CRJ 499 Savannah Technical College Criminal Justice Report As a criminal justice professional, report writing is an important aspect of your responsibiliti

CRJ 499 Savannah Technical College Criminal Justice Report As a criminal justice professional, report writing is an important aspect of your responsibilities. For this assignment, you will review a scenario and complete a report commonly found within a particular criminal justice profession. 7/11/2020
FSH 244 – OL2: History of Fashion
Zhao, Zhang (FSH) July 11, 2020
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FSH 244 OL2: HISTORY OF FASHION – CROSS-LISTED AS LA 244 OL2
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1. Introduction
2. The Maison Couture
3. Emergence of Design
4. Fashion Show
5. Paul Poiret: Brand Marketing
6. Fords of Fashion
7. Relatable Models
8. Pierre Cardin: Licensing
9. RTW/Corporate Brand
10. Supreme: The Logo
11. Conclusion
Summer 2020 (Jun 22nd – Aug 12th)
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FSH 244 – OL2: History of Fashion
MODULE 7: THE 19TH CENTURY/FASHION MARKETING, PART 2
Introduction
In the previous module, we looked at an overview of marketing, brand identity, and status
marking, and studied the sphere of influence around the development of modern fashion
marketing strategies. In this module, we’ll focus on examples of the forms of dress
associated with this key fashion moment.
Student Outcomes
Analyze key moments in the development of 19th-century fashion marketing
strategies with the goal of identifying the origin of recent fashion marketing
strategies.
Recognize revivals and reinterpretations of 19th-century haute couture fashion
branding and promotion in current fashion systems.
Research historic sources to find visual examples of 19th-century fashion marketing
campaigns and identify connections between historic fashion campaigns and
present fashion campaigns.

Attention
The Resources site provides important information you will need to navigate this course:
Online Orientation
Research, Writing, and Plagiarism
Grading Policy and Evaluation
The Fashion Resource Book
Key Concepts and Vocabulary
Sphere of Influence
This link will be available as a reference throughout the semester.
Once you have read the material in each of these sections, let’s continue with the Sphere
of Influence and the next key moment in fashion history!
Graded Topics
After reading this module you will complete the following:
7.1 [Assignments] Looking Back to Move Forward
Readings
Please read the following:
 Amy Fine Collins, “Toujours Couture,” Vanity Fair, August 19, 2009 (PDF, 2871.7 kb)
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Discussion
Class participation in the Discussion is required and makes up a significant part of your
learning experience. Click on the Discussion link in the top toolbar to enter the
Discussion.
You must answer all Progress Questions before proceeding to the following module’s
content. If this module contains quizzes or exams, these links will be listed on the Outline
page.
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Progress Questions, Quizzes, and Exams
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FSH 244 OL2: HISTORY OF FASHION – CROSS-LISTED AS LA 244 OL2
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FSH 244 – OL2: History of Fashion
MODULE 7: THE 19TH CENTURY/FASHION MARKETING, PART 2
Supreme: The Logo
2. The Maison Couture
3. Emergence of Design
4. Fashion Show
5. Paul Poiret: Brand Marketing
6. Fords of Fashion
7. Relatable Models
8. Pierre Cardin: Licensing
9. RTW/Corporate Brand
10. Supreme: The Logo
11. Conclusion
Supreme brick
As we will explore in a future module, fashion brand marketing continued to develop in
importance as a primary selling tool throughout the 20th century, culminating in the 1980s
with the dominance of the designer logo.
Used by marketers to define brand identity, and adopted by consumers as a marker of
status, the logo—as brand-identity shorthand—has undergone various treatments
throughout the 21st century, from straightforward creation of desire and status to the
ironic and irreverent twisting of its meaning by brands such as Supreme.
Supreme’s brick is an example of a current ironic treatment of the brand logo. The
marketers themselves are acknowledging the inherent absurdity of premium pricing for an
object such as brick, which has no inherent value except that which is conferred upon it
by the intangible values and aspirations encoded in the brand name and image.
Supreme’s branding of seemingly random objects from daily life shows us that, when put
on the market, these objects create a bidding frenzy that results in the creation of demand
and resulting bidding wars. This form of status marking can be referred to as “logomania.”
As observed by Ruth La Ferla in the New York Times, “logomania both mirrors and
mocks a climate of what creeping vulgarity”—the opposite of what its founders and
purveyors intended!
