Perfume as an interpretive key to the Song of Songs

Perfume as an interpretive key to the Song of Songs
by Dana Keren Yaar

International Journal of Fashion Studies, Issue 2.2 (2015)

Keywords
perfume, physical bonding, Song of Songs, nonverbal language, Kristeva, ambiguity of love, maternal intimacy

Abstract
The Song of Songs is a biblical text filled with the names of perfumes and, in terms of form, it is infused with ambiguity, vagueness and loose connections. The article suggests that perfume is an essential element in the biblical text. The image of perfume is not a mere diversion that is subordinate to a coherent plot, but is rather a means to undermine the plot and set the open and effervescent tone of the entire song. In the same spirit, the article does not attempt to offer a unified interpretation, but instead adapts to the expansive character of the ‘perfumed’ biblical text, inviting multiple readings. The present reading searches for the various appearances of the perfume motif in order to locate the mother figure. This marginal and almost hidden figure in the Song of Songs is related to the aspect of scent and is mysteriously juxtaposed with the figure of the lovers. The article claims that by sliding down the fragrant, yet obscure, path connecting the love between lovers to the love of a mother for her children, we discover that the mother proves to be the source of the bond between the lovers and a critical figure in the development of love.

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The English version is available in the hardcopy edition of issue 2.2 and online:

Children and how they came into fashion on printed textiles between 1770 and 1840

Children and how they came into fashion on printed textiles between 1770 and 1840
by Aziza Gril-Mariotte
International Journal of Fashion Studies, Issue 2.2 (2015)
Keywords
decorative arts,interior design,textiles,fashion,pattern,childhood

Abstract
In the eighteenth century, education rather than childhood became a real challenge for the philosophers. The making of the ‘new man’ now came by way of childhood, at a time when the child is seen as an entirely separate being and an adult-to-be. The feeling of childhood, to recall the words of Philippe Ariés, is reflected in the printed textile. At the end of the eighteenth century, these representations evolved into the placing of the child at the centre of the family, reflecting the arrival of a middle-class society in which the child’s education became a real focus. Between the second half of the eighteenth and first half of the nineteenth centuries, the presentation of childhood was changing, the fabric makers following the taste and motifs spread by the print process. Starting with the biggest French manufacturers between 1770 and 1840, we will see how the idea of childhood was spread via the fabrics designed to persuade the biggest number of buyers to choose them for their interiors. And we will see how, in the nineteenth century, these designs promoted a real dialogue centred on the child.

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La mode des enfants, du nouveau-né à l’écolier, l’émergence de la figure enfantine dans le textile imprimé (1770-1840)

The English version is available in the hardcopy edition of issue 2.2 and online:

Models wearing Balenciaga in the fashion press: A comparative study

Models wearing Balenciaga in the fashion press: A comparative study
International Journal of Fashion Studies, Issue 2.2 (2015)

Keywords
models, Balenciaga, fashion press, fashion photography

Abstract
This article analyses to what extent Cristóbal Balenciaga’s 1956 censure of the fashion press affected the subsequent coverage of his creations in major fashion magazines. The study focuses on the models that wore Balenciaga’s designs as they were displayed in L’Officiel and American editions of Vogue and Harper’s Bazaar from 1937, the date of Balenciaga’s first appearance in the fashion press, and 1968, the year the designer retired, and makes a comparative analysis of the models to determine if there was a change in the fashion coverage of Balenciaga after 1956. In order to assess any possible variation, the study takes into account the evolving context of modelling throughout the period being studied and the characteristics of the models working exclusively for Maison Balenciaga.

Resumen

El presente artículo analiza si el veto a la prensa de moda que Cristóbal Balenciaga protagonizó en 1956, afectó posteriormente al tratamiento informativo de sus creaciones en las principales revistas especializadas. El estudio se centra en las modelos vestidas de Balenciaga que aparecen en L ́Officiel y en las ediciones norteamericanas de Vogue y Harper ́s Bazaar entre 1937,-fecha de la primera aparición en prensa de Balenciaga- y 1968, -fecha de la retirada del modisto-; y, realiza un análisis comparativo de las mismas, para determinar si hubo cambios en la información sobre su moda después de 1956. Con el fin de valorar las posibles variaciones encontradas, el trabajo tiene en cuenta el cambiante contexto general de la profesión de modelo a lo largo del período de estudio, así como las características de las modelos que trabajaban en exclusiva para Maison Balenciaga.

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Modelos vestidas por Balenciaga en la prensa de moda. Un estudio comparativo

The English version is available in the hardcopy edition of issue 2.2 and online: