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Influences in the fashion industry
Feminism influences the fashion industry
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The way we chose to dress can express our identities and according to Frith and Gleeson (2004), “men’s clothing practices [in particular] are an important and pervasive form of appearance management that reflects the continued monitoring of their visual selves” (p. 40). Christopher Berneck is a Caucasian gay male born and raised in Germany. At just twenty-three he has accomplished feats most people only dream of. He is a world-renowned figure skater and competed for Germany at the Sochi Olympics. In addition, he is a model who has worked for Ford models and has done ads for fashion retailers including ZARA. Now he studies fashion communication at Ryerson and will be on Canada’s Next Top Model in the fall. Fashion has always played a large role in Chris’s life from a very young age. Being a gay male he often felt the need to fit in and not standing out as being too feminine despite his love for women’s fashion. He loves to mix and match women’s and men’s …show more content…
He purchased the bag in Paris in June and he has barely used it so it still looks brand new. The bag is from the Speedy line with the classic LV monogram pattern in a rich brown and caramel colour. The shape of the bag is rectangular with a wide boxy bottom and sturdy rectangle structure that begins to taper towards the top (Figure 2). The metallic pieces such as the lockable double zipper and fastenings are painted gold. There is an adjustable shoulder strap as well as rounded handles making the bag versatile for shoulder, crossbody, and hand carry. The bag itself is made of canvas, the lining is a soft cotton material, and the straps, handles, and trimmings are made of natural cowhide leather. In addition, the tab on the handle is monogrammed with his initials (Figure 3). There is a hidden zippered pocket inside the lining shell. The bag is 30 x 21 x 17 cm in size making it ideal for light travel as a carry on
Justice can be achieved through various processes and principles if applied correctly, similarly justice can also be denied through these same processes and principles. This is exemplified through the Andrew Mallard case (M v The Queen 2005 HCA 68), and the missing persons case of Kieffen Raggett (2007) which shows how the incorrect application of processes like police investigations and coronial inquests can lead to justice being denied. Furthermore, legal principles such as; the rights of the accused and victims, are instrumental in achieving justice as shown through the application of these principles within these cases. These processes and principles can fail due to prejudged conclusions, police corruption, human error and cultural barriers
In the article, “The Fashion Industry: Free to Be an Individual” by Hanna Berry, Berry discusses how for decades women have been told to use certain products and that if they used those products they would be beautiful. Women over the years have believed this idea and would purchase items that promised to make them prettier, thinner, smarter and even more loved. However, in reality it was never what they wore on their bodies that helped them be any of those things; but what it did help with was to empower women to become fearless and bold by what they chose to wear on their bodies as a form of expression.
In the 1997 article Listening to Khakis, published in the New Yorker, Malcolm Gladwell effectively paints a vivid picture of the thought and science that goes into advertising campaigns. Gladwell begins his paper by focusing on the Dockers’ advertising campaign for their line of adult male khaki pants, which he labels as extremely successful. This campaign was the first line of successful fashion advertisements aimed directly toward adult males (Gladwell, 1997). This campaign was cunningly simple and showed only males wearing the pants being advertised with the background noise filled with men having a casual conversation (Gladwell, 1997). This tactic was used because studies showed that Dockers’ target market felt an absence in adult male friendships. (Gladwell, 1997). The simplicity of the advertisements was accentuated as to not to deter possible customers by creating a fashion based ad because, based on Gladwell’s multiple interviews of advertising experts, males shy away from being viewed as fashion forward or “trying to hard” (Gladwell, 1997).
As Entwistle eloquently claims, " it is through our bodies that we see and come to be seen in the world." By using the phrase "come to be seen in the world," Entwistle introduces how dress serves not only as an expedient for individual expression, but also as a mediator between our internal identity and social rules. Our performance of gender is coherent with what societal conventions define as the appropriate set of characteristics of a woman. This dual purpose of dress is manifest in the manner in which Jenner dresses her body: all attempts are made to exaggerate the feminine aspects of her body. For example, her satin corset drapes alluringly around her hips, accentuating the curvature of her hips. She employs significant cosmetics to further beautify her face in order to create a sensual aura. The emphasis on her Jenner 's aesthetics is in concurrence with the importance placed on a female 's looks. The aesthetic appeal is often one of the defining characteristics of a female. And thus, Jenner 's body is dressed in the way a female 's body should be dressed. In conclusion, Jenner 's dressed body plays a salient role in Jenner 's articulation and expression of her new feminine
Something people might frequently worry about is self-identity, and how to express who they are. When looking for an outlet to do this, the easiest way to show what kind of person someone is, clothes are usually the first choice: a black t-shirt with a cynical saying, or maybe some skinny black jeans. Whether the advertising agencies created the personalities that come with clothes or took advantage of what was already there, clothes are often sold as something more than just clothes. Companies must ask how to convince consumers to buy their product instead of the competitors’, regardless of price difference. Particularly Levi’s jeans, a 150+-year-old American business, has been trying different approaches to packaging the type of consumers that buy their jeans.
