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Portrait of Dr Kevin Almond Dr Kevin Almond

k.almond@hud.ac.uk | 01484 473112



Biography

Dr Kevin Almond graduated from Ravensbourne College of Art and Design with a degree in Fashion with Textiles. He then completed a Master of Design in Fashion Womenswear at the Royal College of Art, graduating with distinction. After experience as a fashion designer, pattern cutter and fashion illustrator in industry, and lecturer, he joined University of Huddersfield to establish the Fashion subject area. Fashion now houses a suite of exciting and dynamic undergraduate and postgraduate courses. Kevin was awarded a PhD, 'Suffering in Fashion: Relationships between suffering, the production of garments and their appropriation as fashionable items,' in 2012.

Kevin’s current role is as Head of Department for Fashion and Textiles. He initiates leadership, academic vision and management for a diverse team of academic staff. Kevin's teaching responsibilities are focused on the two fashion design degrees, instructing in pattern cutting, toile making, fitting and collection preparation. He also manages and produces the annual fashion show. He supervises MRes students and is also on PhD supervisory teams.

Kevin’s present research focuses on suffering in fashion, body shaping and the presentation of the fashionable ideal of self and he has published widely. He has also been recently been appointed a trustee of The Costume Society for a three year tenure.

Research & Scholarship

There has been much recent debate about the study of fashion as a viable academic research topic. There is a strong divide between scholars/research professionals and practitioners. In my research I attempt to bring together the two disparate approaches to analyzing fashion, the theoretical/philosophical and the practical/industrial in order to investigate the questions posed. There is suspicion within both camps: the practitioner would question the credibility of the scholar who writes about fashion yet has little experience in designing and making clothes. Likewise, the scholar is suspicious of the practitioner who attempts to write and theorize about clothes. I attempt to discuss the process of fashion design and production from a hands-on perspective. I believe this methodology has added credibility with fashion educators and the wider design industry because the research results have been arrived at from practical experience. I also believe there is a lot further to go with this marrying of the scholarly and the practical and it is an exciting methodology I continue to use in my analysis of fashion.

Within the wide realm of suffering in fashion, my main areas of research include the following:

Research Areas
  • Suffering in fashion: Links that expose issues in the production of garments and their appropriation as fashionable items
  • Body shaping and the presentation of the fashionable ideal of self
  • How fashion has mirrored change in UK society
  • Bespoke Tailoring: The Luxury and Heritage we can afford
  • Fashion in Clubland: The safe space for glamour
  • Expression and Repression: The glamorous presentation of self
  • Creative pattern cutting
  • Fashion and obesity
  • 1940’s fashion
  • The creative economy and aesthetic market place
  • Sculptural thinking in fashion

