FASHION HISTORY IN A CULTURAL CONTEXT

FASHION HISTORY IN A CULTURAL CONTEXT

SCHOOL OF ARTS, TECHNOLOGY AND INNOVATION

Module Title: CONTEXTUAL STUDIES 1

FASHION HISTORY IN A CULTURAL CONTEXT

Module Code: FT4000

Level 4

Terms 1 & 2

Academic Year 2017/18

Module Leader: Kim Smith

Email: k.smith@uel.ac.uk

Tel: 020 8223 7483

Room Number: EB.2.32

Timetabled Teaching

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introduction to the MODULE

This guide contains all the key information and requirements needed for successful completion of the module over the course of the twenty-four week teaching period.  Students should refer to the week by week teaching schedule which is included here but is also posted on the Module Moodle Homepage.  Any changes to rooms or teaching will be notified via the Moodle Message Board which is automatically sent to UEL Student emails.  It is a compulsory requirement to attend all lectures, seminar/tutor groups and visits for the duration of the allotted period; student attendance is monitored electronically via Student ID cards and where required, by hard copy registers.  Those students whose attendance does not follow the Attendance Monitoring Policy outlines will be contacted by the department; persistent offenders will be withdrawn.  Students are also expected to follow protocols which are conducive to a pleasant learning environment.  This includes respecting peers and tutors at all times and regarding the lecture and seminar/tutor rooms as a workplace on a par with that of a professional or commercial location.  In this respect mobile phones should not be used for text messaging or making/receiving phone calls, personal social media or anything unconnected with content during the lecture/seminar period for this module; phones should be switched to silent mode; headphones should not be worn during tutor-led sessions.  Students should also leave the lecture and seminar rooms tidy, putting all rubbish in the bins provided.

Students can expect a level of tuition which provides the basis for understanding the key concepts of historical fashion relevant to their contemporary practise as well as study skills to interpret those concepts through the written word.  Submission of all coursework will be electronic through Turnitin, accessible under the heading of Module and Assessment Information on the Moodle Homepage.  Problems with submitting to Turnitin should be directed to IT Ext 2468 in the first instance.  If the problem persists or cannot be resolved, students should contact The Hub.                                                                  

MODULE AIMS

In this module students will learn how to interpret fashion through historical, cultural and social approaches and to relate it to the contemporary.  The module will investigate themes which will enhance the knowledge of students in Fashion Design, Textiles and Marketing by addressing areas relevant to their programmes and provide a contextual background to their understanding of fashion.  Students should remember that this is a generic module and the taught content has been chosen to provide knowledge to students on all three programmes.  It is up to students to determine the relevance of these subjects within their own programmes.  There will be an introduction to theories which will provide depth and meaning, related to the topics under investigation.  During the course of the module students will be taught the necessary study skills to enable them to learn how to analyse fashion and situate it within a variety of contexts.  They will also be taught the conventions of academic English written language and the scholarly apparatus with which to achieve it.

MODULE LEARNING OUTCOMES

Knowledge

1. Identify significant developments/phenomena within the fields of art and design that reflect information from provided learning resources and external resources, both primary and secondary.

1. Demonstrate appropriate academic integrity, avoiding plagiarism and/or collusion and/or other forms of academic misconduct, but use of citation and reference as appropriate for the degree subject, using their own academic voice.

Thinking skills

1. Express a range of ideas through appropriate spoken, recorded and written English, demonstrating understanding of academic writing conventions and styles as specific to the subject discipline.

1.  Analyse and interpret research; design ideas generation and technical realisation in order to contextualise their own working process within the discipline of contemporary fashion.

Subject-based practical skills

1. Reference and utilise contemporary modes of presentation relevant to their practice in order to advance their own knowledge and application of graphic layout and visual narrative.

1. Use relevant information technologies to meet accepted conventions in written and visual communication

Skills for life and work (general skills)

1. Remain motivated and self-directed in order to meet clear deadlines, with regards to the presentation and submission of work for allocated feedback and assessment.

READING AND RESOURCES LIST

Core

Breward, C. (2003) Fashion, Oxford: Oxford University Press

Cottrell, Stella (2013) The Study Skills Handbook, 4^th Edition, Basingstoke: Palgrave MacMillan.

Cumming, Valerie (2004) Understanding Fashion History, London: Batsford.

