JELENA ZDRAVKOVIĆ
College for Professional Studies – Belgrade Polytechnics, Belgrade, Serbia
jelena.zdravkovic@sbb.rs

MODA KRISTIJANA DIORA KAO TEKST KULTURE: strategije prisvajanja New Look-a kasnih četrdesetih i pedesetih godina HH veka
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 Dior K
050UKUS

Abstract (original language):
U ovom radu se New Look Kristijana Diora (Christian Dior) posmatra prvenstveno kao tekst koji se analizira i interpretira u odnosu na kontekst u kom delo nastaje, kao i u odnosu na tekstove sa kojima dolazi u dodir. Odevanje se u ovom radu posmatra kao konstitutivni deo istorijsko-kulturnog miljea u kom se odevna praksa odvija, ali i kao individualni odgovor na vladajući modni diskurs. Samim tim moda Kristijana Diora može da se posmatra kao tekst kulture. Rad se prvenstveno oslanja na dela Rolana Barta (Roland Barthes), Umberta Eka (Umberto Eco), Jurija M. Lotmana (Ю. M. Lotman) i teoretičara mode Malkolma Barnarda (Malcolm Barnard), a koristi i uvide iz teorija roda i teorije citatnosti. Na primerima prisvajanja Diorove mode biće pokazano da se kodovi na osnovu kojih možemo čitati istu siluetu, isti tekst, razlikuju i zavise od konteksta u kome se odevna praksa odvija. Radom su obuhvaćeni karakteristični primeri iz odevne prakse zapadnoevropskih zemalja i sa tla SAD, a posebna pažnja je posvećena interpretaciji New Look-a na prostoru FNRJ.

Key words: (original language)
Dior, kôd, kontekst, semiotika, tekst kulture

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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