代写 GRAP2664 Fashion and Textiles

COURSE BRIEF TEACHING PERIOD: Semester 1, 2016 COURSE CODE: GRAP2664 SCHOOL: Fashion and Textiles LEARNING MODE: Face-to-face and online; group work and independent study CREDIT POINTS: 12 COURSE CO-ORDINATOR:  Liliana Pomazan: liliana.pomazan@rmit.edu.au LECTURERS: Liliana Pomazan Alex Sherlock: alexandra.sherlock@rmit.edu.au Andrea Eckersley: andrea.eckersley@rmit.edu.au FASHION STUDIES 3 THE BIG IDEAS: FASHION & IDENTITY 2 Identity is one of the most compelling and contentious concepts in the humanities and social sciences. In psychology and sociology identity is a person’s conception and expression of their individuality. As the sociologist George Simmel famously stated this process often involves ???????????? ?? ???????? ???????? ???????? ??????????? ???? ?????????? ????? those around you. Fashion is central to this endeavour and therefore becomes inextricably implicated in constructions and reconstructions of identity in both empowering and oppressive ways. Fashion Studies 3 ‘The Big Ideas’ builds upon your previous learning ???????????? ??? ?????????? ???? ???????????? ???????? ??????? ?????????? ??? ??????????????????????????????????????????????????????????????????????????? ??????????????????????????????????????????????????????????????????????????? role fashion plays in the construction and transformation of consumer and designer identities. Through a series of weekly lectures, readings and tutorial activities you will critically engage with issues surrounding ????????????????????????????????????????????????????????????????????????? and authoritative understanding of your practice and motivations as a designer. As such this course complements your learning in design electives, studios, and Professional Practice courses. 1. COURSE DESCRIPTION ?????????????????????????????????????????????????????????????? to know ‘who’s who’ (and hence ‘what’s what’). This involves knowing who we are, knowing who others are, them knowing who we are, us knowing who they think we are, and so on: a multi-dimensional mapping of the human world and our places in it, as individuals and as collectivities.’ (Jenkins, 2008: 5, cf Ashton ). Jenkins, Richard, 2008, Social Identity, 3rd Ed. Routledge, Oxon. Simmel, George, 1957, Fashion, American Journal of Sociology, Vol. 62, No. 6, pp. 541-558 3 2. LEARNING OUTCOMES: Upon successful completion of this course, you will be able to: 1.  Situate fashion within a nexus of culture, history, politics and economic change. 2. Develop an advancing ability to use theoretical and political perspectives to critically evaluate 20th and 21st Century fashion practices. 3. Communicate research outcomes to a professional and authoritative standard, both independently and in collaboration with others. In this course you will develop the following program learning outcomes: •  Apply advanced theoretical and technical knowledge across the fashion discipline. •  ???????????????????????????????????????????????????????????????????? as to apply your advanced skills for life-long learning and enable you ???????????????????????????????????????????????????????????????? •  Engage in research within the broader context of design, utilising ???????? ???? ???????????? ????????? ??????????? ???????? ??????????? conceptual frame- works, evaluation of relevant issues and with ???????????????????????????????????????????? 4 3. ASSESSMENT TASK 1 ASSESSMENT BRIEF: The Language of Fashion project is a four-week workshop that will ???????????????????????????????????????????????????????????????????????? ?????????????????????????????????????????????????????????????????????? ?????????? ????? ??????? ????? ?? ?????????? ??? ??????? ??????? ???? ????? ??? fashion communication and analysis; from the authority of scholarly work ?????????????????????????????????????????????????????????????????????? event or exhibition as a focus you will use your primary and secondary research skills to inform a 500 word article (with images) in a style of your choice. This may include (but is not limited to) an academic article (i.e. a review for an academic journal), mainstream article (i.e. magazine/ newspaper) or social media article (i.e. blog). A copy of the article will be submitted through TurnItIn by midnight on the 27th March 2016. TITLE: The Language of Fashion DUE DATE: ? ? ? ?????????????????????????????? SUBMISSION TYPE:  TurnItIn via Blackboard WORD COUNT: 500 words (+/- 10%) WEIGHTING: 25% MODE OF ASSESSMENT: Summative Feedback LEARNING OUTCOMES: 1 & 3 5 4. ASSESSMENT TASK 2 TITLE: Critical Analysis DUE DATE: ? ? ? ??????????????????????????? SUBMISSION TYPE:  Ongoing particpation through online discussion forum and in tutorials. WEIGHTING: 25% MODE OF ASSESSMENT: Summative Feedback LEARNING OUTCOMES: 2 & 3 ASSESSMENT BRIEF: The Critical Analysis project will take place between weeks 1-7. Each week you will evaluate a reading prior to the tutorial and share your comments in the group’s online discussion forum. In small groups you will take turns to lead a class discussion about each reading (1 reading per group). Assessment will be cumulative and will be determined on the quality and quantity of your participation when leading the class discussion and your online personal comments between weeks 1-7. The following questions ?????????????????????????????????????????? •  ???????????????????????????????????????????????????????????????? credible)? •  ????????????????????????????????????????????????????????? •  ?????????????????????????????????? •  ??????????????????????????? •  To what extent have these aims been achieved? •  Is the article authoritative and convincing? •  If not, why might this be? •  Do you agree with the content of the article/chapter? •  If not, why not? •  How does the discussion relate to your own experience/fashion practice? •  ???????????????????????????????????????????????????????????????????? chapter? •  ?????????????????????????????????????????????????????????????????? studio practice? •  Are there any sources in the bibliography which might be useful to read? 6 Choose one of the following 20 topics to write your scholarly essay. You may adjust an existing question or devise a question of your own in consultation with your tutor. You must use images as evidence to illustrate and develop your argument. Sources must be cited and referenced in Harvard style. 1.  ?????????????????????????????????????????????????????????????????????? accordance with your own interest in practices of fashion design or consumption. You will realise that the statements are deliberately broad and open-ended. These are by their very nature abstract - this is, in part, a lateral thought exercise. There is no right or wrong answer. This is about progress, exploration and consideration. “It has become appallingly obvious that our technology has exceeded our humanity.” Albert Einstein “I have made this drawing several times – never remembering that I made it before – and not knowing where the idea came from.” Georgia O’Keefe “What I do is concerned with the long term and yet fashion is cyclical. It is a paradox but it doesn’t bother me. It’s always exciting to do a new collection.” Rei Kawakubo “Art has made us acutely aware of dress as symbol and of the workings of apparel as a means of claiming beauty.” Richard Martin and Harold Koda. “It is a common cliché that the woman cares about appearance, that fashion ?????????????????????????????????????????????????????????????????????????? substance.” Efrat Tseëlon 5. ASSESSMENT TASK 3 TITLE: Essay DUE DATE: ? ? ? ??????????????????????????????? SUBMISSION TYPE:  TurnItIn via Blackboard WORD COUNT: 3,000 words (+/- 10%) excluding bibliography and footnotes. WEIGHTING: 50% MODE OF ASSESSMENT: Summative Feedback LEARNING OUTCOMES: 1,2 & 3 7 2. ?????? ?????????? ???????? ???? ????????????? ???????? ???? ?????????? terms: homage, appropriation, ‘referencing’, pastiche and plagiarism. Then discuss the case of Brad Callaghan and Miley Cyrus at the VMAs ???????????????????????????????? 3. Discuss the terms parody and pastiche in relation to the work of Karl Largerfeld and Jeremy Scott. 4. ?????????????????????????????????????????????????????????????????????? or present examples. 5. Compare and analyse the fashion practices of the Australian designer Beril Jents with that of her contemporaries, Germaine Rocher and Hall Ludlow. 6. Situate and predict the value of Australian fashion design and production within past, present and future global fashion contexts. 7.  Discuss the major contribution of the American Diana Vreeland and the Italian Anna Piaggi to fashion of the twentieth century. Compare ????????????????????????????????????????????????????????? 8. ‘Art has the potential to elevate us beyond our daily experience’. In an Australian and/or international context discuss the intersections of Art as Fashion/Fashion as Art in the work of Hussein Chalayan and Roberto Capucci or Flamingo Park (Linda Jackson and Jenny Kee) and Romance was Born. 9. How has fashion emulated or interpreted performance art movements? Select at least three design practices and investigate their use of this art form. 10. Discuss, compare and analyse the ‘aesthetic of poverty’ coined by curator Harold Koda in the work of the Japanese designers of the late twentieth century. 11. Over the last two decades the media have claimed that the following ???????? ?????????? ???? ??????????????? ? ??????? ???? ????????????? Hussein Chalayan, Martin Margiela, Issey Miyake, Rei Kawakubo, Yohji Yamamato, Alexander McQueen, Gareth Pugh. Consider two of these designers and their individual fashion practices and discuss whether this is an accurate summation of their aims. 12. Discuss the dandy and the male wardrobe of the Sixties’ Peacock Revolution, especially as they have been expressed through popular culture in London. ...CONTINUED 8 13. Discuss the masters of revolt and resistance as seen through menswear ?????????????????????????????????????????????????????????????????????? of the following two areas: •  Subcultures: the Spivs, Larrikins, Zoot Suiters, Teddy Boys, Mods and/or Rockers. •  Fashion Designers:? ????? ????? ??????????????????? ?????????? ????? ??????? ???? ???????????????????????????????? ???????? ????????? ?????????????????????????????? 