FASH213 Exam1 Fall 2019 PDF

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FASH 213 Exam 1 Notes Fall 2019...

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EXAM 1 NOTES LECTURE 1a: ETHNICITY AND CULTURE Western Dress: Including only dress that can be clearly identified as within the influence of western European fashionable dress (influenced by other cultures) Dress: Assemblage of modifications of the body and/or supplements to the body (all things human beings do to the surface/appearance of their bodies) Ethnic Dress: Those items, ensembles, and modifications to the body that capture the past of the members of a group, the items of tradition that are worn to signify cultural heritage Origins of Dress - Protection o From all elements, from physical hazards, from enemies - Decoration o The creative urge for an artistic experience, sexual attraction, terrorism - Modesty o People around the world use dress to conceal parts of the body, vary from culture to culture - Status o Economic, social, or prestige layers of society. Clothes used to establish position, occupation, religion, group membership Functions of Dress - Designation of gender differences - Age - Social status - Identification of group membership - Ceremonial use - Enhancement of sexual attractiveness ● Fashion is a reflection of social change (class structure, lifestyles, roles of men and women, structure and function of families) ● Fashion has Historical Continuity: Evolutionary outgrowth and elaboration of previously existing fashions. Predicts that dramatic changes are unlikely to occur over a short period. Dramatic changes occur after major wars (social upheavals- after WWII skirt lengths fell several inches at once) -

Dramatic changes are unlikely to occur over a short period of time because most are too innovative to be accepted by most consumers

Culture: the distinctive way of life of a group of people- behaviors, beliefs, values, symbols they accept, passed along by communication and imitation from one generation to the next (strength varies) 1. Formal traditions: fundamental and unquestioned- learned as political laws or strict cultural norms (graduation) 2. Informal traditions: learned through imitation (cultural ideals of attractiveness) 3. Technical abilities: abilities to produce goods, depends on availability of resources and the skills of designer and manufacturer Multiculturalism: A concept emphasizing creation of shared community while maintain the integrity of different cultural groups Euro centrism: a conception of the world that focuses overwhelmingly on European and Western cultures while giving little attention to Asia, Africa, and Latin America Ethnocentrism: The judging of people from other cultures and backgrounds by one’s own cultural standards and beliefs (assumes superiority of one’s own race or culture) Pluralism: The acceptance of differences in others while not necessarily wanting to adopt those differences themselves Ethnicity: Combines both cultural stability and change Cosmopolitan and International Dress World Fashion - People around the world are diverse - Increased travel and inter-communication have encouraged a cosmopolitan type of dress - Big business in the system of international production and trade

World Fashion = Cosmopolitan Dress = International Dress (OPPOSITE= Ethnic Dress) Ethnic Dress 1. May include borrowed items from other cultures; new item is culturally icated 2. Is not usually static over time (changes) 3. Variety can be found within a group (creativity is common) 4. May not always be worn daily (can be for special occasion) Examples- Oceania (Fiber Skirts), Middle East (Face Veils), North America (Native American crafts- moccasins), Latin America (Wrapping blankets), Southeast Asia (sarong cloths) LECTURE 1b: CROSS CULTURAL EXCHANGE - Early adventurer- explorers and traders opened Western eyes to the glories of nonWestern artifacts (silk textiles and clothing) The Silk Road: INDIA, TURKEY, CHINA

The Silk Road: The ancient trade route passing from the shores of the Mediterranean across Asia and into China (200 A.D – The Hahn Dynasty) - Development in trade of Persia, China, Arabia, India and Europe - Silk, spices, perfumes, precious gems (amber and coral) - Ideas and knowledge, customs and religions, art and science - Reshaped European perception of the world and their place in it (loved exotic items)

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Spices lured Europeans to find a sea route to Asia, but textiles quickly became one of the most important staples and very soon large cargos were assembled annually to meet Western demand.

