1,721,059 research outputs found
Le Bal. La superficie violenta delle feste veneziane = Le Bal. The Violent Surface of the Venetian Parties
No full textIl saggio utilizza il ballo organizzato da Don Carlos de Beistegui a Palazzo Labia il 3 settembre 1951, celebrato come il bal du siècle, per sviluppare una riflessione sul rapporto fra l’immagine di Venezia come luogo di artificio scenico e il carattere illusionistico della moda, utilizzando in particolare le interpretazioni che la moda ha fornito di Venezia nel corso del Novecento, intrecciate al concetto di glamour, così come è stato ricostruito e analizzato da Stephen Gundle (2008). Il caso del ballo Beistegui, letto attraverso le cronache e le immagini dell’epoca, permette di ipotizzare un dialogo fra moda e balli nel loro accadere a Venezia, che enfatizza una rapidità quasi violenta e una profonda superficialità, dimensioni che attraversano questi due universi, suggerendo la loro capacità di interpretare la contemporaneità proprio perché simultaneamente fuori dal tempo
Moda e società
No full textrecensione del saggio di Carlo Marco Belfanti "La civiltà della moda" (Il mulino, 2008
The House of Viktor & Rolf
No full textrecensione della mostra "The House of Viktor & Rolf", London, Barbican Art Gallery, 18 giugno-21 settembre 200
Moda e Università: il progetto dello IUAV
No full textl'articolo ricostruisce l'esperienza decennale dei corsi di laurea in design della moda fondati all'Università IUAV di Venezia nel 200
1980-2020
Full text linkIn 1980, Grazietta Butazzi curated the exhibition at the Poldi Pezzoli Museum in Milan "1922-1943: Vent’anni di moda italiana". This experience enabled us to raise central questions about the cultural status of fashion in relation to the exhibition machine and the museum at the beginning of a decade, the 1980s, that proved fundamental not only in developing the fashion exhibition but above all in defining fashion itself as a discipline, through the focus on themes and issues such as the reconstruction of its history, the conservation of objects and the problem of cultural and museum exhibition practices in relation to commercial forms of display. Retrieving this exhibition means moving between an account of an important exhibition event and the analysis of its role within fashion studies, in years when, especially in Italy, an awareness developed of the need to imagine devices and institutions capable of preserving and studying fashion. Looking at this exhibition today means reflecting primarily on the Italian situation, because even today one of the central issues in Italy is the absence of institutions in the promotion of a national fashion museum capable of dealing fully with the international scope of fashion. The exhibition, curated by Grazietta Butazzi with the coordination of Alessandra Mottola Molfino, was a pioneering project in the Italian panorama of fashion exhibitions. It proved comparable to the work of Diana
Vreeland starting from 1972, when she began her career at the Costume Institute of the Metropolitan Museum of Art in New York as Special Consultant and as a first gesture organised the exhibition "The World of Balenciaga". The exhibition at the Poldi Pezzoli Museum directly addressed the 20th century. Therefore, as it evolved, it began to develop methods of research, conservation and display that were different from those used for garments and objects from the more distant past, which are usually placed in the costume category. It was a fashion exhibition and, over the years (above all through the catalogue), it has become a landmark for those seeking to understand contemporary fashion.
"1922-1943: Vent’anni di moda italiana" in 1980 enclosed a debate over the organisation of fashion exhibitions that is still relevant today at the Italian and international levels. In fact, this exhibition directly addressed contemporary fashion, with the problems of exhibiting it, making it relevant to the visitor, and at the same time recognising the status of a cultural object that is collectable. This was a project that not only questioned the exhibition mechanism but also the way of exhibiting in relation to the actions necessary to imagine what a fashion museum should preserve and what professional skills it should develop, in order to contribute to the definition of a discipline profoundly related to the contemporary world and commerce. This is still a relevant exhibition in the Italian panorama, which has to come to terms with the striking absence of a museum project comparable to the finest international institutions, even though in recent years some things have changed. At the same time, it was also a chance to reiterate the need to imagine and design a museum space capable of collecting and exhibiting Italian fashion by working on the questions and narratives necessary to understand and relaunch it. "1922-1943: Vent’anni di moda italiana" reminds us today that the insights of Grazietta Butazzi, in her relationship with the Poldi Pezzoli Museum, represent a wealth of ideas and projects on which to reflect, without nostalgia, so triggering a virtuous process to define a precise cultural policy for fashion in Italy.
In 2020 "Memos. On Fashion in This Millennium", curated by Maria Luisa Frisa with the exhibition design by Judith Clark at the Poldi Pezzoli Museum reactivates the exhibition by Butazzi, and tries to develop a series of reflections on contemporary fashion, its qualities and its attributes, taking as its starting point Italo Calvino’s "Six Memos for the Next Millennium". The exhibition uses Calvino’s words as devices to reflect on what has changed and what has stayed the same in
fashion: Memos sets out to construct a “discourse on method”, or rather a reflection on fashion curating and its ability to deal with the different products of that fashion: not just the objects, but also the images and the words.
In this paper these two exhibitions are connected, compared and considered as critical reflections, capable of moving back and forth between the past and the present of fashion. Through the analysis of both these exhibitions (the Butazzi exhibition has been re-discovered for the first time thorough original archival researches), this paper will address the state of Italian fashion studies, and the cultural status of fashion in its relation to the museum and to the practice of fashion curating
When Fashion Goes Camp
No full textil saggio affronta le relazioni fra moda e campo attraverso il lavoro di tre fashion designer: Jean-Paul Gaultier, John Galliano, Bob Macki
Moda e museo: La mostra “Are Clothes Modern?” e il Costume Institute
No full textLa mostra Are Clothes Modern? curata da Bernard Rudofsky nel 1944 al MoMA di New York affrontava la moda come un fenomeno in contrasto con i principi di un “design senza tempo”, dando così inizio a un rapporto controverso fra design e moda. Rappresenta di fatto uno dei primi e più elaborati tentativi di teorizzazione sulla natura del fashion design. Nel 1946, sempre a New York, inizia al Metropolitan Museum of Art il processo di costruzione del Costume Institute, che diventerà ufficialmente un dipartimento del museo nel 1959. Dalle prime mostre degli anni quaranta fino al lavoro di Diana Vreeland, Special Consultant per il Costume Institute deal 1972 al 1989, questa istituzione ha rappresentato uno dei luoghi privilegiati per la definizione della disciplina della moda attraverso la sua messa in scena. Il confronto fra il progetto di Rudofsky e l’attività del Costume Institute permette di svolgere alcune considerazioni sulla natura delle mostre di moda e sullo statuto teorico della moda nel suo confronto con il museo
Scene contemporanee del dandismo. Da Jean Paul Gaultier al metrosessuale: nuovi modelli maschili
No full textanalisi delle forme contemporanee del dandismo attraverso la fenomenologia del metrosessuale e l'universo pubblicitario del brand francese Jean-Paul Gaultier (taglio semiotico
Re-visioni: Esercizi a partire da una study collection
No full textil giornale della mostra restituisce il progetto di catalogazione di una collezione di abiti svolta nell'ambito dell'insegnamento di Concept design (a.a. 2012-2013) -- per la catalogazione è stata utilizzata la scheda ministeriali VeAC - vestimenti antichi e contemporanei -- il giornale riflette sul progetto, sulla necessità di una study collection per un corso di laurea in design della moda, restituisce alcune delle schede, presenta il progetto fotografico realizzato per la mostra, racconta il percorso espositiv
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