Julie Verbert - Master's dissertation

UNIVERSITÉ DE LILLE 3

UFR ANGELLIER

BILINGUAL GLOSSARY OF THE FEMALE

TANGO DANCER’S COSTUME; GLOSSAIRE BILINGUE SUR LE COSTUME DE

LA DANSEUSE DE TANGO

Mémoire de M1

Master « Langues, Culture et Interculturalité »

Spécialité : Etudes Anglophones

Spécialisation : Métier du Lexique et de la Traduction (MéLexTra)

Présenté par Julie VERBERT

Juin 2006 Sous la direction de M. le professeur Fabrice Antoine

2

Acknowledgements

I would like to express my gratitude to the following people for their support

and assistance in helping me carrying out this research.

Acosta Ormaechea, Santiago

Antoine, Fabrice

Avedissian, Nathalie. Armaris Traduction (Toulon)

Ayres, Linda. Designer Collection (Dancedress.com)

Behar, Frédérique. La Casa del Tango

Blanchon, Hélène

Blandin, Noël. La République Internationale des Lettres

Daquai, Philippe. Chaussures Paul

Egger, Nathalie

Foris, Carla. Le 8 renversé

García, Yuri. Tangazos

Matho, Andrea

Melin, Virginie

Stone, Elizabeth

Turner, David. A Passion for Tango

Verdebout, Pascal.

And thanks to all my family for their patience and encouragement.

3

Table of Contents1

Table of Contents ........................................................................................ 3

Preface of the female tango costume glossary............................................... 4

Introduction ................................................................................................ 4

1. Tango in Buenos Aires............................................................................. 6

1-1 Background ...................................................................................... 6

1-2 The first female tango dancers and their costumes ............................ 8

1-3 Social environment and the female tango costume .......................... 11

2. Tango in France .................................................................................... 13

2-1 The female tango dancer ................................................................. 13

2-2 The female tango costume in France ............................................... 16

2-3 The role of women in society as expressed in tango ......................... 19

3. Tango returns to Buenos Aires .............................................................. 21

3-1 Further evolution of tango............................................................... 21

3-2 The modern female tango costume and shoes.................................. 22

Conclusions .............................................................................................. 26

Research report......................................................................................... 28

Codes and abbreviations table ................................................................... 33

English-French bilingual glossary.............................................................. 34

French - English Index .............................................................................. 93

Bibliography.............................................................................................. 97

Webliography .......................................................................................... 101

Tables des Matières ................................................................................. 106

Appendix................................................................................................. 107

1 A French Table of Contents will be available following the Webliography.

4

Preface of the female tango costume glossary

Introduction

What is tango? Following the definitions of several dictionaries,

tango is a dance, music and song style. A question that immediately follows

is, where and when was tango born? Although the lack of historical evidence

prevents researchers from asserting the exact date of birth of tango as a

dance - the only aspect to be considered in this essay - it assuredly

developed during the late nineteenth and early twentieth centuries. A similar

absence of clear evidence prevents researchers from claiming where tango

first developed. However, for the purposes of the present essay, I shall

consider that tango's native place is, if there is any, Buenos Aires, capital of

Argentina.

An interesting issue related to this particular dance is the

expanding notoriety that it had, and still has, in Europe and in France

especially. Moreover, on this aspect, the following questions can be

formulated: how did tango develop in Argentina and then arrive in France?

Have tango costumes played an important role in its evolution? In particular,

what role has the female tango costume had on its development?

Throughout this essay, we will propose and discuss possible answers to

these subtle questions.

The first part of the paper will deal with the very beginning of

tango as a dance in Buenos Aires. The historical reasons that made people

from diverse countries encounter and mix in Buenos Aires in the late

nineteenth century will be examined. This essay will focus on the rejection of

tango in Argentina and the image of the female tango dancer along with her

costume. It will eventually reveal the influence of the image of women in

society on the female tango costume.

5

With respect to the chronology of tango, the second part of this

essay will study the French female tango dancers and their costumes,

putting forward the polemics brought to Europe, and in particular, to

France, by tango at the beginning of the twentieth century. Following the

structure of the first part, an interpretation will be provided regarding the

link between the evolution of the female tango costume and the modification

of the female status, corresponding to the social events that took place at

that period.

Over the decades, the mores have changed, both in Europe and

in Argentina, and so has tango. The third section will concentrate on the

evolution of tango back to its native city, Buenos Aires, and the impact of

modernity over the female tango costume. In addition, special attention will

be paid to the female tango shoes, a key element of the female tango

costume.

Throughout this essay, three conclusions have been raised.

First, pictures and texts infer that there was no typical costume to dance

tango, either for men or women, which was confirmed by oral evidence

(tango teachers I met for this research). As a consequence, the centre of this

essay will not be the typical female tango costume but the style female tango

dancers followed to dress up. Second, it was interesting to note that the

evolution of the social condition of women highly influenced the female tango

costume. Indeed, as women fought for emancipation, either in France or in

Argentina, they gained freedom both in the social environment and on the

tango dance floor. Third, it turned out to be necessary to pay attention to the

female tango shoes, as they constitute a key element of the female tango

costume. Female tango shoes are practically the only recurring items in the

female tango costume.

6

1. Tango in Buenos Aires

1-1 Background

Numerous researchers have been speculating about the origins

of tango, studying its etymology for instance, but have been unable to reach

an agreement. Most of them presume that it stems from Africa, but the

debate is still open and it may be quite dangerous to strike up the

conversation with a tanguero2 to find out, for example, whether tango was

born in Buenos Aires, Argentina, or in Montevideo, Uruguay (Aguiar 2001,

4).

What seems to be certain though, in conformity with Ferrer and

Del Priore (1999), for instance, is that tango became famous at the end of the

nineteenth century but was not so popular as it is today. Like many cultural

innovations, tango faced criticism. It was regarded as a vulgar and odious

dance (Salas 1989, 128), and had to accept a few changes before it was

tolerated by the majority.

In the late nineteenth century, Buenos Aires was not so

populated as it is today – only 663,854 inhabitants in 1895 compared to

1,575,814 inhabitants in 1914 and 2,776,138 inhabitants in 2001 (last

national census to date) - and it appeared to many foreigners as another

promised land where anyone would have the opportunity to start a new life

with land and a home of their own.

From the analysis by Bourdé (1974), it is possible to see that

Argentina was then starting to open its market to the world. As a result,

foreign trade became one of the main focuses of the government’s foreign

policy (Bourdé op. cit, 2). Argentina required a skilled workforce to build its

2 According to the Lunfardo Online Dictionary, a tanguero is a person who dances tango. Following the Larousse Dictionary of Spanish, lunfardo is the slang language of Buenos Aires, often used in tango songs.

7

economy. In order to make the country more attractive, it was judged

necessary to advertise its natural resource: plenty of virgin land (Bourdé op.

cit, 150).

In 1853, the Argentinean political class had already drafted a

constitution that clearly encouraged immigration: “We, the representatives of

the people of the Argentine Nation, gathered (…) in order to form a national

union, guarantee justice, secure domestic peace, provide for the common

defence, promote the general welfare and secure the blessings of liberty to

ourselves, to our posterity, and to all men of the world who wish to dwell on

Argentine soil”3.

Throughout the nineteenth century, the Argentinean

government had been stressing its advantages to appeal to newcomers, and

was now offering land, for example4, to achieve this. The strategy turned out

to be so effective that hundreds of people rushed from all over the world to

Argentina and eventually settled there (Bourdé op. cit, 150).

However, the number of these immigrants increased markedly

and the land promised by the official propaganda turned out to be already

distributed to a few wealthy Argentinean owners (Salas 1989, 40). How could

the newcomers survive in this environment? More than half of them went

back home. The alternative for those remaining in the country was to work

for industry.

Industry was booming – the first railroad was set up in 1857

(Bourdé 1974, 39) – and so was the production of local goods - such as

leather, dry meat, wool and cereals (Bourdé op. cit, 44). Due to the high

labour requirements in the industrial sector, immigrants turned to the cities

3 See the official text of the Constitution of Argentina (www.biblioteca.jus.gov.ar/Argentina-Constitution.pdf). 4 For more examples, see Bourdé 1974, 151.

8

rather than to the countryside. They needed housing near their working

places. Therefore, accommodations were built around the industrial areas.

As in many big cities that developed so quickly, with immigrants

coming from diverse cultures, a gap appeared between people from different

communities - in particular between those living in the city and those living

in the suburbs of Buenos Aires.

Many people felt excluded from society; among them were

Africans, former gauchos5 and payadores6, and others. They often gathered

in so-called sleazy dark places, hid to play music, dance and sing together

after their long working days. There, they could voice the nostalgia of their

lost freedom. That was tango – a blend of universal despair. As Discépolo7

wrote, “El tango es un pensamiento triste que se baila”8.

1-2 The first female tango dancers and their costumes

As stated earlier, tango started to be danced in official places at

the end of the nineteenth century9. According to Deluy and Yurkievich

(1988, 17), academias were public dance halls where people practiced tango.

There, girls were paid for one dance, or more, and for the amusement of

men, regardless of their social condition.

Indeed, the customers came from various backgrounds (Lenoble

2001, 4-5). As Salas (1989, 93) pointed out, these academias were seen as

places of debauchery, attracting shameful and poor individuals. Still,

5 According to www.wikipedia.org, a gaucho is a South American cattle herder. 6 In conformity with the Larousse Dictionary of Spanish and the Diccionario de la Real Academia Española, a payador is an itinerant singer who improvises stories with a guitar. 7 According to Ferrer and Del Priore's work (1999), Enrique Santos Discépolo (1901-1951) was a theatrical performer, director and author. 8 "Tango is a sad thought that you can dance". 9 According to Salas (1989, 85), the first academias opened in the 1870’s.

9

tangueros used to be very elegant, whatever class they belonged to, and if

there was no typical costume, at least there was an undeniable tango style.

Although the aim of this dissertation is to present the female

costume only, it seems necessary to describe briefly the male tango costume,

in order for the reader to have a proper representation of the tango dancing

couple.

According to many pictures and drawings10, and taking for

example the description from Deluy and Yurkievich (1988, 18-19), a typical

tanguero was characterised by the following costume: “pantalon moulant à

rayures, large ceinture noire, veste très courte fendue dans le dos, foulard

blanc, fleur à l’oreille (œillet ou géranium) et chapeau à large bord retroussé

(…)” [striped slinky trousers, a large black belt, a short jacket with slit back,

a white scarf, a flower over the ear (carnation or geranium) and a tango hat].

Many of the words used to describe the male tango dancer’s

costume are very specific and likely to be in lunfardo. As a consequence, this

justifies the restriction of the subject to the female tango costume, as the

corresponding glossary ought to be made of English and French words only.

As for women, “Elles portaient une jupe courte par-dessus des

jupons à volants amidonnés ; c’étaient les seules jupes courtes admises à

l’époque, le travail exigeant que les danseuses soient ainsi vêtues car il leur

eût été impossible d’exécuter une flexion avec une robe descendant

jusqu’aux chevilles. (Salas 1989, 84)” [They used to wear short skirts over

starched flounced underskirts, which were the only short skirts tolerated at

the time, as it was necessary for the dancers to dress up like this; otherwise,

it was impossible for them to perform any flexion with the common ankle-

long gown.]

10 Ferrer and Del Priore (1999) among others.

10

Let us keep in mind that tango ended up in brothels because it

was not accepted in public places. Thus, the first women to dance tango in

Buenos Aires were not common ladies but dancers in brothels - not

obviously prostitutes, although they were said to be easy girls (Hess 1999,

13). The aim of the dance was to entertain men and make them forget the

hard reality of the outside world. Dancers were not asked to be pretty but to

dance perfectly (Salas 1989, 85).

As far as the results of this research are concerned, the female

tango costume does not seem to be a central issue in tango. Therefore, it was

hard to find written references on this subject. In this regard, an interesting

source for the subject can be obtained through visual references. One of the

most helpful examples for this research was the tango scene in the film

Moulin Rouge (Luhrmann 2001).

In Moulin Rouge, the tango scene is said to represent a brothel in

Buenos Aires. The main female dancer is wearing a black transparent and

short dress, of which the edge seems to have been ripped. The top of the

dress is a corset, very close-fitting, with a large V-shaped décolleté. There are

no sleeves, only thin straps, which gives the impression of even more nudity.

She is also wearing black stockings with refined patterns. Her shoes are

designed like typical tango shoes: black with high heels, a strap on the upper

part of the shoe and the toe box halfway between rounded and spiky.

As for the other female dancers of this tango scene, they can be

seen to be almost all wearing very short dresses too, quite similar to

underskirts, mostly beige – only some are black or dark red. The top of their

costume is also a corset, very close-fitting and rigid in appearance. Either

they wear it like underwear or they put it above a chemise, a kind of

nightgown French ladies used to wear in the beginning of the twentieth

century (Simon 1998, 108-109). It seems to be made of fine lace, very

11

delicate. They also wear beige stockings with a suspended belt and laced

seam on the top, and their shoes are also typical tango ones.

In summary, the female tango dancer’s costume is mostly

defined as being erotic and sensual, very close to lingerie items. Mainly

black, their dresses tend to be short or reveal most of their body. Dancers

show their legs off by wearing top stockings and their shoes are elegant high

heels.

1-3 Social environment and the female tango costume

An interesting aspect of the female tango costume is related to

the social environment in which tango developed in the Buenos Aires of the

late nineteenth century, as well as the place that women had in society in

this period. It would not seem possible to properly understand why women

had such a costume to dance tango without taking into account the social

environment in which they evolved.

At the time, the female tango dancer was not seen as a "femme

fatale", or sexy woman, as she may be nowadays. She was merely

appreciated for her ability to follow her partner and to perform figures. She

was the absolute representation of the exemplary woman, faithful and

devoted to the male figure, executing any movement he would make her

achieve, as long as she was paid for her performance (Schneider 1998, 17).

The fact that female tango dancers used to wear sensuous

clothes may not have only been aimed at showing their "female assets", but

also to emphasise their vulnerability. Therefore, we may assume that the

female tango costume also represented the social situation of women at the

time.

12

The style of the female tango costume also had a very tragic

flavour, expressing sensuality through abandonment. It may also have

reflected the sacrifice of these young girls who had to deny their body and

personality to earn a living. It may have presented the female body as a

sexual object, a violent image contrasting with the innocence of youth, as

many of these girls would end up selling themselves. Brothels could be

thought of as places where desperate souls were melting together - men who

could not find love and women who sold it (Hatem 2001, 6-7).

If tango was said to be provocative and very sexually directed, it

may be mainly because it was quite shocking at the time to see men and

women dancing so closely and sensually, and even more to see women

putting forward their body and playing with their legs in such a way against

the body of a stranger - and what is more, in public.

Moreover, the Argentinean society was mostly governed by rules

imbued by Catholic standards (Spaniards being the main ones who

conquered South America) and the image of women conveyed by tango was

even more controversial. Indeed, following Savigliano11's arguments (1994,

quoted in Archetti 1996, 105), Argentina was profoundly male-dominated

and the main figures of tango were men (Piazzolla, Gardel, Discépolo, among

others).

According to Hess (1999, 16-21), the waltz had already

destabilised the social order in dancing by introducing equal steps for men

and women. Dancing in symmetry and turning together, men and women

were in harmony. Tango was now distinguishing both individuals, allowing

one to perform figures while the other was stopped, and giving total freedom

for improvisation. The male choreography is very different from the female's.

Although the male tango dancer still has the lead, most of the steps are

11 Marta E. Savigliano is the author of Tango and the Political Economy of Passion (1994), reviewed by Archetti in The Passion of Tango (1996).

13

putting the female dancer forward and she is supposed to embellish them

and may add her own variation according to the space she is given.

