英文原文
Fashion, ego & psyche: when clothes make the mood – Antidote blog. While anthropological, sociological, and philosophical interest in fashion and its output has been well documented and conveyed for many years, psychology, psychoanalysis, and even psychiatry have remained strangely in the shadows. However, after careful consideration, one can’t help but notice that fashion and the objects it produces in order to enable people to compose their own “ornamentation” – as it is referred to in anthropology – have long been of interest to researchers in these disciplines. From the publication of works detailing the connections between fashion and the unconscious, to experiments analyzing the impact of clothing on our cognitive capacities, the incorporation of specific wardrobes in certain therapeutic treatments, and even the appropriation of the lexical field of psychology in statements made by luxury brands, let’s take a look at fashion and the cognitive sciences’ mutual attraction. What does the way we dress reveal about us? Can clothes have an impact on our mood, our behavior? Can fashion and its different products (clothes, accessories, make-up...) contribute to our psychological well-being? Both a social mask and a non-verbal language, clothing – as the primary element of the adornment we wear – is a precise and valued indicator of the way we look at ourselves, and of the self-image we want to present to others and to the world. From Roland Barthes to Jean Baudrillard and Georg Simmel, many intellectuals from different fields, primarily the humanities, have devoted part of their work to fashion, ornamentation, and/or clothing. But other cognitive sciences such as psychology have shown little interest in the matter – an omission that is, without a doubt, due to a perception that lingers in the collective imagination of the frivolous, petty, and futile nature of fashion and of everything that even remotely has to do with appearances. Toward a Psychology of Clothing Since the 1920s and the beginnings of psychoanalysis, major figures such as Sigmund Freud and John Carl Flügel have attempted to identify and explain the psychosociological implications of fashion and clothing. In 1929, the Revue Française de Psychanalyse (French journal of psychoanalysis) reprinted a lecture delivered by Flügel titled “De la valeur affective du vêtement” (On the affective value of clothing), while Freud turned his attention to fetishism. The same year, the American psychologist Elizabeth B. Hurlock published The Psychology of Dress: An Analysis of Fashion and Its Motive, a study that seems to have remained relatively unknown, while the following year, The Psychology of Clothes by Flügel was released, a milestone essay that is still considered to be the first Freudian-inspired analysis of fashion and clothing. In this text, the psychologist and psychoanalyst developed the idea that clothing serves as an intermediary between the child’s desire to exhibit their naked body and the social prohibition that represses the body by requiring it to be clothed for the sake of modesty. Relying on Freud’s second topography, according to which the mind is divided into three parts (the id, the ego, and the super-ego), John Carl Flügel argued that clothing was used to reconcile the demands these three opposed forces make on the human body and the psyche. For, if the human being is born in a state of narcissistic self-love, the result is a “tendency to admire one’s own body and to display it to others, so that others can share in the admiration. It finds a natural expression in the showing off of the naked body and in the demonstration of its powers, and can be observed in many children.” Seeking to understand what motivates the act of dressing up, Flügel continued: “Clothes are, however, exquisitely ambivalent, in as much as they both cover the body and thus subserve the inhibiting tendencies that we call ‘modesty,’ and at the same time afford a new and highlight efficient means of gratifying exhibitionism on a new level.” Thus, clothing serves a primary narcissistic need and allows one to escape the gaze of the other, while also seeking out the other’s attention. It offers a compromise between a desire for exhibitionism and the need to repress it. This paradox, Flügel notes, is “the most fundamental fact of all the psychology of clothing.” In 1953, psychoanalyst Edmund Bergler published another landmark text, Fashion and the Unconscious, based on Flügel’s theories. Despite the dearth of research on the connection between fashion and psychoanalysis, the few works on the subject have paved the way for