2011年10月8日星期六
2011年3月23日星期三
Dissertation Proposal Part 2
DHTP Dissertation Proposal Part 2
We have produced a template for your dissertation proposal, a copy of which is reproduced below. The sections relate closely to the work you did in Level 2 where you investigated a topic by doing a literature search, and using primary research methods such as observations and experiments.
Please download this form from the VLE.
Please save as a word.doc and change the title to your full name, e.g.: John Smith.doc - do not email the proposal without changing the file name.
Sample template
Student Name Sun yi nan
Course Textile design
Supervisor name Jonathan Baldwin
Email address Y.W.Sun@dundee.ac.uk
Date 10/03/2011
Using the template
Enter your personal details in the box above. The email address will be used by your tutor and others to contact you. You must check this regularly for news on tutorial dates.
Read each heading carefully and type into the text box below.
Email your proposal to your supervisor and load it up on Safe Assignment of the VLE
Total word count: between 2000-2500 words (excluding bibliography).
Working title (max 50words)
This should give an outline of your research topic. If appropriate use a title and a subtitle. You don’t have to be too specific at first and you don’t have to word it like a question - but you can if you want.
The Application Analysis Of Blue And White’s Pattern In Modern Textile Design
Summary (max 1000 words)
Here you should indicate what you already know about the topic. You should already have done some reading around it. Summarise this reading with regards to the research topic and describe the research area.
With the global economic integration, it is very important to maintain regional ethnic characteristics and traditional culture as well. How to solve the problems that combine the essence of traditional culture with modern atmosphere has always been considered and discovered by many designers for a long time. Home textile design is the same point. Selecting the eye-catching Blue and White to be the research target, seeing the small, from the individual to general, this thesis is aimed to analyse questions from studying blue and white colour inherent aesthetic to the developing of Chinese traditional element, and look for the joint point between blue and white textile design.
I want begins with the origin, develop, background information, and spread of blue and white to grasp its culture value, then it moves to the colour art, pattern features and art style rules to understand the culture charm and inherent aesthetic spirit of blue and white. Furthermore, it gets use of the modern design concepts and traditional aesthetic ideas to discover the new road for the re-design and the application in home textile of blue and white. It not only enriches my understanding in traditional culture and broadens my aesthetic horizon by studying blue and white intensively, but tells me Chinese unique spiritual values and ways of thinking in modern design and concepts. It discovers the major concern that how to mix the ethnic element into modern design better as well.
During the Yuan dynasty (1279-1368) after the Mongol conquest of China, some time in the early fourteenth century an entirely new kind of porcelain appeared, pained in under glaze cobalt blue. (Carswell, 2000) With hardly any precedent, this blue and white porcelain sprang on to an empty stage, a platform which it was to dominate in the history of world ceramics for the next four hundred years.
(Continued over)
The decoration colour of this pattern is blue and white. The blue colour is the colour of the sea or sky. Blue gives people transparent impression, and also can reflects calm, elegant, indifferent emotions to people. Distinctive bright colour of blue is a very thought-provoking colour. Blue and white balance interspersed with each other. It reached harmony of decorative effects. This eternal subtle colour conforms to the Oriental nation's aesthetic preferences. Blue and white decoration on the white background broke the white porcelain of the monotonous, and shows its elegant, graceful.
From the very beginning Yuan blue and white, with its often massive forms and complex decoration, differed fundamentally from the slighter and more delicate wares of the preceding Song dynasty. (Carswell, 2000) It was held in great esteem all over Asia, and from the kilns at Jingdezhen in southern China it was carried westwards from sites throughout Central and Southeast Asia, India, Sri Lanka, the Maldives and so on.
As the carrier of Chinese traditional lucky patterns, blue and white decoration patterns also uphold the characteristics of Chinese decoration. They are rich in meaning. Depending on the content of the auspicious expression screen, can be divided into plant patterns, animal patterns, and the secondary patterns.
Now a lot of traditional elements are integrated in the community in all its aspects.