Tango brought new moral standards that jeopardised the

authority of men over women as established by the Catholic Church. It gave

women confidence and enabled them to assert themselves as sexually

independent persons, questioning the role of women as being mere

reproductive instruments.

However, Argentineans were not ready yet for such a strong

social reversal. Therefore, tango and its revolutionary ideas were rejected and

sailed to Europe. One of the main focuses of this essay being to follow the

evolution of tango, it seemed necessary to contrast the Argentinean female

tango costume with the French one, as Paris had a great influence over the

female tango costume. Consequently, the following section will concentrate

on the evolution of tango in France.

2. Tango in France

2-1 The female tango dancer

There is no clear agreement on how tango reached France.

Although stories and facts seem to have been mixed, according to Zalko

(2001, 13) for instance, sailors are thought to be the ones who brought tango

across the ocean and spread it in Europe by distributing music sheets in

harbours, Marseille apparently being the first. Salas (1989, 122) also offers

the opinion of other authors who claim, in contrast, that crew members

spread it secretly. Apprill (1998, 55) asserts that singers came to record their

songs in Paris because there were no studio in Buenos Aires. In any case, by

the very end of the nineteenth century, tango did manage to reach France.

14

Paris was “the fashion place” and had long been an example that

people from Buenos Aires liked to follow (Salas 1989, 121). According to

Manigat (1991, 35), Argentina had been greatly influenced by Europe for

decades, and more especially, by "the Paris of France" as Mansilla, author of

Una escursión a los indios ranqueles (1877), said in jest, inferring the

similarities of Buenos Aires with Paris (quoted in Salas 1989, 121).

The French culture was inspiration for Argentina; its language

and literature, as well as its political, social and philosophical ideas, were

well known by the elite of Buenos Aires. France seemed to be the archetypal

model of elevated culture. According to Zalko (2001, 7), tango only

concretised the secret bond that linked Buenos Aires to Paris and reinforced

the mysterious complicity between the two cities that had existed for

generations.

Paris was a cultural centre where international exhibitions were

organised, as in 1889, when the Eiffel Tower was built to celebrate the

anniversary of the French Revolution, or in 1900, when the Parisian

métropolitain was inaugurated (Bloch and Delort 1980, 81-107).

As already mentioned, tango was severely criticised before it

became popular among people from the upper class. Likewise, it seems that

it was the polemic environment in which tango was developing that actually

made it so stylish among them.

Indeed, there was a huge competition among French magazines

to get the latest scoop or to publish the hottest debate on tango’s

controversies. The main issue was to know whether tango should be

accepted or not. It tended to become a scapegoat: should you face a problem

in your family or witness a fight in the streets - it was tango's fault; some

also claimed that the First World War was tango's fault (Salas 1989, 126).

15

It was even ill-considered by many Argentineans, who denied

that it belonged to the national culture of their country and associated it

with brothels and sordid places only (Savigliano 1994, quoted in Archetti

1996, 107). As quoted in Salas (1989, 130), Ibarguren12 endeavoured to deny

tango the very least Argentinean character, claiming it was only the result of

a foreign mixture.

Nevertheless, some people did fight to introduce tango in France

as a dance, despite all the controversies it had brought with it, and set up

practice schools in Paris to make it available to everyone. In order to achieve

this, however, the figures were changed and so was the female costume.

There was nothing provocative or shocking anymore, and little or nothing

remained from what was said to be the traditional Argentinean tango.

The steps were codified and handbooks were written to teach

how to dance the "French" tango. Most of the figures were taken off and

some other dances' steps were introduced (Hess 1999, 40-45). Even with

these transformations, common people still kept thinking of tango as

something “forbidden”. Its mere taboo aura was enough to seduce the crowd,

mostly people from the upper and middle classes.

Following Savigliano (1994) and Zalko (2001)'s arguments, the

exotic flavour that the French saw in tango played an important role in its

dissemination. Exoticism evoked pampas and gauchos that Argentina had

made its symbol, as an attempt to create its own identity. Tango suggested

the intensity of emotions: desire and passion. Savigliano (1994) explained

that this exotic flavour seduced the economically dominant members of the

society and tango spread because it entered the capitalist system. According

to her interpretation, it became a commercial product that Europeans used

to colonise the "uncivilised" Argentina.

12 Carlos Ibarguren was one of the candidates for the presidential elections of 1916 and was defeated by Hipólito Yrigoyen.

16

In this context, it became very trendy to dance tango in France,

with Paris as the cornerstone. Tango made its first appearance in a film in

1900 (Hess 1999, 35), it was then dealt with in newspapers and was finally

recognised by Giraudet, who was a respectable dance teacher in Paris.

According to Hess (op. cit, 34-39), tango developed quickly because of the

quest for exoticism which Parisians were fond of, and their need to

constantly experience new things.

According to Zalko (2001), once accepted in public places,

everything was "tangoed": tango became chocolate, dinner, breakfast, lunch,

champagne, and tango clothes also sprang up very quickly. Tight skirts with

side slit or culottes, for example, became popular, because of the necessity to

lift the legs to dance, and bright orange was chosen to represent the "colour

of tango" (Zalko op. cit, 81 or Deluy and Yurkievich 1988, 20).

2-2 The female tango costume in France

It seems that tango was introduced in France in the right time to

spread. Indeed, its influence over clothes was possible because fashion was

continually changing. Additionally, as mentioned previously, women were in

a mood for change, and tango, among other phenomena of exoticism, can be

said to have contributed to the transformation of their clothes.

Indeed, at the end of the nineteenth century, French women

ordinarily wore long gowns made of refined fabrics (lace, silk or velvet, for

instance), with puff sleeves and high necks. Low or even plunging necks and

halters were popular, but mostly for evening dresses, which usually had no

sleeves. It was important to have a very thin waist, which was obtained

through laced up bodices that also emphasised their breasts and the curve

of their back (Rowland-Warne 1992, 49).

17

According to pictures collected for this research, female tango

dancers also adopted these tight-fitting bodices, and they seem to have

remained prevalent. Corsets may have turned out to be useful for female

tango dancers as leaning forward is important to be close to the partner.

This way, the female tango dancer can feel where her partner's feet are

heading and accompany them without any hesitation.

The aim of this position, as most beginners are taught, is to find

a balance between one's own body and one's partner's. As tango dancing

steps follow a special movement of the feet, in accordance with the music, it

is essential to feel one's partner's body and movements.

It can be noticed that the corset of the French female tango

dancers is merely underwear, to sustain the shape of the woman, while she

was wearing a dress above. On the contrary, in Argentineans brothels, this

more or less same corset was their only top.

More and more, women started to practice sport and their

dresses had to adapt themselves to their new activities. Moreover, a great

number of women was now working and had to find more practical clothes to

wear. This is why skirts started to open on the front first and then on the

side, bringing slits in, to allow their legs to move more easily. However, the

legs were still well-hidden thanks to the length of the dresses and the

additional petticoats where the skirt was open (Fernoli & Spiess 1996, 261).

At the beginning of the twentieth century, the line of dresses was

changing, putting the waist higher. As a consequence, lingerie was modified

to match the new features of the dresses and also became more refined with

the introduction of camisoles, night gowns, and so on (Fernoli & Spiess op.

cit, 261).

18

The general tendency for exoticism launched flowing fabrics and

shapes, and shortened the length of the dresses to the ankles. To dance

tango, lightweight fabrics were perfect to accentuate the sensuality of the

movements, but fairly loose due to the modesty of the time, according to the

pictures collected for this research.

Evening sheath gowns became very fashionable and they were

not meant to be worn with corsets, which was revolutionary (Fernoli &

Spiess op. cit, 262). However, they did not become very popular to dance

tango because the narrowness of the skirt substantially reduced the

movements of the legs.

After the First World War, the length of skirts was markedly

shortened. Calves were the first to be uncovered, then the knees in the end

of the 1920's, even for the evening dresses (Fernoli & Spiess op. cit, 276). In

the 1930's, dance was everywhere, from jazz to tango, and more flexible

clothes spread. Straights skirts with deep slits developed, as well as full

skirts with square or boat necklines' bodices. Low backs were trendy and

embroidery heavily covered evening gowns (Fernoli & Spiess op. cit, 288).

Asymmetrical edges also spread widely, and the sporty style brought in the

V-neck bodices and pleated skirts (Fernoli & Spiess op. cit, 290).

In the middle of the 1930's, low backs were replaced by plunging

ones, almost disclosing the top of the bottom. Evening dresses came back to

ankle length and flounces became very common. Synthetic fabrics competed

with silk and others. Then with the Second World War, because of economic

restrictions, women saved old fabrics to make new clothes and cut their

skirts for practical reasons (Fernoli & Spiess op. cit, 307).

The post-war years restored skirts to calf-length and thin waists

came back into fashion. Stilettos became very trendy. In the 1960's, the

famous mini-skirt was brought in and the synthetic fabrics formerly

19

introduced were now mixed with velvet and embroidered ones. Americanism

highly influenced the mentalities and fashion of the time, and trousers

became indispensable. They even entered evening clothing, depending on the

fabric (Fernoli & Spiess op. cit, 312).

In other words, the female tango costume in France was

completely different from what was commonly seen in Buenos Aires at the

beginning of tango as a dance. This can be accounted for both by its

evolution in time and by the changes in mentalities. During the early

twentieth century, the 1920's especially - that is to say, the main period

during which tango spread in France13 - there was a general mood for

transformation and women took advantage of the situation to gain

independence. This can be noticed in the change in the female tango

costume, which transformed long dresses into opened skirts.

2-3 The role of women in society as expressed in tango

It is interesting to observe that the nudity of tango dancers in

Buenos Aires implied tragic vulnerability, whereas in France, the more

women dared to wear a revealing costume, the more they were seen as

emancipated and independent, and thus dangerous for men. The idea of the

heartbreaker "femme fatale", often said to abandon her partner for another,

leaving him in extreme misery, emerged during this period. This can be

ascertained by the lyrics of Gardel14's melancholic songs - among other

singers (Savigliano 1994, quoted in Archetti 1996, 105).

Celia Esplugas's analysis of Savigliano's arguments15 states that

"Although in most tango lyrics the virile "compadrito" (the lower class, macho

13 Deluy and Yurkievich (1988, 25-26). 14 In conformity with Ferrer and Del Priore's work (1999, 39), Gardel was the absolute creator of tango as a song (from 1917). 15 Article available online: www.findarticles.com/p/articles/mi_qa3709/is_199610/ai_n8740718

20

male) controls "la milonguita" (the woman of the tango environment), the

female can also be portrayed as a rebellious figure who trespasses bourgeois

gendered boundaries to move up the social ladder. The "milonguitas" are

portrayed by Savigliano as feminist role models whose "insurgency" drew

female attention at the turn of the century."

Indeed, as much as in France, social unrest was increasing in

Argentina and revolutionary ideas were circulating among women there as

well. Leisure was not reserved to men anymore; women could go out and

enjoy themselves too. According to accounts of the time, drugs like opium

were popular among the bourgeoisie, and women were said to hide some

cocaine in their cosmetic compact (Bernand, 1997, 252). This could be

thought of as proof that women were more autonomous and that their

constraints had been broken down.

The questioning of the role of women can also be observed in

tango, as dancing tango is felt to be an original way to discover your own

personality and sexuality, as well as the partner's. For the time of a dance,

two people attempt to understand each other with the language of their

bodies. Even though tango French created is not so erotic as it may have

been in Buenos Aires, it is possible to compare tango dancing to a seduction

game, whose strength lies in restraint. It seems to symbolise the emotions

that a couple may go through in a relationship as well as determine an

aesthetic ideal where each individual has his or her own role16.

In the next subsection we will see how all these changes affected

tango as it once again crossed the Atlantic, this time in the direction of

Argentina.

16 Apprill (1998, 156)

21

3. Tango returns to Buenos Aires

3-1 Further evolution of tango

After its trip to France, tango was considerably altered. From

1917 onward, because of Gardel, as mentioned before, tango was no longer

music and dance only, but it also turned into poetics (Archetti 1996, 105).

Although an analysis of tango lyrics would deviate from this dissertation’s

topic, it does seem relevant to mention its importance, as this aspect is the

most essential cause of tango transformation and acceptance in Argentina.

Following our previous acknowledgement, reinforced by

Savigliano's arguments (quoted in Archetti op. cit, 106), the Argentinean

tango had been received in Paris as something both scandalous and

fascinating. While modifying it, the French eventually adopted it. However,

tango was much more than music or dance.

The Argentinean culture and identity, wounded by economic,

political and social instabilities, became a major issue among tango

anthropologists (Cruse 194817 or Taylor 1998, for instance). Out of a gamut

of instability came the complex relationships between men and women.

France's final approval of tango may have implied the very recognition of

Argentina as having her own identity and character, although Europeans

may not have accepted tango for these reasons. Nevertheless, this might be

why tango was welcomed back in Argentina after this consequential

transition.

The erotic taste of tango had been somewhat smoothed - if not

completely removed - and this also helped Argentineans to greet it. Tango

was not reserved to brothels anymore: it was now allowed to enter the high

ranks of society, and quickly became popular among “decent people” and

17 Roberto Puertas Cruse, Psychpathologie du tango, mentioned in Hess 1999.

22

artists (Bernand 1997, 251). It was danced in the rich salons of Buenos Aires

and won public places back, where it had been severely rejected. Elegance

and delicacy were now what characterised tango (Bernand op. cit, 252).

Here is an example of how female tango dancers were dressed in

Buenos Aires, given by Bernand (op. cit, 224), describing a photograph

published in Caras y Caretas18 in 1905, taken in front of the Victoria

theatre19: “Les femmes, habillées avec recherche, portent des robes

jusqu’aux pieds et de grands chapeaux qui cachent leurs cheveux. Il est

certain que c’est une danse plus sage, sans les enjambées qui la rendront

célèbre". [“Women seem to be concerned with their appearance and wear

foot-long dresses with large hats to hide their hair. This tango is

undoubtedly more discrete and deprived from the footwork that made it a

famous dance"].

The image of tango evolved from a vulgar and lascivious dance to

a refined and elegant one thanks to the talent of Gardel and his lyrics writer,

Valentino, who extracted it from brothels and made it correspond to

everyday tales. The disdainful thug exchanged his place with the miserable

ordinary man forsaken by his mistress. Tango became a personal and

common tragedy that most Argentineans identified with, and was finally

accepted as the national symbol of Argentina (Bernand op. cit, 252).

3-2 The modern female tango costume and shoes

The colours red and black have remained the symbol of tango

but nowadays, the female tango costume and shoes can be found in all sorts

of colours20. Indeed, by wandering about tango dress or shoe makers’ and

sellers’ websites, one can easily find blue, pink, brown and many other

18 Caras y Caretas is an Argentinean magazine of the beginning of the twentieth century. 19 The Victoria theatre is an Argentinean theatre founded in 1838 (Bernand 1997, 165). 20 For examples of shoes, see Webliography, "Tango shoes pictures" section.

23

colours for dresses and shoes. Still, it seems that white, gold and beige have

been added to the traditional colours and that bright orange, or the "colour

of tango", has more or less disappeared (this is why it will not appear in the

shoes' colour section of the following glossary; similarly, beige seems to be

fashion for shoes but not for dresses).

Even today, no one design has typified the tango costume for the

female dancer of the Argentinean tango, only a style and the strict condition

that it should be convenient, according to several Argentinean tango

teachers interviewed for this research. The special dresses specially made for

tango dancers, found on many websites, seem to be made for ballroom

tango, which is completely different from the Argentinean tango as it is

exclusively competitive.

Indeed, although the style is more or less the same, these

dresses look a bit glitzier, with many pearls and sequins. They may be more

chic but too flamboyant to dance the Argentinean tango off stage. This may

be due to the need for dancers to accentuate their costumes so as to present

an extravagant and flashy show, in the same way that performers have to

emphasise their makeup for people to see it from the back of the theatre.

