DOCSLIB.ORG

A Journey of a Thousand Miles Begins with a Single Step

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Journey of a Thousand Miles Begins with a Single Step www.DailyStep.com Level 4: High Intermediate Daily Audio Lessons DailyStep-4_clothes-fashion-002_04 AFTER A TRIP TO THE CLOTHES SHOPS! William: I’m not happy with my new look - it doesn’t suit me. It’s just not me! Amanda: Don’t be silly! You look great in sportswear and the girls won’t be able to keep their eyes off you. A track suit, trainers and baseball cap really make you look younger and you’ll fit in much better now with other trendy young people. William: But I’ve never wished to fit in. I’ve always wanted to stand out from the crowd. In this new outfit, I look like a fashion victim but I’ve always seen myself as the literary type rather than somebody who’s trying to emulate a rap star. Page 1 DailyStep English, London, UK. © DailyStep Ltd. www.dailystep.com A journey of a thousand miles begins with a single step www.DailyStep.com Level 4: High Intermediate Daily Audio Lessons Situation: William does not feel comfortable in the new fashionable clothes Amanda has chosen for him! Style: informal . Functions: 1. Expressing disappointment: I’m not happy with my new look - it doesn’t suit me. It’s just not me! (note: please copy the tone and emphasis carefully here.) 2. Giving encouragement: Don’t be silly! (note: please copy the tone and emphasis carefully here.) 3. Describing your personality: But I’ve never wished to fit in. (note: please copy the tone and emphasis carefully here.) 4. Talking about your own personality: ... I’ve always seen myself as the literary type rather than... (note: please copy the tone and emphasis carefully here.) . Notes: 1. my new look = my new style 2. it doesn’t suit me = it doesn’t look good on me 3. It’s just not me! (idiom) = It is just not suitable for me / It does not express my personality 4. Don’t be silly! = Don’t worry and object unnecessarily (note: we never actually say it like this!) 5. Sportswear = clothes for wearing whilst playing sport 6. the girls won’t be able to keep their eyes off you (idiom) = all the girls will find you very attractive 7. a track suit = a sports suit, with matching top and trousers 8. trainers = sporting footwear 9. you’ll fit in much better now with other trendy young people = you’ll be accepted more by the other fashionable people 10. trendy = fashionable / hip / cool / up to date 11. to fit in (phrasal verb) = to be the same as other people and to be accepted by them 12. to stand out from (phrasal verb) the crowd = to look different from the rest of the people / to be distinct from other people 13. crowd = large group of people 14. outfit = full set of clothes 15. I look like = I resemble (more formal) 16. a fashion victim (idiom) = a person who follows fashion obsessively 17. I’ve always seen myself as = I’ve always thought of myself as / I have always considered myself to be (more formal) 18. the literary type = the kind of person who likes to be immersed in literary culture 19. to emulate (more formal) = to copy / to follow the style of 20. a rap star = a star of the urban music style that originated from the predominantly black ghettos of the USA . Audio file name: DailyStep-4_clothes-fashion-002_04 Page 2 DailyStep English, London, UK. © DailyStep Ltd. www.dailystep.com A journey of a thousand miles begins with a single step .
Load more

Recommended publications
  • Ethical Fashion in the Age of Fast Fashion Sophie Xue Connecticut College, [email protected]
    Connecticut College Digital Commons @ Connecticut College Art Honors Papers Art Department 2018 Ethical Fashion in the Age of Fast Fashion Sophie Xue Connecticut College, [email protected] Follow this and additional works at: https://digitalcommons.conncoll.edu/arthp Part of the Ethics and Political Philosophy Commons, and the Fashion Design Commons Recommended Citation Xue, Sophie, "Ethical Fashion in the Age of Fast Fashion" (2018). Art Honors Papers. 26. https://digitalcommons.conncoll.edu/arthp/26 This Honors Paper is brought to you for free and open access by the Art Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in Art Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Ethical Fashion in the Age of Fast Fashion Sophie Xue Connecticut College Art Honor Thesis, 2017-2018 3 Acknowledgements Thank you Professor Pamela Marks for generously supporting and encouraging me to pursue this topic. I wouldn’t have come this far without your guidance. Thank you Professor Sabrina Notarfrancisco for introducing me to the world of fashion and teaching me how to sew. Thank you Professor Assor, Professor Bailey, Professor Barnard, Professor McDowell, Professor Gilbert, Professor Hendrickson, Professor Pelletier, Professor Shockey, Professor Wollensak for never failing to provide answers to my queries that fell within your broad areas of expertise. Thank you mom and dad for granting me the freedom to chase my wildest dreams and giving me a Connecticut College education. And finally thank you my friends, especially Nicolae Dorlea, you have inspired me and helped me tremendously along this journey.
