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University Lifestyle: Fabulously British

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University Lifestyle: Fabulously British
Undergraduate coursework designed & written by Charlotte Brunton.
Available in full in slideshow above. High resolution download available here.

After researching examples of trade justice activism to add to this site, students taking CEO Ian’s ‘Geographies of material culture’ module at the University of Exeter are tasked to make their own. Charlotte Brunton’s inspiration comes from the junk mail arriving at her student house. Instead of getting interesting letters, she and her housemates get student fashion catalogues. In particular, Jack Wills catalogues – six or more every season. They’re selling students an ‘aspirational’ lifestyle, tempting them to buy the commodities they feature. The people in them, the things they have, the carefree, stylish and connected lifestyles they picture – the designers want students to want them. Charlotte and her friends imagine themselves using this, wearing that, experiencing the lifestyles these things can support, together. But who made these things? What about their lifestyles? Charlotte asks herself how she can create a catalogue that highlights how personal these things are both to her and to the people who made them? In real life, she has an interdependent, culture-crossing, ‘British’ life which they are very much part of. So she designs a ‘lifestyle catalogue’ that you can browse to imagine and buy into with her.

Page reference: Charlotte Brunton (2014) University Lifestyle: Fabulously British. followthethings.com/university-lifestyle-fabulously-british.shtml (last accessed <insert date here>)

Estimated browsing time: 15 minutes.

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Handprint

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Fashion

Handprint
A short fashion film by Mary Nighy for Livia Firth’s EcoAge consultancy.
Uploaded to YouTube & embedded in full above.

The elegant, graceful actor and model Eletrra Wiedemann, wrapped in a towel after a brisk shower, walks through her beautiful apartment, designer clothes strewn everywhere. As she chooses a red dress, other people’s hands appear to help her get it on, her jewellry on, her shoes on. She doesn’t flinch until she sees the people whose hands these were in a mirror. This film isn’t about the footprint of her clothes. It’s about the handprint. These are the people who made them for her. In the room. With her. Helping her to get dressed. Every day. She couldn’t do it without them. Gulp. This film was made for an exclusive fashion industry audience to encourage them to take care of supply chain workers in the wake of the Rana Plaza factory collapse. It was later published online for a wider audience. What impacts could this vision have on them? What can we find out?

Page reference: Ian Cook et al (2020) Handprint. followthethings.com/handprint.shtml (last accessed <insert date here>)

Estimated reading time: 42 minutes.

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