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2016, Shizuka Hara
( L'article est écrit en japonais, la version en français en attente ). C’est au cours des quarante premières années du XIXe siècle que la « mode » revit comme un mot courant doté de quelques nouveaux sens, dont les deux constituent l’axe central du nouveau champ sémantique : nous trouvons l’un dans l’expression « à la mode », et l’autre s’emploie dans le domaine de l’habillement et de la toilette. Les deux intéressent le phénomène passager dans lequel certaines choses typiques sont reçues et consumées par la société avec ferveur. L’industrie de la mode (vêtement, habillement) conduit l’économie de marché à son aube. Nous considérons que deux facteurs ont causé cette explosion complexe du marché et de la mode. L’un est la monarchie de juillet qui abolit la société hiérarchisée et permet de s’habiller librement au peuple de toutes les classes. L’autre est la montée sociale de l’intérêt à voir et au spectacle, en parallèle avec le développement des médias visuels, du panorama à la photographie. À l’heure actuelle, l’industrie de la mode est en crise, en raison de causes telles que l’abaissement du pouvoir d’achat, le manque d’occasion de se parer, la faute de temps... Pourtant cette crise peut aussi apporter une chance à la mode qui se demande depuis toujours si l’art ou les affaires. Il est possible que la mode puisse se diriger vers le chemin de l’art. Au fur et à mesure du temps, la collection d’un chiffonnier change en antiquités ; un collectionneur de la génération suivante trouve d’entre elles quelques objets de grande valeur, s’ils sont esthétiquement distingués. À ce moment-là, un vêtement design deviendrait l’œuvre d’art pure et artisanalement. Nietzsche a critiqué « l’esprit de l’histoire antique » à l’époque de la naissance de la modernité allemande. À la fin de la « modernité tardive » mondialisée, n’est-il pas nécessaire au contraire cet esprit ? 原 閑 世界資本主義の夕暮れに、極楽鳥は羽ばたくか? : モードが骨董品となるとき (特集 経済(2)) Fashion talks... : the journal of the Kyoto Costume Institute : 京都服飾文化研究財団 2016 vol.4 pp.32-40 https://ci.nii.ac.jp/naid/40021008200/ PDF Available at http://mahamaha.cocolog-nifty.com/epub-pdf/birdsofparadise1_r.pdf
The human need for expression through images is present probably since the human need for dressing. Despite their conflicting roles, both art and fashion play important role in the society. When approaching the relationship between art and fashion many discrepancies between them arise, as well as many similarities, especially in contemporary times. While art is imbued with spiritual – the sublime – fashion is linked to physical – the frivolous. When acceding to the concept of fashion, it is important to emphasize distinction between fashion and clothing. Dress becomes fashion with inscription of symbolic value. Art transcends both space and time; fashion is spatially and temporally confined. From this confinement two crucial points of divergence ensue: a) the concept of fashion is related to the western culture, b) the time of fashion refers to modernity. The emergence of fashion in the Renaissance indicates a new era, with the rise of capitalism and the redefinition of social roles. Fashion is closely associated with capitalism which is problematic because this often puts the emphasis on its economic aspect, while neglecting its aesthetic aspect. It is often overlooked, but should also be noted that fashion has its place in art, especially in the field of applied arts. Therefore, two important moments where art and fashion interfere are: a) the invention of geometric perspective in the Renaissance: art becomes part of the system of representation; fashion becomes part of the system of communal living. b) the invention of photography in the 19th century: both art and fashion get emancipated from either representational codes or strict class divisions. We could say that the Renaissance marked the beginning of seduction by images with the illusion of three-dimensional space on a two-dimensional surface. With the industrial revolution and the invention of photography a major change began in the perception of the world, and art played an important role in these processes. Due to scientific and technological progress social changes found their particularly interesting reflexion in both art and fashion. In modern and contemporary times the artwork as material object is replaced by idea, concept and artistic event. On the other hand, fashion shifted its focus from functionality to images. Discussions on whether fashion is art began in the 80's with the entry of fashion into museums. In the 21st century, when fashion becomes part of creative industries, an important and troubling questions should be asked once again: can fashion be finally considered one of the of the artistic media or are we hopelessly regressing back to traditional categories which claimed their strict detachment?
