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‘Lady Gaga: American Horror Story, Fashion, Monstrosity and the Grotesque’ by Adam Geczy & Vicki Karaminas (2017)
1. On p.711, Geczy and Karaminas reference Jack Halberstam’s claim in Gaga Feminism: Sex, Gender and the End of Normal, that ‘Gaga is “a symbol for a new kind of feminism” (2012, xi).’ Do you agree with Halberstam? What kind of feminism is she a symbol of?
2. On p.712 the authors write about ‘Lady Gaga as a cipher for new forms of gender politics that are currently emerging in post-capitalist times and the effects of digital fashion imagery on consumers via the convergence of new technologies’. This is quite a complicated sentence that contains within it a lot of different ideas. Can you try to unpack some of what the authors mean here?
3. What role does technology play in the way that Lady Gaga constructs her identity and her body?
4. ‘Gaga may be a symptom of our times, but her persona is not new: she has emerged from a lineage of artists whose performances are characterized by bodily excess to the extent of the grotesque and the freakish—Leigh Bowery and David Bowie’s Ziggy Stardust’ (Geczy and Karamanis: 2017, 713). Can you find some images that relate to this and perhaps even make links to other figures?
5. The term ‘monstrous feminine’ was developed by Barbara Creed in 1993, and is a term that is used in this article to discuss Gaga. Can you explain what you understand by the monstrous feminine, and how it could be related to Gaga?
6. The ‘Grotesque’ is a term that is used throughout this article. What does it mean? Can you provide an image of a fashion collection, performer or figure, that represents this term?
7. On p.718 the authors argue that ‘contemporary fashion has had a long and rich history of experimenting with the boundaries of the body and interrogating gender’. Can you give some examples, and illustrate them with images?
8. On p.722, the article discusses the links between fashion and death: ‘Fashion must die in order to be reborn’. Can you explain these links, and perhaps give an example?
9. What is the ‘natural’ body, or is there even such a thing?
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“It’s All About the Image: The Cooperation between the Fashion Industry and Celebrities” by Comer-Arldt Endora (2014)
1. Post one example of a celebrity image to your blog or bring it to the seminar and come to the seminar ready to discuss how celebrity images work.
2. How do you deconstruct the image of the celebrity and evaluate it critically?
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‘The Work of Art in the Age of Mechanical Reproduction’ by Benjamin Walter (2008)
1. For Benjamin, what is the difference/s between reproduction done by the human hand and reproduction done by technological means? (p4)
2. What does Benjamin mean by, “The here and now of the original constitute the abstract idea of its genuineness”(p.5)? How does the idea of “genuineness” exist in contemporary fashion and creative art and design practice? [There might be a number of different interpretations of genuineness. ]
3. “The whole province of genuineness is beyond technological (and of course not only technological) reproducibility.” (p.6) What do you think Benjamin means by this? Can you relate this to your own creative discipline?
4. How does Benjamin define the term “aura” and what do you understand by this? (p.7-10) [This is a very important concept for Benjamin].
5. How does this idea of ‘the original’ exist in fashion? How is it signified and reproduced? Does it have an ‘aura’?
6. “The instant the criterion of genuineness in art production failed, the entire social function of art underwent an upheaval. Rather than being underpinned by ritual, it came to be underpinned by a different practice: politics” (p.10-12). Give some examples where the ideas of ‘ritual’ and ‘politics’ might be helpful when analysing examples of contemporary fashion and design practice.
7. Comment on Benjamin’s discussion of the “cultic value” and the “displayability” of a work of art (p.12-13). Do you think these relate to contemporary notions of fashion?
8. In your own lifetime, what technological innovations have you experienced which have changed aspects of the arts / design / fashion?
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‘Modern Fashion Traditions: Negotiating Tradition and Modernity Through Fashion’ by Jansen and Craik (2016)
Three quotations which help you think about the terms "Western" / "Non-Western" Fashion differently. Reference these to the text correctly using in-text citations (Author, date: page)
find one example of "Western" or "Non-Western" Fashion (a designer, a brand, a collection, a photographer, a film-maker, an artist etc) which relates to the quotations you have selected. Write a full image caption for each image.
