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have their centres of worship, our Mecca of fashion is Paris.<br />
Pilgrims from all over the world come to Paris in order to<br />
celebrate the new collections and confirm the myth of creativity.<br />
And the priests of the cult point out the significance of the event<br />
and its effects on everyday life:<br />
“Dear reader! This is the great month of collections in which<br />
new fashion is born in Paris. Your choice, your style, your entire<br />
behaviour will depend on it.” 558<br />
Let us now return from the place of worship to mythology.<br />
Although we would be more at ease with our explanation that<br />
the fashion ritual is part of the same type of festival as the<br />
Anthesteria, we will examine whether it is possible for myths to<br />
change or whether they are partially replaced by other contents.<br />
Nietzsche was not convinced that this is possible:<br />
“It seems scarcely possible to transplant a foreign myth with<br />
lasting success, without irreversibly damaging the tree in<br />
the process: the occasional tree may perhaps prove sufficiently<br />
strong and healthy to exercise the foreign element through<br />
a fearful struggle, but must more usually consume itself in<br />
stunted infirmity or in rampant but sickly growth.” 559<br />
Myths are capable of changing over time. According to<br />
Lévi-Strauss, a myth can create yet another myth, and the myth<br />
can also survive when it is transferred from one society to<br />
another. It is also possible that the formula changes during the<br />
transformations, though its “figure” is still recognisable. 560 Things<br />
become more complicated when the myth is related to a ritual,<br />
because the relation of ritual and myth is still not sufficiently<br />
clear today. 561 The Greek’s did not have an all-encompassing<br />
category of ritual, as three different types of ritual acts existed. 562<br />
The elaborate Greek festivals had a limited number of basic<br />
ritual acts, 563 the procession and the sacrifice being the most<br />
important elements in them. This is why we will try to fill this<br />
basic structure of the ancient Greek festival with the dramatisation<br />
of the contemporary fashion system.<br />
558 Charles-Roux (1959:VI)*.<br />
559 Nietzsche (2000:125).<br />
560 Lévi-Strauss (1978:256).<br />
561 Graf (1993:52).<br />
562 Bremmer (1999:38).<br />
563 Bremmer (1999:39).<br />
Mythology<br />
244