The Modern Concept of Fashion and its Origins in Romanticism

Research output: Contributions to collected editions/worksContributions to collected editions/anthologiesResearchpeer-review

Standard

The Modern Concept of Fashion and its Origins in Romanticism. / Förster-Beuthan, Yvonne.
The Actuality of Romanticism. ed. / Franz-Josef Deiters; Axel Fliethmann; Birgit Lang; Alison Lewis; Christiane Weller. Vol. 5 Rombach Verlag, 2012. p. 141-159 (Limbus – Australisches Jahrbuch für germanistische Literatur- und Kulturwissenschaft; Vol. 5).

Research output: Contributions to collected editions/worksContributions to collected editions/anthologiesResearchpeer-review

Harvard

Förster-Beuthan, Y 2012, The Modern Concept of Fashion and its Origins in Romanticism. in F-J Deiters, A Fliethmann, B Lang, A Lewis & C Weller (eds), The Actuality of Romanticism. vol. 5, Limbus – Australisches Jahrbuch für germanistische Literatur- und Kulturwissenschaft, vol. 5, Rombach Verlag, pp. 141-159.

APA

Förster-Beuthan, Y. (2012). The Modern Concept of Fashion and its Origins in Romanticism. In F.-J. Deiters, A. Fliethmann, B. Lang, A. Lewis, & C. Weller (Eds.), The Actuality of Romanticism (Vol. 5, pp. 141-159). (Limbus – Australisches Jahrbuch für germanistische Literatur- und Kulturwissenschaft; Vol. 5). Rombach Verlag.

Vancouver

Förster-Beuthan Y. The Modern Concept of Fashion and its Origins in Romanticism. In Deiters FJ, Fliethmann A, Lang B, Lewis A, Weller C, editors, The Actuality of Romanticism. Vol. 5. Rombach Verlag. 2012. p. 141-159. (Limbus – Australisches Jahrbuch für germanistische Literatur- und Kulturwissenschaft).

Bibtex

@inbook{624c633c339f47658affcdac71741dc3,
title = "The Modern Concept of Fashion and its Origins in Romanticism",
abstract = "At first sight there seems to be no relation between Romanticism and the concept of fashion. Nevertheless the anthropological perspective on fashion has been reflected in the discussions during the “Goethe-era”. It also seems to be an interesting coincidence that the emergence of fashion-magazines happens at roughly the same time as romanticism in literature and philosophy appears. And further this historical period is the cradle of modern life starting out with the first forms of industrialization, democratic ideas and development of the middle classes, the so-called “B{\"u}rgertum”. Some of the most important concepts of modernity were reflected in romantic thinking, such as {\textquoteleft}labour{\textquoteright}, {\textquoteleft}Bildung{\textquoteright} and {\textquoteleft}production{\textquoteright}. These modern concepts together with the paradigm of economics and the free market evolved around 1800 and are in a crisis today. Romanticism took a critical stance toward the economic as leading paradigm in socitey, which might be worth recalling today. Although fashion was not an urgent topic amongst romantic writers, the historical coincidence of romanticism and the flourishing discussion about fashion is worth a second look. To begin with I will have a look at the relation of fashion and economics, because fashion and romanticism are linked by economics. The second topic that also works as a conceptual link is art. The idea that art becomes selfreferential and universalistic (transcendental poetry) is a thought central to romantic thinking. This is the birthplace of the modern notion of literature (see Behler). I attempt to show how these ideas could be applied to fashion and consequently how a modern concept of fashion is developed around 1800. In the second part of this paper I will outline one central aspect of the modern concept of fashion: temporality. There are two different aspects of temporality of fashion, which I will discuss. First: Temporality as a necessary condition of the concept of fashion. An second: The development of the temporality itself in the last 200 years. The result of this process bears the traces of its origins – the romantic concept of irony returns within fashion-making of the last 30 years. This is what I attempt to show in the closing section of this paper.",
keywords = "Philosophy",
author = "Yvonne F{\"o}rster-Beuthan",
note = "ISBN 978-3-7930-9704-4 Die Aktualit{\"a}t der Romantik",
year = "2012",
language = "English",
isbn = "978-3-7930-9704-4",
volume = "5",
series = "Limbus – Australisches Jahrbuch f{\"u}r germanistische Literatur- und Kulturwissenschaft",
publisher = "Rombach Verlag",
pages = "141--159",
editor = "Franz-Josef Deiters and Axel Fliethmann and Birgit Lang and Alison Lewis and Christiane Weller",
booktitle = "The Actuality of Romanticism",
address = "Germany",