Publications and Other Research Outputs

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(SLIDE 4) The opulence of high fashion is often referred to with these very evocative words. Aspiring to such dizzying heights in the daily construction of appearance is the ultimate dream of the fashion consumer. This conflicts with the every day functionality of dress and the changes in society that fashion often needs to accommodate. The individual consumer of fashion will put together a look that conveys a visual message that can reflect these changes. These could be induced by war, depression, economic recession and political turmoil. The changes can also put the system of fashion and its consumption in great jeopardy. This research investigates and compares how fashion reacted to the deprivations of the Second World War, with similar deprivation, in the economic recession, beginning in 2008. This resulted in many parallel initiatives that have either been revived or have evolved. Whilst the research recognises that the deprivation suffered during war is far more destructive materially, physically and emotionally it emphasises the similarity of parallel initiatives in relation to fashionable clothing that impacted in the dual times of economic shortage. The initiatives discussed often-threatened recognised systems of fashion, design and consumption. It was driven underground only to re-emerge in different interpretations. In relation to this the research also details how final year fashion design students were set a live two day brief, that asked them consider the concept of ‘Fashion in Jeopardy’. This exercise introduced students in a practical way to how fashion can mirror conflict in society and how a sense of individual style and fashion can be maintained in a crisis. 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The research also suggests how the repackaged voluptuous body could continue to be represented in a future global marketplace.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '22', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => '10.2752/175174113X13541091797689', 'volume' => '17', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '15', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '11980' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1322151233', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '11980', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '11', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Textiles Research in Process', 'date_type' => 'published', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2011', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/11980/4/AlmondHandpptpdf.pdf|/style/images/fileicons/application_pdf.png;/11980/5/AlmondHandSlidespdf.pdf|/style/images/fileicons/application_vnd.ms-powerpoint.png;/11980/1/Bespoke_Tailoring_power_point.ppt|/style/images/fileicons/application_msword.png;/11980/2/Hand_Crafted_Tailoring_versus[1]_2.doc_send[1]_colloquium_powerpoint.doc', 'status_changed_second' => '40', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Hand crafted bespoke tailoring', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/19/80', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '27', 'refereed' => 'TRUE', 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '11', 'commentary' => undef, 'lastmod_day' => '24', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2011', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Loughborough University', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '40', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '16', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '40', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 11, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '11980', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '11', 'event_dates' => '16th - 17th November 2011', 'fulltimestamp' => '20111100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '16', 'number' => undef, 'rev_number' => '17', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '27', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '24', 'datestamp_day' => '24', 'abstract' => 'This article investigates the conflict between hand crafted bespoke tailoring and computerised mass market tailoring in the UK, in order to assess the overall place for this traditional technique within fashion design. It supports a need for retaining the heritage of traditional skills practiced in bespoke tailoring and justifies this as a luxury the consumer can and should afford. The research emphasises the pedagogic approach to the delivery and understanding of tailoring technology in the fashion design courses at University of Huddersfield. This understanding underpins the student’s perception of pattern cutting, fit, sizing, proportion and an overall approach to making clothes. Fashion tutors at Huddersfield believe that when students’ are taught to appreciate the luxury, heritage and skill of bespoke tailoring, it equips them with the confidence and expertise to create any type of garment. The luxury of the traditional tailoring process is the time, craft and experience instilled into each garment and bespoke tailoring as a fashionable look had a revived popularity in the late 1990’s and 2000’s. Many fashion designers such as Vivienne Westwood and Alexander McQueen pushed the look of tailoring and the craft traditions of bespoke to the forefront of directional fashion, which in turn provoked a resurgence of interest in the craft. In an interview in English Vogue, Vivienne Westwood said: “I don’t understand this desperate need to always move forward. To strive for the new is the most conformist thing you can do. Everyone can tell you about what is new and clever, but no-one can tell you what is good! There is a myth that the past is irrelevant, that progress is the only thing” (Holgate, 1998). The article analyses if and how the bespoke industry has incorporated new and computerised technology and in so doing considers how the fashion industry could determine the future of tailoring either through fashion’s emphasis on it as a look, or in the vast advances in technological development that could enhance it, in order to make bespoke more widely available. 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7 February 2013', 'fulltimestamp' => '20130206', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '15', 'number' => undef, 'rev_number' => '16', 'edit_lock_user' => '11133', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'ADA_ICP', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '33', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '28', 'datestamp_day' => '28', 'abstract' => 'The First International Symposium for Creative Pattern Cutting is the first global conference to promote contemporary research into the art of creative cut and its significance within the fashion industry. The symposium aims to provide a platform for pattern cutters, fashion designers, students, and educators to explore the impact and direction for creative pattern cutting. Testimonials from the fashion industry and education include; "The symposium is really important to the fashion industry." Timo Rissanen, Assistant Professor of Fashion Design and Sustainability, Parsons The New School for Design, New York. "Am delighted with the response your initiative has created it is a timely and welcome event" Dr Betty Jackson CBE, Fashion Designer. "Congratulations on convening this, it is really exciting and timely!" Lucy Jones, Nanyang Academy of Fine Arts, Singapore. At the British Fashion Council's Creative Cut Seminar, April 2012 Anne Tyrrell MBE Chair of the Colleges Council warmly congratulated the University of Huddersfield for organizing The First International Symposium in Creative Pattern Cutting. She said; "It is essential that graduates realise that the career path in these creative skills is a very exciting one and they would be very much in demand. We have got to emphasise that it is as important as design and a designer needs a partnership with a Creative Pattern Cutter to achieve the strength of their collection. It is the technical skills in this area that are paramount and exciting and I think the Symposium brings this to the forefront, which is brilliant." 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undef, 'completion_time' => undef, 'status_changed_minute' => '42', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '9', 'datestamp_day' => '9', 'abstract' => 'Vionnet without the bias cut would be a fashion tragedy. 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As fashion historian Valerie Steele (1998) commented; “Object based research provides unique insights into the historic and aesthetic development of fashion” (p.27). It allows the researcher to analyse the history, material, construction, design, and function of garments. This can be achieved through touching, feeling and by trying clothes on. The fashion scholar can gain an understanding about a garments cultural significance and its impact on fashion design and technology. The designer or pattern cutter can be inspired by the design and construction of the garment, its fabrication, colour and cut. ', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '39', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2011', 'status_changed_hour' => '13', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '12597' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1396361223', 'creatorlist' => { '1' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Brennand', 'eprintid' => '12597', 'creators_name_honourific' => '', 'pos' => '1', 'creators_name_given' => 'Kathryn', 'creators_id' => 'k.j.brennand@hud.ac.uk' }, '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '12597', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '1', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2012', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/12597/1/ROTO%D0%AF_Part_I_2012_brochure.pdf|/style/images/fileicons/application_pdf.png;/12597/4/AlmondInsufficient.pdf|/12597/7.hassmallThumbnailVersion/ROTO%D0%AF_Insufficient_Allure_Preview_Reminder.jpg;/12597/7/ROTO%D0%AF_Insufficient_Allure_Preview_Reminder.jpg', 'status_changed_second' => '5', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Insufficient Allure The Art of Creative Pattern Cutting', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/25/97', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '1', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '7', 'refereed' => 'TRUE', 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://transdisciplinarydialogueanddebate.files.wordpress.com/2011/12/rotod18f-part-i_2012_brochure.pdf', 'succeeds' => undef, 'datestamp_month' => '1', 'commentary' => undef, 'lastmod_day' => '1', 'publisher' => 'University of Huddersfield', 'pagerange' => '4', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2012', 'book_title' => 'ROTO? Programme Part 1', 'thesis_name' => undef, 'event_location' => undef, 'type' => 'book_section', 'publication' => 'Rotor', 'lastmod_second' => '35', 'place_of_pub' => 'Huddersfield, UK', 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => '978-1-86218-102-1', 'datestamp_hour' => '14', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '5', 'note' => 'Kevin Almond and Kathryn Brennand: Insufficient Allure: The Art of Creative Pattern Cutting, 7 April – 2 June 2012 ?Curator’s Talk: 6pm, Thursday 12 April ?Film Screening : 6pm, Thursday 10 May ?Reading Group: 1.30pm, Tuesday 29 May ', 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 4, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '12597', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2014', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => '9781862181021', 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '4', 'event_dates' => undef, 'fulltimestamp' => '20120400', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => '8', 'source' => undef, 'lastmod_hour' => '14', 'number' => undef, 'rev_number' => '18', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '13', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '26', 'datestamp_day' => '26', 'abstract' => 'Pattern Cutting is a series of body measurements that ultimately creates a three dimensional shape to accomodate a human body. The moist traditional method is through flat pattern cutting, which inviolves creating a block pattern that fits the human form and adapting and manipulating the block to create the desired shape, as dictated by the design. Other significant methgods of cutting include draping on the stand and tailoring. Creative pattern making is a craft-based skill that extends tha boundaries of fashion design and traditional tailoring to inovate new spheres of body shape. Insufficient Allure features a series of clothing compositions or toiles and a series of corresponding photographs which show complex pattern cuts and loose layers of fabric constructed imaginatively and then placed onto the design to create accentuated forms. Insufficient Allure locates the role of the pattern cutter as a highly skilled craftperson within the fashion industry, one which is as significant and creative as the elevated position of the fashion designer. The exhibition provides a critical review of the pattern cutter's integral position in context to creative design.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '13', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2012', 'status_changed_hour' => '14', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '17664' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => '60', 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1396361073', 'creatorlist' => { '1' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Brennand', 'eprintid' => '17664', 'creators_name_honourific' => '', 'pos' => '1', 'creators_name_given' => 'Kathryn', 'creators_id' => 'k.j.brennand@hud.ac.uk' }, '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '17664', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '5', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Insufficient Allure: The Art of Creative Pattern Cutting ('Behind the Seams') ', 'date_type' => undef, 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'yes', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2013', 'fileinfo' => '', 'status_changed_second' => '32', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Insufficient Allure: The Art of Creative Pattern Cutting ('Behind the Seams' Acquisition)', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => 'Calico garments and photographs', 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/76/64', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => undef, 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '5', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '5', 'commentary' => undef, 'lastmod_day' => '1', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2013', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Leeds Museums and Galleries (Armley Industrial Museum)', 'type' => 'exhibition', 'publication' => undef, 'lastmod_second' => '14', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '10', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '32', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => undef, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '17664', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2014', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '4', 'event_dates' => '2013 onwards', 'fulltimestamp' => '20130000', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '14', 'number' => undef, 'rev_number' => '9', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '30', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '28', 'datestamp_day' => '28', 'abstract' => 'The exhibition 'Insufficient Allure: The Art of Creative Pattern Cutting' (Huddersfield Art Gallery, 2012) was acquired by Armley Industrial Museum, Leeds Museums and Galleries to be part of the permanent 'Behind the Seams' exhibition which defines skills in the fashion industry. Insufficient Allure demonstrates the techniques and skills that are essential when creating patterns and toiles for fitting garments. ', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '11133', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '30', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '10', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '19447' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1389283122', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '19447', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '1', 'editors_name_honourific' => undef, 'admin_note' => 'No permission 9/1/14', 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2014', 'fileinfo' => '', 'status_changed_second' => '21', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'The Forties Effect: An Appraisal of the Definitive 1940’s Look and its Influence on Fashion', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/94/47', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '18', 'refereed' => 'TRUE', 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://ijcf.kscold.or.kr/about_01.html', 'succeeds' => undef, 'datestamp_month' => '1', 'commentary' => undef, 'lastmod_day' => '9', 'publisher' => 'The Korean Society of Costume', 'pagerange' => '79-92', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2014', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'International Journal of Costume and Fashion ', 'lastmod_second' => '30', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => '2288-7490 ', 'datestamp_hour' => '16', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '21', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 12, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '19447', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2014', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '1', 'event_dates' => undef, 'fulltimestamp' => '20131200', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '16', 'number' => '2', 'rev_number' => '10', 'edit_lock_user' => '116', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '38', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '7', 'datestamp_day' => '7', 'abstract' => 'This article explores 1940’s fashion. Much has been documented about the huge influence Dior’s 1947 New Look had on fashionable clothing, as the industry conspired to reinvent itself as an economic and cultural power after World War II. The introduction of highly feminised and luxurious styles reinstated fashion as a viable concern globally and has arguably been recognised as the defining style of the 1940’s. During World War II the fashion system of design, manufacture and export within the western world, virtually ceased. Many dress historians (Arnold, 2008; Breward, 1997; Guenther,2004; McDowell, 1997; Robinson, 1976; Taylor, 1992; Steele, 1998; Veillon, 2002; Walford, 2008; Wilson & Taylor; 1989) have suggested that fashion ideas froze from 1939 to 1947. Deeper research identifies that during this period of style and trend starvation, many diverse and interesting design ideas arose from the restrictions imposed and Veillon (2002, p.145), has suggested that this period instigated what we now identify as Street Style (Polhemus, 2010). This research investigates the diversity of design ideas produced between 1939-1947 in order to establish whether pre or post 1947 can be upheld as the definitive 1940’s look, one that influences contemporary fashion designers and one that we identify with as a conclusive style today.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '38', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => '13', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '16', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '12011' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1323788742', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '12011', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '12', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2011', 'fileinfo' => '/style/images/fileicons/application_msword.png;/12011/1/repository_3.doc', 'status_changed_second' => '25', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Public image versus private self: the tragedy of camp dressing', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/20/11', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '6', 'refereed' => 'TRUE', 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '12', 'commentary' => undef, 'lastmod_day' => '13', 'publisher' => 'Routledge', 'pagerange' => '95-97', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2011', 'book_title' => 'Components of Dress', 'thesis_name' => undef, 'event_location' => undef, 'type' => 'book_section', 'publication' => undef, 'lastmod_second' => '25', 'place_of_pub' => 'London, UK', 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '15', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '25', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 1, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '12011', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => '9780415006484', 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '12', 'event_dates' => undef, 'fulltimestamp' => '19880100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => '127', 'source' => undef, 'lastmod_hour' => '15', 'number' => undef, 'rev_number' => '8', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '6', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '13', 'datestamp_day' => '13', 'abstract' => undef, 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '6', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => '1', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '1988', 'status_changed_hour' => '15', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '15738' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1355830530', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '15738', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '12', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Music Fashion and Fantasy. Costume Society Study Day', 'date_type' => undef, 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2012', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/15738/3/AlmondMasqsuzy_the_paper_powerpoint.pdf|/style/images/fileicons/application_msword.png;/15738/1/suzy_the_paper_powerpoint.doc', 'status_changed_second' => '57', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Masquerade in Clubland', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/57/38', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'unpub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '40', 'refereed' => 'TRUE', 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://costumesociety.org.uk/events/details/music-fashion-and-fantasy-from-masquerade-to-lady-gaga', 'succeeds' => undef, 'datestamp_month' => '12', 'commentary' => undef, 'lastmod_day' => '18', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2012', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'London College of Fashion', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '58', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '11', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '58', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 10, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '15738', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2012', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '12', 'event_dates' => '20th October 2012', 'fulltimestamp' => '20121000', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '11', 'number' => undef, 'rev_number' => '11', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '40', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '18', 'datestamp_day' => '18', 'abstract' => 'In this article, I examine social performances framed in photographs of the diverse, glamorous, and camp world of night clubbers, particularly those at Suzy Mason’s nightclubs in England. The cross gender dressing clubbers include a diversity of drag queens and others who play with gender boundaries and camp within a safe environment of the club. My investigation of masquerade and glamour in their self-presentations concerns notions of what constitutes the self and how the self is visually presented. My analysis contrasts the alluring persona presented in a club environment with the stigmas associated with the marginalized persona presented in everyday life. The club-goers’ glamorous veneer often masks the suffering they endure in their day-to-day lives. Following Judith Butler’s (1990) theory of gender, I explored the idea that the presentation of the gendered self is essentially a social performance constructed to communicate a physical and sartorial message.