Short Essay Example | Topics and Well Written Essays - 2000 words - 1

Short - Essay Example Their original rationale does not fit any more and their activities too have been altered as the world economy has grown (Krueger, 1998). Nevertheless, Bretton Woods institution did play a leading role in the restructuring of international relations in the post -war period. Exchange rates in the pre-war period were used to secure competitive advantage in the mercantilist world (Crockett, 1999). Current account payments were subject to severe restrictions. The International Capital Mobility evolved because the Great Depression discredited gold standard orthodoxy and the financial markets became unpopular. The attachment to gold was identified as the causes of economic calamity. Financial products and markets became closely regulated. Maintaining high employment was considered more important than preserving the value of currency (Obstfeld, 1998). The current account payments were to be progressively liberalized. These changed attitudes led to the establishment of the Bretton Woods Institutions. The basic idea with which this institution was promoted was to promote cooperation and humanitarian goals. The two architects had different goals and objectives right from the beginning. While White intended to favor incentives designed to create price stability within the worlds economies, Keynes wanted a system that encouraged economic growth (O’Hara). Hence, even before the plan was launched, there were compromises made from both sides although the final plan was largely American in nature. It was obligatory for each of the member country to adopt a monetary policy that maintained the exchange rate of its currency within a fixed value in terms of gold. IMF would bridge temporary imbalances of payments. The planners at Bretton Woods favored a liberal system relying primarily on the market with the minimum barriers to the flow of private trade and capital. It was believed that the fundamental cause of the two world wars lay in economic

Presidential Powers Essay Example | Topics and Well Written Essays - 1250 words

Presidential Powers - Essay Example Under the devolved system of governance, the President’s powers were trimmed and redistributed to the local governments. However, the president still enjoys three sources of power that include constitutional, institutional, and political sources. This present essay will focus on these current sources of power for the presidency and it will begin with an assessment of the constitutional powers of the President, followed by an assessment of how the 20th century presidents of the U.S have been able to use institutional and political resources to overcome challenges brought about by weak constitutional presidential powers. Lastly, the essay will highlight on the likely future balance of power between the Presidents and the Congress. Constitutional powers of the President It is correct to argue that the ratification of the constitution resulted in the presidency having weak powers. According to Ginsberg et al., these constitutional powers of the President are spelt out in Article T wo of the U.S constitution, which formally creates the executive arm of the central government that is made up of the President, the Vice President, and other presidential appointees. In particular, presidential powers are stated under section 2 of Article Two and they are split into three clauses (387-391). Clause 1 under Article Two gives the President exclusive powers over the U.S’ armed forces since the President is the Commander-in-chief. Furthermore, the clause states that the President shall become the Commander in Chief of militia of several states when he/ she is called into service. However, according to Ginsberg et al., this is power is weakened by the fact that it is only Congress, which can declare war (375). Nevertheless, this fact has been an issue of contention, more so during the Bush era, when President George Bush circumvented the Congress and seemingly declared war on Afghanistan while the Congress simply approved his decision. With reference to the writin gs by Ginsberg et al., it can be argued that Clause 1 is vague in the sense that during times of war there is usually no time to debate and wait for the Congress to declare war (403-405). Therefore, it can be assumed that the President is acting in the best interest of the Nation by declaring war at a strategic time. Under Clause 2, the President has powers to make treaties and nominate Judges of the Supreme Court, public Ministers, Ambassadors, and key Officers of the U.S. However, this power is watered down by the fact that the President must first seek the advice and consent from the senate before making any Treaty and nominations and there are instances where the senate has repealed certain treaties signed by Presidents (Ginsberg et al. 412-415). The third Presidential power is spelt out under Clause 3, which gives the President Powers to make a recess appointment that expires when the next session of the senate ends or until the appointee is confirmed by the senate. This Presid ential power is also weakened by the fact that these appointments are not permanent and they are only made when the senate is on recess. How U.S Presidents in the 20th century have used institutional and political resources to overcome weakness of Presidential powers With references to the writings by Ginsberg et al., he noted that U.S Presidents in the 20th century as well as the 21st century have laid claim to certain inherent powers that they feel are intertwined with the powers that have been granted to them under Article Two of the constitution (Ginsberg et al. 423-428). Moreover, the Presidents have been able to lay claim on this inherent powers because the constitution is

Three Named Map Projections Assignment Example | Topics and Well Written Essays - 1250 words

