a recent assignment (in which there were 5 thesis statements to choose from + i found myself drawn to every single thesis' alternative counterpart. way too cynical.):
'the internet is increasingly becoming a place where information and creative ideas are shared. this essay will argue that because access to the internet is not universal, this sharing reinforces dominant opinions, resulting in uniform and bland products and services.
in the last decade, the Fashion Industry has been revolutionised by online services such as advanced marketing, e-commerce and blogging. however, Western superiority has arisen as a result of the reliance on technology, and First World products are showcased exponentially more so than that of any other representation. this projection of cultural elitism through comparatively greater internet availability has caused a cyclic regurgitation of globally homogenised fashion-related products; significantly worsening the issue of counterfeiting.
21st century technology has accelerated methods of data transferral, lessening the gap between retailers and consumers. emailing and other forms of communication such as e-commerce web pages (Gill 2008, 70), branding via social networking and style blogs have grown to be extremely popular within the Fashion Industry, with some designers having streamed their runway shows online for years (Threadbared Blog, December 15, 2010). 'the future for successful retailers isn't about choosing between bricks or clicks, it's about [both]. they can either go for the full-on e-commerce portal, or they can use the Web as a branding tool. some do a bit of both, but there's always the danger of cannibalising your sales with an on-line shop' (Billings 2008, 9). 'e-commerce' involves sales and purchases of goods online, and is becoming a close to standard provision for contemporary fashion retailers (Maynard 2010, Globalization and Dress), as is 'm-commerce'; online retailing accessed via mobile phone (Kim, Jin and Park 2009, 215-230). in 2006 alone, online fashion-related sales within the United States reached a total of US$18.3 billion, while technological e-commerce sales (such as computers, printers and associated software) reached a comparatively less significant figure of US$17.2 billion (Eicher 2010, Introduction to Global Perspectives). speed to market has similarly been fast-tracked (Niessen 2010, Interpreting 'Civilization' through Dress), through processes such as Electronic Data Interchange ('EDI'), Computer-Aided Design and Manufacturing, and automated cutting (Hayes 2006, 282).
the media movement has also led to fashion blogs and a subsequent uprising in consumer empowerment (Jenkins 2006, 248). after development of the first fashion blog in 2002, popularity for the phenomenon has grown rapidly since. hundreds of bloggers now receive invitations to attend and cover international fashion weeks and have been featured in magazines such as Harper’s Bazaar, Elle UK and Vogue (Threadbared Blog, December 15, 2010). key members of the blogging community have had designs named after them (as well as received free samples), inspired designers’ collections and in some cases; designed their own capsule collections. some have gone on to model, edit and contribute to major publications, as well as start their own online stores. the influence of these creatives has been so significant that an American law, as introduced by the Federal Communications Commission, now insists that a blogger must clearly state when they have received a gift or been paid to write about something (Corcoran 2010). the founder of online store ModCloth, Susan Koger, noted, 'i’m so excited to be part of changing an industry that traditionally has been so top down' (Corcoran 2010).
‘street style’ fashion blogs contain photographs of people spotted on the street, and are seen to be democratic in nature, though many people are unaware of the subconscious stylisation. successful blogs have a distinct aesthetic to both their website design and the sort of fashion depicted, as the blogger’s creative output is evidently an extension of their own lifestyle - as would be the case with any creative professional. however, a Western exclusivity is hidden within the filtered aesthetics, '[w]hatever view is the most extreme or the newest at one time among the abundance – that will be what seems to matter. that’s a logic of capitalism, not democracy' (Threadbared Blog, November 6, 2009). this idea is further detailed by Leadbater (2008, Chapter 1), 'the web, in theory, should be good for equality. Yet the web most rewards those who are already well connected by allowing them to network together, reinforcing their privilege.'