    [Show full text]
  • E-Print © BERG PUBLISHERS
    Fashion Theory, Volume 14, Issue 1, pp. 83–104 DOI: 10.2752/175174110X12544983515196 Reprints available directly from the Publishers. Photocopying permitted by licence only. © 2010 Berg. Fashion Victims: On the Individualizing and De-individualizingE-Print Powers of Bjørn Schiermer Fashion Bjørn Schiermer holds a PhD Abstract scholarship at the Department of Sociology, University of Copenhagen. He is working This article discusses the popular notion of the “fashion victim.” It con- with fashion in a Simmelian and ceives of the notion of fashion victimization as an integral part of exis- phenomenological perspective. tence in modern individualized society. 1) Through analyzing different [email protected] accounts of fashion victimization, I aim to distil a common phenomeno- © BERGlogical core extant PUBLISHERS in these experiences. As we will see, these experiences tell us a great deal about the individualizing and de- individualizing dy- namics of fashion. 2) This analysis can be used, so I argue, to understand fashion as a sociocultural dynamic on its own terms. In so doing, I mean to isolate the most important elements of the experiences connected 84 Bjørn Schiermer to fashion dynamics, and thus create a phenomenological concept of fashion that captures all manifestations of fashion in society. 3) On the phenomenological level, the deciding factor is the object. It is through the experience of the fashionable object that the individualizing and de- individualizing powers of fashion are mediated. KEYWORDS: fashion, fashion victim, phenomenology of fashion, object of fashion Introduction The term “fashion victim” is a popular term nowadays. It is also a term that emphasizes the social hazards of fashion dynamics as these are per- ceived by the great majority in contemporary Western society.
    [Show full text]
  • 168 Comfort in Clothing: Fashion Actors and Victims
    168 Comfort in clothing: fashion actors and victims Author Karen Cross Robert Gordon University, Scotland [email protected] Keywords Comfort, clothing, dress, identity, well-being Abstract Fashion psychology is an emerging discipline, recognising the potential of clothing to enhance well-being in an era when mental health issues are increasing in the Western world. Well-being is important to the individual and on a wider societal level, with the Office for National Statistics monitoring the well-being of UK inhabitants and the World Health Organisation stating that depression will be the most common health issue in the world by 2030. As comfort is a key aspect of well- being, this study explores meanings associated with comfort and discomfort in everyday, non-elite clothing. Comfort in clothing can be physical, physiological and psychological, and the psychological comfort gained from clothing is identified in literature as under-researched. Psychological theory was explored, revealing individuals perform multiple identities, dependent on the reaction of others and filtered by previous, lived experience. Fashion was found to be a recognised method of communicating identity in the social space and research suggests the physical response to psychological constructs or meanings associated with certain garments can be used to change or enhance mood. As psychological comfort can only be measured subjectively, this study employed an interpretive paradigm and qualitative methodology. In keeping with fashion’s location within visual culture, participant- produced visuals, described as a form of photo elicitation were collected, accompanied by short narratives. Fashion Management students, as a key informant sample, were briefed to create photographic fashion images styled on a ‘Comfort in Clothing’ or ‘Discomfort: Fashion Victim’ theme, accompanied by 100-word narratives, providing rich data.