Recommended

Bruzzi, Stella & Church-Gibson, Pamela (2000) Fashion Cultures: Theories, Explanations and Analysis, London: Routledge.

Craik, J. (1994) The Face of Fashion: cultural studies in fashion, London: Routledge.

Crow, D., (2010) Visible Signs: An Introduction to Semiotics in the Visual Arts, AVA Publishing; 2^nd ed.

Davis, Fred (1992) Fashion, Culture and Identity, Chicago, London: University of Chicago Press.

Geczy, Adam & Karaminas, Vicky (2012) Fashion and Art, London: Berg.

Lambert, Susan (1993) Form follows Function? Design in the 20th Century, London, V & A.

Pears, R., and Shields, G., (2004) Cite them right: the essential referencing guide, Basingstoke, Palgrave MacMillan.

Reynolds, Simon (2011) Retromania: Pop Culture’s Addiction to Its Own Past, New York: Faber & Faber.

Barnes, R. and Eicher, J. B., (1992) Dress and Gender: making and meaning in cultural contexts, Oxford, Berg.

de la Haye, A., (1996) Surfies, Soulies, Skinheads and Skaters, Woodstock: New York, Overlock Press.

Forty, A, (1986) Objects of Desire, Desire and Society since 1740, London: Thames & Hudson.

Lambert, S., (1993) Form follows Function? Design in the 20th Century, London, V & A.

McRobbie, A., (1999) In the Culture Society: Art, Fashion, and Popular Music, London, Routledge.

Nowell-Smith, G., 2000, ‘How films mean or, from aesthetics to semiotics and halfway back again,’ In: Gledhill, C., and Williams, L., Reinventing Film Studies, London, Hodder Headline. pp. 8–17.

Strinati, (1995) An Introduction to the Theories of Popular Culture, 2^nd ed. London, Routledge.

Woodham, J. M., (1997) Twentieth Century Design, Oxford, Oxford University Press.

TEACHING SCHEDULE

CONTEXTUAL STUDIES 1: Fashion History in a Cultural Context

Fig.1

Siouxsie Sioux

(https://www.pinterest.com/pin/94927504620488639/)

FT4000 Fashion History

Module Leader: Dr. Kim Smith

Tutors: Lesley Robertson, Mandy Lall

Date and Time: Monday, 10-1pm

Rooms: Lectures – EB.2.44; Seminars: Grp1 EB.1.08; Grp2 DL3.12; Grp3 DL.3.14

Wk 1 2/10/17

Lecture:  Introduction to the Module.  11am – Discuss Learning Journal and Gibbs Reflective Cycle.  Academic Writing Session with Centre for Student Success.  Library Session with Simone Okolo.

Wk 2 9/10/17

Lecture: ARE OBJECTS DUMB? In this lecture we will learn how to draw out information from objects in order to establish a ‘biography’.

Reminder that this week students should be seeing their personal tutors in groups for tutorials.

Bibliography and Sources

Cumming, Valerie (2004) Understanding Fashion History, London: Batsford.

Prown, Jules David (1982) Mind In Matter: An Introduction to Material Culture Theory and Method in Winterthur Portfolio, 1st April, Vol.17(1), pp.1-19.

Steele, Valerie (1998) A Museum of Fashion is More than a Clothes-Bag’ Fashion Theory, Volume: 2 Issue: November, pp.327-335. Available at: http://www.tandfonline.com/doi/pdf/10.2752/136270498779476109?needAccess=true. Accessed: 8^th October 2017.

Taylor, Lou (2007) ‘Object Lesson – ‘To Attract the Attention of Fish as Little as Possible’: An Object-led Discussion of Three Garments, For Country Wear for Women, Made of Scottish Woollen Cloth, Dating from 1883-1908’ Textile History, 38 (1), May, pp.92-105.

Wk 3 16/10/17

Seminar:  Essay Writing Workshop.  Powerpoints for study skills.  Please bring in your ideas and essay drafts.

Bibliography and Sources

Cottrell, Stella (2013) The Study Skills Handbook (on students’ tablets).

Wk 4 23/10/17

Research Week.  Off Campus Visit to British Museum.  Time and meeting point to be posted on Moodle Homepage.