Nowadays, women who perform the Argentinean tango in

dancing simply wear daily trousers or may adopt the traditional style if they

want to look elegant during evening balls. In this case, they are likely to wear

slinky black or red dresses most of the time, according to the results of this

research. The top may be halter necked or boat necked, among others. The

back can also have several shapes, like a keyhole back for instance,

occasionally very low.

The most commonly used fabrics are satin, silk and lace, as well

as chiffon, velvet (crushed or not), organza, and others. Lots of dresses are

decorated with fabric ornaments such as flounces or fringes.

24

Most of the time, female tango dancers wear fishnet stockings

or, if not fishnet, stockings with very delicate patterns (as shown in the

movie Moulin Rouge). These stockings are hold ups or ‘top stockings’, usually

fastened with garter belts. They were very popular in the 1920's and

represented one of the tools women used to seduce men (Simon 1998, 94).

This image fits the new reputation of the modern female tango dancer, said

to be irresistible to men.

To complete the depiction of the female tango costume, it is now

necessary to discuss tango shoes. According to the results of this research,

tango shoes all follow the same basic conception, although some recent

designers, like Arika Nerguiz or Sylvie Geronimi, have attempted to change

their shape. The aim of the tango shoe is similar to the rest of the outfit: to

be convenient. Tango balls usually last several hours and to enjoy them, the

dancer should wear comfortable shoes.

This is why they are always made of leather, a flexible material

considered to be the best one for tango shoes, according to the designers21.

The reasons for this choice are the following: firstly, leather, made of animal

skin, gives you the feeling that your shoe is the continuation of your foot and

gives you more stability and energy. The dancer can spin easily without

slipping and master her movements perfectly. Secondly, leather is one the

best materials for the feet to breathe properly, which is even more important

for tango shoes, as dancing requires a lot of energy. Thirdly, leather is strong

enough to be durable, whether it is used for the insole or outsole. Fourthly,

leather is easy to transform and other materials can be created from its raw

state: patent and suede for example.

The shape of tango shoes is distinguishable from everyday

shoes. Most of the time, their heels are high (only a few are low heeled),

21 See Webliography for further discussion, shoes information section.

25

usually a stiletto or spike heel, but thick enough to keep one's balance. The

shape of their toe box, open or not, is rounded and narrow, halfway between

rounded and pointed. Generally, the shoe is open on the upper part of the

foot, which is referred to by some designers as a décolleté22.

Indeed, as this name suggests, the shape of the tango shoe

seems to reveal the sensuality of the wearer, as it discloses only a small

parcel of skin without showing the rest. It emphasises the curve of the foot

and this décolleté might betray the personality of the wearer. This may be a

way to put forward this very important element that is the foot for a dancer.

Already a subject of worship in literature, the foot seems to be a great

concern in dancing and in tango especially.

This shape may also account for the fact that the female dancer

has to follow her partner's feet very closely, and wearing very pointed shoes

would make the male dancer step on her feet. Similarly, the toe box needs to

be a bit narrow so as to put forward the direction of the feet. But the female

tango dancer needs to be comfortable while dancing otherwise her motions

might be altered.

For the foot to be well maintained, the tango shoe needs a firm

strap around the ankle. Even though tango is not always made up of quick

steps and violent legs movements, it is essential that the female dancer

should be able to rely on her shoes. Moreover, high heels often incline the

ankle to crush, so the strap, single or double, prevents this.

As mentioned before, shoes are the only traditional item of the

Argentinean tango, in a manner similar to men's suits, versus women's

dresses that do, nonetheless, seem always to have a style in common.

Overall, the female tango costume seems to be a blend of that described

22 Blandin, Noël (2003).

26

during both the beginning of tango and afterwards, in France as well as in

Argentina.

Conclusions

For slightly more than a century, tango has developed from

Argentina across Latin America and Europe, conquering the rest of the

world. Indeed, it was a fashionable phenomenon in Paris, but also in Spain,

Britain, Italy, Germany (Salas 1989, 126), and in Japan (Ferrer and Del

Priore 1999, preface). Since then, its popularity has not faded. In fact,

modern tango music styles are blooming - mostly coming from Argentina -,

tango magazines are still widespread, dancing festivals and workshops are

organised quite often, and there are plenty of websites about tango - as a

music, dance or song style.

Tango, however, has not always been so trendy, because of the

vulgarity it was thought to imply. Its notoriety, nevertheless, played a key

role in its circulation among different countries. Paradoxically, people who

condemned tango actually spread it. Although the original sense that

emanated from the traditional tango has been changed throughout the

years, as argued in this essay, tango as a dance has remained the symbol of

sensuality.

It may seem peculiar to study the costume of a dance to better

comprehend its signification, as has been the approach undertaken in this

essay. However, although it is shown that there is no typical tango costume,

tango dressing has reflected, somehow, the evolution of this dance

throughout the years and places.

In particular, this essay has emphasised that the female tango

costume has reflected the social condition of women throughout the years.

27

Women's fashion has closely followed tango evolution. With the broader

acceptance of tango among different social classes, nowadays, female tango

style shows more reserve than in the previous centuries, when it was mostly

associated with women dancing in brothels. Thus, the female tango costume

is an appreciable confirmation of the impact of society on tango as a dance.

However, as stated in the main text, a subtle issue appears when

considering tango shoes. In fact, they are the only frequent items of the

female tango costume that appear to preserve their original shape across

time. As a possible explanation, this preference seems to be commanded by

convenience and comfort for practicing the dance, rather than social context.

Since the original tango shoes had a shape adequately adapted to dancing,

changing them was not necessary.

Considering this argument as well as the fact that women may

be interested in authenticity helps explain why the original tango shoes, as

made in the Argentinean factories, have survived in their traditional shape.

Moreover, tango shoes perhaps represent the only trace remaining from the

so-called traditional Argentinean tango.

28

Research report

1. Evolution of the research

The aim of this research was to present the Argentinean tango

not only as a dance but also as a cultural phenomenon. This subject seemed

to be very appealing because the current emergence of Latin dances in

Europe seems to have given new life to the controversy over "provocative

dances", raised about a century ago with tango. Moreover, although tango

still seems to be fashionable in Europe, Europeans may not all be aware of

its cultural significance. This is why I chose to make the social background

of tango the core of my research, specialising in the female tango costume.

Such evolution illuminates the female role in society and matches my own

concerns. Therefore, my own awareness, coupled with my research, has

helped me to understand tango's development. Indeed, I have attempted to

show throughout this essay that the evolution of the female tango costume

was linked to the social atmosphere in which tango evolved.

In order to prepare this research, I gathered diverse works about

tango in general and then about tango costume. However, although there

were several works about tango easily available at the beginning, many of

them turned out to be impossible to obtain. Moreover, half of them were

written in Spanish and were not translated. This was due to the fact that

most of the writers who did any research on tango were from Argentina.

Consequently, their work was published in Buenos Aires and seldom

reached France. Fortunately, national and local libraries as well as

bookshops did offer a choice of books, although restricted. All in all, general

material for this research was not easy to find, but I did manage to benefit

from valuable sources.

29

As for specialised works about the female tango costume, the

lack of material was particularly marked. Indeed, it seemed that the female

tango costume did not attract many researchers, which was not surprising,

as we saw that there was no typical tango costume for men or women.

Nevertheless, the absence of material gave me an extra motivation to pursue

this research. Moreover, having in mind that there is no typical tango

costume, I do think it is important to define the tango style as it is relevant

in order to clearly understand tango as a whole.

As discussed previously, however, since tango shoes are the only

common item of all female tango costume, it seemed fair to expect broader

information about them. However, apart from sellers' websites, it appeared

that only a few people were interested in their history. In addition, most of

the traditional tango shoes factories never answered my emails, and their

location - Buenos Aires - prevented me from making any further inquiry.

Fortunately, several “normal” shoemakers – who make everyday shoes –

advertise their company online and sometimes offer a general glossary of

shoes, which was extremely helpful to check the translations I had collected

in general dictionaries. Likewise, some students who made research on

general shoe terms also made their work available online and their studies

were very clarifying.

As a consequence, the main validation that could be obtained for

my headwords was through websites, and I am thus aware that some terms

might be missing. However, I think this glossary mostly covers the topic and

should be complete enough to help other researchers.

In summary, the main difficulty encountered for this research

was in collecting the information, either due to the unavailability of the

original sources or to the lack of interest in the female tango costume among

researchers. However, the latter shows that such research may be useful to

30

people interested in costume as a whole and in tango, as it has brought forth

some original ideas.

2. Field definition

In conformity with the conceptual tree I created to order this

research, this glossary does not cover the vocabulary of the whole female

tango costume, but has focused on the tango dress and the tango shoes.

Indeed, these are only two of the four subsections - namely tango dress,

tango shoes, tango accessories and tango hairstyle - found to best define the

tango costume. I chose to concentrate on these two because they seemed to

be more significant examples of the influence of time over the female tango

costume. As a matter of fact, tango accessories and hairstyle may not be

substantially different from other dances

Following the organisation of the conceptual tree, each of these

two subsections is divided into several branches, which are: part, type,

colour, material and shape for the dress; and part, colour, material and

shape for the shoes. There is no "type" section for the tango shoes because

they are, according to the arguments previously brought in this essay, more

or less similar. These choices have been made according to the frequency of

the terms collected for this research. Branches may not always be well-

balanced as the main objective of this glossary was to deal with words

specific to the tango dress and shoes mostly, and some sections happened to

be richer than others.

This glossary is mostly made up of nouns - and some adjectives -

as I chose to concentrate on the description of the female tango costume and

its significance. I avoided dealing with the technical terms, like the different

methods used for the sewing (i.e. welt or sole sewing) or the name of the

machines or tools (i.e. lasting pliers), etc. Each term can obviously be used

for general shoes but I only selected the words applicable to tango shoes. For

31

instance, tongue or arch support will not appear in this glossary as they are

not used specifically to make a tango shoe.

3. How to use this dictionary

For the reasons detailed above, this glossary may not be as

complete as it should be. However, it constitutes a useful tool to help the

reader understand the specific words used for the making of the female

tango costume. It covers the vocabulary of the tango dress and shoes. Its

configuration aims at giving as much information as possible about each

word, following the layout of a classic bilingual dictionary. It should be

accessible to any reader, from the ill-informed one to the specialist.

For this glossary to be helpful, each entry word is numbered and

classified according to alphabetical order. Each headword consists of: a

French definition, to give a proper representation to the reader; the English

quotation where the word was found, to show how the word is used in

context; the translation of this quotation; possible comments and cross-

references. The field label is also specified so as to show the reader where the

word is located in the conceptual tree - included in the appendix. The field

label will start from the level either dress or shoes. This is to avoid repeating

the root of the conceptual tree: tango, dance, costumes, women. The terms

dress, shoe and gown are the only one that the root of the conceptual tree

indicates. I chose not to indicate the phonetics because most of the words

are easy to pronounce and may not need any help.

Representative symbols of tango were chosen as icons of the

different subsections present in each entry. A tanguero hat represents the

definition of the word (being the head of the costume); Argentina's flag

stands for the source or quotation of the word (as Argentina is the native

country of the Argentinean tango); a rose corresponds to the translation of

this quotation (because it represents tango’s passion); a musical note

32

symbolises the comment; a yellow sun corresponds to the illustration; the

arrow corresponds to the cross-reference; the tango shoe is the separation

between the entry words.

Typefaces are used as follows: italics are used for syntactic

indicators; boldface is used for headwords and their translation, and

highlights the headword within the quotation and the translation of the

quotation; underlined words are used for cross-references; commas (,)

separate synonymous translations of the headword; semicolons (;) isolate the

diverse translations of the headword; an asterisk (*) is used to indicate

technical words; square brackets ([ ]) are used for the field label and also

indicate an additional translation within the translation of the quotation;

underscores (_) separate the different levels within the field label

(corresponding to the conceptual tree); vertical lines (|) designate potential

syntactic details; slashes (/) refer to the validation sources in French, which

are numbered and can be found in the bibliography; backslashes (\)

separate similar levels inside the field label section; parenthesis (()) are used

for the validation source of the quotation in English. Read the following table

for other codes and abbreviations.

33

Codes and abbreviations table

General abbreviations Personal abbreviations

and codes

adj

f

inv

in compound

la

lp

m

n

N

nf

nfpl

nm

npl

pl

®

Tex

U

adjective ; adjectif

feminine ; féminin

invariable ; invariable

dans un nom composé

locution adjectivale

locution prépositionnelle

masculine ; masculin

noun ; nom

proper noun ; nom propre

feminine noun ; nom féminin

plural feminine noun ;

nom féminin pluriel

masculine noun ; nom

masculin

plural noun ; nom pluriel

plural ; pluriel

registered trademark ;

marque déposée

textile ; textile

uncountable ; indénombrable

definition ; définition

source ; source

translation ; traduction

comment ; commentaire

illustration ; illustration

headword separation ;

séparation entre les

entrées

cross-reference ; renvoi

34

English-French bilingual glossary

1. ankle in compound (strap) autour lp de la cheville

[shoe_part_upper_front_

quarter_strap_double]

/aucune/

Qui s'attache autour de la cheville pour maintenir la chaussure*.

Ladies 2 ½ inch or 3 inch flexible high heeled, open sided character

shoes with single ankle strap and additional “Y” asymmetrical cross strap to

front toe box. (Duca Shoes, La)

Chaussures à haut talon flexible (hauteur de 2 pouces et demi ou 3

pouces [environ 6 cm et 8 cm), ouvertes sur le côté avec lanière simple

autour de la cheville et une lanière croisée additionnelle en forme de "Y" sur

l'avant du bout de la chaussure.

cross, double, shoe, single, strap

2. asymmetrical adj (neckline, edge) asymétrique adj

[dress_shape_neck] /1. WordReference.com

2. Harrap's unabridged/

Qui n'est pas droit, en biais.

The asymmetrical bodice has one off-shoulder sleeve. (DanceSport

Ballgowns Gallery)

L'une des manches du corsage asymétrique laisse une épaule libre.

35

boat neck, bodice, low neck, neck, plunging neck, scoop neck, square

neck, V-neck

3. beige adj (colour) beige adj

[shoe_colour] /1. Zapatos Finos


De la couleur du sable, proche du brun très clair.

Women's tango shoes in a beige. (Guaranteed Fit, Authentic Tango

Shoes from Argentina))

Chaussures de tango pour femmes en beige.

La couleur beige est devenue l'une des couleurs traditionnelles du tango,

avec le rouge et le noir, fréquemment utilisée pour les chaussures.

black, gold, red, shoe, white

4. black adj (colour) noir adj

[dress\shoe_colour] /1. République Internationale des Lettres, La


Qui est de la couleur la plus sombre.

Clothing in tango is mostly black, combined with serious faces and the

sad organ-like sound of the bandoneon does make the atmosphere a bit

religious. (Groupe MSN, tango argentino)

Les vêtements de tango sont principalement noirs, cela accompagné de

visages graves et de sons tristes du bandonéon, proches de l'orgue, rend

l'atmosphère presque religieuse.

36

Le noir est l'une des couleurs traditionnelles du tango, fréquemment

utilisée pour les chaussures et la robe.

beige, bright orange, dress, gold, red, shoe, white

5. blouse n corsage nm

[dress_part_bodice] /1. Trouver Objet Caché


Type de vêtement féminin qui recouvre le buste et s'étend des épaules à

la taille.

This elaborate Latin dress was created for a special showcase

performance, and was inspired by the movie "Moulin Rouge." It features a

lace-up black corset over an off-shoulder pink blouse with split sleeves.

(DanceSport Ballgowns Gallery)

Cette robe raffinée du style latino a été créée pour une présentation de

vitrine unique, et a été inspirée par le film "Moulin Rouge". Elle est faite d'un

corset noir à lanières porté au dessus d'un corsage rose dont les épaules

sont dégagées et les manches fendues.

bodice, bustier

6. boat neck n encolure nf bateau

[dress_shape] /1. Grand Dictionnaire Terminologique

2. Harrap's unabridged. 3. Ferloni & Spiess/

Encolure* qui a une forme arrondie et qui découvre une partie des épaules.

The boat neck bodice with long sleeves and hip sash with mauve silk rose

flares out to yards of chiffon petal panels. (Tango Dance Costume Collection)

37

Le corsage en encolure bateau à longues manches et avec ceinture de

hanche, garni d'une rose de soie mauve, est gonflé de plusieurs épaisseurs de

mousseline de soie.

Peut aussi s'écrire en un seul mot, soit boatneck, mais semble moins

fréquent, d'après les sources consultées.

asymmetrical, bodice, low neck, neck, plunging neck, scoop neck, square

neck, V-neck

7. bodice n (of dress) corsage nm

[dress_part] /1. Grand Dictionnaire Terminologique


Partie supérieure de la robe*, qui s'étend des épaules à la taille, en

opposition à la jupe*.

In 1913 the "Tango-Visite" was introduced, which was a dress style for

dancing with a transparent bodice and a mid-calf skirt length.

(StreetSwing's Dance History Archives)

En 1913, la "Tango-Visite" fit son apparition. C'était un style de robe de

danse, dont le corsage était transparent et la jupe à hauteur des mollets.

Les adjectifs qui sont souvent employés avec bodice sont : gathered,

empire, halter. Le mot bodice peut aussi signifier corset, mais n'apparaît que

dans peu d'ouvrages.

blouse, bustier, dress, skirt

38

8. border n bord nm

[dress_part_finishing] /1. Grand Dictionnaire Terminologique


Extrémité décorative de la robe*.

edge, fringe, hem, hemline

9. bright orange adj (colour) orange vif adj,

"couleur tango" adj

[dress_colour] /1. Zalko, Nardo


Orange très vif, assez foncé.

The shorty skirt is gathered at the left front hip and anchored with

bright orange lace motifs. (DanceSport Ballgowns Gallery)

La jupe courte est froncée au niveau de la hanche gauche, sur le devant,

et fixée à l'aide de motifs en dentelle couleur tango.

La "couleur tango" était très à la mode pendant les années folles,

notamment à partir de 1913. Aujourd'hui, elle est tombée en désuétude, du

moins du côté vestimentaire. On pourrait dire que le rouge, couleur chaude

également, l'a plus ou moins remplacé.

black, dress, gold, red, white

39

10. buckle n (of shoe) boucle nf

[shoe_part_upper_front_quarter] /1. Wordreference.com


Rectangle métallique muni d'une pointe, qui sert à attacher ensemble

les deux lanières* d'une chaussure*.

Ladies 2 ½ inch flexible high heeled, open sided character shoe with

double cross straps and a single buckle. (Duca Shoes, La)

Chaussure à talon flexible (hauteur de deux pouces et demi [environ 6

cm), ouverte sur le côté avec lanières croisées et boucle simple.

quarter, shoe, strap

11. bustier n bustier nm

[dress_part_bodice] /1. Harrap's unabridged

2. Simon, Marie/

Corsage* avec ou sans bretelle*, qui soutient le buste.

Strapless bustier with sweetheart neckline, lace and sheer detail. (Tango

dance dresses)

Bustier sans bretelle avec encolure en forme de coeur, dentelle et

finesse.

Autrefois, le bustier était un vêtement qui se portait au dessus du corset,

alors que celui si n'était qu'un sous-vêtement. Aujourd'hui, ils se portent

tout deux en soirée ou de jour, indépendamment. La différence principale

entre les deux est que le bustier est moins rigide et assez confortable, il se

40

ferme facilement ; alors que le corset s'attache par derrière à l'aide de

lanières, et doit être serré. Il met la poitrine en valeur. Le bustier est

généralement plus court que le corset.

bodice, blouse

12. camisole n (undergarment) corsage nm

[dress_part_undergarment]

/1. Wordreference.com/

Type de sous-vêtement féminin sans manche.

Camisole (Petticoat Bodice): A loose bodice worn over the corset (to

protect it from soiling). (Corset Terms Dictionary)

Corsage (Corsage Jupon) : Corsage ample porté au-dessus du corset

(pour éviter de le salir).

corset

13. chiffon n Tex mousseline nf de soie

[dress_material]

/1. Harrap's unabridged

2. Le petit Robert/

Tissu* fait à partir de soie*, fréquemment utilisé pour la robe*.

Dress with sweetheart neckline has softly gathered chiffon straps and a

removable organza flower pin corsage. (Tango Dress and Fashion by

Tangoleva)

41

Robe avec encolure en forme de coeur et bretelles de mousseline de soie

finement froncées, ainsi qu'une broche fleur détachable en organza sur le

corsage.

crepe, organza, satin, velvet

14. circle in compound (skirt) circulaire la

[dress_skirt_shape]

/aucune/

Qui a une forme de demi-cercle.

The full-circle skirt is one layer of shimmering chiffon over a layer of

turquoise silk charmeuse. (DanceSport Ballgowns Gallery)

La jupe évasée circulaire est faite d'une épaisseur de mousseline de soie

chatoyante sur un pan de charmeuse turquoise en soie.

full, skirt, straight

15. close(d) adj (shoe) fermé adj

[shoe_shape_toe box]

/1. Chaussures Paul

2. Wikipédia/

Dont le bout* est totalement recouvert.

Our catalogue: 2005 collection; low heel; high heel; platform, open toe;

closed toe; sandals. (Tara Tango Shoes)

42

Notre catalogue : collection 2005 ; chaussures à talon plat ; chaussures

à haut talon ; chaussures à semelle compensée ; chaussures ouvertes ;

chaussures fermées ; sandales.

En Français, on parle de "chaussure ouverte" ou "chaussure fermée" et

non de "bout ouvert" ou "bout fermé".

open, shoe, toe or toe box, toe puff

16. cork n (sole) liège nm

[shoe_material_sole]

/1. Allen Edmonds


Matière légère et flexible, d'origine végétale, fréquemment utilisée pour

la semelle compensée* de la chaussure* de tango.

There's nothing more comfortable than a flexible, cork platform sole.

(Tara Tango Shoes)

Rien de plus confortable qu'une souple semelle compensée en liège.

leather, platform

17. corset n corset nm

[dress_part_undergarment]

/1. Express Livres


Sous-vêtement féminin en tissu*, baleiné et lacé, qui servait à serrer la

taille.

The 'Tango' corset, for example, was made for dancing in. It would have

been worn over the hips freeing the waist from the restriction of a tightly

laced corset. (Secret History of corset and crinoline, The)

43

Le corset "Tango", par exemple, était fait pour qu'on puisse danser avec.

Il recouvrait les hanches et laissait la taille libre, contrairement au corset

étroitement serré.

A la fin du 19ème siècle, le corset était un sous-vêtement qui servait à

soutenir le dos et s'arrêtait souvent sous la poitrine ou sous les bras. Il

pouvait être porté pour des raisons esthétiques comme médicales. Serré à

l'aide de lanières, il compressait la taille, et mettait en valeur les hanches et

la poitrine. Les plus longs atteignaient le haut des hanches. Les armatures

étaient alors faites d'acier, ce qui le rendait inconfortable et empêchait de

respirer correctement lorsqu'il était très serré. Pourtant, il est resté à la

mode un moment, jusqu'à ce que les mentalités changent au cours de la

Première Guerre Mondiale. L'émancipation des femmes s'est traduite, parmi

d'autres aspects, par la libération du corps et le rejet du corset. Aujourd'hui,

la forme du corset est redevenue à la mode, mais il n'y a pas toujours

d'armature, et quand ils en ont, elles sont en plastique. Ils sont simplement

fermés par une fermeture éclair ou par des agrafes, et le laçage, quand il y

en a, est souvent décoratif uniquement.

bustier, camisole, eyelet, hook and eye, lacing

18. counter n (of shoe) contrefort nm

[shoe_part_upper_front]

/1. Grand Dictionnaire Terminologique

2. Documentations, publications CTC/

Pièce de cuir* située à l'intérieur de l'empeigne*, qui sert à renforcer la

chaussure*.

Counter: The stiffening material between the lining and the outside of

the shoe upper around the back of the shoe. (Allen Edmonds)

44

Contrefort : Matériau de renforcement situé entre la doublure et

l'extérieur de l'empeigne autour de l'arrière de la chaussure.

En Français, on utilise le même mot pour le contrefort arrière ou avant.

Par contre, en Anglais, stiffener est ce qui renforce l'arrière du cuir au niveau

de la doublure, pour maintenir le pied en place, alors que counter est un

renfort entre le dessus et la doublure de la chaussure. Celui-ci maintient

également le pied, mais il soutient aussi la tige.

quarter, shoe, stiffener, toe or toe box, toe puff, vamp

19. crepe n Tex crêpe nm

[dress_material_main]


2. WordReference.com/

Tissu* fait à partir de soie*, fréquemment utilisé pour la robe*.

The asymmetrical double skirt has a layer of hand-painted pink Venice

lace lined with nude lycra, topped by a layer of black stretch crepe with a

flouncy ruffle. (DanceSport Ballgowns Gallery)

La jupe double asymétrique présente une fine couche de dentelle de

Venise rose peinte à la main avec du lycra transparent, recouverte d'une

couche de crêpe noir extensible et d'un volant en dentelle.

chiffon, organza, satin, velvet

20. cross in compound (strap) croisé la

[shoe_part_upper_front_quarter_

strap_double]

/1. Lingerie tv > Chaussures

2. Grand Dictionnaire Terminologique/

Qui a la forme d'une croix.

45





pouces [environ 6 cm ou 8 cm), ouvertes sur le côté avec lanière simple



La traduction la plus proche de cross semble être diagonale. Néanmoins,

j'ai choisi d'utiliser croisé dans ce contexte car il me semble beaucoup plus

courant, d'après les sources consultées. Si mot utilisé en Anglais était

crossed, ou s'il s'agissait d'un mot composé, cross- j'aurais pu justifier croisé

sans problème, mais ici, seul la fréquence de croisé plutôt que diagonale

justifie mon choix.

ankle, double, shoe, single, strap

21. crushed velvet n Tex velours nm frappé

[dress_material_additional]

/1. Wikipédia


Tissu* fait de deux épaisseurs, qui est fréquemment utilisé pour les

décorations de la robe*.

Another classy design of stretch crushed velvet with low back and

sculptured nude inset in front. (Tango Dance Costume Collection)

Un autre modèle élégant en velours frappé extensible avec décolleté

dans le dos et incrustation de dentelle transparente devant.

glitter, lace, lamé, mesh, velvet

46

22. culottes npl jupe-culotte nf

[dress_type]

/1. Zalko, Nardo


|toujours au pluriel|

Vêtement féminin qui ressemble à une jupe*, mais qui est en fait coupé

comme un short.

Culottes were the order of the day. By the twenties everyone was

familiar with the flapper girls. The new dances also demanded free flowing

dresses. Could you tango in whale-bone? (More on corsets and kitchens)

La jupe-culotte était à l’ordre du jour. Dans les années vingt, tout le

monde connaissait les jeunes filles dans le vent. Les nouvelles danses

imposaient également des robes qui pouvaient tourner librement. On ne peut

pas danser le tango avec des baleines !

La jupe-culotte est devenue à la mode autour de 1913, à Paris, et s'est

répandue partout dans les années 1930.

jumpsuit, sheath

23. décolleté n décolleté nm

[dress_part_bodice_neck]

/1. République Internationale des Lettres, La


Encolure* qui laisse voir le cou et une partie de la gorge ou du dos.

Décolletage/Décolleté: A low-cut revealing neckline. (eDressMe

Glossary of Terms)

47

Décolleté : Encolure échancrée.

Les mots anglais décolletage et décolleté ont la même traduction en

Français.

asymmetrical, boat neck, low neck, halter, neck, plunging neck, scoop

neck, square neck, V-neck

24. double adj (strap) double adj

[shoe_part_upper_

front_quarter_strap]

/1. WordReference.com


Qui se compose de deux lanières.

Ladies 2 ½ inch flexible high heeled, open sided character shoe with

double cross straps and a single buckle.

Chaussures à haut talon flexible (hauteur de deux pouces et demi

[environ 6 cm), ouvertes sur le côté avec doubles lanières croisées et boucle

simple.

ankle, cross, shoe, single, strap

25. dress n robe nf

[tango_dance_costumes_women]

/1. République Internationale des

Lettres, La


Vêtement féminin composé d'un corsage* et d'une jupe*.

Dramatic, yet simple, this dress is a modern tango classic. (Tango

Dresses and Fashion by Tangoleva)

48

Grandiose et pourtant simple, cette robe est un classique du tango

moderne.

La longueur de la robe que portent la plupart des danseuses de tango

varie en fonction des modes et des goûts, mais la forme reste plus ou moins

la même. La seule restriction est quelle soit confortable et pratique. La

plupart du temps, il s'agit de robes sans bretelle, sauf pour les robes de

compétition, où les manches, par leur forme, ajoutent un charme

supplémentaire. En général, les corsages sont serrés et les jupes sont

évasées. Les couleurs et matières dépendent du goût de celle qui les porte.

bodice, gown, sheath, skirt, shoe

26. edge n bord nm

[dress_part_decoration]

/1. Harrap’s unabridged


Extrémité d'un tissu*.

The one black sleeve has a chiffon flounce at hem edge. (Tango Dance

Costume Collection)

La manche noire porte un volant sur le bord de l'ourlet.

Lorsqu'il est employé seul, edge désigne une extrémité non travaillée, en

opposition à un ourlet. Par contre, il peut être suivi ou précédé de mots

comme hem, ou hemline, et ne précise pas, dans ce cas, si l'extrémité est

cousue ou non. Il indique simplement un endroit.

border, fringe, hem, hemline

49

27. eyelet n trou nm de laçage

[dress_part_decoration_ornament]



Petit anneau de métal ou de tissu* dans lequel on fait passer un cordon

dans le but de rassembler deux pans de tissu*.

Grommet: A metal reinforced eyelet hole used for lacing up corsets.

First used in the late 1820's on corsets and then in common use for the

Victorian era. (Secret history of corset and crinoline, The)

Œillet : trou de laçage renforcé en métal utilisé pour lacer les corsets.

D'abord utilisé à la fin des années 1820 sur les corsets et devenu ensuite

populaire durant l'époque Victorienne.

Le trou de laçage peut se situer dans le dos ou sur le devant du corsage

de la robe. Il est habituellement fixé sur un bord du corsage et son ouverture

permet de faire passer un cordon, pour attacher les deux bords du corsage

ensemble. Autrefois, cette technique servait à serrer le corset autour de la

taille, il est maintenant davantage utilisé comme ornement. Le mot grommet

semble correspondre à des anneaux plus larges, qui sont peut-être moins

utilisés en tango, mais le manque d'information m'empêche d'être certaine.

corset, hook and eye, lacing

50

28. fabric n tissu nm

[dress\shoe_material]



Matériau créé à partir de plusieurs fibres* textiles (la soie* par exemple)

naturelles ou synthétiques.

The three fine fabrics that make up this dress appear to reveal more

than just a nude lining. (Dancedress.com)

Les trois différents tissus de la robe semblent révéler bien plus qu'une

doublure transparente.

Souvent, fabric est utilisé derrière le nom d'un tissu (lycra par exemple).

Dans ce cas, la traduction française remplace les deux mots par un seul et

ne garde ainsi que le mot du tissu. Par exemple, "This dress is made of lycra

fabric" deviendra "Cette robe est en lycra."

chiffon, crepe, crushed velvet, lace, lamé, lycra, mesh, organza, rayon,

satin, spandex, velvet

29. fibre n fibre nf

[dress\shoe_material]



Elément filamenteux qui permet de créer un tissu*.

rayon, silk, spandex

51

30. flounce n volant nm

[dress_part_decoration_strip]


2. International Poster Gallery Online /

Bande de tissu* froncé, ou plissé, qui sert de décoration.

