keywords:
"to argue"= to present reasons for or against a thing; to dispute; to debate.
"to persuade" = to convince; to induce somebody to believe.
communicative purpose:
- to present, explain, clarify, and illustrate a viewpoint (the author's) (so far, the goals are identical with those of the expository essay) + to persuade the reader that personal views are more valid than another person's viewpoints
move pattern:
Move I: Introducing the issue in contention.
Step 1: introductory remarks to identify work + artist + issue in contention
Step 2: acknowledging counterthesis and counterpoints (the other person's viewpoints)
Step 3: providing specific details (who, what, when, where)
Step 4: stating the thesis (personal viewpoints - in one complete, unified statement about the issue in contention, precise enough to limit the issue, but general enough to ask for support, not too obvious, and showing the changes proposed to the counterthesis)
Move II: Presenting counterthesis and counterpoints
Step 1: Restating the counterthesis and enlarging upon it (in the introductory move, we have just formulated it; now we have to show the reader that we bothered to understand what the other person's thesis really claims; therefore, we use our own words to explain what we understood and to convince our reader that we know exactly what the other opinion is)
Step 2: Presenting/restating counterpoint 1 (using our own words to show what the first point of proof used by the other person was)
Step 3: Presenting/restating counterpoint 2
Step 4: Presenting/restating counterpoint 3
Move III: Arguing thesis and providing evidence/proof
Step 1: Restating our own thesis and enlarging upon it (we have to make sure the reader fully understands what we claim)
Step 2: Providing constructive argument 1 and evidence/proof to support it (the weakest) to fight against counterpoint 1
Step 3: Providing constructive argument 2 and evidence to support it (stronger) to fight against counterpoint 2
Step 4: Providing constructive argument 3 and evidence to support it (the strongest) to fight against counterpoint 3
Step 5: Disagreeing with counterpoint 1 (refutation 1)
Step 6: Disagreeing with counterpoint 2 (refutation2)
Step 7: Disagreeing with counterpoint 3 (refutation 3)
Note: We can place side by side (mirror) our constructive argument and our disagreement with the other person's counterpoint in the same step by convincing the reader that our argument and evidence to support it are correct and are better than the other's.
Tasks:
DEADLINE March 15
"to argue"= to present reasons for or against a thing; to dispute; to debate.
"to persuade" = to convince; to induce somebody to believe.
communicative purpose:
- to present, explain, clarify, and illustrate a viewpoint (the author's) (so far, the goals are identical with those of the expository essay) + to persuade the reader that personal views are more valid than another person's viewpoints
move pattern:
Move I: Introducing the issue in contention.
Step 1: introductory remarks to identify work + artist + issue in contention
Step 2: acknowledging counterthesis and counterpoints (the other person's viewpoints)
Step 3: providing specific details (who, what, when, where)
Step 4: stating the thesis (personal viewpoints - in one complete, unified statement about the issue in contention, precise enough to limit the issue, but general enough to ask for support, not too obvious, and showing the changes proposed to the counterthesis)
Move II: Presenting counterthesis and counterpoints
Step 1: Restating the counterthesis and enlarging upon it (in the introductory move, we have just formulated it; now we have to show the reader that we bothered to understand what the other person's thesis really claims; therefore, we use our own words to explain what we understood and to convince our reader that we know exactly what the other opinion is)
Step 2: Presenting/restating counterpoint 1 (using our own words to show what the first point of proof used by the other person was)
Step 3: Presenting/restating counterpoint 2
Step 4: Presenting/restating counterpoint 3
Move III: Arguing thesis and providing evidence/proof
Step 1: Restating our own thesis and enlarging upon it (we have to make sure the reader fully understands what we claim)
Step 2: Providing constructive argument 1 and evidence/proof to support it (the weakest) to fight against counterpoint 1
Step 3: Providing constructive argument 2 and evidence to support it (stronger) to fight against counterpoint 2
Step 4: Providing constructive argument 3 and evidence to support it (the strongest) to fight against counterpoint 3
Step 5: Disagreeing with counterpoint 1 (refutation 1)
Step 6: Disagreeing with counterpoint 2 (refutation2)
Step 7: Disagreeing with counterpoint 3 (refutation 3)
Note: We can place side by side (mirror) our constructive argument and our disagreement with the other person's counterpoint in the same step by convincing the reader that our argument and evidence to support it are correct and are better than the other's.
Move IV: Concluding by enhancing the validity of the thesis
We conclude by reminding our reader (in other words) what we claimed and by suggesting that our arguments were (far) more convincing than the other person's. We must always remember to be polite! We must always remember that our simple claim of truth (our truth) is not convincing without providing proper arguments and evidence. After all, it is the reader who decides who is more effective!
Move V: (optional) Works cited.
Task 1: Read the text Fashion Art: To BE or Not to Be, by Maria Hritcu. Pay attention to the thesis, to the counterpoints and constructive arguments; which of them convinces you most? Which side do you tend to take? Why? Express your own viewpoints on these matters (provide your own thesis, arguments, and evidence).
DEADLINE March 15
In the essay "Fashion Art: To Be or Not to Be" by Maria Hritcu, the author delves into the ongoing debate about whether fashion can be considered a form of art. The central thesis argues that while fashion may not always be recognized as art, it undeniably incorporates artistic elements and can be seen as a form of expression that blends creativity, utility, and aesthetics. The essay highlights the differences between practical, wearable fashion and haute couture fashion, drawing comparisons between the two to underscore how fashion can transcend its utilitarian function to become art. The author also explores how certain designers and collections are directly influenced by fine art, contributing to the argument that fashion can, in some instances, be considered art.