Three Named Map Projections - Assignment Example In other words, a map highlights the relationship presents between different elements, such as objects and regions, present in the area that it represents. A map can also be defined as a representation of whole or a portion of Earth on a levelled surface to a specific scale. Maps gained their utility from the fact that they were much easier to carry, utilize as well as store then globes, and significantly eased the development of representation on different scales that were both larger and smaller than those possible on globes (Government of Minitoba, 2011). However, while maps allowed for such enhancement, they also introduced several complexities in the art of map drawing (cartography). One of the major problems that were faced by cartographers was the accurate representation of an ellipsoid object on a flat mapping surface. As a result of research on this topic, map projections were introduced. Map projections are methods which are used to represent whole or part of a sphere or a three-dimensional body on to a planar surface (Riesterer, 2008). In terms of earth mapping, map projections were initially used to transfer the features of a globe , such as coordinates and outlines of land areas on to a piece of map. Initially, light was used to "project" a wire globe onto a flat surface, however, as the research progressed these methods were replaced with more scientific method involving mathematical equations and use of computers (Government of Minitoba, 2011). There are basically three major types of projections, cylindrical, planar and conic which are based on the shape of the flat surface (usually paper) on to which the sphere is projected. A cylindrical projection is one in which lines of longitudes are mapped to equidistant vertical lines while rings of latitude are mapped on to horizontal lines. In a planar projection, the directions from the central point are preserved, and great circles through the central points are shown by straight lines on the map. In the conical projection, the lines of longitudes are projected on to a conical surface joining at the apex of the cone. The lines of latitudes are drawn on the cone as rings. This cone is then cut along any longitude line to obtain the conical projection (Riesterer, 2008). All subsequent developments of map project use these three map projections as their basis. An aspect which is considering during the projection process is the aspect of the shape. The aspect of the map describes how the surface is oriented in relation to the sphere or globe. The surface can be normal, transverse or oblique or can also be tangent or secant to the globe. A projection may also be affected by the approximation that is used to measure the shape of the Earth. Some map projection use the approximation of Earth as a sphere, even though Earth is actually and ellipsoid. The use of sphere vs. ellipsoid for Earth approximation is decided by quantifying the advantages and disadvantages of each approximation me thod. Though a more accurate model of Earth, called geoid, exists however it is no used in mapping due to the significant amount of complexities involved in its use (Government of Minitoba, 2011). Despite the fact that more and more accurate methods are being developed as the research in the field of cartography has progressed, it is important to understand that a globe is the only true representation of the Earth's sphere and all attempts made to project it on to a flat surface introduce some sort of distortion in one way or the other. This distortion can be understood from the example of peeling of an orange. Any attempt made to straighten the peel will result in creation of tear and wrinkles on the surface of the peel creating distortion

Cost Analysis Essay Example | Topics and Well Written Essays - 750 words

Cost Analysis - Essay Example 6 Works cited 8 1. How much do US Airways profits fluctuate due to fuel volatility? The quarterly report of 2013 of US Airways shows that, as compared to 2012, the net income earned by the company in the second quarter of 2013 has decreased, which has further lowered the Earnings per Share (EPS) available to the shareholders. The reason for this decrease in profits can be apportioned to the volatility in prices of fuel. As mentioned in the quarterly report of 2013, on a daily basis the prices of Brent crude oil had fluctuated between $110 per barrel to $97 per barrel in the month of April, and in the quarter end the price was found to be $102 per barrel. Although the U.S. airline Industry is facing moderate fuel prices in the second quarter of 2013, but in the 1st quarter of 2012, the industry faced higher volatility and uncertainty which have affected the business. The uncertainty in the prices of fuel has caused disruptions in the supply of aircraft fuel and has adversely affected the operating results and liquidity of the company. 2. Â  Why is fuel volatility bad for profits? Do a cost analysis alone, and then do a full profit maximizing analysis. Volatility in the prices of fuel has serious affects on profits of the company. The volatility results in ups and downs in dividends and share prices which adverse affects global growth. Volatility in the prices of fuel also affects output, operations and cash flow, which in turn affects profitability. The cost of express and mainline fuel was $1.13billion in the second quarter of 2013, which was 4.6% or $55million lower as compared to the second quarter of 2012. The company is trying to maintain a low cost structure, but it is dependent on two factors, the health of the economy and the price of fuel. The mainline costs per available seat mile excluding special items, fuel and profits have decreased by 0.4%, i.e. 0.04cents, from 8.25cents in the second quarter of 2012, to 8.21cents in the second quarter of 2013. I n such a situation, the company can attempt to maximize its profits by an attempt to minimize its risks by adopting risk control measures. Systematic risk is not under the control of the company, but the company may try to overcome unsystematic risks with the help of strategic decisions. 3. What is Express Operation’s operating cost per ASM? What is its operating cost per RPM? What is the difference between these two numbers? Cost per Available Seat Miles (CASM) is a measure of unit cost used commonly in the airline industry. It is expressed in cents to manage each seat mile offered. It is computed by dividing various measures of operating revenue by ASM (Available Seat Miles). Cost per ASM is used to compare costs of different airlines or of the same airline across different time periods. A lower CASM makes it easier for an airline to make profit, but does not guarantee profitability. Revenue Passenger Mile (RPM) is created when a passenger pays to fly one mile and is consid ered to be the basic measure of airline passenger traffic. RPM can be considered to be the basic amount of production created by an airline. RPM can be calculated by multiplying the number of filled seats by the number of miles flown. Over an airline’s system ASM can be compared to RPM to determine the total passenger load factor. RPM is frequently compared to ASM, as ASM determines the total number of passenger miles that could be produced to verify the amount of revenue

Sports and Society - Examples of Each Category of Violence in Sport Assignment

