Fashion Zeitgeist has 15 ratings and 3 reviews. Benjamin said: Reading clothes and post-fashion the way one would read a poem for by. Barbara Vinken. 1 quote from Fashion Zeitgeist: Trends and Cycles in the Fashion System: ‘Today, Chanel sells nothing other than its griffe; the griffe is an absolute sy. Vinken shows how fashion trends are informed by the past. Chanel, under the direction of Karl Lagerfeld, is viewed as the only fashion house to have remained .
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Fashion zeitgeist : trends and cycles in the fashion system (Book, ) 
Although it is appealing to think that fashion has taken a sharp turn away from conventions established in the industry over the past century and more, is this really the case? Or are ‘pioneering’ designs simply part of a cyclical revival of forgotten fashions? Looking at some of the most influential designers of the twentieth century, Vinken considers the politics and philosophies that have been the driving forces directing their sense of style.
Vinken describes ‘Fashion Zeitgeist’ as a trend characterized by representations of traces of the past. She considers the key concepts behind designers such as Yamamoto, Gaultier, and Lagerfeld.
The originality of Yamamoto’s multi-layered look stems from his philosophy that it is the individual sum of experience that is important, not the collective consequences of history. Martin Margiela, although he himself refuses to be photographed or appear in the public eye, brings new individuality into fashion.
Fashion Zeitgeist: Trends and Cycles in the Fashion System by Barbara Vinken
Chanel, under the direction of Karl Lagerfeld, is viewed as the only fashion house to have remained fresh after years, yet is this success essentially proof of the self-referential qualities fashion has adopted? What inspired the fetish for labels at the end of the twentieth century? Answering these questions and many more, this concise and thought-provoking book shows how beauty, gender, sexuality, commerce and dandyism have persisted in defining the fashion system.
Signs of the Time.
Unconstrained zeiteist the empiricist concerns of much Anglo-American scholarship on dress, Vinken presents a challenging new poetics of clothing which will inform subsequent readings of style in significant ways. Its translation into English should be applauded. This is essential reading not only for students of dress history, but also for all fashionistas and anyone interested in the abiding fascination that fashion exerts.