Historically, Western clothing has always received the most literary coverage, and so with such a comparatively greater access to online resources than global counterparts, disparate styles or traditions of clothing are still 'presented either as earlier moments in the linear trajectory toward modernity from which fashion has selectively plucked, or are lumped together as more or less undifferentiated folk dress or tribal examples of nonfashion' (Niessen 2010, Interpreting 'Civilization' through Dress). one instance of such global homogenisation exists within Islamic dress. despite forging a sartorial style of its own, popular Muslim fashion websites offer garments named or styled with distinct Western influence (Akou 2007, 403). s French law in 2010 reinforced this notion, banning all face-covering forms of dress (including the Burqa, as worn by Muslim women), while a law from 2004 similarly disallows any religious symbols to be worn within schools - including girls’ headscarves (CNN Wire Staff 2010).
despite the occurrence of fashion weeks and fashion magazines in somewhat less developed countries - such as Vogue Turkey, the globalisation of world dress continues. in an illusion of democracy, dedicated issues to race such as Vogue Italia’s 'Tribute to Black Beauties' and 'The Black Allure', and American Vogue’s 'Gangs of New York' have exclusively cast all-black models, though a post on the Threadbared Blog on May 5, 2011 pointed out significant flaws in the concept. 'it’s great that we’re seeing more non-white models in the representational landscape of fashion but the separation of non-white models in 'special' editorials ultimately secures whiteness as racially normative. the bodies of the most popular Black and Asian models are also physically normative. despite all the hype surrounding all-Black editorials or 'the rise of Asian models,' most of the modelling jobs continue to go to white models.' for example, over 60 percent of shows during New York Fashion Week in February 2010 cast white models for at least 85 percent of collections. 'many of the least-diverse labels, like Calvin Klein, Diesel, and Donna Karan, are international brands. wouldn't they want their potential customers to recognize their own forms of beauty in their runway shows? the aesthetic standards set by the fashion industry affect all of our lives' (Jezebel Blog, February 22, 2010).
it must be recognised, nevertheless, that Asian models and traditional dress have been impacting a great proportion of designers’ conceptual inspiration and design aesthetics for seasons (Maynard 2010, Globalization and Dress), while garments such as the Salwar and Kameeze have entered the mainstream global market (Eicher 2010, Introduction to Global Perspectives).
increasingly popular websites such as Etsy allow hand-made goods to be sold online, to an international audience. these new technologies are particularly appealing as there is a 'promise that anyone can be 'someone,' that a fashion outsider can be a fashion insider, and that prestige and privilege are available to and accessible by everyone' (Threadbared Blog, November 6, 2009). this emphasises the bland products and services currently dominating the Fashion Industry and contradicting the entire concept of the Creative Industries, as described by the official task force in 1998 as 'those industries which have their origin in individual creativity, skill and talent' (Jaaniste, 2008). with tools for supposed creativity so readily available, there is evidently liberation from the restraints of professional artistic elitism, yet there is also a very real risk of high quality design becoming close to non-existent, and all lasting credibility becoming questionable (Leadbeater 2008, Chapter 1). 'the internet has allowed virtually anyone to offer their opinions and advice within a clicking earshot. But that doesn’t mean people will want to listen' (The Business of Fashion Blog, October 14, 2008).
so what is to become of the future of true creativity, professionalism, and specialist expertise? counterfeiting is not a new concept, yet it is too beginning to widely influence the Fashion Industry. yet illegal reproduction of goods does not occur exclusively within the Western world. Simply Islam, a United Kingdom-based brand, sells counterfeited Hijabs with well-known designers’ logos; demonstrating the global market for knock-off products (Akou 2007, 403). international 'fast fashion' retailers such as Zara, Topshop and H&M allow customers to purchase near-identical garments to designer pieces just weeks after their appearance on the runway, while previously recognisable signs of authenticity such as the 'made in Italy' tag no longer legitimises a product - instead often disguising Chinese production (Maynard 2010, Globalization and Dress). the reproduction and reinvention of recognisable products are not always a blatant act of counterfeiting, however – the process often comes from within the brand itself. as highlighted by Maynard (2010, Globalization and Dress), 'the pervasive trend toward the similarity of products is matched by marketing attempts to differentiate commodities in such a way that customers will be led to believe they are constantly being offered something new. familiar brands like Burberry need to be constantly reconceptualised to maintain exclusivity, as their logos become subject to faking or overuse. while basic clothing is remarkably similar in cut and overall style, this is disguised by ever-changing modifications to brands, however small, and changing techniques of concept selling.'
therefore, increased accessibility to the internet and related technological advances have certainly accelerated and, in some areas, improved the Fashion Industry and the Creative Industries at large through services including e-commerce, CAD/CAM and blogging. however, the negative aspects to this social movement are currently outweighing the positives, as increased internet access has led to the homogenisation of global dress, as the Western world continues to consume the majority of consumer’s minds and wardrobes; leading to many emerging ‘designers’ lacking creative innovation and producing goods that are more or less counterfeited.'