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FSH 244 – OL2: History of Fashion
Supreme released a brick featuring its logo in 2016. The Guardian reported that the brick
sold out within a day:
A red clay brick designed and sold by skateboarding brand Supreme went on sale on
eBay for up to $1,000 (£772), after selling out in a single day. The item, part of the New
York brand’s accessories line that has previously included a hammer, calculator, and fire
extinguisher, is branded with Supreme’s logo and has been highly anticipated by fashion
gurus since its preview last month.
FEEDBACK
—Nadia Khomami, “Red Clay Brick on Sale for Up to $1,000 on eBay,” The
Guardian, September 30, 2016
Highsnobiety speculates the brand’s decision may have been to provoke people and get
attention:
Maybe Supreme just made a brick because it wanted to. The brand really doesn’t need to
justify itself at this point—its place at the top of the streetwear game was established a
long time ago. Jebbia and co. all know what the detractors think, and they clearly don’t
care—making a brick could just be another way of pissing people off.
—Alec Leach, “8 Possible Reasons Supreme Made an Actual Brick This Season,”
Highsnobiety, August 18, 2016
In Milan, strollers show off a Gucci bag (left) and a Supreme x
Louis Vuitton belt bag (right) (Christian Vierig/Getty Images)

In Milan, billboarding the Gucci logo with a multitone sweater
and belt (Claudio Lavenia/Getty Images)
Learn More
For youthful fans, the Gucci logo is a tag, a way of stating, ‘I am socially responsible. It
gives you a very clear identity that goes beyond a fashion statement.’
—Milton Pedraza, Luxury Institute
Read about consumer obsession with the logo here:
Ruth La Ferla, “What Gives the Logo Its Less,” New York Times, Nov 7, 2018
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FSH 244 – OL2: History of Fashion
As we can see from these examples of brand marketing and “culture jamming,” in which
logos are deployed in an ironic manner, the logo as a marker of fashion status and brand
promotion remains as important as ever in the current fashion marketplace. However, its
use is now a parody of itself that confers status on the wearer by virtue of understanding
that it is meaningless!
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FSH 244 OL2: HISTORY OF FASHION – CROSS-LISTED AS LA 244 OL2
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MODULE 7: THE 19TH CENTURY/FASHION MARKETING, PART 2
Pages:| Portal | Privacy & Terms | Help | Logout
Home
1. Introduction
Conclusion
79 New Montgomery Street, San Francisco, CA 94105-3410 | Telephone: 800.544.2787
In this module, we explored the forms of dress associated with the key fashion moment of
fashion marketing and promotion. In the current marketplace, brands and brand markers
ONLINE
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3. Emergence
Design
have retained their resonance with the fashion consumer. Brand markers of identity may
Phone 1-888-431-ARTS (2787) or 415-618-3545
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signal an affiliation with a group that only its group members would recognize. Or, as in
4.
Fashion
Show
pertaining to your online classes, please don’t hesitate to contact us.
Email: online@academyart.edu
previous eras, such as the 1980s, brand marks were meant to be conspicuous and
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clearly understood as a code for status. We will explore conspicuous consumption in
5. Paul Poiret: Brand Marketing
fashion in a later module.
6. Fords of Fashion
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7. Relatable Models
8. Pierre Cardin: Licensing
9. RTW/Corporate Brand
10. Supreme: The Logo
In current fashion, the use of the brand label and its code, the logo, is so ubiquitous
across so many price tiers and product categories that it now can serve a different
function than its 19th- and 20th-century antecedents—as a way of disrupting traditional
ideas of status due to its accessibility to all.
©2020 Academy of Art University
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2. The Maison Couture
In the next module, we will examine the development of leisure dress in its early-17th and
18th-century forms, leading to the casualization of fashionable dress in the 19th and 20th
centuries.
11. Conclusion
Graded Topics
Please complete the following:
7.1 [Assignments] Looking Back to Move Forward
Readings
Please read the following:
 Amy Fine Collins, “Toujours Couture,” Vanity Fair, August 19, 2009 (PDF, 2871.7 kb)
Discussion
Class participation in the Discussion is required and makes up a significant part of your
learning experience. Click on the Discussion link in the top toolbar to enter the
Discussion.
Progress Questions, Quizzes, and Exams
You must answer all Progress Questions before proceeding to the following module’s
content. If this module contains quizzes or exams, these links will be listed on the Outline
page.
 Back
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Summer 2020 (Jun 22nd – Aug 12th)
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FSH 244 – OL2: History of Fashion
MODULE 7: THE 19TH CENTURY/FASHION MARKETING, PART 2
Charles Frederick Worth: The Maison Couture
2. The Maison Couture
3. Emergence of Design
4. Fashion Show
5. Paul Poiret: Brand Marketing
6. Fords of Fashion
7. Relatable Models
8. Pierre Cardin: Licensing
9. RTW/Corporate Brand
10. Supreme: The Logo
11. Conclusion
An early Worth label. The practice of labeling clothing with the name of the designer began in the mid-19th century.