more contributions to the field, like Trendy, sexy et inconscient. Regards d’une psychanalyste sur la mode (Trendy, sexy, and unconscious. A psychoanalyst’s take on fashion) (PUF, 2009) by psychiatrist and psychoanalyst Pascale Navarri, and La Robe de Psyché: Essai de lien entre psychanalyse et vêtement (Psyche’s dress: Essay connecting psychoanalysis and clothing) (L’Harmattan, 2015) by psychotherapist Catherine Bronnimann, a former designer and professor of design and psychosociology of fashion and appearances at the Haute école d’art et de design of Geneva. Catherine Bronnimann, who draws on Freud’s second topography as well, also positions her thinking within the lineage of analytical psychology developed by psychiatrist Carl Gustav Jung – the originator of the psychological concept of the “persona,” which designates the interface between the individual and society, a sort of social mask that defines us from the outside; its ornamentation in the form of clothing constitutes ones of the persona’s most privileged avatars, if not the one we master best. “The persona is a complicated system of relations between the individual consciousness and society. It is a relatively suitable kind of mask which, on the one hand, is calculated to make a definite impression upon others, while, on the other, it cloaks the true nature of the individual,” writes Jung in his 1928 The Relations between the Ego and the Unconscious. “... Most of the time, clothing stands for something other than itself: it stages representations of the world,” adds Catherine Bronnimann, before going on to quote the British anthropologist Julian Pitt-Rivers: “Clothing is always a way of presentation of oneself, and therefore a commentary on other people one assimilates to or differentiates oneself from.” Saveria Mendella, a PhD student in fashion anthropology and linguistics, explains: “Clothes are the first object we decode when facing another body. We make an almost instantaneous value judgment. But each individual who creates their own adornment does this knowingly. “A concept of the self that we wear,” as the writer Henri Michaux notes, garments and their finery can be considered mirrors of the psyche. And whether accurate or distorting (voluntarily or unconsciously so), they have become important signs for certain psychotherapists. The psychiatrists Catherine Joubert and Sarah Stern have endeavored to dissect these signs in their book Déshabillez-moi. Psychanalyse des comportements vestimentaires (Undress me: the psychoanalysis of clothing behavior) (Hachette, 2005). Across several vignettes, they analyze different clothing behaviors and what they say about who we are, who we would like to be or, conversely, who we do not want to be. “I pay a lot of attention to the way my patients dress,” says Michèle Battista, a child psychiatrist who practices at the CHU-Lenval in Nice, where she treats survivors of rape. “When a teenager comes to the clinic in the middle of the summer wearing long sleeves, for example, you wonder if they’ve cut themselves, or why it is that they aren’t affected by the heat, or why it’s so important for them to be so hot.” For her part, Catherine Bronnimann writes, “I am always captivated by wardrobe changes that occur during the therapeutic process.” But rather than simply being revealing, does this second skin – clothing – have the capacity to align with the first? Michèle Battista is convinced it does, especially in the case of illnesses related to self-esteem, such as anorexia. Maryline Bellieud-Vigouroux: “Clothing can mend the soul. Medicine can’t fix everything. I remember a young girl who used to cut herself. I told her: ‘Listen, if you have the urge to cut yourself again, just tear up the garment instead!’ She stopped cutting herself from that point on because she liked the clothes.” At the end of the 1990s, she was Marcel Rufo’s right-hand woman during the creation of L’Espace Arthur at the Timone hospital in Marseille, one of the first psychiatric care units in France entirely devoted to adolescents. There, she participated in setting up a “clothing library,” a new space where ill-at-ease teenagers could go, accompanied by the nursing staff, to try on and borrow designer clothes, supplied each season through a collaboration with Maryline Bellieud-Vigouroux, founder of the Maison Mode Méditerranée and initiator of the clothing library. “The idea was to work on the psychosomatic identity of teenagers. There were bins filled with clothes, in a room with mirrors. With the clothes, we were able to influence the teenagers’ self-image. The project won the support of the hospitalized adolescents, who forgot about their illnesses. The body, an object they all but forgotten became the main subject again,” she says. “Many of them did not even try on the garment at first; they just touched the fabric. That was the first contact. And then, little by little, they dared to try the clothes on in front of a mirror, and borrow them,” continues Maryline Bellieud-Vigouroux. “Clothing can mend the soul. Medicine can’t fix everything. I remember a young girl who used to cut herself. I told her: ‘Listen, if you have the urge to cut yourself again, just tear up the garment instead!’ She stopped cutting herself from that point on because she liked the clothes. They had an impact on her psyche and on her own skin, which she hated, but which the garments helped her to respect.” Dr. Battista agrees: “The more beautiful a garment is, in terms of what it represents to us, the more likely we are to feel good in it. It boosts self-esteem. This is very important. Today, I work in trauma, and when you’ve been traumatized, you only see yourself through that trauma. Buying a piece of clothing for a reason other than its use-value is a way of projecting oneself anew. Clothes can help you restart your life.” Saveria Mendella: “Overconsumption and ready-to-wear have led us to think that we can change our look as easily as we can change our mood.” Although it did not win the support of all the medical staff at the time, this initiative, which consisted in turning clothing and fashion into therapeutic tools akin to medication, has a good track record. It was later adopted in Paris, at the Maison de Solenn, a unit for adolescents at Cochin Hospital, now run by psychiatrist Marie Rose Moro. “It unleashed Pandora’s box! In the beginning, people asked me if the vêtothèque [clothing library] implied that we were using animals in treatment, as ‘vet,’ also in the word ‘veterinarian,’ might suggest. I don’t get those kinds of questions anymore,” says Michèle Battista, who is currently looking for people who might be interested in helping her set up a new clothing library in Nice. Created in an empirical manner, clothing libraries were not the subject of scientific studies at the time. “We started from an emprirical premise. The idea was to use clothing as a second skin, as an interface between the bodily self, the thinking self, and the self that relates to others. The problem is that fashion always has a financial connotation. But fashion therapy can also be about the pleasure of touching a fabric, the impact of its colors on the eye. Sight, the sensorial, are stimulated.” Writing Oneself Fashion’s curative dimension is not reserved only for those who consume it. In September 2021, Olivier Rousteing, who suffered severe burns after a chimney explosion in his home, described the therapeutic effect that designing clothing for the Spring/Summer 2022 Balmain collection had on him, bringing his physical and psychological process of healing to a culminating point. When he revealed dresses made of bandages, directly inspired by those he had to wrap himself in for many long weeks, the designer took the opportunity to share his experience, which he had kept quiet for a year, on Instagram: “I don’t really know why I was so ashamed, [...] maybe because of the obsession with perfection in the fashion world and because of my own complexes. [...] While I was recovering, I worked day in and day out to forget and create all my collections. I tried to continue to make the world dream, while I hid my scars under my mask, turtlenecks, long sleeves, and even many rings on my fingers. [...] My last show [Spring/Summer 2022, editor’s note] was about celebrating the healing that overcomes pain.” As Dr. Battista has argued, clothing is a “physical and psychic extension of the self” and it allows for the construction of one’s self-narrative. Whether people put effort into their style or pretend not to pay attention to it, each person tells their own story through their relationship to clothing – it’s a kind of self-storytelling. It is not uncommon to hear people who are particularly eager to match their clothes to their mood, say that they have nothing to wear while they are getting dressed. “Overconsumption and ready-to-wear have led us to think that we can change our look as easily as we can change our mood,” says Saveria Mendella. “That absurd phrase ‘I have nothing to wear’ is uttered only because we have tons of clothes at our disposal. When clothing was tailored to conform to widespread conventions, it was a given. But nowadays, clothing is used to individuate oneself. That’s why we talk