In Couture Culture Nancy Troy offers a new model of how art and fashion were linked in the early 20th century. Focusing on a leader of the French fashion industry, Paul Poiret, Troy uncovers a logic of fashion based on the tension between originality and reproduction that bears directly on art historical issues of the period. This tension lies at the heart of haute couture, which, although designed for the wealthy, was also intended to be adapted for sale in department stores and other clothing outlets that catered to a broader consumer market.
An early breakthrough toward a new "way of knowing" or paradigm shift in the history of arts and culture. I suspect that Troy's early work in this vein will be understood, not just as a harbinger, but also as an essential building block for a foundation of the future--a yet-to-be articulated, academic approach, as well as an even broader way of understanding the world through a lens that we now imperfectly refer to as the humanities (because the fast pace of innovation in media, materials and design has already begun to spur an implosion of our traditional definitions of academic disciplines and modes of inquiry).
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