') Hussein Chalayan, renowned for his innovation in use of materials, pattern cutting and technology. Chalayan graduated from Central St Martins in 1993, and has won 'British Designer of the Year award twice. Currently, he works as the creative director for Puma, and lives in London where he works from his East London studio, though preferring to show in Paris.
Exploring fifteen years worth of his work and inspiration, the exhibition is the first of its kind, being that there hasnt previously been a solo exhition of Chalayans work in the UK until now, making this a rather important retrospective. It includes collections such as 'Readings', an impressive display of moving lasers which make up the dress; 'Airborne', garments comprised of LED lights and Swarovzki crystals and the more recent 'Inertia', which is 'clothes inspired by the shape a body might make in the propulsion of a car crash'.
There are several projections, including one of the 'Afterwards' collection, which involved furniture transforming (with the help of the models) into clothing, and a short film, 'Place to Passage'.
What struck me, as I walked around was how different the designs look in person, as opposed to the countless fashion magazine images they are seen in. There is so much detail that is easily missed, such as rich embroidery on the 'Ambimorphous' collection of 2002, and the sculpted, laser cut, 'puffs' of tulle, of the 'Before Minus Now' collection of 2000, It has to be said, seeing some of the garments up close did lend to me being slightly dissapointed, particularly the 'Inertia' pieces, which, I feel, looked more pleasing in the pages of the magazines.
I did think that it was cut slightly short, as I expected to be there alot longer. Considering Chalayans contribution to the design world, I thought perhaps he deserved a little more. That said, I thought it was a visually stimulating overview of his work, and it moved along at a nice pace. It was particlarly nice to see his pieces up close and fully appreciate his work.
Thursday, 1 April 2010
Essay Proposal 2
Provisional Essay Title:
Lookbook.nu; A case study of fashion identity and peer influence in an online environment.
Main Issues addressed by your essay and the thrust of your argument:
Using the internet to 'create' different identities. Acceptance by online peers. Influencing and being influenced by people you have never met in person. Identities new meaning in the modern era. The difference between a fashion identity and a personal one. Using others identities as your own.
What visual material will you look at?
Lookbook.nu, fashion blogs.
What theoretical perspective/methodology will you use?
Identity
What specific theorists will you refer to?
Bauman, Gauntlett, Dencik, Krueger
Books/Articles/Resources already located (using Havard)
Bauman, Z (2001) Identity, (Cambridge: Polity)
Bauman, Z (2000) Liquid Modernity, (Cambridge: Polity)
Bell, D and Kennedy B (2000) The Cybercultures Reader, (London: Routledge)
Gauntlett, D (2008) Media, Gender and Identity: an Introduction, (London: Routledge)
Gauntlett, D and Horsley R (2000) Web.Studies, (London: Arnold)
Merchant, G Identity, Social Networks and Online Communication (2006) http://www.wwwords.co.uk/pdf/validate.asp?j=elea&vol=3&issue=2&year=2006&article=9_Merchant_ELEA_3_2_web
http://www.lookbook.nu/
http://www.blogger.com/
Lookbook.nu; A case study of fashion identity and peer influence in an online environment.
Main Issues addressed by your essay and the thrust of your argument:
Using the internet to 'create' different identities. Acceptance by online peers. Influencing and being influenced by people you have never met in person. Identities new meaning in the modern era. The difference between a fashion identity and a personal one. Using others identities as your own.
What visual material will you look at?
Lookbook.nu, fashion blogs.
What theoretical perspective/methodology will you use?
Identity
What specific theorists will you refer to?