Sports and Society - Examples of Each Category of Violence in Sport - Assignment Example Players can use body contact during tackling by using the upper body to push and shove opponents during a football game and this can qualify for borderline violence since it is not explicit in its nature. Using the hands to push other players when trying to control the ball. Sometimes, players will go all out and actually, assault another player defiantly qualifies as a brutal body contact. Quasi-criminal violence can come in the form of unprofessional conduct between players and can come in the form of threat, insults or other means that degrade the dignity and honour of a player, players or clubs. Criminal violence is organized violence against a player, group of players or a club where another player, players or club willfully connive to bring harm to the other in order to stop them from performing. (Hechter, 1977) 2. If we want to understand violence in sports, we must understand gender ideology and issues of masculinity in culture. How is masculinity related to violence in sports and how do issues of masculinity take on different meanings among men from different backgrounds? Give examples from the course material and from your own experiences as you discuss this issue. Sports have from time immemorial, been relegated to the domain of men. Aggression, displays of power and dominance, drivenness, and the male physic in all its powerful glory. Any sign of weakness, empathy and kindness were regarded as a sign of weakness. The Greek culture is the one that sport was birthed in and that is why it influenced many sporting worldviews. The Greeks were obsessed with power and its display in all its form for glory’s sake. The Greco-Roman culture idolized war and aggression as an expression of masculinity and this was seen in sports. Sporting events of the medieval times were gory events filled with real-life killings of wild animals and slaves who were called gladiators. The sole purposes of the gladiators were to fight and die in the arena for the sake of glory and entertainment.  Ã‚  

An Effective Teacher Essay Example for Free

An Effective Teacher Essay The qualities that define an effective teacher are very complex in my opinion. Everyone seems to have different ideas as to what the key indicators are. They range from; professionalism, communication, professional development, managing, guiding and strategies. There are even those of the opinion that it doesn’t matter what you do, children will always learn. However I have chosen professionalism as I believe that it is an essential attribute to being an effective teacher. Professionalism is defined by Merriam-Webster’s dictionary as â€Å"Characterised by or conforming to the technical or ethical standard of one’s profession. (Belcher). In order to gain and preserve the respect and trust of students, parents and colleagues alike and to provide students with the best education possible it is important to demonstrate professional conduct and practice. The guidelines for professionalism in the teaching profession are provided by Code of Ethics, National Professional Standards for Teachers and Duty of Care. These define the â€Å"what†. The key however is being or acting professional, this is the â€Å"how†, the effectiveness of a teacher. This is the true measure of professionalism. Some of the primary demonstrable characteristics or attributes of a professional teacher are communication, morals and ethics and professional development. Communication is an essential aspect in education, the means to send and receive clear messages to and from students, teachers, parents and community members. It establishes positive and effective relationships and connections with the involved parties. Communication can be in many forms namely verbal, non-verbal or written and used by teachers to constantly impart new knowledge or important information. The ability for teachers to apply the characteristics of good and effective communication in all its forms, to a diverse audience with different backgrounds and interests and to minimise the barriers, for example noise, misunderstanding or misinterpretation of the messages are the makings of an effective teacher. In the article by Prozesky, he states that the most effectual way to overcome these barriers is to have two-way communication with regular feedback provided by the receivers. Professional ethics is not achieved by only purely applying the ethical codes of practice nor professional standards which embody the core principles but by also applying professional skills and personal skills (caring and nurturing) and ethical behaviour in the form of attitude, intention, words, acknowledgement, respect (inside and outside of the classroom), fairness and equity with regards to individual circumstances, colour, creed, age, social-economic status, to name a few. Brock (1998) says that when dealing with ethics and professional standards there are two questions to ask; what should one do and what one should not do, what is right and what is wrong and what is appropriate and what is inappropriate. These questions result in a number of ethical dilemmas that face the teacher such as truth versus loyalty, individual versus community and religion versus morals. Early Childhood Australia has published a guide to help teachers deal with every day ethical dilemmas. According to Marsh (2010) ethical decisions have been categorised into five different levels of decision making. Open decision making, limited decision making, decisions made by the teacher, security seeking (delegation) and avoidance. Several ethical relationships exist within the dynamics of a school environment; these include ethical relationship between the teacher and the education system for example, the education system restricts teachers on what they should teach. The teacher and the principal, an example being that the teacher and principal have different values and the principal’s values will over ride those of the teacher. The teacher and the students where the teacher develops emotional bonds with his or her students and there is a mutual respect between teacher and student. The third quality that defines an effective teacher is professional development. In order to be a good teacher you need to be a good learner too. The demands on teachers to find new ideas and forms of teaching are increasing. Teachers need to be innovative and therefore attend professional development days which will help them continuously enhance their competencies and provide their students with problem solving skills and advanced thinking thus elevating them to higher levels of achievement. The desire to expand their knowledge base, stay current and gain a broader exposure to information provides this opportunity. Through numerous examples it is clear how important communication, ethics and professional development are to professionalism. These attributes will help teachers to be more effective in imparting knowledge and wisdom to their students. All of these attributes will allow the students to really focus their energies on learning and engaging with their education. Even though all of the attributes are vital for effective teaching one must never forget that the purpose of effective teaching is â€Å"that teachers make a difference, (Boyd, 2009).

