代写 GRAP2664 Fashion and Textiles

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COURSE BRIEF

TEACHING PERIOD: Semester 1, 2016

COURSE CODE: GRAP2664

SCHOOL: Fashion and Textiles

LEARNING MODE: Face-to-face and online; group work

and independent study

CREDIT POINTS: 12

COURSE CO-ORDINATOR: Liliana Pomazan: liliana.pomazan@rmit.edu.au

LECTURERS: Liliana Pomazan

Alex Sherlock: alexandra.sherlock@rmit.edu.au

Andrea Eckersley: andrea.eckersley@rmit.edu.au

FASHION STUDIES 3

THE BIG IDEAS: FASHION & IDENTITY

Identity is one of the most compelling and contentious concepts in the

humanities and social sciences. In psychology and sociology identity

is a person’s conception and expression of their individuality. As the

sociologist George Simmel famously stated this process often involves

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those around you. Fashion is central to this endeavour and therefore

becomes inextricably implicated in constructions and reconstructions of

identity in both empowering and oppressive ways.

Fashion Studies 3 ‘The Big Ideas’ builds upon your previous learning

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role fashion plays in the construction and transformation of consumer

and designer identities. Through a series of weekly lectures, readings

and tutorial activities you will critically engage with issues surrounding

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and authoritative understanding of your practice and motivations as

a designer. As such this course complements your learning in design

electives, studios, and Professional Practice courses.

1. COURSE DESCRIPTION

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to know ‘who’s who’ (and hence ‘what’s what’). This involves

knowing who we are, knowing who others are, them knowing

who we are, us knowing who they think we are, and so on:

a multi-dimensional mapping of the human world and our

places in it, as individuals and as collectivities.’

(Jenkins, 2008: 5, cf Ashton ).

Jenkins, Richard, 2008, Social Identity, 3rd Ed. Routledge, Oxon.

Simmel, George, 1957, Fashion, American Journal of Sociology, Vol. 62, No. 6, pp. 541-558

2. LEARNING OUTCOMES:

Upon successful completion of this course, you will be able to:

1. Situate fashion within a nexus of culture, history, politics and

economic change.

2. Develop an advancing ability to use theoretical and political

perspectives to critically evaluate 20th and 21st Century fashion

practices.

3. Communicate research outcomes to a professional and authoritative

standard, both independently and in collaboration with others.

In this course you will develop the following program learning

outcomes:

• Apply advanced theoretical and technical knowledge across the

fashion discipline.

• ????????????????????????????????????????????????????????????????????

as to apply your advanced skills for life-long learning and enable you

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• Engage in research within the broader context of design, utilising

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conceptual frame- works, evaluation of relevant issues and with

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3. ASSESSMENT TASK 1

ASSESSMENT BRIEF:

The Language of Fashion project is a four-week workshop that will

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fashion communication and analysis; from the authority of scholarly work

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event or exhibition as a focus you will use your primary and secondary

research skills to inform a 500 word article (with images) in a style of your

choice. This may include (but is not limited to) an academic article (i.e.

a review for an academic journal), mainstream article (i.e. magazine/

newspaper) or social media article (i.e. blog). A copy of the article will be

submitted through TurnItIn by midnight on the 27th March 2016.

TITLE: The Language of Fashion

DUE DATE: ? ? ? ??????????????????????????????

SUBMISSION TYPE: TurnItIn via Blackboard

WORD COUNT: 500 words (+/- 10%)

WEIGHTING: 25%

MODE OF ASSESSMENT: Summative Feedback

LEARNING OUTCOMES: 1 & 3

4. ASSESSMENT TASK 2

TITLE: Critical Analysis

DUE DATE: ? ? ? ???????????????????????????

SUBMISSION TYPE: Ongoing particpation through online

discussion forum and in tutorials.

WEIGHTING: 25%

MODE OF ASSESSMENT: Summative Feedback

LEARNING OUTCOMES: 2 & 3

ASSESSMENT BRIEF:

The Critical Analysis project will take place between weeks 1-7. Each week

you will evaluate a reading prior to the tutorial and share your comments

in the group’s online discussion forum. In small groups you will take

turns to lead a class discussion about each reading (1 reading per group).

Assessment will be cumulative and will be determined on the quality and

quantity of your participation when leading the class discussion and your

online personal comments between weeks 1-7. The following questions

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• ????????????????????????????????????????????????????????????????

credible)?