'the internet is increasingly becoming a place where information and creative ideas are shared. this essay will argue that because access to the internet is not universal, this sharing reinforces dominant opinions, resulting in uniform and bland products and services.
in the last decade, the Fashion Industry has been revolutionised by online services such as advanced marketing, e-commerce and blogging. however, Western superiority has arisen as a result of the reliance on technology, and First World products are showcased exponentially more so than that of any other representation. this projection of cultural elitism through comparatively greater internet availability has caused a cyclic regurgitation of globally homogenised fashion-related products; significantly worsening the issue of counterfeiting.
21st century technology has accelerated methods of data transferral, lessening the gap between retailers and consumers. emailing and other forms of communication such as e-commerce web pages (Gill 2008, 70), branding via social networking and style blogs have grown to be extremely popular within the Fashion Industry, with some designers having streamed their runway shows online for years (Threadbared Blog, December 15, 2010). 'the future for successful retailers isn't about choosing between bricks or clicks, it's about [both]. they can either go for the full-on e-commerce portal, or they can use the Web as a branding tool. some do a bit of both, but there's always the danger of cannibalising your sales with an on-line shop' (Billings 2008, 9). 'e-commerce' involves sales and purchases of goods online, and is becoming a close to standard provision for contemporary fashion retailers (Maynard 2010, Globalization and Dress), as is 'm-commerce'; online retailing accessed via mobile phone (Kim, Jin and Park 2009, 215-230). in 2006 alone, online fashion-related sales within the United States reached a total of US$18.3 billion, while technological e-commerce sales (such as computers, printers and associated software) reached a comparatively less significant figure of US$17.2 billion (Eicher 2010, Introduction to Global Perspectives). speed to market has similarly been fast-tracked (Niessen 2010, Interpreting 'Civilization' through Dress), through processes such as Electronic Data Interchange ('EDI'), Computer-Aided Design and Manufacturing, and automated cutting (Hayes 2006, 282).
the media movement has also led to fashion blogs and a subsequent uprising in consumer empowerment (Jenkins 2006, 248). after development of the first fashion blog in 2002, popularity for the phenomenon has grown rapidly since. hundreds of bloggers now receive invitations to attend and cover international fashion weeks and have been featured in magazines such as Harper’s Bazaar, Elle UK and Vogue (Threadbared Blog, December 15, 2010). key members of the blogging community have had designs named after them (as well as received free samples), inspired designers’ collections and in some cases; designed their own capsule collections. some have gone on to model, edit and contribute to major publications, as well as start their own online stores. the influence of these creatives has been so significant that an American law, as introduced by the Federal Communications Commission, now insists that a blogger must clearly state when they have received a gift or been paid to write about something (Corcoran 2010). the founder of online store ModCloth, Susan Koger, noted, 'i’m so excited to be part of changing an industry that traditionally has been so top down' (Corcoran 2010).
‘street style’ fashion blogs contain photographs of people spotted on the street, and are seen to be democratic in nature, though many people are unaware of the subconscious stylisation. successful blogs have a distinct aesthetic to both their website design and the sort of fashion depicted, as the blogger’s creative output is evidently an extension of their own lifestyle - as would be the case with any creative professional. however, a Western exclusivity is hidden within the filtered aesthetics, '[w]hatever view is the most extreme or the newest at one time among the abundance – that will be what seems to matter. that’s a logic of capitalism, not democracy' (Threadbared Blog, November 6, 2009). this idea is further detailed by Leadbater (2008, Chapter 1), 'the web, in theory, should be good for equality. Yet the web most rewards those who are already well connected by allowing them to network together, reinforcing their privilege.'
Historically, Western clothing has always received the most literary coverage, and so with such a comparatively greater access to online resources than global counterparts, disparate styles or traditions of clothing are still 'presented either as earlier moments in the linear trajectory toward modernity from which fashion has selectively plucked, or are lumped together as more or less undifferentiated folk dress or tribal examples of nonfashion' (Niessen 2010, Interpreting 'Civilization' through Dress). one instance of such global homogenisation exists within Islamic dress. despite forging a sartorial style of its own, popular Muslim fashion websites offer garments named or styled with distinct Western influence (Akou 2007, 403). s French law in 2010 reinforced this notion, banning all face-covering forms of dress (including the Burqa, as worn by Muslim women), while a law from 2004 similarly disallows any religious symbols to be worn within schools - including girls’ headscarves (CNN Wire Staff 2010).