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '40', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2012', 'status_changed_hour' => '11', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '9663' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1315391873', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '9663', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '3', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Public Lecture University Centre Barnsley', 'date_type' => 'completed', 'pres_type' => 'public_lecture', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2011', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/9663/3/Do_we_really_Suffer_for_Fashion_Barn.pdf', 'status_changed_second' => '17', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'You have to suffer for Fashion', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/96/63', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'unpub', 'item_issues_count' => '1', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '38', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '3', 'commentary' => undef, 'lastmod_day' => '7', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2011', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'University Centre Barnsley', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '19', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '11', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '17', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 7, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '9663', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '9', 'event_dates' => 'July 2009', 'fulltimestamp' => '20090700', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '10', 'number' => undef, 'rev_number' => '14', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '58', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'other', 'importid' => undef, 'status_changed_day' => '1', 'datestamp_day' => '1', 'abstract' => 'This paper aims to investigate how the body has been distorted, to conform to the demands of fashion, through the cut and construction of fashionable clothing. Initially it will set out to investigate some of the technical methods that have been developed to enable designers to realise fashionable silhouettes. First hand research into the costume archives of the Victoria and Albert Museum and final year 2008 fashion student’s collections from the University of Huddersfield, will facilitate an examination of relevant fashion garments through observation and handling. It will also be interesting to consider how the technology employed in the identified garments can be updated and in particular made more comfortable to wear. This would be of particular interest to fashion students and designers when developing collections. As well as enhancing technical knowledge the investigation will naturally also begin to emphasise the wider moral and health questions that arise from altering the natural shape of our bodies. ', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '58', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2009', 'status_changed_hour' => '11', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '21383' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1408635707', 'creatorlist' => { '1' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Swindells', 'eprintid' => '21383', 'creators_name_honourific' => '', 'pos' => '1', 'creators_name_given' => 'Steve', 'creators_id' => 's.p.swindells@hud.ac.uk' }, '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '21383', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '8', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => '6th Global Conference: Fashion (September 2014: Oxford, United Kingdom)', 'date_type' => 'submitted', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2014', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/21383/3/template_short.pdf|/style/images/fileicons/application_msword.png;/21383/1/template_short.docx', 'status_changed_second' => '17', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Sculptural Thinking in Fashion', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/02/13/83', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'submitted', 'item_issues_count' => '1', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '42', 'refereed' => 'FALSE', 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => 12, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '8', 'commentary' => undef, 'lastmod_day' => '21', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2014', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Oxford, UK', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '17', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '15', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '17', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 7, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '21383', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2014', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '8', 'event_dates' => 'Monday 15th September – Thursday 18th September 2014 Mansfield College, Oxford, United Kingdom', 'fulltimestamp' => '20140712', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '15', 'number' => undef, 'rev_number' => '11', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '42', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '21', 'datestamp_day' => '21', 'abstract' => 'Human thinking in relation to the body is conditioned by an understanding of the body as a three-dimensional form. The fashion designer Madame Gres said ‘I wanted to be a sculptor — for me it is just the same to work with fabric or stone.’ Sculpture and fashion both adopt figurative formations, a default position of representing human form in space, motion and time: both an art form receptive to the senses of sight, touch and gravitational pull. This research questions whether the thinking processes in fashion design are common with thinking in sculptural practices within fine art. The question emerged through conversations between a fashion designer and a contemporary artist and centered upon the use of language, thinking and reflective practices, and the articulation and application of material processes. To address these questions we focused upon two approaches: whether thought and its articulation in the lexicon of creative practice is common and whether there is a two way flow of visual, material and technical influences. The initial conversation centered upon the art historian, Rowan Bailey’s essay ‘Herder’s Sculptural Thinking.’ Our interpretations of this work identified that thought itself evolves in the experience of three-dimensions and sharing our experiences of touch. The idea of the sculptural therefore becomes social; a shared phenomena. We became interested in how thinking begins to take shape in material forms, or the notion of working creatively in three-dimensionality is in itself a structure of the emotions that connect to a line of thought. The first section of the paper establishes a platform for the second section by investigating the significance of touch and mimicry, and the philosophies behind thinking sculpturally. The second section considers the effects of influence between the two disciplines, noting an interaction between the creative processes in sculpture and fashion design, such as: modeling, draping, molding, stacking, casting, shaping and carving. The paper concludes by drawing together the two sections.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '42', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2014', 'status_changed_hour' => '15', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '10815' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1309870831', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '10815', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '7', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2011', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/10815/1/AlmondUKIFFTI.pdf|/style/images/fileicons/application_msword.png;/10815/2/IFFTI%2Dconf_report(KevinAlmond)_(edited).doc', 'status_changed_second' => '46', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'IFFTI Conference Report 2009', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/08/15', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '6', 'refereed' => 'TRUE', 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '7', 'commentary' => undef, 'lastmod_day' => '5', 'publisher' => 'The Society of Dyers and Colourists', 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2011', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'www.colourclick.org', 'lastmod_second' => '46', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '13', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '46', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 4, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '10815', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '7', 'event_dates' => undef, 'fulltimestamp' => '20090400', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '13', 'number' => undef, 'rev_number' => '14', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '6', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '5', 'datestamp_day' => '5', 'abstract' => 'The IFFTI conference ‘Fashion and Well Being’ proved an inspirational and uplifting experience that presented a breadth and depth of fashion and textile research from members of the foundation. As an annual global event, it brings together academics from some of the world’s leading institutions in fashion and textile education. It provided a great opportunity to network, exchange ideas and share research in relation to the global fashion industry. It was also a very supportive and friendly environment in which to both present and discuss ideas and attend presentations. This year it was hosted by London College of Fashion (LCF), University of the Arts, London.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '6', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2009', 'status_changed_hour' => '13', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '16500' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1358427770', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '16500', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '1', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Futurescan 2: Collective Voices Association of Fashion and Textiles Courses', 'date_type' => 'completed', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2013', 'fileinfo' => '/style/images/fileicons/application_msword.png;/16500/1/raiding_kathryn.docx|/style/images/fileicons/application_pdf.png;/16500/3/raiding_kathryn.pdf', 'status_changed_second' => '20', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Raiding the past, desgigning for the future', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/65/00', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'submitted', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '5', 'refereed' => undef, 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '1', 'commentary' => undef, 'lastmod_day' => '17', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2013', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Sheffield Hallam University', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '20', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '13', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '20', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 1, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '16500', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '1', 'event_dates' => '10th - 11th January 2013', 'fulltimestamp' => '20130100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '13', 'number' => undef, 'rev_number' => '11', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '5', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '17', 'datestamp_day' => '17', 'abstract' => 'Academic staff involved with fashion and textiles are often concerned at the level of research engagement by students; much of it tends to be over-reliant on internet search engines and magazines. This is also something that external examiners often comment upon. Many students lack understanding of the value of wider-ranging and deeper engagement with research at both primary and secondary levels. There is a clear need to demonstrate the ways in which meaningful research can underpin and inform their practice, allowing for stronger design outcomes and a richer understanding of the contexts in which they operate, both as lifelong learners and as future professionals. This paper investigates the meaning and background of retrospective research in fashion and textiles in order to assess its relevance and importance in developing student’s research skills. It describes two initiatives that asked students to raid the past in order design for the future. Although the initiatives focused upon looking at the past, they were devised to promote and establish an understanding in students about the need for expansive and relevant research, away from the ‘Google culture’. The first initiative was an interdisciplinary symposium, held to consider the impact of visual culture in the 1970s. Fashion and textile students were asked to produce research that required them to reflect upon the visual and cultural significance of the period under investigation, then produce design outcomes based on the event. The second initiative describes a live project that drew on the valuable collection of menswear held in Leeds Museums and Galleries and on existing research into the Leeds tailoring industry. It asked students to investigate this rich heritage to inspire the design and production of a range of contemporary tailored garments. These garments were amalgamated with the historical garments in a curated exhibition, which highlighted the importance of referring to historical textile artifacts when understanding how to research, design and produce future products. ', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '5', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '13', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '11539' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1343997402', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '11539', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '9', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Fashion Colloquia London 2011', 'date_type' => undef, 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2011', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/11539/4/AlmondBespoke.pdf|/style/images/fileicons/application_msword.png;/11539/1/Hand_Crafted_Tailoring_versus[1]_2.doc_send[1]_colloquium_powerpoint.doc', 'status_changed_second' => '31', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Bespoke Tailoring: The Luxury and Heritage we can afford', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/15/39', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '4', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '36', 'refereed' => 'TRUE', 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '9', 'commentary' => undef, 'lastmod_day' => '3', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2011', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'London College of Fashion', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '55', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '13', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '31', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 9, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '11539', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2012', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '8', 'event_dates' => '21st - 22nd September 2011', 'fulltimestamp' => '20110900', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '12', 'number' => undef, 'rev_number' => '13', 'edit_lock_user' => '3494', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '16', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '27', 'datestamp_day' => '27', 'abstract' => 'This article investigates the conflict between hand crafted bespoke tailoring and computerised mass market tailoring in the UK, in order to assess the overall place for this traditional technique within fashion design. It supports a need for retaining the heritage of traditional skills practiced in bespoke tailoring and justifies this as a luxury the consumer can and should afford. The research emphasises the pedagogic approach to the delivery and understanding of tailoring technology in the fashion design courses at University of Huddersfield. This understanding underpins the student’s perception of pattern cutting, fit, sizing, proportion and an overall approach to making clothes. Fashion tutors at Huddersfield believe that when students are taught to appreciate the luxury, heritage and skill of bespoke tailoring, it equips them with the confidence and expertise to create any type of garment. The luxury of the traditional tailoring process is in the time, craft and experience instilled into each garment. A bespoke tailor is a sculptor whose medium is cloth. He moulds a shell out of this cloth that refines and accentuates the human form. It is a unique service in which the client’s individual measurements are applied to the creation of a garment made to their exact size specifications. Particular attention is given to the detail, quality and excellence in the work. Bespoke tailoring as a fashionable look had a revived popularity in the late 1990’s and 2000’s. Many fashion designers such as Vivienne Westwood and Alexander McQueen pushed the look of tailoring and the craft traditions of bespoke to the forefront of directional fashion, which in turn provoked a resurgence of interest in the craft. In a 1998 interview in English Vogue, Vivienne Westwood said: “I don’t understand this desperate need to always move forward. To strive for the new is the most conformist thing you can do. Everyone can tell you about what is new and clever, but no-one can tell you what is good! There is a myth that the past is irrelevant, that progress is the only thing” (Holgate, 1998). The article analyses if and how the bespoke industry has incorporated new and computerised technology and in so doing considers how the fashion industry could determine the future of tailoring either through fashion’s emphasis on the idiom as a look, or in the vast advances in technological development that could enhance it, in order to make bespoke more widely available. The article culminates by considering realistic strategies as the technology within an accessible and computerised mass market industry grows and develops. 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The unreal self is in this instance the fashionable presentation of self or the public image that is often used as a platform to mask the inadequacies of the private self. The sociologist Goffman put forward a theory in his work ‘The presentation of Self in Every Day Life’ (1959): “When an individual appears before others he will have many motives for trying to control the impression they receive of the situation” (Goffman, 1990, p.26). This indicates that in their ‘control’ the individual wants to dictate the reaction of others to their presentation of self. In global society it is often necessary for some individuals to invent a different visual persona in order to present themselves to the world; this could be due to social displacement, bigotry or oppression. There appears to be a great tension or contradiction when the assemblage of the visual appearance is purely camouflage and the costs to the individual can often be shattering, both emotionally and physically. The paper investigates two strands of enquiry: Firstly, an historical perspective explores how change in society; can initiate changes in attitude to the glamorous exterior. What is repressed in one era can be expressed in another. Secondly Narcissism is examined through the construction of celebrity images that invent beautiful masks through clothes, cosmetics and surgery. There is a huge degree of self love involved in constructing a public image through the exploitation of fashion and beauty. The investigation examines the ambiguity in the many images of Marlene Dietrich, to the exotic coterie of ‘Superstars’ in Andy Warhol’s factory. It also examines the hidden darkness beneath the facades represented by the superimposed images. To a great extent all visual self presentation is managed. The sociologist Efrat Tseelon argues in ‘The Masque of Femininity’ (1995), that with the majority of women the requirement: “....to be beautiful masks a fundamental ugliness which operates like a potential stigma. The fear of the woman is projected onto the woman and defended against by glamorising her” (Tseelon, 1995, p.78). Although this theory is directed towards the female it also applies to male. The mounting and maintenance of a glamorous mask is often a superficial and quick fix solution to a deeper need for social acceptance. 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The cross gender dressing, lesbian, gay, bisexual and transgender clubbers include a diversity of drag queens and others who play with gender boundaries and camp within a safe environment of the club. My investigation of masquerade and glamour in their self-presentations concerns notions of what constitutes the self and how the self is visually presented. My analysis contrasts the alluring persona presented in a club environment with the stigmas associated with the marginalized persona presented in everyday life. The club-goers’ glamorous veneer often masks the suffering they endure in their day-to-day lives. Following Judith Butler’s (1990) theory of gender, I explored the idea that the presentation of the gendered self is essentially a social performance constructed to communicate a physical and sartorial message. 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It supports a need for retaining the heritage of traditional skills practiced in bespoke tailoring and justifies this as a luxury the consumer can and should afford. The research emphasises the pedagogic approach to the delivery and understanding of tailoring technology in the fashion design courses at University of Huddersfield. This understanding underpins the student’s perception of pattern cutting, fit, sizing, proportion and an overall approach to making clothes. Fashion tutors at Huddersfield believe that when students are taught to appreciate the luxury, heritage and skill of bespoke tailoring, it equips them with the confidence and expertise to create any type of garment. The luxury of the traditional tailoring process is in the time, craft and experience instilled into each garment. A bespoke tailor is a sculptor whose medium is cloth. He moulds a shell out of this cloth that refines and accentuates the human form. It is a unique service in which the client’s individual measurements are applied to the creation of a garment made to their exact size specifications. Particular attention is given to the detail, quality and excellence in the work. Bespoke tailoring as a fashionable look had a revived popularity in the late 1990’s and early 2000’s. Many fashion designers at the cutting edge of the fashion industry such as Vivienne Westwood and Alexander McQueen pushed the look of tailoring and the craft traditions of bespoke to the forefront of directional fashion, which in turn provoked a resurgence of interest in the craft. Holding court in a 1998 interview in English Vogue, Vivienne Westwood said: “I don’t understand this desperate need to always move forward. To strive for the new is the most conformist thing you can do. Everyone can tell you about what is new and clever, but no-one can tell you what is good! There is a myth that the past is irrelevant, that progress is the only thing” (Holgate, 1998). The paper analyses how the bespoke industry considers the incorporation of new and computerised technology. In so doing, it considers how the fashion industry could determine the future of tailoring. This could either be through contemporary fashion’s emphasis on the idiom as a look, or in the vast advances in technological development that could enhance it, in order to make bespoke more widely available. The paper culminates by considering realistic strategies as the technology within an accessible and computerised mass market industry grows and develops. It highlights that its promotion as a luxurious craft with an un-rivalled heritage, at the cutting edge of the industry, could be the key to the customer buying into its continued existence. 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Suffering in fashion could compare with the religious analogies of suffering, redemption and spiritual enrichment, suffering being a motivating factor for change so the fashion production cycle can seasonally re-invigorate. Suffering in the ways clothes are worn is examined by investigating the design and manufacture of undergraduate fashion student’s collections. This provides a visual analysis of fashion designer’s responses to suffering and the changes it initiates in the skills of production and ultimately the wearing of fashion. 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 is often reassembled in a new and challenging way. This concept is somewhat akin to Darwin’s ideas about the evolution of the species through a process of random mutation and selective retention known as natural selection (Darwin 1859). His work coined the phrase ‘survival of the fittest’ (Peel, 1992, p.143), which introduced the idea that survival of a species is a struggle against climate and environmental change in nature. In fashion suffering can be instrumental in enforcing the re-invigoration of the product when clothing styles are pushed to the limits of consumer endurance. The ‘fittest’ styles survive through their re-assemblance each season, sustaining the commercial cycle. In the struggle of clothes against clothes, some styles remain, due to their response to change, others are discarded. Suffering is evident in fashion production. For instance Skillset (formally Skillfast), the UK Government sponsored initiative to develop skills in trade, industry and education have recently met with educationalists on fashion courses (www.skillset-uk.org, 2011). Concerned with preserving skills in industry, (as described in Brown’s (2011) comments: ‘’A lack of skilled workers is strangling growth opportunities’’, p.1), their intention was to investigate ways of working together in order to develop fashion curricula that incorporate more traditional technical skills. The idea evolved through the loss of UK manufacture to overseas production. The increased use of computerized technology has enhanced communication in global manufacturing, yet has distanced the physical connection with the product. This has led to problems in manufacturing as UK retailers and overseas manufacturers suffer through miscommunication. It also exposes the redundancy of skills the UK manufacturing industry has suffered, through which the positive Government sponsored survival strategy of Skillset has evolved. As their website explains; “Skillset manages a range of training funds contributed to by industry and public sources. The aim of these funds is to help ensure that UK creative industries (including fashion) have a workforce with the right level of skills. The funds broaden access to training opportunities, career development and support” (www.skillset-uk.org,2011). 