Effect of Globalization on Japanese Fashion

Effect of Globalization on Japanese Fashion Globalization has had a significant effect on fashion choices and trend movements around the globe. This paper discusses the influence of globalization on fashion with the case of Japan, which began to rapidly shift its approach toward fashion in the early 1980s following a rapid economic expansion and resulting increase in personal income. Using a combination of secondary research and interviews collected from Japanese participants, the study discusses Japanese fashion and how it is influenced by, and influences, the rest of the world. The discussion focuses on the initial development of logomania in the 1980s, in which Western high fashion was structured into a social framework divided by gender and class. The discussion then focuses on the development of a counterfeit market for high-fashion goods, in which the logo, rather than the good itself, was found to be important. The influence of fast fashion and the on-going development of street fashion, as opposing trends toward homoge neity and individuality, are then discussed as modern evidence of glocalization or hybridity, representing a localized fashion response to global conditions. Introduction Fashion can be defined as clothing and accessories that represent a cyclical reflection of social, cultural, and environmental characteristics that are unique to a certain point of time in a particular geographical setting, in addition to playing a crucial role in complementing ones self-image (Azuma Fernie, 2003, p. 415). However, although fashion was once characterized as a local or regional phenomenon, it is now in many ways a global phenomenon. Changes in manufacturing, production, and supply chain management, combined with a growth in prestige of some fashion brands based on aristocratic or exclusive social positioning, has resulted in increasingly homogenized global fashion. This has not been unopposed, with hybridity processes creating local fashions in order to meet the needs of the given geographical setting and culture and the development of a rapidly growing counterfeit market for luxury brands producing counterflows in global fashion trends. This type of interaction betw een local and global fashion is part of a generalized process known as glocalization (Chang, 2004). Japan is one of the most visible and one of the most vibrant places of development glocalized fashion under conditions of economic globalization. Prior to 1980, Japanese fashion was conservative and dominated by American quantity or value-driven trends. However, this would change rapidly in the 1980s. Beginning with a rapid upward shift in economic production efficiency and a resulting gain in personal income in the early 1980s, Japan has become increasingly accepting of Western (particularly European) fashion brands. The influence of fast fashion and other global movements has further increased the adoption of Western fashion styles and attitudes. However, this has not been a simple process of homogenization. Instead, hybridity has resulted in modifications of these styles as well as assignment of specific meaning to international designers, styles and fashions. At the most extreme, Japanese street fashion meshes global and local fashion trends and styles in an individualist manner, allowing Japanese youth to express creativity in an otherwise restrictive society. Aims and Objectives The aim of this research is to describe in a historical and current context the effect of globalization on Japanese fashion from the 1980s to today. The objectives of the research include: To locate fashion in a theory of globalization that accounts for interaction between local and global trends and conditions. To determine the overall effects of globalization on fashion, including both positive and negative effects. To apply this theory to the case of Japanese historical and current fashion from 1980 to today in order to show the evolving interaction between global and local trends and resulting the development of a series of unique fashion movements. Research Approaches There were two main approaches used in this research. The first approach was secondary research, in which existing sources of information on globalization and fashion, particularly globalization and fashion in Japan, were found and were analysed. The goal of this portion of the analysis was to provide a historical, political, and philosophical framework for understanding the influence of globalization on Japanese fashion. The majority of the research lies in this historical and contextual understanding of the topic. The second part of the research was a primary research project that used interviews from Japanese fashion consumers and Japanese fashion retailer UNIQLO to demonstrate the current and historical influence of globalization on fashion. This part of the research is meant to reflect the current state of Japanese fashion and how the preferences of individual consumers play into the process of globalization and hybridity that results in Japanese fashion. The UNIQLO brand, a Jap anese fashion brand that has been taken internationally, is used as an example of the ways in which Japanese culture has influenced and been influenced by on-going and recent globalized fashion trends. Literature Review The literature review focuses on the existing knowledge about globalization, defining the concept and discussing its use in the literature regarding fashions development in Japan. The literature review first discusses globalization in general, defining the concept and identifying its progress in Japan. It then discusses globalization and fashion, followed by a focus on fashion trends in Japan. The key point of this section is that globalization has not imposed Western fashions on an environment that previously had no fashion, but instead resulted in adoption of Western fashions and combination with existing and new Japanese fashions. This process of hybridity has resulted in a uniquely Japanese set of fashion trends and styles that meet the cultural, political, and economic conditions in which they are placed. However, this process of hybridity has increasingly happened in street fashion, rather than in high fashion or mainstream fashion, because of the homogenizing influence of glob alization on fashion production and fast fashion. Globalization