Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
An essay about fashion
An essay about fashion
An essay about fashion
Don’t take our word for it - see why 10 million students trust us with their essay needs.
The concept of fields is an important in Bourdieu’s theory. These ‘fields’ are referred to as the various social and institutional platforms which people use to express their positions and compete for the distribution of the different forms of capital. Each field has its own set of positions and practices, as well as its struggles for position as people mobilize their capital to stake claims within a particular social domain. Entwistle and Rocamora view the field of fashion as a platform for designer labels to be show case their designs in order to gain popularity. According to Bourdieu (1984) habitus refers to the deeply embedded, pre-reflexive capacities and competencies that are practical and embodied. It also refers to the physical embodiment of cultural capital, to the deeply ingrained habits, skills, and dispositions that we possess due to our life experiences. According to Entwistle and Rocamora (2006) to perform effectively within a field one needs to accumulate the appropriate the correct capital and master the field’s habitus. The manner in which models, journalists and A-lists present themselves physically through attire and gestures forms part of their habitus. Their attire gives others an indication of their social status. According to Bourdieu (1996) capital refers to the knowledge, skills and connections exchanged within a field in order to establish one’s position. According to Entwistle and Rocamora (2006: 742) fashion capital is specific to the field of fashion. Fashion capital in this context therefore includes economic, cultural social and symbolic capital. Having the economic capital gives one the means of attaining a front row seat where your social status is recognized. Entwistle and Rocamora suggest that s... ... middle of paper ... ...viduals from buying expensive clothing just for the sake of the designer’s name as not many people would be wearing these clothes. According to Cline (2012: 75) it’s all about the detail of the garment as well as the construction. With exquisite hand-made garments, one could expect it to be over priced, however, not many will be in possession of the garment as only a few are made. This proves that clothing is still a mark of social distinction and has not lost its social meaning as people are willing to spend in order to reaffirm their social status. Bourdieu’s theory is useful for thinking about the fashion industry today as his concepts of field, habitus and the different forms of capital can be used to examine the fashion and fashion trends in contemporary society. His theory can be applied to social institutions as well as behavioural patterns of individuals
Berry, Hannah. “The Fashion Industry: Free to Be an Individual.” The Norton Field Guide to
The Trickle-down theory, a well-known theory in fashion industry, has significant meaning in 19th to 20th century Europe. The American economist and sociologist, Veblen, published The theory of the Leisure Class by 1899, in which he discussed the split between the leisure class and the industrial class in the US critically. He concluded that leisure class treats dress as a sign of their status and possessions, furthermore, ‘Dress must not only be conspicuously expensive and inconvenient; it must at the same time be up to date’(Veblen 1994), by saying that, he refers to upper class was tend to create new fashion trend which was the top of the trickle-down theory. In the 20th century, Simmel, the German sociologist and philosopher, developed this theory further from a more sympathetic perspective. He drew much attention to sameness and difference amongst both classes in his book Fashion (Simmel 1973). The upper class gets self-satisfied and the proof of its priority by distinguishing itself from others, and working class follows the fashion trend which led by upper class in order to feel like he or she is ‘belonging to’ higher class. These opinions which were discussed by Veblen and Simmel were coined by a journalist in the mid-20th century, as ‘Trickle- down Theory’. During mid-18th to early 20th century, the trickle-down theory described the process of how fashion flows, and explains that fashion is a cultural and sociological phenomenon which includes the discourse of identity and uniformity, agency and structuralism. This phenomenon was not limited by geography, at the same period, in the other side of the world, similar situation happened in China which is a typical East Asian country....
It is interesting to consider Veblen’s theory of conspicuous consumption as it pertains to the modern day fashion industry, specifically the luxury fashion sector. In The Theory of the Leisure Class, Veblen said “we all find a costly hand-wrought articles of apparel much preferable to a less expensive imitation of it;” however, at the beginning of the 20th century, couture clothing was exclusively available to those who were very wealthy, simply because of how much the garments cost. By the mid-1930’s, businesses were beginning to change their ways of thinking after seeing the enormous profit that the Walt Disney Company received once they licensed the making of Mickey Mouse novelty items. Christian Dior was the first of many fashion designers to foll...
Present day social status, values, and activities are centered on the consumption of goods and services. Thus, for women to claim existence in later life, they must participate in consumer societal practices on bodily appearance. Bourdieu argued that for women and their physical appearance; the attention devoted, time and effort invested, and the awareness of product benefits, are proportionate to material expenditure. Older women’s self-presentation can be intrinsically linked to quantifiable conditions used for maintaining the youthful self. Moreover, economic and cultural capitals validate certain fashions, tastes, and practices, to align with the current social structures, endorsing notions of materialization and bodily
Shenkman, M. (2011). Bourdieu’s Theory and the Hipster in Society . Available: https://www.academia.edu/2007795/Bourdieus_Theory_and_the_Hipster_in_Society. Last accessed 12 April 2014.
Fashion has been around ever since ancient times, since the time of the Romans, it survived the world wars and is yet today a business with rapid changes. Fashion started off as an art form, a way for the rich to show their social status with unique and innovative designs that only they could afford. It was a way to separate the social classes of the society. In this paper I will include the creators of haute couture, and how the following designers developed couture, as well as leading names in today’s ready-to-wear industry. The list is long, but I chose to focus on the three most important designers in the modern fashion industry.
