Annotated Bibliography: Blog
Student Number: 18035911
M.A. Fashion Design
1. Arvanitidou Z. (2019) ‘Fashion, Gender & Social Identity’, published by University of the Aegean
I chose this article because it was published by the University of Aegean due to it’s high quality. It’s about how fashion symbolises changes and transitions in cultures. It discusses how these phases must be captured and displayed. It also brings to light the increasing fluidity of gender identity in society at the moment. This is something that really intrigues me because since from the Tudor times, for instance, men wore tights, tunics and wigs. Then, in the 1980s, it was becoming cool for men to have a sensitive, nurturing edge to their personality. This still exists today, I believe, as gender roles are increasingly becoming more equal.
2. Bailey S. (2014) ‘Visual Merchandising For Fashion,’ Bloomsbury Pub. (P.148)
Sarah Bailey has been a course director of the B.A. Hons. Fashion Visual Merchandising & Branding Degree Course at the London College of Fashion. Through reading this book, I admire her views very much. Diversity, in my opinion, is starting to be celebrated in some fashion adverts but I personally feel much more work needs to be done in the future to make all women feel good. It is important, in my view, to see things from everybodies perspective and how to help boost all women’s self esteem through what they wear.
3. Bowles M. (2009) ‘Digital Textile Design’, Laurence King Pub. (P.164 – P.165)
Melanie Bowles, who has been a Senior Lecturer in Digital Textiles at Chelsea College of Art & Design, has discussed in ‘Digital Textile Design’ another lecturer in Textile Environment Design (TED) in much detail. She reflects upon the work of award winning Rebecca Earley, who prints textiles for her own brand B. Earley. I was particularly intrigued by the fact that Rebecca has created handcrafted prints and then converted them into digital prints. This is most definitely something I intend to do in my work. I have in the past couple of years had much experience in creating hand crafted prints and now is the time, as I have access to the facilities at university, to develop the designs digitally and then digitally print them to see alternative effects. It’s also much more practical to digitally manipulate fabrics rather than handcraft fabrics, which require more delicate washing.
4. Braddock, S.E. (1998), ‘Techno Textiles’, Thames & Hudson Pub. (P.166)
Sarah E. Braddock has been a lecturer in textiles at Goldsmiths College, University of London. She discusses various ways in which computer programs can enhance fabrics through creating patterns, weaving etc. I was particularly interested in what she had to say about digital printing, as this is an area where I am developing my skills at the moment. I find it useful to listen to other people’s opinions, in order to help formulate my own.
5. Breward C. (1995) ‘The Culture of Fashion’, Manchester Uni. Press Pub. (P.232)
This author addresses late twentieth century fashion, discussing the decades and relevant designers in much detail. Even though the article was published over 10 years ago, it discusses the 1960s and the 1980s fashion trends and designers very well. This book is relevant to my research because it discusses Zandra Rhodes, a textile designer, who I admire and have been to her exhibition in London recently. During the late 1960s, Zandra Rhodes was well known for her bohemian and street styles in London. During the 1980s, her 1981 ‘Elizabethan Collection’ was influenced by 18th century court dress, as well as the club life and popular music of the time. Within my own work, I like to place a strong emphasis upon the patterns of the fabric, as well as the actual silhouette of the garment. This is why Zandra Rhodes inspires me so much.
6. Connikie Y. (1990) ‘Fashions of a Decade, the 1960s’ B.T. Batsford Ltd. Pub. (P.5)
This author explains how the 1960s fashion became split, depending on age groups during the 1960s. Young people had more money, which meant that they had independence and freedom to buy their own clothing. Pop music became huge and bands such as ‘The Beatles’ had an impact upon fashion. Mary Quant launched the mini skirt, taking advantage of the rapidly changing society. Twiggy, a famous model of the time, was stick thin and her ‘boyish looks’ made her the top model for the mini skirt. I use these style in my designs and can still look contemporary today for young people.
7. Gordon B. (2011), ‘Textiles, The Whole Story’, Thames & Hudson Pub. (Pages 254-256)
This author provides an overview of how white is traditionally used for weddings in Europe and America. Beverly Hudson is a professor in ‘Design’ at the University of Wisconsin-Madison and is one of the reasons why I chose this text. I also am thinking about maybe designing wedding outfits, with a difference, for female couples of the same sex. Bridal Collections are something I have explored within my own textile and fashion work, when designing and constructing dresses, tops, headwear and veils. It is certainly something I would enjoy exploring further in the future too.
8. Hopkins J. (2018) ‘Fashion Drawing’ Bloomsbury Pub. (Ch.5, P.136)
I highly respect John Hopkins’ opinion as he a Senior Academic of Fashion & Textiles within the Winchester School of Art and he has also been a lecturer at the University of Southampton too. He discusses at length how brands such as H&M have collaborated with fashion illustrators to portray their fashion designs to maximum effect. This is something I would be happy to do too, as I know there are more talented fashion illustrators than me out there. For me, fashion is more than just pretty pictures. I have the capability of knowing how to make it practically happen and for me that is even more important. I would be happy to apply this to fashion stores and also for creating stage production garments too.