Home textile, as closely related to the people's daily necessities, position becomes increasingly important in people's lives. China home textile production is an ancient and young industry. Home textiles are an integral part of life for people. When people have the basic needs of life, then their pursuit of aesthetic deeper required will start, then naturally textile design got new space for development. Home becomes a self-show space. Enable people to return to the heart and emotional demands of space. With the development of the society, home textiles design has entered a leap forward period. It not only to people creating a rest, work, play and comfortable environment, but also for people to create imaginative space such as thinking, feeling people thinking. It's not just simple enjoyment of the material， there is mental pleasure and exchange. There is no space to replace the home textile design position and function. It is also can not calculate its value and impact. It is an important part in people's lives cannot leave behind. It take the static of the space into a dynamic, makes static objects have the vitality, are flowing in the culture and personality in the space, make life more dynamic. It tuned the relationship between people and things, man and man, man and space, people and the environment. Textile design became one of the links. It is the art of life and art of living.
Aimed for home textiles market survey has a problem: according to your favourite home textiles, are you looking forward to what it can to bring you the greatest feeling is? Most consumers choose the textile power by their own culture. Have participated in the Frankfurt International trade fair for home textiles designers after returning home, laments the domestic fighter levels are not low. Think of many buildings in the country, both references to the European style, is also integrated into the national elements. Although this is the external manifestations of art, but the connotation of art has a qualitative difference. This difference comes from the effects of cultural understanding of the meaning of textile design and performance. Is not based on knowledge of the cultural and historical connotations. Blindly pursue foreign design style is not of their own design based on space. In the rapid development of science and technology, today's era of knowledge sharing, maintaining national characteristics based on the countries cultural. Flash point in Chinese traditional elements let the world know, let the world accepted, then Chinese home textiles can find their true world. My thesis research direction of blue and white, from the perspective of East-West, history and culture propagation analysis in terms of inheritance and development of it, is a mining and exploration of history and culture. Analysis from the angle of the pattern and colour, its principles on formal beauty and decorative principles is the extension and development of textile pattern. Analysis of the relationship from the blue and white design and textiles is inheritance and development of better to how traditional elements and the enterprise product design and development. Open markets between East and West let China design better and faster towards the world market.
Aims: Why are you doing this? (max 100 words)
These are a general statement on the intent or direction for the research – why are you doing this? Refer to theoretical aims and practical ones where relevant. For example: How might this improve your design practice? How does it contribute to the discourses within your discipline? Who else might benefit from your research? Is it aimed at an academic or a wider audience? What do you hope your research will achieve? State your aims concisely.
I want to research this topic because I am very interested in blue and white pattern, cloth and design. I am also like Cultural practices in various countries. And it also closely linked with my course. I feel if I can understand it deeply it will improve later design work. When I am in practice and I can learn more about different material and cultural influences through design. I think that students studying interior design, product design and graphic design can benefit from its colour, pattern, material, skill and so on. My research will target an academic or public audience.
Objectives: What will you produce? (max 100 words)
Objectives are the things you will produce in doing the dissertation, e.g. a review of the relevant literature, a collection and discussion of people’s experiences/opinions, an assessment of a debate or collection of work etc.
Like your aims, these will help your tutor (and you) assess your success. They may change over time but aims and objectives are useful to keep you focussed. Again be concise here – you may want to use bullet points.
I want to let everyone know about a comprehensive review of Chinese traditional typical pattern and its culture, and focusing on a particular type Blue and White. I will examine the features of Chinese traditional pattern and see how it inherits and develops over time and how it affects contemporary fashion and textile design. I think that traditional things and modern things have important comparative qualities that will allow me to understand how these interact. I want blue and white design used in world. I find this research area very interesting.
Keywords (min 5 and max 10)
This should be a list of key terms that help us see if you are aware of where your research ‘sits’. For example, if you are writing on depictions of women in advertising your list might include ‘gender, feminism, representation, advertising, semiotics’. Keywords will help you when doing electronic searched for research materials.
Chinese traditional pattern , Culture, Blue and White, Globalization, textile design,
Annotated Bibliography (min of 24books, articles, websites)
Place here alphabetically a list of materials which you intent to use for you dissertation. Format these according to the Harvard Method!
Please make sure you have critically assessed these as being appropriate for your topic and write a short paragraph for each one summarising the content and its relevance to your research area.
Agins, T(1999) The end of fashion. New York. HarperCollins. It tells us how marketing changed the clothing business forever.
Bushell,S.W(1989) Oriental Ceramic Art. New York. Appelton. This book talks about Asian’s ceramic history and development.
Carswell.J(1985) Blue and White. USA. Chicago. This book talks about Chinese porcelain and its impact on the western world.
Clark,H(2000) Modernity at large. London. University of Minnesota Press. Cultural dimensions of globalization.
Craik,J(1994) The face of fashion. London and New York. Routledge. It is talk about Cultural studies in fashion.
Dawn,J(1993)Chinoiserie. London. Phaidon Press. This book talks about the different Chinese style art. Such as ceramic, furniture, textile and so on.
Donald, C(2007) Dress Sense. UK. Berg. It is tell us dress have some meaning and their different feeling.
Eugenia,P(2009) and Hazel C(2009) The Fabric of Cultures. USA. Routledge. This book in 11 chapter talk about the fashioning China style in the 21s century. It is really helpful for my research.
Fohn,C(2000) Blue and White. London. British museum press. It is talk about Chinese porcelain around the world.
Gao, H (1992) Chinese textile design. London. Penguin group. It is talk about history of Chinese textile design, like skills.
Gomperta,G.M(1980) Chinese Celadon Wares. London. Faber. This book also has some links about Blue and White.
Greensted, M (1982) and Peter,H(1982) Chinese Ceramics:The Indian Connection. London. Brostol Museum and Art Gallery.
It tells us Chinese ceramic also have effects on other country.
Guy,J(1990) Oriental Trade Ceramics in South East Asia. Singapore. Oxford university press. It tells us the ceramic trade history in south east Asia.
Hobson,R.L(1915)Chinese Pottery and Porcelain. London. Oxford university press. This book tells us the early history about Chinese pottery and porcelain.
Hoodrum,A(2005) The National Fabric. UK. Berg. It is tell us the fashion and globalization.
John,A(1951)Early Chinese Blue and White in the Museum of Eastern Art. London. Oriental. This book tells us some history of blue and white.
Loewe,M(1982) Chinese Ideas of Life and Death. London. Berg. This book talks about faith, myth and reason in the Han dynasty.
Patrizia,C(2004) The Clothed Body. UK. Berg. This book talks about the dress, language and communication. Language and dress are sign systems.
Rawson,J(1980) Ancient China. London. Berg. This book talks about art and archaeology.
Robert,C(1980) Spode’s Willow Pattern. London. Cassell Ltd. This book talks about pattern and design on pottery or porcelain.
Sandra,N(2003) Re-Orienting Fashion. UK. Berg. It is tell us the globalization of Asian dress.
Scheffer,Y.M.(1994) The changing map of European textile. London. Penguin group. It is talk about production and sourcing of textile and clothing.
S.J. V(1991) Chinese Pottery and Porcelain. London. British museum press. It is a book that survey of the development of ceramics from the Neolithic period to the present day. Assessing the roles pottery has played in each dynasty throughout the history of China.
Valery,M(1994) Chinese Clothing. USA. Oxford university press. This book talks about Chinese traditional clothing and pattern, skills.
We have produced a template for your dissertation proposal, a copy of which is reproduced below. The sections relate closely to the work you did in Level 2 where you investigated a topic by doing a literature search, and using primary research methods such as observations and experiments.
Please download this form from the VLE.
Please save as a word.doc and change the title to your full name, e.g.: John Smith.doc - do not email the proposal without changing the file name.
Sample template
Student Name Sun yi nan
Course Textile design
Supervisor name Jonathan Baldwin
Email address Y.W.Sun@dundee.ac.uk
Date 10/03/2011
Using the template
Enter your personal details in the box above. The email address will be used by your tutor and others to contact you. You must check this regularly for news on tutorial dates.
Read each heading carefully and type into the text box below.
Email your proposal to your supervisor and load it up on Safe Assignment of the VLE
Total word count: between 2000-2500 words (excluding bibliography).
Working title (max 50words)
This should give an outline of your research topic. If appropriate use a title and a subtitle. You don’t have to be too specific at first and you don’t have to word it like a question - but you can if you want.
The Application Analysis Of Blue And White’s Pattern In Modern Textile Design
Summary (max 1000 words)
Here you should indicate what you already know about the topic. You should already have done some reading around it. Summarise this reading with regards to the research topic and describe the research area.
With the global economic integration, it is very important to maintain regional ethnic characteristics and traditional culture as well. How to solve the problems that combine the essence of traditional culture with modern atmosphere has always been considered and discovered by many designers for a long time. Home textile design is the same point. Selecting the eye-catching Blue and White to be the research target, seeing the small, from the individual to general, this thesis is aimed to analyse questions from studying blue and white colour inherent aesthetic to the developing of Chinese traditional element, and look for the joint point between blue and white textile design.