    [Show full text]
  • It's Time for a Fashion Revolution White Paper
    THE STATE OF THE INDUSTRY A IT’S TIME FOR A FASHION REVOLUTION WHITE PAPER DECEMBER 2015 FASHION REVOLUTION | IT’S TIME FOR A FASHION REVOLUTION 1 CREDITS CONTENTS Written by Sarah Ditty with special thanks 02 EXECUTIVE SUMMARY for words from Lucy Siegle and research support from Emilie Schultz and 04 WHY DO WE NEED A fashion REvolution? Carry Somers. Acknowledgements: Thanks to Maher Anjum, Sass Brown, 06 MoDEL: THE BUSINESS OF fashion Becky Earley and Mo Tomaney for their invaluable input and feedback. 08 MatERIAL: PEOPLE AND PLANET Designed by Heather Knight 16 MinDSET: SHIFTING THE waY WE THINK ABOUT fashion www.fashionrevolution.org 18 WE ARE THE Fashion REvolution The content of this publication can in no way 20 WHO MADE MY ClothES? THE FOCUS THROUGH 2020 be taken to reflect the views of the European Union, Concord Alliance, C&A Foundation or 21 OUR THEORY OF CHANGE any of the funders of Fashion Revolution. 22 What Fashion REvolution DOES © Fashion Revolution CIC 2015. 24 What MAKES Fashion REvolution UNIQUE All rights reserved. This document is not to be copied or adapted without permission 25 AREas FOR FURTHER RESEARCH & THOUGHT from Fashion Revolution CIC. 26 FINAL woRDS... 27 APPENDIX 28 REFERENCES FASHION REVOLUTION | IT’S TIME FOR A FASHION REVOLUTION 2 EXECUTIVE SUMMARY 3 EXECUTIVE SUMMARY In the two years since this tragedy, tens of thousands of people have taken to social media, to the streets, to their It has been more schools and to halls of government to uncover the stories behind the things we wear.
    [Show full text]
  • Comfort in Clothing: Fashion Actors and Victims. in Miller, M
    CROSS, K. 2019. Comfort in clothing: fashion actors and victims. In Miller, M. (ed.). Fashion: ID; proceedings of 21st International Foundation of Fashion Technology Institute (IFFTI) 2019 conference: fashion ID (IFFTI 2019), 8-12 April 2019, Manchester, UK. Manchester: Manchester Metropolitan University [online], pages 284-297. Available from: http://fashioninstitute.mmu.ac.uk/ifftipapers/paper-168/ Comfort in clothing: fashion actors and victims. CROSS, K. 2019 This document was downloaded from https://openair.rgu.ac.uk Comfort in Clothing: Fashion Actors and Victims Karen Cross Robert Gordon University [email protected] Abstract Fashion psychology is an emerging discipline, recognising the potential of clothing to enhance well-being in an era when mental health issues are increasing in the Western world. Well-being is important to the individual and on a wider societal level, with the Office for National Statistics monitoring the well-being of UK inhabitants and the World Health Organisation stating that depression will be the most common health issue in the world by 2030. As comfort is a key aspect of well-being, this study explores meanings associated with comfort and discomfort in everyday, non-elite clothing. Comfort in clothing can by physical, physiological and psychological, and the psychological comfort gained from clothing is identified in literature as under-researched. Psychological theory was explored, revealing individuals perform multiple identities, dependent on the reaction of others and filtered by previous, lived experience. Fashion was found to be a recognized method of communicating identity in the social space and research suggests the physical response to psychological constructs or meanings associated with certain garments can be used to change or enhance mood.
    [Show full text]
  • 101 CC1 Concepts of Fashion
    CONCEPT OF FASHION BFA(F)- 101 CC1 Directorate of Distance Education SWAMI VIVEKANAND SUBHARTI UNIVERSITY MEERUT 250005 UTTAR PRADESH SIM MOUDLE DEVELOPED BY: Reviewed by the study Material Assessment Committed Comprising: 1. Dr. N.K.Ahuja, Vice Chancellor Copyright © Publishers Grid No part of this publication which is material protected by this copyright notice may be reproduce or transmitted or utilized or store in any form or by any means now know or here in after invented, electronic, digital or mechanical. Including, photocopying, scanning, recording or by any informa- tion storage or retrieval system, without prior permission from the publisher. Information contained in this book has been published by Publishers Grid and Publishers. and has been obtained by its author from sources believed to be reliable and are correct to the best of their knowledge. However, the publisher and author shall in no event be liable for any errors, omission or damages arising out of this information and specially disclaim and implied warranties or merchantability or fitness for any particular use. Published by: Publishers Grid 4857/24, Ansari Road, Darya ganj, New Delhi-110002. Tel: 9899459633, 7982859204 E-mail: [email protected], [email protected] Printed by: A3 Digital Press Edition : 2021 CONTENTS 1. Introduction to Fashion 5-47 2. Fashion Forecasting 48-69 3. Theories of Fashion, Factors Affecting Fashion 70-96 4. Components of Fashion 97-112 5. Principle of Fashion and Fashion Cycle 113-128 6. Fashion Centres in the World 129-154 7. Study of the Renowned Fashion Designers 155-191 8. Careers in Fashion and Apparel Industry 192-217 9.
