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Opportunity to discuss issues related to course, lectures and reading

Ask questions

Engage and understand reading

Debate

Learning from others

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http://www.asos.com/asos/asos-t-shirt-mini-dress-with-lace-up-sides/prd/8548891?clr=yellow&cid=8799&pgesize=36&pge=0&totalstyles=5417&gridsize=3&gridrow=6&gridcolumn=1

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Are there any fashion websites you are impressed by and why?

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Are there any fashion websites you are impressed by and why?

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anthropologie uk, Kings Road, Chelsea

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About the seminars and Fashioning Identities

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About the seminars and Fashioning Identities

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Elevating of clothes and fashion so as to enhance their significance beyond their purpose...and become a representation of themselves

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Elevating of clothes and fashion so as to enhance their significance beyond their purpose...and become a representation of themselves

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Chanel is known for its spectacular fashion shows and the Métiers D'Art Collection 2011/2012 

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Chanel is known for its spectacular fashion shows and the Métiers D'Art Collection 2011/2012 

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Guests were seated at a dramatic long and winding banquet table, surrounded by opulent chandeliers and candelabras; lush over-the-top florals, towers of food, and a simple yet sumptuous colour palette of cream and white

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How does celebrity endorsement help to create a spectacle?

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How does celebrity endorsement help to create a spectacle?

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Lady Gaga? Uses her own designs to create a spectacle and generate publicity.

Can you think of any other examples of this type of celebrity spectacle?

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https://youtu.be/boccaN98V90

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So how can a spectacle translate as a digital/on screen experience when you have to be there to experience it in real life?

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So how can a spectacle translate as a digital/on screen experience when you have to be there to experience it in real life?

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1990s fashion was all about being there.

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“The fashion show is the ultimate realisation of a designer’s vision,” writes Browne. “[It is] a coherent act of creativity that separates those who have something compelling to say – about women, about men, about the world – from those who make nice things for people to wear. It is a moment of truth.” Today, fashion shows are often dullened by constantly flickering smartphone screens, money-is-no-object grandness, rent-a-celeb appearances and thumping techno music, which all seem to prioritise Instagram fodder over the present audience."

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Fashion media: past and present 2013 (electronic resource)Book Further reading  Bartlett, Djurdja Cole, Shaun, Rocamora (editors)

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Fashion media: past and present 2013 (electronic resource)Book Further reading  Bartlett, Djurdja Cole, Shaun, Rocamora (editors)

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Since their first appearance in the seventeenth century—indeed Jean Donneau de Visé’s 1672 Le Mercure Galant is generally credited as being the ancestor of fashion magazines (see Vincent 2005)—fashion media platforms have proliferated. This is testament not only to the popularity of fashion as a topic of news but also to the crucial role of the media in the field of fashion, for fashion words and images are central to the production, circulation and dissemination of fashion (Barthes 1990 Jobling 1999 Rocamora 2009).
By mapping key changes in fashion and commodity culture, the fashion media have also cap-tured and produced modernity in all its contradictions. Art and commerce, elite and ordinary cultures, spaces, times, professional and amateur practices meet and intertwine in the field of the fashion media. Today this field is in the midst of deep social and technological changes. Its present, as well as its past, offer a unique opportunity to explore the complex, multilayered nature of the processes that bind design, technology, society and identity together. Yet, and in spite of the now well-established presence of fashion as a topic of academic enquiry, the fashion media remain relatively under-explored. Fashion advertisements, magazines, fashion films, websites and photography are among the media sites discussed as a way of engaging with a range of topics central to the understanding of not only fashion but of society and culture, too.

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The spectacle … is the heart of the unrealism of the real society … [It] is materially “the expression of the separation and estrangement between man and man” … which has turned need against life.’

(Debord, 1977 [1967];

paras. 6; 215 )

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https://youtu.be/Bl20HTClLt4

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THE HOME OF FASHION FILM AND LIVE FASHION BROADCASTING

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Highlights from SHOWstudio's Rich Archive of Fashion Films and Interviews

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Highlights from SHOWstudio's Rich Archive of Fashion Films and Interviews

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https://youtu.be/VhreqfDKwr4"The great thing about the great British Fashion industry, in contrast to that proffered by just about any other capital in the world, is that it's not really about the clothes, it's about telling a story"  Alexander Fury, Dior

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Considered as first fashion model Virginia Oldoini, Countess da Castiglione’ (from 1856) 

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Considered as first fashion model Virginia Oldoini, Countess da Castiglione’ (from 1856) 

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How has the role of the fashion model changed.

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In the C18th fashion models didn’t exist: ‘French dressmakers promoted their work by sending dolls, fashionable dressed in the latest modes, around Europe.’ (Evans, 2013: 12)

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This is the principle of commodity fetishism, the domination of society by “intangible as well as tangible things,” which reaches its absolute fulfillment in the spectacle, where the tangible world is replaced by a selection of images which exist above it, and which simultaneously impose themselves as the tangible par excellence.

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https://padlet.com/a_slater/azlkx3unb83h

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The first seminar will introduce your seminar tutor and the rest of your seminar group. Please be prepared to say who you are, why you chose this unit and what (if any) relationship the idea of fashion and/or identity has to your studio practice.

-       What is the ‘spectacle’ as described by Debord?

-       How and why does fashion media use the ‘spectacle’?

-       Do fashions or changes in technology influence fashion media?

-       How do you find out about fashionable styles today?

What methods would you/do you use to promote your own work?

Where do you think the future of fashion media might go?

How do you think the spectacle of fashion impacts upon your own work