By Joanne Entwistle, Elizabeth B. Wilson
The physique has lately develop into a well-liked topic for research, but the position performed by means of costume in defining the physique has been principally neglected. This publication examines the best way gown acts at the physique and is fundamental to our event of embodiment. a lot of gown research to date has focused too seriously at the textual and has missed the sensual nature of donning outfits and their half in our adventure of embodiment. How outfits 'feel' at the physique is as vital from time to time as how they appear or what they may 'mean'. Exploring gender, images, cultural historical past and modernity, this booklet bargains with an unlimited diversity of questions inherent in dressing up the physique. From type images and ads within the Nineteen Sixties to modern queer style and switch of the century tailoring, it is a interesting and far-reaching assortment.
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Additional resources for Body Dressing (Dress, Body, Culture)
1987), The Truth in Painting, Chicago, Chicago University. Descartes, R. , London, Dent. Dickens, C. (1965), Great Expectations, Harmondsworth, Penguin English Library. Eco, U. (1973), ‘Social Life as Sign System’ in Robey, D. ), Structuralism, an Introduction, Oxford, Oxford University. C. and Thornton, M. (1989), Women and Fashion: a new look, London, Quartet Books. Finkelstein, J. (1991), The Fashioned Self, Cambridge, Polity. C. (1950), The Psychology of Clothes, London, Hogarth. Garber, M.
In bringing embodiment to the fore of his analysis and emphasizing that all human experience comes out of our bodily position, Merleau-Ponty’s analysis offers a fruitful starting point for the analysis of dress as situated bodily practice. Dress is always located spatially and temporally: when getting dressed one orientates oneself/body to the situation, acting in particular ways upon the surfaces of the body which are likely to fit within the established norms of that situation. Thus the dressed body is not a passive object, acted upon by social forces, but actively produced through particular, routine and 45 Body Dressing mundane practices.
The body and dress operate dialectically: dress works on the body, imbuing it with social meaning while the body is a dynamic field which gives life and fullness to dress (Entwistle and Wilson 1998). Thus the dressed body is a fleshy, phenomenological entity that is so much a part of our experience of the social world, so thoroughly embedded within the micro-dynamics of social order, as to be entirely taken for granted. 36 The Dressed Body With a growing literature emerging on fashion, dress, the body, embodiment, performativity, it seems almost a cliché to insist that fashion and dress operate on the body and that, by implication, the body and dress are now a crucial arena for the performance and articulation of identities.