Write a short explanation for each image quotation pair, explaining the links between image and text you have chosen
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Visual Essay sources
Image from ‘The true cost’ film
Screenshot from People Tree’s website of their values
People Tree
Groupon - Anti - consumerist approach
American Apparel - Sweatshop Free
Angora fur - PETA
PETA protests - LFW
Anti - sweatshop protestors :
http://www.refinery29.com/2015/04/86138/rana-plaza-boycotts-dont-work
PETA - Fur Trade
Links
https://www.youtube.com/watch?v=PtAFHyXS31M&has_verified=1
http://www.emeraldinsight.com.ezproxy.mdx.ac.uk/doi/pdfplus/10.1108/JFMM-12-2015-0097
https://www.orwellfoundation.com/wp-content/files_mf/pagesfromtodieforfinal.pdfadobeacrobatstandard.pdf
http://www.emeraldinsight.com.ezproxy.mdx.ac.uk/doi/pdfplus/10.1108/13612020610679321
“A 2011 briefing report from the Ethical Fashion Forum on the market for ethical fashion products, explains that shoppers buy on design and style first and ethical credentials as a secondary consideration” - Rachel Kibbe
“Ethical fashion is widely known as purchasing clothes that are guilt free. In order to have a clean conscience in the sense of fashion are your garments; sourced from fair, equal and safe production lines, made up from animal free and ecological friendly fabrics.” -
http://chicgeekblogger.blogspot.co.uk/2014/07/ethical-fashion-a-grade-essay-by.html
- The Fur trade / animal welfare comparison with welfare of humans - ethical problems of this within fashion?
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Fashion and the Artistic Avant Garde
What does the word “Surrealism” mean? You may have to look up a dictionary, and compare a few definitions.
Surrealism was a 20th Century avant-garde movement in art and literature which sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images. It influenced the worlds of fashion, design, theatre, interiors, film, architecture and advertising. The Surrealists explored unique ways of interpreting the world, turning to dreams and the unconscious as inspiration for a new vision. (V&A: 2007)
What do you understand by the description, “as beautiful as the chance meeting of an umbrella and a sewing machine upon a dissecting table”? (Breton, 1924: p. 241-242) Why do you think that was so influential for Surrealism?
I feel as though this is a fairly interesting quote. An umbrella is seen as a regular, everyday object, however it’s function and engineering is intriguing. The sewing machine is a complex mechanical object, with compelling components. To have both of these objects on a table ready for dissection implicates that we can further understand the true functions and possibly create something new from using the remains of both.
Surrealism...was a melange of new insight and discoveries made elsewhere – part poaching, part paralleling, part passing – sur-passing as one might say” (Breton, 1924: p.242) Does this remind of you of any of the discussions we have been having about postmodernity or cultural appropriation? Explain your answer.
Melange - a varied mixture
Before this quote is stated, Breton combines the ideas of surrealism, dadaism and futurism.
To whom is the manifesto addressed? (Bottom of page p.242).
Why do you think Andrew Breton chose to write, “Christopher Columbus should have set out to discover America with a boatload of madmen”? (Breton, 1925: p. 243) What is he saying about the definitions of “insanity”?
“I have always been amazed at the way an ordinary observer lends to much more credence and attaches so much more importance to waking events than to those occurring in dreams”. (Breton, 1924: p. 244-245) What do you understand by this phrase? How could we begin to apply these ideas to Fashion?
“Why should I not expect from the sign of the dream more than I expect from a degree of consciousness which is daily more acute”? (Breton, 1924: p. 245) What is Breton suggesting here about the power of the dream / state of sub-consciousness?
“I believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a surreality, if one may so speak” (Breton, 1924: p. 247). What do you understand by Breton’s description here? How does it help you understand the definitions and ideas you found in question 1?