Bibliography and Sources

The British Museum http://www.britishmuseum.org/

MacGregor, Neil A History of the World in 100 Objects http://www.britishmuseum.org/explore/a_history_of_the_world.aspx

No classes this week.  Students should consider which object they will write about in CW2 and start drafting the Object Analysis Essay.  Follow the brief further on in the document and use the Study Skills Handbook to guide you through the researching, reading and essay writing skills. Students will have been given a copy as one of the free books on student tablets (the other is Christopher Breward’s Fashion).  Students should read Valerie Steele’s article (highlighted in blue above) which can be found in UEL’s library catalogue (Berg Fashion Library) as it will be needed for inclusion in the essay through quotation and paraphrasing.

Wk 5 30/10/17

Seminar: Group work on Object Analysis. Tutors will go through main points of presentation. Students are to bring in their own objects for analysis using 5W’s worksheet.  Group tutorials for essays.  Tutors to assist with content and structure.

Wk 6 6/11/17

Seminar group tutorials for essays.  Tutors to assist with content and structure.

Wk 7 13/11/17

Lecture: THIS OLD THING: The Meaning of Vintage.  In this lecture we will be looking at the concepts behind this term.

Bibliography and Sources

Barnard, Malcolm (2002) Fashion as Communication (2^nd Ed.), London/New York: Routledge.

Bromley, Ian & Wojciechowska, Dorota (2008) Very Vintage: the Guide to Vintage Patterns and Clothing, London: Black Dog Publishing.

Cassidy, Tracy Diane & Bennett, Hannah Rose (2012) ‘The Rise of Vintage Fashion and the Vintage Consumer’, Fashion Practice, Volume 4, Issue 2, New York: Berg pp. 239–262.

Cat in the Steel City (2013) How To Tell If Your Clothes Are Vintage. Available at: http://thesteelcitygirl.wordpress.com/tag/fashion/ [Accessed: 27^th October, 2014].

CG Style, ‘Hot Men in Plaid’ 17^th November, 2010.  Available at: http://corinagarciastylist.blogspot.co.uk/2010/11/hot-man-in-plaid.html [Accessed: October, 2014)

Cumming, Valerie (2004) Understanding Fashion History, London: Batsford.

Davis, Fred (1994) Fashion, Culture, and Identity, Chicago/London: University of Chicago Press.

Dyer, Lisa (ed.) (2006) Vintage Fashion: Collecting and Wearing Designer Classics, London: Carlton Books Limited. Reprinted 2009.

Egan, Timothy (1994) ‘Kurt Cobain, Hesitant Poet of ‘Grunge Rock,’ Dead at 27’, The New York Times. Available at: http://www.nytimes.com/1994/04/09/obituaries/kurt-cobain-hesitant-poet-of-grunge-rock-dead-at-27.html  [Accessed: 27^th October, 2014].

Macklemore & Ryan Lewis (2013) Thrift Shop Feat. Wanz (Official Video).  Available at: https://www.youtube.com/watch?v=QK8mJJJvaes&gl=GB&hl=en-GB [Accessed 27^th October, 2014].

McRobbie, Angela (ed.) (1989) Zoot Suits and Second-Dresses: an Anthology of Fashion and Music, Basingstoke/London: MacMillan Education Ltd.

This Old Thing: The Vintage Clothes Show, (2014) Channel 4.  Available at BOB, UEL Databases.

Wednesday15^th November at Rich Mix UEL Industry Aspiration and Achievement week. Details TBC.

Wk 8 20/11/17

Seminar:  Off Campus Visit Vintage shops in Shoreditch.  Time and meeting point to be posted on Moodle Homepage.  Few of the stores open before 11am so we will meet at 10.30am, divide into our three seminar groups and take the registers before heading off.

Bibliography and Sources

Brick Lane, London http://www.visitbricklane.org/

Wk 9 27/11/17

Lecture: Dress As Canvas Fashion and Art have a long intertwined history (Dr Sian Mooney tbc)

Bibliography and Sources

List used for this lecture tba.

Nota Bene: Object Analysis Essay to be submitted on Wednesday 29^th November by 3pm online.

Wk 10 4/12/17

Lecture: Invisible Threads: Women and Textiles This lecture looks at the historical associations of textiles to female producers and how gender has played an important part in the perception of makers.  Lesley Robertson will lead this session.

Bibliography and Sources

List used for this lecture tba by Lesley Robertson.

Wk 11 13/12/17

Lecture: COURT TO COUTURE.  This week’s lecture will look at the origins of fashion and the birth of couture up to the end of the twentieth century. Students will prepare for the following seminar presentation task.