Chintz: A hand printed, mordant- and resist-dyed patterned Indian cloth Visite (dolman cloth): Wool with woven paisley motif (for bustle styles- understructure piece)

o Asian inspired dress, modified and revised, held a particular fascination for men, who were beguiled by the decorative banyans or dressing gowns made of printed and painted silk and cottons o In second half of nineteenth century, society’s preoccupation with dressing up led to fancy dress balls where non-western clothes made an impact (India, Japan, Persia) LECTURE 1c: DRESS AND SOCIAL CHANGE- CULTURAL AUTHENTICATION Social Change: Any significant alteration, modification, or transformation in the organization and operation of social life that includes among other things, dress and appearance Cultural Assimilation: Exemplified through dress, is a process by which ethnic and racial distinctions between groups disappear and the social boundaries of the assimilated individuals are largely determined by the majority society Acculturation: The learning of the ideas, values, conventions, and behavior that characterize a social group/ The results of contact between two or more different cultures (new composite culture emerges- while features are combined, and usually one is more dominant) Cultural Authentication: The process “whereby elements of dress of one culture are incorporated in to the dress of another.” Usually the culturally authenticated style is changed in some way. Only rarely are entire garments adopted. - Over time the artifact becomes a vital and valuable part of the adopting culture’s dress - Occasionally borrowing is so extensive and pressure to authenticate so severe that traditional forms of dress are obliterated (19th century Russia when dress of upper class was so similar to upper class in France) + 3 TYPES

1. Simple/basic cultural authentication: occurs when one group selects an item of dress from another cultural group and uses it in much the same way (blue jeans) 2. Temporal authentication: distinguishes how a group of people can reach back into their own heritage to borrow elements of dress for contemporary adaptation (occurs as change takes place through time within a specific cultural area or group) 3. Tempo-cultural authentication: combines elements from history and culture. Occurs when a designer reach back through time and across cultural lines for ideas to incorporate into contemporary fashions. +COMPONENTS - Selection: Adopting an object or idea intact (rarely happens) - Characterization: Adopting an object or idea intact, but the new culture attaches its own symbolic meaning along with changing its use - Incorporation: Adopting an object or idea in its original physical or ideological form, applying a new symbolic meaning, and identifying the object or idea to a specific social group. - Transformation: Physically altering the object or idea. Allows for cultural distinctiveness. BANYAN SELECTION: common for 18th century men to wear comfortable clothing, trade with Japan and India affected demand for gowns in DUTCH made in kimono CHARACTERIZATION: style (names: Indian gown, morning gown, nightgown), derived from Indian word “bannian” which is Hindu merchant and loose shirt INCORPORATION: Banyans were worn first in the home for “undress”, became more professional TRANSFORMATION: later in century, tailored style evolved-- > mans coat KASHMIR SHAWLS SELECTION: purchased as gifts for family/ friends by those traveling in India word “shawl” (originated from “shal” which was garment worn by Indian men, reflected social status and higher degree of fineness of fabric the higher degree the man retained) INCORPORATION: English women were quick to make part of their wardrobe TRANSFORMATION : gained popularity, European textiles tried to copy them (European designers knew nothing of Indian symbolism) --- couldn’t duplicate the shawls in either fiber or weaving method—WOVEN BY HAND CHARACTERIZATION: famous imitation was Paisley (from Paisley, Scotland)

MANILA SHAWLS (Philippines- Manila)… similar to Kashmir shawl SELECTION: Traders found them in Manila and brought them to Spain INCORPORATION: Spanish women were quick to use them in their wardrobes TRANSFORMATION: Design motifs were altered from Chinese symbolism to Spanish floral; fringe was added CHARACTERIZATION: Shawls became known as Manila Shawls

HOLOKU SELECTION: ali’I (Hawaiian nobility) adopt missionary women’s style of dress TRANSFORMATION: Dresses were modeled after gowns worn by missionary women, but design and fabric was changed INCORPORATION: first worn by nobility, then adopted by commoners. Replaced the pa’u CHARACTERIZATION: Styling becomes uniform (Named the Holoku)

LECTURE 2a: COUTURE: The beginning of the fashion system Couture: French Term for the business in which original apparel designs are created by designers and the items are manufactured in the couture house using exceptionally fine sewing and tailoring and expensive fabrics Haute Couture: 1. Only firms that create models that may be sold to private customers or to other segments of fashion industry who also acquire the right to produce the designs 2. Designs must show at least two collections a year of original designs to public 3. Must have 20 full time technical people in 1 workhouse Chambre Sundicale de la Couture Parisienne: organization established to maintain standards of couture design and protect couture designers from piracy Guidelines for Chambre membership 1. Patterns must be exclusively created by designer/ designer team in their own workshops 2. Minimum 20 people 3. Collections must be presented twice a year in PARIS 4. Patterns duplicated by the firm can only be made to the measurements of clients (no mass production)

