The service of custom thesis writing service on the topic of fashion can be ordered at any time from our partners. Dior presented a stunning, darkly Gothic collection at their Haute Couture Fall/Winter 2019/20 Haute Couture Show. It was Dior’s signature silhouette, with a corseted bodice that reaches a nipped in waistline and dramatic, full skirt. Maria Grazia Chiuri’s “Generation Black” was reflected in the sea of black outfits that featured lace panels as well as ombre balloon-skirted gowns.
The exception to this rule was the opening garment, which was a flowing Grecian-style cream sleeveless dress with “Are Clothes Modern?” across the front. The collection was dominated by the bewildering question, which was contested by the traditional hemlines and classic silhouettes.
“Are Clothes Modern?” is not a question that originated on the Dior design floors. This question was in fact the title of an essay and accompanying exhibition by Bernard Rudofsky (held at Museum of Modern Art, Manhattan, 1947). Chirui is bold in mixing fashion and literature together in a collection. This is because she knows how to reach a large audience. As demonstrated by her Spring 2017 “We Should All Be Feminists” collection. Fashion lovers in all its forms are reminded of the importance of literature.
Chiuri commented that Rudofsky was her favourite essay because “he writes about fashion being not only about creativity but about all human life.” Rudofsky’s essay is a powerful example of this sentiment. It takes us on an evolutionary fashion adventure, which has striking parallels to Chiuri’s Dior trip.
Rudofsky’s essay begins by explaining the world of fashion.
Many people have experienced the “fad”, or more modernly, trend-led fashion culture. The desire to be part of the fashion world is fueled by seeing the same recurring items everywhere, whether it’s on the runway or street. If you love fashion and are an avid follower, or if you like to put together outfits according color, pattern, or texture, then it is not hard to feel the’sheer spiritual devotion’ that attaching to a garment can bring. I’ve felt overwhelmed by the pieces in my wardrobe and can attest to its borderline reverence. It’s melodramatic, but it’s true. The ‘physical terror of an outlived style’ is a concise summary of the many problems of fast fashion. The sad truth is fashion works on a schedule. The time frames given to trends are limited and can be destroyed once they reach their sell-by date.
The perfect condensation of the most disastrous aspects of fast fashion is called the “physical horror of an obsolete vogue”.
Chiuri’s use literature as a quasi muse for her collection encourages us to reflect on how other literature can help fashion. Chiuri calls literature “a reference point” in her work. This leads us to examine the connections between fashion, literature and both mediums which, although they are amazing art forms, seem different in the beginning. Writing and clothing both embody culture, society, politics, to name just a few. However, fashion is something that happens in front of you, while literature is something that happens behind the scenes. Here are some examples of these two overlapping, either fiction or nonfiction. They serve to preserve the industry’s value and demonstrate that the two can work in tandem.
The Fashion System of Roland Barthes
Literature seems to have played an important role in fashion since its beginnings, which can be traced back at prolific writers like Roland Barthes. While we are familiar with the classic critical work The Death of the Author (especially for English students), Barthes also wrote The Fashion System, a pioneering essay on the topic of fashion. This essay dates back to 1967 and examines the semiology behind fashion, particularly in magazines. The language used to describe 60s fashion is explored using structural theory and cultural linguistics. Be aware that this essay presents a complex breakdown on the relationship between fashion and language, especially how language affects our ability to digest fashion. It’s difficult, fascinating, as well as a reference point for all fashion literature. Barthes was the first academic to address the topic.
Juno Dawson’s Meat Market
Literature has been used to expose the fashion industry, as Juno Dawson’s Meat Market demonstrates. It’s not hard to see that fashion isn’t always hidden behind sequins or silk. These hidden secrets, no matter what industry professionals do, are often revealed by this investigative fiction. Dawson is a YA novelist of great stature, having published works such as The Gender Game. However, Meat Market, which has a shockingly blunt title, marks Dawson’s foray into the fashion business. The story follows Jana, a young girl who lives on a South London estate and experiences the atrocities that come with real-life modeling. Dawson’s words tackle body image and fashion after the Me Too movement. They are raw, powerful and certainly instructive.
Holly Brubach is a dedicated fashion follower
Holly Brubach’s “A Dedicated Follower of Fashion” collection of 28 essays is well-worth the effort. It was named after the Kinks’ song of that title. You can find the entire collection of fashion-related topics in Brubach. From analysing how clothes promote (or act as catalysts for) cultural changes to finding the perfect Chanel two-piece suit or the appeal of white wedding dresses, to the endless appeal of Chanel, and everything in between, you will find it all. These essays are featured in The New Yorker Magazine as well as The New York Times Magazine.
Dana Thomas – Deluxe: How Luxury Lost Its Lustre
Deluxe: How Luxury Loses its Lustre is an apt title now as it was back in 2007. American fashion journalist Dana Thomas, based in Paris writes about the ugly reality of luxury fashion. This market was originally intended to be a niche for the elite, but it has evolved to become an easily identifiable and accessible market. This change has resulted in a decrease of quality luxury goods. Small-scale, family-owned businesses that used to specialize in handmade leather and silk products have been absorbed by large corporations who cater for a multimillion-pound market at an insanely fast rate of production. Is luxury fashion becoming fast-fashion in its own right? This is the summative question that will be asked about this work.
Rudofsky’s question about whether Clothes are Modern is answered by me. They are modern not because of how they look, but because of the lasting impact they have had on all of us. While many might believe that the fashion subject matter is affecting the academic integrity of literature, the above works demonstrate otherwise. Fashion goes beyond clothes: It has the power to change political movements, cultural changes, and how we feel about ourself.