For those who work in the style industry, it is a profession in itself as well as a personal interest.
Topic
The importance of fashion inside our daily lives is confirmed. For individuals who work in the fashion industry, it is an occupation in itself and a personal interest. For all those outside the industry, fashion still takes on a very important role. However, many people don't realize that fashion is also a valuable tool for analyzing culture and then for assessing the ideals of this culture. Our fashion selections notify people who we live and what our standing up is in culture; in addition, our options have an impact on our capacity to succeed - or to fail - using regions of our lives. The topic of research for this proposal can be an evaluation of the ways that clothing functions as a representation of our own culture, and a tool that can boost or hinder our success in life.
Rationale
People have been using clothing and accessories for centuries. In fact, as O'Neil has pointed out, clothing and accessories aren't the sole items used to enhance the body. Across the globe, the ways that people promote themselves vary broadly. Items widely used range between body and mane paint to ornamental scarring, and from perfume to body deformation (O'Neil 2005: n. p. ). Clothing is generally worn, of course, for functional reasons, such as security from the weather and outdoor elements. Additionally it is worn to pay certain parts of the body, either out of modesty or ethnical restrictions. The areas of the body that are covered may be different, depending after the culture and location Clothing may also be used a sort of talisman to defend against evil, or a type of supernatural safeguard. In Christian populations, putting on a medal of St. Christopher is thought to protect the wearer from bad (O'Neil 2005: n. p. ). In an identical vein, carrying a rabbit's feet or various other item associated with luck is a means of using supernatural assistance.
However, clothing is worn for more than the reasons mentioned above. O'Neil asserts that 'long before were physically close to enough to speak to people, their appearance announces their gender, time, economic class, and frequently even intentions' (2005: n. p. ). Fashion is also a medium by which people communicate announcements about gender, job, class, and wealth. This is something we figure out how to recognize whenever we are extremely young. We also come to recognize what O'Neil refers to as a 'vocabulary of dress'. In other words, as well as the actual items of clothing we wear, there are other features that we have come to accept as part of 'dress'. Among they are hairstyles, cosmetic, and accessories such as rings. Additionally, body decoration such as tattoos and piercings attended to be considered part of the contemporary vocabulary of dress. Matching to Joanne Entwistle, 'in modern day culture, the body is just about the site of individuality. We experience our anatomies as independent from others and ever more we identify with this bodies as containers of the identities and places of personal appearance' (2000: 138).
An essential requirement of fashion is its marriage to society at large. Lately, this has become somewhat more complex. The way we dress says considerably more about us than many people realize. Whatever we wear presents a declaration to the planet. It is one other way of disclosing certain information about ourselves to others: without declaring a term, we hand out clues about our public background, our monetary status, and our images of ourselves. As Entwistle has recommended, 'dress is tangled up to public life in more than one way: it is produced out of economic, political, technological conditions as well as shaped by social. , ethnic, cosmetic ideas' (2000: 111).
The need for clothing runs beyond what we should wear. A pair of blue jeans is not simply a pair of blue skinny jeans. The brand is often just like - or even more - important as this article of clothing. Brand popularity is a crucial factor in the world of fashion, specifically for younger generations. Faedda asserts that 'for young people jeans have become an instrument of communal and politics protest, of adherence and membership, symbol and emblem; for stylists trousers have become a trendy casual product, a refined prЄt a porter article or a significant high fashion creation' (Faedda 2005:4).
Not only is clothing a key to who we live - it also plays a role in how far we can travel in certain circles. It's been said that 'the right clothing can grant us usage of the right places and the right people' (Jones 2002: 21). Some scholars theorize that that which you wear affects how exactly we work, as well as how others react to us. Relating to O'Neil, 'placing on certain types of clothing can transform your habit and the tendencies of others towards you' (2005:n. p. ). He uses the example of uniforms, explaining that the meaning conveyed by just using the clothing associated with a particular job is both immediate and strong. One specific example O'Neil mentions is that of a study of Spanish policemen. Without their uniforms, these were seen as having little or no effect on people, even though these were in fact identified as policemen. With the uniforms on, however, they acted in a more aggressive manner. In addition, folks who noticed them in uniform were much more responsive to directions.
O'Neil also points out that uniforms are made to elicit this type of response: 'Most uniforms are consciously symbolic so that they can quickly and conclusively communicate status. . . The ribbons and other insignias on the U. S. sailor's standard can tell a good stranger about his status, authority, and armed forces experience (2005: n. p. ). Which is important to notice that uniforms can include things beyond clothing, such as specific hair styles that are commonly associated with certain groups of individuals. The 'uniform' hairstyle of 'punkers' is one example of this. It is assumed by the wearers that the public will realize these markers and make the connection to a certain group: 'it is necessary to know what these culturally identified symbols indicate in the framework that they are used in order to comprehend what's being communicated' (O'Neil 2005: n. p. ). Relating to Faedda, the uniform as we realize it has turned into a 'transgressive image' that is associated with 'the so-called "subcultures" or "antifashions", politics and social activities, music, mass protests and juvenile ethnical phenomena generally' (Faedda 2005: 4).
In addition to its many other uses, dress is also used as a kind of camouflage. Relating to Faedda, 'dress features, frames, hides and masks your body. In such a sense it works to tell apart and, in the same time, to link oneself to the others: dress is our "filter" with the world' (2005: 4). This assertion that dress is often used to cover or mask your body shows that there is something distressing, undesirable, or even shameful about your body. This in turn brings up lots of issues about clothing and about this which it disguises. Regarding for some scholars, the role of the body has been evolving: 'in the affluent Western, there's a tendency for your body to be observed as an entity which is in the process of becoming; a project that ought to be worked at and accomplished as part of a person's self-identity' (Shilling 1993: 5).
