Semiotics of feminine fashionspeak

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Semiotics of feminine fashionspeak

Nina Khristich

Ніна Христич

кандидат педагогічних наук, доцент кафедри іноземної філології, перекладу і методики навчання,

ДВНЗ «Переяслав-Хмельницький державний педагогічний університет імені Григорія Сковороди»

У статті досліджується семіотика сучасного лексикону моди. Автор розглядає вербальне втілення моди як фрагмента сучасної лінгвокультури. Автор вважає, що символіка одягу актуалізується за рахунок того, що людина таким чином виражає свою соціальну ідентичність, яка вербалізується мовним знаком. Автор підходить до розгляду двох основних стилів моди - «жіночий вигляд» та «андрогенний вигляд» та аналізує мовні знаки. Доводиться думка, що мода - це швидкоплинне явище, тому з'являється так багато неологізмів та оказіоналізмів у цій царині.

Ключові слова: мода, лексикон мода, семіотика, семіотичний знак, дрес код, стиль, одяг, імідж.

В статье исследуется семиотика современного лексикона моды. Автор рассматривает вербальное воплощение моды как фрагмента современной лингвокультуры. Автор считает, что символика одежды актуализируется за счет того, что человек таким образом выражает свою социальную идентичность, которая вербализируется языковым знаком. Автор подходит к рассмотрению двух основных стилей моды - «женский вид» и «андрогенный вид» и анализирует языковые знаки. Излагается точка зрения, что мода - это мимолетное явление, поэтому появляется так много неологизмов и оказионализмив в этой области.

Ключевые слова: мода, лексикон мода, семиотика, семиотический знак, дресс код, стиль, одежда, имидж.

The article aims at presenting semiotics in the modern feminine fashionspeak. The author leads the major aim to discover that the fashionspeak phenomenon as an interactive interpersonal vocabulary, requires its studying in two main aspects - linguistic, on the one hand, and sociocultural, on the other, as these scientific spheres allow us to study fashionspeak in different paradigms of linguistic knowledge simultaneously. semiotics fashion speak

The author proves that fashionspeak is an important part ofpublic verbal communication for conveying semantic components of clothes, style, and dress. Fashionspeak is governed by social and cultural factors. They accepted norms vary, depending on the gender, age, relative status, and cultural background of the individuals. In business situations, fashionspeak operates fashion terminology (fashion design, formal wear, bridal wear, business wear, casual wear) and professionalisms (armscye, lining, print, pleat, tuck, gather, smocking). Everyday's speech is more likely to use slang (pampootie, peep-toe shoe), neologisms (burkini, trikini, slingback, pointinini), and occasionalisms (Dolce@Gabanaholic, Guccioholic, Pumoholic).

Semiotics enlarges the textual discourse analysis because it reveals the relationship between discourse and text, thus the two concepts should not be confused or equated. Every piece of discourse has a textual form or can acquire it; the same text may include different discourses or the same discourse may adopt different textual forms.

The author states that an integral part of the semiotic space of woman is the symbolic intuition which is responsible for the perception and understanding of fundamental universal woman's values which can be expressed by two types of looks: Type I: FEMININE LOOK. Type II: ANDROGYNOUS LOOK.

Therefore, the author believes that the meaning of signs are, particularly, what a sign literally denotes and what secondary meanings it connotes while presenting feminine fashionspeak.

Key words: fashion, fashionspeak, semiotics, semiotic sign, dress code, style, clothing, image.

Formulation of the problem. Semiotic resource is a term used in social semiotics and other disciplines to refer to a means for meaning making. A semiotic resource is always specific for fashionspeak. The modern fashion is a specific phenomenon of modernity and originality, which express the desire for disparity, individuality, on the one hand, and observance of the general `spirit of time' and the other for everyone. Reflecting all socio-political processes, fashion gives an opportunity to reflect all that is inherent in a person, regardless of his social position, to preserve and express his personal beginning. The new thing that is necessary for a person, quickly becomes fashionable, and unnecessary rejects. Thus, fashion helps the society adapt to constantly changing conditions of existence and determine their future needs.