I want begins with the origin, develop, background information, and spread of blue and white to grasp its culture value, then it moves to the colour art, pattern features and art style rules to understand the culture charm and inherent aesthetic spirit of blue and white. Furthermore, it gets use of the modern design concepts and traditional aesthetic ideas to discover the new road for the re-design and the application in home textile of blue and white. It not only enriches my understanding in traditional culture and broadens my aesthetic horizon by studying blue and white intensively, but tells me Chinese unique spiritual values and ways of thinking in modern design and concepts. It discovers the major concern that how to mix the ethnic element into modern design better as well.
During the Yuan dynasty (1279-1368) after the Mongol conquest of China, some time in the early fourteenth century an entirely new kind of porcelain appeared, pained in under glaze cobalt blue. (Carswell, 2000) With hardly any precedent, this blue and white porcelain sprang on to an empty stage, a platform which it was to dominate in the history of world ceramics for the next four hundred years.
(Continued over)
The decoration colour of this pattern is blue and white. The blue colour is the colour of the sea or sky. Blue gives people transparent impression, and also can reflects calm, elegant, indifferent emotions to people. Distinctive bright colour of blue is a very thought-provoking colour. Blue and white balance interspersed with each other. It reached harmony of decorative effects. This eternal subtle colour conforms to the Oriental nation's aesthetic preferences. Blue and white decoration on the white background broke the white porcelain of the monotonous, and shows its elegant, graceful.
From the very beginning Yuan blue and white, with its often massive forms and complex decoration, differed fundamentally from the slighter and more delicate wares of the preceding Song dynasty. (Carswell, 2000) It was held in great esteem all over Asia, and from the kilns at Jingdezhen in southern China it was carried westwards from sites throughout Central and Southeast Asia, India, Sri Lanka, the Maldives and so on.
As the carrier of Chinese traditional lucky patterns, blue and white decoration patterns also uphold the characteristics of Chinese decoration. They are rich in meaning. Depending on the content of the auspicious expression screen, can be divided into plant patterns, animal patterns, and the secondary patterns.
Now a lot of traditional elements are integrated in the community in all its aspects.
Home textile, as closely related to the people's daily necessities, position becomes increasingly important in people's lives. China home textile production is an ancient and young industry. Home textiles are an integral part of life for people. When people have the basic needs of life, then their pursuit of aesthetic deeper required will start, then naturally textile design got new space for development. Home becomes a self-show space. Enable people to return to the heart and emotional demands of space. With the development of the society, home textiles design has entered a leap forward period. It not only to people creating a rest, work, play and comfortable environment, but also for people to create imaginative space such as thinking, feeling people thinking. It's not just simple enjoyment of the material， there is mental pleasure and exchange. There is no space to replace the home textile design position and function. It is also can not calculate its value and impact. It is an important part in people's lives cannot leave behind. It take the static of the space into a dynamic, makes static objects have the vitality, are flowing in the culture and personality in the space, make life more dynamic. It tuned the relationship between people and things, man and man, man and space, people and the environment. Textile design became one of the links. It is the art of life and art of living.
Aimed for home textiles market survey has a problem: according to your favourite home textiles, are you looking forward to what it can to bring you the greatest feeling is? Most consumers choose the textile power by their own culture. Have participated in the Frankfurt International trade fair for home textiles designers after returning home, laments the domestic fighter levels are not low. Think of many buildings in the country, both references to the European style, is also integrated into the national elements. Although this is the external manifestations of art, but the connotation of art has a qualitative difference. This difference comes from the effects of cultural understanding of the meaning of textile design and performance. Is not based on knowledge of the cultural and historical connotations. Blindly pursue foreign design style is not of their own design based on space. In the rapid development of science and technology, today's era of knowledge sharing, maintaining national characteristics based on the countries cultural. Flash point in Chinese traditional elements let the world know, let the world accepted, then Chinese home textiles can find their true world. My thesis research direction of blue and white, from the perspective of East-West, history and culture propagation analysis in terms of inheritance and development of it, is a mining and exploration of history and culture. Analysis from the angle of the pattern and colour, its principles on formal beauty and decorative principles is the extension and development of textile pattern. Analysis of the relationship from the blue and white design and textiles is inheritance and development of better to how traditional elements and the enterprise product design and development. Open markets between East and West let China design better and faster towards the world market.
