代写 GRAP2664 Fashion and Textiles

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    TEACHING PERIOD: Semester 1, 2016
    SCHOOL: Fashion and Textiles
    LEARNING MODE: Face-to-face and online; group work
    and independent study
    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
    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
    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.
    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
    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
    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
    •  Apply advanced theoretical and technical knowledge across the
    fashion discipline.
    •  ????????????????????????????????????????????????????????????????????
    as to apply your advanced skills for life-long learning and enable you
    •  Engage in research within the broader context of design, utilising
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    conceptual frame- works, evaluation of relevant issues and with
    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
    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
    TITLE: Critical Analysis
    DUE DATE: ? ? ? ???????????????????????????
    SUBMISSION TYPE:  Ongoing particpation through online
    discussion forum and in tutorials.
    WEIGHTING: 25%
    MODE OF ASSESSMENT: Summative Feedback
    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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    •  ?????????????????????????????????????????????????????????
    •  ??????????????????????????????????
    •  ???????????????????????????
    •  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
    •  ????????????????????????????????????????????????????????????????????
    •  ??????????????????????????????????????????????????????????????????
    studio practice?
    •  Are there any sources in the bibliography which might be useful to
    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
    substance.” Efrat Tseëlon
    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
    2. ?????? ?????????? ???????? ???? ????????????? ???????? ???? ??????????
    terms: homage, appropriation, ‘referencing’, pastiche and plagiarism.
    Then discuss the case of Brad Callaghan and Miley Cyrus at the VMAs
    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
    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.
    13. Discuss the masters of revolt and resistance as seen through menswear
    of the following two areas:
    •  Subcultures: the Spivs, Larrikins, Zoot Suiters, Teddy Boys, Mods
    and/or Rockers.
    •  Fashion Designers:? ????? ????? ??????????????????? ?????????? ?????
    ??????? ???? ???????????????????????????????? ???????? ?????????
    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
    20. ????????? ???? ???????? ?? ??????????? ??????????????????????????????
    responsibilities that emerging fashion designers should consider in
    their practice.

    代写 GRAP2664  Fashion and Textiles

    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.
    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
    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
    workplace practice where groups are responsible for their own processes
    shared by all members so it is important for contributions to be equitable
    and for issues to be addressed as they arise.
    You must complete a submission cover sheet for every piece of submitted
    work. This signed sheet acknowledges that you are aware of the plagiarism
    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.
    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
    date, you will need to apply for an extension or special consideration.
    Special consideration is an assessment adjustment for unexpected
    ?????????????? ????? ???? ???????? ????? ????????? ?????? ????? ?? ???????????
    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.
    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%
    •  Partial or incomplete work submitted 1 to 7 days late will incur a
    •  ??????????????????????????????????????????????????????????????????
    •  ????????????????????????????????????????????????????????????????????
    late penalty.
    •  ?????? ?? ???? ????? ????????? ?? ???????? ????? ???? ??????????? ???
    presentation, submissions after that time on the due date incur a 5%
    •  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 &
    •  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
    •  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:
    •  Jenkins, Richard, 2014, Social Identity (fourth ed.), London: Routledge
    •  Maynard, M., 2001, Out of Line: Australian Women and Style???????????????
    •  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
    2 08/03/16 How fashion genders (Andrea Eckersley)
    A discussion of how fashion constructs gender
    3 15/03/16 Dream the World Awake (Robyn Healy)
    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
    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
    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
    9 03/05/16 Crafting a designer (Andrea Eckersley)
    An exploration into how the making of fashion shapes a
    designer’s identity.
    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
    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.
    代写 GRAP2664  Fashion and Textiles