Week 8 Flashcards by User Unknown

Q

Rate at which a fashion moves through the fashion cycle

A

Fashion Movement

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Q

Affected by what the product is, economic and social factors, advertising, etc

A

Fashion Movement

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Q

apparel/garments move the quickest; average of 10 weeks in cycle

A

Fashion Movement

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Q

Perfumes and handbags move the slowest; have a longer fashion cycle, which is why many designers opt for them.

A

Fashion Movement

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Q

Product can last up to 2 years or if becomes a classic, lasts even longer

A

Fashion Movement

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Q

6 different phases/stages of the fashion cycle: discovery, promotion, labeling, dissemination, loss of exclusiveness, displacement

A

Fashion Process/Fashion as a Process (Meyersohn and Katz)

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Q

Fashion cycle is bell curve; fashion process is cliff-like

A

Fashion Process/Fashion as a Process (Meyersohn and Katz)

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Q

Discovery

A

Fashion Process/Fashion as a Process (Meyersohn and Katz)

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Q

Promotion

A

Fashion Process/Fashion as a Process (Meyersohn and Katz)

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Q

Labeling- it’s not enough to discover and promote it, people need to know who wears it, how it’s worn, when, why, etc

A

Fashion Process/Fashion as a Process (Meyersohn and Katz)

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Q

Dissemination- How it is made available to consumers. Where can you buy it, how is it sold? Fashion brands have large control over this aspect.

A

Fashion Process/Fashion as a Process (Meyersohn and Katz)

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Q

Displacement

A

Fashion Process/Fashion as a Process (Meyersohn and Katz)

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Q

No role for decline/disappearance of fashion in this pattern

A

Fashion Roles (Everett Rogers, 1983)

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Q

Innovators

A

Fashion Roles (Everett Rogers, 1983)

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Q

Opinion Leaders

A

Fashion Roles (Everett Rogers, 1983)

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Q

Early Adopters

A

Fashion Roles (Everett Rogers, 1983)

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Q

Late Adopters

A

Fashion Roles (Everett Rogers, 1983)

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Q

Traditional model for fashion diffusion

A

Trickle-down model

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Q

Fashion in this model originates from a few fashion centres; clientele in this theory are wealthy, urban, women who are socialites who can display their exclusive fashion

A

Trickle-down model

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Q

Driven by status seeking

A

Trickle-down model

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Q

Fashion diffuses through society because it it the main indicator of social class

A

Trickle-down model

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Q

Still exists in luxury fashion market

A

Trickle-down model

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Q

Design is associated with art; designers exclusivity is important

A

Trickle-down model

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Q

Individuality of client is not considered but rather their taste

A

Trickle-down model

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Focus is on the quality of materials, only incremental change

Trickle-down model

Couturiers make two levels of products now: ready to wear and haute couture

Trickle-down model

Opposite of trickle down

Bubble up model

No fashion centres/cities; originates from the margins of fashion society (non western)

Bubble up model

youth -driven

Bubble up model

“Poverty chic”

Bubble up model

Fashion change is driven by cool hunting: focused on lifestyle rather than the object itself

Bubble up model

Image is valued over quality of the garment

Bubble up model

Fashion moves horizontally across multiple socio-economic markets

Mass-Market/Trickle Across

Product is introduced in different stores at once (department stores, discount stores, boutiques)

Mass-Market/Trickle Across

Risky, because what’s shown on the runway doesn’t always become fashionable

Mass-Market/Trickle Across

Blumer rebutting/pointing out flaws of previous sociological theories

Fashion as Collective Selection (Blumer 1969)

Earlier sociologists have been wrong about fashion; they’ve looked at fashion as the same things as fads

Fashion as Collective Selection (Blumer 1969)

Argues fashion is more than fads: fashion applies to more than trendy clothes

Fashion as Collective Selection (Blumer 1969)

Previous social theories view fashion as trivial and socially insignificant: Blumer disagrees

Fashion as Collective Selection (Blumer 1969)

Earlier theories consider fashion irrational | Earlier theories have misunderstood the nature of fashion

Fashion as Collective Selection (Blumer 1969)

Earlier models over emphasize the role of the elites; Blumer believes elite ignore fashion trends; middle class are the drivers.

Fashion as Collective Selection (Blumer 1969): | Fashion and the elite

Innovators of contemporary fashion are not necessarily those with status

Fashion as Collective Selection (Blumer 1969): | Fashion and the elite

Zeitgeist (spirit of the times, eg Miami Vice cops created the fashionable menswear look of the 80s).

Fashion as Collective Selection (Blumer 1969): | Social Role of Fashion

Fashion is change; we must move on to what’s new.

Fashion as Collective Selection (Blumer 1969): | Social Role of Fashion

Fashion helps societies progress. Fashion prepares us for the future

Fashion as Collective Selection (Blumer 1969): | Social Role of Fashion

New participants (eg democratizing aspect of internet, style blogs)

Fashion as Collective Selection (Blumer 1969): | Changes in fashion

New social and cultural phenomena (eg sustainable and recycled dress)

Fashion as Collective Selection (Blumer 1969): | Changes in fashion

Internal changes in the fashion field (changes to manufacturing, auto cad, changes to supply chains, the way fashion is merchandised, more resale shops)

Fashion as Collective Selection (Blumer 1969): | Changes in fashion

Actual clothing + image-clothing + written-clothing = fashion. Written is most important.

Fashion as a Discourse (Roland Barthes)

Physical description Circumstantial features Evaluative statements

Fashion as a Discourse (Roland Barthes): | Written Clothing

Theory has been critiqued, because it is a linguistic model. According to Barthes, we are all manipulated by fashion, as it speak to wants over needs

Fashion as a Discourse (Roland Barthes):

Suggests fashion as linguistic model doesn’t work

Fashion as Code (Fred Davis)

Fashion codes are unstable; they change over time, their meanings are context-dependent, their meaning is dependent on the relationships between individuals

Fashion as Code (Fred Davis)

Dress is uncoded; the meanings are ambivalent | Only uniforms are the category that have a clear code

Fashion as Code (Fred Davis)

Fashion no longer originates with haute couture or on the street; it’s all personal expression

Populist Model of Fashion (Ted Polhemus)

Decline of traditional features of fashion; in contemporary fashion, we don’t see newness

Populist Model of Fashion (Ted Polhemus)

Fashion is consumer driven, not designer driven

Populist Model of Fashion (Ted Polhemus)

Fashion is seen through the formation of style tribes | Individuals who share an aesthetic but do not share values or beliefs

Populist Model of Fashion (Ted Polhemus)

Economic circumstances lead to fads

The Operation of Fashion

Humans have a herd mentality; “bandwagon effect”

The Operation of Fashion

Sees fads as fashionable dress that operates in an irrational way; not tied to practicality, no logical progression in fashion, only novelty drives change

The Operation of Fashion: Veblens

When aesthetic nausea sets in, the next trend is introduced

The Operation of Fashion: Veblens

Sees fashion as a way that reinstates social groups: an oscillation between imitation and individuality

The Operation of Fashion: Simmel