The Clothed Body

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Acknowledgements I would like to thank my translator, Lisa Adams, who has worked with me, patiently and diligently, for many years. Lisa read English and French at Bristol University and History of Art at the Courtauld Institute London, completing her studies in Venice and Rome. She lives and works in Italy as a translator and editor. I would also like to thank the photographer Marcus Pummer, who has kindly offered one of his lovely photos for the cover of this book. Mark lives and works in Vienna, and I have had occasion to become familiar with his work through the magazine ‘Carnet’, on which we both collaborate. v
Contents Introduction 1 1 Dress, Language and Communication 5 2 Dress and Social Identity 15 3 Style and Styles between Fashion and the Grotesque 27 4 Taste between Common Sense and Received Meaning 41 5 Everyday Models 55 6 The Face and the Gaze 63 7 Degree Zero of Fashion and the Body: The Model, the Nude and the Doll 73 8 Intertextual Strategies and Contemporary Mythology 83 9 Fashion and Cinema 91 10 Wearing Black 109 11 Mass Fashion: The Role of Fashion in Music 117 12 Time 123 13 Fashion Intertexts 135 14 Objects 145 Bibliography 159 Index 165 vii
Page 2 and 3: DRESS, BODY, CULTURE Oxford • New
Page 6 and 7: Introduction An image in Marguerite
Page 8: Introduction between signs and thei
Page 11 and 12: The Clothed Body between its variou
Page 13 and 14: The Clothed Body ence to one of the
Page 15 and 16: The Clothed Body sense - but are ra
Page 17 and 18: The Clothed Body system of images,
Page 20 and 21: Dress and Social Identity In 1937 t
Page 22 and 23: Dress and Social Identity open, ‘
Page 24 and 25: Dress and Social Identity back thei
Page 26 and 27: Dress and Social Identity came out.
Page 28 and 29: Dress and Social Identity to see a
Page 30: Dress and Social Identity 4. Transl
Page 33 and 34: The Clothed Body well beyond the no
Page 35 and 36: The Clothed Body tattooing are tran
Page 37 and 38: The Clothed Body The opening scenes
Page 39 and 40: The Clothed Body at prohibitive cos
Page 41 and 42: The Clothed Body Caronia (1994) giv
Page 43 and 44: The Clothed Body cartoons, in any c
Page 46 and 47: Taste between Common Sense and Rece
Page 48 and 49: Taste: Common Sense and Received Me
Page 54 and 55:
Taste: Common Sense and Received Me
Page 56 and 57:
Page 58 and 59:
Page 60 and 61:
In The Fashion System Barthes write
Page 62 and 63:
Everyday Models Clothing fetishisms
Page 64 and 65:
Everyday Models Classic examples of
Page 66 and 67:
Everyday Models in this passage the
Page 68 and 69:
The Face and the Gaze The fascinati
Page 70 and 71:
The Face and the Gaze Indeed El-Hou
Page 72 and 73:
The Face and the Gaze their exagger
Page 74 and 75:
The Face and the Gaze (an occasion
Page 76:
The Face and the Gaze Nature and ar
Page 79 and 80:
The Clothed Body smallest detail, m
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The Clothed Body reveals this aware
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The Clothed Body outside normal pub
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The Clothed Body for contemporary f
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Intertextual Strategies and Contemp
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Intertextual Strategies and Mytholo
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Page 94 and 95:
Page 96 and 97:
Fashion and Cinema At the beginning
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Fashion and Cinema better, as a sys
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Fashion and Cinema backdrop both to
Page 102 and 103:
Fashion and Cinema individual and s
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Fashion and Cinema A film that may
Page 106 and 107:
Fashion and Cinema On each wrist is
Page 108 and 109:
Fashion and Cinema 1992b). These co
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Fashion and Cinema Today the imager
Page 112:
Fashion and Cinema the same time. I
Page 115 and 116:
The Clothed Body In the Italian com
Page 117 and 118:
The Clothed Body their collections:
Page 119 and 120:
The Clothed Body veritable universe
Page 122 and 123:
Mass Fashion: The Role of Fashion i
Page 124 and 125:
Page 126 and 127:
Page 128 and 129:
Time Barthes writes that fashion su
Page 130 and 131:
Time The past returns, but the retr
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Time as much ours as anyone else’
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Time regulated by public convention
Page 136 and 137:
Time firstly, who knows?) the desig
Page 138 and 139:
Time important protagonist on this
Page 140 and 141:
Fashion Intertexts The great Italia
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Fashion Intertexts the criminal’s
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Fashion Intertexts relegated to ‘
Page 146 and 147:
Fashion Intertexts uniforms, some o
Page 148:
Fashion Intertexts Notes 1. The fou
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The Clothed Body In 1900, 88 per ce
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The Clothed Body yourself from the
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The Clothed Body loved by teenagers
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The Clothed Body band, which can st
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The Clothed Body It is certainly tr
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The Clothed Body are no longer simp
Page 164 and 165:
Bibliography Arendt, Hanna (1982),
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Bibliography Costa & Nolan, 1987.
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Bibliography —— and Wilkes, And
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Arendt, Hanna, 46-9, 54, 54n1 Ash,
Page 172:
Negroponte, Nicholas, 35, 120, 131
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