    [Show full text]
  • Analisi Dei Metodi Produttivi Sostenibili Di Upcycling E Di Recycling Nel Mercato Del Lusso
    Dipartimento di Impresa e Management Cattedra di Research Methodology for Marketing Analisi dei metodi produttivi sostenibili di upcycling e di recycling nel mercato del lusso. Prof.Carmela Donato Prof. Alberto Marcati RELATORE CORRELATORE Flavia Mancini (Matr. 710881) CANDIDATO Anno Accademico 2019/2020 To you, with whom I lived deep and unforgettable moments during my days in Belgium. Who taught me to tighten my grip even more when I thought about letting go. 0 Sommario INTRODUZIONE ...................................................................................................................... 2 CAPITOLO PRIMO .................................................................................................................. 4 1.1. Definizione del Lusso .................................................................................................................... 4 1.1.1. Alcuni valori sulla crescita del mercato del lusso .......................................................................... 7 1.2. La sostenibilità nell’”era etica” ..................................................................................................... 9 1.2.1. Barriere alla sostenibilità ............................................................................................................. 10 1.3. Lusso e Sostenibilità possono coesistere? ..................................................................................... 11 1.3.1. Sostenibilità nell’industria tessile ................................................................................................
    [Show full text]
  • Effects of Perceived Sustainability Level of Sportswear Product
    sustainability Article Effects of Perceived Sustainability Level of Sportswear Product on Purchase Intention: Exploring the Roles of Perceived Skepticism and Perceived Brand Reputation Yunjeong Kim and Kyung Wha Oh * Department of Fashion, College of Arts, Chung-Ang University, Anseong 17546, Korea; [email protected] * Correspondence: [email protected] Received: 27 September 2020; Accepted: 16 October 2020; Published: 19 October 2020 Abstract: Fashion companies are trying to increase the efficiency of their communication with consumers by providing information on sustainable activities or product levels. This study explored the effects of the perceived sustainability level of products offered by sports brands. An online survey was conducted of consumers in their 20s and 30s, and a total of 316 questionnaires were used for the analysis. The structural equation model analysis using AMOS showed that the perceived sustainability level had a positive effect on purchase intention and a negative effect on perceived skepticism. Furthermore, perceived skepticism was confirmed to have a negative effect on purchase intention. By verifying the moderating effect of the perceived brand reputation, it was confirmed that the effect of the perceived sustainability level on purchase intention and the influence of the perceived skepticism on purchase intention differ between high and low brand reputation groups. When the perceived brand reputation is high, the perceived sustainability level has only a direct effect on purchase intention, whereas when the perceived brand reputation is low, only the indirect effect of perceived skepticism appears. This study contributes to the literature and practice by verifying that perceived skepticism plays an important role in the purchasing behavior of sustainable products in fashion.
    [Show full text]
  • Critical Cases on the Violence of Fashion
    VICTIMS OF STYLE Critical Cases on the Violence of Fashion VICTIMS OF STYLE Critical Cases on the Violence of Fashion 1 2 The essence of oppression is that one is defined from the outside by those who define themselves as superior by criteria of their own choice. (Dworkin 1981: 149) 3 edited by Otto von Busch ISBN: 978-91-980388-4-2 New York: Selfpassage 2015 The authors has made every reasonable attempt to contact owners of copyright. Errors and omissions will be corrected in subsequent editions. 4 AUTHORS: Axelle Boyer Rachel Branker Gabriela Corretjer Margaux Donnellier Joelle Firzli Mariza M. Galindo Julie Mahdavi LaChaun Moore Keneilwe Morifi-Winslow Rose Park Anushikha Rentala Otto von Busch Fellow discussant: Elizabeth Dilorenzo 5 6 VICTIMS OF STYLE Introduction 9 Abuse 10 Before & After 18 Bullying 24 Capital/Waste 30 Clash of Cultures 36 Cyberaggression 44 Debt & Death 50 Double-Crossed 56 Elitism 62 Fake or Fortune? 68 Fashionscapes 74 Fear 84 Girl Tax 92 Hierarchy 96 Institutional classism 104 Invalidation 108 Narcissism 120 Online Invalidation 132 Shame 136 Shopping Microaggressions 138 Suicide 142 Victim/Victory 146 Post-script 158 Dictionary 176 References 183 7 8 Introduction A dominant paradigm in the exegesis of fashion has been the perspective of desire and sexuality, seeing clothing as a symbolic interface for attraction and communication. However, within the realm of nature as well as culture, sexuality is only one real motivation for action, the other predominant force would be the establishment of territories and rivalry between peers. Social life may be about seduction, but it is also closely intertwined with dominion, power and popularity.