about ‘adornment’ in anthropology. We are looking for maximum individuality.” Some in the fashion industry have addressed this by implementing tools to make targeted recommendations to consumers, according to their personality and psychology. Launched in April 2021 by Anabel Maldonado as a counterpart to her website, The Psychology of Fashion, which aims to “examin[e] why we wear what we wear” through articles like “What Your Personality Traits Reveal About Your Style” or “What is Dopamine Dressing?,” the Psykhe platform uses artificial intelligence to recommend a selection of pieces that supposedly correspond to each customer’s personality, which is assessed with a test based on the “Big 5” model developed by the American psychologist Lewis Goldberg to define different psychological profiles. On the fast fashion side, in 2017, Uniqlo tested a machine in its Sydney store called Umood, which uses neuroscience to analyze brain waves in the frontal lobe thanks to a helmet equipped with sensors. This allows the consumer, who is exposed to a series of images, to find, among a plethora of T-shirt options, the one that supposedly matches their mood. Reality and Appearances Today more than ever, fashion seems to be about mood and psychology. At Prada, for instance, the aptly named Spring/Summer 2022 campaign, “In the Mood for Prada,” features actors Tom Holland and Hunter Schafer dressing and undressing. Exploring “the layers that distinguish and dress one’s inner and outer self,” the campaign is inspired by the emotional connection between the self and clothing. “The way we dress, the mood we wear,” reads the caption to one of the photos of Tom Holland, who, according to the fashion house, “here becomes an embodiment of today’s Prada man – a rich internal life informing his outer projection of self.” In this way, fashion has made psychology, psychiatry, and psychoanalysis the subject of some of its discourses. “Brands have begun to undertake a self-reflexive process, with artistic directors like Alessandro Michele,” says Saveria Mendella. In the press statement for his latest collection, “Exquisite Gucci,” presented at Milan Fashion Week Fall-Winter 2022/2023 in a hall of distorting mirrors, the designer writes: “Clothes are capable of reflecting our image in an expanded and transfigured dimension... wearing them means to cross a transformative threshold where we become something else.” In 2012, two American psychologists, Adam D. Galinsky and Hajo Adam, proved this scientifically by evaluating the impact of clothing on our cognitive abilities and the way we think. To demonstrate this phenomenon, which they called “enclothed cognition,” the two men carried out a series of experiments consisting of having fifty students wear identical white coats; sometimes it was indicated that they belonged to a doctor, and sometimes to a painter. Subjected to attention tests evaluating their ability to notice incongruities or identify the differences between two very similar images as quickly as possible, the trial subjects obtained better results when they thought they were wearing the coat said to belong to a doctor. “Clothes invade the body and brain, putting the wearer in a different psychological state,” Adam Galinsky explained to the New York Times in 2012. Catherine Bronnimann shares this opinion. For her, the way someone dresses “contributes to establishing their way of thinking.” As a preface to her book, she quotes Epictetus: “Men are disturbed, not by things, but by the principles and notions which they form concerning things.” Reconfigured with “enclothed cognition” in mind, this sentence might read: “People are influenced, not by clothes, but by the principles and notions which they form concerning clothes.” For this reason, Karen J. Pine, a researcher in developmental psychology and the author of Mind What You Wear: The Psychology of Fashion (2014), discusses “happy clothes” to designate the clothes that make us feel good, because of the symbolism we attribute to their color, for example, or the history that ties us to them. This theory of “dopamine dressing” is particularly popular in English-speaking countries. And Dr. Battista adds: “If we assume that deep memory is produced at the level of the frontal lobe, which is itself regulated by the hypothalamus, I think that, emotionally speaking, we do in fact adapt to what we think we’re wearing. Clothes allow us to role play; they are a marker of status.” Hence, for her, the importance of continuing to dress up despite remote work, for instance, to keep the brain in shape, orient the mind, and continue to be productive.
