New York (AP) – Fashion and Freud? From top hats to stilettos, to screws and bullet dresses, what we choose to put on our backs is interpreted through the lens of psychoanalysis in a new exhibit of five years.
Valerie Steel, Director Fit Museum, Curated almost 100 designer pieces and provided a roadmap of sorts between them. fashion And the unconscious mind, the need for armor, the pull of desires, and so on.
And she pointed out during a walkthrough of the exhibition one day before Wednesday’s opening, Freud himself was a fashionista, wearing a strict English style suit made from the finest materials and perfectly tailored to the perfection.
Meanwhile, 69-year-old Steele has never spent time. Psychoanalyst’s sofashe has been intrigued by her interactions with fashion in practice for quite some time.
“Since I was in graduate school, when I began focusing on fashion history, it seemed to provide clues to explain the power and appeal of fashion, despite all the dead ends and real problems of psychoanalysis, and the hostility that deals with fashion,” she said.
There will be some takeaways of the exhibition “Dress, Dreams and Desire: Fashion and Psychoanalysis” which will be held at the Museum of Fashion Technology from September 10th to January 4th.
The father of psychoanalysis as a fashion darling
Historian Peter Gay once wrote: Fashion is no exception.
As the exhibit points out, Marc Jacobs released a simple dress in 1990 called the “Freudslip.” The image of Freud was decorated. John Galliano created a collection of Dior in 2000 called “Freud or Fetish.” It was a quest for sexual fantasy.
“I’m trying to symbolize what fetishism evokes in the psychology of clothing,” Galliano said in his shownote.
Meanwhile, Prada debuted a film titled “A Therapy” at the 2012 Cannes Film Festival. It is directed by Roma Polanski, featuring Helena Bonham Carter as a patient and Ben Kingsley as a psychoanalyst. At one point, the analyst wears a patient’s fur coat and says, “What does that mean?”
Mirror and the Sheaparelli
The exhibit includes a cropped black velvet jacket created by Elsa Ciaparelli in 1938. This is called the “mirror” and features glass sequins and buttons with gold and silver mirrors on the chest that evoke a classic bust.
It was a meditation on how women are perceived culturally.
Steele said the jacket is sometimes interpreted as a reflection of the “mirror phase” of French psychoanalyst Jacques Lacan’s body image development. The baby looks in the mirror, the theory goes, looking at the whole person, not a collection of fragmented parts. However, Lacan believed that wholeness was an illusion.
Schiaparelli, who passed away in 1973, spoke about her mother’s gaze as her first mirror, and often declared ugly to the point that her mother often failed to recognize herself in the mirror.
So many pharynx symbols, so many times
Freud was on board when it came to the phallus symbols, especially in dreams and broad cultural contexts.
Hello, the top hat and stiletto, the ultimate phallic expression of fashion, Steele said. The exhibition explores desires and sexuality, including the idea of a “palm woman.” The steel included one of Jean Paul Gaultier’s “corn bra” dresses. Madonna accepted style I came back to my old days with cones or bullets protruding from my chest.
Freud certainly did not invent the concept of phallus symbols or female sexual symbols.
“These have existed for thousands of years from ancient Rome to ancient India, and he considered them to be an important part of the human individual,” Steele said.
Fashion and naked body
Freud saw the idea of nude as a loophole for women to view it as shameful. Today I’m thinking about playing on the runway. Famous replicas, Plunge, Green Versace Dress The exhibit shows Jennifer Lopez wearing it at the 2000 Grammy Awards. Naked dress They then multiplied on red carpets and fashion shows.
“One of Freud’s ideas was that people wanted to show off their naked bodies and genitals,” Steele said.
It began with the chest and arms of an evening dress, then moved to a splash of legs in the 1920s, and to a bare back in the 30s.
British psychologist and psychoanalyst John Fulgel, and later, 30’s fashion historian James Larber, wondered whether the energy zone of fashion had shifted to maintain male gaze. Not so, Steele said.
Hays’ code was, in some cases, a more likely culprit. From 1934 to 1968, guidelines implemented by American film producers and distributors determined what was on screen and what could not be.
For example, the idea that bucks are sexy has evolved exactly because they were shown, Steele said.
Fashion as a second skin
Fashion is often referred to as the second skin. In the second of the two rooms in the exhibition, the curator shows how it is more.
What we wear is “you can hold you like a hug. It can protect you like armor. And you can become sexualized by framing a bit of a naked body, or by emphasizing, for example, curves and body muscles.”
Look for a dress with red leather screws by Issey Miyake in 1983, or a dress by Lei Kawakubo that demonstrates the use of constructions that envelop the body architecturally.
Pascare Navari, a contemporary French psychoanalyst cited in the exhibition, said:
