In his brilliant little essay, René König proposed to understand the dress phenomenon, in light of Alewyn work on the Baroque. So, was he surprised that "the great adversary of the Spanish monarchy, Protestantism, copy scrupulously in this respect at least, his mortal enemy, that is during the war that the Spanish modes are adopted by England and the Netherlands insurgents. In the same vein, we know how often Jesuitism and radical Calvinism may be similar to the point of confusion (at least in regard to the ruthless discipline that embraces all areas life). Thus, the dark colors, black head, pass from Spain to the Calvinist bourgeoisie of England and Holland. " (René König, Fashion Sociology, p.127.) The study by Richard Alewyn takes more carefully this paradoxical behavior that reveals the baroque tension, even in his aesthetics of life. With this solid and thorough research, the reader learns that at the beginning of the Baroque age, "the color of death seizes European society. It will rule as Spain lead the way. This is a colder elegance, more reserved than the exuberant color beloved of Renaissance joy. elegance as this corresponded to a new conception of the courtier Thus inaccessible and frozen faces staring at us from the top of Mannerist portraits are framed black [...] Life is not worth living, man is a living corpse, the world is a house of mourning [...] The kingdom of the world than black of the court. " (P.43 / 44); curiously, one can draw a parallel with The Protestant Ethic and the Spirit of Capitalism Max Weber, especially when Alewyn notes that "the Protestant ethic, made of hostility to the world, and the practicality of the bourgeoisie regarded the colors vibrant, velvets and shimmering silks, as the expression of an abominable impiety. The Huguenots in France, the Puritans in England were made to recognize the dark and dull fabrics they covered. Wherever the bourgeois were in power, the noble Venice to Amsterdam regents, they governed in black. " (P.44) The secret of such a genealogy is its metaphysics; Indeed, "the baroque considers raw nature in any field whatsoever is painful or despicable." (P.45) In this configuration, without first search of the hybrid, the Baroque is characterized above all by a crisis of structures and a libertine mystique that reflect its exacerbated affectivity and its tension before death, ostentatious frenzy until grotesque, inspired by a black anthropology itself foreshadowing of sarcasm and the Grand horn.