Globalization in its most technical form refers to the lowering of economic and trade barriers between nations, which results in increasing international trade as well as reducing costs through allowing for resource use efficiency (Stiglitz, 2002). Under this model of globalization, the main focus is on economic gain, including the promise of poverty reduction or elimination and other significant social and economic gains (Stiglitz, 2002). Of course, this promise of economic improvement through globalization is not fully delivered on; many countries, particularly developing countries, have actually had losses in their positions through globalization, particularly forced economic globalization (Stiglitz, 2002). However, other countries have had significant gains. One of the countries that have demonstrated significant economic gains from globalization is Japan (Itoh, 2000). The Japanese economic ministers and others resisted globalization as an economic process due to the mentality of sakoku, which positioned Japan as an isolated and self-sufficient island nation (Itoh, 2000). By the early 1980s global production of goods such as automobiles had begun to position Japan as a significant and innovative industrial country (Itoh, 2000). The 1980s were a period of aggressive income growth in Japan as it led the development of modern manufacturing and supply chain practices around the globe (Itoh, 2000). This period resulted in a significant increase in global fashion consumption (Chang, 2004). Along with the development of economic globalization is the development of cultural globalization, in which elements of cultures are brought together through a variety of mechanisms, including imports and increasing taste for imports, increasing availability of information, and increasing immigration (Appadurai, 2003). Under these conditions, the culture of a given place, as well as its economy, is globalized to a certain degree (Appadurai, 2003). However, it would be incorrect to think of this cultural globalization as promoting a uniform and homogeneous global culture; although there are elements of homogeneity promoted by the prevalence of imports and the development of global production management such as supply chain management, each of these elements is combined in a unique way with the existing culture in a process known as hybridity (Appadurai, 2003). In Japan, the process of globalization has been a process of gradual realignment from the American centred cultural hybridity model from the post-war period to the 1970s, through a period of adjustment in which European models of culture were valued, and toward an increasing focus on Asian cultures (Iwabuchi, 2002). The increasing focus on Asia acknowledges both the growing power of the region (particularly China and South Korea) as well as the increasing confidence of Japan itself on the world stage (Iwabuchi, 2002). Globalization and Fashion It is commonplace to think of fashion as a general phenomenon as something that has spread from the West to the East through the process of globalization. However, this view is both inconsistent with the facts and dependent on an orientalist viewpoint. One of the hallmarks of Orientalism, according to Said (1979), is thinking of the East as static, unchanging, and even stagnant. Thus, the clothing styles that are seen in the East, under an Orientalist viewpoint, would have been the clothing styles that were always there, or would have changed only very slowly and in response to outside influences (Said, 1979). However, research shows that this is not true in fact, Japan, along with China and India, have historically undergone patterns of change in clothing styles that are consistent with the Western understanding of fashion (Belfanti, 2008). In particular, clothing styles changed rapidly at times of good economic development, and acted as a signal of consumption based status (Belfan ti, 2008). As in the West, fashions in Japan, India and China frequently challenged the traditional hierarchies of appearance, usually regulated by canons of a prescriptive nature (Belfanti, 2008, p. 419), resulting in permanent changes in the traditional clothing styles as well as in non-traditional fashions. As Belfanti (2008) points out, fashion did not develop as fully in the East as it did in the West, but it did form a significant social change force as well as changing modes of consumption. Thus, the starting point for this analysis will be to assume that fashion existed previously in Japan, and that this fashion was challenged by fashion from the West, rather than presuming that fashion originated in the West entirely. One of the recent responses of fashion to globalization has been the development of fast fashion. Fast fashion is seen as an evolutionary response to the demands of globalization and increasing neophilia and demand for refreshment of fashion responses (Bhardwaj Fairhurst, 2010). It has come into being over the past twenty years, as fashion has shifted from mass production of longer-wearing goods (such as Levis) to fashion seasons, which were driven by runway shows and refreshment of materials, designs, and other elements of fashion (Bhardwaj Fairhurst, 2010). However, an acceleration of marketing factors such as low predictability, high impulse purchase, shorter life cycle, and high volatility of market demand (Bhardwaj Fairhurst, 2010, p. 168) has likewise speeded up the development of fashion cycles, with designers and fashion sources speeding up in order to compete on time to market (Bhardwaj Fairhurst, 2010). Rather than being based on attempting to predict future fashion tre nds, as fashion seasons (as exemplified by runway shows), fast fashion has a cycle of only a few weeks from production to distribution, allowing retailers to respond immediately to upcoming trends (Bhardwaj Fairhurst, 2010). From a supplier point of view, fast fashion is enabled by intensive supply chain management and strong buyer-supplier relationships, which enable the suppliers to immediately respond to changes (or to initiate them). From a consumer point of view, fast fashion fulfils the demand for constant refreshment of the wardrobe while at the same time meeting immediate demand for runway looks and other trends (Bhardwaj Fairhurst, 2010). Fas fashion does not have equal appeal for all consumers; younger consumers, who have a greater