Without Designers, There is no Fashion

Without Designers, There is no Fashion Fashion can be defined in many ways: it is a form of nonverbal communication, a sign system, a barometer of cultural change. It can also be seen as a form of iconography that communicates messages without words, or a mode of self-expression that enables us to make ourselves understood. For centuries, human beings have used clothing and various types of adornment to communicate messages about gender, occupation, class, and wealth. ‘In contemporary culture, the body has become the site of identity. We experience our bodies as separate from others and increasingly we identify with our bodies as containers of our identities and places of personal expression’ (Entwistle 2000:138). The question one may ask here is: who decides what will be fashionable? It is not a democratic process: fashion dictates, and its followers do as bidden. But who dictates what forms fashion will take? This is the domain of the fashion designer. The role of the designer in the shaping of fashionable tastes is crucial. This is especially true of contemporary society. Today designers are frequently accorded celebrity status. Their names are not only status symbolsthey are often household words. The Role of the Fashion Designer: Background Although their names are synonymous with power and wealth, fashion designers did not always enjoy the high status that they do today. It was not always this way fashion designers were not always ‘in fashion’. For example, consider the history of fashion in Italy. Until the eighteenth century, clothes design was not allowed in Italy: ‘Tailors, always men, were regulated by strict laws, and severe punishments were given to those who tried to formulate new fashions’ (Terzian 2003:75). Fashion at that time was considered the sole provenance of the government. Still, despite government restrictions, fashion design thrived as a covert operation. â€Å"Designers† still managed to create new styles, and people managed to get them. In fact, during this period Venice managed to rival Paris in the latest fashions, despite the fact that they had to disobey government regulations to do so (Terzian 2003: 75). In later years, the evolution of technology came into play. New developments in technology had a huge impact on the clothing industry, and on the development of fashion trends as well. For example, in America, the introduction of the steam engine in 1763 facilitated communication between different parts of the country. In 1793, Eli Whitney’s cotton gin expedited the manufacture of materials, so that the process was not only less cumbersome but also much faster. These two advances improved communication, transportation, and manufacturing all of which contributed to the growth of the fashion industry. Another important breakthrough in the history of fashion was the perfection of the sewing machine. In the mid-1800s, I.M. Singer produced an improved and more efficient model of Elias Howe’s original sewing machine, which was severely flawed This more sophisticated model made sewing easier and faster. In addition, it paved the way for further improvements, such as pattern making, buttonhole makers, and pressing machines (Terzian 2003:78). Queen Victoria’s death in 1901 made the Victorian style of dress obsolete. The uncomfortable bodice she was known for was soon replaced by an oddly shaped garment that was called the â€Å"health corset.† The health corset was the invention of a Frenchwoman named Madame Gaches-Sarraute. It was designed by Gaches-Sarraute to be a less restrictive and therefore more healthful garment. She believed that freeing the waist and diaphragm from the uncomfortable pressure of the corseted Victorian style would promote freedom of movement, improve comfort, and be good for a woman’s overall health. However, whether the â€Å"health corset† was more comfortable, or more healthful, is debatable. It did not last long, perhaps because of the odd â€Å"S† shape that made the sight of it uncomfortable to look at (Terzian 2003:80). It is apparent that even at back then, the fashion had taken on a particular significance: it was not enough to be clothed, one had to be clothed in a pleasing manner. The â€Å"S† shape that Gaches-Sarraute introduced was made obsolete when Paul Poiret joined the fashion world. Terzian describes Poiret as ‘the leading fashion designer of the first decade of the century’ (2003:81). Born in Paris, Poiret grew up in a world of fabric. His father owned a fabric store, and as a boy, Poiret came to know the importance of dress. This led him to open his own shop as an adult Here he experimented with fabrics and styles, often using his wife as a model. According to Terzian, Poiret was one of the first designers to experiment with colours, particularly those used by the Impressionists. In fact, it does seem that Poiret brought fashion to life with his flair for design and love of colour. He was responsible for introducing fashions that were not only pleasing to the eye, but also comfortable. In addition, he created outfits that included the â€Å"walking skirt.† This gave women increased mobility since it did away with constricte d hemlines that inhibited movement (Terzian 81). It was not long before fashion and fashion design became flourishing industries. Fashion, by this time, had become a government-sanctioned enterprise, as well as a highly competitive enterprise. However, the true stars of the fashion world were not the wealthy women who could afford the latest fashions, but rather the designers who created and introduced them. The Fashion Designer of Today Today, the importance of the fashion designer in the shaping of fashionable tastes is undisputed. In addition, the relationship between fashion and social life has become increasingly complex. According to Entwistle, ‘dress is tied up to social life in more than one way: it is produced out of economic, political, technological conditions as well as shaped by social., cultural, aesthetic ideas’ (2000:111). To be fashionably dressed, then, is to make a statement to the world about one’s social and economic background. However, that is only one message that dress conveys. When considering the huge impact fashion has on everyday life, it is impossible