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The Clothed Body

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Degree Zero of Fashion<br />

and the <strong>Body</strong>: <strong>The</strong> Model,<br />

the Nude and the Doll<br />

At the beginning of the new millennium fashion speaks a global language:<br />

the sometimes real, but more often imaginary utilization and enjoyment of<br />

its signs transcends continental, social and ethnic barriers, since these signs<br />

follow the laws of the object and image market, which we consider universal.<br />

<strong>The</strong> specific qualities of fashion items (colour, design, material, etc.)<br />

are of secondary importance compared to the simple fact of their being on<br />

the market and, more especially, compared to the fact that, in this<br />

exchange of images, it is the body that is in circulation. Specifically models’<br />

bodies – the new divas, the new stars. Until the 1960s (when the oldest of<br />

today’s top models were probably not even born) the ‘mannequins’ were,<br />

as Roland Barthes (1967: 259) writes, the ‘pure forms’ whose role was to<br />

signify not the body but the garment (see Calefato 1996: 88–100). <strong>The</strong>ir<br />

role, though star-like for some (for instance, Twiggy, Jean Shrimpton and<br />

Patti Hansen), was linked to a clearly defined sector of the market and of<br />

communication, which was the world of fashion up to that time. Barthes<br />

attributed to the cover-girls, or mannequins, the role of representing a synthesis<br />

of dress and costume, that is, both an individual phenomenon and<br />

a socially regulated value system. Barthes writes that in a garment from a<br />

designer collection there are traces of dress linked, for example, to the size<br />

and shape of the model wearing it, but these are of slight importance since<br />

‘the ultimate aim of the garment is, in this case, that of representing a<br />

costume’ (Barthes 1998: 68).<br />

Today the taboo highlighted by Barthes – not signifying the body but the<br />

garment – has been violated and the models, products and emblems of<br />

fashion as a triumphant and luxurious sector of mass communication, have<br />

undoubtedly taken the place once occupied in social imagery by actresses.<br />

Like the great Hollywood divas, these mannequins are, for the public,<br />

distant, unreachable stars, and yet they are known to us down to the<br />

73<br />

7

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