9. Jones S. (2002), ‘Fashion Design’, Laurence King Pub. (P.24)
Sue Jenkin Jones has been a Senior Lecturer in Fashion Design at Central Saint Martins College of Art & Design, London and is highly regarded. I was intrigued by the fact that Sue discusses how fashion is now a global enterprise, instead of being driven by the main fashion capitals such as London, Paris, New York etc. She highlights the fact that through social media and the internet, fashion trends now travel globally faster than ever before. This is good as far as I am concerned, especially if you want to spread positive worldwide messages through the vehicle of fashion.
10. Lawson B. (2006), ‘How Designers Think’, Architectual Press Pub. (P.4)
Bryan Lawson is the Dean of the Faculty of Architectual Studies at Sheffield University, as well as being an author. Lawson caught my attention, in particular, because of the qualities which he felt needed to bring brought to the table to create effective design. He discussed how designers need to be creative, have plenty of good ideas but also have a logical mind too, so they know how to bring them to fruitition. I am a very well rounded person and feel I have all of the qualities which he feels are required of a good designer. I am sure I can use them effectively in the future to create great design work.
11. Martin R. (1995), ‘Contemporary Fashion’, St. James Press Pub. (P.100)
Richard Martin has taught at the Columbia University, New York University & also the Chicago School of Art Institute. I was interested in his discussion about Chanel’s reasoning behind her designs. She was at the time, designing for who she considered to be the modern woman. This was a woman who wanted independence but to also feel comfortable in their clothing, whilst looking elegant too. Parts of this have been taken and used in the 1960s and 1980s fashion trends and I can see it happening now too, where females are seeking more comfortable clothes. So, this will have relevance upon my design work.
12. McGoldrick, P. (2002), ‘Retail Marketing’, Ch.12, P.474, McGraw Hill Education
The author Peter McGoldrick has worked in the area of finance and was a lecturer at Trinity College, Dublin between 2005 and 2008. He is now a professor of Retailing at the University of Manchester. He explains how lighting and visual merchandising can work well together in various ways. A window display, to me, says a lot about what a store stands for and if the public can see that the window is high-tech. the connotations linked with it, will intrigue people to see what is inside as well. I feel this research will help me give advice to fashion companies in the future.
13. Ruutiainen P. (2013), ‘From The Coolest Corner, Nordic Jewellery’, Arnoldsche Art Publishers, Pages 26-27
Ruutianinen is M.A. Doctor of Arts (Art & Design) from the University of Lapland. He has been a lecturer at HUMAK University of Applied Sciences. As well as this, he has also written art critiques and articles in Finnish newspapers and magazines. He discusses how it has been popular for designers in Finland to make jewellery from driftwood, which has been natural shaped by the sea. He also talks about how people are becoming increasingly concerned about where materials come from and how they have been made in ways that are ethical and sustainable. I am very interested in this too and intend to incorporate these ideas in to my design work too.
14. Thorpe A. (2007) ‘The Designer’s Atlas of Sustainability’, Island Press Pub. (P.168)
Ann Thorpe’s background includes University lecturing, research and also support for designers too. Ann Thorpe discusses objects which can be designed and used 1,000 years from now. This is thought provoking for me, as I am passionate about sustainability and not wasting the environments resources. My curiosity about the origins of natural textiles and dyes, as they didn’t cause any harm to our planet, links in with this whole concept that Ann discusses. I feel by delving deeper into the past, certain elements could be taken and used more in our society today to create more sustainable fashion. This book has inspired me to do more of this.
15. Varley R. (2001), ‘Retail Product Management, Buying & Merchandising’, published by Routledge, Chapter 11, P.188
Rosemary Varley is an associate lecturer for the London College of Fashion and has had many years experience of lecturing too. She explains how window displays tell the retailer what their values are and this interests me very much. To me, the connotations linked with window displays are of huge importance and can have a big influence on the public and whether they will spend. This is crucial knowledge which I can use and also share with other companies in the future. To be successful in the fashion industry, it is essential to know how to sell. Window displays are still a very powerful tool for doing this, even with online shopping. It provides a real hands on experience, which you cannot achieve on the internet.
16. Watkins, P. (2018), ‘Fibres & Fabrics’, ‘Textile View’, Issue 120: Generosity, (Pages 19-25)
This article provides an overview of some new, innovative yarns & fabrics being produced at the moment. Philippa Watkins is a well know theorist and a lecturer at the University of South Wales. She addresses sustainability, recycling and the circular economy by discussing new innovative yarns, fabrics and zips which have been created with a social conscience. I have chosen this article because of the public’s increasing awareness of being responsible for the environment and how I believe this will have a profound effect upon the manufacturing of materials in the future. The future of my design work will ideally require materials which are sustainable and have limited negative impact upon the future wellbeing of our planet.
17. Williams M. (2017), ‘The Diary of a Jewellery Lover’, ‘The Importance of Sustainability in the Fashion Industry.’
Melissa Williams is a well-known American academic, who specialises in democratic theory and comparative political theory. She was the founding director of the University of Toronto’s Centre for Ethics. She is now a professor in the Department of Political Science at the University of Toronto. She gained her degrees from Harvard University. Sustainability is a subject which focuses highly on ethics. Hence this is, in my view, a highly appropriate theorist to research, analyse her views and consider whether they can be applied to my fashion design work. I have chosen this article because of the public’s increasing awareness of how we need to work together in partnership, as consumers and manufacturers, to look after the future of our planet and be responsible in doing so. I admire Melissa Williams, who argues that this partnership will have a profound impact upon the manufacturing of fashion items in the future. Melissa’s views may well have a direct impact on my own design work.