Charles Frederick Worth’s innovation was to unite the exclusive nature of the
dressmaker’s salon with the convenience of retail fabric sales and a wide choice of dress
designs. He located his establishment on the fashionable rue de la Paix, between the
Louvre museum and the opera. Worth stocked a large range of fabrics, and displayed
them in a series of rooms; one of the rooms was even lit with candles to simulate a
ballroom. This new combination of design house/fabric store and dressmaker was
dubbed the maison de couture.
He created the first successful fashion business model: he custom-made clothing for the
wealthy and influential, as well as selling his designs at wholesale to foreign dressmakers
and stores.
The structure of the haute couture system is much the same as it was when established
by the sons of Worth in the 19th century—consisting of the atelier, the vendusse, the
premier, mannequins, the models, and a wholesale business in which the designs are
sold to business clients. In addition, there is the client-based business in which the house
will create designs for an individual client.
In a speech to members of the Chambres Syndicales, Ralph Toledano, President of the
Fédération Française de la Couture, acknowledged the importance of marketing and
business acumen in the development of the haute couture industry:
Twenty-five years ago, Paris designers were artisans. Since then, under the guidance of
exceptional business and creative visionaries, you have built an impressive number of
prestigious and influential fashion brands and an extremely powerful industry.
In the 21st century, the haute couture has become a coveted brand whose equity is
protected by law:
[Members] of the Chambre Syndicale de la Haute Couture . . . include only those
companies designated as haute couture houses. Haute couture is a legally protected and
controlled label that can only be used by the fashion houses which have been granted the
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FSH 244 – OL2: History of Fashion
co t o ed abe t at ca o y be used by t e as o ouses
designation by the French Ministry of Culture.
c
a e bee g a ted t e
—Fédération de la Haute Couture et de la Mode
Please read the following article, which traces the lineage of haute couture from its origins
to the contemporary moment:
FEEDBACK
 Amy Fine Collins, “Toujours Couture,” Vanity Fair, August 19, 2009 (PDF, 2.8 MB)
Watch the following videos to learn more about haute couture:
VIDEO PLAYLIST
Dior’s Les Petites Mains “The Little Hands”
Duration: 4 min
Haute Couture for the Modern Woman
Duration: 2 min
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2. The Maison Couture
3. Emergence of Design
4. Fashion Show
5. Paul Poiret: Brand Marketing
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MODULE 7: THE 19TH CENTURY/FASHION MARKETING, PART 2
The Credited Designer: Emergence of Fashion Design
The late 1850s saw an extremely important innovation in the history of fashion—the
emergence of the credited fashion designer. Designs were released on a seasonal
schedule and shown on live models who walked through the salon’s luxurious rooms
while clients browsed the textile offerings. However, unlike a dressmaker, who would alter
a design to suit the demands of a particular customer, Worth framed his designs as
products of his individual genius and limited the client’s role to the choice of fabric.
6. Fords of Fashion
7. Relatable Models
8. Pierre Cardin: Licensing
9. RTW/Corporate Brand
10. Supreme: The Logo
11. Conclusion
1
Description
2
3
Worth confections from 1934, Condé Nast archives
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FSH 244 – OL2: History of Fashion
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Outline > FSH 244 – OL2: History of Fashion
FSH 244 OL2: HISTORY OF FASHION – CROSS-LISTED AS LA 244 OL2
Search Course
GO!
Pages:
1. Introduction
2. The Maison Couture
3. Emergence of Design
4. Fashion Show
5. Paul Poiret: Brand Marketing
6. Fords of Fashion
7. Relatable Models
8. Pierre Cardin: Licensing
9. RTW/Corporate Brand
10. Supreme: The Logo
11. Conclusion
Summer 2020 (Jun 22nd – Aug 12th)
 Back
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FEEDBACK
FSH 244 – OL2: History of Fashion
MODULE 7: THE 19TH CENTURY/FASHION MARKETING, PART 2
Introduction
In the previous module, we looked at an overview of marketing, brand identity, and status
marking, and studied the sphere of influence around the development of modern fashion
marketing strategies. In this module, we’ll focus on examples of the forms of dress
associated with this key fashion moment.
Student Outcomes
Analyze key moments in the development of 19th-century fashion marketing
strategies with the goal of identifying the origin of recent fashion marketing
strategies.
Recognize revivals and reinterpretations of 19th-century …
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