MARC Record from marc_columbia

LEADER: 03282fam a22004574a 4500
001 3373780
005 20221020055425.0
008 020215s2002 mauac b 001 0 eng
010 $a 2002023338
020 $a0262201402 (hc : alk. paper)
035 $a(OCoLC)51280165
035 $a(OCoLC)ocm51280165
035 $a(NNC)3373780
035 $a3373780
040 $aDLC$cDLC$dNNC$dOrLoB-B
042 $apcc
043 $ae-fr---
050 00 $aTT507$b.T845 2002
082 00 $a746.9/2/0904$221
100 1 $aTroy, Nancy J.$0http://id.loc.gov/authorities/names/n79136573
245 10 $aCouture culture :$ba study in modern art and fashion /$cNancy J. Troy.
260 $aCambridge, MA :$bThe MIT Press,$c2002.
263 $a0212
300 $axi, 438 pages :$billustrations, portraits ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references and index.
505 00 $g1.$tFashion, Art, and the Marketing of Modernism --$g2.$tTheater and the Spectacle of Fashion --$g3.$tFashioning Commodity Culture --$g4.$tThe Readymade and the Genuine Reproduction.
520 1 $a"In Couture Culture, Nancy Troy offers a new model of how art and fashion were linked in the early twentieth 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.
520 8 $aThis 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. Troy examines the relationships between elite and popular culture, the professional theater and the fashion show, as well as the presumed polarity between classical and Orientalist sensibilities. She shows how Poiret and other designers patronized the arts and presented themselves as artists not only to sell their individual dresses to wealthy clients but also to promote the mass production of their designs.
520 8 $aThe contradictions she uncovers suggest surprising parallels with the readymades and fashion-related work of Marcel Duchamp, who explored the questions of originality and authenticity raised by couture culture during the 1910s and 1920s.".
520 8 $a"In contrast to dominant accounts of early twentieth-century art that have dismissed fashion as superficial, fleeting, and feminized, Troy's more nuanced approach reveals conceptual structures and marketing strategies shared by modern art and fashion in these years."--BOOK JACKET.
650 0 $aCostume design.$0http://id.loc.gov/authorities/subjects/sh85033269
650 0 $aFashion and art.$0http://id.loc.gov/authorities/subjects/sh85047379
650 0 $aFashion$zFrance$xHistory$y20th century.
650 0 $aClothing trade$zFrance$xHistory$y20th century.
650 0 $aFashion designers$zFrance$xHistory$y20th century.
650 0 $aFashion merchandising$zFrance$xHistory$y20th century.
650 0 $aTheater and society$zFrance$xHistory$y20th century.
600 10 $aPoiret, Paul.$0http://id.loc.gov/authorities/names/n79145484
852 00 $bbar$hTT507$i.T845 2002