Critical Discourse analysis of Hassan Sheheryar's Interviews: Pakistani Fashion Designer (original) (raw)
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Critical-Discourse-analysis-of-Hassan-Sheheryars-Interviews-Pakistani-Fashion-Designer.pdf
Critical Discourse, 2019
This paper intends to analyse the interviews of one of the most prominent Pakistani fashion designer Hassan Sheheryar Yasin, known as HSY. The study aims at plunging deep into the ideologies, values and societal trends set by the leading personas through the language they select to empower and market themselves as brand. Latent Themes and meaning with reference to individual, power and society will be analysed and discussed thoroughly. As Pakistani fashion industry is a blooming avenue it is beneficial to understand the important underlying motives. The palpable themes stemming from the critical analysis of the discourse were timelessness, classic and Elegant Fashion fusion endeavour, believing on fate, modern women perspective, self-appraisal, self-reliance and satisfaction, success and achievements, strong business, conservation of culture and concern for community. Seven interview scripts were taken from online fashion magazines websites. The six scripts from online resources were studied in-depth qualitatively by using critical discourse analysis technique based upon Norman Fairclough's assumptions. HSY emerged as strong cosmopolitan exercising great insight-based driving force to bind conservative fashion ideologies and modern needs together.
Discourse - Pragmatic Analysis of Hijab Fashion Bloggers in Fustany Magazine
Journal of Education, Humaniora and Social Sciences (JEHSS)
With women's growing desire to wear the hijab and the growth of Islam over the world, hijab fashion has emerged during the twentieth century, and there are now more hijab fashion magazines than ever before. In addition to the media's function and the advancement of technology, one may easily purchase clothing from online stores. This study has two goals, first: the discourse cohesiveness of the hijab fashion advertisements in Fustany magazine, as well as the grammatical and semantic relationships within the texts, as one of the designers' persuasive strategies for attracting clients. The researcher adopts the analytical framework proposed by Halliday and Hasan in 1976. The second part of this study looks at certain fashion bloggers' pragmatic speech actions. Based on data analysis, the study has demonstrated that repetition and other linguistic devices are frequently employed by advertisers to draw customers' attention to their offerings and improve brand recogni...
2009
This paper explores conceptual approaches to designing and presenting ready-towear fashion collections. The research focuses on political and cultural identity statements expressed in the work of contemporary fashion designers Alexander McQueen and Hussein Chalayan. They both use much of their personal histories, cultural identities and political concerns as а self-referent standing point for the conceptual frame of their seasonal fashion collections. The analysis shows that although they use their work to convey political and social messages, a risky and courageous artistic approach for fashion business, their collections (and other fashion projects) remain commercially successful.
In the homogenized environment of the global fashion system creativity and differentiation have almost been reduced into forms and silhouettes and clothing has been transformed into a commodity. However, the movement of deconstructivism has marked a critical era in contemporary fashion. By the end of the 1980s Hussein Chalayan had taken over the critical position of Martin Margiela, the pioneer of deconstructivism in fashion, through his controversial discourse and designs against consumer culture. Chalayan has put up resistance against the image-oriented approach of the fashion industry through his conceptual attitude by deconstructing the meaning of the clothes to re-semantify them and change their ontology. In order to construct meaning, Chalayan develops three different conceptual paths, addressing social problems, symbolic narration, and/or phenomenological events. In all three paths the idea is the epicentre for Chalayan’s inter-disciplinary design process in which he draws no distinction among the world of clothes, objects, images and spatial environments. Within this chapter, Hussein Chalayan will be analysed as the designer who pioneered the radical and critical channel in the global fashion system, marking a new era in fashion history in terms of the possibilities of incubating a critical role through design discourse. Keywords: Hussein Chalayan, deconstructivism, radical fashion, re-semantification, object-clothes.
Fashion: Exploring Critical Issues
Fashion is a statement, a stylised form of expression which displays and begins to define a person, a place, a class, a time, a religion, a culture, and even a nation. This interdisciplinary and transdisciplinary conference seeks to explore the historical, social, cultural, psychological and artistic phenomenon of fashion. Fashion lies at the very heart of persons, their sense of identity and the communities in which they live. Individuals emerge as icons of beauty and style; cities are identified as centres of fashion. The project will assess the history and meanings of fashion; evaluate its expressions in politics, music, film, media and consumer culture; determine its effect on gender, sexuality, class, race, age and identity; examine the practice, tools, and business of fashion; consider the methodologies of studying fashion; and explore future directions and trends.
Fashion meanings are constantly shifting as they interact with specific sociohistorical, economic and cultural situations, and its specific manifestations in Asia deserves further scholarly exploration. This ethno-graphic research explains how today's fashion media represent fashion in synchrony with the cycles of ever-changing Western and global fashion. I take readers on a journey of remapping the conflicting notions of fashion. In the course of participant observation at a Chinese fashion magazine and interviews with over thirty fashion industry personnel in Hong Kong and mainland China, four myths of fashion are discerned on the personal, organisational, industry and national levels. Sequentially, each level correspond to each myth, and each myth involves two specific pairs of conflicting or even paradoxical imaginaries of fashion. They become the readers' critical spectacles to look through the constraining and enabling nature of fashion in a real social setting in the Asian context. Since the early twentieth century, communications technology has been abruptly and rapidly developing. The mass media that disseminates and receives information has already evolved through several generations in the past century, with telegrams giving way to the telephone, radio, cinema, television and now the global internet, and it is still changing quickly. In disseminating messages, various media influence the direction, speed and process of political, economic, academic and cultural developments in a complex way. Today, diverse online and offline media supply an endless flow of messages daily. Among them are fashion messages. More and more images and text linked with the idea of fashion are being received and seen. Fashion marketers create and recycle a vast array of cultural signs and spectacles in their advertising and branding, using videos, promotional materials, spatial designs and even architecture. They attempt to connect and even fuse fashion with art, culture and also history, permeating society. Abstract and ambiguous meanings are often encoded in the text and visuals of fashion communications, often making them difficult to analyse and interpret systematically. Beyond that, in today's globalised world, people on every continent are to some extent impacted by such fashion communications. The meanings they comprehend may be very different, and they certainly are not static. Meanings are constantly shifting as they interact with the specific social, historical, economic and cultural situations. The significance of these transformations deserves further scholarly exploration applying media,
On fashion and fashion discourses
Critical Studies in fashion and beauty, 2010
While critical views inherited from the past still influence our appraisal of fashion, its pervasiveness in contemporary society calls for an explanation. In this article I attempt to show how the importance of fashion in our society is the result of a combination of a structurally modern space and Romantic cultural ideals. I conclude that, despite its frivolous appearance, fashion is not only a powerful social indicator, but also a particular means of bringing together the diverse and often contradictory demands of our human nature through a peculiar exercise of practical judgment.