“’This year’, said Tristouse, ‘fashions are bizarre and common, simple and full of fantasy. Any material from nature’s domain can now be introduced into the composition of women’s clothes. I saw a charming dress made of corks… A major designer is thinking about launching tailor-made outfits made of old bookbindings done in calf… Fish bones are being worn a lot on hats. One often sees delicious young girls dressed like pilgrims of Saint James of Compostella; their outfits, as is fitting, are studded with coquilles Saint-Jacques. Steel, wool, sandstone, and files have suddenly entered the vestmentary arts… Feathers now decorate not only hats but shoes and gloves; and next year they’ll be on umbrellas. They’re doing shoes in Venetian glass and hats in Baccarat crystal… I forgot to tell you that last Wednesday I saw on the boulevards on old dowager dressed in mirrors stuck to fabric. The effect was sumptuous in the sunlight. You’d have thought it was a gold mine out for a walk. Later it started raining and the lady looked like a silver mine… Fashion is becoming practical and no longer looks down on anything. It ennobles everything. It does for materials what the Romantics did for words.’”
Write something about yourself. No need to be fancy, just an overview.
I am not proposing any antiquarian revival of ancient costume, but tying merely to point out the right laws of dress, laws which are dictated by art and not by archaeology, by science and not by fashion; and just as the best work of art in our days is that which combines classic grace with absolute reality, from continuation of the Greek principles of beauty with the German principles of health will come, I feel certain, the costumes of the future.
“Any real public knowledge of authentic historical dress has been invaded and corrupted by stage conventions of such long standing that they seem to have the sanction of real history” (1993: 301– 302)
But fashion’s in-herent transitoriness will always defy its definition proper. The moment we think wehave found an explanation for its erratic behavior, it has passed us by and taken on adifferent look or form. We might learn what constituted a manner of dressing in thepast and inquire into its relation to the present, but to grasp the transcendent and fugi-tive quality within this particular cultural expression, we are always left speculatingabout its changing future shape.This “ahistoricality,” which arises because old clothes are constantly revivedthrough quotation and because dated dress acquires dream potential, determines thepassage from Benjamin to the metaphoric use of garments
History is object of a construction whose site is not constituted by an homogeneous and empty time but one filled by now-time [Jetztzeit]. For Robespierre the Rome of antiquity was thus charged with now-time and blasted from the continuum of history. The French Revolution regarded itself as Rome reincarnated. It quoted ancient Rome like fashion quotes a past attire. Fashion has the scent for the modern wherever it stirs in the thicket of what has been. It is the tiger’s leap into the past.
The idea must be that you learn from the exaggeration.
This is a very serious subject with me. Ive given this a lot of thought. I adore dressing and i adore making up. I adore the procedure -- its terribly invigorating, both during my getting up in the morning and during my getting ready to go out in the evening. It gives me such pleasure.
I Adore artifice. I always have