By Barbara Vinken
Annotation.
Although it truly is attractive to imagine that style turns clear of conventions, is that this rather the case? Or are "pioneering" designs easily a part of a cyclical revival of forgotten models? the most influential designers of the 20th century--from Yamamoto to Gaultier to Lagerfeld--Vinken considers the politics and philosophies which were the motive force directing their experience of fashion. Vinken indicates how model traits are trained by way of the prior. Chanel, lower than the course of Karl Lagerfeld, is seen because the in basic terms model condo to have remained clean after 100 years, but is that this good fortune primarily facts of the self-referential characteristics type has followed? What encouraged the fetish for labels on the finish of the 20 th century? Answering those questions and lots of extra, this thought-provoking e-book exhibits how good looks, gender, sexuality, trade, and dandyism have continued in defining the style system. Read more...
summary: Annotation.
Although it really is attractive to imagine that style turns clear of conventions, is that this quite the case? Or are "pioneering" designs easily a part of a cyclical revival of forgotten models? one of the most influential designers of the 20th century--from Yamamoto to Gaultier to Lagerfeld--Vinken considers the politics and philosophies which have been the driver directing their experience of fashion. Vinken indicates how model developments are expert by means of the earlier. Chanel, lower than the course of Karl Lagerfeld, is seen because the basically style condo to have remained clean after 100 years, but is that this good fortune basically evidence of the self-referential features type has followed? What encouraged the fetish for labels on the finish of the 20 th century? Answering those questions and lots of extra, this thought-provoking publication indicates how good looks, gender, sexuality, trade, and dandyism have continued in defining the style method
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Example text
If it represents at all, then fashion represents the unrepresentability of sexual difference, the impossibility, in other words, of not wearing a mask. It does so by completely and recklessly exploiting sexual difference, the oppositionally organized identity of social gender roles. Precisely through this unscrupulous bringing-into-play of the clichés of gender roles, the true woman and the real man emerge as phantasma in a system of the sexes that has been fetishized and phallicized into pure identity.
100. 14. Rousseau, Politics and the Arts, p. 112. 15. Honoré de Balzac, Physiologie de la toilette, in Traité des excitants modernes; suivi de Physiologie de la toilette; et de Physiologie gastronomique, with a preface by Jean-Jacques Brochier, Bègles 1992. 16. Anne Hollander, in one of her most recent books Sex and Suits: The Evolution of Modern Dress, New York 1995 has attempted to free fashion from this stigma of femininity. She inscribes herself thereby explicitly in the line of the moderns, who oppose function to ornament: the basic opposition belongs together with a whole series of oppositions which shape the theory of fashion.
32 It is then precisely not the case, contrary to what is always claimed, that the theory of l’art pour l’art, the new type of man represented by the dandy, and the autonomization of fashion were apolitical phenomena. Rather, what they have in common is that they effect a subversion of the modern body politic – of that which, in modernity, the ‘political,’ whether bourgeois or proletarian, has come to mean – and this means, in the first place, a subversion of the political body. The collective formed on the basis of a shared masculinity seems to be split up and endangered by two factors: the feminine and the noble.
