Pub Date : 2021-01-02DOI: 10.1080/20511817.2020.1864592
Catherine Kovesi
Amongst the trinkets available for sale in the shop of the Basilica di San Marco, the most important religious edifice of the city of Venice, is a small fridge magnet depicting a rhinoceros in mosaic. This Venetian mosaic is arguably the first known representation of a rhinoceros in Western Europe since the fourth century. Whether or not the mass touristic hordes to whom such trinkets are marketed have seen or even managed to find this mosaic hidden within the Basilica on the floor near a side chapel, this magnet embodies the core themes of this special issue of Luxury: History, Culture, Consumption. I feel a sense of deep gratitude and privilege that Jonathan Faiers was persuaded of the timeliness of an initially unlikely pairing of themes in this, his last issue as editor of the journal he founded, and a journal which is uniquely Lu xu ry D O I: 10 .1 08 0/ 20 51 18 17 .2 02 0. 18 64 59 2
威尼斯市最重要的宗教建筑圣马可大教堂（Basilica di San Marco）的商店里出售的小饰品中，有一块小冰箱磁铁，上面用马赛克描绘了一头犀牛。这幅威尼斯马赛克可以说是自四世纪以来西欧已知的第一幅犀牛画。无论这些小饰品的营销对象是否已经看到，甚至设法找到了隐藏在小教堂附近地板上的大教堂内的马赛克，这块磁铁都体现了本期《奢侈品》特刊的核心主题：历史、文化、消费。我深感感激和荣幸的是，乔纳森·费尔斯（Jonathan Faiers）被说服了这本最初不太可能的主题组合的及时性，这是他作为自己创办的杂志的最后一期编辑，也是一本独特的《鲁日报》：10.1080/20 51 18 17.2 02 0。18 64 59 2
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Pub Date : 2021-01-02DOI: 10.1080/20511817.2021.1874151
M. Hayward
With these words, Galeazzo Maria Sforza, made a mock confession of his sins to the Mantuan ambassador to Milan, Zaccaria Saggi, in 1473, and, as Timothy McCall notes, when Galeazzo admitted to luxuria, he was observing that he was guilty of lust, not indulging in luxury. This example sits at the heart of Catherine Kovesi’s fascinating book which is as much about the language of luxury as it is about the goods that early modern Italians across the social spectrum Maria Hayward is professor of Early Modern History at the University of Southampton. Her research interests include late medieval and early modern textiles and clothing, gift giving, and Tudor and Stuart court culture. Her most recent book is Stuart Style: Monarchy, Dress and the Scottish Male Elite (Yale University Press, 2020). m.hayward@soton.ac.uk
{"title":"Luxury and the Ethics of Greed in Early Modern Italy","authors":"M. Hayward","doi":"10.1080/20511817.2021.1874151","DOIUrl":"https://doi.org/10.1080/20511817.2021.1874151","url":null,"abstract":"With these words, Galeazzo Maria Sforza, made a mock confession of his sins to the Mantuan ambassador to Milan, Zaccaria Saggi, in 1473, and, as Timothy McCall notes, when Galeazzo admitted to luxuria, he was observing that he was guilty of lust, not indulging in luxury. This example sits at the heart of Catherine Kovesi’s fascinating book which is as much about the language of luxury as it is about the goods that early modern Italians across the social spectrum Maria Hayward is professor of Early Modern History at the University of Southampton. Her research interests include late medieval and early modern textiles and clothing, gift giving, and Tudor and Stuart court culture. Her most recent book is Stuart Style: Monarchy, Dress and the Scottish Male Elite (Yale University Press, 2020). m.hayward@soton.ac.uk","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44473902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-27DOI: 10.1080/20511817.2018.1738705
M. Gross
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Pub Date : 2019-09-02DOI: 10.1080/20511817.2021.1897268
J. Armitage, Joanne Roberts
Abstract This article offers the reader an encounter with crucial writings on the globalisation of luxury fashion. In so doing, it introduces an original conceptualisation of luxury fashion. The historical meaning of the globalisation of luxury fashion from Roman times up until the present period is examined. The globalisation of Gucci, the Italian luxury fashion brand specialising in leather goods, is then analysed. Through this case study the complexity of the globalisation of luxury fashion is revealed. The Italian luxury fashion brand has from its inception in 1921 drawn on and absorbed a range of cultures from across the globe. Globalisation of national luxury fashion brands is, therefore, far from unidirectional. Rather, such processes involve a multidirectional flow of luxury cultural influences. Indeed, it is concluded that luxury fashion itself is a globalising medium of luxury culture.