    [Show full text]
  • Looking Good
    Looking good VOCABULARY Appearance, clothes, footwear and accessories, fashion GRAMMAR Present Simple and Continuous, state and action verbs, articles Use of English > page 184 01 SPEAKING Participating in conversations WRITING An informal email A night to It’s 9 p.m. and in the ballroom of a large UK hotel, a group of well-dressed secondary school students are dancing, gossiping and taking selfi es. Exams are fi nished and everyone is waiting for their results. However, this is the school’s fi rst prom, and no one is worrying about grades tonight. Proms fi rst became popular in the US in the 1930s. For some teens, this ‘night to remember’ is their fi rst real chance to get dressed up. Preparations often cost a fortune, and the average US family spends nearly $1,000 per child on clothing, accessories, hair, etc. The high cost of proms and the pressure to look good mean that attitudes are changing. Organisations such as Operation Prom, which provide low-income students with free formal clothing are becoming more and more popular. Moreover, an increasing number of students are organising their own cheaper, more relaxed celebrations. Emma: “People usually organise their own end-of-year celebrations, but this is great fun! It’s nice to get together and everyone looks brilliant.” At the same time, prom nights are becoming more common in Guy: “I decided to wear trainers and a T-shirt with my suit, but I regret it now. the UK, probably thanks to the I feel underdressed. I’m thinking of going home and getting changed.” infl uence of American fi lm and TV culture.
    [Show full text]
  • Surprise and Seduction: Theorising Fashion Via the Sociology of Wit Dita
    Surprise and seduction: Theorising fashion via the sociology of wit Dita Svelte A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Social Sciences Faculty of Arts and Social Sciences UNSW Sydney 12 September 2019 THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: SVELTE First name: DITA Other name/s: ISHTAR ARTEMIS Abbreviation for degree as given in the University calendar: Doctor of Philosophy (PhD) School: School of Social Sciences Faculty: Arts and Social Sciences Title: Surprise and seduction: Theorising fashion via the sociology of wit Abstract 350 words maximum: What insights might a sociology of wit as applied to the phenomenon of fashion generate? This thesis applies the sociology of humour to fashion to develop a concept of wit that contributes to further understanding fashion. The thesis argues that this concept of wit is characterised by qualities of surprise and seduction. Surprise is defined as the experience of an unexpected, creative intellectual insight expressed in a pithy manner; seduction is the experience of being led astray, and also the desire of the subject to be led astray. The thesis demonstrates the presence of empirical sites of wit within fashion in the form of the dandy and glamour. It utilises Thomas Carlyle’s Sartor Resartus [2000] (1836) to further conceptualise the wit of fashion at the intersection of theories of humour and theories of fashion. The contribution of the wit of fashion to classical texts in the sociology of fashion
    [Show full text]
  • The Ethical Consumer and Codes of Ethics in the Fashion Industry
    laws Article The Ethical Consumer and Codes of Ethics in the Fashion Industry Rossella Esther Cerchia * and Katherine Piccolo * Department of Private Law and Legal History, University of Milan (Università degli Studi di Milano), 20122 Milan, Italy * Correspondence: [email protected] (R.E.C.); [email protected] (K.P.) Received: 30 July 2019; Accepted: 19 September 2019; Published: 24 September 2019 Abstract: Sustainability is a central challenge of the fashion industry. In an era where Internet and social networks allow information to spread quickly, more consumers are familiar with the call for “ethical fashion” as disasters such as Rana Plaza resound worldwide. However, consumers interested in buying “ethical” clothing could have a hard time orienting themselves amongst the abundance of brands claiming to be ethical on the market. Consumers might make purchasing decisions based on their knowledge of a brand. In this context, it is imaginable that corporate social responsibility (CSR) communications, including codes of ethics, could constitute one way a consumer can learn more about a company’s values. These codes may serve a variety of purposes—they are undoubtedly one of the ways a brand communicates its commitment to ethical principles. Indeed, by analyzing the codes of ethics of some of the industry’s well-known brands, it is evident that they primarily focus on employment and workers’ rights (including equality and discrimination issues), labor safety standards, bribery and anti-corruption, counterfeiting and unfair business practices, as well as respect for (and sometimes improvement of) the environment. A company’s code of ethics is also a powerful tool for improving brand image by adopting a code that responds to the issues that consumers care about.
    [Show full text]