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The book’s eight chapters may be read relatively independently of each other. They cover a wide range of topics, since fashion is related to many areas of interest, such as clothing, the body, consumption, identity and art. I intend to concentrate mainly on dress fashion, even though many other types of fashion exist. Fashion is not just a matter of clothes, Christian Louboutin replica but can just as well be considered as a mechanism or an ideology that applies to almost every conceivable area of the modern world, from the late medieval period onwards. Louboutin shoes replica This. closely to clothes, but at the same time it is obvious that not all clothes can be included under ‘fashion’, and as such the term ‘fashion’ has a narrower frame of reference than the term ‘clothes’. As we will see in chapter Two, fashion is not a universal phenomenon, and clothes existed long before fashions did. There is also a range of phenomena that are not clothes but which can also be described as ‘fashion’, and as such the term has a far wider extension than ‘clothes’. It is tempting to try Cheap Christian Lououbtin Shoes to define the term by considering it as a designation of a given quality (or a particular combination of qualities) that can be valid for clothes, interior design, politics, science, and other fields. The problem then is to specify accurately what this quality should be. Despite having read many studies of fashion, I have still not seen a single convincing attempt to identify such a quality.
Until recently, fashion was considered the MF-wordw in Intellectual circles, dismissed as unworthy of serious attention. Yet no area of life, no individual moment, stands outside fashion’s discourses. Intuitively, we all know that clothing is a language, incessantly communicating messages about its wearer. But who speaks this language, to whom is it addressed, Christian Louboutin Ireland what does it mean, and how are its meanings established and transformed? On Fashion explores the ways our material, political, psychological, sexual, even intellectual lives are woven into fashion’s fabric. This stimulating collection of essays explores fashion’s symbolic and figurative Louboutin Ireland functions in photography, cinema, and video; in consumerism, postmodernism, and feminism; in political and material culture; and in self-definition and subjectivity. They demonstrate the pervasive reach of fashion and its expressions. This collection contains over sixty photographs and illustrations and includes essays by Barbara Brodman, Mary Ann Caws, Hll&ne Cixous, Linda Benn DeLibero, Diana Fuss, Cheryl Herr, Karla Jay, Deborah Jenson, Douglas KeOner. Ingeborg M^jer O’Sickey, Leslie W. Rabine, Andrew Ross, Sonia Ryldel, Carol Shloss, Kaja Silverman, Maureen Itoim. and Iris Marion Christian Louboutin Shoes Young. I”hi.\ exhibition was sub\c«|uctrtly mounted at tltc Fashion Institute of Technology in New York in late 1989 under the title “Ancien Regime”, and in 1990 in the Musec des Arts do la Mode et du Textile a( titer louvre in Paris, under the title “Eleganccs ci Modes at France au XVIII* stele.” The French newspaper liberation commented favorably on the show in its cultural pages. Mating that the old costumcs of the eighteenth century had been revitalized with sensual and realistic beauty bv the KCl exhibition. This attest* inctK. from Paris, the ceiuer the faction world. is one indicator ol the appreciation the KCI luis deceived.
Fashions artists are not only its designers; they are also those who capture fashion on film. This section of the book looks at how the camera and cinematic apparatus support (and sometimes subvert) dominant psycho- sexual and social attitudes, especially notions of the feminine and of the female body (clothed or unclothed) as something-to-bc-looked-at. Christian Louboutin Ireland Our contributors ask the following questions: Do “still” images of fashion photography frame subjects in ways similar to cinema narratives? Do magazine images of fashion models situate the reader (usually a woman) in the same ways that screen images frame audience responses? How are the acts of filming, photography, looking, and reading gendered? In what ways can the photographer, filmmaker, and actor-model invert or undercut the cultural assumptions that inform their work? This discussion focuses on how we are taught to look at pictures and movies (and what “looks” these media throw back at us) and on the techniques fashion photographers and cincma directors use to structure our responses Louboutin Ireland to the fashioned body that invites our gaze. This debate implicitly challenges a founding premise of feminist criticism and film theory, that the camera eye = masculine gaze.19 Also in question is John Berger’s framing of the cultural axiom: “Men look at women. Cheap Christian Louboutin Shoes Women watch themselves being looked at.”20 For Diane Arbus, who used the camera to “stare down” her subjects, the photographic moment captures a certain kind of tension between imaginative desire (the urge to create) and the pain of frustrated or failed hopes. In “Off the (W)rack: Fashion and Pain in the Work of Diane Arbus,” Carol Shloss examines the dialectic established between Arbus’s early fashion photography, which represented the American dream of Beauty through “snapshot realism,” and the later, darker work, which rejected.
She sold a diluted version of Mod politics, grafting it onto American consumer culture. DeLibero thus glimpses in the early 1990s an uncanny echo of the Christian Louboutin replica Twiggy phenomenon in the much touted “return of the gamine.”17 Once again, American designers have capitalized on the marketing potential of “subversive” style, selling what had been the low-cost ant fashion of grunge rockers (Doc Marten boots and flannel shirts from the Salvation Army) as haute couture. One imagines this scan: a first- world designer lands in a private plane in Peru, Bali, or West Africa, eyes the designs of native goods displayed in local markets and bargains for a few representative samples. Leslie Rabine notes that fashion magazines embody the contradictions suggested by DeLibero. In “A Woman’s Two Bodies: Fashion Magazines, Consumerism, and Feminism,” Louboutin shoes replica Rabine argues that magazines such as Vogue and Glamour construct two separate and distinct bodies: one is subjected to culturally imposed images of the feminine form, while the other pleasurably exploits fashion’s link to theater and fantasy as a means of self- production, self-expression, and even liberation, including political liberation. Contemporary fashion magazines schizophrenically represent both forms: “While these magazines are well-known as instruments for consumer capitalism, non-readers arc often surprised to learn that they have increasingly served as a forum for Christian Louboutin Shoes North American feminism (as well as civil rights and ecology movements) during the past twenty years.” Fashion’s symbolic representations thus exhibit the logic of postmodernism, for they both expose and uphold forces of dominance. Shifting emphasis from the selling of style, Helene Cixous returns our attention to the fundamental relation of fashion and the body.
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