CNST 213 Course Introduction

Twentieth Century Design: Ethnic Influences

Introduction

The focus of this course is on the influence of various ethnic groups, their cultures, and clothing practices on Western apparel fashion and textile arts during the 20th century. In this course, we will do as Baizerman,et al. (1993) suggests, and examine the interrelationships of Western and non-Western dress concentrating primarily on the 20th century.

Western dress has been defined as including only dress that can be clearly identified as within the influence of western European fashionable dress. However, all those things European have actually been influenced by centuries of exposure to and intermingling of many cultures. Human societies are not closed; we are continuously receiving stimuli from each other that affect dress.

Why do people wear clothes?
Why do people in different parts of the world dress differently?

ORIGINS OF DRESS. Most cultures use some form of clothing. The most basic reasons for wearing clothing are:

(1) Protection,
(2) Decoration - generally acknowledged as the primary reason.
(3) Modesty, and
(4) Status.

FUNCTIONS OF DRESS. Within a society, dress may have very distinctive functions. These may include:

(1) designation of gender differences,
(2) designation of age,
(3) social status,
(4) identification of group membership,
(5)ceremonial uses, and
(6) enhancement of sexual attractiveness.

In studying fashion history, we find that FASHION HAS HISTORICAL CONTINUITY. This means that contemporary fashion is an evolutionary outgrowth and elaboration of previously existing fashions. Contemporary fashions generally evolve from the previous years' fashions. Dramatic changes are unlikely to occur over a short period of time because most are too innovative to be accepted by most consumers (Sproles & Burns, 1994).

FASHION IS A REFLECTION OF SOCIAL CHANGES

Social change is a powerful feature of the 20th century. It has modified such things as class structure, lifestyles, roles of men and women, and structure and function of families. Fashion reflects these socio-economic, political, and cultural changes. Social, cultural, historical and economic forces combine to influence the adoption of fashion (Sproles & Burns, 1994).

The cultural context of Fashion Change

Fashion change exists within a broad cultural context. Changes in the cultural patterns of society involve changes in knowledge, artistic and literary styles, ideas and beliefs, and modes of behavior. Cultural influences not only affect the form which changing fashion objects take, but also affect the speed of fashion change within a society.
Culture is viewed as the distinctive way of life of a group of people, or, more generally, the beliefs or customs of all people. The primary influence on the type of clothing people wear is cultural. These influences cannot always been seen directly; however, they are expressed by behavior and material things. Clothing is one category of material expression of culture. Since it may be observed, it serves as a tool or key for those attempting to understand other cultures, or their own. Although there is some cultural breakdown and spread due to the influence of mass communication and modern transportation, cultural patterns pertaining to dress are still firmly set in much of the world(Sproles & Burns, 1994).

Three levels of Culture

The strength of cultural traditions varies based on how deeply the tradition has been imbedded in the way of life of the culture under study and is related to resistance to change.

formal traditions - fundamental and unquestioned customs and behaviors learned as political laws or strict cultural norms. Includes customs which are based on traditional patterns of behavior. Violations for going against formal traditions can range from arrests to social shock. These are passed from generation to generation and are very slow to change.

also includes customs which are based on traditional patterns of behavior. Often clothing customs are associated with religious ceremonies, rituals, and rites of passage. Graduation is an example.

informal traditions -- These are behaviors learned by imitating models within a society. As the models change, so do the informal traditions. The most basic of informal traditions surrounding fashion is that of cultural ideals of attractiveness. Cultural ideals of attractiveness define what is socially considered physically handsome or beautiful.
technical abilities-- Are related to the ability to produce goods. This is a fundamental force in how styles change within a culture and the amount of change a culture may develop. This depends on the availability of resources, and the technical and artistic skills of the designer and manufacturer (Sproles & Burns, 1994)

What is ethnicity?

    For some, the word ethnic indicates, as tradition seems to, something that does not change, something that comes from the past. However, what is ethnic is not necessarily completely indigenous (native). “Ethnicity combines both cultural stability and change...” (Eicher and Erekosima, 1995, p.144). Dress is often used as a significant mark of ethnicity by communicates group identity. Ethnicity embraces this group cohesion which also includes shared language, similar dress, manners, and lifestyle.
     Ethnic identity is not static; a sense of ethnicity is developed and defined over time. This redefinition occurs in relationship to life experiences. An individual will develop personal and social meanings related to his ethnicity as he gains knowledge of his own origins. Individuals who have a strong ethnic identity will use and identify with dress which reflects their ethnicity.
     Ethnic dress in the late 20th century cannot be analyzed without recognizing and acknowledging the phenomenon of world fashion. They are inter-related. As we travel from one place to another, we gain knowledge about the world outside our home community. Many of these places may be seen as ethnic communities. However, international media and global communication have become pervasive and are influencing many people around the world, including those who may never travel from their home communities. In the media emanating from western countries, people are portrayed wearing what has become known as western dress. Many tailored clothing items, hairstyles, and accessories are often referred to as western, however many people around the world wear this style of dress. Therefore, defining dress as western when those who are wearing it are from other areas of the world is inaccurate. The terms "world fashion" or "cosmopolitan fashion" are more precise (Eicher & Sumberg, 1995).

Ethnic Dress

Ethnic Dress is the opposite of World Fashion. It is worn by members of one group to distinguish themselves from other groups. It focuses on differentiation. Awareness of group affiliation and the power of identification within a group encourages group members to identify with a group through dress. World fashion is worn by those who wish to identify with contemporary society and to blend-in, not be distinctive. Ethnic dress is also worn to identify with a group, but at the same time to distinguish one's self from other groups.

DRESS is defined as an assemblage of modifications of the body and/or supplements to the body.ETHNIC DRESS is "understood as those items, ensembles and modifications of the body that capture the past of the members of a group, the items of tradition that are worn and displayed to signify cultural heritage" (Eicher and Sumberg, 1995).

ETHNIC DRESS:

may include borrowed items from other cultures; the new item is culturally authenticated.
is not usually static (unchanging) over time
variety can be found within a group at any point in time. Creativity and individuality are common to all.
may not always be worn daily; may be for special occasions or a special location. An individual's wardrobe may contain both ethinc and world fashion, to be worn in appropriate times and places. (Eicher and Sumberg, 1995)

References
Baizerman, S., Eicher, J.B., & Cerny, C. (1993). Eurocentrism in the study of ethnic dress. Dress, 20, 19-32.
Eicher & Erekosima (1980). Distinguishing non-western from western dress: The concept of cultural authentication
    [abstract]. Proceedings of the 1980 Annual Meeting of the Association of College Professors of Textiles and Clothing,
    p. 83-84.
Eicher, J.B. & Sumberg, B. (1995). World fashion, ethnic and national dress. In Eicher, J.B., ed., Dress and Ethnicity,
    Herndon, VA: Berg Publishers Limited.
Eicher, J.B. & Erekosima, T. (1995). Why do they call it Kalabari? Cultural authentication and the demarcation of
    ethnic identity. In J.B. Eicher, Ed., Dress and Ethnicity, Herndon, VA: Berg Publishers Limited.
Sproles, G. & Burns, L. (1994). Changing Appearances: Understanding dress in contemporary society. NY: Fairchild.

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Last Updated: August 3, 1999