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It supports a need for retaining the heritage of traditional skills practiced in bespoke tailoring and justifies this as a luxury the consumer can and should afford. The research emphasises the pedagogic approach to the delivery and understanding of tailoring technology in the fashion design courses at University of Huddersfield. This understanding underpins the student’s perception of pattern cutting, fit, sizing, proportion and an overall approach to making clothes. Fashion tutors at Huddersfield believe that when students are taught to appreciate the luxury, heritage and skill of bespoke tailoring, it equips them with the confidence and expertise to create any type of garment. The luxury of the traditional tailoring process is in the time, craft and experience instilled into each garment. A bespoke tailor is a sculptor whose medium is cloth. He moulds a shell out of this cloth that refines and accentuates the human form. It is a unique service in which the client’s individual measurements are applied to the creation of a garment made to their exact size specifications. Particular attention is given to the detail, quality and excellence in the work. Bespoke tailoring as a fashionable look had a revived popularity in the late 1990’s and early 2000’s. Many fashion designers at the cutting edge of the fashion industry such as Vivienne Westwood and Alexander McQueen pushed the look of tailoring and the craft traditions of bespoke to the forefront of directional fashion, which in turn provoked a resurgence of interest in the craft. Holding court in a 1998 interview in English Vogue, Vivienne Westwood said: “I don’t understand this desperate need to always move forward. To strive for the new is the most conformist thing you can do. Everyone can tell you about what is new and clever, but no-one can tell you what is good! There is a myth that the past is irrelevant, that progress is the only thing” (Holgate, 1998). The paper analyses how the bespoke industry considers the incorporation of new and computerised technology. In so doing, it considers how the fashion industry could determine the future of tailoring. This could either be through contemporary fashion’s emphasis on the idiom as a look, or in the vast advances in technological development that could enhance it, in order to make bespoke more widely available. The paper culminates by considering realistic strategies as the technology within an accessible and computerised mass market industry grows and develops. It highlights that its marketing and promotion as a luxurious craft with an un-rivalled heritage, at the cutting edge of the industry, could be the key to the customer buying into its continued existence. 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This resulted in many parallel initiatives that have either been revived or have evolved. The initiatives often threaten recognised systems of fashion, design and consumption. It is driven underground only to re-emerge in different interpretations. Indeed a backlash against ostentation has been a driving force in sustainable fashion which emerged before the recession. Consumers embraced an environmental consciousness which radically altered perceptions towards fashion products and the messages they sent out to the world. The paper also details how final year fashion design students were set a live two day brief, that asked them consider the concept of ‘Fashion in Peril’. This exercise introduced students in a practical way to how fashion can mirror change in Society and also how a sense of individual style and fashion can be maintained in a crisis. ', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '28', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => '10.1080/17543266.2010.517223', 'volume' => '4', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2011', 'status_changed_hour' => '8', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '14614' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1360231344', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '14614', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '9', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2012', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/14614/3/AlmondYves_Saint_Laurent_2_1.pdf|/style/images/fileicons/application_msword.png;/14614/1/Yves_Saint_Laurent_2_1.doc', 'status_changed_second' => '1', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Yves Saint Laurent – Dazzling Colourist', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/46/14', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '4', 'refereed' => 'TRUE', 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://aic-colour-journal.org/index.php/JAIC/article/view/122', 'succeeds' => undef, 'datestamp_month' => '9', 'commentary' => undef, 'lastmod_day' => '7', 'publisher' => 'International Colour Association', 'pagerange' => '1-4', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2012', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'Journal of the International Colour Association', 'lastmod_second' => '35', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => '2227-1309', 'datestamp_hour' => '14', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '1', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 11, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '14614', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '2', 'event_dates' => undef, 'fulltimestamp' => '20121100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '10', 'number' => undef, 'rev_number' => '11', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '22', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '18', 'datestamp_day' => '18', 'abstract' => 'Much has been written and speculated about the life and career of the French fashion designer, Yves Saint Laurent. To many he is the archetypical tortured genius of fashion, fulfilling the romantic ideal of the sensitive artist suffering for his craft. He is also recognised as one of the defining architects of fashionable clothing in the twentieth century, a designer with a clear vision of how the modern women should be dressed. A shy teenager employed as assistant to Christian Dior, he was catapulted into a global spotlight when appointed chief designer on Dior’s death in 1957. He was fired by Dior for designing an all black, beat-nick styled collection, considered too avant-garde for an established label. The defining outfit from this collection is displayed in the exhibition. In shiny black patent crocodile, edged in black mink it retains a look of lavish modernity. Saint Laurent founded his own couture house with partner Pierre Berge in 1961. Throughout the 1960’s and 1970’s he was a unique creative force within the industry, beginning with the championing of ready to wear: with his boutiques ‘Rive Gauche’, to his hugely influential fashion innovations such as ‘Le Smoking’ in 1966, the Safari Collection’ of 1969, the ‘Forties’ collection of 1971 and the ‘Ballet Russes’ collection of 1976. These collections are purported by chroniclers of fashion to have had a profound impact on the sartorial lives of everyday women and on the work of other fashion designers. As his biographer Alice Rawthorne said: ‘In terms of stylistic innovations he unleashed a storm. His influence was so strong that the innovations of thirty years ago now look like everyday designs.’ (Kelso, (2002), p-3) By the 1980’s Saint Laurent’s fashion influence had begun to wane. The name remained synominous as a brand associated with Parisian luxury however the collections became a series of sumptuous refinements that were no longer considered cutting edge. Reports also began to circulate about Saint Laurent’s emotional and physical well being; he was portrayed in press reports as a man burnt out through ceaseless creation, tortured by the continuous wheel of fashion and the demands of producing four collections a year. Saint Laurent eventually retired in 2002 and died in 2008. 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'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' }, '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Brennand', 'eprintid' => '13438', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kathryn', 'creators_id' => 'k.j.brennand@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '5', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2012', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/13438/1/ROTOR_2012_Brochure.pdf|/13438/3.hassmallThumbnailVersion/_DSC5555.jpg;/13438/3/_DSC5555.jpg|/13438/4.hassmallThumbnailVersion/_DSC5580.jpg;/13438/4/_DSC5580.jpg|/13438/5.hassmallThumbnailVersion/_DSC5612.jpg;/13438/5/_DSC5612.jpg|/13438/6.hassmallThumbnailVersion/_DSC5620.jpg;/13438/6/_DSC5620.jpg|/13438/7.hassmallThumbnailVersion/Kevins_talk_edited3.mp4;/13438/7/Kevins_talk_edited3.mp4', 'status_changed_second' => '27', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Insufficient Allure: The Art of Creative Pattern Cutting (ROTOR) ', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/34/38', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '8', 'refereed' => 'TRUE', 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://transdisciplinarydialogueanddebate.com/', 'succeeds' => undef, 'datestamp_month' => '5', 'commentary' => undef, 'lastmod_day' => '1', 'publisher' => 'University of Huddersfield', 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2012', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'ROTO?', 'lastmod_second' => '15', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => '978-1-86218-102-1', 'datestamp_hour' => '11', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '27', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 4, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '13438', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2014', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '4', 'event_dates' => undef, 'fulltimestamp' => '20120400', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '14', 'number' => undef, 'rev_number' => '30', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '33', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '17', 'datestamp_day' => '17', 'abstract' => 'INSUFFICIENT ALLURE THE ART OF CREATIVE PATTERN CUTTING Kevin Almond and Kathryn Brennand 7 April – 2 June This research exhibition highlights the important role of the pattern cutter in the fashion industry one which is as significant and creative as the role of the fashion designer. Before any garment is made a pattern needs to be produced from the initial garment design. The pattern is usually adapted from a block shape that fits the human form. This is adapted and manipulated to create the desired shape and look of the design. It is then placed onto cloth and the shape of the pattern is cut out. The sewing machinist will then sew the garment together. The exhibition emphasizes the creativity of pattern cutting. The display includes calico garments produced by students and staff in the fashion department at University of Huddersfield. Photographs and text provide a critical review of the pattern cutter’s integral position in context to creative fashion design. 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'Fashion and Beauty: Celebrating the pattern cutters’ art' in Huddersfield Daily Examiner (12 April 2012): http://www.examiner.co.uk/news/examiner-plus/2012/04/12/fashion-and-beauty-celebrating-the-pattern-cutters-art-86081-30741487/', 'date_year' => '2012', 'status_changed_hour' => '11', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '9837' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1315390959', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '9837', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '3', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Fashion/Textile Association Futurescan: Mapping the Future Conference', 'date_type' => 'completed', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2011', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/9837/1/AlmondDressmakeypdf.pdf', 'status_changed_second' => '50', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => '‘It Looks Very Home Dress-Makey’ ', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/98/37', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'unpub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '23', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '3', 'commentary' => undef, 'lastmod_day' => '7', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2011', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'University of Liverpool', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '11', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '13', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '50', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 11, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '9837', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '9', 'event_dates' => 'November 2009', 'fulltimestamp' => '20091100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '10', 'number' => undef, 'rev_number' => '8', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '56', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '15', 'datestamp_day' => '15', 'abstract' => '‘It looks very home dressmakey,’ is a term often levelled at students during toile and garment fittings. Interpreted it means that the garment has been cut and manufactured in a way that looks home dress made as opposed to professionally finished. The phrase also implies that the student’s work is poor and that a garment that looks home dress made, in fashion terms is amateurish. The process of teaching and learning that enables students to grasp this concept is intricate. It includes developing an appreciation of what constitutes good and bad design and an empathy and understanding for the most appropriate technical methods that need to be acquired in order to professionally realise the design. This paper is a reflective investigation and celebration of the activities involved in making clothes and suggests ways in which to instil a passion for this technology in fashion students. In particular it explores teaching strategies that enable final year fashion design students to successfully realise their degree collections. It also examines the work of Jean Muir, a designer who; ‘Was in love with the process and craft of dressmaking and always used very high quality materials and details.’ (Soutar, 2008 p2). Research into her work was undertaken at Lotherton Hall in Leeds who hosted a major Jean Muir retrospective in 1980.The example of the designer’s work is used as a catalyst to discuss the educational processes developed in order to teach students about what a professional garment should really look like. 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1 November 2014', 'fulltimestamp' => '20141000', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '11', 'number' => undef, 'rev_number' => '10', 'edit_lock_user' => '3494', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '18', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '17', 'datestamp_day' => '17', 'abstract' => 'Human thinking in relation to the body is conditioned by an understanding of the body as a three-dimensional form. The fashion designer Madame Gres said ‘I wanted to be a sculptor — for me it is just the same to work with fabric or stone.’ Sculpture and fashion both adopt figurative formations, a default position of representing human form in space, motion and time: both an art form receptive to the senses of sight, touch and gravitational pull. This research questions whether the thinking processes in fashion design are common with thinking in sculptural practices within fine art. The question emerged through conversations between a fashion designer and a contemporary artist and centered upon the use of language, thinking and reflective practices, and the articulation and application of material processes. To address these questions we focused upon two approaches: whether thought and its articulation in the lexicon of creative practice is common and whether there is a two way flow of visual, material and technical influences. The initial conversation centered upon the art historian, Rowan Bailey’s essay ‘Herder’s Sculptural Thinking.’ Our interpretations of this work identified that thought itself evolves in the experience of three-dimensions and sharing our experiences of touch. The idea of the sculptural therefore becomes social; a shared phenomena. We became interested in how thinking begins to take shape in material forms, or the notion of working creatively in three-dimensionality is in itself a structure of the emotions that connect to a line of thought. The first section of the paper establishes a platform for the second section by investigating the significance of touch and mimicry, and the philosophies behind thinking sculpturally. The second section considers the effects of influence between the two disciplines, noting an interaction between the creative processes in sculpture and fashion design, such as: modeling, draping, molding, stacking, casting, shaping and carving. 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URL to article? SJT 17/7/12', 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2012', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/13854/3/AlmondHand_Crafted_Tailoring_versus_phd_1.pdf|/style/images/fileicons/application_msword.png;/13854/1/Hand_Crafted_Tailoring_versus_phd_1.doc', 'status_changed_second' => '26', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Bespoke Tailoring the Luxury and Heritage we can afford', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/38/54', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '4', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '0', 'refereed' => 'TRUE', 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => 24, 'gscholar_impact' => undef, 'official_url' => 'http://www.fibre2fashion.com/industry-article/43/4233/bespoke-tailoring1.asp', 'succeeds' => undef, 'datestamp_month' => '7', 'commentary' => undef, 'lastmod_day' => '26', 'publisher' => 'fibre2fashion', 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2012', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'http://articles.fibre2fashion.com/', 'lastmod_second' => '26', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '14', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '26', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 7, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '13854', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2012', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '7', 'event_dates' => undef, 'fulltimestamp' => '20120724', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '14', 'number' => undef, 'rev_number' => '13', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '0', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '26', 'datestamp_day' => '26', 'abstract' => 'This paper investigates the conflict between hand crafted bespoke tailoring and computerised mass market tailoring in the UK, in order to assess the overall place for this traditional technique within fashion design. It supports a need for retaining the heritage of traditional skills practiced in bespoke tailoring and justifies this as a luxury the consumer can and should afford. The research emphasises the pedagogic approach to the delivery and understanding of tailoring technology in the fashion design courses at University of Huddersfield. This understanding underpins the student’s perception of pattern cutting, fit, sizing, proportion and an overall approach to making clothes. Fashion tutors at Huddersfield believe that when students are taught to appreciate the luxury, heritage and skill of bespoke tailoring, it equips them with the confidence and expertise to create any type of garment. The luxury of the traditional tailoring process is in the time, craft and experience instilled into each garment. A bespoke tailor is a sculptor whose medium is cloth. He moulds a shell out of this cloth that refines and accentuates the human form. It is a unique service in which the client’s individual measurements are applied to the creation of a garment made to their exact size specifications. Particular attention is given to the detail, quality and excellence in the work. Bespoke tailoring as a fashionable look had a revived popularity in the late 1990’s and early 2000’s. Many fashion designers at the cutting edge of the fashion industry such as Vivienne Westwood and Alexander McQueen pushed the look of tailoring and the craft traditions of bespoke to the forefront of directional fashion, which in turn provoked a resurgence of interest in the craft. Holding court in a 1998 interview in English Vogue, Vivienne Westwood said; ‘I don’t understand this desperate need to always move forward. To strive for the new is the most conformist thing you can do. Everyone can tell you about what is new and clever, but no-one can tell you what is good! There is a myth that the past is irrelevant, that progress is the only thing.’ (Westwood, 1998) The paper analyses how the bespoke industry considers the incorporation of new and computerised technology. In so doing, it considers how the fashion industry could determine the future of tailoring. This could either be through contemporary fashion’s emphasis on the idiom as a look, or in the vast advances in technological development that could enhance it, in order to make bespoke more widely available. The paper culminates by considering realistic strategies as the technology within an accessible and computerised mass market industry grows and develops. It highlights that its promotion as a luxurious craft with an un-rivalled heritage, at the cutting edge of the industry, could be the key to the customer buying into its continued existence. 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It was initiated by Rita Britton, the outspoken owner of the independent fashion boutique Pollyanna, based in Barnsley, South Yorkshire. During conversations with the fashion journalist Colin McDowell and with Bill Skidmore, the president of the Huddersfield Textile Society, Britton spoke of her vision of creating a fashion label that combined the use of Yorkshire heritage fabrics with cutting-edge, contemporary design. The range would be designed, produced and marketed in the Yorkshire region, capitalising on the manufacturing and design skills within the county. The intention of the endeavour is to put the concept of a ‘Made in Yorkshire’ brand on the global fashion map. According to Veronica Manlow, an expert of fashion branding, ‘Cultural branding is seen as the most effective means by which brands can be infused with enduring meanings that enable them to become icons.’ This article explores this idea by assessing the viability for creating a fashion brand beyond the confines of a major fashion city that can be both meaningful and economically feasible. As fashion has become a globalised industry the established fashion powers of New York, London, Milan and Paris have been joined by cities such as Shanghai, Los Angeles, Copenhagen and Melbourne. However, there has been little expansion of fashion hubs beyond the nucleus of major cities. Although many designers and consumers of fashion products exist in smaller provincial areas, urban giants overshadow them. Regional centres often lack the sophistication and financial incentives of cosmopolitan municipals, and fashion designers located in them have to tap into different cultures and traditions in order to be inspired. Fashion perpetually attempts to harness the zeitgeist or the ‘spirit of the times,’ which is centred in a general cultural, intellectual, ethical, spiritual, or political climate. In-depth qualitative investigations through questionnaires and interviews unearthed much of the history and culture of fashion in Yorkshire and reveals how the county responds to and creates its own ‘spirit of the times.’', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '24', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => '3', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2014', 'status_changed_hour' => '12', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '13280' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => '60', 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 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'/style/images/fileicons/application_msword.png;/13280/1/rotor.doc', 'status_changed_second' => '15', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Insufficient Allure: The Art of Creative Pattern Cutting', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/32/80', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => undef, 'item_issues_count' => '1', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '8', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '4', 'commentary' => undef, 'lastmod_day' => '1', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2012', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Huddersfield Art Gallery', 'type' => 'exhibition', 'publication' => undef, 'lastmod_second' => '51', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '15', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '15', 'note' => 'Reviewed in the Huddersfield Daily Examiner: http://www.examiner.co.uk/leisure-and-entertainment/arts-news/2012/04/06/gallery-huddersfield-university-lecturers-curate-pattern-cutting-exhibition-86081-30704079/', 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 4, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '13280', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2014', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '4', 'event_dates' => '7 April – 2 June 2012', 'fulltimestamp' => '20120400', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '14', 'number' => undef, 'rev_number' => '12', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '30', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '11', 'datestamp_day' => '11', 'abstract' => 'This research exhibition highlights the important role of the pattern cutter in the fashion industry, one which is as significant and creative as the role of the fashion designer. Before any garment is made a pattern needs to be produced from the initial garment design. The pattern is usually adapted from a block shape that fits the human form. This is adapted and manipulated to create the desired shape and look of the design. It is then placed onto cloth and the shape of the pattern is cut out. The sewing machinist will then sew the garment together. The exhibition emphasizes the creativity of pattern cutting. The display includes calico garments produced by students and staff in the fashion department at University of Huddersfield. Photographs and text provide a critical review of the pattern cutter’s integral position in context to creative fashion design. 