Odile Blanc, Parades et parures. L'invention du corps de mode à la fin du Moyen Âge, Paris, Gallimard, Le temps des images, 1997, 237 p.

A luxuskritika problémája a középkorban

“…Az emberek mindig is a külső alapján ítéltek, formáltak véleményt. 4 A viseletből szinte mindent meg lehetett állapítani, még a köszönést is meghatározta. Ha azonban a "látszat csalt," annak súlyosabb következményei lettek, mintsem egy helytelen üdvözlés.…”

Innovations and the art of deception: mixed cloths in Venetian Crete (17th century)

“…Ciò nell'epoca in cui i sarti hanno contribuito a rispondere a questo bisogno cominciando a costruire abiti 'su misura' e definendo sempre meglio il loro ruolo e la loro funzione (Tosi Brandi 2017). Fra Due e Trecento si afferma nel modo di vestire una netta distinzione fra uomini e donne, una sorta di sottolineatura della identità e dunque anche del genere mettendo in valore la corporeità (Blanc 1997). Ciò grazie ad abiti non drappeggiati ma modellati sul corpo.…”

“…The huge variety of garments of complex designs that developed in the epoch represented a novelty as compared to immediate prior centuries, to the extent that some historians have suggested that the origins of fashion itself should be located in the late medieval period (Heller 2010. Similarly, other scholars have stressed the innovations and dynamism showed by late Medieval clothing with notorious terms, such as those of 'dress revolution' Blanc 1997) and 'fashion revolution' (Koenig 1991;Scott 2007). This phenomenon, in turn, can be contextualised within the wider 'consumer revolution' that included not only textiles, but also other material objects and possessions that emerged or spread across a number of late medieval households (Petrowiste 2018;Kowaleski 2006;Dyer 2005).…”