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Pub Date : 2019-05-04DOI: 10.1080/20511817.2020.1818947
Marie Tavinor
Le luxe desordonne se detruit lui-meme, il epuise ses sources, il tarit ses canaux.Saint-LambertThis special issue of the Journal Luxury, History, Culture, Consumption stems from a conference which...
无序的奢侈会自我毁灭，耗尽它的泉水，耗尽它的运河。这是《奢侈品、历史、文化、消费主义杂志》的特刊。
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Pub Date : 2019-05-04DOI: 10.1080/20511817.2020.1818942
Isabella Campagnol
Abstract In 18th century Venice, a city renowned for its unparalleled opulence, judicious recycling and repurposing of luxury textiles, was, ironically, the norm. Archival documents routinely list elegant, but “worn out” items, as in the 1773 inventory of Marina Eirardi, where a number of broken and “useless” clothing items are mentioned, and where is carefully described what remains of a precious gown made with a “brocade fabric with gold and silver flowers … disassembled into pieces and the gold and silver flowers had been removed … so that holes remain in their places”. While we do not know what happened to the flowers, it is anyway clear that these valuable elements were saved and somehow recycled, if only to melt down the precious metals. Comparing this document with an almost contemporary garment, the paper proposes to explore examples of patrician thriftiness, opening interesting avenues of investigations about the reuse of luxury items.
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Pub Date : 2019-05-04DOI: 10.1080/20511817.2020.1818948
Ben Wild
Abstract The study and contextualisation of one early twentieth-century fancy dress costume from The John Bright Collection, London, provides an opportunity to challenge the socialised assumption that fancy dress costume is a short-lived, skill-less and superficial spectacle. Like many examples of this sartorial form, the Good Luck dress examined here shares characteristics with clothing termed, with little hesitation, luxury.
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Pub Date : 2019-05-04DOI: 10.1080/20511817.2020.1818946
S. Jaques
Abstract After seizing power in 1762, Catherine II organized the most extravagant coronation money could buy. To add to the splendour, she placed a rush order for a crown. With carte blanche to use luxurious objects from the Russian treasury, jeweler Jérémie Pauzié designed “one of the richest objects that has ever existed in Europe”. Five thousand diamonds adorned the surface of the two half spheres; two rows of white pearls outlined the edges of the miters. The pièce de résistance was a nearly 400-carat ruby red spinel, removed from the crown of Empress Anna, niece of Peter the Great. The world’s second largest spinel had been acquired in Peking in 1676 by Russia’s envoy to China. Thrilled, Catherine declared that she’d somehow manage to hold “this heavy thing” on her head during the four-hour Kremlin ceremony. In the tradition of Byzantine emperors before and Napoleon after, Catherine placed the crown on her own head. It was worn by all of her successors, from her son Paul I to Nicholas II, Russia’s last tsar.
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Pub Date : 2019-05-04DOI: 10.1080/20511817.2019.1818940
P. Bertrand
Abstract Tapestry is a luxury item before being a work of art. By the very fact of its function, tapestry undergoes transformations since all time. We cut or add borders, we cut large format tapestry into several pieces, and then, we re-sew them, all of this acts to put them to the dimension of surfaces that the tapestry must cover. This presentation would like to dwell on a particular case of a "tinkered" tapestry, the example of which is very useful today for the art historian to understand the phenomenon of usage, far from the notion of heritage we have today. What could be considered wasteful is actually reuse. What appears as vestiges of the past can also be useful for finding lost original compositions. Relying on archival documents, this is what I propose to do from a tapestry woven at the Beauvais Manufactory in the late eighteenth century.
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Pub Date : 2019-05-04DOI: 10.1080/20511817.2020.1818945
S. Fergusson
Abstract ‘The Virtue of Auction Houses’ shows auction houses to be important centres of recycling using philosophical theory combined with first-hand experience. The notion of ‘waste’ is explored – luxury items lying unworn and unused. This has moral implications and negates our ability to understand these objects. The auction house gives voice to these pieces once again. But why should we take the time to acknowledge these ideas? The answer is twofold: firstly, we can encourage self-reflection on the part of vendor, allaying any feelings of guilt they may have concerning the sale of those same pieces. Secondly, we can use these concepts to promote the auction industry as a whole, engaging a new audience of considerate, considered buyers.
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