Fashion Theory: The Journal of Dress, Body &# 38; …
Exhibition Review: Histoire Idéale de la Mode Contemporaine Vol. 12012 •
2016 •
La mode est un phénomène culturel complexe. Au-delà de la simple dimension de « produit », une compréhension exhaustive de la mode et de son imaginaire ne peut se passer de la lecture qu'en ont donnée les sciences humaines, d'une considération de ses relations avec le marché, ni, aujourd'hui, de sa mise en exposition. Par ses multiples déclinaisons et ses contours toujours à définir, le fashion curating nous renseigne sur les logiques et les enjeux qui ont imposé la mode comme l'une des expressions les plus puissantes de l'esthétique contemporaine. Réalisé à l'issue du symposium organisé à la HEAD — Genève en 2014 sous le même intitulé, ce livre propose aux curateurs indépendants, directeurs d'institutions culturelles et personnalités académiques une réflexion croisée sur la mise en exposition de la mode. Les conversations, les articles et les restitutions de conférences ici réunies visent à contextualiser une pratique toujours en quête de définition, tout en étudiant les enjeux théoriques et les approches méthodologiques qui l’animent Fashion is a complex cultural phenomenon. Beyond the basic dimension of a “product”, an exhaustive understanding of fashion and its imaginary cannot neglect the ways in which it is interpreted by the humanities, or a consideration of its relationship with the market, or, nowadays, how it is exhibited. Through its many variants and its still rather undefined contours, fashion curating informs us about the logics and issues that have made fashion one of the most powerful expressions of contemporary aesthetics. This book is based on the symposium of the same name held at the HEAD — Geneva in 2014 and offers independent curators, directors of cultural institutions, and academics a comparative view of fashion curating. The conversations, articles, and excerpts from conferences brought together here aim to contextualise a practice that is still in search of a definition, while exploring the theoretical issues and methodological approaches that underpin it. Contributions : Hans-Ulrich Obrist, Luca Marchetti, Dorothee Richter, Gabi Scardi, Barbara Polla, Marco Pecorari, Nathalie, Herschdorfer, Robyn Healy, Florence Müller, Maria-Luisa Frisa, Thierry-Maxime Loriot, Alistair O’Neill, Elizabeth Fischer, Jean-Pierre Blanc, Elsa Janssen, Sylvie Marot, José Teunissen, Jessica Bugg, Dobrila Denegri, Simona Segre-Reinach.
Datatèxtil, revista del Circuit de Museus Tèxtils i de Moda de Catalunya
From Kouros to Laocoon. The three ages of Italian fashion / Del "Kouros" al "Laocoonte". Las tres edades de la moda italiana2008 •
I. Modernity as " âge de mode " Fashion is a typically modern phenomenon-‐ in the sense that it only exists in modern society, and in the sense that it expresses in a concentrated way the essence of modernity. This is the assumption underlying the present article, which I will try to illustrate and comment in the following pages. This approach can be surprising, because we often think that fashion existed in all societies, and also because we tend to define modernity on the basis of more "serious" phenomena, like the emergence of scientific rationality or of national states. But fashion, in its apparent frivolity, involves crucial aspects of modern semantics, as the forms of individuality and the relationship with time. The key issue, as we shall see, is the concept of contingency, which in modern times acquires a new significance and unprecedented significance, illustrated by fashion and its forms. Why modernity leads to these changes is an enigmatic question, although the concept continues to attract the attention of scholars, especially in the fields of sociology and history of ideas. What we can observe, however, is the gradual dissolution of the ordered setting of traditional semantics and the transition to a different form of order-‐ vastly more flexible, contingent, compatible with components of disorder. The univocal order of the cosmos, as it was reflected in metaphysics and theology, but also in the systems of rhetoric and of various disciplines, gives way to a plurality of orders not always coordinated, with criteria, methods and priorities that are different and independent from each other.
Croatian Journal of Philosophy, Vol. 21 No. 1 (61), 2021
Fashion as an Aesthetic Form of Life: A Wittgensteinian Interpretation2021 •
Fashion is an aesthetic practice which concerns the ordinary sphere of our life: it is associated with everydayness and it is a source of endless aesthetic experiences. The purpose of this paper is to validate a new perspective on fashion based on Wittgenstein's later aesthetic conception. In Philosophical Perspectives on Fashion (2017), Matteucci introduces the idea of combining the Wittgensteinian concept of "form of life" with fashion. In accordance with this thesis, the paper aims at showing how fashion is constituted as a "form of life". Specifi cally, I shall argue that fashion is an "aesthetics form of life" which structurally employs a language of an aesthetic type-one with a specifi c grammar (or set of rules) of its own. I claim that there is in fashion a contact point between the grammar of language and socially encoded aesthetic responses: fashion follows slavishly its own grammar, through its cyclical seasonality, while at the same time tending to creatively reinvent itself. Thus, anyone who daily commits to the practices of fashion acquires sensitivity to its rules, contributing to a social dialectic of identifi cation/diversifi cation typically belonging to fashion itself. Finally, on the basis of the claim that fashion is a "form of life", and indeed since fashion is primarily an aesthetic practice, I claim that Wittgenstein's aesthetic notions can coherently be related to fashion as well: concepts such as 'aesthetic reaction', 'gesture', and 'correctness' will be shown to be crucial to an analysis of the aesthetic phenomenon of fashion.
Material Culture Review Revue De La Culture Materielle
A Look at Clothing: Body and Substance / Regards sur les vêtements: corps et matière2002 •
Alessia M. M. Giurdanella
For a Contemporary Vision of the History and the Phenomenology of Fashion2024 •
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.
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S. H. Hara