Tema: Vînătorii de « cool »: o scurtă incursiune (bibliografică) în istoria dungii (în vestimentaţie) şi o discuţie despre fetişizarea fibrelor şi fetişizarea brandurilor; « industria » second-hand-urilor şi cea a fake-urilor; resemnficarea articolelor vestimentare şi modul în care hainele construiesc şi modelează identităţi.

Oscar Wilde’s claim that only a fool would not judge a person by their appearances gains its satirical force by countering the popular wisdom that one should not judge a person by their clothes.
It cannot be denied that clothing and fashion may be used to “reflect, reinforce, disguise or create mood”(Roarch and Eicher, 1979, 8). The wearing of what are perceived as happy, joyous lines and colours mau be used in the attempt to change a person’s mood (Malcom Barnard, 1996).

It seems that more and more people are becoming “addicted” to the feelings they get when they do wear someting new.Those feelings may be of increased or reinforced uniqueness or of pleasure in presenting a different appearance to the world, and it is not difficult to understand the appeal of those feelings to certain people. Clothes that are rare, either because they are very old or very new mai be userd to create and express an individual uniqueness(Malcom Barnard, 1996).
Fabrics:

In order to achieve the effect of ephemeral delicacy and transparency in chemise dress, various thin, especially finely tabby woven fabrics, otherwise used for kerchiefs, cuffs and collars as well as hankerchiefs and ever curtains, were chosen. Mousseline, or, anglicised, muslin (the name derives from the city or Mosul in what is now nothern Iraq) is most frequenlty encountered. Made almost entirely of cotton, loosely woven, in different degrees of finess. Mull, imported from East Indies, was a type of muslin which was notable for its softness. Another widely used fabric was  batiste or cambric. Originally made with a high linen content, it looks thicker and feels stiffer than muslin. It is notable for a very fine, also semitransparent yet firm and even weave. Finer and lighter than batiste according tu linguistic usage of the periode was lawn, or linen, woven so losely of much thinner thread that it feels almost like a veil.  A cotton fabric also available then was organdy, which was woven from thread that was just as fine as that used for muslin but more tightly spun, resulting in fabric stiffer, although more light-weight than batiste. The demand for delicate fabrics ultimately led to muslin even being replaced by tulle, cotton or silk net named after the city of Tulle in France and of unsurpassable translucency.  The striving for airiness and translucency led to the making of lcotes weighing only 250 grammes.

Since all  these fabrics were extremely thin, they could not provide warmth. In addition, shawls, preferably costly cashmere shawls from Kashmir. The upshot was that many ladies caught heavy colds, often followed by pneumonia, aptly apostrophised at the time as the “muslin disease”.