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Extra resources for Vanity Fair (May 2013)
Sample text
A desire for uniformity became evident with the popularity of matching ensembles that speak to the contemporary suit. Under Louis XIV, the French began to focus on becoming leaders in the production of luxury products and fashionable clothing began to reflect the demands of the season and comfort. 28 FORM, FIT, AND FASHION 03 Eighteenth Century The eighteenth century saw fashion celebrated as culture. One popular garment was the contouche, a loose robe with large back pleats so often painted by Antoine Watteau that they came to be called Wattaeu pleats.
Riding habits and men’s tailoring found their way into women’s fashion in the second half of the century by way of the popular German traveling suit called a Brunswick gown, a two-piece ensemble that featured a hooded jacket with split sleeves and a matching petticoat; the caraco, a jacket-like bodice worn over a petticoat and based on the dress of servants and country women; and the joseph, a coatdress styled after the riding coat (adopted by the French as a redingote). After the French and American Revolutions fashion became politicized and austerity came to equal democracy.
And why? Those two words are interrelated. Fashion is not art: It’s the couturier who brings the art to the fashion, and it’s done through the matching of techniques and the vocabulary coming out of the atelier. So when they say fashion is not art, it’s rightly said, but it’s the couturier who is the artist. And if you look at the work of Vionnet or Grès or Balenciaga or Courrèges, you undoubtedly cannot say that this is not art. Then there’s a whole list of names you can mention that clearly suggests that fashion is not art.