Analysis of recent research and publications. The study of semiotics remains one of the leading directions of world linguistics. The very essence of this process has been treated by a number of scholars (Daniel Chandler (2008), Fred Davis (1994), R. Hodge and G. Kress (2008), Jean Joseph (2016), Van T. Leeuwen (2004), Tina Vasques (2018), and others and others.

Solving unresolved parts of the problem. The problem with the definition of the FASHION concept is rather complicated because this term can be explained in different ways. In the broadest sense, fashion is a popular style, especially in clothing, footwear, lifestyle products, accessories, makeup, hairstyle and body. Fashion is a distinctive and often constant trend in the style in which a person dresses. It is the prevailing styles in behaviour and the newest creations of designers, technologists, engineers, and design managers. However, the word `fashion' is often used in narrow sense and means `clothes'. It should be noted that everything in the world is affected by the influence of fashion: its ability to translate any form into a state of powerless repeatability. Its main social function is to serve as a way of identifying new cultural patterns.

The major aim of the article is to identify the semiotics of feminine fashionspeak.

Setting objectives. Thus, the objectives are to discover the dependence of semiotic signs and verbal part of feminine fashionspeak.

Presenting main material. The human body is the key element of linguistic semiotic resource. Semiotic studies are the studies of meaning making and meaningful communication. It is not to be confused with the Saussurean's tradition called semiology, which is a subset of semiotics (Joseph, 2016: 13). Semiotics includes the study of sign and sign processes, indication, designation, likeness, allegory, analogy, metaphor, metonymy, signification, symbolism and communication.

The semiotic tradition explores the study of signs and symbols as a significant part of communications. As different from linguistics, however, semiotics also studies non-verbal sign system.

The way of dressing is informed by the biological and social needs of the human being. Central to the semiotics of dress is the psychology of selfperception and self-presentation, both as individuals who see themselves, as well how individuals are seen within a greater group, society, culture or subculture.

Charles Pearce's classification of signs still remains the most organic for our analysis and allows us to study the Icon, Index, Symbol of feminine fashionspeak (Murphey, 1961). Semiotic signs can take many forms. They can be words, numbers, sounds, photographs, paintings, etc. However, while signs can be many things, they can be categorized as one of a few types.

Formal semiotic analysis, on the other hand, centers its attention on the effects of the meaning of discourse at the enunciation level. It is therefore a first step for considering the context in which the discourse is produced and in which it acts. In the text, the form is as significant as content in terms of producing meaning.

The semiotics of dress is a term used to refer to the design and customs associated with dress, as patterned to a kind of symbolism that has rules and norms.

In modern fashion there is a phenomenon of semiotization of clothing and accessories. Fashion can be considered as a kind of system of symbols, similar to the system of language, with the corresponding vocabulary (the elements in which designers attach certain values), grammar (the structure of objects of clothing or images) and the syntax (rules of the elements' compatibility). Such a perception of fashion is confirmed by texts about fashion, where verbs of speech are used in a predicative relation to the names of clothing and styles. Fashion objects are associated with the concepts of communication, message, symbol or slogan.

Due to dramatic changes in the modem communicative space, in particular, the demands to visualization have changed. The combination of small- format text with pictograms and units of other semiotic systems has become a feature of fashion presentation. The interaction of these components generates a special linguistic and visual phenomenon, a certain visual, structural, semantic and functional whole, providing a comprehensive pragmatic influence on the addressee. Taking into account the increase in visual component of fashion, the boundary between persuasion and suggestion it is extremely difficult to catch.

Feminine fashionspeak is a multisemiotic text constituted by images which can help to visualize the verbal part. The analysis of the whole text - verbal and non-verbal - which is generally presented by content analysis approaches, is a good example of an original analytical procedure. Presented here in the picture, it is clear that semiotic signs can be defined as seduction (the sexy look, the alluring look, the glamorous look, the vulnerable look) as well as wealth and beauty, youth and health, and leisure and social hierarchy. The semiotics of clothing is thoroughly informative.