Bauman, Gauntlett, Dencik, Krueger
Books/Articles/Resources already located (using Havard)
Bauman, Z (2001) Identity, (Cambridge: Polity)
Bauman, Z (2000) Liquid Modernity, (Cambridge: Polity)
Bell, D and Kennedy B (2000) The Cybercultures Reader, (London: Routledge)
Gauntlett, D (2008) Media, Gender and Identity: an Introduction, (London: Routledge)
Gauntlett, D and Horsley R (2000) Web.Studies, (London: Arnold)
Merchant, G Identity, Social Networks and Online Communication (2006) http://www.wwwords.co.uk/pdf/validate.asp?j=elea&vol=3&issue=2&year=2006&article=9_Merchant_ELEA_3_2_web
http://www.lookbook.nu/
http://www.blogger.com/
Sunday, 21 March 2010
Essay Proposal 1
I've lost the spare sheet I had to fill in, so I've recreated it on here.
Course Title: BA Fashion
Name of Critical Studies Tutor: Toby Juliff
Name: Natalie Dodd
Provisional Essay Title: Fashion and Identity in an online environment; how the internet has shaped fashion identities.
Main issues addressed by your essay and the thrust of your argument:
How internet has created new peer groups which affect peoples fashion. modern identity. we are influenced by people we havent met.
What visual material will you look at?
Websites such as lookbook.nu, fashion blogs,
What theoretical perspective/methodology will you use?
Identity
Which specific theorists/ writers will you refer to?
Bauman, Gauntlett
Books/articles/resources already located (using Harvard):
Bauman, Z (2001) Identity, (Cambridge: Polity)
Bauman, Z (2000) Liquid Modernity, (Cambridge: Polity)
Bell, D and Kennedy B (2000) The Cybercultures Reader, (London: Routledge)
Gauntlett, D and Horsley R (2000) Web.Studies, (London: Arnold)
Merchant, G Identity, Social Networks and Online Communication (2006) http://www.wwwords.co.uk/pdf/validate.asp?j=elea&vol=3&issue=2&year=2006&article=9_Merchant_ELEA_3_2_web
http://www.Lookbook.nu
Course Title: BA Fashion
Name of Critical Studies Tutor: Toby Juliff
Name: Natalie Dodd
Provisional Essay Title: Fashion and Identity in an online environment; how the internet has shaped fashion identities.
Main issues addressed by your essay and the thrust of your argument:
How internet has created new peer groups which affect peoples fashion. modern identity. we are influenced by people we havent met.
What visual material will you look at?
Websites such as lookbook.nu, fashion blogs,
What theoretical perspective/methodology will you use?
Identity
Which specific theorists/ writers will you refer to?
Bauman, Gauntlett
Books/articles/resources already located (using Harvard):
Bauman, Z (2001) Identity, (Cambridge: Polity)
Bauman, Z (2000) Liquid Modernity, (Cambridge: Polity)
Bell, D and Kennedy B (2000) The Cybercultures Reader, (London: Routledge)
Gauntlett, D and Horsley R (2000) Web.Studies, (London: Arnold)
Merchant, G Identity, Social Networks and Online Communication (2006) http://www.wwwords.co.uk/pdf/validate.asp?j=elea&vol=3&issue=2&year=2006&article=9_Merchant_ELEA_3_2_web
http://www.Lookbook.nu
Friday, 19 March 2010
essay tutorial notes
internet identities
peer approval/influence
can we be influenced by people we dont even meet in person? influenced by people through online communities? Bauman.
post modern identity
lookbook.nu, fashion blogs etc. pictures posted online. people are influenced by others fashion without even having met them.
community
http://www.wwwords.co.uk/pdf/validate.asp?j=elea&vol=3&issue=2&year=2006&article=9_Merchant_ELEA_3_2_web
www.prevos.net/ola/goffman_marcuse.pdf
Thursday, 18 March 2010
Essay
Dreaded essay deadline in a week. Struggling to get to grips with it, as im not sure how interested i am in the subject, now ive chosen it. Currently researching the work of Gillian Wearing, as i remember it being in the identity lecture and i really like her work. hoping for some inspiration. Tried googling 'Bauman and Fashion', as Toby suggested, however nothing useful came up.
The last time i wrote an essay was literally a year ago, and before that, about 2 years ago, so im quite out of practice with writing.
The last time i wrote an essay was literally a year ago, and before that, about 2 years ago, so im quite out of practice with writing.