Breton provides a dictionary style definition and encyclopaedia definition at the bottom of p.247. What is the purpose of a manifesto and why do you think Breton uses the form manifesto to communicate his ideas about Surrealism? What relationship does Vivienne Westwood’s manifesto have to this form? (Reading 2: Westwood, Vivienne (c.2007) Active Resistance to Propaganda http://activeresistance.co.uk/getalife/Manifesto_ENGLISH.pdf - you can find videos on YouTube of this being performed.)
How does Breton go on to describe Surrealism in the end of the manifesto? How does this enlarge your understanding of the term?
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‘The Final Manner’ by Achille Mbembe
How does Mbebe differentiate between “person” and “slave”? (Mbebe, 2001: p. 235)
In accordance to Mbebe the ‘Person’ is the individual who owns and believes that the ‘Slave’ is their property.
(Dictionary definition of ‘Slave’ - a person who is the legal property of another and is forced to obey them)
Mbebe refers to ‘Slave’ as an individual, man or woman, whose body can be degraded, disfigured, and whose work and resources can be wasted in a foolish manner - with exemption from punishment.
How does Mbebe relate the ‘colonised individual’ to the animal? Do you think this an effective analogy?
According to Mbebe there is barely a difference between ‘the native principle’ and the ‘animal principle.’ The native is unknown to the colonisers thus emphasising the notion, as stated by Mbebe, that ‘natives and animals cannot stand on their two feet’ which is the reason as to why they are ‘put firmly in the grasp of another,’ (the coloniser). The animal can be domesticated, similar in a way that the native can be controlled. To the coloniser, the colonised individual has animal needs; to drink, eat and sleep.
“Colonisation as an enterprise of domestication includes at least three factors: the appropriation of the animal (the native) by the human (the colonist); the familiarization of man (the colonist) and the animal (the native); the utilization of the animal (the native) by the human (the colonist). One may think such a process as arbitrary as it was one-dimensional, but that would be to forget that neither the colonist nor the colonized people emerge from the circle unharmed. To this extent, the act of colonizing was as much an act of conviviality as an act of venality” (Mbebe, 2001: p.237). What do you understand by this? How could it be used to explain the ways in which ideas of culture are appropriated by global fashion systems?
The appropriation of the animal by the human, the familiarisation of the man and the animal, and the utilisation of the animal by the human are three factors in which colonisation acts as an enterprise of domestication. Neither the animal or the human come out of the one dimensional cycle unharmed. The act of colonising is an act of falsified friendliness which is corruptly money motivated, through bribery.
“The colonised individual – the object and the subject of venality – introduced himself into the colonial relationship by a specific art, that of doubling and the simulacrum…” (Mbebe, 2001: p.237) Referring back to last week’s lecture on postmodernity and thinking of the idea of the ‘simulacrum’ specifically – what do you understand by Mbebe’s argument here?
The colonised individual is referred to as the ‘object’ and ‘subject’ of venality; the offering of himself or herself to the coloniser. They are degraded in a way that the only form of a relationship between the ‘person’ and the ‘slave’ is through money motivation, also known as ‘bribery.’ One conforms through colonisation purely because of the promise of money.
Mbebe asks “Can we really talk of moving beyond Colonialism?” (Mbebe, 2001: p.237). What do you think?
I believe that to move beyond Colonialism we must recognise the previous misconducts and learn from them. Colonialism relates to a great deal of power and wealth, and in my opinion associates itself with greed. The more land and colonies one obtains, equates to a substantial amount of power. As questioned by Mbebe ‘have we really entered another period, or do we find the same theatre’ with ‘different actors and spectators?’
What does Mbebe mean by “The Process of Becoming Savage?” (Mbebe, 2001: p. 238)
Mbebe states that the relationship established in and after the colony emphasise power and the process of becoming savage.