}

RIS

TY - CHAP

T1 - The Modern Concept of Fashion and its Origins in Romanticism

AU - Förster-Beuthan, Yvonne

N1 - ISBN 978-3-7930-9704-4 Die Aktualität der Romantik

PY - 2012

Y1 - 2012

N2 - At first sight there seems to be no relation between Romanticism and the concept of fashion. Nevertheless the anthropological perspective on fashion has been reflected in the discussions during the “Goethe-era”. It also seems to be an interesting coincidence that the emergence of fashion-magazines happens at roughly the same time as romanticism in literature and philosophy appears. And further this historical period is the cradle of modern life starting out with the first forms of industrialization, democratic ideas and development of the middle classes, the so-called “Bürgertum”. Some of the most important concepts of modernity were reflected in romantic thinking, such as ‘labour’, ‘Bildung’ and ‘production’. These modern concepts together with the paradigm of economics and the free market evolved around 1800 and are in a crisis today. Romanticism took a critical stance toward the economic as leading paradigm in socitey, which might be worth recalling today. Although fashion was not an urgent topic amongst romantic writers, the historical coincidence of romanticism and the flourishing discussion about fashion is worth a second look. To begin with I will have a look at the relation of fashion and economics, because fashion and romanticism are linked by economics. The second topic that also works as a conceptual link is art. The idea that art becomes selfreferential and universalistic (transcendental poetry) is a thought central to romantic thinking. This is the birthplace of the modern notion of literature (see Behler). I attempt to show how these ideas could be applied to fashion and consequently how a modern concept of fashion is developed around 1800. In the second part of this paper I will outline one central aspect of the modern concept of fashion: temporality. There are two different aspects of temporality of fashion, which I will discuss. First: Temporality as a necessary condition of the concept of fashion. An second: The development of the temporality itself in the last 200 years. The result of this process bears the traces of its origins – the romantic concept of irony returns within fashion-making of the last 30 years. This is what I attempt to show in the closing section of this paper.

AB - At first sight there seems to be no relation between Romanticism and the concept of fashion. Nevertheless the anthropological perspective on fashion has been reflected in the discussions during the “Goethe-era”. It also seems to be an interesting coincidence that the emergence of fashion-magazines happens at roughly the same time as romanticism in literature and philosophy appears. And further this historical period is the cradle of modern life starting out with the first forms of industrialization, democratic ideas and development of the middle classes, the so-called “Bürgertum”. Some of the most important concepts of modernity were reflected in romantic thinking, such as ‘labour’, ‘Bildung’ and ‘production’. These modern concepts together with the paradigm of economics and the free market evolved around 1800 and are in a crisis today. Romanticism took a critical stance toward the economic as leading paradigm in socitey, which might be worth recalling today. Although fashion was not an urgent topic amongst romantic writers, the historical coincidence of romanticism and the flourishing discussion about fashion is worth a second look. To begin with I will have a look at the relation of fashion and economics, because fashion and romanticism are linked by economics. The second topic that also works as a conceptual link is art. The idea that art becomes selfreferential and universalistic (transcendental poetry) is a thought central to romantic thinking. This is the birthplace of the modern notion of literature (see Behler). I attempt to show how these ideas could be applied to fashion and consequently how a modern concept of fashion is developed around 1800. In the second part of this paper I will outline one central aspect of the modern concept of fashion: temporality. There are two different aspects of temporality of fashion, which I will discuss. First: Temporality as a necessary condition of the concept of fashion. An second: The development of the temporality itself in the last 200 years. The result of this process bears the traces of its origins – the romantic concept of irony returns within fashion-making of the last 30 years. This is what I attempt to show in the closing section of this paper.

KW - Philosophy

UR - http://www.rombach-verlag.de/buecher/wissenschaft/rombach/buch/details/limbus-australisches-jahrbuch-fuer-germanistische-literatur-und-kulturwissenschaft-band-52012.html

M3 - Contributions to collected editions/anthologies

SN - 978-3-7930-9704-4

VL - 5

T3 - Limbus – Australisches Jahrbuch für germanistische Literatur- und Kulturwissenschaft

SP - 141

EP - 159

BT - The Actuality of Romanticism

A2 - Deiters, Franz-Josef

A2 - Fliethmann, Axel

A2 - Lang, Birgit

A2 - Lewis, Alison

A2 - Weller, Christiane

PB - Rombach Verlag

ER -