Aims: Why are you doing this? (max 100 words)
These are a general statement on the intent or direction for the research – why are you doing this? Refer to theoretical aims and practical ones where relevant. For example: How might this improve your design practice? How does it contribute to the discourses within your discipline? Who else might benefit from your research? Is it aimed at an academic or a wider audience? What do you hope your research will achieve? State your aims concisely.
I want to research this topic because I am very interested in blue and white pattern, cloth and design. I am also like Cultural practices in various countries. And it also closely linked with my course. I feel if I can understand it deeply it will improve later design work. When I am in practice and I can learn more about different material and cultural influences through design. I think that students studying interior design, product design and graphic design can benefit from its colour, pattern, material, skill and so on. My research will target an academic or public audience.
Objectives: What will you produce? (max 100 words)
Objectives are the things you will produce in doing the dissertation, e.g. a review of the relevant literature, a collection and discussion of people’s experiences/opinions, an assessment of a debate or collection of work etc.
Like your aims, these will help your tutor (and you) assess your success. They may change over time but aims and objectives are useful to keep you focussed. Again be concise here – you may want to use bullet points.
I want to let everyone know about a comprehensive review of Chinese traditional typical pattern and its culture, and focusing on a particular type Blue and White. I will examine the features of Chinese traditional pattern and see how it inherits and develops over time and how it affects contemporary fashion and textile design. I think that traditional things and modern things have important comparative qualities that will allow me to understand how these interact. I want blue and white design used in world. I find this research area very interesting.
Keywords (min 5 and max 10)
This should be a list of key terms that help us see if you are aware of where your research ‘sits’. For example, if you are writing on depictions of women in advertising your list might include ‘gender, feminism, representation, advertising, semiotics’. Keywords will help you when doing electronic searched for research materials.
Chinese traditional pattern , Culture, Blue and White, Globalization, textile design,
Annotated Bibliography (min of 24books, articles, websites)
Place here alphabetically a list of materials which you intent to use for you dissertation. Format these according to the Harvard Method!
Please make sure you have critically assessed these as being appropriate for your topic and write a short paragraph for each one summarising the content and its relevance to your research area.
Agins, T(1999) The end of fashion. New York. HarperCollins. It tells us how marketing changed the clothing business forever.
Bushell,S.W(1989) Oriental Ceramic Art. New York. Appelton. This book talks about Asian’s ceramic history and development.
Carswell.J(1985) Blue and White. USA. Chicago. This book talks about Chinese porcelain and its impact on the western world.
Clark,H(2000) Modernity at large. London. University of Minnesota Press. Cultural dimensions of globalization.
Craik,J(1994) The face of fashion. London and New York. Routledge. It is talk about Cultural studies in fashion.
Dawn,J(1993)Chinoiserie. London. Phaidon Press. This book talks about the different Chinese style art. Such as ceramic, furniture, textile and so on.
Donald, C(2007) Dress Sense. UK. Berg. It is tell us dress have some meaning and their different feeling.
Eugenia,P(2009) and Hazel C(2009) The Fabric of Cultures. USA. Routledge. This book in 11 chapter talk about the fashioning China style in the 21s century. It is really helpful for my research.
Fohn,C(2000) Blue and White. London. British museum press. It is talk about Chinese porcelain around the world.
Gao, H (1992) Chinese textile design. London. Penguin group. It is talk about history of Chinese textile design, like skills.
Gomperta,G.M(1980) Chinese Celadon Wares. London. Faber. This book also has some links about Blue and White.
Greensted, M (1982) and Peter,H(1982) Chinese Ceramics:The Indian Connection. London. Brostol Museum and Art Gallery.
It tells us Chinese ceramic also have effects on other country.
Guy,J(1990) Oriental Trade Ceramics in South East Asia. Singapore. Oxford university press. It tells us the ceramic trade history in south east Asia.
Hobson,R.L(1915)Chinese Pottery and Porcelain. London. Oxford university press. This book tells us the early history about Chinese pottery and porcelain.
Hoodrum,A(2005) The National Fabric. UK. Berg. It is tell us the fashion and globalization.
John,A(1951)Early Chinese Blue and White in the Museum of Eastern Art. London. Oriental. This book tells us some history of blue and white.
Loewe,M(1982) Chinese Ideas of Life and Death. London. Berg. This book talks about faith, myth and reason in the Han dynasty.
Patrizia,C(2004) The Clothed Body. UK. Berg. This book talks about the dress, language and communication. Language and dress are sign systems.