Sunday, 14 March 2010
Georg Simmel 'The Stranger' (1908)
The stranger is near and far at the same time - far enough away to be unknown, but close enough to get to know.
He is not connected to anyone so people let down their inhibitions.
The stranger has an objectivity to society - unbiased - so his opinion is important, however it could also be that it isnt important as he is not properly within the society so why should his opinion count?
Simmel says that there should be a stranger in every society to bring something new.
Having moved from home to Leeds, I myself would be considered a stranger. As I have 'wandered' before, this makes me a potential wanderer. My 'position' in Leeds is determined by the fact that I havent been here from the start and I 'import' qualities which can't stem from anyone who has not wandered.
Thursday, 18 February 2010
Identity, by Zymunt Bauman
Toby told me to read this book on the train home for reading week. I have mixed feelings towards it, really. Some of the content I found interesting, whilst other bits bored me to death. Bauman mainly seemed to talk about how identity has changed in modern times, and mentions the 'fluid world' and 'liquid modern era' rather alot. thoughts:
' Identity is revealed to us only as something to be invented rather than discovered' Identity, although now a 'burning issue', was previously alot more simple.
The internet and fake indentites. but are they fake? Only if you presume that a person has one true, solid identity. Bauman suggests that people are forced to constantly change their identities, and that 'eletronic instruments' help them to do this.
Are our identities being shaped by what we consume?
Do the internet/mobile phones etc mean we lose real relationships and connections?
not sure how any of this could lead to an essay title. might read some more books.
' Identity is revealed to us only as something to be invented rather than discovered' Identity, although now a 'burning issue', was previously alot more simple.
The internet and fake indentites. but are they fake? Only if you presume that a person has one true, solid identity. Bauman suggests that people are forced to constantly change their identities, and that 'eletronic instruments' help them to do this.
Are our identities being shaped by what we consume?
Do the internet/mobile phones etc mean we lose real relationships and connections?
not sure how any of this could lead to an essay title. might read some more books.
Thursday, 21 January 2010
Use Value and Exchange Value Precis
Some things are considered valuable but are not especially useful (eg: gold, gemstones etc) simply because they require massive effort to produce, while others are extremely useful, but have little or no value because of their abundance and lack of effort required to extract them.
Bibliography Task
Look for a book and record information needed to write an essay. In its bibliography, look up another book, find it, and record the relevent information (and so on).
1:
Putman, J.(2001) Art and Artifact: The Museum as Medium, London, Thames and Hudson
2:
Bennett, T (1995) The Birth of the Museum: History, Theory, Politics, New York and London, Routledge
3:
Bakhtin, M (1989) The Dialogic Imagination, Texas USA, University of Texas Press
1:
Putman, J.(2001) Art and Artifact: The Museum as Medium, London, Thames and Hudson
2:
Bennett, T (1995) The Birth of the Museum: History, Theory, Politics, New York and London, Routledge
3:
Bakhtin, M (1989) The Dialogic Imagination, Texas USA, University of Texas Press
Technology and Sustainability Lecture
Globalisation
Socialist - Transformation of local/regional phenomenon into global ones.
Capitalist - Elimination of state enforced restrictions on exchanges across borders.
Sustainability
- Meeting the needs of the present without compromising the ability of future generations to meet their own needs.
- Being able to co-exist with another system indefinatly without either being damaged.
'Most things arent designed for the needs of the people but for the needs of the manufacturers to sell to people.' Viktor Papanek 1983
Supply and Demand
Manufacturing Life Cycle
Manufacture - Consumption - In-built Obsolescence (things built not to last)
Credit/Money - Money = Consumption - Consumption = Manufacture
Eco ethical Parameters
Design for Development
Unfair Trade affected poverty alleviation.
Design for Sustainability
Farming/production methods for cloth. Unsustainable - toxic emissions, pesticides, biogradability.
Design for Remake
Abundance of discarded products that still have life in them
Design for Disposal
Biogradability and disposal. Limited carrying capacity for land fill.