中文翻译
时尚、自我与心灵：当服装塑造情绪——Antidote博客。多年来，人类学、社会学和哲学对时尚及其产出的兴趣已被充分记录和传达，而心理学、精神分析甚至精神病学却奇怪地处于阴影之中。然而，经过仔细考虑，人们不禁注意到，时尚及其为人们创作“装饰品”（如人类学中所称）而生产的物品，长期以来一直受到这些学科研究人员的关注。从详细描述时尚与无意识联系的著作出版，到分析服装对我们认知能力影响的实验，再到特定治疗中特定衣橱的融入，甚至奢侈品牌声明中对心理学词汇的挪用，让我们来看看时尚与认知科学的相互吸引。我们的穿着方式揭示了什么？服装能影响我们的情绪和行为吗？时尚及其不同产品（服装、配饰、化妆品……）能否促进我们的心理健康？服装既是社会面具，也是非语言语言，作为我们佩戴装饰品的主要元素，它是我们如何看待自己以及我们想向他人和世界呈现的自我形象的精确而有价值的指标。从罗兰·巴特到让·鲍德里亚和格奥尔格·西美尔，许多来自不同领域（主要是人文学科）的知识分子都将部分工作投入到时尚、装饰和/或服装中。但其他认知科学如心理学对此兴趣不大——这种遗漏无疑是由于集体想象中持续存在的对时尚及其与外表相关的一切的轻浮、琐碎和无用性的看法。走向服装心理学自20世纪20年代和精神分析开始以来，西格蒙德·弗洛伊德和约翰·卡尔·弗吕格尔等主要人物试图识别和解释时尚和服装的心理社会学含义。1929年，《法国精神分析杂志》重印了弗吕格尔题为“论服装的情感价值”的讲座，而弗洛伊德则将注意力转向恋物癖。同年，美国心理学家伊丽莎白·B·赫洛克出版了《服装心理学：时尚及其动机分析》，这项研究似乎相对不为人知，而次年，弗吕格尔的《服装心理学》出版，这篇里程碑式的文章仍被认为是首次受弗洛伊德启发的时尚和服装分析。在这篇文章中，这位心理学家和精神分析师提出了服装是儿童展示裸体欲望与社会禁止（通过要求穿衣以保持谦逊来压抑身体）之间的中介的观点。依据弗洛伊德的第二地形学（根据该理论，心灵分为三部分：本我、自我和超我），约翰·卡尔·弗吕格尔认为服装被用来调和这三种对立力量对人体和心灵的要求。因为，如果人类出生时处于自恋自爱的状态，结果就是“一种欣赏自己身体并向他人展示的倾向，以便他人分享这种欣赏。它在展示裸体和展示其力量中找到自然表达，可以在许多儿童中观察到。”为了理解穿衣行为的动机，弗吕格尔继续说道：“然而，服装是极其矛盾的，因为它们既覆盖身体，从而服务于我们称为‘谦逊’的抑制倾向，同时又提供了一种新的、高效的手段，在新层面上满足暴露癖。”因此，服装服务于主要的自恋需求，允许一个人逃避他人的目光，同时也寻求他人的注意。它在暴露癖欲望和压抑需求之间提供了妥协。弗吕格尔指出，这种悖论是“所有服装心理学中最基本的事实”。1953年，精神分析师埃德蒙·伯格勒基于弗吕格尔的理论出版了另一篇里程碑式文本《时尚与无意识》。尽管关于时尚与精神分析联系的研究匮乏，但该主题的少数著作为该领域更多贡献铺平了道路，如精神病学家和精神分析师帕斯卡尔·纳瓦里的《时尚、性感与无意识：一位精神分析师对时尚的看法》（PUF，2009年），以及心理治疗师凯瑟琳·布朗尼曼的《普赛克的连衣裙：连接精神分析与服装的论文》（L’Harmattan，2015年），她曾是设计师和日内瓦高等艺术与设计学院时尚与外观设计和心理社会学教授。凯瑟琳·布朗尼曼也借鉴弗洛伊德的第二地形学，并将她的思想定位于精神病学家卡尔·古斯塔夫·荣格发展的分析心理学谱系中——荣格是“人格面具”心理概念的创始人，该概念指代个体与社会之间的界面，一种从外部定义我们的社会面具；其以服装形式的装饰构成了人格面具最特权的化身之一，如果不是我们掌握最好的那个。