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Clothing and society
Effect of fashion on society
Clothing and society
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John Berger’s The Suit and the Photograph focuses on and analyses the work of August Sander, a German photographer. Sander was trying to find people from every type, job, social class, sub-class, vocation, and privilege, and make portraits of them. Berger goes on to examine and analyze three of Sander’s photographs. He goes in-depth explaining how what they’re wearing, more specifically, their suits, affects their overall appearance and assumed social class. He later goes on to explain how the suit’s comfort and classiness makes it appealing to many social classes, resulting in a class hegemony when many member of different classes started wearing suits.
John Berger’s writing style was very easy to follow, the “anatomy” of the article flowed
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He praises it for how much descriptive information the picture contains, “There is as much descriptive information in this image as in pages by a descriptive master like Zola.” Despite saying this Berger only wants to focus on their suits. He describes how the suits alter their appearance and apparent social class by a large amount. Berger wants the reader to perform an experiment by blocking the heads in the photos and examining their bodies and then vice versa while observing the different impressions they give. When you block the faces of the musicians they look, “uncoordinated, bandy-legged, barre-chested, low-arsed, twisted or scalene.” That changes when you block their bodies and look at their faces, they just look like five country men who like to make music. He also describes how much, “tailored clothes, instead of deforming, preserve the physical identity and therefore the natural authority of those wearing them.”
Berger then switches focus to a photograph of four Protestant missionaries in 1931. He focuses on their suits which are well tailored – enhancing their physical presence. The examination of these photos leads to Berger’s larger point of class hegemony. He explains that most peasants are physically strong and well-developed. They have developed these features from years of hard, manual labor beginning at an early
Davis addresses various important factors in a peasant’s life. She highlights many components of peasant society, including their social classes and how their society values property in different ways. Davis also includes the peasants’ culture. She elaborates on the importance of children and the consequences of not being able to produce children. She also explains typical marriage procedures and customs. Lastly, Davis talks about some of the laws and common uses of the judicial system by peasants. By incorporating these factors into her book Davis is successful at recreating life for peasants in France during the sixteenth century.
This shows the importance of appearance in this time period. It was typical for wealthy women to dress so elegantly at parties or other social events. This description of attire also shows, to some extent, the practice Mrs. Hammond used in the exaggerated display of her daughters.
Beaton’s most memorable pieces were taken throughout the 1930s. Although many of his personal opinions were far from elegant this was not evident within his work. He is known as one of the great photographers of high society. And was, as I believe responsible for recording the elegance, glamour and style of his time.
Coming out of the war, conformity was a major fashion rule throughout men with miserable and restrictive fashion choices on offer. There was also not many options like today when it came to buying clothes. When a man was at work, it was only socially acceptable for his to wear a suit in the shade of either charcoal, dark blue or brown. The suit had to be nicely fitted
The bottom part of the society included the peasants which made up 85% of the population, the peasants was divided into sub-classes, and these sub-classes involved the farmers, craftsmen or artisans and merchants (Hackney, 2013). The highest ranking of the peasants were the farmers, farmers who owned their own lands were ranked higher than those who did not. After the farmers, there were the craftsmen or artisans. The craftsmen or artisans worked word and metal and some of them became well-k...
In order to do so, they made an effort to get to know the peasants,
In chapter five of Suitably Modern, Mark Liechty discusses the action of “doing fashion” and how it affects the middle class and consumption in Kathmandu. Chapter five poses the question; what is new and what is not? This concerns the class distinctions and if modernization is actually occurring. The middle class in Kathmandu is claiming its own domain through clothing and ostracizing themselves. The author deems this action as adornment he defines it by stating, “It is used to set individuals and groups apart from some and to signal sameness”. Adornment can be a class distinction but also a gender role distinction. Women practice adornment to be indifferent in their relationships with men. For example women can chose to use flashier make-up which can distinguish a married woman from an unmarried woman. Liechty associates fashion with freedom. Film coming to Kathmandu quickly generated the modernization of fashion and consumption. Films exposed the residents to different types of fashion. Ultimately, the middle class wants its own cultural zone; through fashion and consumption it hopes to completely fit in with one another and still be distinct from other classes.
Social classes played a major role on what you dressed like in the 1920’s, just like they do now. The highest social class wore more expensive clothes averaging from 100-400 dollars. High class men wore expensive custom tailored suits. Women wore fur coats, silk evening gowns, and bow pumps. Just like today, we judge people based on what they wear. Women wearing these clothes, were often seen as the higher more rich class. Henry Ford is an example of a higher class male who wore expensive suits.
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....
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.
For many centuries clothing was used namely as a form of symbolising one’s ascribed class and social honour. A good example of this was evident in Feudal European times when sumptuary laws were created in order to regulate and specify the clothing that could be worn by certain classes. In 1463 Edward IV went so far as to ‘[declare] that purple silk was to be the prerogative of the aristocracy’ (Finkelstein 1991, pg. 137). As purple dye and silk were both very expensive and sought after this declaration demonstrated quite simply that those who were in possession of such materials should command respect and were of high social standing. Eventually these laws were abolished as, instead of ‘confining people to their designated rank, the laws provoked an intense interest in fashion and a desire to transgress the codes, both in the process of prestigious emulation and as an act of rebellion’ (Craik, 1994, pg. 205). This abolition allowed groups and individuals to establish their own chosen style or ‘marker’ in order to indicate their place within society. By allowing such freedom, ascribed social status gave way to that which was achieved. This not only meant that many more people were able to engage in the ever-expanding culture of ‘Haute couture’ but also that honour was no longer perceived as a birth right but rather as something that could to be obtained. Such a shift in symbolism provided a way for those of not so noble a birth to portray themselves as the latter through a variety of means such as renting or stealing clothes and buying counterfeit copies (a common occurrence in today’s society also).
Note (3) highlights the clothes worn by the boy and the man in the picture. The boy is dressed for school and the man is dressed in a suit for work. The suit implies a successful businessman (Na et al. 1999). This is an icon which implies he is from an upper-middle class social-economic categories AB1 (Dibb et al. 2006).
Georg Simmel explores the impact societal differentiation played on the 20th century, in the article Fashion, published in 1957 in The American Journal of Sociology, Volume LXII, Number 6. In this text he defines his theory stating “The elite initiate a fashion and, when the mass imitates it in an effort to obliterate the external distinction of class, abandons it for a newer mode- a process that quickens with the increase of wealth” (Fashion, p.541). Fashion connects those of a higher social class and segregates them from others. Simmel believes that fashion evolves from class differentiation, as members of the elite class seek to set themselves apart from other classes, and in turn a revolving cycle begins (Blumer, p.277). Members from other lower classes copy the elite’s fashion and with this the elite must change...
A time of exuberance and elaboration ushers in new patterns and cuts, along with creativity and fantasy which brought about a distinct societal issue called classism, as shown by European fashion trends. The style of Baroque is “characterized by formal redundancy, by the complexity of patterns, by the eccentricity of decorations, and by the textile sumptuousness” (vogue.com). From light and airy tints, to deep and earthy hues, the coloration of clothes gave this extreme period emotion and depth that strikes the eye, even today. Classism is a major factor and restriction during this era, reflecting the attire an individual wears. Regarding child-like garb to the working class, public could distinguish rank. Furthermore, society can differentiate the church and the nobility’s superiority. In Baroque culture, your status was visually depicted by the clothing you were able to wear. Garments impacted civilization for the duration of the Baroque age, just as is does in society today.
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.