Design for Performance and Durability
Losing attachment to products and buying into fast fashion.
The Hanover Principles
Remaking the way we make things.
People Tree
Recycling design
Vexed Generation
Hussein Chalayan
Refuge Wear
Lucy Orta
Socialist - Transformation of local/regional phenomenon into global ones.
Capitalist - Elimination of state enforced restrictions on exchanges across borders.
Sustainability
- Meeting the needs of the present without compromising the ability of future generations to meet their own needs.
- Being able to co-exist with another system indefinatly without either being damaged.
'Most things arent designed for the needs of the people but for the needs of the manufacturers to sell to people.' Viktor Papanek 1983
Supply and Demand
Manufacturing Life Cycle
Manufacture - Consumption - In-built Obsolescence (things built not to last)
Credit/Money - Money = Consumption - Consumption = Manufacture
Eco ethical Parameters
Design for Development
Unfair Trade affected poverty alleviation.
Design for Sustainability
Farming/production methods for cloth. Unsustainable - toxic emissions, pesticides, biogradability.
Design for Remake
Abundance of discarded products that still have life in them
Design for Disposal
Biogradability and disposal. Limited carrying capacity for land fill.
Design for Performance and Durability
Losing attachment to products and buying into fast fashion.
The Hanover Principles
Remaking the way we make things.
People Tree
Recycling design
Vexed Generation
Hussein Chalayan
Refuge Wear
Lucy Orta
seminar 3 task
TASK:
100 word statement on a strategy for curating a show on the resurgance of haute couture in the late 1990's (McQueen, Galliano...)
At the beginning there is a catwalk show of haute couture, starting with older, original haute couture, through to the 1990’s.
Later, visitors are able to see mannequins up close wearing the more important garments of the collections, alongside a video of the whole collection being worn by models, arranged in chronological order.
Sections of the exhibition will contextualise the rest, with information on the history of haute couture, as well as more recent information in the form of newspapers, magazines, photography and perhaps the designers sketchbooks, inspiration etc to make it visually exciting.
100 word statement on a strategy for curating a show on the resurgance of haute couture in the late 1990's (McQueen, Galliano...)
At the beginning there is a catwalk show of haute couture, starting with older, original haute couture, through to the 1990’s.
Later, visitors are able to see mannequins up close wearing the more important garments of the collections, alongside a video of the whole collection being worn by models, arranged in chronological order.
Sections of the exhibition will contextualise the rest, with information on the history of haute couture, as well as more recent information in the form of newspapers, magazines, photography and perhaps the designers sketchbooks, inspiration etc to make it visually exciting.
Exhibitons and Audiences Visual Analysis
In the photo is an 'Outdoor Wear' exhibition in Liverpool. It consists of different coats presented on mannequins on tiered stages along with some information to the side of them. There is also cabinets in the middle of the room which hold the more precious/rare/expensive garments. Overall I find this exhibition pretty dull. The way the coats are set out means you cant see them up close and it doesn't seem to have much of a structure to it, for example, its difficult to see where something begins and ends, or whether the set up of different coats on different stages relate to one another. The graphics on the wall, which appear to be a small attempt to make the exhibition more visually stimulating tell you nothing more than what you already see, but state 'Outdoor Wear' multiple times along with illustrations of coats. There is no interactivity with the viewer apart from a small amount of information presumably about each coat for them to read, and there is a large space with nothing occupying it. Personally, I dont think fashion should ever be presented in this 'art gallery' manner.
seminar 2 task: Triangulation [NOT FINISHED]
TASK:
Follow up Marx by looking at Benjamin/Adorno etc. Find examples of ways in which history has demonstrated ideological power.
Follow up Marx by looking at Benjamin/Adorno etc. Find examples of ways in which history has demonstrated ideological power.
Monday, 11 January 2010
Bad Taste Good Taste
Comme des Garcons (CDG) and Walter Van Beirendock; both controversial designers; however, both received very differently by their audience. Beirendocks work is widely regarded as 'conceptual' and 'fashion as art'. Although very controversial (particularly for menswear), even quite alarming at times (phallus shapes and hairy chest prints galore), it is more understood.