The idea of your body as a 'task' suggests a dissociation of the personal from the body This aspect is echoed by Entwistle, who asserts that 'fashion, dress and ingestion provide means of dealing with the issues of today's world, characterized by increasing fragmentation and a feeling of chaos. Fashion starts up alternatives for framing the self applied, however temporarily' (2000: 139). In such a sense, fashion assumes seemingly restorative aspects: in response to an extremely sophisticated and chaotic world, the thing we might feel we can control is our sense of self applied. Since that do it yourself is often portrayed through fashion claims, the role of fashion assumes additional relevance. As Gilman has commented, 'in a global in which we have been judged by how exactly we appear, the fact that we can change our appearance is liberating' (1999: 3). In fact, as Gilman elaborates,
To become someone else or even to become an improved version of ourselves in the eye of the world is something we all want. Whether we get it done with ornaments such as earrings or through the extensive selection of physical modifications from mane dressing to tattoos to body piercing, we respond to the demand of finding and being seen. (Gilman 1999: 3)
Aims and Objectives
The primary aim of commencing this research is to explore the intricate and complex communications that are discovered by the types of dress we choose. Our fashion choices say a great deal about us as individuals; on a broader level, fashion developments reflect important aspects of any given culture during a certain time frame. Questions that are driving a car the design of the task include:
- What will fashion signify about the wearer?
- How does indeed fashion reveal the values and beliefs of different ethnicities?
- What is the importance of fashion styles?
By combining information from scholarly research, articles from contemporary fashion magazines, and data from internet options, the final job will seek to answer the questions above and bring relevant conclusions about the sophisticated romance between fashion and identification.
Proposed Methodology
Proposed methodology because of this project will contain a blend of quantitative and qualitative resources. A number of print options will be used, including literature, scholarly journals, magazines, and newspaper articles. Internet resources will also be a fundamental element of the research process. Current statistical information as well as the latest home elevators industry movements is more easily available on the internet. This makes the internet a valuable resource when studying a business that is seen as a rapid change.
Additional methodology in the form of questionnaire administration is also proposed as part of this research project. Specifically, a questionnaire would be designed in order to gather data regarding key points that are speculated after in the research. This questionnaire will be formulated to elicit a range of attitudes predicated on some multiple-choice questions. Although the prospective audience will be limited by time and tool constraints, individuals will be chosen at random. In this way, the data collected will reflect modern culture at large.
Questionnaire administration will be executed through email and through direct contact with the public. Data accumulated from questionnaires will be prepared and interpreted in conditions of stratified clusters, commensurate with the original project format, and will be analyzed, and shown together with other findings. If discrepancies are found out between the anticipated and actual results, possible explanations will be designed and contained in the analysis.
As for methods of research: as suggested above, information should come from a number of sources. This includes scholarly research, articles from contemporary magazines, and data from internet resources. Information regarding research options will be listed by the end of the newspaper in a reference list.
The research list will consist of two parts. The first area of the reference list includes resources that are quoted or elsewhere directly found in the body of the newspaper. The second part of the list includes sources that were consulted but which do not come in the body of the paper. In case a questionnaire can be used, a backup will be included in a supplementary appendix, along with all additional relevant information that's not included in the body of the newspaper.
Content
The content of the research will be sorted out in chapters and will include sub-headings within each chapter. A Table of Details will be included to point the section divisions, Guide List, and Appendices (if used).
References and Bibliography
All research resources will be shown by the end of the newspaper in a guide list. Sources that are quoted or otherwise directly found in your body of the paper will be suggested as part of the primary guide list. Sources that were consulted but which do not appear in the body of the newspaper will be contained in a supplement to the primary reference point list. Appendices, if found to be helpful, will also be included by the end of the paper.
Critical Path
A proposed timetable will be formulated upon authorization of topic, and will contain goals and conclusion dates for every single part of the task. The timetable will be arranged to allow for research, data collection and interpretation, and writing of the paper itself. Time will be allotted for first and last drafts, as well as proofreading and final revisions before submission.
Reflective Statement
The difficulty of the fashion industry lends itself to a wide choice of profession trajectories. This research project will further elucidate the options available. One of the options which has a lot of appeal is working as a Fashion Expert, since research for this project indicates that this is a challenging and quickly expanding profession on the market. Furthermore, opportunities for even more research on a more advanced will be explored.
References
Entwistle, J. 2000. The designed body: Fashion, dress, and modern communal
theory. Cambridge: Polity Press.
Faedda, Barbara. 2005. Using and showing up: An anthropological evaluation through the shop windows Retrieved December 23, 2005 from
http://www. anthroglobe. ca/docs/WEARING%20AND%20APPEARING. htm
Gilman, Sander. 1999. Making your body beautiful: A social history of visual
surgery. Princeton, NJ: Princeton College or university Press.
Jones, S. 2002. Fashion design. London: Laurence King Publishing Ltd.
O'Neil, Dennis. 2005. Invisible aspects of communication.
Retrieved December 23, 2005 from
http://anthro. palomar. edu/vocabulary/language_6. htm
Shilling, C. 1993. Your body and interpersonal theory. London: Sage.