Bibliography and Sources

Ash, Juliet (1989) ‘The Business of Couture’ in McRobbie, Angela (ed.)  Zoot Suits and Second-Dresses: an Anthology of Fashion and Music, Basingstoke/London: MacMillan Education Ltd.

Breward, Christopher (2003) Fashion Oxford University Press

Cumming, Valerie (2004) Understanding Fashion History London: Batsford

Elizabeth (1998) Cate Blanchett, Geoffrey Rush.  Directed by Shekhar Kapur United Kingdom: Gramercy Pictures.

Entwhistle, Joanne & Wilson, Elizabeth (eds.) (2001) Body Dressing Berg, Oxford: New York

Entwhistle, Joanne (2000) The Fashioned Body Oxford: Polity Press & Blackwell

Hershon, Eila, Guerra, Roberto & Lagerfeld, Karl (1987) The Story of Fashion Vol. I: Remembrance of things Past London: Phaidon (391.009033 STO)

Laver, James (1969/1988) Costume and Fashion: A Concise History London: Thames & Hudson

Veblen, Thorsten1899/1994 The Theory of the Leisure Class: An Economic Study in the Evolution of Institutions NY: Dover Publications

Wilson, Elizabeth (1987) Adorned in Dreams: Fashion & Modernity London: Virago

Wilson, Elizabeth & Taylor, Lou (1989) Through the Looking Glass London: BBC Books

The Secret World of Haute Couture, (2006) London: BBC

Wk 12 9/1/17

Off Campus Visit Balenciaga: Shaping Fashion Exhibition at Victoria and Albert Museum. Time and Meeting Point to be advised on the Moodle homepage.

Bibliography and Sources

The Victoria and Albert Museum, https://www.vam.ac.uk/

CHRISTMAS VACATION

Wk 13 15/1/18

Seminar: Group work.  Designer Research Presentations.  Students will present their findings on the designers they have researched.  This will be formatively assessed.

Bibliography and Sources

Wk 14 22/1/18

Lecture: Second Skins: The Spectacle of Speed and the Notion of Comfort in Sportswear

How did sportswear become part of everyday dress?  This will be examined through historical investigation and how it has evolved to the present day.  Androgyny and ambiguity are also examined through the body and dress in sport.

Bibliography and Other Resources

Arnold, Rebecca (2008) American Looks: fashion and the image of women in 1930s and 1940s New York London: I B Taurus

Craik, Jennifer (1994) The Face of Fashion London: Routledge

Handley, Susannah (1999) Nylon: The Manmade Fashion Revolution  London:Bloomsbury

Ligaya, Salazar (2008) Fashion v. Sport London: V&A

Miles, Steve (1998) Consumerism as a Way of Life London: Sage

O’Mahoney, Mary & Braddock, Sarah (2002) Sports Tech: Revolutionary Fabrics, Fashion and Design London: Thames & Hudson

Wilson, Elizabeth (1987) Adorned in Dreams: Fashion & Modernity Virago:London

Wk 15 29/1/18

Lecture: Post War Youth Cultures: Smells Like Teen Spirit This week we will be looking at the birth of the teenager.

Bibliography and Sources

Eliot, T. S. (1948) Notes towards a Definition of Culture, London: Faber. Reprint, 1962.

Fogg, Marnie (2003) Boutique: a ‘60s Cultural Phenomenon, London: Mitchell Beazley.

Fowler, David (1995) The First Teenagers: the Lifestyle of Young Wage-Earners in Interwar Britain, London: Woburn Press.

Green, Jonathon (1998) All Dressed Up: The Sixties and the Counterculture, London: Pimlico.

Gordon, Rhona (no date) ‘Juke Box Britain: Americanisation and Youth Culture 1945-1960 by Adrian Horn’, University of Glasgow.  The Kelvingrove Review, Issue 4.  Available at: http://www.gla.ac.uk/media/media_134271_en.pdf.  Accessed: 12^th July, 2012.

Hall, Stuart & Jefferson, Tony (2006) Resistance through Rituals: Youth Subcultures in Post War Britain (2^nd Ed) London/NY: Routledge.

Hine, Thomas (2000) The Rise and Fall of the American Teenager, New York: Perennial.

Horn, Adrian (2009) Juke Box Britain: Americanisation and Youth Culture 1945-1960, Manchester/NY: Manchester University Press.