The one black sleeve has a chiffon flounce at hem edge. (Tango Dance

Costume Collection)

La manche noire porte un volant au niveau de l'ourlet.

ruffle

31. fringe n frange nf

[dress_part_decoration_finishing]


2. CostumeTHL.com


Bande de tissu* de laquelle pendent des fils ou autres bandes de tissu*,

qui sert de décoration.

The asymmetrical skirt is edged with two rows of black rayon fringe to

enhance your movements. (DanceSport Ballgowns Gallery)

La jupe asymétrique se termine par deux rangées de franges en rayonne

afin de mettre vos mouvements en valeur.

border, edge, hem, hemline

52

32. full adj (skirt) évasé adj

[dress_shape_skirt_main]

/1. Ferloni & Spiess/

Qui a la forme d'un A, étroite à la taille et large au bord*.

Single rows of brown ostrich feathers trim the three-quarter sleeves and

the full skirt, and a design in brown rhinestones drifts diagonally down the

front and back. (DanceSport Ballgowns Gallery)

Des rangées simples de plumes d'autruche marrons terminent les

manches trois-quarts et la jupe évasée, et un décor de diamants fantaisie

glissent en diagonale devant et derrière.

Le mot full skirt est un nom composé courant en Anglais, auquel il ne

semble pas y avoir d'équivalent en Français.

circle, skirt, straight

33. glitter n (decoration) paillettes nfpl


/1. Harrap's unabridged/

Pièce de métal brillant qui peut se coudre sur le robe* pour décorer.

Made entirely of metallic glitter slinky, this white star-shaped gown

sparkles without the aid of rhinestones. (DanceSport Ballgowns Gallery)

Entièrement faite de paillettes métalliques, moulante, cette robe en

forme d'étoile blanche scintille sans diamants fantaisie.

Les mots spangle et sequin semblent plus courants pour désigner les

53

paillettes décoratives, d'après les dictionnaires Robert & Collins, Grand

Dictionnaire Terminologique, WordReference.com, parmi d'autres.

Néanmoins, seul le mot glitter semble être utilisé dans les sources que j'ai

consultées.

crushed velvet, lace, lamé, mesh

34. gold adj (colour) doré adj

[dress\shoe_colour]



Qui a la couleur jaune cuivré de l'or.

This classic Latin dress is made of a very stretchy Lycra material, which

has a swirly design in shades of dark brown, tan and rust, with gold metallic

threads knitted into the fabric. (DanceSport Ballgowns Gallery)

Cette robe classique style latino est en lycra très extensible, les motifs

sont en forme de tourbillons dans des tons marron, brun et couleur rouille,

avec des fils métalliques dorés cousus dans le tissu.

Cette couleur est devenue à la mode en tango récemment, notamment

pour les chaussures.

beige, black, bright orange, dress, red, shoe, white

54

35. gown n robe nf

[tango_dance_costume_women]



Vêtement féminin composé d'un corsage* et d'une jupe*.

This alluring low-waisted gown has a bodice made of stretch "Cracked

Ice" lace, and a full skirt of soft charmeuse satin. (DanceSport Ballgowns

Gallery)

Cette ravissante robe taille basse a le corsage fait de dentelle extensible

"cristaux de glace", et une jupe évasée de douce charmeuse en soie.

Il semble que gown soit différent de dress en ce qu'il réfère plutôt à une

robe de soirée.

dress

36. halter n corsage nm dos nu

[dress_shape_bodice_neck]


2. Centre de danse BOST/

Corsage décolleté dans le dos dont les bretelles* de devant entourent le

cou et s'attachent derrière.

Sexy halter dress with long ties behind the neck. (Tango Dresses and

Fashion by Tangoleva)

Robe dos nu sexy avec longs rubans derrière le cou.

L'encolure du dos nu peut varier et suivre presque les mêmes formes que

celle d'un corsage décolleté commun. Entre d'autres termes, le col peut être

dégagé, en V, décolleté plongeant ou asymétrique. halter peut aussi désigner

55

la robe qui a cette encolure. Une autre traduction pour halter serait bain de

soleil (deuxième sens dans le Harrap's unabridged, et premier et unique sens

dans le Grand Dictionnaire Terminologique), mais il semble que dos nu soit

plus répandu en général, d'après les sources consultées.

bodice, décolleté, low neck, neck, scoop neck, square neck, plunging

neck, V-neck

37. heel n (of shoe) talon nm

[shoe_part_sole_outsole]



Pièce de cuir* située à l'arrière de la chaussure*, sur la semelle

d'usure*, qui change de taille et de forme en fonction des modes et des

goûts.

High heels can offer two advantages for the lady. First, high heels

challenge the lady by adding some technical difficulty to her dancing.

Second, high heels make the lady appear slimmer. High heels also make

bigger legs appear thinner and better looking. (Tango Dancing Shoes with

High Heels)

Les hauts talons ont deux avantages pour la danseuse. D'abord, les

hauts talons mettent la danseuse au défi car il est alors plus difficile

d'effectuer les pas techniques. Ensuite, en hauts talons, la danseuse

semblent plus mince. Grâce aux hauts talons, les grosses jambes semblent

plus fines et plus jolies.

Les danseuses de tango portent plus facilement des hauts talons que des

talons plats, pour les raisons exposées dans la citation, et souvent il s'agit de

56

talons aiguille.

high heel, leather, low heel, outsole, platform, shoe, sole, spike heel,

stiletto, top-piece

38. hem n ourlet nm




Pièce de tissu* replié et cousu, qui sert à terminer un bord*.

Skirt wraps to the opposite direction with an uneven hem.

(Tango Dresses and Fashion by Tangoleva)

La jupe s'enroule dans l'autre sens avec un ourlet irrégulier.

border, edge, fringe, hemline

39. hemline n (bas nm de l') ourlet nm




Pièce de tissu* replié et cousu, qui sert à terminer un bord*, ou son

extrémité.

Gently curved hemline is longer in back to accentuate legs beautifully

on the dance floor. (Dancedress.com)

Bas de l'ourlet délicatement galbé et plus long derrière pour mettre la

beauté des jambes en valeur sur la piste de danse.

border, edge, fringe, hem

57

40. high heel n (of shoe) haut talon nm

[shoe_shape_heel]


2. République Internationale des Lettres, La/

Talon* de hauteur supérieure à 2 pouces (plus de 5 cm).

There are many different styles of dancing. Only in a few are high heels

ever worn by the ladies, namely disco and tango dancing.

Il existe différents styles de danse. Les danseuses ne portent des hauts

talons que pour quelques unes, notamment le disco ou le tango.

La plupart des sites vendent des chaussures entre 1.5 et 3 pouces de

hauteur (environ entre 4 cm et 8 cm). On peut trouver des chaussures à 4

pouces de hauteur (environ 10 cm), mais les pas techniques deviennent alors

de plus en plus durs à effectuer.

heel, low heel, shoe, spike heel, stiletto

41. hook and eye n agrafe nf


/1. coudre-broder-tricoter.com


Petite pièce de métal qui sert à attacher ensemble les deux bords* d'un

corset*.

Lingerie in a stretch satin and black lace waist cinching corset with a

hook & eye front, lace up back, removable and adjustable garters. (Lingerie

Satin & Lace Corset)

Lingerie corset en dentelle noire et satin extensible avec fermeture à

agrafes en avant, dos à laçage, jarretières ajustables et détachables.

58

L'attache d'un corset est en deux parties : l'une est courbée qui se coud

sur le corset et l'autre est ouverte et permet à la première de s'y accrocher.

Le mot hook and eye, en Anglais, désigne ces deux parties. Il n'y aurait pas

de traduction pour cette deuxième partie en Français. Le mot agrafe

regrouperait l'ensemble.

corset, eyelet, lacing

42. insole n (of shoe) (1)semelle nf première,

(2)semelle nf intérieure

[shoe_part_sole]

/(1) et (2) 1. Grand Dictionnaire Terminologique


Pièce de cuir* ou de liège* située à l'intérieur de la chaussure*.

Padded leather insoles add extra cushioning. (Guaranteed Fit,

Authentic Tango shoes from Argentina)

Les semelles premières rembourrées en cuir apportent un confort

supplémentaire.

Synonyme de innersole ou inner sole, qui semble moins fréquent, d'après

les sources consultées.

outsole, shank, shoe, sole, welt

59

43. jumpsuit n combinaison-pantalon nf

[dress_type]



Vêtement féminin fait d'un corsage* et d'un pantalon attachés

ensemble, qui couvre le corps des épaules à la taille.

Jumpsuit with gaucho bottom has the feminity of a dress, the comfort

of a pant. (Tango Dresses and Fashion by Tangoleva)

La combinaison-pantalon avec le bas style gaucho garde la féminité

d'une robe et le confort d'un pantalon.

culottes, sheath

44. keyhole back n ouverture nf dans le dos

[dress_shape_bodice_neck_back]

/aucune/

Décolleté* dans le dos de la robe* dont le milieu est ouvert.

This figure flattering style also has a keyhole back. (Tango Dance

Costume Collection)

Ce style met la silhouette en valeur et offre une ouverture dans le dos.

La traduction donnée est une suggestion, je n'ai trouvé aucun document

en Français qui puisse m'aider.

60

bodice, neck, low back

45. lace n [U] Tex dentelle nf




Tissu* fréquemment utilisé pour les décorations de la robe*.

Black stretch lace overlays your color choice of lining. (Tango Dresses

and Fashion by Tangoleva)

De la dentelle noire extensible recouvre la doublure de la couleur de

votre choix.

Ouvrage de fils, puis objet de parure, réservé aux femmes (selon Le

Robert, Dictionnaire historique de la langue française). La dentelle a

aujourd'hui une connotation assez sensuelle et est très utilisée pour la

lingerie. Ceci explique peut-être qu'on trouve beaucoup de dentelle sur les

robes des danseuses de tango.

crushed velvet, glitter, lamé, mesh

46. lacing n laçage nm


/1. Wordreference.com


Cordon qui passe à travers le trou de laçage* pour attacher les deux

bords* du corset*.

61

Lacing (Lace): Twisted or woven cord used to secure the corset, usually

in the rear. (Corset Terms Dictionary)

Laçage : cordon torsadé ou tissé utilisé pour attacher le corset, à l'arrière

le plus souvent.

Dans ce cas, lacing et lace sont synonymes en Anglais.

corset, eyelet, hook and eye

47. lamé n Tex lamé nm


[shoe_material_upper]



Tissu* composé de fils métalliques, qui sert de décoration pour la robe*

ou pour recouvrir les chaussures*.

Lamé is a type of fabric woven or knit with metallic yarns. It is usually

gold or silver in color . (Wikipedia)

Le lamé est un tissu en laine ou tricot avec des fils métalliques. La

plupart du temps, il est de couleur dorée ou argentée.

Peut s'écrire avec ou sans accent en Anglais, mais semble plus courant

avec.

(dress) crushed velvet, glitter, lace, mesh

(shoe) leather, patent, suede

62

48. leather n Tex cuir nm

[shoe_material_upper\sole]

/1. Zapatos Finos

2. Tangazos/

Peau d'animal traitée, utilisée pour les chaussures*.

Dancers have known about Tara Tango Shoes for 5 years. They know

our shoes are all leather, handmade, comfortable, stable, well designed and

best of all, beautiful. (Tara Tango Shoes)

Les danseurs connaissent Tara Tango Shoes depuis 5 ans. Ils savent que

nos chaussures sont toutes faites de cuir, à la main, confortables, stables,

bien conçues, et, bien sûr, ravissantes.

cork, lamé, patent, suede

49. lining n (of dress, shoe) doublure nf

[shoe_part_upper]

[dress_part_covering]

/1. Eurodicautom

2. Grand Dictionnaire Terminologique /

Pièce de tissu* située à l'intérieur de la robe* ou de la tige* de la

chaussure*.

(dress) Silk, bias-cut, halter dress in a beautifully painted, floral Devore

chiffon/velvet. This combined with a softly contrasting, colored lining for an

extra shimmer of allure. (Dancedress.com)

Robe dos nu en soie, coupée en diagonale, avec motif à fleurs Devore en

mousseline de soie/velours. Ceci, accompagné d'une doublure colorée, dans

les mêmes tons, laisse miroiter un charme supplémentaire.

(shoe) In quality shoes the quarters and vamps are lined to enhance

comfort and durability. (Shoe Making)

63

Pour les chaussures de qualité, les quartiers et les empeignes sont

doublés pour améliorer le confort et la résistance.

En Anglais comme en Français, lining et doublure sont des termes

génériques qui s'emploient indifféremment pour les chaussures et la robe.

counter, shoe, toe or toe box, toe puff (pas de renvoi pour la doublure de la robe)

50. low back n dos nu nm décolleté ou

décolleté nm dans le dos

[dress_shape_bodice_neck_back]

/aucune/

Décolleté dans le dos* de la robe* qui descend jusqu'à la moitié du dos.

Another classy design of stretch crushed velvet with low back and

sculptured nude inset in front. (Tango Dance Costume Collection)

Un autre modèle élégant en velours frappé extensible avec décolleté

dans le dos et incrustation de dentelle transparente devant.

Le dos nu décolleté peut être en forme de V ou dégagé, avec ou sans

bretelle, plus ou moins échancré. La traduction donnée est une suggestion,

je n'ai trouvé aucun document en Français qui puisse m'aider.

bodice, keyhole back, neck, plunging neck, scoop neck, V-neck

64

51. low heel n (of shoe) talon nm plat

[shoe_shape_heel]



Talon* de hauteur inférieure à 2 pouces (environ 6 cm).

If you want to wear a comfortable, low heel shoe and still show your

flirtatious side, these may be the perfect fit for you. (Tara Tango Shoes)

Si vous cherchez une chaussure à talon plat, confortable, tout en

montrant votre côté charmeur, celles-ci devraient vous convenir

parfaitement.

La plupart des sites vendent des chaussures entre 1.5 et 3 pouces de

hauteur (environ entre 4 cm et 8 cm).

heel, high heel, shoe

52. low neck n décolleté nm

[dress_shape_bodice_neck_front]



Encolure* échancrée sur le devant du corsage*.

Tank top: a tight-fitting sleeveless shirt with wide shoulder straps and

low neck and no front opening; often worn over a shirt or blouse.

(WordReference.com)

Débardeur : chemise étroite sans manche avec bretelles larges et

décolleté, sans ouverture devant, souvent porté au-dessus d'une chemise

ou d'un corsage.

asymmetrical, boat neck, bodice, neck, plunging neck, scoop neck,

65

square neck, V-neck

53. lycra n Tex lycra nm

[dress_material_main_spandex]


2. Eurodicautom/

Tissu* synthétique issu de la fibre spandex*.

The gown is made entirely of Lycra stretch fabric printed with big purple

flowers against a white background. (DanceSport Ballgowns Gallery)

La robe est entièrement faite de lycra extensible sur lequel sont

imprimées de grosses fleurs violettes sur fond blanc.

En Anglais, lycra peut s'écrire avec ou sans majuscule. En Français,

néanmoins, il semble que lycra l'ait totalement perdue. Le lycra est utilisé

pour la robe pour ses propriétés élastiques.

spandex

54. mesh n Tex maille nf




Tissu* tricoté.

The dress is made of very stretchy embroidered mesh, with black lace

bordering the neck and hem. (DanceSport Ballgowns Gallery)

Cette robe est en maille brodée très extensible, l'encolure et l'ourlet sont

entourés de dentelle noire.

crushed velvet, glitter, lace, lamé

66

55. neck n or neckline n col nm, encolure nf

[dress_shape_bodice]



Ouverture du corsage* par où on passe la tête.

