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An essay about fashion in french
An essay about fashion in french
Essays on feminism in fashion
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This week’s reading focus on changing gender roles in the 1950’s in culture, and political upheaval. In the African Girl for Paris, gender, and the role of a women shows a view of women to be under her husband and follow what he says. However, that did not really happen, and it appears that there is a change of gender given that African wife [name] does what she wants rather than her husband’s want her to do like domestic work. Ultimately, she leaves [why]. Then changing from the play is fashion which tells two stories of national culture, and anxieties over women’s work and mobility. During the social struggle, there was conflict over imaged public space, and this struggle falls on to the ideas of urban fashion for women. Fashion is a powerful
CoCo Chanel’s action of moving away from the older Victorian ideologies was a show of liberalism for women. The writer uses t...
Many parts of history show that the 1950’s was a time of great turbulence and unrest in both politics and social life. All this unrest was caused by major historical events, including the Red Scare/McCarthyism and the Cold War. However, although many aspects of life in the 50’s were in such disarray, gender roles were not one of those aspects. In fact, there was a very narrow, strict idea of what it meant to be a male and a female during this time. The following discusses what was considered proper gender roles in the 1950’s and how these roles vary compared to the gender roles portrayed in the 1955 movie, Rebel Without a Cause.
In the 1920's women's roles were soon starting to change. After World War One it was called the "Jazz Age", known for new music and dancing styles. It was also known as the "Golden Twenties" or "Roaring Twenties" and everyone seemed to have money. Both single and married women we earning higher- paying jobs. Women were much more than just staying home with their kids and doing house work. They become independent both financially and literally. Women also earned the right to vote in 1920 after the Nineteenth Amendment was adopted. They worked hard for the same or greater equality as men and while all this was going on they also brought out a new style known as the flapper. All this brought them much much closer to their goal.
Throughout the plays, the reader can visualize how men dismiss women as trivial and treat them like property, even though the lifestyles they are living in are very much in contrast. The playwrights, each in their own way, are addressing the issues that have negatively impacted the identity of women in society.
Due to the idealization of domesticity in media, there was a significantly stagnant period of time for women’s rights between 1945 and 1959. Women took over the roles for men in the workplace who were fighting abroad during the early 1940s, and a strong, feminist movement rose in the 1960s. However, in between these time periods, there was a time in which women returned to the home, focusing their attention to taking care of the children and waiting on their husband’s every need. This was perpetuated due to the increasing popularity of media’s involvement in the lives of housewives, such as the increasing sales of televisions and the increase in the number of sexist toys.
The 1950s was a time when American life seemed to be in an ideal model for what family should be. People were portrayed as being happy and content with their lives by the meadia. Women and children were seen as being kind and courteous to the other members of society while when the day ended they were all there to support the man of the house. All of this was just a mirage for what was happening under the surface in the minds of everyone during that time as seen through the women, children, and men of this time struggled to fit into the mold that society had made for them.
In the 19th century play, FASHION, Anna Mowatt develops the character plot as a contrast and comparison between being “natural” and “artificial in a world becoming preoccupied with fashion, and being fashionable. In the head notes, it was stated that Daniel Havens said FASHION is “the ugly image of the American Dream gone sour.” (Watt and Richardson) Fashion has a complex definition. The word ‘fashion’ can mean anything from the type of clothes you wear, how you communicate with others, the place you live, how you present yourself, or who you associate yourself with. In FASHION, Mowatt took a comical yet sober look at the definitions of “fashion,” applied it to real life in 1845, and through her characters, provides a mirror with which an audience/reader can evaluate themselves. I do not believe updating this play would be difficult because America has continued down the fast and destructive path in an effort to keep up with the “fashions” of the day.
The term “The Little Black Dress,” the fragrance “Chanel No. 5,” the Chanel suit with its soft, cardigan-like jacket and skirt, have become part of the timeless fashion vocabulary familiar to us all. From our perspective, these aspects of modern fashion hardly seem revolutionary, but Coco Chanel was a businesswoman who became successful by adopting fashion to the evolving role of women in a rapidly changing wartime society; her vision that left a legacy which endures to this day.
Jean Paul Gaultier finds a symbolic tension, which highlights the desire to emulate the clothing, and associated gender paraphernalia. He is often described as Frencher than French, the enfant terrible of French couture. This essay will expose reactions of ridicule and intolerance exceptional technique and ability to never confine to the norm, the ways he has shaped and challenged the conventional idea of fashion. The modes of male self-presentation will be shown with the consideration of each fashion collection. “Clothes don’t have a gender except those of function.” Discussion will investigate male self-presentation, Gaultier ability to tread the line between gender identity and cross-dressing, between provocation and originality. Fashion is full of outdated clichés, which no longer fit with the times.
Upon reading Naguib Mahfouz’s Adrift on the Nile, and viewing the film of the same title released in 1972, one will undoubtedly notice the stark contrast between the portrayals of women in each of these works. Critics like Ibrahim El- Sheikh and Pamela Allegretto–Diiulio have argued that by realistically depicting the social condition of Egyptian women, Mahfouz’s literature is protesting the country’s patriarchal society and challenging the notion that women are not equal to men. The novel is clearly in line with these criticisms. The women in the novel are depicted as strong, independent, intellectual and on an equal footing with their male counterparts. The film however, deviates wildly from these positive portrayals of women. The women in the film are shown for the most part as vapid sexpots. While Mahfouz did not write the screenplay, he held positions as the Director of Censorship in the Bureau of Art, as Director of the Foundation for the Support of the Cinema, a consultant to the Ministry of Culture, giving him a heavy hand in the final product of the film. Thus is safe to say that Mahfouz sacrificed the feminist message of his novel in the film adaptation, but to what end? The film takes on a more overtly political tone that the novel, yet takes leaps backward in its depiction of women.
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
Moseley, R. (2002). Trousers and tiaras: Audrey Hepburn, a woman’s star. Feminist Review, 71, 37-51. doi:0141-7789/02
In post-war Britain, the role of women was beginning to change from the social normality. In this era, it was suddenly expected of women to do the jobs their husband was unable to do, as they were out in war. Their roles in society shifted from housewife and domestic caregiver, to female factory worker. This proved somewhat positive as women discovered their strength and intelligence that had before been hidden under their oppression. It is in this era, fashion photography aimed to explore the independence and business side of a woman, while maintaining her femininity. To discuss the representation of women in a post-war society, I will specifically look at the works of Norman Parkinson, notably the image titled The Art of Travel.
N’Deye Touti, a young African woman, is initially enamored with the thought of any French fashions and has the goal of being a black Frenchwoman. She wants nothing to do with her own African culture. “She lived in a kind of separate world; the reading she did…made her part of a universe in which her own people had no place, and by the same token she no longer had a place in theirs.” (57). As an educated woman she sees value in the French culture and is enamored with the idea of monogamist relationships, something that her polygamist African culture doesn't follow. N’Deye wants nothing to do with the strike and contributes very little to the efforts that her
This paper examines representations of women in the French fashion press during the final two years of the Directory period of the French Revolution, from 1797, the foundation of the first French fashion periodical published after 1793, to the coup d’état of Napoleon in November 1799. During the Revolution, dress became a highly contested issue. Certain women wore masculine Revolutionary symbols, like the cockade and Phrygian cap, to facilitate their participation in Revolutionary processes. Many saw the actions of these women as threats to masculine citizenship and there were reports of people violently removing such symbols from the bodies of the women who wore them. In 1793, the increased controversy surrounding the issue of dress forced