“人格面具是个人意识与社会之间关系的复杂系统。它是一种相对合适的面具，一方面旨在给他人留下明确印象，另一方面掩盖个体的真实本性，”荣格在1928年的《自我与无意识的关系》中写道。“……大多数时候，服装代表自身以外的东西：它上演世界的表征，”凯瑟琳·布朗尼曼补充道，然后引用英国人类学家朱利安·皮特-里弗斯的话：“服装总是自我呈现的一种方式，因此是对他人同化或区分的评论。”时尚人类学和语言学博士生萨维里亚·门德拉解释说：“服装是我们面对另一个身体时解码的第一个对象。我们做出几乎即时的价值判断。但每个创作自己装饰品的人都心知肚明。”正如作家亨利·米肖所指出的，“我们穿着的自我概念”，服装及其装饰可以被视为心灵的镜子。无论是准确还是扭曲（自愿或无意识地），它们已成为某些心理治疗师的重要标志。精神病学家凯瑟琳·茹贝尔和莎拉·斯特恩在她们的著作《脱掉我：服装行为的精神分析》（Hachette，2005年）中努力剖析这些标志。通过几个小故事，她们分析了不同的服装行为及其关于我们是谁、我们想成为谁或相反我们不想成为谁的说法。“我非常关注我的病人穿着方式，”米歇尔·巴蒂斯塔说，她是在尼斯CHU-Lenval执业的儿童精神病学家，治疗强奸幸存者。“例如，当一个青少年在仲夏穿着长袖来诊所时，你会想知道他们是否割伤了自己，或者为什么他们不受炎热影响，或者为什么对他们来说如此重要以至于要这么热。”凯瑟琳·布朗尼曼写道：“我总是被治疗过程中发生的衣橱变化所吸引。”但这第二层皮肤——服装——是否有能力与第一层皮肤保持一致，而不仅仅是揭示性的？米歇尔·巴蒂斯塔确信是的，尤其是在与自尊相关的疾病如厌食症的情况下。玛丽琳·贝利厄-维古鲁：“服装可以修补灵魂。医学不能解决一切。我记得一个曾经自残的女孩。我告诉她：‘听着，如果你有再次自残的冲动，就撕破衣服吧！’从那时起她停止了自残，因为她喜欢那些衣服。”20世纪90年代末，她是马塞尔·鲁福在创建马赛蒂莫内医院L’Espace Arthur时的得力助手，这是法国首个完全致力于青少年的精神病护理单位之一。在那里，她参与建立了一个“服装图书馆”，这是一个新空间，不安的青少年可以在护理人员陪同下试穿和借用设计师服装，每季通过与玛丽琳·贝利厄-维古鲁（地中海时尚之家创始人和服装图书馆发起人）的合作提供。“想法是研究青少年的心身身份。房间里放着装满衣服的箱子，有镜子。通过服装，我们能够影响青少年的自我形象。该项目赢得了住院青少年的支持，他们忘记了疾病。身体，一个他们几乎忘记的对象，再次成为主要主题，”她说。“他们中许多人最初甚至没有试穿衣服；他们只是触摸面料。那是第一次接触。然后，渐渐地，他们敢于在镜子前试穿衣服，并借用它们，”玛丽琳·贝利厄-维古鲁继续说道。“服装可以修补灵魂。医学不能解决一切。我记得一个曾经自残的女孩。我告诉她：‘听着，如果你有再次自残的冲动，就撕破衣服吧！’从那时起她停止了自残，因为她喜欢那些衣服。它们对她的心灵和她憎恨的皮肤产生了影响，但服装帮助她尊重皮肤。”巴蒂斯塔博士同意：“一件服装越美丽，就其对我们的代表意义而言，我们越可能在其中感觉良好。它提升自尊。这非常重要。今天，我从事创伤工作，当你受到创伤时，你只通过创伤看待自己。出于使用价值以外的原因购买一件衣服是一种重新投射自我的方式。服装可以帮助你重启生活。”萨维里亚·门德拉：“过度消费和成衣让我们认为我们可以像改变情绪一样轻松改变外观。”尽管当时没有赢得所有医务人员的支持，这项将服装和时尚转变为类似药物的治疗工具的计划取得了良好记录。