It’s the Age of the Teenager, (1958) British Pathé News.  Available at: https://www.youtube.com/watch?v=1QxsgoI74ss Accessed: 30^th January, 2015.

Look at Life: Swinging London, Middlesex, England: Rank Film Distributors.  DD Entertainment, 2005.

Quant, Mary (1966) Quant by Quant, London: Cassell.

Savage, Jon (2008) Teenage: the Creation of Youth Culture, London: Pimlico.

Teenage (2013) Directed by Matt Wolf, Oscilliscope Pictures.

The Spirella Corsetiere (undated) Available at: http://www.corsetiere.net/Spirella/Corsetiere/Fitter.htm Accessed: 9^th January, 2015.

Vogue, (1965) 1^st January, p112

Wk 16 5/2/18

Lecture: Post War Youth Cultures: Stop the Fashion System – From Teds to the Blitz Kidz.  Following on from last week’s lecture we will look at how teenagers differentiated themselves by forming subcultures.  Screening of Documentary: Rockin’ at the Ace.   Group work exercise: students to create an identity of an individual in a youth group.

Bibliography and Sources

Homeground: Rockin’ at the Ace, BBC2 (2002) presented by Ray Hough.  First shown on 26^th September 7.30pm.

Wk 17 12/2/18

Research Week/Paris Trip – NO LECTURE THIS WEEK.  Please use this time to start your essays (CW3) in reading and research.  Full list of questions and coursework brief are further on in the module guide.

Wk 18 19/2/18

Seminar Group Work:  Screening of Don Letts documentary on subcultures The Unique Story of British Music and Streetstyle.  Small groups of students to design a subculture/counterculture/digiculture using padlet.

Bibliography and Sources

The Unique Story of British Music and Streetstyle, Director, Don Letts, Vimeo.  Available at https://vimeo.com/52431977.

Bibliography and Sources

Wk 19 26/2/18

Lecture: Post War Youth Cultures.  PEACE, LOVE AND POT: Psychedelia and the Countercultural Children of the Sixties.  This week’s lecture will focus on the latter part of the 1960s and look at youth’s search for another version of alternative lifestyle and identity.

Bibliography and Sources

Calloway, Stephen (2000) Aubrey Beardsley London: V&A

Dean, Roger & Thorgerson Storm (1977) The Album Cover Album Limpsfield UK: Dragon’s World

Ettinger, Roseann (1999) Pyschedelic Chic USA: Schiffer

Gardiner, Juliet (1999) From the Bomb to the Beatles London: Collins & Brown

Green, Jonathon (1999) All Dressed Up: The Sixties and the Counterculture London: Pimlico

Grunenberg, Christoph (ed) (2005) Summer of Love: Art of the Psychedelic Era London: Tate Publishing

Hinton, James (1997) ‘Campaign for Nuclear Disarmament’ in Powers, Roger S., Protest, Power and Change, London: Taylor and Francis.

Miller, Timothy (2012) The Hippies and American Values, Univ. of Tennessee Press: Knoxville.

The Beatles Anthology (2003) Apple (DVD)

Zimmerman, Nadya (2008) Counterculture Kaleidoscope USA: Univ of Michigan Press

Wk 20 5/3/18

Lecture: DRESS SPEAKS VOLUMES: The Influence of Music on Fashion.   This week’s lecture will look at how music became an influence in the way the young dressed and the ambivalent sexual identity of rock music.

Bibliography and Sources

50s Brittania. 1. Rock ‘n’ Roll Britannia, BBC4 (2013).  First shown 9pm 17^th May.

All the Young Dudes: Pop and Fashion London: BBC4 (2009) DVD off-air recording.

Bruzzi, Stella & Church Gibson, P. (eds.) (2000) Fashion Cultures: Theories, Explorations and Analysis London: Routledge.

Dancing In the Street (1998) London BBC Vols. 1-3 (781.42166/DAN).

Gorman, Paul (2001) The Look: Adventures in Pop and Rock Fashion London: Sanctuary.

McRobbie, Angela (1994) Postmodernism and Popular Culture London: Routledge.

O’Brien, L. (200) She Bop II: The Definitive History of Women in Rock, Pop and Soul London: Penguin.

Tulloch, Carol (2004) Black Style London: V&A.