Asymmetrical neckline, shirred bodice detail. Spaghetti straps. (Tango


Encolure asymétrique, détail du corsage froncé. Bretelles fines.

Les mots neck et neckline en Anglais sont synonymes et signifient tous les

deux col ou encolure. Dans ce glossaire, neck sera le terme utilisé lorsqu'il

s'agira de col ou d'encolure, pour une question pratique uniquement.

asymmetrical, boat neck, bodice, décolleté, dress, halter, keyhole back,

low back, low neck, plunging neck, scoop neck, square neck, V-neck

56. open adj (shoe) ouvert adj

[shoe_shape_toe box]



Dont le bout* est n'est pas recouvert.

Our catalogue: 2005 collection; low heel; high heel; platform, open toe;

closed toe; sandals. (Tara Tango Shoes)

Notre catalogue : collection 2005 ; chaussures à talon plat ; chaussures

à haut talon ; chaussures à semelle compensée ; chaussures ouvertes ;

chaussures fermées ; sandales.

En Français, on parle de "chaussure ouverte" ou "chaussure fermée" et

67

non de "bout ouvert" ou "bout fermé".

close(d), shoe, toe or toe box, toe puff

57. organza n Tex organza nm

[dress_material_main_silk]



Etoffe fabriquée à partir de la fibre* de soie*.

Dress with sweetheart neckline has softly gathered chiffon straps and a

removable organza flower pin corsage. (Tango Dress and Fashion by

Tangoleva)

Robe avec encolure en forme de coeur et bretelles de mousseline de soie

finement froncées, ainsi qu'une broche fleur détachable en organza sur le

corsage.

chiffon, crepe, satin, velvet

58. outsole n (of shoe) semelle nf d’usure

[shoe_part_sole]


2. Terminalf/

Pièce de cuir* ou de liège* située à l'extérieur de la chaussure*, en

contact avec le sol.

The material of the outsole varies depending on the function,

dressiness, and quality of the shoe, but is generally very durable material,

since it experiences the most stress. (Wikipedia)

Le matériau de la semelle d'usure varie en fonction de l'usage, de

l'élégance, et de la qualité de la chaussure, mais elle est généralement faite

68

de matériau durable, car c'est surtout sur elle que s'exerce la pression.

Plusieurs traductions étaient possibles pour outsole en Français, mais j'ai

choisi semelle d'usure comme étant le résultat de plusieurs validations, ce

terme étant le seul commun à la plupart des dictionnaires consultés où

outsole figurait.

heel, insole, platform, shoe, sole, welt

59. patent n (Tex) cuir nm vernis

[shoe_material_upper_leather]


2. Zapatos Finos/

Cuir* couvert de substance résineuse qui sert à le protéger et le décorer.

Beige leather with black patent leather cushioned insole. (Zapatos

Finos)

Cuir beige et cuir verni noir intérieur cousiné (from the website).

lamé, leather, suede

60. peaked adj (sleeve) pointu adj

[dress_shape_bodice_shoulder_sleeve]



Dont l'extrémité à la forme d'un losange.

It has a keyhole back, cutouts on shoulder of peaked sleeves. (Tango

Dance Costume Collection)

[La Robe] présente une ouverture dans le dos et sur les épaules, avec des

manches pointues.

69

puff, sleeve

61. platform n (of shoe) semelle nf compensée

[shoe_part_sole_outsole]



Pièce de cuir* ou de liège* située entre la semelle d'usure* et la semelle

première* qui rehausse la chaussure*.

Her flexible cork platform makes her a true all day shoe. (Tara Tango

Shoes)

La semelle compensée flexible de cette chaussure lui permet d'être

portée toute la journée.

La semelle compensée ajoute quelques centimètres à la chaussure, mais

elle apporte également un confort supplémentaire.

cork, heel, outsole, shoe

62. plunging neck n décolleté nm plongeant

[dress_shape_bodice_neck]



Encolure* très échancrée sur le devant ou dans le dos du corsage*.

The closest thing to frilly here is the heavily stoned swirl of lace around

the plunging neckline. (DanceSport Ballgowns Gallery)

Ce qui s'approche le plus du froufrou ici est le tourbillon de dentelle

70

chargé de pierres qui borde le décolleté plongeant.

asymmetrical, boat neck, bodice, low back, low neck, neck, scoop neck,

square neck, V-neck

63. puff in compound (sleeve) bouffant la

[dress_shape_bodice_

shoulder_sleeve]



Dont les deux extrémités sont serrées autour du bras et le reste évasé.

Blue satin matador-style blouse with elbow length puff sleeves is worn

over blue and gold print ribbon-banded blouson skirt. (Findarticles.com)

Corsage bleu en satin style matador, avec manches trois-quarts

bouffantes, porté au-dessus d'une jupe blouson avec ceinture en ruban dont

les imprimés sont bleus et or.

Peut aussi s'écrire pouf, mais semble moins courant, selon les sources

consultées.

peaked, sleeve

64. quarter n (of shoe) quartier nm

[shoe_part_upper_front]

/1. Documentations, publications CTC


Pièce de cuir* qui recouvre le talon* et le haut de la tige* de la

chaussure*.

71

In quality shoes the quarters and vamps are lined to enhance comfort

and durability. (Shoe Making)

Pour les chaussures de qualité, les quartiers et les empeignes sont

doublés pour améliorer le confort et la résistance.

buckle, counter, shoe, strap, toe or toe box, toe puff, vamp

65. rayon n Tex rayonne nf



2. Eurodicautom/

Fibre* textile artificielle.

The asymmetrical skirt is edged with two rows of black rayon fringe to

enhance your movements (DanceSport Ballgowns Gallery)

La jupe asymétrique se termine par deux rangées de franges en rayonne

noire pour mettre vos mouvements en valeur.

leather, silk, spandex

66. red adj (colour) rouge adj

[shoe\dress_colour]



De la couleur du sang.

In tango, red is much preferred by women and in bull fighting, red has

a psychological effect too. (Groupe MSN)

Au tango, les femmes préfèrent le rouge, à la corrida, le rouge a aussi un

effet psychologique.

72

Le rouge est une des couleurs traditionnelles du tango. Les chaussures et

robes sont souvent de cette couleur.

beige, black, bright orange, dress, gold, shoe, white

67. ruffle n volant nm

[dress_part_decoration_strip]

/aucune/

Bande de tissu* froncé ou plissé, qui sert de décoration pour la robe*.

The asymmetrical double skirt has a layer of hand-painted pink Venice

lace lined with nude lycra, topped by a layer of black stretch crepe with a

flouncy ruffle. (DanceSport Ballgowns Gallery)

La jupe double asymétrique présente une fine couche de dentelle de

Venise rose peinte à la main avec du lycra transparent, recouverte d'une

couche de crêpe noire extensible et d'un volant en dentelle.

Il m'a été difficile de trouver une traduction exacte à ruffle car les sources

consultées ne sont pas d'accord et j'ai mis du temps à comprendre de quoi il

s'agissait. D'après les différentes sources qui m'ont aidé à faire ce choix,

ruffle est proche d'un morceau de tissu froncé, froissé, délicat, en dentelle

souvent, et porte un nom différent en Français selon l'endroit où il est situé

(au poignet il s'appellera manchette en dentelle par exemple et à la gorge,

jabot plissé, selon le Harrap's unabridged). Si cette hypothèse est valable,

alors ruffle peut être synonyme de flounce.

flounce

73

68. satin n Tex satin nm

[dress_material_main_silk]



Etoffe de soie*, brillante.

Black matte spandex with red satin trim. (Tango Dresses and Fashion

by Tangoleva)

Spandex noir mat avec bords en satin rouge.

chiffon, crepe, organza, velvet

69. scoop neck n encolure nf dégagée

[dress_shape_bodice_

neck_front\back_low]



Encolure* arrondie.

This scoop neck, slim fitting design of stretch lame features set in lace

panels in pouf sleeves and back of skirt ruffle. (Tango Dance Costume

Collection)

Cette encolure dégagée, modèle moulant en lamé extensible présente un

ensemble de pans de dentelle avec manches bouffantes et volants sur

l'arrière de la jupe.

Le dictionnaire Harrap's unabridged est l'un des seuls à donner la

traduction décolleté rond pour scoop neck.

asymmetrical, boat neck, bodice, low back, low neck, neck, plunging

neck, square neck, V-neck

74

70. shank n (of shoe) cambrion nm

[shoe_part_sole_insole]

/1. Terminalf


Pièce de bois, de cuir*, de métal ou de plastique, située sous la semelle

intérieure* et qui sert à soutenir le pied.

The contour of the shank is determined by heel height. (Shoe Making)

Le contour du cambrion dépend de la hauteur du talon.

insole, leather, shoe

71. sheath n (dress) fourreau nm

[dress_type]


2. WordReference.com. 3. Ferloni & Spiess/

Robe* féminine très serrée.

Slightly draped boatneck sheath, opens out to double 14" (from waist)

slits and a deep bias ruffle with an asymmetrical hem. (Tango Dresses and

Fashion by Tangoleva)

Fourreau en encolure bateau légèrement arrangée, ouverte sur fentes

doubles de 14 pouces [environ 36 cm] (à partir de la taille) et longue

diagonale de volants avec bord asymétrique.

culottes, dress, gown, jumpsuit

75

72. shoe n chaussure nf

[tango_dance_costumes_women]

/1. Zapatos Finos


Objet fait de cuir* principalement, qui sert à protéger le pied.

Tara Tango Shoes are made with hard leather soles, not the "chrome" or

"split suede" soles of a typical ballroom shoe. (Tara Tango Shoes)

Les chaussures de tango de Tara sont faites de semelles dures en cuir, et

non de semelles en "chrome" ou "croûte velours" de la chaussure typique de

danse de salon.

dress, sole, upper

73. silk n Tex soie nf


/1. Tango de Soie


Fibre* naturelle issue du ver à soie, utilisée comme matière textile.

The boat neck bodice with long sleeves and hip sash with mauve silk

rose flares out to yards of chiffon petal panels. (Tango Dance Costume

Collection)

Le corsage en encolure bateau à longues manches et avec ceinture de

hanche, garni d'une rose de soie mauve, est gonflé de plusieurs épaisseurs

de mousseline de soie.

La soie est la fibre à partir de laquelle sont fabriqués plusieurs tissus, le

satin ou le velours par exemple. C'est un matériau très doux et brillant qui

est très apprécié dans la lingerie ainsi que pour les robes de soirées, ce qui

explique peut-être sa popularité dans les bals de tango.

76

chiffon, crepe, leather, organza, rayon, satin, spandex, velvet

74. single adj (strap) simple adj

[shoe_part_upper_front_quarter_strap] /1. WordReference.com


Qui ne se compose que d'une lanière*.








ankle, cross, double, shoe, strap

75. skirt n jupe nf

[dress_part]

/1. Casa del Tango

2. BiblioMonde, Danses Latines /

Partie inférieure de la robe*, en opposition au corsage*.

Deceivingly simple straight skirt has opposite asymmetrical cut hems in

the front and back creating interesting movement when dancing. (Tango


Cette jupe droite n'est pas si simple qu'elle en a l'air : les bords opposés

asymétriques devant et derrière s'agitent de façon ravissante pendant la

danse.

77

La jupe peut avoir plusieurs formes, elle peut être évasée, circulaire ou

droite par exemple.

bodice, circle, culottes, dress, full, slit, straight

76. sleeve n manche nf

[dress_shape_bodice_shoulder]



Partie du corsage* de la robe* qui recouvre les bras.

This elaborate Latin dress was created for a special showcase

performance, and was inspired by the movie "Moulin Rouge." It features a

lace-up black corset over an off-shoulder pink blouse with split sleeves.


Cette robe raffinée du style latino a été créée pour une présentation de

vitrine unique, et a été inspirée par le film "Moulin Rouge". Elle est faite d'un

corset noir à lanières porté au dessus d'un corsage rose dont les épaules

sont dégagées et les manches fendues.

La plupart des robes de tango sont sans manches, ce pour des raisons

pratiques apparemment. En effet, il semble que les manches soient plus

fréquentes sur les robes de compétition, où chaque détail est soigné et tout

est accentué pour être plus visible sur la piste de danse. La forme la plus

courante des manches est bouffante ou très étroite. Quelquefois, elles se

terminent en pointe.

bodice, dress, peaked, puff, strap, strapless

77. slit n fente nf

[dress_shape_skirt_details_opening]


2. Eurodicautom/

Ouverture sur la jupe* de la robe*, perpendiculaire au bord*.

Elasticized back with deeply-cut, side slits allow you to move with

confidence! (Dancedress.com)

Dos élastique avec fentes de côté très échancrées qui vous permettent de

danser avec confiance !

La fente est souvent située sur le côté de la jupe, ou sur le haut de la

cuisse. Ainsi, elle peut être plus prononcée, sans pour autant dévoiler les

sous-vêtements de la danseuse, et permet à celle-ci plus de liberté au niveau

des jambes. Cette fente est très utile pour la jupe droite, car elle la rend un

peu plus confortable.

skirt

78. sole n (of shoe) semelle nf

[shoe_part]


2. Zapatos Finos/

Pièce qui constitue la partie inférieure de la chaussure*.

We have discovered that a hard leather sole gives dancers the speed

necessary for the successful execution of pivots and ochos in Argentine

Tango while also offering sufficient grip on the floor necessary at times in

79

ballroom dance. (Tara Tango Shoes)

Nous avons découvert qu'une semelle dure en cuir donne aux danseurs

la vitesse nécessaire à l'exécution avec succès de pivots et ochos du Tango

Argentin, et permet également d'avoir une prise suffisante sur le sol lorsque

cela est nécessaire sur la piste.

insole, outsole, shoe, upper, welt

79. spaghetti in compound (strap) fin la

[dress_shape_bodice_shoulders_strap]

/aucune/

Qui a une forme allongée et étroite.

Asymmetrical neckline, shirred bodice detail. Spaghetti straps. (Tango


Encolure asymétrique, détail du corsage froncé. Bretelles fines.

Bien que spaghetti puisse se trouver en Français pour désigner des

bretelles également, ce mot ne semble pas être fréquent sur les sites français

de tango.

cross, strap

80

80. spandex n Tex spandex nm



2. Eurodicautom/

Fibre* synthétique à partir de laquelle est fabriqué le lycra*.

Black matte spandex with red satin trim. (Tango Dresses and Fashion

by Tangoleva)

Spandex noir mat avec bords en satin rouge.

leather, lycra, rayon, silk

81. spike heel n (of shoe) talon nm aiguille

[shoe_shape_heel_high]

/1. République Internationale des Lettres, La


Talon* très fin et droit, dont la hauteur dépasse 2 pouces (environ 5

cm).

If followers want to do a super high boleo or gancho in 6 inch spike

heels they must wake up enough not to spear a shin or even more sensitive

part of another dreamer's anatomy. (Tango Vita, Argentine Tango Association

of Victoria)

Si ceux qui suivent ont envie de faire un super boleo ou gancho avec des

talons aiguille de 6 pouces de hauteur [environ 15 cm], alors ils doivent être

assez éveillés pour ne pas trancher un tibia ou même la partie du corps plus

sensible d'un autre rêveur.

La caractéristique des talons aiguille est leur finesse. Ils apportent donc

une difficulté supplémentaire pour les danseuses car elles peuvent perdre

l'équilibre facilement. Ils ne sont donc pas très courants, mais ils restent le

81

symbole de la sensualité du tango. Synonyme de stiletto.

heel, high heel, stiletto

82. square neck n encolure nf carrée

[dress_shape_bodice_neck_décolleté\halter]


2. Ferloni & Spiess/

Encolure* du corsage* de la robe* qui garde une ligne droite d'une

épaule à l'autre.