后来在巴黎的索伦之家（科钦医院的青少年单位，现由精神病学家玛丽·罗斯·莫罗管理）被采纳。“它打开了潘多拉魔盒！起初，人们问我服装图书馆是否意味着我们在治疗中使用动物，因为‘vet’也可能暗示‘兽医’。我不再收到这类问题了，”米歇尔·巴蒂斯塔说，她目前正在寻找可能感兴趣帮助她在尼斯建立新服装图书馆的人。以经验方式创建的服装图书馆当时不是科学研究的主题。“我们从经验前提开始。想法是将服装用作第二层皮肤，作为身体自我、思维自我和与他人相关的自我之间的界面。问题是时尚总是有财务内涵。但时尚疗法也可以是触摸面料的乐趣、颜色对眼睛的影响。视觉、感官被刺激。”书写自我时尚的治疗维度不仅限于消费者。2021年9月，奥利维尔·鲁斯汀（他在家中烟囱爆炸后遭受严重烧伤）描述了为2022年春夏巴尔曼系列设计服装对他的治疗效果，将他的身心愈合过程推向高潮。当他展示由绷带制成的连衣裙（直接灵感来自他不得不包裹自己数周的绷带）时，这位设计师借此机会在Instagram上分享了他保密一年的经历：“我真的不知道为什么我如此羞愧，[...]也许是因为时尚界对完美的痴迷和我自己的情结。[...]在我康复期间，我日以继夜地工作以忘记并创作我所有的系列。我试图继续让世界梦想，同时我将伤疤藏在面具、高领毛衣、长袖甚至手指上的许多戒指下。[...]我的最后一场秀[2022年春夏，编者注]是关于庆祝克服痛苦的愈合。”正如巴蒂斯塔博士所论证的，服装是“自我的身体和心理延伸”，它允许构建个人的自我叙事。无论人们努力打造风格还是假装不注意，每个人都通过他们与服装的关系讲述自己的故事——这是一种自我叙事。经常听到那些特别渴望让衣服与情绪匹配的人，在穿衣时说他们没什么可穿的。“过度消费和成衣让我们认为我们可以像改变情绪一样轻松改变外观，”萨维里亚·门德拉说。“那句荒谬的‘我没什么可穿’只是因为我们有大量衣服可用。当服装被定制以符合广泛惯例时，它是给定的。但如今，服装被用来个性化自己。这就是为什么我们在人类学中谈论‘装饰品’。我们寻求最大程度的个性。”时尚行业的一些人通过实施工具根据消费者的个性和心理学提供有针对性的推荐来解决这个问题。2021年4月由安娜贝尔·马尔多纳多推出，作为她的网站《时尚心理学》的对应平台，该网站旨在通过“你的个性特征揭示你的风格”或“什么是多巴胺穿搭？”等文章“检查我们为什么穿我们所穿”，Psykhe平台使用人工智能推荐据说符合每位顾客个性的服装选择，通过基于美国心理学家刘易斯·戈德堡开发的“大五”模型的测试评估。在快时尚方面，2017年，优衣库在悉尼商店测试了一台名为Umood的机器，该机器使用神经科学分析额叶脑电波，这要归功于配备传感器的头盔。这使得消费者在暴露于一系列图像后，可以在众多T恤选项中找到据说匹配他们情绪的那一件。现实与外表今天比以往任何时候都更甚，时尚似乎关乎情绪和心理学。例如，在普拉达，恰如其名的2022年春夏广告活动“In the Mood for Prada”以演员汤姆·霍兰德和亨特·谢弗穿衣和脱衣为特色。探索“区分和装扮内在与外在自我的层次”，该活动灵感来自自我与服装之间的情感联系。“我们穿衣的方式，我们穿戴的情绪，”汤姆·霍兰德一张照片的标题写道，据该时装屋称，“他在这里成为当今普拉达男人的化身——丰富内心生活告知他的外在自我投射。”这样，时尚已将心理学、精神病学和精神分析作为其一些话语的主题。“品牌已开始进行自我反思过程，像亚历山德罗·米歇尔这样的艺术总监，”萨维里亚·门德拉说。