• ?????????????????????????????????????????????????????????

• ??????????????????????????????????

• ???????????????????????????

• To what extent have these aims been achieved?

• Is the article authoritative and convincing?

• If not, why might this be?

• Do you agree with the content of the article/chapter?

• If not, why not?

• How does the discussion relate to your own experience/fashion

practice?

• ????????????????????????????????????????????????????????????????????

chapter?

• ??????????????????????????????????????????????????????????????????

studio practice?

• Are there any sources in the bibliography which might be useful to

read?

Choose one of the following 20 topics to write your scholarly essay.

You may adjust an existing question or devise a question of your own in

consultation with your tutor. You must use images as evidence to illustrate

and develop your argument. Sources must be cited and referenced in

Harvard style.

1. ??????????????????????????????????????????????????????????????????????

accordance with your own interest in practices of fashion design or

consumption. You will realise that the statements are deliberately

broad and open-ended. These are by their very nature abstract -

this is, in part, a lateral thought exercise. There is no right or wrong

answer. This is about progress, exploration and consideration.

“It has become appallingly obvious that our technology has exceeded our

humanity.” Albert Einstein

“I have made this drawing several times – never remembering that I made it

before – and not knowing where the idea came from.”

Georgia O’Keefe

“What I do is concerned with the long term and yet fashion is cyclical. It is a

paradox but it doesn’t bother me. It’s always exciting to do a new collection.”

Rei Kawakubo

“Art has made us acutely aware of dress as symbol and of the workings of

apparel as a means of claiming beauty.”

Richard Martin and Harold Koda.

“It is a common cliché that the woman cares about appearance, that fashion

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substance.” Efrat Tseëlon

5. ASSESSMENT TASK 3

TITLE: Essay

DUE DATE: ? ? ? ???????????????????????????????

SUBMISSION TYPE: TurnItIn via Blackboard

WORD COUNT: 3,000 words (+/- 10%) excluding

bibliography and footnotes.

WEIGHTING: 50%

MODE OF ASSESSMENT: Summative Feedback

LEARNING OUTCOMES: 1,2 & 3

2. ?????? ?????????? ???????? ???? ????????????? ???????? ???? ??????????

terms: homage, appropriation, ‘referencing’, pastiche and plagiarism.

Then discuss the case of Brad Callaghan and Miley Cyrus at the VMAs

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3. Discuss the terms parody and pastiche in relation to the work of Karl

Largerfeld and Jeremy Scott.

4. ??????????????????????????????????????????????????????????????????????

or present examples.

5. Compare and analyse the fashion practices of the Australian designer

Beril Jents with that of her contemporaries, Germaine Rocher and

Hall Ludlow.

6. Situate and predict the value of Australian fashion design and

production within past, present and future global fashion contexts.

7. Discuss the major contribution of the American Diana Vreeland and

the Italian Anna Piaggi to fashion of the twentieth century. Compare

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8. ‘Art has the potential to elevate us beyond our daily experience’. In

an Australian and/or international context discuss the intersections of

Art as Fashion/Fashion as Art in the work of Hussein Chalayan and

Roberto Capucci or Flamingo Park (Linda Jackson and Jenny Kee) and

Romance was Born.

9. How has fashion emulated or interpreted performance art

movements? Select at least three design practices and investigate

their use of this art form.

10. Discuss, compare and analyse the ‘aesthetic of poverty’ coined by

curator Harold Koda in the work of the Japanese designers of the late

twentieth century.

11. Over the last two decades the media have claimed that the following

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Hussein Chalayan, Martin Margiela, Issey Miyake, Rei Kawakubo,

Yohji Yamamato, Alexander McQueen, Gareth Pugh. Consider two

of these designers and their individual fashion practices and discuss

whether this is an accurate summation of their aims.

12. Discuss the dandy and the male wardrobe of the Sixties’ Peacock

Revolution, especially as they have been expressed through popular

culture in London.

...CONTINUED

13. Discuss the masters of revolt and resistance as seen through menswear

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of the following two areas:

• Subcultures: the Spivs, Larrikins, Zoot Suiters, Teddy Boys, Mods

and/or Rockers.

• Fashion Designers:? ????? ????? ??????????????????? ?????????? ?????

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14. To what extent does fashion empower or oppress men/women today?