14. To what extent does fashion empower or oppress men/women today? 15. Discuss Jean Paul Gaultier’s fashion practice and the ways he challenges gender identity and modes of male self presentation. 16. ????????????????????????????????????????????????????????????????????? discuss the role of fancy-dress and masquerade in relation to identity and transformation. 17. ?????????????????????????????????????????????????????????????????????? and consumption today. 18. ???? ??????? ????????? ????????? ??? ????????? ???????????? ?The Presentation of Self in Everyday Life - 1959) to interpret consumer experiences of fashion and clothing. 19. Discuss and analyse the ‘future of fashion’ from either a sustainability or a technologically advanced position (include practitioners within ?????????????????? 20. ????????? ???? ???????? ?? ??????????? ?????????????????????????????? responsibilities that emerging fashion designers should consider in their practice. ...CONTINUED

代写 GRAP2664  Fashion and Textiles

  9 PARTICIPATION The major learning experiences during this course involve lectures, workshops and tutorials. It is strongly advised that you attend all sessions in order to engage in the required learning activities, ensuring the maximum opportunity to gain the competency. GROUP WORK In this course you will be completing some assessment tasks as part of a group. Groups are responsible to arrange their own meetings and activities outside classes (in learner directed hours), to complete their group assessment. How you and your group plan, manage and communicate with one another is part of the practical learning in this course. If there are ?????????????????????????????????????????????????????????????????????? each other in order to address them but if the problems are not successfully resolved within a reasonable time frame, it is your responsibility to ?????????????????????????????????????????????????????????????????????????????? workplace practice where groups are responsible for their own processes ??????????????????????????????????????????????????????????????????? ?????????????????????????????????????????????????????????????????????????? shared by all members so it is important for contributions to be equitable and for issues to be addressed as they arise. COVER SHEET FOR SUBMISSIONS You must complete a submission cover sheet for every piece of submitted work. This signed sheet acknowledges that you are aware of the plagiarism implications. FEEDBACK You will receive verbal (formative) and written (summative) feedback by your teacher/tutor/lecturer on your work. This feedback also includes suggestions on how you can proceed to the next stage of developing your projects. Monitoring academic progress is an important and proactive strategy to assist you to achieve your learning potential. http://www1.rmit.edu.au/students/acadprogress SPECIAL CONSIDERATION POLICY (LATE SUBMISSION) All assessment tasks are required to be completed to a satisfactory level. If you are unable to complete any piece of assessment by the due 6. ADDITIONAL INFORMATION: 10 date, you will need to apply for an extension or special consideration. Special consideration is an assessment adjustment for unexpected ?????????????? ????? ???? ???????? ????? ????????? ?????? ????? ?? ??????????? adverse impact on your performance in assessment or prevent you from attempting or submitting the assessment.Examples of circumstances for which special consideration and extensions may be considered include: serious physical or mental illness, death of a close family member, family relationship breakdown, being the victim of a crime, sudden loss of income or employment, severe disruption to domestic arrangements. Special consideration is available on the understanding that it will be used sparingly and only where genuine need is proven. If you wish to apply for special consideration, follow this link for the procedure. www.rmit.edu. au/students/specialconsideration LATE SUBMISSION PENALTIES Late submission or presentation of assessable work without an approved extension will be penalised as follows: •  Complete work submitted 1 to 7 days late will incur a penalty of 5% ?????????????????????????? •  Partial or incomplete work submitted 1 to 7 days late will incur a ?????????????????????????????????????????????????????????????????? work •  ?????????????????????????????????????????????????????????????????? •  ???????????????????????????????????????????????????????????????????? late penalty. •  ?????? ?? ???? ????? ????????? ?? ???????? ????? ???? ??????????? ??? presentation, submissions after that time on the due date incur a 5% penalty. ...CONTINUED 11 7. SUGGESTED READING: •  Barnard, Malcolm (ed.), 2007, Fashion Theory: A Reader, Routledge: London. •  Barnard, Malcolm, 2002, Fashion as Communication, London: Routledge •  Barthes, R., 2006, The Language of Fashion, London and New