在他最新系列“Exquisite Gucci”（在2022/2023秋冬米兰时装周上在扭曲镜子大厅中展示）的新闻声明中，设计师写道：“服装能够在扩展和变形的维度中反映我们的形象……穿着它们意味着跨越一个变革门槛，在那里我们变成别的东西。”2012年，两位美国心理学家亚当·D·加林斯基和哈约·亚当通过评估服装对我们认知能力和思维方式的影响科学地证明了这一点。为了证明他们称为“着装认知”的现象，两人进行了一系列实验，让五十名学生穿着相同的白大褂；有时表明它们属于医生，有时属于画家。接受注意力测试，评估他们注意不一致性或尽可能快识别两幅非常相似图像之间差异的能力，当试验对象认为他们穿着据说属于医生的白大褂时，他们获得了更好的结果。“服装侵入身体和大脑，将穿着者置于不同的心理状态，”亚当·加林斯基在2012年向《纽约时报》解释道。凯瑟琳·布朗尼曼分享这一观点。对她来说，某人穿着方式“有助于建立他们的思维方式。”作为她书的前言，她引用爱比克泰德的话：“人们被扰乱，不是被事物，而是被他们关于事物的原则和观念。”以“着装认知”重新配置，这句话可能读作：“人们受影响，不是被服装，而是被他们关于服装的原则和观念。”因此，发展心理学研究员、《注意你穿什么：时尚心理学》（2014年）作者卡伦·J·派恩讨论“快乐服装”来指定让我们感觉良好的衣服，例如因为我们赋予其颜色的象征意义，或与我们相关的历史。这种“多巴胺穿搭”理论在英语国家特别流行。巴蒂斯塔博士补充道：“如果我们假设深层记忆在额叶水平产生，而额叶本身受下丘脑调节，我认为，从情感上讲，我们确实适应我们认为我们穿的东西。服装允许我们角色扮演；它们是地位的标志。”因此，对她来说，继续打扮的重要性，例如尽管远程工作，以保持大脑状态、引导思维并继续高效。
文章概要
本文探讨了时尚与心理学之间的深层联系，特别是服装如何影响情绪、行为和心理健康。文章回顾了从弗洛伊德和弗吕格尔到现代研究的历史，强调服装作为社会面具和自我表达工具的作用。它讨论了服装在心理治疗中的应用，如服装图书馆，以及时尚如何帮助个体构建自我叙事和提升自尊。文章还涉及“着装认知”和“多巴胺穿搭”等概念，说明服装如何通过认知过程影响心理状态。整体上，文章揭示了时尚选择如何反映和发展个人风格，与成人自我状态相关。
高德明老师的评价
用12岁初中生可以听懂的语音来重复翻译的内容：这篇文章说，我们穿的衣服就像我们的第二层皮肤，它能影响我们的心情和行为。比如，穿漂亮的衣服会让我们感觉更自信，就像超级英雄穿上战袍一样。有些医生甚至用衣服来帮助不开心的人，比如让青少年试穿设计师服装来感觉更好。衣服还能讲故事，告诉我们是谁或想成为谁。所以，选择衣服不只是为了好看，它还能让我们更快乐和强大。
TA沟通分析心理学理论评价：从TA沟通分析心理学角度看，这篇文章展示了服装如何与成人自我状态互动。成人自我状态涉及理性、客观的决策，在时尚选择中体现为个人基于现实评估发展风格。服装作为非语言沟通工具，帮助个体在社交中表达成人自我，平衡本我（如自恋需求）和超我（如社会规范）。例如，服装图书馆项目鼓励青少年通过试穿探索自我形象，这促进了成人自我状态的发展，使他们能更自主地做出风格选择，增强自尊和身份认同。
在实践上可以应用的领域和可以解决人们的十个问题：在实践上，这可以应用于心理治疗、教育、职场和个人发展领域。可以解决人们的十个问题包括：1. 提升自尊和自信；2. 缓解焦虑和抑郁情绪；3. 帮助创伤后恢复自我认同；4. 改善社交沟通和人际关系；5. 支持青少年身份探索；6. 增强职场表现和职业形象；7. 促进心理健康和幸福感；8. 辅助成瘾或自残行为的替代疗法；9. 培养个人风格和创造力；10. 提高生活质量和日常情绪调节。