Rawson,J(1980) Ancient China. London. Berg. This book talks about art and archaeology.
Robert,C(1980) Spode’s Willow Pattern. London. Cassell Ltd. This book talks about pattern and design on pottery or porcelain.
Sandra,N(2003) Re-Orienting Fashion. UK. Berg. It is tell us the globalization of Asian dress.
Scheffer,Y.M.(1994) The changing map of European textile. London. Penguin group. It is talk about production and sourcing of textile and clothing.
S.J. V(1991) Chinese Pottery and Porcelain. London. British museum press. It is a book that survey of the development of ceramics from the Neolithic period to the present day. Assessing the roles pottery has played in each dynasty throughout the history of China.
Valery,M(1994) Chinese Clothing. USA. Oxford university press. This book talks about Chinese traditional clothing and pattern, skills.
2011年2月2日星期三
design study meeting
We have design study meeting on Wednesday lunch time. We talk about the post-consumer. Everyone got the mind map about their thinking. We think about student, recycling, DIY, resourceful garden, and so on. These are our photoes.
2011年1月25日星期二
Start of Semester 2 assignment 1
By the results of the tests I was strong in activist, moderate in reflector and theorist, very low in pragmatist. To be honest the results have not surprised to me. Evaluation of the test results are same evaluation by myself. I really like new things. So when I find some interesting things I will try it once as soon as possible. I enjoying to go straight in with practical methods. Then see what I can get. This is might because of my character, I am very impatient, do not have much patience. Therefore I like deal with things so quickly. I do not like take a long time to analyse something. That is my weak area I think. So sometimes I thought I was too naive, not impressed. So when I address the problem, I was not deeper. But I feel I am not low in pragmatist. Because I really like to see new ideas or theories can work in practice. Just because this I was strong in activist.
When our group have discussion meeting, we knew that the dominant mode in our team is activist and theorist. Each of us is based on the feelings of other people's personalities and former job to guess that what kind of person they are. However, to our surprise is why there are so many activists. That is so funny. Jenny is strong in activist and theorist. Rebecca is multi-modal. Stephen is very strong in activist and strong in theorist. Jonathan is very strong in theorist. Riben is strong in activist . Grant is very strong in activist and pragmatist. And me is also strong in activist. We think we have so many activists together maybe we need to take long time to think something in depth. Some activists should admire theorists that they have a spirit which can step by step to analyse stuff and be very logical. They are so patient with philosophy. And theorists also should stop thinking and speaking , they need action to get practice and outcomes.
When our group have discussion meeting, we knew that the dominant mode in our team is activist and theorist. Each of us is based on the feelings of other people's personalities and former job to guess that what kind of person they are. However, to our surprise is why there are so many activists. That is so funny. Jenny is strong in activist and theorist. Rebecca is multi-modal. Stephen is very strong in activist and strong in theorist. Jonathan is very strong in theorist. Riben is strong in activist . Grant is very strong in activist and pragmatist. And me is also strong in activist. We think we have so many activists together maybe we need to take long time to think something in depth. Some activists should admire theorists that they have a spirit which can step by step to analyse stuff and be very logical. They are so patient with philosophy. And theorists also should stop thinking and speaking , they need action to get practice and outcomes.
2010年11月30日星期二
Summary of one book and one article
The fabric of culture
Eugenia, P and Hazel（2009）USA, Routledge.
This book describes the interaction and relations between culture and the colth. Culture is a groups (can be a State, or national, corporate, family) over a given period of formation of thoughts, ideas, practices, customs and traditions, personalities, and representatives from the groups overall awareness of the radiation from all activities. Because of Geographical differences, it will bring up a different culture. Different culture will influences of the cloth deeply. It can affect many aspects, such as color, pattern, material and so on.
The main purpose of this book is analyzing the fabric of culture through Fashion, Identity, and Globalization. Fashion is both public and private, material and symbolic, always caught within the lived experience and providing an incredible tool to study culture and history.
The fabric of Cultures examines the impact of fashion as a manufacturing industry and as a culture industry that shapes the identities of nation and cities in a cross-cultural perspective, within a global framework. It investigate local and global economies, cultures and identities and the book offers, for the first time, a wide spectrum of case studies which focus on a diversity of geographical spaces and places, from global capitals of fashion such as New York, to countries less known or identifiable for fashion such as contemporary Greece and Soviet Russia.