15. Discuss Jean Paul Gaultier’s fashion practice and the ways he

challenges gender identity and modes of male self presentation.

16. ?????????????????????????????????????????????????????????????????????

discuss the role of fancy-dress and masquerade in relation to identity

and transformation.

17. ??????????????????????????????????????????????????????????????????????

and consumption today.

18. ???? ??????? ????????? ????????? ??? ????????? ???????????? ?The

Presentation of Self in Everyday Life - 1959) to interpret consumer

experiences of fashion and clothing.

19. Discuss and analyse the ‘future of fashion’ from either a sustainability

or a technologically advanced position (include practitioners within

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20. ????????? ???? ???????? ?? ??????????? ??????????????????????????????

responsibilities that emerging fashion designers should consider in

their practice.

...CONTINUED

代写 GRAP2664 Fashion and Textiles

PARTICIPATION

The major learning experiences during this course involve lectures,

workshops and tutorials. It is strongly advised that you attend all sessions

in order to engage in the required learning activities, ensuring the

maximum opportunity to gain the competency.

GROUP WORK

In this course you will be completing some assessment tasks as part of a

group. Groups are responsible to arrange their own meetings and activities

outside classes (in learner directed hours), to complete their group

assessment. How you and your group plan, manage and communicate

with one another is part of the practical learning in this course. If there are

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each other in order to address them but if the problems are not successfully

resolved within a reasonable time frame, it is your responsibility to

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workplace practice where groups are responsible for their own processes

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shared by all members so it is important for contributions to be equitable

and for issues to be addressed as they arise.

COVER SHEET FOR SUBMISSIONS

You must complete a submission cover sheet for every piece of submitted

work. This signed sheet acknowledges that you are aware of the plagiarism

implications.

FEEDBACK

You will receive verbal (formative) and written (summative) feedback

by your teacher/tutor/lecturer on your work. This feedback also includes

suggestions on how you can proceed to the next stage of developing your

projects. Monitoring academic progress is an important and proactive

strategy to assist you to achieve your learning potential.

http://www1.rmit.edu.au/students/acadprogress

SPECIAL CONSIDERATION POLICY (LATE SUBMISSION)

All assessment tasks are required to be completed to a satisfactory

level. If you are unable to complete any piece of assessment by the due

6. ADDITIONAL INFORMATION:

date, you will need to apply for an extension or special consideration.

Special consideration is an assessment adjustment for unexpected

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adverse impact on your performance in assessment or prevent you from

attempting or submitting the assessment.Examples of circumstances for

which special consideration and extensions may be considered include:

serious physical or mental illness, death of a close family member, family

relationship breakdown, being the victim of a crime, sudden loss of

income or employment, severe disruption to domestic arrangements.

Special consideration is available on the understanding that it will be used

sparingly and only where genuine need is proven. If you wish to apply for

special consideration, follow this link for the procedure. www.rmit.edu.

au/students/specialconsideration

LATE SUBMISSION PENALTIES

Late submission or presentation of assessable work without an approved

extension will be penalised as follows:

• Complete work submitted 1 to 7 days late will incur a penalty of 5%

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• Partial or incomplete work submitted 1 to 7 days late will incur a

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work

• ??????????????????????????????????????????????????????????????????

• ????????????????????????????????????????????????????????????????????

late penalty.

• ?????? ?? ???? ????? ????????? ?? ???????? ????? ???? ??????????? ???

presentation, submissions after that time on the due date incur a 5%

penalty.

...CONTINUED

7. SUGGESTED READING:

• Barnard, Malcolm (ed.), 2007, Fashion Theory: A Reader, Routledge: London.

• Barnard, Malcolm, 2002, Fashion as Communication, London: Routledge

• Barthes, R., 2006, The Language of Fashion, London and New York: Berg

• ????????????????????Illuminations, London: Fontana/Collins

• Breward, C., 2003, Fashion?????????????????????????????????

• Black, Sandy, 2012, The Sustainable Fashion Handbook, London: Thames &

Hudson

• Craik, J., 2009, ‘Is Australian Fashion and Dress Distinctively Australian’,

Fashion Theory????????????????????????????

• Crane, D., 2012, Fashion and its social agendas: Class, gender, and identity in

clothing??????????????????????????????

• Davis, F., 1992, Fashion, Culture and Identity,????????????????????????????

