Fashion In Focus: Concepts, Practices and Politics by Tim Edwards

By Tim Edwards

The research of favor has exploded in contemporary a long time, but what this all means or quite the place it may possibly take us isn't really transparent. This new booklet is helping to deliver model into concentration, with a finished consultant to the main theories, views and advancements within the field.

Tim Edwards comprises insurance of the entire significant theories of favor, together with contemporary scholarship, along subcultural research and an in-depth examine construction. person subject matters include:

  • men’s model, masculinity and the suit
  • women’s style and the position of sexuality
  • children, the physique and fashion
  • the function of star and fashion designer label culture
  • globalisation and the construction of fashion.

Fashion in Focus is the suitable significant other for college students within the arts and social sciences, specially these learning matters reminiscent of style, gender, sexuality and client culture.

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Additional resources for Fashion In Focus: Concepts, Practices and Politics

Sample text

Later theorists have since criticised the simplicity of Flügel’s analysis and also the implicit ethnocentrism and sexism in his interpretations (Barnard, 1996; Barnes and Eicher, 1992; Eicher, 1995). The internal contradictions of such interpretations were also exposed through the work of another classical theorist of fashion, James Laver. It is debatable as to whether James Laver can truly be called a theorist of fashion. He is, however, one of most renowned of twentieth-century costume historians in the UK, particularly following his extensive work with the Victoria and Albert Museum in London starting in 1922, where he worked as a keeper until his retirement in 1959.

The analysis of the semiotics of dress and appearance is what inspires Roland Barthes’s famous study of The Fashion System (1985). The fashion system is not, as one might assume, an economic or social system, rather “fashion is entirely a system of signs” (Barthes, 1985: 244). Barthes’ path-breaking analysis contrasts “written clothing”, or fashion as linguistic text, with the convention of “image clothing”, or fashion as visual representation, neither of which is “real” clothing in the sense of the clothes we actually wear.

Carter’s careful consideration of fashion theories of the late nineteenth and early twentieth centuries tends to highlight this both more generally and in relation to the work of Laver where he asserts: “It is this ‘rear-view’ perspective on the tradition that is, in part, responsible for the inability of Laver’s thought to develop” (Carter, 2003: 136). Much the same could be said of many early theories of fashion as they are products of their time rendered increasingly anachronistic by the enormity and pace of many developments in the twentieth century.

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