Wallenfeldt, Jeff (2013) The Birth of Rock & Roll Music in the 1950s through the 1960s, Chicago: Britannia Educational Publishing.

Wk 21 12/3/18

Seminar Group Essay Tutorials/or Exhibition? Tba.

Wk 22 19/3/18

Lecture: The Marketing of Fashion – From Counter to Computer. This week’s lecture will look at the way shopping has changed over the Modern Period.

Bibliography and Sources

Adburgham, Alison (1981) Shops and Shopping 1800-1914 London: Allen & Unwin

Bowlby, Rachel (2000) Carried Away: The Invention of Modern Shopping London: Methuen

Breward, Christopher (2003) Fashion Oxford University Press

Breward, Christopher (2004) Fashioning London: Clothing and the Modern Metropolis Oxford: Berg

Fogg, Marnie (2003) Boutique: a ‘60s Cultural Phenomenon, London: Mitchell Beazley.

Look at Life: Swinging London, Middlesex, England: Rank Film Distributors.  DD Entertainment, 2005.

Rappaport, Erika, Diane (2000) Shopping for Pleasure: Women in the Making of London’s West End Oxford, Princeton: Princeton University Press

Williams, Rosalind (1982) Dream Worlds: Mass Consumption in Late Nineteenth Century France   University of California Press

EASTER VACATION

Wk 23 9/4/18

Seminar: Group work: to create a shop window. Powerpoint presentation to discuss how to create a shop window and groups will start work on it.  Melanie Plank and Kent Le will judge the winning windows.

Wk 24 16/4/18

Seminar Tutor Group Essay tutorials.

Deadline 23rd April Coursework 2 and 3.  Submit online through Turnitin by 3pm.

HEALTH AND SAFETY GUIDELINES / LAB, STUDIO OR WORKSHOP PROTOCOLS (where relevant)

All off-campus visits to galleries and museums will be covered by UEL Risk Assessment Forms.

ASSESSMENT

All coursework will be submitted online through Turnitin by the given times and dates above.

CW1 – Illustrated Learning Journal (50%)

The illustrated Learning Journal should demonstrate an investment of 105 practice hours independently achieved by the student and as 50% of the overall mark of the module should be an equivalent to 3000 words through written text and annotation of illustration.  The Journal should be neatly and academically presented and submitted online through Turnitin where feedback and mark will be given.  It will follow Gibbs Reflective Cycle for structural content.  The Journal entries must be dated and regularly spaced throughout the course of the academic year – this is a continuous process which should enable students to reflect on their learning.  Students should include write ups of elements of the various lectures and seminars which they feel particularly pertinent; they should include research notes and images for both parts of CW2; they should include images and notes on any visits made to galleries, museums and other places of interest and relevance to their research on this module.  The Journal should have a title page with all the relevant information as listed below for the CW2 component (first bullet point).  The Journal should include references to all sources used and the Action Plan section in particular should include an academic resource set out according to Harvard referencing conventions together with an explanation of its value as follow up research.

CW2 – Essay Object Analysis (15%)

CW2 is a 1000-word essay on the above and is an assessment of students’ ability to observe and analyse a man-made/physical object of their choice, using the research skills learned in the module.  Students’ essays should contain the following: –

• Front sheet with clear labelling of Student Name, Number, Coursework component and title ‘Object Analysis’, submission date and word count.
• An image/photograph of the chosen object, properly annotated and referenced
• Essay must follow the theoretical model (McClung Fleming) and demonstrate the use of the ‘5 W’s’
• Include some comparative images of relatable objects
• Include reference (quotation and paraphrased discussion) to Valerie Steele article set out using Harvard referencing system
• Bibliography which should include all sources used (a minimum of 3 required) excluding those used for images.

Students will need to access Valerie Steele’s article in Fashion Theory journal* using the UEL library online journal database (Berg Fashion Library) and quote at least once from it (elements may also be paraphrased) and this must be appropriately referenced using Harvard.  Images must be fully annotated and referenced using Harvard.  All sources used (whether for images or in-text citation) must be set out in a bibliography at the end following Harvard conventions.  The essay must use double line spacing and 12pt font (Calibri has the greatest legibility).  The word count must be achieved; if it does not, it will be penalised or may even fail if it is too low.  Equally, if the word count exceeds by too much it may incur penalties.  The essay will be submitted via Turnitin and marked with feedback on-line.

