I’m currently supervising five of my second-year students through the research, writing and editing stages of their 4,000 word dissertations. They are writing on a variety of interesting topics, which include:
The complexity of dress reflecting complicated relationships in Hitchcock’s Rear Window (1954);
The representation of Japanese street-style in noughties American print media;
Dress as a traveller through time, space and place in Baz Luhrmann’s Romeo and Juliet (1996);
A Freudian examination of British Punk fashion from 1975-85;
And, An analysis of Cecil Beaton’s dual identity in the American Vogue (March, 1951) fashion shoot, ‘The New Soft Look’.
It’s great to be helping my students tackle many of the problems I remember struggling with – structure, focus, linking the thread of the argument, avoiding colloquialisms, analysing quotations rather than simply dropping them into the text, pushing the analysis further still – and hopefully, emerging triumphant at the other end. I remember my own third-year assessed essay that I wrote in 2011, which addressed the representation of Rei Kawakubo and Yohji Yamamoto’s designs by the American and British fashion press in the early 1980s. I struggled with lots of aspects but thankfully had the help, not just of my supervisor Dr Rebecca Arnold, but also of the author and editor Virginia Rounding, the then Royal Literary Fellow, which is part of an amazing service the Courtauld provides for its students to help them improve their writing. For nostalgia’s sake, and because it’s fun to look back as well as ahead, I’ve included a pdf of my essay here, entitled ‘The American and British Reception and Representation of Japanese Fashion Designers in the Early 1980s’.
The American and British reception and representation of Japanese fashion designers in the early 1980s