Taste: The Secret Meaning of Things [Anglais] [Relié]

Taste forever changes, as the fluctuating reputations of Shakespeare and El Greco attest. On this central premise British design critic Bayley erects a witty, erudite, wide-ranging social history of taste that demolishes the gaudy, the meretricious, the ready-made and the vulgar, both high and low. He takes aim at the Duke and Duchess of Windsor ("forever in pursuit of a mythic gentility"), prim Scandinavian furniture as the presumed epitome of "good design," contemporary kitsch architecture a la Manhattan's Trump Tower and fashion designer Ralph Lauren ("he sells an image of an image, based on romanticized myths about the Wild West and WASP society"). This lavishly illustrated survey includes chapters on taste and lack thereof in art, architecture, interior design, clothes, food and manners. Intriguing observations abound: for instance, the length of a sneaker's tongue is a macho symbol among athletes, and the idea that tanned skin is attractive goes back no further than the pseudo-scientific theory of heliotherapy developed in the 1920s by German and Swiss doctors.
Copyright 1992 Reed Business Information, Inc.

This book is an introductory examination of the phenomenon of taste primarily from a historical rather than a philosophical point of view. It argues that taste "is not so much about what things look like, as about the ideas that give rise to them." Bayley divides this project into two parts. In the Imbroglio the history of the idea of taste is traced from the Enlightenment to the present day. The Scenario features separate chapters, each dealing with taste as it has been revealed in the fields of architecture, interior design, fashion, and food. The entire text is nicely supplemented with a poignant array of illustrations whose captions display the author's often vicious wit. On the whole, Bayley provides many striking observations on the history of popular culture from a decidedly British perspective (American readers may fail to understand many of his examples). The writing is lively and full of humor. It is unfortunate, though, that the recurring subtheme--the variability of taste in the face of apparent permanent aesthetic values--is never fully resolved. For specialized art and popular culture collections and larger academic libraries.
-David B. Hegeman, King's Coll. Lib., Briarcliff Manor, N.Y.
Copyright 1992 Reed Business Information, Inc.

A British design critic (Harley Earl and the Dream Machine, 1983) offers an opinionated tour of the modern and mercurial concept of taste, that ``merciless betrayer of social and cultural attitudes.'' ``Good'' and ``bad'' taste, Bayley argues, are not absolutes, and no longer the simple matter of rules they were in Joshua Reynolds's England. Indeed, taste changes: El Greco was neglected until Picasso became his champion, and even Shakespeare was sometimes scorned. Thanks to Mme. de Pompadour (the ``ancien r‚gime version of `born to shop' ''), ``taste ceased to be metaphorical and became instead a particular vision of the haute-bourgeoisie.'' Much fun is to be had here contemplating the vulgarity of the leopard-skin upholstery in billionaire Alan Bond's Mercedes, or the way the nouveaux riches acquire ``an image of self'' by having Elsie de Wolfe buy them chandeliers or, today, Ralph Lauren dress them in the ``romanticized'' trappings of WASP society. The definitions here are neither simple nor pristine, and beg questions repeatedly asked. Taste, Bayley claims, has mostly to do with intentions (such as to impress). Yet good design is measurable- -``durable, affordable, useful, efficient.'' Unfortunately, good design has been confused with good taste--the meaning of ``good'' being debased by a specious sense of superiority. And ``designer'' became a ``dead'' label when it was attached to jeans. Clearly allied with the modernists for whom Walter Gropius's office is a shrine, Bayley sees their passion for simplicity and functionalism as born of a certain time and place. He has much to say about architecture (today mostly ``pure kitsch'') interior design (``the red light district of culture''), as well as fashion and food. Much of the impact of this smart, sweeping, intermittently clarifying commentary comes from well-captioned b&w photographs of influential landmarks of taste--from a Paris restaurant of 1900 to Converse sneakers, Coco Chanel, a William Morris print, and the Rothschilds' chateau. -- Copyright ©1992, Kirkus Associates, LP. All rights reserved.