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Fashion in the 1960s: Contrasts and...

Korosec, Constance Johnson.

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Fashion in the 1960s: Contrasts and extremes in fashion semiotics.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Fashion in the 1960s: Contrasts and extremes in fashion semiotics./
作者:	Korosec, Constance Johnson.
面頁冊數:	213 p.
附註:	Adviser: Christa Carvajal.
Contained By:	Dissertation Abstracts International61-08A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9981839
ISBN:	9780599883048

Fashion in the 1960s: Contrasts and extremes in fashion semiotics.
Korosec, Constance Johnson.

Fashion in the 1960s: Contrasts and extremes in fashion semiotics. - 213 p.

Adviser: Christa Carvajal.

Thesis (Ph.D.)--Case Western Reserve University, 2000.

The purpose of this dissertation is to provide a compendium of information on headline events in the decade of the 1960s as they relate to fashion. The dissertation research assessed haute couture and ready-to-wear fashion in the decade of the 1960s, as well as assessed the fashion designers who were active during this period.1 According to James Laver, "fashion" is defined as a style that is accepted and used by the majority of the group at any one time, no matter how small that group.2 The significant issues in fashion duration can be semiotically linked to the tumultuous decade of the 1960s, as demonstrated by Roland Barthes. Fashion duration can thus be seen to parallel events, as they were reported in newspapers.3 In this study the Vietnam War was the single thread throughout the decade that connected each administration to fashion. Fashion duration changed with each American Presidency but it was the Vietnam War that dramatically affected social protest expressed in fashion.

ISBN: 9780599883048Subjects--Topical Terms:

1017604
American Studies.

Fashion in the 1960s: Contrasts and extremes in fashion semiotics.
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520 $a The purpose of this dissertation is to provide a compendium of information on headline events in the decade of the 1960s as they relate to fashion. The dissertation research assessed haute couture and ready-to-wear fashion in the decade of the 1960s, as well as assessed the fashion designers who were active during this period.1 According to James Laver, "fashion" is defined as a style that is accepted and used by the majority of the group at any one time, no matter how small that group.2 The significant issues in fashion duration can be semiotically linked to the tumultuous decade of the 1960s, as demonstrated by Roland Barthes. Fashion duration can thus be seen to parallel events, as they were reported in newspapers.3 In this study the Vietnam War was the single thread throughout the decade that connected each administration to fashion. Fashion duration changed with each American Presidency but it was the Vietnam War that dramatically affected social protest expressed in fashion.
520 $a Elaine Stone, fashion authority and author, has stated that fashion is intangible and difficult to define.4 Fashion duration is shaped by such powerful intangibles as group acceptance, social forces important during a specific era, and the population's desire to relate fashion to specific political events. People desire to express themselves as individuals but also to be part of an identifiable group. Fashion extremes and contrasts changed quickly in the 1960s because events and ideas which divided America, changed rapidly.
520 $a The fashion designers of the decade of the 1960s were forced to accommodate and assimilate their creativity into the social and cultural upheaval of the times. Some designers followed the lead of the growing youth culture and created clothes, which reflected these tensions and extremes. Others designers did not create clothes that reflected contrasts and extremes during the 1960s. Fashion designers did not change the course of fashion; they did however, often accelerate it from an evolutionary course to a revolutionary one. Whether fashion designers were successful depended on their ability to sense and anticipate change. Their ability to ride the wave of diversity either shaped their success or left them behind in an ever-changing cultural milieu.
520 $a 1Haute couture (pronounced "oat-koo-TUR") a French expression originally meaning "fine sewing," haute couture is today synonymous with high fashion. These original designs, which use luxury fabrics and are known for their exquisite detailing, are of necessity expensive and are made in very limited numbers. Haute couture design is affordable to only a small group of wealthy women. Ready-to-wear (RTW) apparel made in factories to standard size measurements. Ready-to-wear is affordable to large groups of women. 2Fashion is a style that is accepted and used by the majority of a group at any one time, no matter how small that group. A fashion is always based on some particular style. Not every style is a fashion according to James Laver, a British costume historian. 3Fashion duration appears regular if we consider a relatively long historical duration, and irregular if we reduce this duration to the few years proceding the time at which we place ourselves. Fashion seems to possess two durations: one strictly historical, the other is recalled from memory, according to Roland Barthes, French writer and founder of Semiology, the study of signs, codes, and languages of fashion. 4Intangibles of fashion can be a style made up of a definite silhouette and details of design. Fashion is shaped by such powerful intangibles as group acceptance, change, and social forces important during a certain era, and people's desire to relate to specific lifestyles, according to Elaine Stone, Fashion Institute of Technology professor.
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