In the 20th century, the process of semiotization of clothing is carried out the form of `dress code', a kind of rules that should be observed in a particular social situation. For example, the public institutions, private companies and clubs require employees and visitors to dress in accordance with a certain code of clothing that promotes the formation of semiotic behavior.

The codes of clothing get the names, in semantics which lay down both the requirements for clothing, and the idea of the situation in which this clothing should be worn, for example, classic wear, formal wear, street wear,

bridal, business, casual, business casual, casual tailored, bon chic, bon genre, tailored, untailored, etc.

The semiotic nature of feminine fashion is expressed verbally through the use of the nouns denoting clothing or accessory with verbs such as symbolize, focus, appear, identify, present, represent, express, say, tell, communicate, send a message, reflect, mean, etc.: The context of uses: This is oddly for a fashion term - means exactly what is says. You see a fashion show and you can buy the clothes straight away, not having to wait six months for them to appear in the shops as has traditionally been the case. Big high-street, mostly US-focused brands like Tommy Hilfiger, Tom Ford and Burberry are adopting the practice, but most of Europe's younger and innovative creators regard it as the work of the devil. Women fashion can be presented in commercials in several variants (Fashion magazine).

The vocabulary of adjectives that presents the idea of feminine beauty, come into each other in close systemic relations. This is manifested, first of all, in the creation of synonymous relationships. Such synonymous creations in English show lexical units, for example, pretty, nice, beautiful, attractive, etc.

There are always two sides to woman's look: feminine and androgynous. Traditionally, the feminine look is represented by BEAUTY concept as an integral part of the general conceptual sphere and the center of many institutions: artistic, scientific, advertising and others. BEAUTY concept contains a cultural-marked verbalized meaning that is understood by every member of the society.

BEAUTY concept includes individual ideas about this phenomenon. On the other hand, the BEAUTY concept is universal, and symbolizes the extremely attractive concept for a woman.

Without a doubt, each nation has its own understanding of BEAUTY concept. For woman fashion the adjectival word combination such sexy dress, feminine look indicate to feminine natural features. Let us compare Western and Eastern beautiful feminine looks.

Both Western and Eastern women in the picture are beautiful, happy and joyful. Western women demonstrate their beauty in shorts what is unacceptable for Eastern women. It is now time to show how the future can and should look like. Five years ago, a group photo with Eastern girls would not have got on the cover of the fashionable magazines. However, one of the greatest achievements of the fashion industry in recent years has been the fact that life was at the heart of the working vision - diversity. So, it is clear that their semiotic nature is different, however they gained the goal - to show their beauty.

Evaluation in the structure of BEAUTY concept can be both logical and emotional. Therefore, in the analysis of evaluative statements about a woman, one of the important components is a subjective factor. The evaluating entity itself creates a scale of estimation depending on their perceptions of the norms of intelligence and deviations from it. But apart from it, there are also some stereotypes that are typical of every society and its language. In parallel with the scale of assessments there is a special linguistic paradigm of evaluation ic neutral to emotionally saturated.

For the description of a girl for the most part, the adjectives are used such feminine, womanly, ladylike. In combination with nouns, they become characterological epithets that express the inner beauty of a woman. The positive qualifications of a beautiful woman is the `real lady' deserve the following features of the female referent as femininity, naturalness, prettiness, cheerfulness, humility, generosity, good reputation, realistic and conservative views.

The most frequent attention is drawn to the figure and position of the female referent. The attributes of aesthetic estimation in the composition of social role phrases are rated as positive: attractive, beautiful, gorgeous, glamorous, sexy, lovely and negative: ugly, plain, silicone- enhanced. The first method lowers the receiver's estimation of the beauty of the person on the picture. The second one more often evoke positive associations. It is a type of women, whose major concern is to preserve her beauty. Hence, they present a healthy life style, they are physically active, uses a wide range of body and facial cosmetics.