York: Berg •  ????????????????????Illuminations, London: Fontana/Collins •  Breward, C., 2003, Fashion????????????????????????????????? •  Black, Sandy, 2012, The Sustainable Fashion Handbook, London: Thames & Hudson •  Craik, J., 2009, ‘Is Australian Fashion and Dress Distinctively Australian’, Fashion Theory???????????????????????????? •  Crane, D., 2012, Fashion and its social agendas: Class, gender, and identity in clothing?????????????????????????????? •  Davis, F., 1992, Fashion, Culture and Identity,???????????????????????????? •  English, B and Pomazan L (eds.) 2010, Australian Fashion Unstitched, ????????????????????????????????????? •  Entwistle, J, 2015, The Fashioned Body: Fashion, Dress and Modern Social Theory, London: Polity •  Evans, C., 2003, Fashion at the Edge, New Haven and London: Yale ???????????????? •  Fletcher, Kate, 2015, The Routledge Handbook of Sustainability and Fashion, Oxon: Routledge •  ?????????????????????????????The Presentation of Self in Everyday Life, London: Peguin •  ???????????????????????????Subculture the Meaning of Style, Routledge: London •  Jenkins, Richard, 2014, Social Identity (fourth ed.), London: Routledge •  Maynard, M., 2001, Out of Line: Australian Women and Style??????????????? Press •  Michael, C., 2003, Fashion Classics from Carlyle to Barthes, Oxford: Berg •  Negrin, Lewellyn, 2008, Appearance and Identity, Palgrave Macmillan: NY •  Polhemus, Ted, 2010, Streetstyle, PYMCA: London •  ??????????????????Adorned in Dreams: Fashion and Modernity, New Jersey: ???????????????????????? 12 Week Date Lecture 1 01/03/16 Fashion and Identity - the big ideas (Alex Sherlock) An introduction to social theories of identity and ?????????????? 2 08/03/16 How fashion genders (Andrea Eckersley) A discussion of how fashion constructs gender identities. 3 15/03/16 Dream the World Awake (Robyn Healy) ?????????????????????????????????????????????????????? avant-garde fashion design practice. 4 22/03/16 Film: Women He’s Undressed (2015). Following the recent exhibition at ACMI Gillian Armstrong’s documentary explores the life of Australian costume designer and three-time Oscar-winner Orry-Kelly. 4 27/03/16 Deadline: Assessment 1, Language of Fashion article, by 12.00 midnight via TurnItIn. 5 05/04/16 Beril Jents: Post WWII Australian Fashion Practice ???????????????????????????????????????????????????? couturière’ this lecture explores Jents’ identity as a pioneering Australian fashion designer. 6 12/04/16 Australian Avant-Garde (Liliana Pomazan) An examination of the independent, contemporary practices of designers including ??????????????????????????????????????????? 7 19/04/16 The Postmodern Designer (Jane Morley) This lecture considers the complexities of design practice in a postmodern world through an exploration of concepts such as appropriation and homage. 8 26/04/16 Subcultural Style and Youth Rebellion (Liliana Pomazan) An exploration of the motivations behind ???????????????????????????????????????????????? appropriation. 9 03/05/16 Crafting a designer (Andrea Eckersley) An exploration into how the making of fashion shapes a designer’s identity. 1. WEEKLY SCHEDULE 13 Week Tutorial 1 ?????????????????????????????????????????????????????????????????????? discussion forum. Homework: Read article (TBC in class) and comment online. 2 Lecture discussion. Grp 1 to lead class discussion on reading. Homework: Read article (TBC in class) and comment online. 3 Lecture discussion. Grp 2 to lead class discussion on reading. Homework: Read article (TBC in class) and comment online. 4 Grp 3 to lead class discussion on reading. Homework: Read article (TBC in class) comment online. 4 Mid Semester Break. Homework: Choose an essay topic and start essay research. 5 Lecture discussion. Grp 4 to lead class discussion on reading. Homework: Read article (TBC in class) and comment online. 6 Lecture discussion. Grp 5 to lead class discussion on reading. Homework: Read article (TBC in class) and comment online. 7 Lecture discussion. Grp 6 to lead class discussion on reading. Homework: Continue with essay research. 8 Lecture discussion. Essay research progress check. Homework: Continue with essay research. 9 Library group study session. One-to-one assistance with research and writing. 14 Week Date Lecture 10 10/05/16 The Sustainable & Ethical Designer (Jo Cramer) 11 17/05/16 What is Fashion? (Sean Ryan) 12 24/05/16 Film: Iris, 2014. A documentary about fashion icon Iris Apfel from ????????????????????????????????????????????? 12 27/05/16 Deadline: Fashion Studies 3 Essay, to be submitted by midnight via TurnItIn. NB. Lectures and tutorials may be subject to change. 15 Week Tutorial 10 Essay plan discussion and feedback. 11 Library group study session. One-to-one research and writing assistance. 12 Library group study session. One-to-one assistance with research and writing. Harvard referencing clinic. Notes: ........................................................................................................................................... 代写 GRAP2664  Fashion and Textiles