Square-neck corset laces in back with purchased and handmade

eyelets. (Folkwear Clothing Pattern)

Corset avec encolure carrée et laçage derrière avec trous de laçage

fournis et faits à la main.

asymmetrical, boat neck, bodice, low neck, neck, plunging neck, scoop

neck, V-neck

83. stiffener n (of shoe) contrefort nm

[shoe_part_upper_back]



Pièce de cuir* qui renforce l'arrière de la chaussure*.

The heel section of the quarter is frequently reinforced with a stiffener.

(Shoe Making)

La partie du quartier où se trouve le talon est souvent renforcée par un

contrefort.

En Français, on utilise le même mot pour le contrefort arrière ou avant.

82

Par contre, en Anglais, stiffener est ce qui renforce l'arrière du cuir au niveau

de la doublure, pour maintenir le pied en place, alors que counter est un

renfort entre le dessus et la doublure de la chaussure. Celui-ci maintient

également le pied, mais il soutient aussi la tige.

counter, shoe, upper

84. stiletto n (chaussure nf à) talon nm aiguille

[shoe_shape_heel_high]

/1. République Internationale de Lettres, La


|s'écrit souvent au pluriel|

Talon* très fin et droit, dont la hauteur dépasse 2 pouces (environ 5

cm).

Without any doubt, the stiletto is the most sexy and most feminine

style of high heel that has ever been made. (High Heel Observer, The)

Sans aucun doute, le talon aiguille est le style de haut talon le plus sexy

et féminin qui n'a jamais existé.

Le mot stilettos désigne le talon de la chaussure et par extension la

chaussure qui en a. La caractéristique des talons aiguille est leur finesse. Ils

apportent donc une difficulté supplémentaire pour les danseuses car elles

peuvent perdre l'équilibre facilement. Ils ne sont donc pas très courants,

mais ils restent le symbole de la sensualité du tango. Synonyme de spike

heel.

heel, high heel, spike heel

83

85. straight adj (skirt, dress) droit adj

[dress_shape_skirt_main shape] /1. Grand Dictionnaire Terminologique


Qui est étroite et qui suit la même ligne de la poitrine aux chevilles.

Deceivingly simple straight skirt has opposite asymmetrical cut hems in

the front and back creating interesting movement when dancing. (Tango


Cette jupe droite n'est pas si simple qu'elle en a l'air : les bords opposés

asymétriques devant et derrière s'agitent de façon ravissante pendant la

danse.

Pour danser le tango, il est nécessaire que la jupe ou robe droite soit

fendue sur le côté de sorte que les jambes puissent bouger librement. La

jupe droite est plus sexy que confortable, et n'est donc pas très répandue

pour danser le tango. Néanmoins, comme les talons aiguille, elle reste un

symbole de sensualité.

circle, dress, full, skirt

86. strap n (1) (fastening dress) bretelle nf;

(2) (fastening shoe) lanière nf

[shoe_part_upper_front_quarter] /(1) et (2) 1. Harrap's unabridged

(1) 2. Grand Dictionnaire Terminologique

(2) 2. Atlas Sémantique/

(1) Bande de tissu* située sur le haut du corsage* et qui sert à maintenir

celui-ci en passant sur les épaules.

(1) Underneath it all is a backless nude bodysuit held in place by boning

and nude elastic straps. (DanceSport Ballgowns Gallery)

84

(1) Sous [la robe], une combinaison est attachée à l'aide de baleines et de

bretelles élastiques transparentes.

(2) Bande de cuir* située sur la tige* de la chaussure* et qui sert à

joindre les quartiers* ensemble.

(2) The strap goes through the vamp with elegance. (Arika Nerguiz Tango

Shoes)

(2) La lanière traverse l'empeigne avec élégance.

(dress) bodice, cross, dress, sleeve, spaghetti, strapless

(shoe) ankle, buckle, cross, double, quarter, shoe, single, t-strap, x-strap,

y-strap

87. strapless adj (dress) sans bretelle adj

[dress_shape_bodice_shoulder] /1. Harrap's unabridged

2. Robert & Collins/

Corsage* qui n'est pas maintenu par les épaules.

Strapless bandeau bodice with shirred stretch net overlay ending in a

trailing scarf on the left side. (Tango Dresses and Fashion by Tangoleva)

Le corsage bandeau sans bretelle sous un pan de filet extensible froncé

se termine par une étole qui s'étend sur le côté gauche.

Un strapless top en Anglais est un bustier en Français (Grand

Dictionnaire Terminologique et Harrap's unabridged). Pourtant, il semble,

d'après les sources consultées, qu'un bustier peut être avec bretelle.

bodice, dress, sleeve, strap

85

88. suede adj (1) (shoe) en daim adj;

(2) (leather) suédé adj

[shoe_material_upper_leather] /(1) et (2) 1. Harrap's unabridged


Cuir* dont le côté chair est à l'extérieur.

(1) Red hot metal, sensuous 'snake' skin, and scarlet suede sandals that

dazzle the eye and indulge your tootsies at the same time. (Tara Tango

Shoes)

(1) Sandales en peau de "serpent" sensuelle couleur rouge métallique

épicé, et en daim/suédé couleur rouge écarlate qui éblouissent les yeux et

régalent vos petons à la même occasion.

lamé, leather, patent

89. T-strap n lanière nf en forme de "T"


quarter_strap_double_cross]

/aucune/

Lanière* de la chaussure* composée d’une lanière* centrale et d’une

autre qui vient la croiser perpendiculairement sur le dessus.

Elegant black on black ankle wrap T-strap in contrasting textures of

patent and suede. (www.tangoshoes.us/catalog.php)

Chaussure noire élégante, avec lanière en forme de "T" autour de la

cheville, et faite de cuir verni et de daim.

Très proche de la lanière en forme de "Y", seule la lanière du haut marque

86

une différence.

shoe, strap, X-strap, Y-strap

90. toe n or toe box n (of shoe) bout nm

[shoe_part_upper_front] /1. Grand Dictionnaire Terminologique


Pièce de cuir* située sur l'empeigne* de la chaussure* qui sert à

recouvrir les orteils.

The toe box is roomy and shaped to accommodate those "dancer's toes"

(bunions and all!). (Tara Tango Shoes)

Le bout est spacieux et formé de façon à loger confortablement les "pieds

de danseurs" (les cors et le reste !).

Les mots toe et toe box semblent être utilisés davantage par les vendeurs

de chaussures, tandis que toe puff est le mot qu'emploient les fabricants.

close(d), counter, open, quarter, shoe, toe puff, vamp

91. toe puff n (of shoe) bout-dur nm

[shoe_part_upper_front] /1. Grand Dictionnaire Terminologique

2. Eurodicautom/

Pièce de cuir* située sur l'empeigne* de la chaussure* qui sert à

recouvrir les orteils.

87

This section i.e. the toe puff is reinforced which serves to give the shoe

its shape as well as protect the toes. (Shoe Making)

Cette partie, soit le bout-dur, est renforcée, ce qui sert à faire la forme de

la chaussure ainsi qu'à protéger les orteils.

Les mots toe et toe box semblent être utilisés davantage par les vendeurs

de chaussures, tandis que toe puff est le mot qu'emploient les fabricants.

close(d), counter, open, quarter, shoe, toe or toe box, vamp

92. top-piece n (of shoe) bonbout nm

[shoe_part_sole_outsole_heel] /1. Eurodicautom


Pièce de cuir* située à l'extrémité du talon*.

The ground contact section is called the top piece. (Shoe Making)

La partie en contact avec le sol s'appelle le bonbout.

Le mot top-piece semble pouvoir s'écrire avec ou sans trait d'union.

heel, outsole, shoe

93. upper n (of shoe) (1)empeigne nf, (2)tige nf

[shoe_part] /(1) 1. Harrap's unabridged. 2. WordReference.com

3. Atlas Sémantique. 4. Robert & Collins.

(2) 1. Grand Dictionnaire Terminologique. 2.

Eurodicautom. 3. Terminalf/

Partie supérieure de la chaussure*, en opposition à la semelle*.

The insole covers the join between the upper and the sole in most

88

methods of construction and provides attachment for the upper, toe box

linings and welting. (Shoe Making)

La semelle intérieure est le lien entre la tige/l'empeigne et la semelle

dans la plupart des méthodes de construction et fournit une attache pour la

tige, les coutures et trépointe du bout-dur.

Le mot upper semble être un mot générique qui désigne le dessus de la

chaussure sans distinguer les différentes parties qu'elle comporte. Dans

certains dictionnaires, comme WordReference.com, on trouve claque comme

traduction de upper. Néanmoins, claque désigne une partie spécifique du

dessus de la chaussure et non l'ensemble. Je pense donc qu'elle ne convient

pas. Malheureusement, je n'arrive pas à dégager une différence claire entre

empeigne et tige, et je dois dire que le désaccord entre mes sources ne m'aide

pas. Ces deux mots sont bien sur le dessus de la chaussure, mais je ne suis

pas certaine qu'ils réfèrent à upper exactement. J'ai choisi de garder les deux

traductions malgré tout, étant donné leur fréquence dans les sources

consultées. Les deux termes sont également utilisés dans le Traité de haute

cordonnerie d'Alain Maldec.

counter, lining, quarter, shoe, sole, stiffener, toe or toe box, toe puff,

vamp

94. vamp n (of shoe) (1)claque nf, (2)empeigne nf

[shoe_part_upper_front] /(1) et (2) 1. Grand Dictionnaire Terminologique

2. Eurodicautom. 3. Zapatos Finos

(1) Documentations, publications CTC

(2) Terminalf/

Pièce de cuir* située sur le dessus de la chaussure*.

The strap goes through the vamp with elegance. (Arika Nerguiz Tango

Shoes)

89

La lanière traverse la claque avec élégance.

Il était difficile de faire une distinction entre claque, empeigne, et tige dans

la mesure où aucune de mes sources n'expliquait la différence entre les

termes. J'ai choisi claque pour traduire pour qu'on ne confonde pas avec

upper.

counter, quarter, shoe, toe or toe box, toe puff, upper

95. velvet n Tex velours nm

[dress_material_main_silk] /1. Harrap's unabridged


Tissu* fait de deux épaisseurs, qui est fréquemment utilisé pour les

décorations de la robe*.

The bodice of this irregular-hemmed dress is made of tan stretch velvet,

decorated with rose lace motifs and multiple colours of rhinestones.


Le corsage de cette robe à l'ourlet asymétrique est fait de velours

extensible brun, orné de motifs en dentelle rose et de diamants fantaisie de

multiples couleurs.

chiffon, crepe, crushed velvet, organza, satin

96. V-neck n encolure f en V

[dress_shape_bodice_neck

_front_décolleté\halter]



Encolure* qui a la forme de la lettre V.

90

Drawstring, ruched sleeves with spaghetti ties. V-neck with front twist.

(Tango Dresses and Fashion by Tangoleva)

Cordons, manches à ruchés avec attaches spaghetti. Encolure en V avec

torsade sur le devant.

asymmetrical, boat neck, bodice, low back, low neck, neck, plunging

neck, scoop neck, square neck, V-neck

97. welt n (of shoe) trépointe nf

[shoe_part_sole] /1. Grand Dictionnaire Terminologique


Bande de cuir* qui joint la semelle* à l'empeigne*.

In sewing a shoe by hand, a thin and narrow strip of leather, called a

welt, is first sewed to the insole and upper, and the heavy outsole is sewed

to this welt, so that the stitches come outside and do not touch the foot, the

insole being left entirely smooth. (The United Shoe Machinery Company)

Lorsqu'on coud une chaussure à la main, une bade fine et étroite de

cuir, appelée trépointe, est d'abord cousue sur la semelle première et la tige,

et la lourde semelle d'usure est cousue sur cette trépointe, de sorte que les

points ressortent et ne touchent pas le pied, et la semelle première reste

complètement lisse.

insole, outsole, shoe, sole

91

98. white adj (colour) blanc adj

[shoe_colour] /1. Harrap's unabridged


De la couleur de la neige.

Women's tango shoes in black and white leather. (Guaranteed Fit,

Authentic Tango Shoes from Argentina)

Chaussures de tango pour femmes en cuir en noir et blanc.

Le blanc est l'une des couleurs traditionnelles du tango.

beige, black, dress, gold, red, shoe

99. X-strap n lanière nf en forme de "X"



/aucune/

Lanière* de la chaussure* composée de deux lanières qui se croisent.

Ladies 2 ½ and 3 inch flexible high heeled, open sided character shoes

with single ankle strap and two additional crossing “X” straps to front toe

box, creating a tear drop shape. (Duca Shoes, La)



autour de la cheville et deux lanières croisées supplémentaires en forme de

"X" sur l'avant du bout de la chaussure, rappelant ainsi la forme d'une

larme.

92

shoe, strap, T-strap, Y-strap

100. Y-strap n lanière nf en forme de "Y"



/aucune/

Lanière* de la chaussure* composée d’une lanière centrale et d’une

autre qui vient la croiser sur le dessus en forme de V.



front toe box.



autour de la cheville et une lanière croisée supplémentaire en forme de "Y"

sur l'avant du bout de la chaussure.

Très proche de la lanière en forme de T, seule la lanière du haut marque

une différence.

shoe, strap, T-strap, X-strap

93

French - English Index

(bas de l') ourlet hemline

(chaussures à) talons aiguilles stilettos

agrafe hook and eye

ample full

arrondi rounded

asymétrique asymmetrical

beige beige

blanc white

bonbout top-piece

bord border, edge

boucle buckle

bouffant puff

bout toe, toe box

bout-dur toe puff

bretelle strap

bustier strapless top, bustier

cambrion shank

chaussure shoe

chaussure à talon aiguille stiletto

cheville ankle

claque upper, vamp

col neck, neckline

combinaison-pantalon jumpsuit

corsage blouse, bodice, camisole

corset corset, bodice

couleur tango bright orange

couture seam

crêpe crepe

94

croisé cross

cuir leather

cuir vernis patent

daim suede

décolleté décolleté, low neck

décolleté dans le dos low back

décolleté plongeant plunging neck

dentelle lace

doré gold

dos nu halter

dos nu décolleté low back

doublure lining

droit straight

empeigne upper, vamp

en ou de daim suede

en cercle ou circulaire circle

encolure neck, neckline

encolure bateau boat neck

encolure carrée square neck

encolure dégagée scoop neck

encolure en V V-neck

évasé full

fente slit

fermé close(d)

fibre fibre

fin spaghetti

fourreau sheath

frange fringe

haut talon high heel

jabot plissé ruffle

jupe skirt

jupe-culotte culottes

95

laçage lacing

lamé lame, lamé

lanière strap

lanière en forme de T T-strap

lanière en forme de X X-strap

lanière en forme de Y Y-strap

liège cork

lycra lycra

maille mesh

manche sleeve

manchette (en dentelle) ruffle

mousseline de soie chiffon

noir black

orange vif bright orange

organza organza

ourlet hem

ouvert open

ouverture dans le dos keyhole back

paillettes glitter

pointu peaked

quartier quarter

rayonne rayon

renfort counter, stiffener

robe dress, gown

rouge red

sans bretelle strapless

satin satin

semelle sole

semelle compensée platform

semelle intérieure innersole, insole

semelle première innersole, insole

simple single

96

soie silk

suédé suede

talon heel

talon aiguille stiletto, spike heel

talon plat low heel

tige upper

tissu fabric

trépointe welt

trou de laçage eyelet

velours velvet

velours frappé crush velvet

volant flounce

97

Bibliography

• Dictionaries

1. Unilingual

a. English

• Dictionary of Contemporary English. Barcelona: Longman, 2000.

b. French

• Dictionnaire historique de la langue française. Paris: Le Robert, 1992-

1998.

• Le Petit Robert. Paris: Le Robert, 1991.

c. Spanish

• Diccionario de tango. Madrid: Sociedad general de Autores y Editores

(SGAE), 2001.

• Diccionario avanzado. Barcelona: Vox, 2004.