Savage - fierce, violent and uncontrolled
(Needs elaboration)
Mbebe writes that the age of unhappiness was also a “noisy age of disguise..” (Mbebe, 2001: p.238). What do you understand by this, especially in terms of postmodernity and postcolonialism?
I interpret this as in postmodern society, our unhappiness is a period of time in which we attempt to disguise. The ‘age’ of ‘exhaustion’, ‘greediness’ and ‘desire’; seemingly contradictory.
(Needs Elaboration)
How do you understand Mbebe’s phrase, “The spectacle of a world marked by unbridled license”? (Mbebe, 2001: p.239)
The hope of an uncontrolled world / environment?
(Needs Elaboration)
“In fact, both in the light of the advancing world and in everyday interactions with life, Africa appears as simultaneously a diabolical discover, an inanimate image, and a living sign” (Mbebe, 2001: p. 240). What do you understand by this idea and do you agree? (Think of postmodernity and semiotics particularly). How do depictions of Africa in fashion contribute to your understanding of Mbebe’s idea?
Do not know how to answer / word. (Come back to later on)
Mbebe writes “Thus we must speak of Africa only as a chimera on which we all work blindly, a nightmare we produce and from which we make a living – and which we sometimes enjoy, but which somewhere deeply repels us, to the point that we may evince toward it the kind of disgust we feel on seeing a cadaver…” (Mbebe, 2001: p.241) – What do you understand by this?
Through this statement, I understand that Mbebe blames us, as humans for the nightmare and suffering caused in Africa. This continent is a thing that is strongly hoped for, however any solution to repair the damage is nothing but impossible to achieve. The problem is too immense to rectify, a notion that humanity should feel disgusted by. This reminds me of the quote;
“I see humans but no humanity” - Jason Donohue
How does Mbebe suggest we understand the term, “Africa” (Mbebe, 2001: p. 242)? Do you agree? How does this relate to the ways in which you believe “Africa” is communicated in contemporary Fashion?
The way Mbebe suggests we understand the term ‘Africa’ is through it’s series of ‘colours, costumes, appearances, sounds and rhythms, parables’ and so forth. Also referred to as an illusion, it’s ‘phantasms’ and our ‘perceptions’, a false interpretation. As individuals, we see ‘Africa’ how we want to see it, ignoring the extensive complications and the ‘behind the scenes’.
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Jean Baudrillard - Fashion, or the enchanting spectacle of the code
“Fashion is always retro, but always on the basis of the abolition of the passé (the past): the spectral death and resurrection of forms.”
The notion stated by Baudrillard. J (2007, p.463) that “Fashion is always retro” and so forth is supported by figure 1, presenting the Dior Fall 2012 haute couture collection designed by Raf Simons. Throughout this entire collection, references from Dior’s past were made; the iconic bar suit was modernised and the ‘bar’ silhouette intertwined. Dior’s iconic ‘New Look’ of 1947 has influenced many designers work today including Yohji Yamamoto as well as Raf Simons, thus supporting Baudrillard’s idea that fashion is based on the past and generally recycled.
Figure 1: Dior – Fall 2012 Haute Couture collection, Vogue
“The concealed body is feminine (not biologically of course; rather mythologically)”
This stated by Baudrillard. J (2007, p.471) indicates that in the past, as he specifies ‘the bourgeois, puritan era’, the hidden body was fashionable and feminine. Figure 2 supports this notion, presenting an image of an early 18th century dress. This piece is long and restrictive with small detail thus covering the female body. Garments worn today are a lot more free, allowing a form of chosen identity; as claimed by Baudrillard (2007, p.471) “society in its entirety is becoming feminine to the extent that discrimination against women is coming to an end.”
Figure 2: source unknown, 1816, V&A.
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What is wrong with ethical consumption? - Jo Littler
Why do you think Littler suggests that ‘ethical consumption’ may be an idea that is “too large and fractured to be meaningful?”
How do you understand the difference between ‘consumption’ and ‘consumerism’ according to Littler?
According to Littler, ‘Consumption’ is the action of ‘using up’ a resource; regardless of the type of economic or ideological context.
