The Marchesa Casati as Fashion Plate and Fashion Muse

IF 0.7 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Fashion Theory-The Journal of Dress Body & Culture Pub Date : 2021-12-13 DOI:10.1080/1362704X.2021.2009187
Will Visconti
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Abstract

Abstract The Marchesa Luisa Casati has become a perennial muse of fashion designers in recent decades, from haute couture to High Street brands. Collections inspired by the Marchesa link to her background and the history of the spaces that she inhabited. Casati was born in Italy but lived and traveled between France, Italy and Britain, among other countries, where the cachet of her name has been combined with that of the fashion houses citing her as an inspiration. Despite her enduring reputation as an avant-garde style icon and a singular dresser who was just as likely to wear elaborate costumes as nothing at all, her engagement with fashion was not always as visibly eccentric as her posthumous impact suggests. Nor was it strictly within the binary of fashion and “anti-fashion”. Casati was at once a “disruptive” body and a conventionally stylish one. Popular memory has focused on the more “spectacular” and stylized elements of her esthetic. Archival evidence and artistic representation demonstrate how Casati constructed a wardrobe that melded the conventional and shocking, and how fashion played a role in the emergence of her chimerical public persona.
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Marchesa Casati作为时尚板块和时尚缪斯
近几十年来,从高级时装到高街品牌,Marchesa Luisa Casati已经成为时装设计师们的永恒缪斯。受Marchesa启发的系列与她的背景和她居住的空间的历史联系在一起。卡萨蒂出生在意大利,但在法国、意大利和英国等国生活和旅行,在这些国家,她的名字的声望与以她为灵感的时装公司结合在一起。尽管她作为前卫风格的偶像和一个独特的穿衣者的名声经久不衰,但她对时尚的参与并不总是像她死后的影响所显示的那样明显古怪。它也不严格地属于时尚和“反时尚”的二元对立。卡萨蒂既是一个“颠覆性”的人,又是一个传统时尚的人。大众的记忆集中在她的美学中更为“壮观”和程式化的元素。档案证据和艺术表现展示了卡萨蒂如何构建一个融合了传统和震撼的衣橱,以及时尚如何在她虚幻的公众形象的出现中发挥作用。
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来源期刊
CiteScore
2.10
自引率
10.00%
发文量
41
期刊介绍: The importance of studying the body as a site for the deployment of discourses is well-established in a number of disciplines. By contrast, the study of fashion has, until recently, suffered from a lack of critical analysis. Increasingly, however, scholars have recognized the cultural significance of self-fashioning, including not only clothing but also such body alterations as tattooing and piercing. Fashion Theory takes as its starting point a definition of “fashion” as the cultural construction of the embodied identity. It provides an interdisciplinary forum for the rigorous analysis of cultural phenomena ranging from footbinding to fashion advertising.
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