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The idea behind the symposium is to encourage an understanding of the value of wider-ranging and deeper engagement with research at both primary and secondary levels and to demonstrate the ways in which meaningful research can underpin and inform practice, allowing both for stronger design outcomes and a richer understanding of the contexts in which they operate. Please feel free to dress up and celebrate sub-cultural style, take notes and photographs and join in the discussions at the end. Schedule 1.00pm – Introduction to the theme of the symposium – Ian Massey, Subject Leader 1.15pm – ‘Masquerade in Clubland: A Safe Space for Glamour’ – Kevin Almond, Subject Leader Fashion and Costume An examination of social performances framed in photographs of the diverse, glamorous and camp world of nightclubbers. The investigation concerns notions of what constitutes the self and how the self is visually presented. 2.00pm – ‘Punk’ – Stephen Colegrave, author of the book ‘Punk which details his close involvement with the rise of the punk movement. Punk gives voice to the punk generation 25 years on, remembering the mad, frenzied and often incoherent world of 1975- 1979. the cultural movement that burrowed through Andy Warhol's Factory and the early 1970s New York underground, emerging triumphant, kicking and screaming at the top of the British pop charts. 2.45pm – Break 3.00pm – ‘Festival Culture’ – Dr Karen Dennis, Senior Lecturer Karen’s talk will investigate and the thriving festivals, music, art, design and fashion subcultures that thrive in the urban hub of large metropolitan cities. 3.45pm - Plenary/questions and answers Ian Massey ', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '9', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 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undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2011', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/11540/4/AlmondDiversity.pdf|/style/images/fileicons/application_msword.png;/11540/1/Suzy_Mason_111[1]_phd_3.doc_revised.doc', 'status_changed_second' => '6', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Diversity in Clubland: A Safe Space for Glamour', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/15/40', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '28', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '9', 'commentary' => undef, 'lastmod_day' => '27', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2011', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'University of the Western Cape, Cape Town South Africa ', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '6', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '13', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '6', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 6, 'rights' => undef, 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'completion_time' => undef, 'status_changed_minute' => '28', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '27', 'datestamp_day' => '27', 'abstract' => 'The article investigates the presentation of self, in the diverse, glamorous and camp world of the nightclub. An analysis of what constitutes the self and of how the self is visually presented, is discussed in relation to the two different perspectives of masquerade and glamour. This constructs a dual analysis in which the alluring persona presented in a club environment, contrasts with the stigmas associated with the marginalized persona, presented in everyday life. The glamorous veneer of the clubber masks the suffering endured when they are confronted by day to day demands. Butler (1990) explores the idea that the presentation of the gendered self is essentially a social performance constructed to communicate a physical and sartorial message. In this article social performances are examined in photographs of clubbers; a diversity of drag queens and people who play with gender boundaries and camp within a safe environment. It strips away the glamour that disguises humdrum existences and exposes some of the heartbreak beneath the constructed images. ', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '28', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2011', 'status_changed_hour' => '13', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '17485' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => 'School of Art, Design and Architecture', 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1368526732', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '17485', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '5', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'completed', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2013', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/17485/1/kalmondfinalthesis.pdf', 'status_changed_second' => '2', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Suffering in Fashion: Relationships between Suffering, The Production of Garments and Their Appropriation as Fashionable Items ', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/74/85', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'unpub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '41', 'refereed' => undef, 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '5', 'commentary' => undef, 'lastmod_day' => '14', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2013', 'book_title' => undef, 'thesis_name' => 'other', 'event_location' => undef, 'type' => 'thesis', 'publication' => undef, 'lastmod_second' => '2', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '10', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '2', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 1, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '17485', 'producers_name_given' => undef, 'thesis_type' => 'doctoral', 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '5', 'event_dates' => undef, 'fulltimestamp' => '20120100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => '50', 'source' => undef, 'lastmod_hour' => '10', 'number' => undef, 'rev_number' => '8', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => 'University of Huddersfield', 'subjects' => 'NX', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '41', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '14', 'datestamp_day' => '14', '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.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '5551', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '41', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2012', 'status_changed_hour' => '10', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '8510' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => 'allure, creative, cut, luxury, cost', 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1299664523', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '8510', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '9', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2010', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/8510/3/AlmondInsufficient.pdf', 'status_changed_second' => '34', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Insufficient Allure: The Luxurious Art and Cost of Creative Pattern Cutting', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/85/10', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '55', 'refereed' => 'TRUE', 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://dx.doi.org/10.1080/17543260903582474 ', 'succeeds' => undef, 'datestamp_month' => '9', 'commentary' => undef, 'lastmod_day' => '9', 'publisher' => 'Taylor and Francis', 'pagerange' => '15-24', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2010', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'The International Journal of Fashion Design, Technology and Education', 'lastmod_second' => '14', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => '1754-3266', 'datestamp_hour' => '8', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '34', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 3, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '8510', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '3', 'event_dates' => undef, 'fulltimestamp' => '20100300', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '9', 'number' => '1', 'rev_number' => '14', 'edit_lock_user' => '116', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '35', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '14', 'datestamp_day' => '14', 'abstract' => 'Creative pattern cutting really pushes the boundaries of design. It is a luxury that breaks all traditional rules. The whole process however is costly, in both the use of cloth and the time it takes to produce a pattern. This paper examines creative cutting from final year fashion students. It celebrates the student’s individual philosophies towards creative cut and examines how the industry promotes pattern cutting to students as a viable career option. The role of the pattern cutter can have as much glamorous allure as the role of the designer although it is at a lower key. Its allure comes from creative satisfaction and integrity. The paper also discusses the realistic and commercial cost implications in the production of creatively cut garments and suggests pragmatic ways to maintain this luxurious creativity with cost effectiveness. ', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '35', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => '10.1080/17543260903582474 ', 'volume' => '3', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2010', 'status_changed_hour' => '8', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '19219' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1386844827', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '19219', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '12', 'editors_name_honourific' => undef, 'admin_note' => 'emailed permission 12/12/13', 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2013', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/19219/3/Almondraiding_november.pdf|/style/images/fileicons/application_msword.png;/19219/1/raiding_november.docx', 'status_changed_second' => '20', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Raiding the Past, Designing for the Future', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/92/19', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '41', 'refereed' => 'TRUE', 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '12', 'commentary' => undef, 'lastmod_day' => '12', 'publisher' => 'The Association of Fashion Textile Courses', 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2013', 'book_title' => 'Raiding the Past: Understanding the Present –Futurescan 2 Collective Voices', 'thesis_name' => undef, 'event_location' => undef, 'type' => 'book_section', 'publication' => 'Futurescan 2: Collective Voices', 'lastmod_second' => '20', 'place_of_pub' => 'Sheffield, UK', 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => '9781907382642', 'datestamp_hour' => '10', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '20', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 1, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '19219', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => '978 1 907382 64 2', 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '12', 'event_dates' => undef, 'fulltimestamp' => '20130100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '10', 'number' => undef, 'rev_number' => '12', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '41', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '12', 'datestamp_day' => '12', 'abstract' => 'Academic staff involved with fashion teaching are often concerned at the level of research engagement by students; much of it tends to be over-reliant on Internet search engines and magazines. From the authors experience this is also something external examiners often comment upon. Many students lack understanding of the value of wider-ranging and deeper engagement with research at both primary and secondary levels. There is a clear need to demonstrate the ways in which meaningful research can underpin and inform their practice, allowing for stronger design outcomes and a richer understanding of the contexts in which they operate, both as lifelong learners and as future professionals. This paper investigates the meaning and background of retrospective research in fashion, in order to assess its relevance and importance in developing students’ research skills. It describes two initiatives that asked students to raid the past in order to design for the future. Although the initiatives focused upon looking at the past, they were devised to promote and establish an understanding in students about the need for expansive and relevant research, away from the ‘Google culture’. The first initiative was an interdisciplinary symposium, held to consider the impact of visual culture in the 1970s. Fashion students were asked to produce research that required reflection upon the visual and cultural significance of the period under investigation, and then produce design outcomes based on the event. The second initiative describes a live project that drew on the valuable collection of menswear held in Leeds Museums and Galleries and on existing research into the Leeds tailoring industry. It asked students to investigate this rich heritage to inspire the design and production of a range of contemporary tailored garments. These garments were amalgamated with the historical garments in a curated exhibition, which highlighted the importance of referring to historical textile artefacts when understanding how to research, design and produce future products. ', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '41', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => '1', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '10', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '8476' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1308903182', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '8476', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '9', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2010', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/8476/3/AlmondDressmakeypdf.pdf', 'status_changed_second' => '59', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => ''It Looks Very Home Dress-makey': Strategies to include fashion students to realise a professionally finished garment', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/84/76', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '12', 'refereed' => 'FALSE', 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '9', 'commentary' => undef, 'lastmod_day' => '24', 'publisher' => 'Association of Fashion Textile Courses, Nottingham Trent University', 'pagerange' => '1-24', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2010', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'Futurescan: Journal of Conference Proceedings', 'lastmod_second' => '45', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => '9781907382307', 'datestamp_hour' => '9', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '59', 'note' => 'Paper presented at the Fashion/Textile Association Futurescan: Mapping the Future Conference, University of Liverpool, November 2009', 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 1, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '8476', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '6', 'event_dates' => undef, 'fulltimestamp' => '20100100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '8', 'number' => undef, 'rev_number' => '15', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '41', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '9', 'datestamp_day' => '9', 'abstract' => '‘It looks very home dressmakey,’ is a term often levelled at students during toile and garment fittings. Interpreted it means that the garment has been cut and manufactured in a way that looks home dress made as opposed to professionally finished. The phrase also implies that the student’s work is poor and that a garment that looks home dress made, in fashion terms is amateurish. The process of teaching and learning that enables students to grasp this concept is intricate. It includes developing an appreciation of what constitutes good and bad design and an empathy and understanding for the most appropriate technical methods that need to be acquired in order to professionally realise the design. This paper is a reflective investigation and celebration of the activities involved in making clothes and suggests ways in which to instil a passion for this technology in fashion students. In particular it explores teaching strategies that enable final year fashion design students to successfully realise their degree collections. It also examines the work of Jean Muir, a designer who; ‘Was in love with the process and craft of dressmaking and always used very high quality materials and details.’ (Soutar, 2008 p2). Research into her work was undertaken at Lotherton Hall in Leeds who hosted a major Jean Muir retrospective in 1980.The example of the designer’s work is used as a catalyst to discuss the educational processes developed in order to teach students about what a professional garment should really look like. 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After conversations with the president of the Huddersfield Textile Society and fashion journalist Colin McDowell (SECOND SLIDE), Rita had formed a vision centred on creating a fashion label that combined the use of heritage Yorkshire fabrics with cutting edge contemporary design. The range would be designed, produced and marketed in the Yorkshire region capitalising on the manufacturing and design skills within the county. The intention was to put the concept of a ‘Made in Yorkshire’ brand on the global fashion map as a credible entity. This investigation seeks to establish the history and culture of fashion in Yorkshire, assessing the viability for creating a fashion brand beyond the confines of a major fashion city. As fashion has become a globalised industry the established fashion powers of New York, London, Milan and Paris have been usurped by cities such as Shanghai, Los Angeles, Copenhagen and Melbourne etc. There has been little expansion however of fashion hubs beyond the nucleus of major cities. Although many designers and consumers of fashion products exist in smaller provincial areas these metropolitan giants overshadow them. Regional centres lack the sophistication and edge of cosmopolitan municipals and have to tap into different cultures and traditions to inspire them when creating fashion products. Fashion perpetually attempts to harness the Zeitgeist. This is centred in a general cultural, intellectual, ethical, spiritual, or political climate. Fashion reflects this through an ambiance, direction, and mood usually emanating from stylish capitals or resorts that attract those who aspire to be fashionable. There is a relative lack of research that addresses the development of fashion within provinces around the world and how this impacts upon design, production and consumption. This paper seeks to redress this by emphasizing the wealth of fashion related activity within the Yorkshire region that both responds to and creates its own ‘spirit of the times’. 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Sharman Shaw - catwalk. Vidal Sassoon - hair. 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22nd September 2011', 'fulltimestamp' => '20110900', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '10', 'number' => undef, 'rev_number' => '11', 'edit_lock_user' => '116', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '4', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '5', 'datestamp_day' => '5', 'abstract' => 'This paper investigates the conflict between hand crafted bespoke tailoring and computerised mass market tailoring in the UK, in order to assess the overall place for this traditional technique within fashion design. It supports a need for retaining the heritage of traditional skills practiced in bespoke tailoring and justifies this as a luxury the consumer can and should afford. The research emphasises the pedagogic approach to the delivery and understanding of tailoring technology in the fashion design courses at University of Huddersfield. This understanding underpins the student’s perception of pattern cutting, fit, sizing, proportion and an overall approach to making clothes. Fashion tutors at Huddersfield believe that when students are taught to appreciate the luxury, heritage and skill of bespoke tailoring, it equips them with the confidence and expertise to create any type of garment. The luxury of the traditional tailoring process is in the time, craft and experience instilled into each garment. A bespoke tailor is a sculptor whose medium is cloth. He moulds a shell out of this cloth that refines and accentuates the human form. It is a unique service in which the client’s individual measurements are applied to the creation of a garment made to their exact size specifications. Particular attention is given to the detail, quality and excellence in the work. Bespoke tailoring as a fashionable look had a revived popularity in the late 1990’s and early 2000’s. Many fashion designers at the cutting edge of the fashion industry such as Vivienne Westwood and Alexander McQueen pushed the look of tailoring and the craft traditions of bespoke to the forefront of directional fashion, which in turn provoked a resurgence of interest in the craft. Holding court in a 1998 interview in English Vogue, Vivienne Westwood said; ‘I don’t understand this desperate need to always move forward. To strive for the new is the most conformist thing you can do. Everyone can tell you about what is new and clever, but no-one can tell you what is good! There is a myth that the past is irrelevant, that progress is the only thing.’ (Westwood, 1998) The paper analyses how the bespoke industry considers the incorporation of new and computerised technology. In so doing, it considers how the fashion industry could determine the future of tailoring. This could either be through contemporary fashion’s emphasis on the idiom as a look, or in the vast advances in technological development that could enhance it, in order to make bespoke more widely available. The paper culminates by considering realistic strategies as the technology within an accessible and computerised mass market industry grows and develops. It highlights that its promotion as a luxurious craft with an un-rivalled heritage, at the cutting edge of the industry, could be the key to the customer buying into its continued existence. ', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '4', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2011', 'status_changed_hour' => '10', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '9800' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1308046063', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '9800', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '3', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2011', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/9800/1/Microsoft_Word_%2D_You_Have_To_Suffer_For_Fashion_with_Images_21_phd.pdf', 'status_changed_second' => '24', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => '‘You Have to Suffer for Fashion’: An investigation into how the body has been distorted through the cut and construction of fashionable clothing', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/98/00', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '9', 'refereed' => 'TRUE', 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://www.iffti.com/downloads/past_annual_conference.htm', 'succeeds' => undef, 'datestamp_month' => '3', 'commentary' => undef, 'lastmod_day' => '14', 'publisher' => 'IFFTI', 'pagerange' => '197-210', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2011', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'IFFTI Journal of Conference Proceedings', 'lastmod_second' => '17', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => '9780956038227', 'datestamp_hour' => '9', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '24', 'note' => 'Paper presented at the 2009 IFFTI Annual Conference, The Body: Connections with Fashion, Royal Melbourne Institute of Technology, Melbourne, Australia, 8th - 11th March 2008 ', 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 4, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '9800', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '6', 'event_dates' => undef, 'fulltimestamp' => '20090400', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '10', 'number' => undef, 'rev_number' => '15', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'hhs', 'institution' => undef, 'subjects' => 'N1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '15', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '11', 'datestamp_day' => '11', 'abstract' => '‘You have to suffer fashion,’ has been a much used phrase throughout the history of fashion. Degrees of suffering and discomfort have varied and we have probably all endured agonies, in some way, when constructing our appearance, in order to face the world. This could range from a simple cut from shaving, to the discomfort and pain of folding tender flesh into a girdle! These are only two, of numerous possible examples.