5. Register their design by providing a sketch, photograph and fabric swatch Official members: Christian Dior, Chanel, Maurizio Galante, Adeline Andre, Givenchy Correspondent members (foreign): Armani, Valentino, Versace

Flou: Dressmaking Tailleur: Tailoring of suits and coats Charles Frederick Worth: FATHER OF COUTURE, his “house” became longest-running fashion dynasty to date, opulent designs and growth of crinoline (caged petticoats) and bustle (lots of fabric in back), gigot sleeve Belle Epoque: Emphasizing the aesthetic for pastel colors and light materials (1895 to 1914) Time of beautiful clothes and peak of luxury living for a select few LECTURE 2b: Edwardian Era (1880-1910) Changes to fashion by…. 1. Ford’s model T and driving wear: willingness to commute greater distances to work, shop in major population centers, and take day trips and family vacations…. Specialized clothing was needed------ duster coats, caps, gloves 2. Interactions between fine and decorative arts 3. Strong influence on fashion from art and theater 4. Fashion favored mature women that was emphasized by corset, curved, women laced so tightly that “s” shape was associated with era Aesthetic Dress Movement (1880-1890): Release female body from corset in Europe, inspiration from classical Greek and Medeival periods Art Nouveau: International art movement and style of decoration and architecture= curvilinear depiction of leaves and flowers in forms of vines (rebellion from VICTORIAN ERA), linked to Japanese art in simplicity of form Pouter Pigion Silhouette: Bloused sleeves by wrist, high lace fabric collars, emphasize low bust line “S” Shape: S shape silhouette, puffed out under bust, corset holds body so upper body is pushed forward and hips are pushed backwards Princess silhouette: fitted, shaped by long seams, figure became slimmer Tea gowns: worn in afternoon, filmy white material falling loosely from ribbon or band located several inches above waistline

Lingerie Dress: white cotton/linen, tucks/ripples/lace, resembled lingerie of period Shirtwaist: “blouses” The Gibson Girl: Charles Dana Gibson, personified ideal of young feminine beauty, ideal women of period, tall and athletic, s-shaped Tailor mades: suit made of wool or serge, ideal for traveling, more functional (MARY POPPINS) Evening dresses: lower neckline

LECTURE 2c: Clothing Traditions of Ancient Greece Chiton: Loose-fitting tunic, made of 2 rectangles of fabric seamed together in a number of variations Doric: Much simpler, had no sleeves, made from woolen fabric, pleated and draped Ionic: Uncut links of fabric, many folds and pleats, worn by men and women, almost transparent, finer and lighter (linen) Himation: Usually worn over a chiton, made of heavier fabric, role of cloak Delphos Gown: Meant to be worn without undergarments, “lingerie dress”, romantic style and radical departure from constricting predecessors, loose and light weight silk *used Greece designs, Tom Ford, Versace, -

Use of decorative motifs are associated with Grecian antiques, the GREEK KEY

LECTURE 3: Cultural Influences and fashion trends (1910-1929) TIME PERIOD: WW1, Triangle Shirtwaist company, surrealism, 18th and 19th amendment, stock market crash (1929) Triangle Shirtwaist Company: 1911- dropped match on 8th floor of Triangle Shirtwaist Factory in NY’S Greenwich village (deadliest workplace accident in city’s history) Hobble Skirt: (princess even slimmer), skirts were narrower and shorter, 1 or 2 layers Fetters: Leg constraints that kept the hobble skirt wearer from taking a long step and rip skirt Lampshade Tunic: Wired on edge of shirt Paul Poiret: Influenced by Japanese art and Ballet russes *Silhouettes grew wider, skirt lengths grew shorter and fuller, military look, suits became popular, clothing was practical (WWI INFLUENCE- women took on more tasks usually done by men)

1920s (roaring twenties): straight silhouette, flat bosom, no visible curves, skirt lengths shorter but varied, stockings became popular Robe de Style: Jeanne Lavin- Based on 18th century designs; close fitting bodice, natural/lower waistline, full skirt (calf or ankle) Cloche (helmet): Iconic hat of the 20s; associated with flappers, hat was pulled over eyes, making wearer have to tilt their head up peering snootily over nose Rayon: First manufactured fiber made from cellulose, DECLINE IN USE OF COTTON *Sports participation increases, creates need for sports apparel as separate clothing Art Deco: mathematical/geometrical art, inspiration from Africa, Ancient Egypt, Aztec Mexico Flapper: antithesis of romantic/feminine work, short hair and short dresses, youthful boyish