The most important information in this book is dressing through nation. For example, it told us the Indian cinema costume and the making of national fashion. After Indian independence, cinema played an integral role in public life not only as a source of entertainment. Cinema had a particularly influential impact in metropolitan areas, where increasingly women were entering the public sector. Looking to film characters as models of the new order, urban woman will try this dress. Beyond the screen, film advertisements and magazines infiltrated the urban landscape, further integrating the cinematic image into daily life. Most critics have agreed that Antonioni’s films create a new cinematic language and visual poetry in which his characters, their identities, and their narratives dissolve. Clothing plays an integral part in this project. At first sight, this might seem an insurmountable contradiction since it is impossible not to acknowledge intimate links between dress and the formation of identity. It is , however, only an apparent paradox because what clothing does in Antonioni’s films is, on the one hand , to articulate the relationship between clothing and identity, and, on the other, to reveal, through fashion and cinema, how clothing becomes an integral part of cultural mediation. So clothes never simply an obvious and unambiguous representation of characters in film. Clothing participates in aesthetic process and journey with its texture, design, fabric, and cut.
The author also looking at fabric and fashion design in global. Goods are linked to material culture changing over time and space. Goods are traded in a globalized economy, both as commodities and as brands. Jeans are truly the palimpsest of cultural and technical capital formation. In fashion terms, jeans have been transformed from a classic item with archetypical features to a bearer of a wide range of style elements, entailing a complex grammar in which features can be endlessly recombined. The innovation pattern for postmodern jeans is truly global in its adoption by consumers, albeit with regional difference.
Chinese Textile Design
Gao Hanyu,(1992) Endland, Penguin group
The main purpose of this article is through Chinese cultural characteristics of different times to show the various textile design like patterns, materials, applications, skills, and so on. The author provides a detailed history of technological developments associated with the production of cloth and clothing. The author also makes full use of ancient Chinese texts in his discussion of the social and political significance of coloured and decorated fabrics throughout Chinese history. Some of the most important of these designs are illustrated in this beautiful volume in which the author , Gao Hanyu, an eminent Chinese scholar in the field of fabric technology, discusses all the significant archaeological material and uses it to explain the development of spinning, weaving, printing, dyeing and embroidery in China.
The most important information in this article is Cheongsam. It has gained associations with Chinese women during the twentieth century. Its history is bound up with social, economic, and political change, and with patterns of migration. As fashion today becomes increasingly international and multi-cultural, many designers are inspired by Chinese clothing and decorative motifs. Yet few people——western or Chinese——understand the historic significance of Chinese clothing. The author explore the evolution of Chinese dress, from the dragon robes and lotus shoes of the imperial era to the creation of new fashion like the cheongsam that symbolized modern Chinese identity. Cultures tend to have deep-seated preferences for particular kinds of colth, embracing both types of fiber and techniques of weaving-for examples, the preference of the Egyptians for linen, and of the Celts for woolen plaid twill. Such preferences reflect, in part, local differences in plant and animal fiber resources, but over time they become embedded in the notion of cultural identity itself. In China this phenomenon expressed itself very strongly as a preference for silk over all other kinds of cloth, and a general dislike of woolen cloth.
The author is also looking at how Chinese fashion influenced Western fashion. During the past decade alone, a host of designers from around the world have been inspired by visions of China. John Galliano did an entire collection for Christian Dior based on the ideas of Shang hai in the 1930s. indeed, ever since about 1993, the cheongsam has appeared regularly on French fashion runways. At that time as the cheongsam was becoming more universalized as a fashion statement, it was also being reclaimed as a signifier of cultural identity in China. At the same time, international travel became much easier, which the result that both fashion designers and consumers became more familiar with foreign dress. Throughout the 1950s and early 1960s western fashion designers occasionally utilized Chinese dress styles and design motifs. The cheongsam, in particular, achieved a certain popularity in the wake of the movie The world of Suzy Wrong.
Eugenia, P and Hazel（2009）USA, Routledge.
This book describes the interaction and relations between culture and the colth. Culture is a groups (can be a State, or national, corporate, family) over a given period of formation of thoughts, ideas, practices, customs and traditions, personalities, and representatives from the groups overall awareness of the radiation from all activities. Because of Geographical differences, it will bring up a different culture. Different culture will influences of the cloth deeply. It can affect many aspects, such as color, pattern, material and so on.
The main purpose of this book is analyzing the fabric of culture through Fashion, Identity, and Globalization. Fashion is both public and private, material and symbolic, always caught within the lived experience and providing an incredible tool to study culture and history.