In the articles of fashionable magazines the great attention is paid to the description of woman's clothes. For example: `She was very nicely dressed in a pink print and a frilled muslin apron; and we understood, from something Dan said, that she had `dressed up ' in honour of our coming. This made us feel quite important. So far as we knew, no feminine creatures had ever gone to the pains of dressing up on our account before' (Fashion magazine).

There are a lot of neologisms and occasionalisms in fashionspeak. Recently, the design of shoes has varied enormously through time and from culture to culture, with appearance originally being tied to function. Additionally, fashion has often dictated many design elements, such as whether shoes have very high heels or flat ones. Contemporary footwear varies widely in style, complexity and cost. So, there are a lot of names of lady's shoes: ballerinas, brogue shoes, canvas shoes, kitten heels, lace ups, loafers, pointinini, mules, slippers, sneakers, snow boots, spectator shoes, wedges, etc.

Slang is a non-standard vocabulary used especially in casual speech and consisting of arbitrary and often ephemeral coinages and figures of speech. Slang is not appropriate to the standard form of a language or to formal contexts, may be restricted as to social status or distribution, and is characteristically more metaphorical and transitory than standard language.

It is also interesting that the part -aholic can be added to many nouns and receiving an excellent new meaning of the word, for example: clotheaholic - a person who tries to express himself through the frequent change of clothes. A number of such entities can be significantly expanded due to the first component of this derivative word. We find spontaneous formations such as Nikeaholic, Dolce@Gabanaholic, Guccioholic, Pumoholic to be understood by anyone who is more or less familiar with English language.

Another neologism `burkini or `burquini from the words `burqa' and `bikini' appeared by blending (the word formation process in which parts of two or more words combine to create a new word whose meaning is often a combination of the original words). The word `burquini means 'a swimsuit worn by Muslim women which covers the whole body i.e. the arms to the wrist, the legs to the ankle, with a hood to cover the hair and neck' (Fashion magazine). Muslim women are forbidden to wear European clothing. They are forced to completely cover the body even while bathing in the sea. For them, the tailors made swimsuits called `burkini. This lexical unit is a neologism, since it appeared in use only recently, namely, `burkini' became a hit of sales in 2011. Earlier, Muslim women could not dream about the kind of clothes that allowed them to swim in the sea.

Androgynous feminine look is connected to feminist movement that has a significant impact on fashion and fashionspeak. Androgynous clothing is often stylish, though interchangeable between the sexes, much like unisex cologne. It is a look that any woman could pull off and it's something a metrosexual man could wear.

Because the more technical term `costume' is regularly linked to the term `fashion', the use of the former has been relegated to special senses like fancy dress or masquerade wear, while `fashion' generally means clothing, including the study of it. Although aspects of fashion can be feminine or masculine, some trends are androgynous.

It may be surprising that something as mild as androgynous fashion could get a rise out of someone, but there are those who feel as if androgynous clothing is distasteful. T. Vasques notes that `androgynous fashion worn by women is not the drab, loose-fitting clothing many would immediately assume' (Vasques, 2018: 3).

Thus, we should say that signs can communicate by resembling what they represent, by implying what they represent, or through arbitrary representations that must be learned before we can understand their meaning. One of the most important types of schemes used for orientation in the social environment are the stereotypes, representing the opinions among members of a certain group about feminine beauty. Besides, social categorizations of fashion beauty can lead to the effect of homogeneity of women.

Conclusions and perspectives of further exploration

To summarise, the results obtained in the study of feminine fashionspeak can facilitate further theoretical study of modern linguistics, it can also be used in the course of practical training for tailors, dressmakers, technologists, engineers, design managers, people who are directly connected with fashion world, particularly in part of discursive design. The study of semiotics can be followed in different directions such as gender semiotics, historical semiotics, etc.

References

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Chouliaraki L. Self-Mediation : New Media, Citizenship and Civil Selves. London : Routledge, 2015. 122 p.

Davis F. Fashion, Culture, and Identity. Chicago : The University of Chicago Press, 1994. 204 p.

Hodge R. and G. Kress. Social Semiotics. Cambridge : Cambridge University Press. 2008. 244 p.

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