New PDF release: Accessorizing the Body: Habits of Being I

By Cristina Giorcelli, Paula Rabinowitz, Manuela Fraire, Micol Fontana

ISBN-10: 0816675791

ISBN-13: 9780816675791

The first within the four-part sequence Habits of Being, charting the social, cultural, and political expression of garments as obvious in the street and in museums, in motion pictures and literature, and in ads and magazines, this quantity encompasses a close-up specialize in accessories—the shoe, the hat, the necklace—intimately hooked up to the body.
 
These essays, so much of that have seemed within the state of the art Italian sequence Abito e Identità, supply new theoretical and historic takes at the position of garments, gown, and components within the building of the fashionable topic. With contributions via top students in paintings historical past, semiotics, literary and movie stories, heritage and model stories, and with extra writings via psychoanalysts, fabric artists, and model designers from Europe and the USA, readers will stumble upon a dizzying array of principles concerning the glossy physique and the ways that we costume it.
 
From views at the “model physique” to Sonia Delaunay’s designs, from Fascist-era Spanish women’s prescribed methods of dressing to Futurist vests, from Barbara Stanwyck’s anklet to Salvatore Ferragamo’s sandals, from a poet’s tiara to a worker’s cap, from the scarlet letter to the yellow superstar: Accessorizing the Body imparts startling insights into how a lot the main modest accent may reveal.
 
Contributors: Zsófia Bán, Eotvos Lorand U, Budapest; Martha Banta, U of California, la; Vittoria C. Caratozzolo, U of Rome “La Sapienza”; Paola Colaiacomo, U of Rome “La Sapienza”; Maria Damon, U of Minnesota; Giuliana Di Febo, U of Rome 3; Micol Fontana; Manuela Fraire; Becky Peterson, U of recent Mexico; Jeffrey C. Stewart, U of California, Santa Barbara; Vito Zagarrio, U of Rome 3; Franca Zoccoli.

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2 Model in Vionnet dress. Les Arts Décoratifs, Paris. We seem thus to have come full circle. From the wooden mannequin of ancient Egypt to the living model body conceived as nobody’s body. And if I have somewhat lingered on the first fin de siècle, it is only because I think that Wilde’s caveat that “the arts are made for life, and not life for the arts” still has much to say to fashion scholars. NOTES 1. William Morris, “The Lesser Arts of Life,” in The Collected Works of William Morris, 24 vols.

In many cases, it is easy to understand how buckles and buttons constituted the magic touch that made the diƒerence (over and above the impeccable cut of the garments). Micol shows me the photograph of a jacket completely covered by buttons of diƒerent sizes, shapes, and colors: both amusing and elegant, as she underlines, it was created by her sister Giovanna. After reminding me that in the years of their celebrity some accessories—such as gloves—were considered indispensable (“One went even to the market wearing gloves”) and, as a subtle interpreter of the explicit or implicit clothing function, after observing that gloves have a broad meaning because they “sweeten movements,” Micol speaks of the importance of shoes and purses to their collections.

This, according to McLuhan, was the specific ability of the model exploited by commercial advertising: surely an ability we can trace back to that severance of character from figure that the literary experimentation of that earlier fin de siècle so actively pursued. The rise to prominence of the live fashion model coincides chronologically with that dawning of modernism. She—because it’s a “she” we are talking about, at this stage— appears simultaneously with the new optical and visual technologies that shaped the lives of our parents and grandparents: chronophotography, photography, and, later, the cinema.

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Accessorizing the Body: Habits of Being I by Cristina Giorcelli, Paula Rabinowitz, Manuela Fraire, Micol Fontana


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