Re-imagining the Gothic - Catalogue of Haute Couture

Preface ix Part One Clothing History 1 1 history and Sociology of Clothing: Some methodological observations 3 2 Language and Clothing 20 3 Towards a Sociology of Dress 31 Part Two Systems and Structures 35 4 'Blue is in Fashion This year': a note on research into Signifying units in Fashion Clothing 37 5 From Gemstones to Jewellery 54 6 Dandyism and Fashion 60 7 [an Early Preface to] The Fashion System 65 8 Fashion, a Strategy of Desire: round-table Discussion with roland Barthes, Jean Duvignaud and henri Lefebvre 80 viii Contents 9 Fashion and the Social Sciences 85 10 on The Fashion System 92 Part Three Fashion Debates and Interpretations 97 11 The Contest between Chanel and Courrèges. refereed by a Philosopher 99 12 a Case of Cultural Criticism 104 13 Showing how rhetoric Works 108 Afterword Clothes, Fashion and System in the Writings of roland Barthes: 'Something out of nothing' by andy Stafford 113 Editor's note and acknowledgements 159 Bibliography 161 Glossary of names 165 Index 171 xiv Preface 2 a list of these investigations (by century) can be found in rené Colas, Bibliographie générale du costume et de la mode, Paris, Librairie Colas, 1932-1933, 2 vol. (t. 11, p. 1412) and in Camille Enlart, Manuel d'archéologie française, Paris, Picard, 1916 (t. III ['Le costume'], pp. xxi-xxix, including descriptions of each of the studies). 3 Jules Etienne Joseph Quicherat, Histoire du costume en France [depuis les temps les plus reculés jusqu'à la fin du XVIIIe siècle], Paris, hachette, 1875, III-680p. Camille Enlart, Manuel d'archéologie française, Paris, Picard, 1916. Germain Demay, Le Costume au moyen age, d'après les sceaux, Paris, Dumoulin et cie, 1880 [with chapters on the outfits of kings and queens, of women, of knights and horses, of sailors, huntsmen and the clergy, as displayed on elaborate seals dating back to the middle ages].

L'Esprit Créateur, 1997

FOR MOST ANGLOPHONE READERS of French literature there are few opening lines of verse as familiar or nostalgic as Ronsard's entreaty to Cassandra: "Mignonne, allons voir si la rose..." Tapping memories of early classroom lessons in poetics and the rhetoric of seduction, the line opens an imaginary filefolder containing lectures on the sixteenth-century poets of the Pléiade and their odes, sonnets and love poetry. Such, in any case, was my limited association with that poem, more specifically, with that opening line, when, in October 1983,1 stumbled across it quite unexpectedly in a full-page advertisement in Vogue magazine. The ad was for a French lace bra. In the photo, a wellgroomed model, wearing only makeup, pearls and white underwear stares out at the viewer in a sexually suggestive pose.1 She is semi-reclined on a satin sheet with, behind her right shoulder, a backdrop of roses that encircle the name "Ronsard" in white boldface letters. Below her left breast, in smaller black print, the ad copy begins: " 'Mignonne allons voir si ¡arose...' Pierre de Ronsard" (Fig. 1). Though the bra in question was manufactured, one assumes, by the Ronsard in white, the association with the Ronsard in black is clear and unabashed. The copy continues: Named for France's "prince of poets," designed for the woman of infinite romance, each Ronsard bra is individually appliquéed in gleaming satin on sheer tulle. Direct from France, Princesse refines the art of under wire support in sizes B and C. with matching panties and garter belts in a quartet of soft, subtle shades. Â-Slip into a sonnet.

Alessia M. M. Giurdanella , 2024

This paper traces the salient phenomena that have marked the history of fashion and define it as it is nowadays. Foremost, an attempt is made to value the term "fashion" under different lights. From the 18th century onward, there was a succession of historical, political, social, and cultural changes that accelerated the phenomenon consolidation of fashion as a cultural phenomenon of great importance and dynamism, both in terms of its incursions into the languages of art and in terms of the international economy. A few focuses follow: on Lombard clothing, on how some items played different roles besides clothing, on the costume in the Goldoni's theater, on the twentieth-century Decadentism of Oscar Wilde, and others. Other aspects that characterize the industry today follow: the intersection of fashion with all the other arts, the role of magazines in the process of women's emancipation, the meaning of "fashion showcase", luxury brands and the phenomenon of their counterfeiting, the role of the "prosumer", and sustainable fashion laws, looking toward a future zero-carbon society.

Journal X, 1997

2017

University of Brighton lecturers, Hannah and Anna, report back from the fifth Costume Colloquium, held in November 2016 in Florence, where Brighton scholars, past and present, were well-represented.

Critical Studies in fashion and beauty, 2010

While critical views inherited from the past still influence our appraisal of fashion, its pervasiveness in contemporary society calls for an explanation. In this article I attempt to show how the importance of fashion in our society is the result of a combination of a structurally modern space and Romantic cultural ideals. I conclude that, despite its frivolous appearance, fashion is not only a powerful social indicator, but also a particular means of bringing together the diverse and often contradictory demands of our human nature through a peculiar exercise of practical judgment.