• English, B and Pomazan L (eds.) 2010, Australian Fashion Unstitched,

?????????????????????????????????????

• Entwistle, J, 2015, The Fashioned Body: Fashion, Dress and Modern Social

Theory, London: Polity

• Evans, C., 2003, Fashion at the Edge, New Haven and London: Yale

????????????????

• Fletcher, Kate, 2015, The Routledge Handbook of Sustainability and Fashion,

Oxon: Routledge

• ?????????????????????????????The Presentation of Self in Everyday Life,

London: Peguin

• ???????????????????????????Subculture the Meaning of Style, Routledge:

London

• Jenkins, Richard, 2014, Social Identity (fourth ed.), London: Routledge

• Maynard, M., 2001, Out of Line: Australian Women and Style???????????????

Press

• Michael, C., 2003, Fashion Classics from Carlyle to Barthes, Oxford: Berg

• Negrin, Lewellyn, 2008, Appearance and Identity, Palgrave Macmillan: NY

• Polhemus, Ted, 2010, Streetstyle, PYMCA: London

• ??????????????????Adorned in Dreams: Fashion and Modernity, New Jersey:

????????????????????????

Week Date Lecture

1 01/03/16 Fashion and Identity - the big ideas (Alex Sherlock)

An introduction to social theories of identity and

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2 08/03/16 How fashion genders (Andrea Eckersley)

A discussion of how fashion constructs gender

identities.

3 15/03/16 Dream the World Awake (Robyn Healy)

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avant-garde fashion design practice.

4 22/03/16 Film: Women He’s Undressed (2015). Following

the recent exhibition at ACMI Gillian Armstrong’s

documentary explores the life of Australian costume

designer and three-time Oscar-winner Orry-Kelly.

4 27/03/16 Deadline: Assessment 1, Language of Fashion article,

by 12.00 midnight via TurnItIn.

5 05/04/16 Beril Jents: Post WWII Australian Fashion Practice

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couturière’ this lecture explores Jents’ identity as a

pioneering Australian fashion designer.

6 12/04/16 Australian Avant-Garde (Liliana Pomazan)

An examination of the independent,

contemporary practices of designers including

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7 19/04/16 The Postmodern Designer (Jane Morley)

This lecture considers the complexities of design

practice in a postmodern world through an exploration

of concepts such as appropriation and homage.

8 26/04/16 Subcultural Style and Youth Rebellion (Liliana

Pomazan) An exploration of the motivations behind

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appropriation.

9 03/05/16 Crafting a designer (Andrea Eckersley)

An exploration into how the making of fashion shapes a

designer’s identity.

1. WEEKLY SCHEDULE

Week Tutorial

1 ??????????????????????????????????????????????????????????????????????

discussion forum.

Homework: Read article (TBC in class) and comment online.

2 Lecture discussion.

Grp 1 to lead class discussion on reading.

Homework: Read article (TBC in class) and comment online.

3 Lecture discussion.

Grp 2 to lead class discussion on reading.

Homework: Read article (TBC in class) and comment online.

4 Grp 3 to lead class discussion on reading.

Homework: Read article (TBC in class) comment online.

4 Mid Semester Break.

Homework: Choose an essay topic and start essay research.

5 Lecture discussion.

Grp 4 to lead class discussion on reading.

Homework: Read article (TBC in class) and comment online.

6 Lecture discussion.

Grp 5 to lead class discussion on reading.

Homework: Read article (TBC in class) and comment online.

7 Lecture discussion.

Grp 6 to lead class discussion on reading.

Homework: Continue with essay research.

8 Lecture discussion.

Essay research progress check.

Homework: Continue with essay research.

9 Library group study session.

One-to-one assistance with research and writing.

Week Date Lecture

10 10/05/16 The Sustainable & Ethical Designer (Jo Cramer)

11 17/05/16 What is Fashion? (Sean Ryan)

12 24/05/16 Film: Iris, 2014.

A documentary about fashion icon Iris Apfel from

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12 27/05/16 Deadline: Fashion Studies 3 Essay, to be submitted by

midnight via TurnItIn.

NB. Lectures and tutorials may be subject to change.

Week Tutorial

10 Essay plan discussion and feedback.

11 Library group study session.

One-to-one research and writing assistance.

12 Library group study session.

One-to-one assistance with research and writing.

Harvard referencing clinic.

Notes:

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代写 GRAP2664 Fashion and Textiles