it is not sufficiently realized that fashion is not accidental and arbitrary but is founded upon a definite and psychological basis. dress, in short, is the outward and visible sign of the inner spirit which informs any given period and nationality. the comparative uniformity of dress adopted by all people who have come under the influence of modern industrialism is a case in point.
one might say that our conception of the world must deeply influence our appearance. it appears that dress, quite as much as buildings, books or pictures, can be a manifestation of man's urgent desire to express ideas and satisfy his mental needs, which transcend any consideration of physical comfort or convenience, and all considerations of sensible economy. in this way man can alter the appearance of all things, including himself, to fit closely to an ideal, which is always of dissolving parts, fluctuating in its distinctness.
the human body is the basis of all fashion. each epoch develops its own aesthetic conception of the ideal human shape. this is demonstrated most clearly by the variations in the ideal of feminine beauty. one need only compare ruben's buxom beauties with the tall, slim and elegant line preferred today.
clothes can accentuate as well as tone down certain parts of the body, so as to make the silhouette approach as nearly as possible the prevalent ideal. they can correct faults and create an illusion. characteristic examples are the medieval predilection for a slightly protuberant belly in the female form, as can be seen in many contemporary works of art, and the preference in the rococo times for an exageratedly tiny waist.
the apparent bodily proportions, too, can be strongly influenced by the composition of the attire. the most frequently ecountered tendency in the history of costume is a striving for an increase in stature. the optical illusion of an increase in height served to enhance dignity and social importance. occassionally the length of the dress of the amount of material used pointed to the social position of the wearer.
in one way or another the clothes we wear are affected by tradition even today, and historical events have played no small part in influencing fashion now as in teh past. under the guillotine of the french revolution not only heads, but wigs rolled - literally and figuratively. not to wear a wig henceforth became as obligatory as is the wearing of jeans among most youth today. clothes have a meaning; they reveal secret attitudes.
one might say that our conception of the world must deeply influence our appearance. it appears that dress, quite as much as buildings, books or pictures, can be a manifestation of man's urgent desire to express ideas and satisfy his mental needs, which transcend any consideration of physical comfort or convenience, and all considerations of sensible economy. in this way man can alter the appearance of all things, including himself, to fit closely to an ideal, which is always of dissolving parts, fluctuating in its distinctness.
the human body is the basis of all fashion. each epoch develops its own aesthetic conception of the ideal human shape. this is demonstrated most clearly by the variations in the ideal of feminine beauty. one need only compare ruben's buxom beauties with the tall, slim and elegant line preferred today.
clothes can accentuate as well as tone down certain parts of the body, so as to make the silhouette approach as nearly as possible the prevalent ideal. they can correct faults and create an illusion. characteristic examples are the medieval predilection for a slightly protuberant belly in the female form, as can be seen in many contemporary works of art, and the preference in the rococo times for an exageratedly tiny waist.
the apparent bodily proportions, too, can be strongly influenced by the composition of the attire. the most frequently ecountered tendency in the history of costume is a striving for an increase in stature. the optical illusion of an increase in height served to enhance dignity and social importance. occassionally the length of the dress of the amount of material used pointed to the social position of the wearer.
in one way or another the clothes we wear are affected by tradition even today, and historical events have played no small part in influencing fashion now as in teh past. under the guillotine of the french revolution not only heads, but wigs rolled - literally and figuratively. not to wear a wig henceforth became as obligatory as is the wearing of jeans among most youth today. clothes have a meaning; they reveal secret attitudes.
LOVE
lee
3 comments:
I think fashion is not only non superficial, but a nescessary part of defining yourself because the world we live in does not take the time to get to know you, it bases you on your looks.
That being said, something about the way this article was written annoys me. I liked what was being said, just not how it was being said, so that's my constructive criticism for the day.
Good blog though.
I really like how you tie history into fashion. History is one of my main interests, so that's really cool.
i agree with mary, i like what you're trying to say, but the vocabulary seems forced.
and cute picture!
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