taste for newer and wider ranges of fashion, are willing to sacrifice the quality aspect of clothing in order to gain access to more items of fast fashion, while older consumers tend to value quality (and have larger clothing budgets), thus re ducing much of its appeal (Bhardwaj Fairhurst, 2010). However, overall, fast fashion has been an enormous globalizing influence, especially through chains such as HM, which have spread worldwide. Globalized fashion has many advantages (even in non-fast fashion segments) over traditional fashion, including the cost and standardization advantages promoted by production at larger scales (Azuma Fernie, 2003). However, this globalization of fashion also has certain negative effects that can be seen in terms of fashions fulfilment of a social role of meeting a specific psychological and/or cultural need of a given place (Azuma Fernie, 2003). Fashion can be understood at several levels, according to Azuma and Fernie (2003). It can be a pure aesthetic art form; a social or cultural code that communicates social identity, social class, self-image, and climate (Azuma Fernie, 2003, p. 415); and an expression of political, social, and technological conditions within a given culture. Under this definition, the role of the fashion designer is to interpret the conditions in the specific time and place, creating clothing that exemplifies the mood of a given location and group as well as i ts technical needs for clothing (Azuma Fernie, 2003). According to Azuma and Fernie (2003), the demands of modern clothing production, including time to market and economies of scale, have resulted in a homogenization of design, which no longer allow designers to interpret this mood for a given place. Instead, a generalized interpretation is offered that reflects the decisions of other designers as much as it does the cultural, economic, or even climatic concerns of a given locale (Azuma Fernie, 2003). This is one of the most far-reaching negative effects of fashion globalization. Fashion in Japan Globalization has had an accelerating influence on the street fashions of Japan, although it has also been resisted in uniquely Japanese ways. During the 1980s and 1990s, a trend for high fashion, particularly fashion exemplified by superlogos like Louis Vuitton, became dominant. However, there has been resistance to this movement as well, which has reintegrated understanding of the Japanese cultural context into the development of fashion, helping to resist fast fashion and its homogenizing effects. One of the driving factors in Japanese fashion is a desire for individuality and uniqueness, which affects the choice of goods (Knight Kim, 2007). There are three main elements to Japanese uniqueness seeking, including selection of unpopular and creative choices and avoidance of similarity to other goods (Knight Kim, 2007). However, the rate at which consumers choose unique goods is negatively associated with perceived quality that is, an increased perception of quality will reduce th e demand for individuality. Gender relations are also one of the significant factors in development of globalized fashion. A comparison of two gender-specific magazines, non-no and Mens non-no, shows that both magazines demonstrated the effects of fashion globalization (Darling-Wolf, 2006). However, at the same time, the magazines imposed specific gender expectation roles that expressed both globalized and localized expectations of gender relationships and norms (Darling-Wolf, 2006). This can also be expanded to class expectations, as beginning in the 1980s there were significant divisions of fashion based on class and the ability of individual consumers to take part in the European luxury superbrand trend (Chang, 2004). A discussion of two street fashion trends, Japanese hip hop and lolita, contrasted with discussion of superlogo-driven high fashion trends, demonstrate the conflict between globalized trends and local fashions, the gender and class definitions of fashion and fashionable positions, the drive toward individuality, and in particular the importance of the Japanese teenager in setting and changing fashion in the Japanese market. Logos and Superlogos One effect of globalization on fashion is the explosion of counterfeit fashion goods (Chang, 2004). Chang characterizes this explosion as fake globalization (Chang, 2004, p. 222), or dark globalization, in which the legitimate flows of capital and culture across borders are shadowed by a flow of faked goods. In effect, the counterfeit fashion goods market represents a fetishization of the logo associated with the brand, rather than the quality or other elements of the good itself (Chang, 2004). This discussion provides insight into the development of Japanese adoption of Western fashion during the 1980s and 1990s. Changs discussion focused on the effect of superlogos, or high-fashion brands such as Chanel and Louis Vuitton, tracing the growth in fake products to the Japanese period of logomania in the 1980s. During this period, explosive growth of the Japanese economy led to one of the highest per-capita incomes in the world (Chang, 2004). It also led to a shift in consumption patterns, with the previous consumption patterns set by American occupiers (an American mode of consumption, focused on quantity of goods) shifting to a European, quality-based consumption model (Chang, 2004). During this period the brand logos integrated into clothing and other items became increasingly important, as they were indicative of consumption power (Chang, 2004). The growth of this superlogo trend was exemplified in classifications by gender and class. For example, the fashion elements and structures chosen by single female office workers (nicknamed Miss Hanakos, after the fashion magazine Hanako) who expresse d a particular aesthetic of aristocratic dress and choice of fashion and brands. Miss Hanakos created their own consumer identities with their extraordinary ability to buy, and European superlogos such as LV, Chanel, Tiffany, Hermes became the symbols of their postmodern consumer identities (such as Miss Chanel as a somewhat denigrated nickname for the office ladies who wear Chanel commodities from head to toe). (Chang, 2004, p. 226) This fashion trend grew from several roots in addition to a rapid increase in personal income. The first mechanism was a nostalgic trend, stemming