By Angela McRobbie
British type layout explores the tensions among model as paintings shape, and the calls for of a ruthlessly advertisement undefined. in keeping with interviews and learn carried out over a few years, Angela McRobbie charts the movement of paintings tuition model graduates into the undefined; their makes an attempt to reconcile education with perform, and their precarious place among the dual helps of the schooling approach and the economic quarter. Stressing the social context of cultural creation, McRobbie makes a speciality of British type and its graduate designers as items of teenybopper highway tradition, and analyses how designers from assorted backgrounds have created a labour marketplace for themselves, remodelling `enterprise tradition` to fit their very own careers.
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As we shall see later, this horror of sewing, as though it is a shameful activity, comes to be a key distinguishing feature and mark of identity for fashion students. Not to be able to sew is a matter of pride! The repudiation of sewing and dressmaking forms an important strand of the argument in this book. As part of the process of professionalism, fashion design THE FASHION GIRLS AND THE PAINTING BOYS 39 distinguishes itself vigorously from production even though, as I shall argue, this is harmful to the industry as a whole.
151); or, finally, ‘Jackie is a nice girl, a serious girl even. : 154). : 160). The prevalence of attitudes like these inside the art schools throughout the 1960s makes it inevitable that female students and teachers began to congregate in areas like fashion and textiles where they had some autonomy and where they were not subjected to this kind of judgement. With few friends to defend fashion inside the art schools and with this level of scepticism, fashion had to look outside the art school towards industry and the mass media for support.
What made the work ‘fashion’ was the original quality and coherence of the formal features of the work and the way it positioned itself within a recognised tradition of fashion design so that, for example, it might be seen to bear the influence of an earlier designer, or else break new ground by challenging the tradition of the great couturières. e. the ‘seasonal’ or ‘social’ context. The European haute couture tradition is modified in Britain to accord with the class divisions in fashion education.
British Fashion Design: Rag Trade or Image Industry? by Angela McRobbie