2. Bilingual

• Harrap's Unabridged en 2 volumes. 2001.

• Collins Robert French-English English-French Dictionary Unabridged/Le

Robert & Collins Dictionnaire Francais-Anglais Anglais-Francais Senior.

Paris: Le Robert, 1995.

• Dictionnaire Hachette-Oxford compact Français-anglais, Anglais, français.

Paris: Hachette, 2004.

• Books

a. English

• GINSBURG, Madeleine. Paris Fashion, the Art Deco Style of the 1920’s.

London: Bracken Books, 1989.

• SAVIGLIANO, Marta E. Tango and the Political Economy of Passion. Boulder:

Westview Press, 1994

98

• TAYLOR, Julie. Paper tangos. Durham: Duke University Press, 1998.

b. French

• APPRILL, Christophe. Le Tango Argentin en France. Paris: Anthropos, 1998.

• ASSOCIATION FRANÇAISE POUR L’ACCROISSEMENT DE LA PRODUCTIVITE.

Chaussure, enquête en vue de l’accroissement de la productivité. Rapport

du voyage d’étude effectué aux Etats-Unis par une mission britannique de

productivité. Publié en anglais à Londres ; traduction éditée sous l’égide

de l’association française pour l’accroissement de la productivité, 1953.

• BERNAND, Carmen. Histoire de Buenos Aires. Paris: Fayard, 1997.

• BLOCH, Jean-Jacques & DELORT, Marianne. Quand Paris allait "à l'Expo".

Paris: Fayard, 1980.

• BOURDÉ, Guy. Urbanisation et immigration en Amérique latine, Buenos

Aires. Paris: Aubier, 1974.

• CHOUITEM, Dorothée. Le Tango à travers le langage, étude lexicologique.

Lille: Université de Lille 3, 2001.

• DELUY, Henri & YURKIEVICH, Saúl. Tango, une anthologie. Paris: P.O.L.,

1988.

• FERLONI, Michel & SPIESS Dominique. Histoire du costume. Edita S.A.:

Milan, 1996.

• HESS, Rémi. Le tango. Paris: Éditions Presses universitaires de France,

« Que sais-je ? » n° 3100, 1999.

• HULIN, Jean-Paul & ANTOINE, Fabrice. L'anglais des médias. Paris:

Éditions Presses universitaires de France, 1996.

• MANIGAT, Leslie. L'Amérique latine au XXe siècle, 1889-1929. Paris: Ed du

Seuil, 1991.

• MCDOWELL, Colin. Haute Pointure, Une histoire de la chaussure. Italie:

Thames & Hudson, 1998.

• REUNION TECHNIQUE TRIPARTITE POUR L’INDUSTRIE DU CUIR ET DE LA CHAUSSURE.

Evolution récente dans l’industrie du cuir et de la chaussure. Organisation

Internationale du Travail éd. Genève, Bureau International du Travail,

1992.

99

• ROWLAND-WARNE, L. Le costume et la mode. Paris: Gallimard, 1992.

• SALAS, Horacio. Le Tango. Essai traduit de l’espagnol (Argentine) par

Annie Morvan. Arles: Actes sud, 1989.

• SIMON, Marie. Les Dessous. Collection Les Carnets de la Mode. Paris: Le

Chêne, 1998.

• THOMAS, Jean-Luc. Tangos. Paris: Solar, 2004.

• ZALKO, Nardo. Tango, passion du corps et de l'esprit. Toulouse: Milan,

2001

c. Spanish

• FERRER, Horacio & Del PRIORE, Oscar. Inventario del Tango. Buenos Aires:

Fondo Nacional de las Artes, 1999.

• GALEANO, Eduardo. Las venas abiertas de América latina. Buenos Aires:

Catálogos, 2003.

• GOBELLO, José. Breve historia crítica del tango. Buenos Aires: Corregidor,

1999.

• GÓMEZ DE LA SERNA, Ramón. Interpretación del Tango. Madrid: Ed de la

Tierra, 2001.

• VARELA, Gustavo. Mal de Tango, historia y genealogía moral de la música

ciudadana. Buenos Aires: Paidós diagonales, 2005.

• ZALKO, Nardo. Paris - Buenos Aires. Un siglo de tango. Buenos Aires:

Corregidor, 2001.

• Periodicals

• AGUIAR, Carmen. “Montevideo et le tango”. La Salida No. 23 (Avril-Mai

2001). Accessible sur www.lasalida.info/

• ARCHETTI, Eduardo P. “The passion of the Tango”. Latin American

Perspectives, Issue 91, Vol. 23 No. 4 (Fall 1996): 104-131. Accessible sur

www.jstor.org.

100

• BLANDIN, Noël. "Chaussure, sexe et talons aiguille". La République

internationale des Lettres (10 juin 2003). Accessible sur www.tango-

argentin.net/chaussures-sexe-talons-aiguille.php

• BLANDIN, Noël. "Noir, le Code couleur du Tango". La République

internationale des Lettres (12 mars 2002). Accessible sur www.tango-

argentin.net/noir-code-couleur-tango.php

• GIFT, Virginia. “L’amour dans le tango : en avoir ou pas ? ” La Salida No.

22 (Février–Mars 2001). Accessible sur www.lasalida.info/

• HATEM, Fabrice. “Pourquoi les tangueros sont-ils toujours malheureux en

amour ?” La Salida No. 22 (Février–Mars 2001). Accessible sur

www.lasalida.info/

• LENOBLE, Patrick. “Tango et amour vénal: de la cohabitation à la rupture.”

La Salida No. 22 (Février – Mars 2001). Accessible sur www.lasalida.info/

• ROE, Richard. "The United Shoe Machinery Company". The Journal of

Political Economy. Vol. 21 No 10: 939. The University of Chicago Press,

1913. Accessible sur www.jstor.org.

• SCHNEIDER, Arnd. “Tales of Terror and Tango”. Anthropology Today. Vol.

14 No 6 (December 1998): 16-17. Accessible sur www.jstor.org.

• DEVIENNE, Gérard. “El ultimo tango à Paris”. Les Archives intégrales de

l’Humanité. (23 octobre 1998). Accessible sur www.humanite.presse.fr/

• Films

• BERTOLUCCI, Bernardo. Last tango in Paris. 1972.

• CHELSOM, Peter. Shall we dance? 2003.

• DUVAL, Robert. Assassination Tango. 2002.

• LUHRMANN, Baz. Moulin Rouge. 2001.

• POTTER, Sally. The Tango Lesson. 1997.

• SAURA, Carlos. Tango. 1998.

101

Webliography

• Tango general information

• Americas, un nouveau monde,

www.americas-fr.com/musique/tango.html

• BiblioMonde, Danses Latines,

www.bibliomonde.com/pages/fiche-

livre.php3?id_ouvrage=3231&texte_aff=table

• Casa del Tango (La),

http://perso.wanadoo.fr/lacasadeltango/initiation-tango.htm

• Collège Swing de Strasbourg, www.c-swing.com/DANSES/451ta_hi.htm

• FindArticles,

www.findarticles.com/p/articles/mi_qa3709/is_199610/ai_n8740718

• Groupe MSN, tango argentino,

http://groups.msn.com/argentijnsetangoargentino/jouwwebpagina4.msnw

• Offjazz, dance world, www.offjazz.com/ds-tang.htm

• Passion for Tango (A), www.apassionfortango.com/site/

• République Internationale des Lettres (La), www.tango-argentin.net/

• StreetSwing's Dance History Archives,

www.streetswing.com/histmain/z3tango1.htm

• Tango de Soie, www.tangodesoie.net/

• Tango Topia, www.knet.co.za/tangotopia/modern_tango.htm

• Tango Vita, Argentine Tango Association of Victoria,

www.tangovita.com/page.php?page=14

• Temps du Tango (Le), www.letempsdutango.com/

• Online tango magazines

• Farolito (El), www.paristangomag.com/

• Salida (La), www.lasalida.info/

102

• Argentina and Buenos Aires information

• Biblioteca Digital Ministerio de Justicia y Derechos Humanos,

www.biblioteca.jus.gov.ar/Argentina-Constitution.pdf

• Fact Monster, www.factmonster.com/ce6/world/A0857060.html

• Formarte en línea, capacitación e información,

www.formartenlinea.com.ar/articulo_ver.php?IdArticulo=107

• Guide touristique de Buenos Aires, www.argentine-news.com/

• Instituto Nacional de Estadistica y Censos de la Republica Argentina,

www.indec.gov.ar/principal.asp?id_tema=50

• Tango dresses pictures and information

• Centre de danse BOST, www.dansebost.com/annonces.php

• Corset Shop, www.feelingusa.com/products.cfm?cat=56

• CostumeTHL.com, www.costumethl.com

• coudre-broder-tricoter.com,

www.coudre-broder-tricoter.com/mercerie/agrafe/agrafe.asp

• Dancedress.com, www.dancedress.com/index.html

• DanceSport Ballgowns Gallery,

www.dancesportballgowns.com/samples.html

• Express Livres (L'),

http://livres.lexpress.fr/dossiers.asp?idC=7142&idR=4

• FindArticles,

www.findarticles.com/p/articles/mi_m1077/is_8_59/ai_n6047914

• Folkwear Clothing Pattern, http://birchstreet-folkwear.com/retro.html

• International Poster Gallery Online,

www.internationalposter.com/adetail.cfm?ArtistNumber=719728082

• Jileyes Lingerie, Ensemble Tango,

www.jileyes.com/lingerie_product_info-lot-3330-name-Ensemble_Tango.html

• Lingerie Satin & Lace Corset, www.victorinelingerie.com/linsatlaccor.html

• More on corsets and kitchens,

www.garfnet.org.uk/new_mill/winter96/sk_cors2.htm

• Secret history of corset and crinoline (The),

103

www.fathom.com/course/21701726/session4.html

• Tango Dance Costume Collection,

www.crystalscreations.com/DanceFashions/tango/index.htm

• Tango dance dresses, www.edressme.com/tango.html

• Tango Dress, www.shop.store.yahoo.com/tropi-ties/tangodress.html

• Tango Dresses and Fashion by Tangoleva,

www.tangoleva.com/dress.html

• TheTangoShop, www.thetangoshop.com

• Trouver Objet Caché, www.tentacules.net/toc/misc/article.php?id=159

• Zanaboni Tango Clothing Design, www.zanabonidesign.com

• Shoes pictures and information

• Apple Dance Shoes: Ballroom Dance Shoes and Dancewear,

www.appledanceshoes.com/index.php?cPath=3_10

• Allen Edmonds,

www.allenedmonds.com/webapp/wcs/stores/servlet/AllenEdmonds/about/

Allen-Edmonds_PressKit_2005_Francais.pdf

• Arika Nerguiz Tango Shoes, www.antangoshoes.com/main.php?Lang=en

• Chaussures Paul, www.chaussurespaul.com/glossaire_manuel.php3

• Documentations, publications CTC,

www.ctc.fr/documentation/lexique_chaussure.php3

• Duca Shoes (La), www.laducashoes.com/store/store.htm

• FreePatentsOnline, www.freepatentsonline.com/4782605.html

• Guaranteed Fit, Authentic Tango shoes from Argentina,

www.guaranteedfittangoshoes.com/scripts/prodList.asp?idCategory=17

• High Heel Observer (The), www.2heels.com/observer.html

• Lingerie tv > Chaussures,

www.123lingerie.tv/boutique/categories/30/chaussures.html

• Neo Tango and Madreselva Shoes,

www.close-embrace.com/neomadreselva/index.htm

• Nocturna Customized Tango Shoes,

www.tejastango.com/tango_shoes.html

104

• Petit traité de haute cordonnerie (Le), www.alainmadec.com/?p=extrait_b

• Shoe Making, http://podiatry.curtin.edu.au/shoo.html

• Stephanie's PhotoImpact Tutorials, www.eastofthesun.com/pi7/shoe.htm

• Tangazos, www.tangazos.com

• Tango Dancing Shoes with High Heels, www.2heels.com/dancing.html

• Tango mi amor, http://tangomiamor.com/chaussures1.htm

• Tango Shoes, www.tangoshoes.us/catalog.php

• Tango Shoes from Argentina by Feliz Primavera, www.primavera.com.hk

• Tara Tango Shoes, www.22tangoshoes.com/index.php?cPath=21

• Zapatos Finos, www.zapatos-finos.com

• Online glossaries

• Corset Terms Dictionary, www.staylace.com/resourcelist/diction.htm

• Dolcevita Lingerie Dictionary,

www.dolcevitagroup.com/lingerie/dictionary.htm

• eDressMe Glossary of Terms, www.edressme.com/dressesglossary.html

• Inchant.com, www.inchant.com/Definitions.html

• Shoe Glossary, www.shoes.com/shop.asp?ShopID=GLOSSARY

• Shoes Vocab, Glossary, www.chass.utoronto.ca/~ebernhar/shoevoc.html

• Terminalf,

www.terminalf.net/cfm/fich_home.cfm?numtable=121&NomBase=chaussur

e_mesure1.mdb (1)

www.terminalf.net/cfm/fich_home.cfm?numtable=181 (2)

• United Nations System of Organizations,

www.unsystem.org/interpretation/Reference%20Mat/Glossaries/Misc/Leat

her/Leather_EF.htm

• Shoes International Glossary, www.shoesinternational.co.uk/glossary.cfm

• Online databases, dictionaries and encyclopaedias

1. Unilingual

a. English

• Atlas Sémantique, http://dico.isc.cnrs.fr/

105

• Dictionary.com, http://dictionary.reference.com

• Dictionary of occupational Titles, Boot and Shoe Industry,

www.occupationalinfo.org/indset1_4550.html

• Encyclopedia.com, www.encyclopedia.com

• JSTOR, Scholarly Journal Archive, www.jstor.org

• Oxford University Press,

www.oup.com/elt/select?url=/eltnew/catalogue/teachersites/oald7/

• Wikipedia, www.wikipedia.org

b. French


• Dictionnaire en ligne, langues, LEXILOGOS, www.lexilogos.com

c. Spanish

• Terra, Diccionario de la Real Academia Española,

http://diccionario.terra.com.pe/cgi-bin/b.pl

• Todo Tango,

www.todotango.com/spanish/biblioteca/lexicon/lexicon.html

2. Bilingual


• EuroDicAutom, www.europa.eu.int/eurodicautom/login.jsp

• Grand Dictionnaire Terminologique,

www.granddictionnaire.com/btml/fra/r_motclef/index1024_1.asp

• Wordreference.com, www.wordreference.com

106

Tables des Matières

Table des matières en Anglais......................................................................3

Préface du glossaire bilingue sur le costume de la danseuse de tango...........4

Introduction.................................................................................................4

1. Le tango à Buenos Aires...........................................................................6

1-1 Historique..........................................................................................6

1-2 Les premières danseuses de tango et leur costume............................8

1-3 Environnement social et costume de la danseuse de tango...............11

2. Le tango en France.................................................................................13

2-1 La danseuse de tango......................................................................13

2-2 Le costume de la danseuse de tango en France................................16

2-3 Rôle de la femme au sein de la société exprimé dans le tango...........19

3. Le tango de retour à Buenos Aires..........................................................21

3-1 Evolution du tango..........................................................................21

3-2 Le costume et les chaussures modernes de la danseuse de tango.....22

Conclusions...............................................................................................26

Rapport de recherche.................................................................................28

Tableaux de Codes et d’abréviations...........................................................33

Lexique Bilingue Anglais-Français..............................................................34

Index Français – Anglais............................................................................92

Bibliographie..............................................................................................96

Webliographie..........................................................................................100

Tables des Matières..................................................................................105

Annexes...................................................................................................106

107

Appendix

Daniel Losques, Max Linder. Available on www.art.com

Available on www.tangosite.com

Available on www.fashion-era.com

Available on www.torito.nl

Documents

Julie Verbert - Master's dissertation