ReplyDeleteThe counterpoint presented in the essay argues that fashion is not art because it serves a practical purpose, unlike art, which is intended to express deeper meaning or provoke thought without the need for functional use. This perspective suggests that art is a form of intellectual and emotional expression, whereas fashion is driven by trends and the need for wearability. Additionally, the counterpoint stresses that art is about exploring new territories and ideas, while fashion often reflects and amplifies the trends of the moment without pushing boundaries in the same way.
Personally, I find the author's constructive arguments about fashion's connection to art the most compelling. The idea that fashion requires skills such as design, proportion, and color theory which are often seen in traditional art forms resonates with me. Fashion designers, much like painters or sculptors, create visually impactful works that are informed by their understanding of artistic principles. Furthermore, the argument that certain collections are inspired by or pay homage to fine art (ex. Yves Saint Laurent's Mondrian-inspired dresses) effectively highlights the overlap between the two fields. These examples help blur the line between fashion and fine art, showing that the two share common foundations in creativity and artistic expression.
I believe fashion can indeed be considered a form of art, but it exists in a unique intersection between practicality and artistic expression. It is not solely an object of consumption like mass-produced goods, nor is it always reserved for high-end, impractical couture. Fashion, much like art, reflects the culture, emotions, and values of its time. It can comment on social issues, explore new forms of beauty, and serve as a medium of personal expression.
1. Fashion as a Reflection of Society: Just as art captures the zeitgeist of its era, fashion does the same. For instance, the punk rock movement's DIY aesthetic and use of fashion as protest art were integral to the cultural conversations of the 1970s. Similarly, modern fashion has frequently addressed social justice issues through collections advocating for gender equality or environmental sustainability.
2. Fashion as Emotional Expression: Like any other art form, fashion can evoke emotions. A piece of clothing can convey power, elegance, rebellion, or vulnerability. Think of how a designer's collection can make an audience feel or the emotional response generated by certain iconic garments, such as the black dress worn by Audrey Hepburn in Breakfast at Tiffany's or the iconic red carpet looks seen at the Oscars.
Fashion may not always adhere to the same principles or have the same cultural status as fine art, but it certainly incorporates artistic elements and serves as a medium for creative expression. The line between fashion and art is not as distinct as some might argue, and as such, it should be seen as a form of art that speaks to the needs of society and the individual.
Fashion between consumerism and sustainability by Daria-Maria Călugăru, 2nd year design student.
ReplyDeleteIn my view, fashion is indeed art, because in at least a matter of things it expresses ideas and transmites messages with impact towards the society. The constructive argument that convinced me the most was the second one, where it was told that clothes bring a story about people of a certain era to the world, in the same way poetry „can tell us what their tea parties were like”. Just like a painting can capture a moment in time, a garment can embody a movement. From Yves Saint Laurent to Miuccia Prada, fashion is more than just clothing. It is a visual language that speaks through design.
We know that a fashion designer goes through multiple stages before reaching the final piece, requiring a lot of fabric for experimentation, prototypes, and adjustments—as in the case of any design process. Sketches turn into draped fabrics, rough samples evolve into tailored prototypes, and only after countless trials does the final garment emerge. In this scenario, we can easily say the process of fashion design mirrors the very essence of consumerism. The creations are refined through trial and error; the fashion industry constantly reinvents trends, produces in excess, and fuels the cycle of demand and consumption. However, this also raises a question: Does the pursuit of perfection justify the waste it creates?
In a world driven by mass production, the same creative process that once symbolized craftsmanship now contributes to overconsumption, waste, and environmental concerns. The textile industry is one of the largest consumers of water, especially in cotton farming and dyeing processes. Toxic chemicals used in fabric production pollute rivers and oceans, harming ecosystems. Fast fashion brands produce billions of garments yearly, many of which end up in landfills due to low quality and ever-changing trends. Let`s not forget that synthetic fabrics like polyester take hundreds of years to decompose.
For instance, as a leading fast fashion retailer, H&M's business model „contributes to environmental concerns, including waste and pollution”. Another well-known brand, Zara, recognized as „one of the pioneers of fast fashion, has a rapid production cycle with significant environmental implications”. These brands produce new collections at an extreme pace, encouraging a buy-and-dispose mentality. This keeps consumerism alive under a new label. While eco-friendly brands exist, they often remain small-scale, expensive, or less accessible, making them a minority in the industry. Most consumers still prioritize price and convenience over ethical choices.
Despite their public commitments to sustainability, these companies often employ greenwashing tactics (= marketing strategies that create a misleading impression of environmental friendliness) while maintaining bulk production models that are inherently unsustainable. Despite its sustainability initiatives, H&M has struggled with overproduction, exemplified by reports of $4.3 billion in unsold clothes in 2018. Such overproduction is fundamentally at odds with sustainable practices. While Zara has announced sustainability goals, such as using 100% sustainable fabrics by 2025, the brand continues its fast-fashion model, characterized by frequent new collections and mass production. This high turnover rate encourages continuous consumption, undermining genuine sustainability efforts.
In summary, fashion remains an industry of consumerism, not sustainability, because its core business model thrives on mass production. True sustainability would require a fundamental shift, not just in materials but in consumer behavior, production models, and business priorities. Until then, fashion remains a machine built to sell, not to sustain.
The quoted information is taken from https://earth.org/fast-fashion-companies/ and https://www.americancentury.com/insights/fast-fashion-and-sustainability-its-not-a-good-look.