“Boys will be boys, and girls will be girls”: few of our cultural mythologies seem as natural as this one. But in this exploration of the gender signals that traditionally tell what a “boy” or “girl” is supposed to look and act like, Aaron Devor shows how these signals are not “natural” at all but instead are cultural constructs. While the classic cues of masculinity—aggressive posture, self-confidence, a tough appearance—and the traditional signs of femininity—gentleness, passivity, strong nurturing instincts—are often considered “normal,” Devor explains that they are by no means biological or psychological necessities. Indeed, he suggests, they can be richly mixed and varied, or to paraphrase the old Kinks song “Lola,” “Boys can be girls and girls can be boys.” Devor is dean of social sciences at the University of Victoria and author of Gender Blending: Confronting the Limits of Duality (1989), from which this selection is excerpted, and FTM: Female-to-Male Transsexuals in Society (1997).
In “The man behind Abercrombie and Fitch.” An interview conducted by Benoit Denizet-Lewis displays a glimpse into the life of Mike Jeffries and his views of his company only hiring “good-looking” people and targeting “good-looking” people to wear his clothes. This has been done in order to force his audience to recognize that the issue of acceptance one’s peers and exclusion of a community mentioned by Mike Jeffries, is a result of cultural perceptions and individual self-image. Denizet-Lewis skillfully shows that while Jeffries remarks of not wanting the “not-so-popular” kids to shop in his stores, it poses a question to consumers asking what change in our attitudes will come or if there will be any change at all. Thus comes the issue of how consumers today have a shift in the reasoning behind why one buys clothing and the motivating factors that influence one to buy certain clothing. Denizet-Lewis also demonstrates the different messages that controversial advertisements and statements affect different groups of people and how what they project is really what people desire, though deemed by many people as unacceptable or inappropriate. The author also examines how in the news media, the image has become more important than the message and how images have taken precedent over actual issues and character. As a result of this, various communities have formed by the construct of selling to “beautiful people” and how popular appeal has become an extension of a person.
56). Despite the origin of the word cosplay, cosplay is largely thought of as directly inspired by Japanese popular culture (Okabe, 2012). Many of the conventions that these cosplayers attend, also known as ‘Cons’ for short, began popping up in many cities in the United States in the 1990s (Pollak, 2006). Currently, conventions are held in around 30 states in the United States (Leng, 2013, p.90). As popularity for these conventions grow, more and more people have started to participate in the act of cosplay (Leng, 2013, p.90). With the emergence of cosplay trends such as gender-bending, cross-playing, and mashups it is interesting to look into how traditional expressions of gender roles and identity are undermined in the cosplay community. In this paper, I plan to investigate the relationship between gender roles, gender identity and gender expression through participation in
Story: Andrew Bedner is an American man at the center of bioethical controversy regarding the rights of parents to make medical decisions for children they have allegedly abused
...ction remarked, “Garments don’t have gender. Express yourself!” “Your image is a game, be fluid and free!” “Be yourself!” “You have a number of faces, just like a Picasso.”
It compares and contrasts the “physical view on masculinity” as it has changed over the centuries in relation to society’s views on it. In her article, Bordo explains, “Attention to beauty was associated not with femininity but with a life that was both privileged and governed by exacting standards… By the end of the nineteenth century, older notions of manliness premised on altruism, self-restraint, and moral integrity – qualities that women could have too – began to be understood as vaguely ‘feminine’… ‘Homosexual’ came to be classified as a perverse personality type which the normal, heterosexual male have to prove himself distinct from.” (402) Bordo goes on to explain how in the twentieth century the homosexual community has greatly influenced social discourse through developing the way models pose. In turn, this discourse has shaped the way male bodies are portrayed both in advertisements and within our culture, and broken the idea that all male bodies need to be portrayed in a strong and masculine fashion. In her article, Bordo uses a surfeit of anecdotes to typify pathos, several accounts of logos, and ethos to show the adaption that has taken place in the masculine advertising
In the essay “Beauty (Re)discovers the Male Body,” author and philosopher Susan Bordo discusses the history and current state of male representation in advertisements. While using her feminist background, Bordo compares and contrasts the aspects of how men and women are portrayed in the public eye. She claims that there has been a paradigm shift the media with the theory that not just women are being objectified in the public eye, but also men too. Since the mid-1970s, with the introduction of Calvin Klein commercials, men have started to become more dehumanized and regarded as sex symbols. In a similar fashion to how Bordo describes gender, race plays a similar role in the media. People of all different ethnicities and cultures are being categorized into an oversimplified and usually unfair image by the media over basic characteristics.
Garber, Marjorie. Vested Interests: Cross Dressing and Cultural Anxiety. New York: Routledge. 1992. 21-41, 211-215.
Fashion plays an important role in the lives of billions all over the world; people, as part of a status craving society, turn to “fashion capitals” of the world for ways in which to dress and carry themselves. New York, Milan, and Paris are leaders among this fierce industry that the world lusts after. Fashion can speak volumes about ones personality, or also about the condition the world is in at the time. In France, fashion changed rapidly and feverously as the times changed.
There have been many instances where I am stopped and commented on what I’m wearing. Depending on a single item of clothing, I am either a “certified hippie”, “lesbian”, or “law student”. This has brought me to raise an important social question: How have fashion and advertising built identity stereotypes? Stereotyping can have a strong and negative impact on a person, especially younger generations that are now at an influential stage in their mental development. By subjecting them to these stereotypes based on what they wear, they may begin to think of and see themselves as society claims, rather than who they are or aspire to be. By conducting further research on stereotyping in fashion designs through their advertisements, the aim of this research is to understand the history and social ideas behind fashion. By thoroughly understanding the problem, a solution would be easier to reach. In order to gain further insight on the matter, two practitioners have been selected: Dr. Rebecca Arnold and Dr. Roman Meinhold.