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '116', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '15', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2009', 'status_changed_hour' => '9', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '8475' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1300206604', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '8475', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '9', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2010', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/8475/4/A09_18128_TheTragicDescentofSeriousReactiontoMisplacedSentiment2_final[1].pdf|/style/images/fileicons/application_pdf.png;/8475/5/AlmondTragic.pdf', 'status_changed_second' => '44', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'The Tragic Descent of Serious Reaction to Misplaced Sentiment', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/84/75', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '1', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '57', 'refereed' => 'TRUE', 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://ija.cgpublisher.com/product/pub.85/prod.377', 'succeeds' => undef, 'datestamp_month' => '9', 'commentary' => undef, 'lastmod_day' => '31', 'publisher' => 'Common Ground', 'pagerange' => '131-142', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2010', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'International Journal of the Arts in Society', 'lastmod_second' => '57', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => '1833-1866', 'datestamp_hour' => '9', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '44', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 1, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '8475', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '3', 'event_dates' => undef, 'fulltimestamp' => '20090100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '3', 'number' => '1', 'rev_number' => '12', 'edit_lock_user' => '116', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '3', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '9', 'datestamp_day' => '9', 'abstract' => 'The paper examines the way society distorted tragedy into farce. Limiting the investigation to the first half of the nineteenth century it describes how Romantic artists developed an overly tragic sensibility in their work, persona and lifestyles as a reaction to the effects of the industrial revolution. It then examines how the early Victorians sentimentalisd this tragic attitude particularly in the exaggerated etiquette and artifice associated with mourning and death. Tragedy is the quintessential expression in describing excessive sadness or disaster, therefore it is the most dramatic, rendering it virtually impossible to exaggerate. Attempts at exaggeration have bordered on caricature or satire, that have distorted tragedy into travesty. Tragedy has manifested itself through various expressions in art, literature and reality yet only rarely, as in the Romantic Movement have all three mediums merged. This resulted in a histrionic tragicomedy of display that began as a serious reaction to social conditions and ended in sticky sentimentality.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '3', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => '4', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2009', 'status_changed_hour' => '9', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '17257' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1366730412', 'creatorlist' => { '1' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Thomson', 'eprintid' => '17257', 'creators_name_honourific' => '', 'pos' => '1', 'creators_name_given' => 'Jennifer A.', 'creators_id' => undef }, '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Wigley', 'eprintid' => '17257', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Stephen M.', 'creators_id' => 's.wigley@hud.ac.uk' }, '3' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '17257', 'creators_name_honourific' => '', 'pos' => '3', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' }, '2' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Teller', 'eprintid' => '17257', 'creators_name_honourific' => '', 'pos' => '2', 'creators_name_given' => 'Christoph', 'creators_id' => undef } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '4', 'editors_name_honourific' => undef, 'admin_note' => 'Await reply to 17254 23/4/13', 'event_title' => '19th Eirass Conference on Retailing and Consumer Services', 'date_type' => 'published', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2013', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/17257/2/WigleyObesity.pdf|/style/images/fileicons/application_vnd.ms-powerpoint.png;/17257/1/The_%E2%80%98Obesity_Crisis%E2%80%99_and_Fashion_Retailing.pptx', 'status_changed_second' => '9', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'The ‘Obesity Crisis’ and Fashion Retailing – a UK view. 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Projections suggest that by 2050, 60% of men and 50% of women will be obese. Similar statistics are recorded throughout the western World. Despite this apparent crisis in the contemporary and future health of the average UK consumer and the concomitant historic changes in their body shapes and sizes, they continue to be subject to unrealistic, often artificially enhanced and allegedly dangerous images of what is fashionable. These images are powerfully projected in the promotional activities of fashion brands. Thus a situation emerges where idealised images of body shape and size are increasingly, and increasingly obviously, different from the reality of most consumers. What effect does this have on fashion consumer behaviour, on consumers’ perceptions of themselves, and on the marketing initiatives of trend-led apparel retailers catering for customers who are of larger size? This paper investigates this issue using mixed methods to explore the relationships between female fashion consumers’ conceptions of fashionability and body image, the resulting effects on their consumption behaviour and the marketing responses of fashion retailers. Part of a wider study exploring issues of body shape and size in fashion design and marketing and consumer behaviour, the conference presentation will cover initial findings from the retailer and consumer perspectives. 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undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/72/03', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '14', 'refereed' => 'TRUE', 'contact_email' => 'k.almond@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => 23, 'gscholar_impact' => undef, 'official_url' => 'http://www.tandfonline.com/doi/full/10.1080/17543266.2013.793498#.UdGguY7_SjA', 'succeeds' => undef, 'datestamp_month' => '4', 'commentary' => undef, 'lastmod_day' => '11', 'publisher' => 'Taylor and Francis', 'pagerange' => '71-71', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2013', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'The International Journal of Fashion Design, 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=> undef, 'lastmod_hour' => '16', 'number' => '2', 'rev_number' => '11', 'edit_lock_user' => '11133', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'ADA_ICP', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '22', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '18', 'datestamp_day' => '18', 'abstract' => 'The call for papers for this special edition ‘Creative Cut’ evolved from a peer reviewed paper entitled ‘Insufficient Allure: The luxury and cost of creative pattern cutting’ published in ‘The International Journal of Fashion Design, Technology and Education’ in 2010. The paper built upon a limited amount of enquiry (British Fashion Council 2000, Fischer 2008, Joseph-Armstrong 2008). It suggests that the role of the creative pattern cutter is an interpretation of the designer’s vision and therefore equitable with the position of the fashion designer, in terms of esteem and remuneration. The text and photographed garments from the paper were curated in an exhibition at Huddersfield Art Gallery, UK, in April 2012. Reviewed by international fashion journalist Brenda Polen, the exhibition provided a critical appraisal of the pattern cutter’s position as integral to creative design through its emphasis upon clothing compositions that show complex pattern cuts placed onto the body to create accentuated, original forms. This exhibition has now been acquired by Armley Industrial Museum, Leeds Museums and Galleries, UK and will form part of the ‘Behind the Seams’ exhibition, which celebrates skills within the fashion industry. Two further projects emerged from this. The first was an international peer-reviewed conference: ‘The First International Symposium for Creative Pattern Cutting’. This was held at the University of Huddersfield in the UK on 6th and 7th February 2013 and attracted over 160 international delegates from over twenty countries including India, USA, and much of Europe. It included 30 paper presentations from leading researchers and practitioners on aspects of creative pattern cutting. All the delegates felt it provided an excellent forum to discuss ideas and issues relating to creative cut. In the plenary session closing the conference the general consensus was that it become a bi-annual event. The second is this special edition ‘Creative Cut’ which publishes selected papers, presented at the conference. The conference and the special edition are highly significant to the fashion industry as both are potentially the first global initiatives to emphasise contemporary research into creative pattern cutting. The themes of the conference evolved into four definitive streams, which investigated digital-technology, eco-sustainable, pedagogical and fashioned approaches to creative cutting. The impact of the conference and journal is highlighted in peer-review feedback from the international review panel, delegates and presenters who described it as an exciting, timely and welcome event, extremely important to the fashion industry. The papers published here demonstrate some of the ideas discussed in the conference. They explore different perceptions of creative cut and how the level of craftsmanship in the pattern cutter can be the source of creativity whether it is through traditional or digital approaches. They also go some way to emphasise how we shouldn’t underestimate tacit knowledge and the making process as a form of enquiry. This is important in the drive to heighten awareness of fashion practice as a viable academic research topic. There is a strong divide between scholars/research professionals and practitioners. There is suspicion within both camps: the practitioner would question the credibility of the scholar who writes about fashion yet has little experience in designing and making clothes. Likewise, the scholar is suspicious of the practitioner who attempts to write and theorize about clothes. The papers in ‘Creative Cut’ base their understanding on evidence from observation, participation and investigation of pattern cutting practice, pattern cutters at work and interviews with pattern cutters. The different methodological approaches have added credibility with fashion educators and the wider design industry because the research results have been arrived at from practical experience. I hope you enjoy reading through ‘Creative Cut’. References; Inspirational Pattern Cutting (2000) Directed by British Fashion Council. UK: British Fashion Council. Fischer, A. (2009) Basics Fashion Design, Construction. London: Thames and Hudson. Joseph-Armstrong, H. (2006) Pattern Making for Fashion Design. New York: Pearson Education. I would like to thank the editorial panel for all their hard work and commitment reviewing the manuscripts and the abstracts; Prof Winifred Aldrich Dr Kevin Almond Prof Susan P. Ashdown Sylvia Ayton MBE Kathryn Brennand Christine Browett Sean Chiles Prof Wendy Dagworthy OBE Hilary Hollingworth Dr Betty Jackson CBE Dr Julie King Dr Catriona McAra Holly McQuillan Brenda Polan Dr Jess Power Natalie Raw Timo Rissanen Prof Julian Roberts Dr Kristina Shin Dr Pammi Sinha Irene Spink Prof Steve Swindells Anne Tyrrell MBE Prof Carol Tulloch Dr Kevin Almond, March 2103. 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The 1960’s and 1970’s, has great currency for students, for whom retrospective research is often relevant to their studies. In focusing upon these key decades it capitalizes on how the design industry revives art and design styles from significant past decades and makes research appear to be easily identifiable with for students. Students rarely fully understand depths of visual culture historically and often demonstrate a superficial awareness of this in their research, focusing on the most obvious stylistic references attached to a period and re-interpreting these in a contemporary way. Keynote Opening Speech by co-co-ordinators; Kevin Almond and Ian Massey entitled; Raiding the past: Understanding the Present Four speakers were engaged who were experts on the 1960’s/1970’s and who through their work had made a considerable impact either during or about the period. Each speaker outlined the research methods they utilised within their work, and described how both primary and secondary research informed their outcomes. The four key speakers were: • Sylvia Ayton MBE, Chair of the Costume Society. Former business partner to Zandra Rhodes in the 1960’s and for thirty years Head of Design at Wallis; Talk; ‘My Love Hate Relationship with Couture’ • Professor Lou Taylor, Dress Historian Author of several books including ‘Through the Looking Glass which focused on individual decades in dress and social history in the twentieth century; Talk: 'On Their Own Terms- an assessment of the development and impact of 'youthquake' fashions, 1958-68. • Michael Bracewell, writer/cultural commentator, author of Re-make/Remodel: Art, Pop, Fashion and the making of Roxy Music (Faber); • Dominic Lutyens, writer/journalist, co-author of 70s Style and Design (Thames & Hudson). The symposium also had several other key aims and objectives: • The intention was to create a dialogue between students and staff across subject disciplines, to network and exchange ideas with creatives beyond individual disciplines. • To promote and establish an understanding of the need for wide-ranging and relevant research, away from the ‘Google culture’. • To promote the link between the practical and the theoretical. • To promote an interdisciplinary approach to design research. A range of research methods was described and discussed. The speakers were experts on aspects of the visual culture of the period. Each approached research from a different standpoint of interest/expertise/discipline that included; • Fashion design • Costume/dress history and theory • Cultural commentary/popular culture • Design history This breadth of approaches to research was an ideal platform from which to inform and inspire the students, and allow them to reconsider their own research methods. Distinctions between primary and secondary research and the value of each were outlined. This demonstrated the need for a more analytical and relevant approach to both visual and written work, leading to a more informed level of dialogue within both studio practice and theory. 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The cross gender dressing, lesbian, gay, bisexual and transgender clubbers include a diversity of drag queens and others who play with gender boundaries and camp within a safe environment of the club. My investigation of masquerade and glamour in their self-presentations concerns notions of what constitutes the self and how the self is visually presented. My analysis contrasts the alluring persona presented in a club environment with the stigmas associated with the marginalized persona presented in everyday life. The club-goers’ glamorous veneer often masks the suffering they endure in their day-to-day lives. Following Judith Butler’s (1990) theory of gender, I explored the idea that the presentation of the gendered self is essentially a social performance constructed to communicate a physical and sartorial message.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '31', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => '4', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2014', 'status_changed_hour' => '11', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '8925' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1308746309', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '8925', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '11', 'editors_name_honourific' => undef, 'admin_note' => 'Publisher allows post print and pdf, replace pdf when published?', 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2010', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/8925/3/The_Glamorous_Presentation_of_Self.pdf', 'status_changed_second' => '40', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Expression and Repression: The Glamorous Presentation of Self ', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/89/25', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '1', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '51', 'refereed' => 'TRUE', 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://ija.cgpublisher.com/product/pub.85/prod.628', 'succeeds' => undef, 'datestamp_month' => '11', 'commentary' => undef, 'lastmod_day' => '22', 'publisher' => 'Common Ground', 'pagerange' => '1-14', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2010', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'article', 'publication' => 'The International Journal of the Arts in Society', 'lastmod_second' => '2', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => '1833-1866', 'datestamp_hour' => '10', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '40', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 2, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '8925', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '6', 'event_dates' => undef, 'fulltimestamp' => '20110200', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '12', 'number' => '3', 'rev_number' => '15', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NK', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '44', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '4', 'datestamp_day' => '4', 'abstract' => 'This paper investigates how the fashionable and glamorised appearance of an individual can be constructed to obscure the real person. The unreal self is in this instance the fashionable presentation of self or the public image that is often used as a platform to mask the inadequacies of the private self. The sociologist Erving Goffman put forward a theory in his work ‘The presentation of Self in Every Day Life’ (1959): ‘When an individual appears before others he will have many motives for trying to control the impression they receive of the situation.’ (Goffman(1990), p-26)26) This indicates that in their ‘control’ the individual wants to dictate the reaction of others to their presentation of self. In global society it is often necessary for some individuals to invent a different visual persona in order to present themselves to the world; this could be due to social displacement, bigotry or oppression. There appears to be a great tension or contradiction when the assemblage of the visual appearance is purely camouflage and the costs to the individual can often be shattering, both emotionally and physically. The paper investigates two strands of enquiry: Firstly, an historical perspective explores how change in society; can initiate changes in attitude to the glamorous exterior. What is repressed in one era can be expressed in another. Secondly Narcissism is examined through the construction of celebrity images that invent beautiful masks through clothes, cosmetics and surgery. There is a huge degree of self love involved in constructing a public image through the exploitation of fashion and beauty. The investigation examines the ambiguity in the many images of Marlene Dietrich, to the exotic coterie of ‘Superstars’ in Andy Warhol’s factory. It also examines the hidden darkness beneath the facades represented by the superimposed images. To a great extent all visual self presentation is managed. The sociologist Efrat Tseelon argues in ‘The Masque of Femininity’ (1995), that with the majority of women the requirement: ‘....to be beautiful masks a fundamental ugliness which operates like a potential stigma. The fear of the woman is projected onto the woman and defended against by glamorising her.’ (Tseelon, (1995), p- 78) Although this theory is directed towards the female it also applies to male. The mounting and maintenance of a glamorous mask is often a superficial and quick fix solution to a deeper need for social acceptance. 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Is it a super imposed image of a desired female form or simply a way of accentuating the ample assets of a larger sized body? Body image has been identified as crucial to clothing provision and fashion consumption (Sproles and Burns 1994: 42). Research has recognized that fuller-sized and obese people were considered unhappy, unconfident, unattractive and identified a huge level of discrimination and negativity towards the overweight (Blumberg and Mellis 1985; Clayson and Klassen 1989; Miller 1990; Salusso-Dounier 1993). Presenting and describing a body as voluptuous could be a more palatable way to repackage and reconceptualise the larger sized. It is perhaps a more flattering description shrouding prejudices with regards to fashion, style and garment selection. The investigation includes a number of approaches. Object based research investigates the design and manufacture of garments for the fuller sized figure. 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Spook, Stefanel SpA, Strenesse Group, Chantal Thomas, Yuki Torii, Trussardi SpA, Phillipe Venet, Gian Marco, Venturi, Diane Von Furstenberg', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '2151', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '23', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => '1', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '1995', 'status_changed_hour' => '10', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '9839' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1315391022', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Almond', 'eprintid' => '9839', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Kevin', 'creators_id' => 'k.almond@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '3', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => '4th International Conference of the Arts in Society', 'date_type' => 'completed', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2011', 'fileinfo' => '', 'status_changed_second' => '41', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'The Tragic Descent of Serious Reaction to Misplaced Sentiment', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/98/39', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'unpub', 'item_issues_count' => '1', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '24', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://2009.artsinsociety.com/program/index.html', 'succeeds' => undef, 'datestamp_month' => '3', 'commentary' => undef, 'lastmod_day' => '7', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2011', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Venice, Italy', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '7', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '16', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Almond', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '41', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 7, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '9839', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2011', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '9', 'event_dates' => '28th - 31st July 2009', 'fulltimestamp' => '20090700', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '10', 'number' => undef, 'rev_number' => '8', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Kevin', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'NX', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '45', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '15', 'datestamp_day' => '15', 'abstract' => 'The paper examines the way society distorted tragedy into farce. Limiting the investigation to the first half of the nineteenth century it describes how Romantic artists developed an overly tragic sensibility in their work, persona and lifestyles as a reaction to the effects of the industrial revolution. It then examines how the early Victorians sentimentalisd this tragic attitude particularly in the exaggerated etiquette and artifice associated with mourning and death. Tragedy is the quintessential expression in describing excessive sadness or disaster, therefore it is the most dramatic, rendering it virtually impossible to exaggerate. Attempts at exaggeration have bordered on caricature or satire, that have distorted tragedy into travesty. Tragedy has manifested itself through various expressions in art, literature and reality yet only rarely, as in the Romantic Movement have all three mediums merged. This resulted in a histrionic tragicomedy of display that began as a serious reaction to social conditions and ended in sticky sentimentality.', 'creators_id' => 'k.almond@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '116', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '45', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2009', 'status_changed_hour' => '16', 'gscholar_cluster' => undef, 'producers_name_family' => undef } };