despite the occurrence of fashion weeks and fashion magazines in somewhat less developed countries - such as Vogue Turkey, the globalisation of world dress continues. in an illusion of democracy, dedicated issues to race such as Vogue Italia’s 'Tribute to Black Beauties' and 'The Black Allure', and American Vogue’s 'Gangs of New York' have exclusively cast all-black models, though a post on the Threadbared Blog on May 5, 2011 pointed out significant flaws in the concept. 'it’s great that we’re seeing more non-white models in the representational landscape of fashion but the separation of non-white models in 'special' editorials ultimately secures whiteness as racially normative. the bodies of the most popular Black and Asian models are also physically normative. despite all the hype surrounding all-Black editorials or 'the rise of Asian models,' most of the modelling jobs continue to go to white models.' for example, over 60 percent of shows during New York Fashion Week in February 2010 cast white models for at least 85 percent of collections. 'many of the least-diverse labels, like Calvin Klein, Diesel, and Donna Karan, are international brands. wouldn't they want their potential customers to recognize their own forms of beauty in their runway shows? the aesthetic standards set by the fashion industry affect all of our lives' (Jezebel Blog, February 22, 2010).
it must be recognised, nevertheless, that Asian models and traditional dress have been impacting a great proportion of designers’ conceptual inspiration and design aesthetics for seasons (Maynard 2010, Globalization and Dress), while garments such as the Salwar and Kameeze have entered the mainstream global market (Eicher 2010, Introduction to Global Perspectives).
increasingly popular websites such as Etsy allow hand-made goods to be sold online, to an international audience. these new technologies are particularly appealing as there is a 'promise that anyone can be 'someone,' that a fashion outsider can be a fashion insider, and that prestige and privilege are available to and accessible by everyone' (Threadbared Blog, November 6, 2009). this emphasises the bland products and services currently dominating the Fashion Industry and contradicting the entire concept of the Creative Industries, as described by the official task force in 1998 as 'those industries which have their origin in individual creativity, skill and talent' (Jaaniste, 2008). with tools for supposed creativity so readily available, there is evidently liberation from the restraints of professional artistic elitism, yet there is also a very real risk of high quality design becoming close to non-existent, and all lasting credibility becoming questionable (Leadbeater 2008, Chapter 1). 'the internet has allowed virtually anyone to offer their opinions and advice within a clicking earshot. But that doesn’t mean people will want to listen' (The Business of Fashion Blog, October 14, 2008).
so what is to become of the future of true creativity, professionalism, and specialist expertise? counterfeiting is not a new concept, yet it is too beginning to widely influence the Fashion Industry. yet illegal reproduction of goods does not occur exclusively within the Western world. Simply Islam, a United Kingdom-based brand, sells counterfeited Hijabs with well-known designers’ logos; demonstrating the global market for knock-off products (Akou 2007, 403). international 'fast fashion' retailers such as Zara, Topshop and H&M allow customers to purchase near-identical garments to designer pieces just weeks after their appearance on the runway, while previously recognisable signs of authenticity such as the 'made in Italy' tag no longer legitimises a product - instead often disguising Chinese production (Maynard 2010, Globalization and Dress). the reproduction and reinvention of recognisable products are not always a blatant act of counterfeiting, however – the process often comes from within the brand itself. as highlighted by Maynard (2010, Globalization and Dress), 'the pervasive trend toward the similarity of products is matched by marketing attempts to differentiate commodities in such a way that customers will be led to believe they are constantly being offered something new. familiar brands like Burberry need to be constantly reconceptualised to maintain exclusivity, as their logos become subject to faking or overuse. while basic clothing is remarkably similar in cut and overall style, this is disguised by ever-changing modifications to brands, however small, and changing techniques of concept selling.'
therefore, increased accessibility to the internet and related technological advances have certainly accelerated and, in some areas, improved the Fashion Industry and the Creative Industries at large through services including e-commerce, CAD/CAM and blogging. however, the negative aspects to this social movement are currently outweighing the positives, as increased internet access has led to the homogenisation of global dress, as the Western world continues to consume the majority of consumer’s minds and wardrobes; leading to many emerging ‘designers’ lacking creative innovation and producing goods that are more or less counterfeited.'
No comments:
Post a Comment
your thoughts will be read and appreciated, thanks for taking the time x