from the first developments of European fashion in Japan following the Meiji Restoration at the beginning of the 20th century, and the cultural exchange that occurred during this period (Chang, 2004). The second mechanism was recognition of the Louis Vuitton logo, in particular, as exemplifying the French-Japanese artistic style of the late 19th century, which Chang (2004) linked to a history of imperialism and the psychological effects from this historical condition. The third mechanism by which this became popular was the successful distancing of the reality of mass production of these superlogo goods from the image of Old World craftsmanship and artisanship, which allowed for the maintenance of an image of exclusivity even in cases where the goods were flooded into the market (Chang, 2004). The only way in which this image could be main tained was through strict control of the brand and its manufacturing; for example, through creation of limited edition products, which encouraged the development of first a black market in the real products and then development of counterfeit products showing the same characteristics (Chang, 2004). However, this counterfeiting has moved beyond the simple mimicry that most traditional theories of fake products rest on; instead, the counterfeit of superlogo products mimics the logo, but often place this logo on new products (Chang, 2004). Chang (2004) terms this fake dissemination, after deconstructionist Jacques Derrida and postcolonial critic Homi K. Bhabhas appropriations, which stresses the repetitiveness and proliferation of supplement and difference that have already existed within totality, and whose existence testifies to the impossibility of totality and unity (Chang, 2004, p. 231). Thus, the growth of fake or counterfeit fashion products represents not just mimicry of Wester n fashion, but the growth of a unique counterflow of fashion that stems from, but is not beholden to, the phenomenon of superlogo mania (Chang, 2004). Of particular significance is the notion of complicity; although some counterfeit goods are sold as legitimate superlogo products, many if not most are sold with the tacit or explicit acknowledgement by both sellers and buyers that the goods are fake (Chang, 2004). This indicates that in many segments of fashion, the logo itself has become the signifier rather than the specific characteristics with which it is associated. Street Fashion and Youth Japanese street fashion, driven by consumer youth, is not determined by specific corporate norms, but is instead assembled by the individual from a selection of sources (Kawamura, 2006). However, while corporate models do not direct these trends, they do drive more mainstream fashion expressions and act as promoters of Japanese fashion hybridity (Kawamura, 2006). There are countless expressions of Japanese youth street fashion, and it is not possible to examine them all here. However, Japanese hip-hop began as a musical and fashion trend in the 1980s (Condry, 2002). According to Condry (2002) Japanese hip hop fashion is superficially very similar to the American version where it has its roots. This similarity includes linked trends in clothing styles and designers (such as Nike) as well as similarity in graffiti styles and slang (Condry, 2002). However, Japanese hip hop is also the site of considerable hybridity, or the combination of globalized influences and Japanese cultural influences to create a unique, hybrid form of fashion and culture (Condry, 2002). For example, he notes that in a post-New Year celebration in one of Tokyos largest all-night hip hop clubs, Kitchens, traditional New Years greetings were exchanged between party-goers (Condry, 2002). The appeal of hip-hop style and culture for Japanese youth is characterized as a message that youth need to speak out for themselves (Condry, 2002, p. 377). That is, hip-hop style supports the search of Japanese youth for individuality in a highly constrained and collectivist culture (Condry, 2002). Another expression of street culture is lolita culture, which is an extreme form of cute fashion in which young women (and more rarely, young men) dress in highly ornate, Victorian-inspired dresses and outfits (Yano, 2009). Yano (2009, p. 681), describes a typical pair of lolita wearers: shocking pink hair adorned with multiple pink barrettes, fuzzy pink kitten earmuffs, pink baby doll dresses, mismatched pink knee-high socks, and pink laced shoes. Around one womans neck hangs that icon of cute: Sanrio Companys flagship character since 1974, Hello Kitty. Among the barrettes in the other womans hair is, again, Kitty (Yano, 2009, p. 681). This expression of fashion is not driven directly from influence from the outside; instead, it is informed by Victorian fashion influences (as evidenced by the initial contact during the Meiji period) as well as a trend toward kawaii (or aggressive cuteness) that is also demonstrated by women in professional clothing and positions (Yano, 2009). While Japanese hip-hop is a hybrid phenomenon that is superficially Western, the lolita street fashion is primarily Japanese. However, neither of these fashions has been adopted in mainstream Japanese culture. Interviews and Media The second part of this research consisted of conducting interviews with Japanese consumers about their experience of fashion and analysing trends as demonstrated by Japanese fashion retailer UNIQLO. This primary research approach was intended to support the formation of understanding of how globalization influences fashion in Japan today from the point of view of the media and the individual consumer. The three approaches chosen have included qualitative surveys with consumers and analysis of the UNIQLO clothing line, one of the most successful Japanese clothing brands. Surveys The first source of primary information about Japanese fashion was quantitative surveys completed by three participants. A survey was used to ease involvement requirements for participants and to allow for a widespread set of participants. The participants are identified as follows (names have been changed): Kenada, a (30-40 years old) employed man Noriko, a (30-40 years old) unemployed woman Jun, a male (25-30 years old) student These three participants are asked questions about their own fashion styles and trends, and discussed how they viewed fashion, including Japanese