?????? ??????????
College for Professional Studies Belgrade Polytechnics, Belgrade, Serbia
jelena.zdravkovic@sbb.rs
???? ?????????? ????? ??? ????? ???????:
?????????? ?????????? New Look-? ?????? ??????????? ? ????????? ?????? ?? ????
THE FASHION OF CHRISTIAN DIOR AS A CULTURAL TEXT:
The Appropriation Strategies of the New Look in the Late 1940s and the 1950s
Journal 12/2016 (Museum of Applied Art), pages 36-44
Article category: scientific review
UDC:
7.05(497.1)1946/1960
7.05.071.1 ???? ?
050????
Abstract (original language):
? ???? ???? ?? New Look ?????????? ????? (Christian Dior) ???????? ??????????? ??? ????? ???? ?? ????????? ? ???????????? ? ?????? ?? ???????? ? ??? ???? ???????, ??? ? ? ?????? ?? ???????? ?? ?????? ?????? ? ?????. ??????? ?? ? ???? ???? ???????? ??? ????????????? ??? ??????????-????????? ????? ? ??? ?? ?????? ?????? ??????, ??? ? ??? ???????????? ??????? ?? ????????? ????? ???????. ????? ??? ???? ?????????? ????? ???? ?? ?? ???????? ??? ????? ???????. ??? ?? ??????????? ?????? ?? ???? ?????? ????? (Roland Barthes), ??????? ??? (Umberto Eco), ?????? ?. ??????? (?. ?. ??????) ? ??????????? ???? ???????? ???????? (Malcolm Barnard), ? ??????? ? ????? ?? ??????? ???? ? ??????? ??????????. ?? ????????? ?????????? ??????? ???? ???? ???????? ?? ?? ?????? ?? ?????? ????? ?????? ?????? ???? ???????, ???? ?????, ????????? ? ?????? ?? ????????? ? ???? ?? ?????? ?????? ??????. ????? ?? ?????????? ??????????????? ??????? ?? ?????? ?????? ???????????????? ?????? ? ?? ??? ???, ? ??????? ????? ?? ????????? ?????????????? New Look-a ?? ???????? ????.
Key words: (original language)
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Summary:
In this paper, Christian Dior's New Look is presented primarily as a text to be analyzed and interpreted with regard to the context in which it was created and texts with which it comes into contact. The theoretical framework of the paper relies on the works of Roland Barthes, Umberto Eco, Yuri M. Lotman and the fashion theorist Malcolm Barnard.
In this study, dress is seen as a constituent part of the historical and cultural milieu in which dress practice takes place, as well as an individual response to the prevailing fashion discourse. Creators of fashion, just like any authors, certainly imprint messages on their works, whose creation is influenced not only by authors' intentions and available knowledge but also by the ideological sphere and communication circumstances under which they are created. The work thus contains codes that we seek to analyze in the process of "contextual interpretation." As far as the New Look is concerned, we have established that the context endows a garment with meaning because it is the context that enables us to read polysemic messages in a certain way. By tracking Dior's New Look through examples in fashion and dress practice, with special emphasis on the adoption of the New Look silhouette in the clothing practice of the Federal People's Republic of Yugoslavia, we have confirmed that it was subject to an unlimited process of generating meanings. The New Look has also become a symbol of the Dior fashion brand, a status symbol, a symbol of decadence in fashion, a symbol of fashion nostalgia, elitist fashion, fashion for the masses, fashion for working women.
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