By Ruth Soffer
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228. , p. 224. 99 Bell (1997:224). The Death of Fashion 37 wear our “winter jacket” instead of our “summer jacket” when the weather conditions change. The need to wear warmer or cooler garments is thus a good reason for linking the fashion year to the natural seasons. This natural order can also be reﬂected in that of our wardrobes at home. During the cold season, all the pieces for summer have a place in the rear. This order is then changed when the seasons change. As in former times, we still have a representation of nature as an ordering structure in our homes, although behind closed doors.
132 Window dressing has been often described as a kind of street theatre and window dressers as stage designers. Such arguments seek to conceal the real nature of the business and its central function in the dramatisation of consumer rites. Performance is different from theatre because it involves the audience. Performance creates reality and confronts the audience with it, while theatre represents reality to a passive audience. The reality and the stage of the theatre 129 Flusser (1993:63) 130 Canetti (1973:218).
According to Bell, the function of rituals is strongly linked to their cultural context. Seen in this light, if we assume a “return” of the Dionysus rite what would it look like under the changed cultural conditions and without the attached myth of the Greek god? 95 Is the ritualisation of the fashion system a new invention or is it, as Barthes argues, a dramatisation, which has to be seen in relation to ancient rites of spring? “The tendency to think of rituals as essentially unchanging has gone hand in hand with the equally common assumption that effective rituals can not be invented.