2014

Almond, K (2014) ‘Masquerade in Clubland: A Safe Space for Glamour’. In: Visual Culture and Gender. Oxford, UK: Routledge. . ISBN 978-0-415-83004-1

Almond, K (2014) ‘Fashion in Jeopardy’. In: Fashion and Conflict: Not Living in Khaki, 18th October 2014, London Costume Society, London, UK

Almond, K. and Swindells, S. (2014) ‘Sculptural Thinking in Fashion’. In: Fashion Thinking, History, Theory, Practice, 30 October 2014 - 1 November 2014, University of Southern Denmark, Denmark

Almond, K (2014) ‘M????? ?????????????: ??-???????????????? ?????? ??????? ???? (Fashionably Voluptuous: Repackaging the Fuller Sized FigureRussian Fashion Theory , 33, pp. 73-103. ISSN 5-86793-472-1

Almond, K. and Swindells, S. (2014) ‘Sculptural Thinking in Fashion’. In: 6th Global Conference: Fashion (September 2014: Oxford, United Kingdom), Monday 15th September – Thursday 18th September 2014 Mansfield College, Oxford, United Kingdom, Oxford, UK

Almond, K (2014) ‘Made in Yorkshire: Harnessing the ZeitgistCatwalk: The Journal of Fashion, Beauty and Style , 3 (1), pp. 1-24. ISSN 2045 2349

2013

Almond, K (2013) ‘The Forties Effect: An Appraisal of the Definitive 1940’s Look and its Influence on FashionInternational Journal of Costume and Fashion , 13 (2), pp. 79-92. ISSN 2288-7490

Almond, K (2013) ‘Guest Editorial Special Edition ‘Creative Cut’ The International Journal of Fashion Design, Technology and Education The International Journal of Fashion Design, Technology and Education , 6 (2), pp. 71-71. ISSN 1754-3266

Almond, K (2013) ‘Fashionably Voluptuous: Repackaging the Fuller-Sized FigureFashion Theory , 17 (2), pp. 197-226. ISSN 1362-704X

Almond, K (2013) ‘Introduction to: The First International Symposium for Creative Pattern Cutting’. In: The First International Symposium for Creative Pattern Cutting, 6 - 7 February 2013, University of Huddersfield

Almond, K (2013) ‘Raiding the past, desgigning for the future’. In: Futurescan 2: Collective Voices Association of Fashion and Textiles Courses, 10th - 11th January 2013, Sheffield Hallam University

Almond, K (2013) ‘Raiding the Past, Designing for the Future’. In: Raiding the Past: Understanding the Present –Futurescan 2 Collective Voices. Sheffield, UK: The Association of Fashion Textile Courses. . ISBN 978 1 907382 64 2

Almond, K. and Brennand, K.(2013) Insufficient Allure: The Art of Creative Pattern Cutting ('Behind the Seams' Acquisition) [Show/Exhibition]

2012

Almond, K (2012) ‘Yves Saint Laurent – Dazzling ColouristJournal of the International Colour Association , 9, pp. 1-4. ISSN 2227-1309

Almond, K (2012) ‘Masquerade in Clubland’. In: Music Fashion and Fantasy. Costume Society Study Day, 20th October 2012, London College of Fashion

Almond, K (2012) ‘Made in Yorkshire: Harnessing the Zeitgeist’. In: Fashioning the City: Exploring Fashion Cultures, Structures and Systems, 19th - 21st September 2012, Royal College of Art, London

Almond, K (2012) ‘Bespoke Tailoring the Luxury and Heritage we can affordhttp://articles.fibre2fashion.com/ .