to dismiss the role of the people who create and re-create it with each new season. Fashion designers not only design articles of clothing they create and sell coveted images. As one scholar has noted, ‘the right clothing can grant us access to the right places and the right people’ (Jones 2002:21). The primary role of the fashion designers to experiment with the concept of identity through dress. The clothing they design must appeal to the people who buy it; therefore, designers must not just ‘clothe’ the body, they must create items that allow the people who buy them to feel they are buying a particular image or way of life. This has become more and more challenging in recent years, making the task of the designer more and more complex. Ethnic and subcultural styles have become increasingly diverse, and traditional codes are not the same. As Jones has asserted, ‘fashion designers have borrowed from the semiotics of clothes and pushed the boundaries by intentionally destroying principles and harmonies of clothing’ (2002:22). Designers have risen to the occasion, responding to the more sophisticated tastes of contemporary society in bold and innovative ways. The use of clashing colours is one way they do this. Another is the juxtaposition of unusual fabrics. They also experiment with size and shape, as evidenced by the creation of shapeless clothes, such as oversized shirts. And to respond to the sexual androgyny of the day, they have begun to create clothing that is often sexually ambiguous. Entwistle asserts that ‘fashion, dress and consumption provide ways of dealing with the problems of the modern world, characterized by increasing fragmentation and a sense of chaos. Fashion opens up possibilities for framing the self, however temporarily (2000:139). Other scholars have gone further with the concept of fashion as a response to the chaos of the world. Jamie Brasset has even suggested that ‘fashion is at the very least complicit if not thoroughly responsible for the promotion of identitiesâ €™ (2005:202). In this light, the role of the fashion designer is one of power. However, that power also has a negative aspect. As Jones points out, ‘for the designer of fashion, the key difference between his or her product and that of the designer of almost any other product is shelf life. Fashion has built-in obsolescence’ (2002:28). Different seasons require different types of clothing. In addition, clothing itself has a limited life span. As a result of daily wear and tear, as well as repeated launderings, clothing must be continually replaced. The world of commerce has cashed in on clothing’s obsolescence, as well. Given the whirlwind pace of change in the fashion industry, as well as the vagaries of style, the ability to design clothing that meets the demands of an increasingly diverse customer base is quite a challenge. Designers must keep up with cultural and social developments. In addition, they must stay informed about developments in the scientific world. This is in addition to the creative ability they must constantly mine for new and innovative ideas. Today designers often employ a number of assistants to see to the many facets of the industry, because the design itself requires a tremendous amount of creative energy. Natural talent may have set them on the trajectory of success, but well-engineered teamwork is what keeps them on it. The act of design itself takes place in a series of stages. The preliminary step may vary from one designer to another. However, the most common starting point is usually the sketch. As a two-dimensional medium, sketching has its limitations. However, it gives free reign to the artistic impulse. Often a designer’s initial concept may turn out to be something very different at the end. Some designers prefer to use the draping method, which in many ways is more realistic when envisioning the final product. The way in which material is arranged allows the designer to have a clearer plan of execution. Christian Dior has written that ‘fabrics themselves often inspire garment design. For example, the softness and drapability of a jersey might inspire gathers in a dress. Many a dress of mine is born of the fabric alone’ (Terzian 13). As for computer design, it will doubtless become more and more prevalent as newer programs are developed. Conclusion Fashion is both an industry and art. It can be defined in a number of ways, but most would agree that it is more than just ‘clothing’fashion is a concept in itself. As a barometer of cultural change, it is a key to society. For centuries, human beings have used clothing and various types of adornment to communicate messages about gender, occupation, class, and wealth. In addition, the body today has become a site of self-expression, and dress is one way in which that is accomplished. The role of the designer in the shaping of fashionable tastes is crucial. This is especially true of contemporary society. Today designers are frequently accorded celebrity status. Their names are not only status symbols they are often household words. As Gilman has noted, ‘to become someone else or to become a better version of ourselves in the eyes of the world is something we all want . . we respond to the demand of seeing and being seen (1999:3). The role played by fashion designer s, then, is crucial; their creations help us to be seen in the best light. ReferencesAddressing the Century: 100 Years of Art and Fashion. 1998. London: Hayward Gallery Publishing.Brassett, J. 2005. ‘entropy (fashion) and emergence (fashioning)’. Pp. 197209 in Fashion and Modernity, eds. Breward, C. and Evans, C. New York: Berg.Breward, C., and Evans, C., eds. 2005. Fashion and Modernity. New York: Berg.Entwistle, J. 2000. The Fashioned Body: Fashion, Dress, and Modern SocialTheory. Cambridge: Polity Press.Gilman, Sander. 1999. Making the Body Beautiful: A Cultural History of AestheticSurgery Princeton, NJ: Princeton University Press.Jones, S. 2002. Fashion Design. London: Laurence King Publishing Ltd.Langer, S. 1953. Feeling and Form. New York: Charles Scribner.Taylor, L Wilson, E, Through the Looking Glass: A History of Dress From 1860 to the Present Day BBC, London, 1989Terzian, Makrouhi. 2003. Understanding Fashion Design. Lexington, MA: The Lexington Press, Inc.