The fabric of Cultures examines the impact of fashion as a manufacturing industry and as a culture industry that shapes the identities of nation and cities in a cross-cultural perspective, within a global framework. It investigate local and global economies, cultures and identities and the book offers, for the first time, a wide spectrum of case studies which focus on a diversity of geographical spaces and places, from global capitals of fashion such as New York, to countries less known or identifiable for fashion such as contemporary Greece and Soviet Russia.
The most important information in this book is dressing through nation. For example, it told us the Indian cinema costume and the making of national fashion. After Indian independence, cinema played an integral role in public life not only as a source of entertainment. Cinema had a particularly influential impact in metropolitan areas, where increasingly women were entering the public sector. Looking to film characters as models of the new order, urban woman will try this dress. Beyond the screen, film advertisements and magazines infiltrated the urban landscape, further integrating the cinematic image into daily life. Most critics have agreed that Antonioni’s films create a new cinematic language and visual poetry in which his characters, their identities, and their narratives dissolve. Clothing plays an integral part in this project. At first sight, this might seem an insurmountable contradiction since it is impossible not to acknowledge intimate links between dress and the formation of identity. It is , however, only an apparent paradox because what clothing does in Antonioni’s films is, on the one hand , to articulate the relationship between clothing and identity, and, on the other, to reveal, through fashion and cinema, how clothing becomes an integral part of cultural mediation. So clothes never simply an obvious and unambiguous representation of characters in film. Clothing participates in aesthetic process and journey with its texture, design, fabric, and cut.
The author also looking at fabric and fashion design in global. Goods are linked to material culture changing over time and space. Goods are traded in a globalized economy, both as commodities and as brands. Jeans are truly the palimpsest of cultural and technical capital formation. In fashion terms, jeans have been transformed from a classic item with archetypical features to a bearer of a wide range of style elements, entailing a complex grammar in which features can be endlessly recombined. The innovation pattern for postmodern jeans is truly global in its adoption by consumers, albeit with regional difference.
Chinese Textile Design
Gao Hanyu,(1992) Endland, Penguin group
The main purpose of this article is through Chinese cultural characteristics of different times to show the various textile design like patterns, materials, applications, skills, and so on. The author provides a detailed history of technological developments associated with the production of cloth and clothing. The author also makes full use of ancient Chinese texts in his discussion of the social and political significance of coloured and decorated fabrics throughout Chinese history. Some of the most important of these designs are illustrated in this beautiful volume in which the author , Gao Hanyu, an eminent Chinese scholar in the field of fabric technology, discusses all the significant archaeological material and uses it to explain the development of spinning, weaving, printing, dyeing and embroidery in China.
The most important information in this article is Cheongsam. It has gained associations with Chinese women during the twentieth century. Its history is bound up with social, economic, and political change, and with patterns of migration. As fashion today becomes increasingly international and multi-cultural, many designers are inspired by Chinese clothing and decorative motifs. Yet few people——western or Chinese——understand the historic significance of Chinese clothing. The author explore the evolution of Chinese dress, from the dragon robes and lotus shoes of the imperial era to the creation of new fashion like the cheongsam that symbolized modern Chinese identity. Cultures tend to have deep-seated preferences for particular kinds of colth, embracing both types of fiber and techniques of weaving-for examples, the preference of the Egyptians for linen, and of the Celts for woolen plaid twill. Such preferences reflect, in part, local differences in plant and animal fiber resources, but over time they become embedded in the notion of cultural identity itself. In China this phenomenon expressed itself very strongly as a preference for silk over all other kinds of cloth, and a general dislike of woolen cloth.
The author is also looking at how Chinese fashion influenced Western fashion. During the past decade alone, a host of designers from around the world have been inspired by visions of China. John Galliano did an entire collection for Christian Dior based on the ideas of Shang hai in the 1930s. indeed, ever since about 1993, the cheongsam has appeared regularly on French fashion runways. At that time as the cheongsam was becoming more universalized as a fashion statement, it was also being reclaimed as a signifier of cultural identity in China. At the same time, international travel became much easier, which the result that both fashion designers and consumers became more familiar with foreign dress. Throughout the 1950s and early 1960s western fashion designers occasionally utilized Chinese dress styles and design motifs. The cheongsam, in particular, achieved a certain popularity in the wake of the movie The world of Suzy Wrong.
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