
By Cristina Giorcelli, Paula Rabinowitz, Manuela Fraire, Micol Fontana
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Additional resources for Accessorizing the Body: Habits of Being I
Sample text
6 Let us take the case of the portrait as the most obvious example of what I am trying to say. Due to a cross-fertilization between art and fashion theories, we now recognize the legitimacy of at least two ways of looking at, say, a court dress in a Renaissance portrait: as the representation of something that “belongs” to that great container—the “period”—or as a designed artifact constructing all the complexities of life, even the act of its painting. In the first case, our régime of discourse will be description, and the implied relationship between culture and image will be an imitative one.
Contrived by ingenuity and by art, clothes are artificial. Concealing parts of the body, they fragment it, directing the gaze to each part; but to avoid perversity or fetishism, clothes do so only in a way that maintains a balanced image of the whole. In addition, clothes make one aware of “contrasts between covered and exposed, between left and right, between inside and outside. ”7 Consequently, if clothes parcel out the body, at the same time they allow a more detailed assessment of it. In the Bible, while clothes may be taken as the first manifestation of human consciousness, they also carry the scourge of disobedience and can, consequently, be associated with what followed the Fall: work, childbirth, and death, that is, fatigue, pain, and transience.
Due to a cross-fertilization between art and fashion theories, we now recognize the legitimacy of at least two ways of looking at, say, a court dress in a Renaissance portrait: as the representation of something that “belongs” to that great container—the “period”—or as a designed artifact constructing all the complexities of life, even the act of its painting. In the first case, our régime of discourse will be description, and the implied relationship between culture and image will be an imitative one.