These days Comme Des Garcons are a very desirable brand, but their earlier collections shocked, provoked and (eventually) changed peoples opinions on taste. They blurred the boundaries between masculinity and femininity, they stuck two fingers up at the expectation for women to dress 'sexily' and believed fashion was a way of communicating, not just to look 'hot'. For them, the words independent, individual and intelligent are like sex. They make clothes for women of this description.
'Comme Des Garcons are sort of like a fucked up version of Chanel' (not sure who said this, but I liked it!)
Their collection in 1987, which consisted entirely of black, was a big controversy for the 80's, when anything remotely classy was shunned in favour of 'tack' and their 'lumps and bumps' collection in 1997 with silhouettes being distorted beyond recognition underneath plaid dresses provoked adverse reactions from the audience. Their fall 08 collection, however, despite being designed with bad taste in mind, was regarded by the press as good taste (bad taste worn in an ironic way - perhaps that's what people in the 80's had in mind?) As CDG's reputation built up (along with other designers, of course) , peoples opinions have changed - not just of their fashion but of women's fashion in general.
Aesthetics and Taste Seminar Notes
'No object is so beautiful that, under certain conditions it will not look ugly' Oscar Wilde
Some key points:
- 'Nothing is beautiful in itself - only in the relationship between us and the object [the context] can it be beautiful.
- Fashion and 'taste' are inextricably linked.
- Ideas about fashion are culturally and temporarily specific. They are linked to a time and a place.
- Taste is subjective - it is difficult to know what taste is, it can only be judged.
- Professional issues - how does the institute create taste? (trickle down, copying, ideas are enforced on us about taste.)
- Revivals and Retro fashion - Its possible to 'return' to fashions. {Positivism - versions, not copies. Always getting better through time}
- Issues of taste and indentity.
Androgyny and Mary Quant.
Quant wanted to do away with the idea of a 'woman' that girls should turn into their mother. She shifted the signifier of women and taste away from traditional ideas. The androgynous look she created sought to redefine the markers of taste. (Taste is temporal, the markers can be changed.) She argues that taste is noy succession, it doesnt neccessarily get better with time. Taste was an object owned by the old and the middle classes. The idea that cheap fashion could be tasteful was refuted.
Fashion and Bad Taste
[Vivienne Westwood and Alexander McQueen.] Designers who use limits and what is considered 'bad taste' in their work.
McQueen's Highland Rape 1995 was considered bad taste at the time. As his reputation rose on the basis of bad taste, so their designs became tasteful. The object hasnt changed, but the recognition of its tastefullness has.
Hidegger - Tried to stop us thinking about KNOWING what taste is and focussing on how we go about understanding taste and beauty.
Wittgenstein - Fashion as a language - unable to represent real meaning.
Kant - The sublime - our ability to approach understanding of the unseen and unknowable
Aesthetics and Taste Lecture Notes
- A knowing
- Something to know
Dualism - Material and Immaterial - body and mind.
Body = vehicle of the mind (dualism)
Sensations and Objects
Beauty means 'good' (moral, ethical spiritual...) in Greek.
Plato - truth - abstract ideal.
Reality = imperfect copy of forms (truths)
Art therefore = much less perfect copy of a copy.
Aristotle
Art - Mimetic. Could purge the soul.
phenomenon of beauty, not merely an ideal.
Immanuel Kant
What does it mean to know and result of knowing.
good, agreeable, beautiful.
The mind contributes to the experience of objects
Kant attempted to combine rationalism and empiricism
Noumenon - a thing in itself.
Phenomenon - a thing as it appears through senses.
Imagination - a thing in itself.
Judgements of taste therefore are the result of a relationship between an object and subject. Both subjective and universal - a response of individuality.
Disinterest = having no interest, not to be confused with uninterested
Hegel
Art = evidence of revelation of spirit. When not needed, art will end.
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