Fashion Since

Fashion sense from then until now.

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Russian Constructivism and the New Woman

While Russian constructivism and the idea of the New Woman differ greatly in terms of social movements, they both had substantial consequences for fashion at the time. As Ganeva and Hake discuss, the New Woman was a new ideal that mainly consisted of changing social roles for women. These women now exercised more control over their lives and were more educated. As a result, their appearances and clothing changed as well. Clothing became more about practicality as it was now acceptable for women to engage in different activities, such as sports. There was a greater emphasis on legs and the waist and bust were suppressed. Similarly, Russian constructivism also resulted in practical, simple clothing that would increase the efficiency of the wearer. This, however, was due to the rejection of the idea of autonomous art and the preference of art as a practice for social purposes. As such, fashion is seen as an extension of art. 

Clothing for the New Woman becomes more practical for physical activities. 

Women's clothing in Russia is simplified for practicality. 

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Photography and Fashion

Baudelaire’s frustration with photography in “The Modern Public and Photography” represents an interesting disagreement with Hollander’s discussion in “Seeing Through Clothes.” Baudelaire more or less ignores photography’s relation to fashion and instead chooses to focus on the effect it has on art. He argues that photographers are those who couldn’t make it as true artists – they simply represent something with exactitude. Hollander discusses a more optimistic view, arguing that photography was the first representation of truth. It was the end of illusion or the edited version. Nonetheless, she notes that people became bored with this “truth” and began to create abstract art that emphasized unity and spontaneity in design. I think both authors are questioning how photography relates to art and, in Baudelaire’s case, whether or not it can even be considered art. This is interesting in the way it relates to last week’s discussion of the art/fashion divide. Photography represents the “truth” of a garment, so really we are still questioning whether or not fashion can be considered art. 

Hollander argues that fashion photography demonstrated the "frumpiness" of clothing at the time, a truth that paintings could not capture.

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Leopold and Troy

Juxtaposed with one another, Leopold and Troy demonstrate the theme of this week’s lectures: the art and fashion divide. Each provides a different side of the collective memory of fashion’s history. Leopold states from the beginning that she chooses to analyze the less discussed of the two avenues – the history of ready-to-wear fashion. Troy, on the other hand, details the history of Poiret and the development of haute couture. As such, one could say that Troy discusses art while Leopold discusses fashion. Designers of haute couture view themselves as original, creative designers who wish to be recognized as artists. Poiret wished for the reproductions of his garments to still be labeled with his name. Leopold also recognizes that the survival of haute couture depended on this “notion of exclusiveness…the privileged relationship between a bespoke tailor and his or her client” (109). This is why these creations were considered art while mass-produced clothing was simply considered to be fashion; fashion carries with it the connotation of consumerism and consumption. I would argue that this dichotomy still exists today, but is blurred. Designers still wish to be recognized as artists through couture, but they have also managed to find a place within today’s consumer culture. 

The exclusive relationship between Poiret and one of his clients, a staple of haute couture. 

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Perrot and Kinney

As Perrot notes, the late 1800s brought about a significant change in the ways in which fashion was presented and sold. Prototype department stores began to spring up in Paris, featuring glass ceilings to allow for natural light and multiple floors, accessible by primitive elevators. Today, we find ourselves amongst another momentous shift in fashion – the rise of online retail and boutiques. Shopping can now be done from the comfort of one’s home. Perrot details the beginnings of change and today we see how the industry continues to evolve. Nonetheless, while the functioning of the industry changes, many characteristics remain the same. Kinney’s ideas of leisure, confection, comportment, and conformity can still be applied to fashion today. Fashion is still worn as a signifier of one’s demeanor and how one identifies him or herself amongst others. Although dress has changed over time, it still has the ability to define the wearer. 

Valentino couture. The demeanor of the models is molded by their clothing, similar to the way in which Seurat's figures are molded by theirs.

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Deep Wearing and Fast Fashion

Jones and Stallybrass discuss the notion that fashion can be “deeply put on”; they permeate the wearer and become a part of him or her. The clothing is what molds the wearer. This remains true today in certain circumstances, but not typically in day-to-day life. Professor Siegfried used the example of a student becoming a graduate after dressing in graduation robes. The same could be said when referring to a variety of uniforms that an individual must wear to fulfill a certain role. The wardrobe helps to create an identity. The idea of deep wearing is in direct contrast to fast fashion, which is discussed in the Hansen article about Zara. While these clothes may be worn to demonstrate self-expression or personal style, the primary focus is on the individual, not on the permeation of the clothing. This also aids in the distinction between modern day couture and ready-to-wear items. Couture fashion emphasizes itself and transforms the wearer while ready-to-wear is more or less worn on the surface as a tool for expression. 

Dior Couture: Spring 2013

Zara: Fall-Winter, 2013-2014

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Historic Inspiration

Gutzkow believes that fashion constantly uses the modern to mold the old. Simon states that fashion is paradoxical: it is the old mixed with the new. Designers must negotiate the past to design for the present. The essence of fashion is to constantly be ahead of others, but it is also a transformation that takes place slowly over time. Countless designers have demonstrated their ability to find inspiration within history and they continue to do so today. Valentino’s spring 2014 collection is a beautiful example of a negotiation between the past and the present. Taking inspiration from classical opera, the collection is a combination of modern silhouettes and embellishments that are reminiscent of Renaissance artwork. It provides a modern interpretation of classical artwork and the ways in which it can be incorporated into dress. 

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Fashion and Nudity

Hollander suggests that visual representations of nudity have historically been based upon the appearances and silhouettes of the latest fashions during the time period in which each representation was created. This is supported by a variety of images over several centuries. Initially, it seems strange that the clothing would influence the ways in which the nude body is portrayed rather than vice versa. However, a possible explanation for this could be the mystery that the female body once represented. Today, it would be difficult to find support for Hollander’s argument that the clothing shapes the visual representations of nudity. Nudity has become increasingly common, thus the body is no longer considered to be mysterious. It would also be difficult to determine the most prevalent silhouette of the 21st century due to the wide variety of fashions in our consumer culture. Representations of nudity are far from uniform because society has a more accurate idea of what nudity looks like.   

Francisco Goya's painting La maja desnuda from the year 1800 is representative of the fashions at the time, especially in the representations of her breasts and hips. This painting was also controversial at the time due to the subject's nudity.

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On Hegel's Flaws

Let’s pretend for a moment that Hegel is correct in his belief that there is an ideal beauty that should transcend time. Perhaps in his perfect world, women would still be adorned in fluid drapery in 2014. Disregarding that this would be functionally impractical for the modern woman, it would also be dull. While this is likely an exaggeration of Hegel’s ideas, this is essentially his argument. The word fashion is often preceded by the word “latest.” It has come to mean a fresh, current style that is admired and coveted. Baudelaire is correct in stating that modern clothing is a symbol of modern life. The power of modern dress lies within its ability to articulate an idea or memory of a specific time period. The idea that beauty can transform and adapt over time is inspiring and is what makes fashion persistently interesting, exciting, and relevant. It serves as the unmistakable signature of an era. 

Trends from the 40s to the 90s. 

Image sources:

http://www.marieclaire.co.uk/blogs/544203/1940s-fashion-the-decade-captured-in-40-incredible-pictures.html

http://classiq.me/a-lesson-in-style-50s-fashion

http://pinasfasyon.blogspot.com/2011/10/twiggy-effect.html

http://www.80s-fashion-fancy-dress.com/80s-madonna-look.html

http://www.newjerseyarcheryclubs.org/cool-90s-fashion-trends-in-memory/