Wigley, S., Thomson, J., Teller, C. and Almond, K. (2012) ‘The ‘Obesity Crisis’ and Fashion Retailing – a UK view. ’. In: 19th Eirass Conference on Retailing and Consumer Services, July 9th-11th 2012, Vienna, Austria

Almond, K. and Brennand, K. (2012) ‘Insufficient Allure The Art of Creative Pattern Cutting’. In: ROTO? Programme Part 1. Huddersfield, UK: University of Huddersfield. p. 4. ISBN 9781862181021

Brennand, K. and Almond, K. (2012) ‘Insufficient Allure: The Art of Creative Pattern Cutting (ROTOR) ROTO? . ISSN 978-1-86218-102-1

Almond, K. and Brennand, K.(2012) Insufficient Allure: The Art of Creative Pattern Cutting [Show/Exhibition]

Almond, K (2012) ‘Masquerade in Clubland: A Safe Space for Glamour’. In: Subcultures Symposium, 22nd February 2012, University of Huddersfield

Almond, K (2012) Suffering in Fashion: Relationships between Suffering, The Production of Garments and Their Appropriation as Fashionable Items Doctoral thesis, University of Huddersfield.

2011

Almond, K (2011) ‘Hand crafted bespoke tailoring’. In: Textiles Research in Process, 16th - 17th November 2011, Loughborough University

Almond, K (2011) ‘Suffering in fashion: the links that expose issues for the future production of garments and their appropriation as fashionable items International Journal of Fashion Design, Technology and Education , 4 (3), pp. 153-160. ISSN 1754-3266

Almond, K (2011) ‘Madame Gres – Goddess of Drape: Review of ‘Madame Gres: Couture at Work’, Musee Bourdelle, Paris 25th March – 28th August 2011 Association of Suppliers to the British Clothing Industry Yearbook 2012 , pp. 1-2.

Swindells, S. and Almond, K. (2011) ‘Introduction: radar Editorial Review 2011Radar , 1 (2), pp. 1-3. ISSN 2049-4327

Almond, K (2011) ‘Bespoke Tailoring: The Luxury and Heritage we can afford’. In: Fashion Colloquia London 2011, 21st - 22nd September 2011, London College of Fashion

Almond, K (2011) ‘Masquerade in Clubland: A Safe Space for GlamourVisual Culture and Gender , 6 , pp. 7-18. ISSN 1936-1912

Almond, K (2011) ‘Bespoke Tailoring: the luxury and heritage we can afford’. In: Fashion Colloquia - London, 21st - 22nd September 2011, London College of Fashion, London, UK

Almond, K (2011) ‘Fashion in peril: an investigation into how fashion mirrored change in UK society International Journal of Fashion Design, Technology and Education , 4 (1), pp. 21-30. ISSN 1754-3266

Almond, K (2011) ‘Bespoke tailoring: the luxury and heritage we can affordThe International Journal of Technology, Knowledge and Society , 7 (2), pp. 77-88. ISSN 1832-3669

Almond, K (2011) ‘Diversity in Clubland: A Safe Space for Glamour’. In: Eleventh International Conference on Diversity in Organizations, Communities, and Nations, 20-22 June 2011, University of the Western Cape, Cape Town South Africa

Almond, K (2011) ‘Bespoke tailoring: the luxury and heritage we can afford’. In: The International Conference of Technology, Knowledge and Society, 25-27 Mar 2011, University of Basque Country, Spain

Almond, K. and Massey, I. (2011) ‘Raiding the Past: Understanding the Present A symposium looking at the impact of visual culture in the 1960s and 1970s.’. In: Raiding the Past: Understanding the Present, 16th February 2011, University of Huddersfield

Almond, K (2011) ‘Expression and Repression: The Glamorous Presentation of Self The International Journal of the Arts in Society , 5 (3), pp. 1-14. ISSN 1833-1866

2010

Almond, K (2010) ‘Expression and repression: the glamorous presentation of self’. In: The International Conference of the Arts in Society, 2010, Sydney, Australia

Almond, K (2010) The University of Huddersfield fashion show 2010 [Show/Exhibition]

Almond, K (2010) ‘Cutting the FutureRadar , 1 (1), pp. 6-7. ISSN 2049-4327

Almond, K (2010) ‘Insufficient Allure: The Luxurious Art and Cost of Creative Pattern CuttingThe International Journal of Fashion Design, Technology and Education , 3 (1), pp. 15-24. ISSN 1754-3266

Almond, K (2010) ‘'It Looks Very Home Dress-makey': Strategies to include fashion students to realise a professionally finished garmentFuturescan: Journal of Conference Proceedings , 1, pp. 1-24. ISSN 9781907382307

2009

Almond, K (2009) ‘Vionnet: Without BiasColour: Design & Creativity , 4, pp. 1-3. ISSN 1753-7223

Almond, K (2009) ‘Inspiring Creative and Innovative Pattern Cutting’. In: Conference Proceedings: Futurescan: mapping the territory. : Association of Fashion and Textile Courses. . ISBN 9781907382307

Almond, K (2009) ‘‘It Looks Very Home Dress-Makey’ ’. In: Fashion/Textile Association Futurescan: Mapping the Future Conference, November 2009, University of Liverpool

Almond, K (2009) ‘You have to suffer for Fashion’. In: Public Lecture University Centre Barnsley, July 2009, University Centre Barnsley

Almond, K (2009) ‘The Tragic Descent of Serious Reaction to Misplaced Sentiment’. In: 4th International Conference of the Arts in Society, 28th - 31st July 2009, Venice, Italy

Almond, K (2009) The University of Huddersfield fashion show 2009 [Show/Exhibition]

Almond, K (2009) ‘You have to suffer for fashion’. In: 11th Annual Conference for the International Foundation of Fashion Technology Institutes (IFFTI), 2nd - 3rd April 2009, London College of Fashion, University of the Arts London, UK

Almond, K (2009) ‘IFFTI Conference Report 2009www.colourclick.org .

Almond, K (2009) ‘‘You Have to Suffer for Fashion’: An investigation into how the body has been distorted through the cut and construction of fashionable clothingIFFTI Journal of Conference Proceedings , pp. 197-210. ISSN 9780956038227

Almond, K (2009) ‘The Tragic Descent of Serious Reaction to Misplaced SentimentInternational Journal of the Arts in Society , 4 (1), pp. 131-142. ISSN 1833-1866

2008

Almond, K (2008) ‘The Golden Age of Couture (Victoria and Albert Museum, London, 22 September 2007 to 6 January 2008) Colour: Design & Creativity , 2, pp. 1-4.

2007

Almond, K (2007) The University of Huddersfield fashion show 2007 [Show/Exhibition]

1997

Almond, K (1997) ‘[Essays from The St James Fashion Encyclopedia]’. In: The St James Fashion Encyclopedia, A Survey of Style. USA: Visible Ink Press. pp. 1-200. ISBN 0-7876-1036-4

1995

Almond, K (1995) ‘[Essays from Contemporary Fashion]’. In: Contemporary Fashion. USA: St James Press. pp. 1-500. ISBN 1-55862-173-3

1988

Almond, K (1988) ‘Public image versus private self: the tragedy of camp dressing’. In: Components of Dress. London, UK: Routledge. pp. 95-97. ISBN 9780415006484

Almond, K () ‘The Fashion Curriculum’. In: The Textile Centre of Excellence, 2010, The Huddersfield Textile Society, Huddersfield

Esteem

Awards

2014 Leeds Museums and Galleries - Awarded research funding of £3000 to support the school funded PhD 'Made in Yorkshire'. Signed agreement of collaboration will allow the student access to the vast archive of fashion and textiles housed with Leeds Museums and Galleries.

2013
 February 2012, Lectra – Awarded sponsorship of £3000 for The First International Symposium for Creative Pattern Cutting University of Huddersfield February 6th – 7th 2013

2012
 University conference fund - £1000 to attend and present papers at three conferences in 2012

2011
 University research funding - £1000 to research obesity in fashion resulting in the paper: ‘Fashionably Voluptuous: Repackaging the Fuller Sized Figure' Journal of Fashion Theory (accepted for publication June 2013 volume and ISBN to be confirmed)

2011
 School research funding - £5000 to curate exhibition Insufficient Allure: The Art of Creative Pattern Cutting and develop conference in 2013 of the same name

2009
 School Teaching and Learning Grant - £500 to develop project Innovative and Creative Pattern Cutting – an exhibition and Catalogue that celebrates the work of the alumni of fashion design graduates at University of Huddersfield. April 2009, IFFTI Conference, London College of Fashion – Fashion and Well Being – paper ‘You Have to Suffer for Fashion’ – Awarded prize for best paper Junior Faculty $2000

Journal Editor and Journal Referee

Guest Editor, The International Journal of Fashion Design, Technology and Education, Special Edition: ‘The Art of Creative Pattern Cutting’ 2013

Editor, The First International Symposium for Creative Pattern Cutting, University of Huddersfield, 2013

Reviewer for Association of Fashion and Textiles Courses annual conference journal Futurescan 2, 2013

Associate Editor, Colour Design and Creativity – 2012 – present

Associate Editor, SDC Online Journal, Colour, Design and Creativity – 2008 - present

Associate Editor, The International Journal of the Arts in Society – 2009 – present

Associate Editor, The International Journal of Diversity in Organisations, Communities and Nations

Associate Editor, The International Journal of Technology, Knowledge and Society

Referee - International Foundation of Fashion Technology Institutes Annual Global Conference

Memberships

Trustee of The Costume Society 2013 - 2016

Fellow of The Higher Education Academy

Association of Suppliers to the British Clothing Industry

The Costume Society

The Northern Society of Costume and Textiles

The British Fashion Council Student Forum

Huddersfield Textile Society

Member, Steering Committee Yorkshire Fashion Week

Member International Foundation of Fashion Technology Institutes

Invited Keynote Lectures/Presentations

  • Almond, K (2012) Masquerade in Clubland: A Safe Space for Glamour, Music, Fashion and Fantasy: from Masquerade to Lady Gaga, The Costume Society Annual Study Day, London College of Fashion, The Costume Society, 20th October
  • Almond, K (2012) Made in Yorkshire: Harnessing the Zeitgeist, Fashioning the City: Exploring Fashion Cultures, Structures and Systems, Royal College of Art, London, 19th -21st September
  • Almond, K (2011) ‘Bespoke Tailoring: the Luxury and Heritage we can Afford’ presented at Fashion Colloquia, London College of Fashion 21st -22nd September 2011
  • 2010 – The Huddersfield Textile Society, ‘The Fashion Curriculum’, The Textile Centre of Excellence, Huddersfield
  • 2009 – Public Lecture ‘You Have to Suffer for Fashion’ University Centre Barnsley

Research Degree Supervision

Research Areas

  • Suffering in fashion: Links that expose issues in the production of garments and their appropriation as fashionable items
  • Body shaping and the presentation of the fashionable ideal of self
  • How fashion has mirrored change in UK society
  • Bespoke Tailoring: The Luxury and Heritage we can afford
  • Fashion in Clubland: The safe space for glamour
  • Expression and Repression: The glamorous presentation of self
  • Creative pattern cutting
  • Fashion and obesity
  • 1940’s fashion
  • The creative economy and aesthetic market place
  • Sculptural thinking in fashion

Current student projects are:

PhD
2014 – current Sharon Bainbridge: “Made in Yorkshire”

MRes
2012 – current Elizabeth Garland: “Second Skin, A Body Conscious Approach to Pattern Cutting”
2012 – current Phiona Fitzgerald: “A Manual in Historical Fashion and Costume for use as a Teaching Tool”
2013 – current Debbie Allsop: “An analysis of ways to positively engage and instill enthusiasm for construction as a means of expressing creativity in students of fashion design”
2013 – current Helen Howell: ‘Recycling Textiles’
2014 – current Vaida Bubnyte: ‘The effectiveness of advertising campaigns and visual brand appearance for fashion houses’

Enterprise Activities

  • 2011 Ginetta Lifestyle - consultancy to produce collection of luxury branded clothing
    Further details: This project involved was funded by a £10,000 University development grant. Three final year, University of Huddersfield, fashion graduates were employed by Ginetta who are a luxury sports car company. The company wanted to develop a lifestyle brand of fashion clothing around the history and aura of GInetta. During the first three months of the graduate’s employment they were based at the university and a small staff team led by myself assisted the students in all aspects of the research and design process. This involved considerable research into the Ginetta archives in order to derive inspiration for shapes, prints and fashion ideas. The men’s and womenswear range was subsequently successfully marketed and sold internationally through trade shows and Ginetta events.
  • 2011 The British Council – e-mentoring for Nigerian designer Henrietta Aghoboola.
  • 2008 Redesign and production of new outfits for Huddersfield Choral Society in conjunction with Textile Centre of Excellence
  • 2004 Design and production of dresses for Oxford Stationary organised by RAM PR. These were worn by models at London Fashion Week in February 2004 to promote the stationary as a fashion “must have”

Teaching and Professional Activities

Undegraduate teaching on fashion design
Postgraduate supervision
Last updated Thursday 6 March 2014
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