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University of Huddersfield Repository University of Huddersfield Repository Almond, Kevin Suffering in Fashion: Relationships between Suffering, The Production of Garments and Their Appropriation as Fashionable Items Original Citation Almond, Kevin (2012) Suffering in Fashion: Relationships between Suffering, The Production of Garments and Their Appropriation as Fashionable Items. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/17485/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ SUFFERING IN FASHION: RELATIONSHIPS BETWEEN SUFFERING, THE PRODUCTION OF GARMENTS AND THEIR APPROPRIATION AS FASHIONABLE ITEMS KEVIN ALMOND A thesis submitted to the University of Huddersfield in partial fulfillment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield January 2012 1 1. ACKNOWLEDGEMENTS I am greatly indebted to my supervisors Dr Pammi Sinha and Dr Viv Burr for support and advice. Also to Penny Macbeth, Alison Armstrong, Hilary Hollingworth, Irene Spink, Kevin Laycock for their support and advice. 2 2. CONTENTS 1. Acknowledgements 2 2. Contents 3 3. Abstract 4 4. Research Development and Rationale 5 5. Research Methodology 13 6. Notes on the Publications Presented 19 7. Theoretical Contribution 29 8. Conclusion and Contribution to Knowledge 36 9. References 42 10. Submitted papers in chronological order of writing 50 3 3. ABSTRACT In this commentary, I discuss several publications that explored relationships between suffering, the production of garments and their appropriation as fashionable items. The aim of the research was to investigate the role of suffering in initiating change within the creation and consumption of fashionable clothes. Suffering through pain, anguish or distress is an extreme affliction. Pushing something to its limits of endurance, making it suffer, can undermine order and to survive, it needs to be reassembled in a different way. This concept is somewhat akin to Charles Darwin’s ideas about evolution (1859). A quote attributed to him declared: “It’s not the strongest of the species that survive nor the most intelligent, but the one most responsive to change” (Megginson, 1963, p.4). His work coined the phrase “Survival of the fittest” (Peel, 1992, p.143), introducing the idea that survival is a struggle against environmental change in nature and a species evolves through a process of mutation and retention known as natural selection. In the commercial struggle for survival many fashionable styles are discarded while some remain durable due to their adaptability to new trends and ideas. These could be described as the ‘fittest’ styles surviving through their re-assemblance each season, sustaining the marketable cycle. Suffering in the ways clothes are worn and produced was examined through a number of approaches. Object based research investigated the design and manufacture of fashionable garments. Action based research and semi-structured interviews in a design environment considered the fashion designer’s responses to suffering and the changes it can initiate in production and consumption. The research findings indicate that suffering within the fashion industry can be a positive attribute that may be regarded as a part of life, a prerequisite for hope, a force for change and a source of creativity. It can influence the way clothes are produced and the skills necessary to produce them. A model depicting the connection between suffering and fashion is posited as a tentative theory suggesting there is a spiral relationship: changes in fashion production and consumption resulting from suffering evolve into a spiral of further suffering impacting on future fashion design and production. 4 4. RESEARCH DEVELOPMENT AND RATIONALE In this section, I will reflect upon how the research began and introduce the reader to some of the key issues and concepts that will be discussed in more depth later. The present research led me back to some of the themes I had explored in my undergraduate and postgraduate work. I had been interested in suffering relating to conflict between the presentation of fashionable public and private selves. I decided to revise, rewrite and update some of this material and began to recognize parallels in these ideas with the notion that through suffering, the human body can effect positive changes in the way it is “fashioned” (Entwistle, 2000). This was explored in Wallerstein’s (1997, p.135) comments about the use of emaciated, starved bodies in 1990’s fashion advertisements: “Their dark emotions, erotic undertones, and the intensities of expressions suggest romantic notions of tragic beauty and ecstatic experiences achieved through physically destructive expenditures”. The malnourished body suggests a form of enactment linked to suffering through the wearing of fashionable garments. This then connects to the skills that need to be developed or revisited in order to produce garments that accentuate the skinny bodies. A teaching and learning grant (2007) that funded object based research in the costume archives at the Victoria and Albert Museum started much of my research. I was interested in exploring how fashion garments had distorted the human body. Vincent (2009, p.XV1) said: “We will never be able to answer satisfactorily the why of fashion: Why did Victorian women adopt crinolines? Why did Elizabethans' favour ruffs?" The ‘why’ of fashion was not my initial interest; I wanted to explore the ‘how’ of fashion through manufacturing techniques in fashion garments that reshaped the body and compare these with methods created by my students when developing their collections. From this research, I developed paper 1, which inspired a pedagogic support for students’ explorations into cut and construction and emphasized the suffering, moral and health questions that arise from distorting the body. 5 Throughout my research and literature review I discovered that much of the wider definition of suffering can be identified through religion and spirituality as this has helped to give a meaning to life and has formed the basis of many civilizations. I also identified it in other disciplines such as social sciences, arts and literature, psychology, biology, philosophy and in health. In this commentary I emphasize how ideas about suffering can be transposed into a fashion context. I therefore attempt to define suffering in relation to this. I also emphasize that in the context of this research suffering is not a catch-all word to describe notions of distress. In defining the meaning of suffering I have struggled between dictionary definitions and their interpretation throughout. The Oxford English Dictionary describes suffering as: “The state of undergoing pain, distress or hardship” (oxforddictionaries.com, 2011). The Penguin English Dictionary describes it as: “To experience or be forced to endure something unpleasant.” (Allen, 2001, p.893). Both descriptions imply that suffering includes both physical and mental pain. I therefore recognize that I need to defend the grouping together of disparate experiences and different stratas of suffering that influence the design and manufacture of fashionable garments. Physical and mental suffering can manifest itself in mild to intolerable degrees. The extent of suffering and frequency of its occurrence within the papers does not necessarily determine its intensity and this is discussed in section 6a. In those who suffer or observe suffering, attitudes towards it can vary widely. This can depend on whether it is considered beneficial or hopeless, preventable or inevitable etc. It may be argued that its meaning and significance needs to be judged in relation to its impact on the individual, group or society as a whole. Arguably, there exist different forms, or stratas of suffering some of which may be said to be more severe than others. A piece of empirical research might have set out to identify different stratas of suffering within the fashion industry and how these can influence change. The submitted publications however did not set out to do this. The analysis in this commentary can only therefore offer indicators of levels of suffering by considering new literature that measures it. This is then related to the individual papers in order to consider the 6 significance of different levels of suffering for changes in fashion production and consumption. The literature relating to the assessment of suffering (Algosphere, 2012; Amato, 1990; Beach et al, 2012; Brandli et al, 2002; Dawkins, 1985; Frazee, 2011; Levin, 1988; Mayerfield, 1999; Sensky, 2010; Scarry, 1987 ) mainly considers health, religion, law, old-age and suffering in animals. However, it was considered to offer few ideas that
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