Lock, Simon. “Rewiring Fashion Week” The Business of Fashion. N.P., 27 September 2013. Web. 21 October 2013
Bourdieu’s theory of distinction, judgement, and taste are rooted in education and then secondly, familial economic class. Through exposure and experiences we develop culture capital, which is all about being in the know. The more exposure an individual has, the more they know about the world and therefore, the more culture capital they consume. As a result of having culture capital one has the ability to decipher different symbolic codes because they are aware of more context. A hipster has a very specific culture capital that diverges from the mainstream and is ever evolving because they constantly have to be in the know and consume the latest trends before it becomes popular. Then only people with certain cultural
Ryan, N. 2007. Prada and the art of patronage. Fashion Theory: The Journal of Dress, Body & Culture, 11(1), pp. 7-23.
Paul Poiret was born on April 20th, 1879 in Paris, France. His contributions to twentieth-century fashion has earned him the title in many people’s eyes as the “King of Fashion”, because he established the principle of modern dress and created the blueprint of the modern fashion industry. Poiret’s designs and ideas led the direction of modern design history. He was born into a working class family and his natural charisma eventually gained him entry into some of the most exclusive ateliers of the Belle Époque. Jacques Doucet, one of the capital’s most prominent couturiers, hired him after seeing promising sketches he had sold to other dressmakers. Furthermore, he was hired by the House of Worth and was put to work to create less glamorous and more practical, simple items because his out of the ordinary designs were not welcomed in open arms by opulent clientele. Despite this experience he was still confident in his ideas and ventured out on his own with money barrowed from his parents and opened a storefront. Moreover, he wanted to promote of the concept of a "total lifestyle” was seen as the first couturier to merge fashion with interior design. His independent work broke the normal conventions of dressmaking, and overturned their underlying presumptions. He liberated the woman’s body from the petticoat and the corset to allow clothing to follow woman’s natural form. Poiret also radically revolutionized dressmaking to switch from the emphasis surrounding the skills of tailoring towards those based on the skills of draping and began to use bright colors. Furthermore, Poiret was apart of the art deco movement, which was surrounded by a period of immense social upheaval, particularly for women, and emergence of technol...
In the early 1800s, France was the sole fashion capital of the world; everyone who was anyone looked towards Paris for inspiration (DeJean, 35). French fashion authority was not disputed until the late twentieth century when Italy emerged as a major fashion hub (DeJean, 80). During the nineteenth century, mass produced clothing was beginning to be marketed and the appearance of department stores was on the rise (Stearns, 211). High fashion looks were being adapted and sold into “midlevel stores” so that the greater public could have what was once only available to the social elite (DeJean, 38). People were obsessed with expensive fashions; wealthy parents were advised not the let their children run around in expensive clothing. People would wait for children dressed in expensive clothing to walk by and then they would kidnap them and steal their clothes to sell for money (DeJean, 39). Accessories were another obsession of France‘s fashion; they felt no outfit was complete without something like jewelry or a shrug to finish off the look and make it all around polished (DeJean, 61). As designers put lines together, marketing began to become important to fashion in the nineteenth century; fashion plates came into use as a way to show off fashion l...
The act of consumption has been the primary means through which individuals in society participate and transform culture. Culture is not something already made which we consume; culture is what society creates through practices of everyday life and consumption involves the making of culture. When attempting to understand certain acts of consumption it is necessary to observe the relations involved in production and consumption. Through technological innovation, the fashion industry has been expanded to play a prominent role in consumers’ purchasing decisions and styles are becoming less difficult to obtain. With the expansion of department stores and shopping being viewed as a leisurely activity, this has continued to transform the act of fashion consumerism. The functional interests feature a rational attachment to clothing items. Symbolic benefits involve status and prestige to fulfill the achievement for positive self-esteem. Further benefits include a provided experience for the individual consumer and the created use of imagery and desire used to enrich one’s life.
His research and publications address environmental thought, cultural inquiry, philosophy of art and culture, holistic well-being, and, applied philosophy and ethics. His book Fashion Myths: A Cultural Critique, discusses advertisements of fashion, and fashion-related goods from a philosophic-anthropological perspective within a contemporary cultural context. In other words, understanding the thoughts of consumers when watching advertisements and making purchases. Understanding the matter from an anthropological perspective, as well as from a design perspective, allows for insight into the matter through an interdisciplinary approach, aiding in understanding the situation from both sides: designer and
To begin with, I shall look at what fashion is; it is a currently popular style or practice involving clothing, footwear or accessories. It mostly refers to the current trends in looks and dressing style of a person (Cumming 234). In most cases, fashion is confusedly related to costumes; when a person talks of fashion they are seen to mean fashion in terms of textile. Fashion is seen to originate from the Western world and it is copied by other places. In this paper, we shall look at how fashion affects lifestyles and the group of people who are affected most. The paper further investigates how media is used to transmit fashion from one region to the other. Although it has been seen to affect people’s lives many people have different perspectives on fashion and dressing.
Clothing has been around for thousands of years; almost as long as the modern human has. At first, it served the practical purpose of protection from the elements; but, as life for early humans stopped being a constant struggle to survive, they started noticing how they looked and the concept of fashion began to take shape. These first few garments were typically dyed draped cloth that was pinned at the shoulder and/or waist. This was seen in many ancient civilizations around the world, Greek and Roman the most notable. Over time, clothing began to get more and more complex and formed to the body’s shape, eventually leading up to the tailored style we now have today. However, the sophisticated world of Haute Couture; or high fashion, can distinctly trace its roots to Paris during the mid-19th century. Clothing from there was thought to be superior to those from anywhere else, and women began to come from all over Europe just to buy dresses. This was probably due in part to one notable dressm...