Although other writers have been fascinated by fashion, Proust is among the first to mention designers by name and to award them equal stature with painters and composers. Perhaps no author before him described an outfit, jewels, or accessories in such careful, minute detail. More significant, perhaps, is his roman-à-clef technique; celebrities are thinly disguised and their valorization permeates his work. In the twenty-first century's celebrity-dominated culture, this seems peculiarly pertinent.
See also Art and Fashion; Canes and Walking Sticks; Dandyism; Fashion and Homosexuality; Liberty & Co.; Social Class and Clothing; Wilde, Oscar.
Adams, William Howard. A Proust Souvenir. New York: Vendome Press, 1984. Balsani, Leo. Marcel Proust: The Fictions of Life and Art. New York: Oxford University Press, 1965.
Bowie, Malcolm. Proust among the Stars. New York: Columbia
University Press, 1998. Carter, William C. Marcel Proust: A Life. New Haven, Conn.:
Yale University Press, 2000. Painter, George D. Marcel Proust: A Biography. New York: Random House, 1989. Pringue, Gabriel-Louis. Trente ans de dîners en ville. Paris: Revue Adam, 1948. Steele, Valerie. Paris Fashion: A Cultural History. Rev. ed. New
York: Berg, 1998. White, Edmund. Marcel Proust. London: Viking, 1999.
PSYCHEDELIC FASHION Psychedelia—the range of sensations, epiphanies, and hallucinations induced by chemical stimulants—was an epochal cultural phenomenal of the 1960s; in retrospect, it seems not only a key component of the decade's sensibility, but an apt symbol of the 1960s reordering of social, political, and artistic structures. It was inevitable that fashion and psychedelic experience would go hand-in-hand since one of the effects of an LSD [lysergic acid diethylamide) "trip" was a heightened appreciation of color, texture, and line. Psychedelic fashion did more than evoke or pay tribute to the mind-alerting experience; it became a way to enhance participation. Given that the LSD—popularly called acid—experience involved erasing discreet boundaries, it was appropriate to dress in clothes that enhanced the ability of the communicant to merge into an experience that for many became nearly sacerdotal rite.
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