By Jose Luis Velasco

Ceac. Barcelona. 1998. 24 cm. a hundred and forty four, [7] p. il. col. y n. Encuadernación en tapa blanda de editorial ilustrada. Ilustraciones, Dominique woodland. et al. Biblioteca de dibujo y pintura. Ilustraciones de, Dominique wooded area. (et al.). Pintando y dibujando (1989). Índice. Dibujo a lápiz. Técnica. Por José Luis Velasco. Dibujo a lápiz. Técnica .. Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario. Cubierta deslucida. ISBN: 84-329-7105-7

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A new and widespread form of this judgement is the more often heard, contemptuous remark, ‘Oh, this is just a new trend’. ”103 Georg Simmel takes yet another approach, focusing instead on the conspicuous consumption of novelties and on the dynamics of class imitation. Class imitation is an internal mechanism of the fashion system: “The vital conditions of fashion as a universal phenomenon in the history of our race are circumscribed by these conceptions. Fashion is the imitation of a given example and satisfies the demand for social adaptation; it leads the individual upon the road which all travel, it furnishes a general condition, which resolves the conduct of every individual into a mere example.

2001) on the history of Mother’s Day. The Death of Fashion 43 space. As consumer culture took the responsibility for a couple of functions of the social dimension, feasts and the dramatisation of the change of seasons became the responsibility of the stores in the cities. The basic human need to celebrate has been replaced by ritualised shopping, and window dressers did their share in making the feasts pleasant and appropriate. 119 People need systems of orientation to feel stable. The reliability of such systems is important and rites of passage linked to the change of seasons have fulfilled such a function for a long time.

140 Carter (2003:145) said in his critique that the fashion system is a complex system of social relations, which cannot be described by isolating just one dimension that is subsequently declared as the source and the essence of fashion. The Death of Fashion 49 hypothesis is that fashion employs a rite of passage to dramatise the change of fashion. A crisis is triggered by the periodical change and the ritual articulates this crisis by making it visible. Since rituals communicate on an emotional and intuitive level, our approach will be significantly different to that of Barthes.

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