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In the thirteenth century, when the dress covers the back of the lady and goes down and extends, the reference to his membership of the social hierarchy of the kingdom, whether it is a princess or a baroness . Over time, the back cover began to shrink and, in the late Middle Ages, a hole appeared, not at the waist of course, but above, around the neck and shoulders. However, if it appeared at the beginning or almost like the first, it remained hidden until the periphery of the French Revolution, where its surprise, under the neck and the shoulders, began to emerge, and this, for a very specific reason: it allows the garment to evacuate the bads and presents itself as a center.
After the revolution, the back remained, but he was marginalized. This has nothing to do with the fact that clothing at the time revolves around its proliferative folds and intertwined with various types of fabrics, which are often accompanied by feather decorations. However, the marginalization of the back was evident in the underwear, especially through the so-called corset, the garment that pulls and dissolves the body to hoard it. This marginalization ended in the late nineteenth century, when the back was no longer hidden or expressed in favor of others. The first third of his spine appeared and did not acquire the sense of eroticism, but remained blank, as such, alone or separately from the impact of the dress.
This will change in the twentieth century, when the cinema will begin to play a role in the return to the erotic. In this regard, it is necessary to recall the appearance of Mireille d'Arc in a scene from the movie The big blond with a black shoe, which is highlighted in front of Pierre Richard, to equal the cinema the same behavior as the painting Gala , painted by Daly's bare back. After that, the back has become a distinguished design theme, not only as a space with an erotic capacity, but also as an ability to convey messages from the whole body. This is a metaphor for the body's burden, as in Rick Onnes' design, which put another jacket in the back. Or it's his wall, with slogans like Kaki Zara in which he says, "I'm mad, and you?" The late Yves Saint Laurent, when he lugged it, he, by striking it, made it come to the fore, while protecting it. This is, as he conceived, the hiding place of the body, or its door, which, when it pbades, resides in its privacy, and no one can reach it. Elsa Schiaperelli shares this type of concept of Saint Laurent so that the back is the destination of the body, the destination of her dress, where it does not end, but remains.
There is no doubt that the exhibition has succeeded in panoramic history of the back. But more importantly, he was able to offer him a place for the comfort of the body, for the comfort of his concern for his face during the time of "selfies", as well as for his clothes. He also introduced him as his servant, once the body had turned his back on him, so that he could continue, giving, and thus giving it to others, that no one else could not see, putting it as well as his cliché "Livanisina" (in Levinas), in front of a particular responsibility. This is not to harm him behind, not to be treacherous traitor, not to be challenged behind his back, which is treacherous, in the sense that it is not implemented.
The back sends a strange feeling to those who see it, because he finds it exposed and, at the same time, he can not go to him because the owner does not see it. The feeling that the back is not flesh can not however be progressed without pbading through the wearer. Perhaps, as such, is it true to believe that what giants tell us, in order to become theirs, has seen our backs and wants it. Whatever our answer, we will tell them that our back belongs to us. So we arrest them and a possible crime against them. Thus, a possible meeting between us takes its place. Stop it, and on the cliché, with our faces? Maybe, but it requires that the faces connect the body at the back and vice versa, not to break them and devour them.
(*) Face fashion, Bourdelle museum, 18 rue Antoine Bourdelle (until November 17, 2019).
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