Although its obsessions with the culinary and
vestimentary practices of women converted from Judaism or Islam sufficed to make them well represented among prisoners punished at its public autos-da-fe, Spain's Holy Office posed relatively minor problems for most Spanish women, and vice versa.
Then, an abridged
vestimentary description of Watt: "Watt wore a greatcoat, still green here and there" (217).
The work is marvelous for its diversity - Old Regime male attire in brocades, silks, velvets, and laces contrasted with Second Empire "black" in frock coats, trousers, and pipe hats; feminine dress between 1760 and 1937 reduced to 178 years of the bustled, tubular and bell-shaped; the rise of ready-made clothing; and the birth of the grand magasin, which created "
vestimentary democracy" (for the bourgeoisie if not peasants and proletarians) by bringing products and buyers together.
Stereotypes of other kinds surface in the
vestimentary coding of images of women in the same period.
From the outset, Hannah Thompson emphasizes the idea of the Zolian text as fabric or network; the work is not about fashion or
vestimentary codes, but rather uses 'the ways in which the language of clothing signifies' (p.
The father's deference to him is expressed in
vestimentary terms as he requests the Doctor to put on his bonnet to adjudicate their dispute (6).
Imagology relates to alimentary and
vestimentary codes in social practices and, in literary and other representations, contributes to linking food and clothing with cultural and ethnic identities.
The proceedings of that gathering comprise 13 papers on dress-image as a heuristic problem; form and norm between image and realia; textile and
vestimentary sources; source critique between image and written word; dress images and dress orders; gender, fashion, and their visual performance; and signs, symbols, and change of meanings in images.
In The Fashion System, Roland Barthes articulates a
vestimentary code in which "it is difference that makes meaning, not repetition." (51) Enveloping Dionysos in his himation becomes Makron's way of signaling him as the initiate in the scene through a poetics of dress.
Loughlin notes that these interpretations rely on the audience's knowledge of the play's use of the convention from the outset; since Philaster withholds this fact the play resists these critical assumptions; Loughlin proposes that "in Philaster, cross-dressing encodes issues of inheritance and monarchical legitimacy in sexual and
vestimentary terms." Marie H.