‘Consumerism’ refers to the logic of consuming within a specific type of social or political system: consumer capitalism.
Littler (2010) cites Adbusters as an example of an ‘anti-consumerist’ approach. Think of another example of a brand, business or organisation which expresses similar ideologies and explain what type of imagery this organisation uses to express these values.
‘Anti-consumerism’ opposes capitalist consumer culture; as stated by Littler (2010) ‘the current mode of turbo consumerism that marks contemporary neoliberalism.’ Adbusters are a Canadian based not-for-profit and pro-environment organisation, by whom are ‘anti-consumerists.’
An example of an organisation who express similar ideologies is ‘Groupon.’ The company is one of the fastest growing in history, exceeding £378 million within the first two years of establishment. Consumers refuse to pay for full priced products thus seeking ‘daily deals’ and reduced services through Groupon. Individuals pay a third of the price of what the product or service would be originally be; thereby opposing the costly capitalist consumer culture. This also emphasises the divide between the middle-class and upper-class with the working-class; as stressed further in later questions.
According to Littler (2010) why is “Ethical consumerism” considered an impossibility to some people?
Ethical consumerism for certain individuals is deemed impossible due to the divide between the rich and the poor. As a result, the system itself is not ‘ethical’ even to those who desire a fair society. ‘Ethical’ products including organic produce, fair trade, recycling and so forth are much more costly; thus encouraging the notion that ‘ethical consumerism’ is impossible to some individuals. Many may feel passionate about supporting the ethical ideal, however their money situation could be preventing them from doing so.
How do you understand the term “political consumerism” (Littler 2010). Can you think of a fashion brand, business or organisation which uses these principles and explain how they convey this through their marketing/branding material?
Political consumerism is the choice of producers and products with the aim of change. An example of a business that uses the principles is ‘The Body shop.’ This brand, when small, fought against the EU in relation to animal testing. The EU at the time believed that ALL cosmetic products should be tested on animals. However, The Body Shop boycotted this, working alongside the BUAV; now known as cruelty free international. I must stress how large the EU is and how much power they withhold, for such a small company at the time to reject their ideologies. The Body Shop products are natural, cruelty free and protect the environment. I will attach a link for The Body Shop’s adverts.
The Body Shop Mission Statement. ‘To dedicate our business to the pursuit of social and environmental change.’
What is “Greenwashing” according to Littler (2010) and what are some of the issues it raises?
‘Greenwashing’ in accordance to Littler, is when a corporation promotes ‘Green products’ but operates in a damaging manner towards the environment; the total opposite of their announced initiatives. It is stated by Littler (2010) that claiming a product as ‘Green’ is a lot easier to do in comparison to claiming one as ‘Organic’ due to a “less tightly legislated area.” This encourages exploitation, especially as numerous large corporations attempt to make promotional capital from ‘greening’ their image. (Home Depot example. Chevron example.
Littler writes about “Ethical consumption and ‘Responsibilization’ of the individual” (2010). What agency do you think the individual has to effect change in terms of ethical fashion consumption?
The agency I think the individual has to effect change in terms of ethical fashion consumption is social media. It has influenced the rise of the ‘conscious’ consumer and is an incredibly strong tool to inflict change.
“I believe technology is the key to dealing with the challenges created by consumerism. Open data, social networks and mobile tech can change the game. Groundbreaking technologies could enable transparency in supply chains” - (Jessi Baker - 2015)
“...ethical consumption functions as a further brand of middle-class distinction, one used to discriminate against the poor, whether ‘at home’ or ‘overseas” (2010). What do you think of this statement? Do you agree or disagree? Why?
I completely agree with this statement; ethical consumption is one of the smaller sectors in the fashion industry. The buyer has less influence and power over the prices of the products. Thereby, ethical consumption is more likely to be available to richer people who can afford these prices. Even though many of the working class may want to support ethical fashion and other products or services, they may simply just be unable to because of the unaffordable prices.
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