Ib Math Sl Type 1

Purpose of Investigation The purpose of this investigation is to find out the general trends of the Olympic gold medal height each time the event is held. It also could be used to predict the next gold medal height in the upcoming Olympic events. We could know as well what functions can be used to plot the graphs. People could also analyze the pattern of rise or decrease in height of the winning height in the Olympic game. This investigation also allows future participants to find out information about previous gold medal heights and can make them easier to set targets for their performance in the Olympic Games. a. b.The function I used for constructing this graph is Gaussian. Because from the list of functions in the graph-constructing program, the Gaussian function is the most accurate shape when plotted according to the data given which is the statistics of height of gold medalist for men’s high jump in the Olympic. The technology I used to plot all the graphs is Logger Pro 3. 50. c. The difference is not significant after I adjust it. It can be seen from the graph itself that the shape of it is also similar. The limitation is that it is plotted on a lower values compared to the original and so it couldn’t reach the 1980 mark like the original graph. . With the technology I used, the function I find to have a similar shape is the cubic function which is the red line. There are some period that the cubic function has a higher value. Also there are some points where the two graphs meet. But in the end the cubic is lower than the original and couldn’t reach the 1980 mark. e. According to the original graph, if in the year 1940 and 1944, the estimated height will be 198. 2 and 199. 6 respectively. f. Estimated winning heights in 2984 and 2016 are 235 and 241 respectively. From the data, the winning height generally tends to rise from year to year the Olympic is held.The estimated winning heights are obtained from the graph until the year of 2016. g. My model fits well with the additional data. However, there are some points that the graph doesn’t reach according to the additional data given. h. The overall trend from 1896 up to 2008 is that the gold medal height rises from year to year, although there are some years that the gold medal height fall compared to the previous Olympic event which are in the years 1896 to 1904, 1936 to 1948, 1968 to 1972, 1988 to 1992, and 1996 to 2000. i. No modifications are required are needed to fit my model into the new data.

