Brainscape's Knowledge GenomeTM


Top Flashcards (Certified)
All Flashcards

Fashion and Society > Week 8 > Flashcards

Week 8 Flashcards

1
Q

Rate at which a fashion moves through the fashion cycle

A

Fashion Movement

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

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

A

Fashion Movement

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

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

A

Fashion Movement

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

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

A

Fashion Movement

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

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

A

Fashion Movement

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
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)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

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

A

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

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Discovery

A

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

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

Promotion

A

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

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
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)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
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)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Displacement

A

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

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

No role for decline/disappearance of fashion in this pattern

A

Fashion Roles (Everett Rogers, 1983)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Innovators

A

Fashion Roles (Everett Rogers, 1983)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Opinion Leaders

A

Fashion Roles (Everett Rogers, 1983)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Early Adopters

A

Fashion Roles (Everett Rogers, 1983)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Late Adopters

A

Fashion Roles (Everett Rogers, 1983)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Traditional model for fashion diffusion

A

Trickle-down model

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
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

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

Driven by status seeking

A

Trickle-down model

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

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

A

Trickle-down model

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

Still exists in luxury fashion market

A

Trickle-down model

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

Design is associated with art; designers exclusivity is important

A

Trickle-down model

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

Individuality of client is not considered but rather their taste

A

Trickle-down model

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

Focus is on the quality of materials, only incremental change

A

Trickle-down model

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

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

A

Trickle-down model

27
Q

Opposite of trickle down

A

Bubble up model

28
Q

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

A

Bubble up model

29
Q

youth -driven

A

Bubble up model

30
Q

“Poverty chic”

A

Bubble up model

31
Q

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

A

Bubble up model

32
Q

Image is valued over quality of the garment

A

Bubble up model

33
Q

Fashion moves horizontally across multiple socio-economic markets

A

Mass-Market/Trickle Across

34
Q

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

A

Mass-Market/Trickle Across

35
Q

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

A

Mass-Market/Trickle Across

36
Q

Blumer rebutting/pointing out flaws of previous sociological theories

A

Fashion as Collective Selection (Blumer 1969)

37
Q

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

A

Fashion as Collective Selection (Blumer 1969)

38
Q

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

A

Fashion as Collective Selection (Blumer 1969)

39
Q

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

A

Fashion as Collective Selection (Blumer 1969)

40
Q

Earlier theories consider fashion irrational

Earlier theories have misunderstood the nature of fashion

A

Fashion as Collective Selection (Blumer 1969)

41
Q

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

A

Fashion as Collective Selection (Blumer 1969):

Fashion and the elite

42
Q

Innovators of contemporary fashion are not necessarily those with status

A

Fashion as Collective Selection (Blumer 1969):

Fashion and the elite

43
Q

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

A

Fashion as Collective Selection (Blumer 1969):

Social Role of Fashion

44
Q

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

A

Fashion as Collective Selection (Blumer 1969):

Social Role of Fashion

45
Q

Fashion helps societies progress. Fashion prepares us for the future

A

Fashion as Collective Selection (Blumer 1969):

Social Role of Fashion

46
Q

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

A

Fashion as Collective Selection (Blumer 1969):

Changes in fashion

47
Q

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

A

Fashion as Collective Selection (Blumer 1969):

Changes in fashion

48
Q

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

A

Fashion as Collective Selection (Blumer 1969):

Changes in fashion

49
Q

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

A

Fashion as a Discourse (Roland Barthes)

50
Q

Physical description
Circumstantial features
Evaluative statements

A

Fashion as a Discourse (Roland Barthes):

Written Clothing

51
Q

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

A

Fashion as a Discourse (Roland Barthes):

52
Q

Suggests fashion as linguistic model doesn’t work

A

Fashion as Code (Fred Davis)

53
Q

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

A

Fashion as Code (Fred Davis)

54
Q

Dress is uncoded; the meanings are ambivalent

Only uniforms are the category that have a clear code

A

Fashion as Code (Fred Davis)

55
Q

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

A

Populist Model of Fashion (Ted Polhemus)

56
Q

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

A

Populist Model of Fashion (Ted Polhemus)

57
Q

Fashion is consumer driven, not designer driven

A

Populist Model of Fashion (Ted Polhemus)

58
Q

Fashion is seen through the formation of style tribes

Individuals who share an aesthetic but do not share values or beliefs

A

Populist Model of Fashion (Ted Polhemus)

59
Q

Economic circumstances lead to fads

A

The Operation of Fashion

60
Q

Humans have a herd mentality; “bandwagon effect”

A

The Operation of Fashion

61
Q

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

A

The Operation of Fashion: Veblens

62
Q

When aesthetic nausea sets in, the next trend is introduced

A

The Operation of Fashion: Veblens

63
Q

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

A

The Operation of Fashion: Simmel

Fashion and Society (5 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2025 Bold Learning Solutions. Terms and Conditions