and European fashions. The questions that the respondents answered are included in the Appendix. (This survey was translated to Japanese for ease of response, and responses were translated back into English.) In terms of personal style, there were five questions. The older respondents (Kenada and Noriko) indicated that they followed fashion trends all the time, while the youngest respondent (Jun) indicated that he followed his own style. In describing their fashion styles, the respondents said: I prefer a simple style with focus on one key garment. Noriko I am not committed to any particular style; I just dont like to stand out too much. Kenada These responses indicated a relatively simple style for both of the older respondents. Jun did not provide a brief description of his clothing style. Opinions regarding price varied from respondent to respondent, ranging from price not mattering at all to price being a primary concern when shopping. None of the respondents preferred Japanese brands, and one expressed a preference for Western fashion brands. The other two respondents indicated that whether a fashion brand was Japanese or Western did not matter. The next set of questions focused on the perception of European or Western brands in the Japanese market. Favourite brands identified included Dolce and Gabbana (Noriko) and Paul Smith (Kenada). One question asked about the reaction to the rising number of foreign brands on the Japanese market. Respondents stated: We want to avoid mass marketing because it is boring (they make the fashion market more varied). Jun People appreciate variety and lower prices. Noriko Respondents were asked how foreign brands were viewed in Japan. One respondent indicated that the foreign brand was considered luxurious, while another respondent indicated that foreign brands were considered to be beautiful, good design, functional. Overall, the respondents indicated that foreign brands were highly valued, but were not uniquely positioned because of their Western nature. The next set of questions asked about the relationship between Japanese and Western brands in the Japanese market. One question asked whether foreign fashion brands were leading to the loss of the Japanese markets fashion identity. Noriko stated that No, [I dont believe that this is the case.] One example is UNIQLO, which is original and still successful. Jun said, No, its more a reversed situation Japanese people forced the Japanese market to change. A second question asked whether the respondent would like to see more foreign brands on the market. Two respondents simply said, Yes. However, Kenada said, Yes, but I think achieving success on the Japanese market takes time, as the country is still very conservative. When asked why there are not as many Japanese brands on the European market, respondents had two specific critiques of Japanese fashion. Noriko said, Because Japan tried to catch up with Europe and European fashion is well established in the world (especially France). Jun stated that be believed that this was due to bad design and lack of appropriate marketing. Of course, one example of a successful Japanese brand in the European market is UNIQLO, as noted below; Noriko, who noted it as an example of the Japanese fashion market, also notes this. Respondents were asked why UNIQLO was so successful. Respondent indicated that reasons for their success included Pricing and store design (Noriko) and collaborations with different talented artists and designers (Kenada). Finally, respondents were asked what the main differences between Japanese and European brands were. One respondent indicated that they believed that Japanese brands focus on functionality, while western brands focus on des ign more (Jun). However, another respondent was clear that the main difference between brands was simply Pricing (Kenada). The responses generally supported the understanding of Japanese fashion as a unique integration and interplay of Japanese and European fashions and designers. There was generally a slight preference for European fashion lines expressed, based on the perception that European fashions are better made or better designed. However, at least one respondent clearly indicates that the main difference between European and Japanese fashion is the price, which indicates that there is convergence between the European and Japanese fashions. Most importantly, there is evidence of hybridity and modification of European designs based on the demands of Japanese fashion, in particular the development of European accommodations to the Japanese market. In some ways, however, the respondents seem to view the Japanese fashion designers as still based in the older, American quantity-based paradigm with lower quality and a focus on functional design instead of higher fashion design. This indicates that whil e Japanese fashion designers may have implemented fast fashion production techniques, there may not be the growth in high-fashion influence in the designs promoted. One important factor in this case is the difference between older and younger respondents in terms of how closely they follow fashion. The two older respondents indicated that they followed fashion closely, while the younger respondent indicated that he dressed to suit his own style. This difference could be a representation of the moving away from the logomania period in the 1990s and the growth of youth street fashion, which has allowed Japanese youth to combine and remix styles in order to express an individual style. The research did not explore this topic in detail, and respondents did not explain their style in detail enough to determine whether this was the case. Overall, these responses showed the current state of Japanese fashion clearly is a response to globalization, but it is not a wholly integrative or mimicking response. This is encapsulated in several of the responses, including responses that indicate that European fashion has changed based on the demands of the Japanese market. It is also clear that the Japanese consumers in the study did not see themselves as part of an undifferentiated social group; instead, respondents had a number of different viewpoints on fashion and different views on European and Japanese fashion. The findings of this survey are clearly limited, and they essentially represent a small-scale qualitative discussion of h