*Please click on the link in the bibliography attached to Week 2’s lecture.  Steele’s article can no longer be accessed through UEL’s database list; however, with this link you will be able to access it from the internet and Taylor and Francis’s website, using the institutional access (University of East London) and your username/password.

CW3 – Essay (35%)

CW3 will take the form of a 2000-word essay.  Students will choose ONE of the questions from the list below to answer and follow the guidelines: –

• Front sheet with clear labelling of Student Name, Number, Coursework component, question number and full question title, submission date and word count.
• Properly and logically structured academic style of writing, with an introduction, main body and conclusion, followed by a bibliography that contains a minimum of 3 texts (apart from those sources included for illustrations). At least one of these texts must be an academic/theoretical source and should be evident in the essay, through discussion and/or quotation.
• Images which are fully annotated, referenced for source and referred to in the text; of a good size and quality, set on separate pages to the text of the essay.
• Double line spaced and 12pt font (as suggested above) with points arranged in clear paragraphs.
• Introduction should set out what the subject matter is and how it will be addressed (issue and theories raised)
• Main body of discussion to analyse rather than simply being a factual, historical and descriptive account
• Conclusion should not include any new material but summarise the main points of the essay and evaluate the findings.

Students will have already been prepared through the teaching of academic conventions in writing, presentation and submission practises.  Submission will be online through Turnitin and written feedback will be available online on the essay.  Penalties for failure to comply with word counts will be enforced as above.

“Notice is hereby given that all submissions for components CW1, CW2 and CW3 of this Module must be submitted to Turnitin.”  If you fail to submit component CW1, CW2 and CW3 to Turnitin, in accordance with the guidance provided on the Virtual Learning Environment (Moodle), a mark of 0 will be awarded for the component.”

ESSAY QUESTIONS FOR COURSEWORK 3

1. Is Fashion exclusively a phenomenon of western capitalist societies? Using academic, theoretical sources to back up your argument, provide examples as evidence in order to demonstrate your points

2. Explain subcultural style, using a case study approach supported by subcultural theory. What is its relationship to mainstream dress and in what ways can it be assimilated by the wider society?

3. Describe the history of haute couture. What role does it play in the fashion industry today?  Use a couture house or couturier to demonstrate your argument.

4. The 19^th Century Department Store changed the way society consumed goods. Trace the development of either a large department store, the boutiques of the 60s, a contemporary designer fashion store, a street market or online retailers and consider these changes in terms of shops and shopping.

5. Sportswear has become an integral part of everyday dress. Using one or two examples to illustrate your discussion, demonstrate how and why certain items of sportswear have become fashion items.

6. How have smart textiles affected the nature of sports and general clothing? Outline when they were first introduced and what improvements have been made by their use?  Choose either an item of general clothing, a sport or a textile to demonstrate the relationships and innovations.

7. What is vintage fashion? Consider carefully the suggested definitions by various writers quoted in the lecture as well as keywords such as retro, pastiche, nostalgia and history to argue this idea, using an outfit or item of clothing as the example through which to discuss it.

8. Throughout 20C art and fashion have had a close working relationship. Describe the result of this combination either through the union of artist and designer or through the work of one of the current ‘fashion artists’ and consider the issue of consumption by society.

9. Make a detailed examination of a couture craft such as shoemaking, embroidery or millinery and discuss through examples how it would have been used to complete a fashion look.

10. Clothing and dress are an important part of how popular music functions. Show how a certain type of music produces a particular style of dress, using a case study approach.  How far does the issue of gender influence its appearance?

11. Discuss the work of an individual couturier/textile designer and the influence of the fashions they created, on society.

12. The 1960s was an important revolutionary cultural period. Analyse the impact it had on one area of fashion/design (such as the Space Race, Youthquake or counterculture) with particular consideration as to the causes.

13. Choose a fashion from an historical period and analyse it in terms of class, race or gender (or any combination of the three). You will need to consider societal issues related to the period of the chosen costume.  Use academic texts and images to support the discussion.

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STUDENT FEEDBACK

1. Feedback from previous students who have taken the module

1. Opportunities for student feedback on the module including end of module survey, and any mid-module feedback where relevant.

APPENDIX A: Module Specification

APPENDIX b: relevant key forms

To include for example

• project proposal form
• project supervisor allocation form
• ethics form
• record of supervision form
• health and safety form