Dolce & Gabbana’s “Hot Baroque” line: Recreating Napoleonic Attitudes for Today? by Chris White

Here for readers of “A Revolution in Fiction” is a collection of the photos and the news release on the controversial “Napoleonic” line promoted by Dolce & Gabanna in 2006-07—a controversy which extended far beyond the world of haute couture to incur the wrath of the British publishing industry and an official censure (see Reuters 1/10/07). Check out the bottom ones in particular for evidence of homicidal tendencies…

During a search of Dolce & Gabbana on the internet some time ago, I discovered the original posting on this site (“Weird Liaisons,” May 31, 2009), saw that the photo posted there was actually from a Christian Dior collection, and sent in a correction. (That photo and posting have now been updated to correct the error. –Editor) After a bit of research, I was able to locate the real Dolce & Gabbana photos, which are somewhat hard to find due to the short-lived and sexy/violent/controversial nature of the campaign. I have posted the official news release below. The clothing is gorgeous, as we all must agree. But it is interesting that the news release does not mention the sensational violence used in the ad campaign, nor does it make connections between the actual events of Napoleon’s reign (such as the 500,000 Frenchmen who died in the Emperor’s catastrophic attempt to conquer Russia in 1812) and the cruel, misogynistic poses of the models…

According to the Dolce & Gabbana news release: “The sophisticated charm of royal beauties, the amazing allure of imperial feasts and the romantic style echoing Napoleon’s gliding parades are the essence of this Dolce & Gabbana fall/winter 2006-07 collection that played around the Emperor, his famous wives, and his well known lovers.

Short jackets with metal buttons and military embroideries, à la Imperial Army, complement perfectly designed coats and fitted jackets in new proportions, which are worn over high-collared shirts. Tight knickers and jodhpurs accentuate the silhouette and create a long line when worn with high boots. Romantic capes and empire-waist baby doll dresses create a feminine counterbalance to the androgynous Imperial side of the collection. The result is a juxtaposition of Napoleon versus Josephine that celebrates the two sensual sides of a woman – a woman who plays with the symbols of power but knows that her real force is always found within.

The color palette and detailed accents of the collection are what truly define and distinguish each look. Sable, chalk, ice, and canvas are the most important colors that compose this serene palette. Touches of royal blue, deep red and emerald green, strategically used throughout the collection, add a regal opulence to the show. Detailed accents of gold-brushed chains, Napoleonic bees and gold laurel leaves create a strong statement of luxury, refinement, and elegance. In addition, over forty-three different kinds of intricacies (from archives of the most prestigious and historical Parisian couture atelier) glisten on coats, jackets, and dresses.

The “Miss Waterloo” bag is shaped like an antique coin-purse, with a round buckle and a short leather and metal handle; the same fastening enhances the “Miss Lise” bag, in velvet and fine leathers. The “Gloriosa” bag is also in velvet (in lots of colours) or in leather, and has a dense DG embroidered logo with imperial laurel and gold chains. The bijou “Etoile” bags, in velvet and encrusted with pearls and feathers, complete the grand finale look; but the real “it-bag” for this season is the “Hot Baroque”, embellished with baroque buckles and gilt laurel leaves, produced in ostrich, eel or leather.”

Book censorship today?!

UPDATE: Please see the comment posted on October 8, 2010 by Odette Menyard. The book is back in circulation and available for purchase.
We are appalled by the decision of Classiques Garnier to censor the book of feminist literary criticism by Anne Larue noted in the article posted on June 2. This book was approved by the editorial board of Classiques Garnier, published, and put on the market, only to be withdrawn for reasons that are unknown to us and the author, still today.

Vote NO to censorship by clicking on the petition here: ici

Un cas de livre censuré en 1800 … et 2010 ?!

Attention : Veuillez voir le commentaire affiché le 8 octobre 2010, par Odette Menyard. Il semble que le livre d’Anne Larue est maintenant en vente et disponible. Nous remercions Odette Menyard pour ce suivi !

Nous connaissons les problèmes qu’a eus Regnault-Warin suite à la publication des deux premiers tomes du Cimetière de la Madeleine (1800) et un article sur ce sujet paraîtra prochainement dans la Revue d’histoire littéraire de la France. Mais quelle fut notre surprise d’apprendre cette semaine que le livre d’une collègue française a subi la même persécution, et de nos jours. Lire ci-dessous pour en savoir plus. Peut-être qu’un représentant des Éditions Classiques Garnier pourrait nous éclairer là-dessus?

De : Anne Larue
Date : Thu, 27 May 2010 15:31:37 +0200
Objet : livre censuré et retiré de la vente

Chers tous,

J’apprends aujourd’hui que mon dernier livre, Fiction, féminisme et postmodernité. Les voies subversives du roman contemporain à grand succès, paru il y a à peine un mois, est retiré de la vente par Editions Classiques Garnier.

Les raisons de cet acte seraient liées à la ligne de la maison d’édition. Je n’ai pas été consultée ni prévenue, je n’ai pas eu l’occasion de me défendre ou de m’expliquer, je n’ai pas à ce jour d’explication précise.

Il s’agit d’un livre de littérature comparée, avec notes, index et traductions de l’anglais, qui s’interroge sur la mémoire enfouie de la contreculture dans les best-sellers (principalement américains) qui traitent aujourd’hui du féminin sacré symbolique.
Le livre a été lu chez Garnier par un comité de lecture, accepté, imprimé. J’ai eu le temps d’en avoir 10 exemplaires. J’ai fait une commande de 10 autres qui n’a pas été honorée et c’est ainsi, en téléphonant à ce sujet, que j’ai appris que le livre était retiré de la vente.

Je désire porter ces faits à votre connaissance. D’un certain point de vue, c’est là une espèce de censure du contemporain (en l’occurrence des luttes féministes et anti-religieuses) dont le livre rend compte en prenant parti (car c’est un essai) mais sans le moindre manquement aux convenances : ni injure, ni pamphlet, tout est en cité, en note, le lecteur peut s’y reporter. Je m’inquiète à l’idée qu’on ne puisse plus proférer une opinion argumentée dans une collection d’essais sur la littérature sans subir ce genre de violence.

Anne Larue, Littérature comparée, Université de Paris 13

NB: On peut signaler son désaccord avec la décision de Classiques Garnier en signant la pétition; cliquez ici.

Weird liaisons: 18th-century fashions today (updated 2/25/11)

This ad is one of a series sponsored by Christian Dior in 2004, which appears to be aiming to exploit the “Dangerous Liaisons” look for the modern Valmont (perhaps a hedge-fund manager?)  A similarly perverse campaign was promoted three years later by Dolce & Gabbana (see posting of February 25, 2011): it was censored in the UK for the violent content.  According to a report from Reuters (1/10/07), one of the ads showed two men threatening a man in a chair while another lay on the floor with a head wound.  (It was printed in October 2006 next to an article about knife crime; a move that seems particularly tasteless, given the widespread concern over the level of violent assaults in Britain.)  A second advertisement featured two men supporting a wounded woman holding a knife.  The fashion label said the ads, which appeared in newspapers and magazines around the world, were heavily stylized and were meant to mimic early 19th-century art.  The pictures were designed to evoke the Napoleonic period of art, “emphasizing the theatrical effects of that genre.”  Seems like this theatricality should have been tempered by a bit more absorption with good taste…