LECTURE 4a/4b: DESIGNERS 1900-1929 House of Worth: past popularity peak, kept up with Orientalism Jean Paquin: Used vivid colors emphasized by black (even though pastels were in), famous for originality,n youthful aesthetic Callot Soeurs: Callot sisters began as lingerie and lace business, noted for formal evening wear, perfection in details, rich color, FIRST DESIGNERS TO USE gold and silver (lame’) Jeanne Lanvin: Robe de style- blurred distinction between women’s and children’s clothing (designed dress for her daughter HATS), invented Lanvin blue Liberty and Co: Established fabric and clothing department, “costumes never out of fashion”, specialized in goods from orient and far east, INFLUENCED BY AESTHETIC MOVEMENT Mariano Fortuny: Best known for unique pleating process influenced by Ancient Greece

Gabrielle “Coco” Chanel: Typified styles of 1920s: Famous for: - LBD - Simple little suts - Cardigan jackets - Cloche hats (bobbed hair) - Costume jewelry - Neutral color schemes

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Use of tweed Women in pants

Madeline Vionnet: Greatest, most intellectual couturier of all time, BIAS CUT, didn’t sketch, just cut and pinned, modeled dress to women (not vice versa)

LECTURE 5a: Traditional Chinese Apparel Dress in Qing Dynasty China: Instituted by Manchu rulers 1. Language- bilingual policy 2. Custom- all males required to shave forehead and wear Manchu braid 3. Dress- Manchu style clothing was required for all government/service official court dress HAN CHINESE CLOTHING - Long coat - Tunic length gowns or skirts - Wide sleeves - Pleated skirt - Use of excessive fabric Women - Sam: tunic length skirt - Fu: pants - Lotus slippers: Bound feet - Ao: padded over garment - Qun: pleated skirt - Hair: BUN

MANCU CLOTHING - Tapered sleeves - Flared cuffs to protect hands - Horse hoof cuffs - Skirt vents or slits

Symbolism of Manchu dragon robe complete when: Coat is worn and the human body becomes world axis Women - Qiapao: Dress worn - Shoes: silk upper attached to a wooden platform - Long pao: banner gown (long robe) - Hair: STIFF BOARD holds hair in horizontal shape on top of head HEADDRESS Qing Dynasty Dress: Five element theory: Color: WOOD, FIRE, METAL, WATER, AND EARTH Colors: blue, red, white, black and yellow Yin and Yang: Complementary positive and negative forces Yanfg : power and masculinity (dragon) CHINESE TRANSINTION IN DRESS- 20TH CENTURY 1. No Western influences seen 2. Revolution brought big changes- mixing of Eastern and Western styles 3. Chinese traditional dress forbidden (Communist dress reforms) 4. Gradual adoption of Western dress (Nixon opened trade relations between countries) 5.

Cheongsam: form fitting, traditional Chinese dress- combines Han Chinese, Manchu and western dress Pierre Cardin: First couture designer in China

LECTURE 5b: Traditional Japanese Apparel KIMONOS MAN: Shorter sleeves with square corners UNMARRIED WOMAN: Very long sleeves with deep curved corners (FURISODE: FORMAL)

WOMAN: mid-length sleeves with curved corners (UCHIKAKI: UNFORMAL) TERMINOLOGY Wafuku: Traditional Japanese attire Yofuku: Western apparel Haori: Short Coat Obi: Sash worn with kimono Zori: split toe socks (FORMAL) Geta: informal footwear Hakima: pleated skirt Shibori: tie-dyeing Kasuri: Ikat fabrics made by binding yarns *The more pattern covering the obi, more formal its use *The kimono has a consistent shape but relies on color, patter, or details to show change *WOOL was important in Westernization of Japanese dress Geisha: Only women who wear traditional kimono on a daily basis Japanese influences - Long sleeves - Draped silhouette - Tight skirt at hemline - Vertical silhouette

LECTURE 5c: Chinese and Japanese Influences on Fashion Chinese influences began to surpass Japanese influences: 1915-1927 Sino- Japanism: Combination of influences from both Chinese and Japanese art...