Frederick Charles Worth (1825–1895) is consensually regarded as a founder of haute couture. His business was accompanied by unprecedented marketing strategies. These strategies included also the person of dressmaker in order to change his social status. In accordance with this, dressmaking is no longer just a craft; it has begun to aspire to the position of art. This article wants to show that the process of establishing “the field of haute couture” (Bourdieu) cannot be described only in sociological terms but contains a substantial esthetic dimension. Our analysis of Worth's social practices reveals a series of dialectical relations that constitute objects of fashion as such. The new institutional framework of haute couture inevitably accelerates changes in the material design of garments, which at the same time supports their moral obsolescence. In the second step, we discuss Charles Baudelaire's attempt to characterize the nature of specifically modern art. Baudelaire's formulations emphasize a very similar dialectical structure of modern beauty, which is constituted by its inclination to transience and decay. In this sense, Worth's innovative practice itself produces the esthetic quality of a single apparel. So, we can read Worth's haute couture as an instance of Baudelairian modern art.

中文翻译：

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作为复杂现象的时尚的诞生：对 Frederick Charles Worth 实践的审美重读


弗雷德里克·查尔斯·沃斯 （Frederick Charles Worth） （1825–1895） 被公认为高级时装的创始人。他的业务伴随着前所未有的营销策略。这些策略还包括裁缝这个人，以改变他的社会地位。据此，裁缝不再只是一门手艺;它已经开始向往艺术的地位。本文想表明，建立“高级时装领域”（布迪厄）的过程不能只用社会学术语来描述，而是包含着一个实质性的美学维度。我们对沃斯的社会实践的分析揭示了构成时尚本身的一系列辩证关系。高级时装的新制度框架不可避免地加速了服装材料设计的变化，这同时也支持了它们的道德过时。在第二步中，我们讨论了夏尔·波德莱尔 （Charles Baudelaire） 试图描述特定现代艺术的本质。波德莱尔的表述强调了现代美的一种非常相似的辩证结构，其构成于其对短暂和衰败的倾向。从这个意义上说，Worth 的创新实践本身就产生了单一服装的美学品质。因此，我们可以将 Worth 的高级时装视为波德莱尔现代艺术的一个例子。