Quotes to Help You Learn More About Yourself

Every person embarks on a journey of self-discovery at some point of time in his or her life. Some people attain spiritual enlightenment during this journey of introspection. Knowing oneself fully is the highest point of self-actualization. To achieve this goal, you have to accept your flaws and special qualities with humility and honesty. If you have a spiritual friend or a guru, you can gain much more from the perspective of an outsider. Ask your companion to help you introspect on your deeper attributes, without being judgmental or defensive. Life is an eternal quest about knowing oneself. Its time to challenge yourself, to rediscover your hidden traits, talents, and tendencies. Several inconvenient questions, which you have swept under the carpet, might resurface. Here is a collection of about me quotes. Each noted author has revealed her or his unique qualities. When you read these about me quotes, you will find the inspiration to ask yourself Is that true about me? Frederick Perls I do my thing and you do yours. I am not in this world to live up to your expectations, and you are not in this world to live up to mine. You are you and I am I, and if by chance we find each other, then it is beautiful. If not, it cant be helped. Marie Bashkirtseff I am my own heroine. Louis LAmour I am somebody. I am me. I like being me. And I need nobody to make me somebody. Josh Groban Dont try to be like me. Try to be like yourself. Try to be very good at being yourself. Irene C. Kassorla You must have control of the authorship of your own destiny. The pen that writes your life story must be held in your own hand. John Mason You were born an original. Dont die a copy. Robert Brault Why try to be someone youre not? Life is hard enough without adding impersonation to the skills required. Albert Einstein I am enough of an artist to draw freely upon my imagination. I am not only a pacifist but a militant pacifist. I am willing to fight for peace. Nothing will end war unless the people themselves refuse to go to war. I am neither especially clever nor especially gifted. I am only very, very curious. Catherine the Great I am one of the people who love the why of things. Princess Diana I like to be a free spirit. Some dont like that, but thats the way I am. Pablo Picasso I am only a public entertainer who understands his time. Sri Sathya Sai Baba I am you; you are me. You are the waves; I am the ocean. Know this and be free, be divine. Tenzin Gyatso, the 14th Dalai Lama The deep root of failure in our lives is to think, Oh how useless and powerless I am. It is essential to think strongly and forcefully, I can do it, without boasting or fretting. Bertrand Russell I am not myself in any degree ashamed of having changed my opinions. Oscar Wilde I am the only person in the world I should like to know thoroughly. I am so clever that sometimes I dont understand a single word of what I am saying. Winnie The Pooh People say nothing is impossible, but I do nothing every day. Gianni Versace That is the key of this collection, being yourself. Dont be into trends. Dont make fashion own you, but you decide what you are, what you want to express by the way you dress and the way to live. David Carradine If you cannot be a poet, be the poem. Harvey Fierstein Never be bullied into silence. Never allow yourself to be made a victim. Accept no ones definition of your life; define yourself. Kongzi Wheresoever you go, go with all your heart. Desiderius Erasmus It is the chiefest point of happiness that a man is willing to be what he is. Andre Berthiaume We all wear masks, and the time comes when we cannot remove them without removing some of our own skin. William Shakespeare God has given you one face, and you make yourself another. Lao Tzu When I let go of what I am, I become what I might be. Winston Churchill I am certainly not one of those who need to be prodded. In fact, if anything, I am the prod. Margaret Thatcher I am extraordinarily patient, provided I get my own way in the end. Henry David Thoreau A friend is one who takes me for what I am. Ayn Rand To say I love you  one must first be able to say the I. Louis XIV I am the state. Muhammad Ali I am the greatest, I said that even before I knew I was. Leo Tolstoy Without knowing what I am and why I am here, life is impossible. Buddha ï » ¿I am the miracle.

Characteristics Of Medieval Romances - 2016 Words

When someone thinks of a medieval romance, that person will more than likely think of these common characteristics: knights, quests, a lady, magic, romance, Christianity, and of course King Arthur. There is actually much more to these stories than just â€Å"A knight goes on a quest. He meets a lady. And they all live happily ever after.† A reader needs to know what features to look out for in order to know for sure what kind of story he is reading. A Handbook to Literature by William Harmon and C. Hugh Holman says that a medieval romance is a tale of adventure that contains knights, kings, or distraught women. That person is usually motivated by either love, religion, or s/he is just wanting an adventure. Medieval romance was first seen in†¦show more content†¦Medieval romances succeeded the epic of the 12th century, which was the main kind of story anyone ever wrote or read. There are many differences between an epic and medieval romance story. Epics tend to tell a story about a hero and how he must fight evil monsters, while romances tell how a knight expresses his chivalry through one or more quests. While an epic is more serious and usually consists of â€Å"everyday† life, a romance is more mysterious and usually about fantasies. Romances will more than likely be comical and end happy, while epics are very solemn and have a sad ending. Epics follow a straight path to the ending. The reader knows that the he ro will fight some evil villain and win. Medieval romances are not like that. While the story does follow a slightly straight path to the end, the reader never knows what the protagonist will face on the way. The structure is very relaxed in a romance, while in an epic it is strict. The reader will know whether he is reading an epic or not by the amount of romance or love that is displayed. Epics do not contain love, and if they do, it is not much. There may be women in the story, but they are not usually part of the actual story. That is not true of medieval romances. It would no longer be a medieval romance if it did not contain romance throughout the story. In epics, the charactersShow MoreRelatedAspects Of The Arthurian Romance In Sir Gawain And The Green Knight1335 Words   |  6 Pagesover a number of eons tracing back to quite a number of languages native to the writers that immortalized the tales, this including Welsh, English, French, German, Spanish, Italian, Dutch and Sc andinavian. Medieval romance is defined by the ideals that stood out from the tales including the romance, honor, loyalty and the moral authority as well as it explicated the social order which left a lot to be desired of the position of feminism in the society. 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There are many parallels between the modern Cowboy and the medieval Knight, and I agree with Felicity Riddy who observed that â€Å"[t]he medieval knight is like the cowboy of our own day.† Those parallels include such outward characteristics as their dress and countenance, and such inward characteristics as the code of conduct under which they operated and the courage they displayed when confronted with danger. Those characteristics have become symbols and images of something almost larger than