The Idea of Fashion: A New History. Volume 1.
B42 Editions| N° d'inventaire | 28300 |
| Format | 14 x 22 |
| Détails | 239 p., paperback. |
| Publication | Paris, 2023 |
| Etat | Nine |
| ISBN | 9782490077861 |
Émilie Hammen proposes to write the history of fashion by analyzing the discourses that, in various forms, have allowed this field to establish itself as a discipline in its own right. By combining textual analysis, history, and visual studies, the author places fashion within a history of ideas that begins in the post-revolutionary period in France and ends, in this first volume, at the turn of the century, heralding the age of the avant-garde. Across this long century, a historiography emerges that focuses above all on identifying those who speak about and define fashion during this period.
By studying these actors and the interplay of their appearances and disappearances, the author rethinks the turning points and ruptures traditionally consecrated by the changes in silhouettes that often accompany the mutations of political regimes. To the modification of the shape of a sleeve or the length of a skirt, this study invites us to substitute the passage from the writer to the tailor, that of the engineer
to the creator. It is thus less a question of considering fashion as a material or visual manifestation, than as a set of discourses produced and supported by different socio-professional groups.
Émilie Hammen proposes to write the history of fashion by analyzing the discourses that, in various forms, have allowed this field to establish itself as a discipline in its own right. By combining textual analysis, history, and visual studies, the author places fashion within a history of ideas that begins in the post-revolutionary period in France and ends, in this first volume, at the turn of the century, heralding the age of the avant-garde. Across this long century, a historiography emerges that focuses above all on identifying those who speak about and define fashion during this period.
By studying these actors and the interplay of their appearances and disappearances, the author rethinks the turning points and ruptures traditionally consecrated by the changes in silhouettes that often accompany the mutations of political regimes. To the modification of the shape of a sleeve or the length of a skirt, this study invites us to substitute the passage from the writer to the tailor, that of the engineer
to the creator. It is thus less a question of considering fashion as a material or visual manifestation, than as a set of discourses produced and supported by different socio-professional groups.