By Enid Taylor
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Additional resources for Decorative Beaded Purses (Beadwork Books)
20. 21. 22. 23. 24. 25. 26. 27. 28. so comfortable and so sexy, nonetheless, in the twentieth century, they gradually come to appreciate the pleasures of the modern, masculine tendency, which leaves all superﬁciality, all the fussy little ornamental bits and pieces behind. See Mark C. Taylor, ‘De-signing,’ in: Hiding, pp. 167–217. But then, of course, even this antifashion is part of fashion as you can see in ‘clean’ designers, mostly American, such as Calvin Klein, to give but one example. On the problem of Mannerism and classicism, see in particular Ursula LinkHeer, ‘Die Mode im Museum oder Manier und Stil (mit einem Blick auf Versace),’ in Mode, Weiblichkeit und Modernität, ed.
On the one hand, man now becomes the privileged bearer of fetishized femininity and men’s fashion becomes absolutely flamboyant. On the other hand, woman wears the fetish of femininity as a foreign body periodically disrupted by masculine appropriation. Particularly appropriate in this respect is Gaultier’s response to the Kunigunde-like sex symbols of a Frederick’s of Hollywood. 44 While the latter naturalized the fetishized feminine, Gaultier literally turned inside out the process by which the woman inhabits fetishized femininity.
47. 13. Jean-Jacques Rousseau, Politics and the Arts – Letter to M. D’Alembert on the Theatre, trans. with notes and an introduction by Allan Bloom, Ithaca 1987, p. 100. 14. Rousseau, Politics and the Arts, p. 112. 15. Honoré de Balzac, Physiologie de la toilette, in Traité des excitants modernes; suivi de Physiologie de la toilette; et de Physiologie gastronomique, with a preface by Jean-Jacques Brochier, Bègles 1992. 16. Anne Hollander, in one of her most recent books Sex and Suits: The Evolution of Modern Dress, New York 1995 has attempted to free fashion from this stigma of femininity.