1,721,385 research outputs found
Arte e moda. Gli Anni Settanta
No full textIl rapporto tra antimode e mode, subculture e culture sono al centro di questo articolo che esamina i rapporti tra moda e arte negli anni intorno al 1968. Considera il ruolo delle "antimode" e la desublimazione dell'esperienza estetica, attraverso l'assunzione di simboli di inferiorità economica e di marginalità culturale. Attraverso il concetto di "détournement" mutuato da Guy Debord discute inoltre gli aspetti di incoerenza stilistica e di eclettismo dell'epoca
Moda, città e immaginari
No full textLa moda è un aspetto fondamentale della modernità e della vita urbana. Il libro analizza il ruolo storico e attuale della moda nel dare forma agli immaginari urbani e indaga il contributo delle città ai processi immaginativi della moda. Le città sono intese come scenari e spazi di consumo, ma anche come parte del processo di produzione di nuove mode. "Moda, città e immaginari" affronta le relazioni tra moda e città in chiave interdisciplinare in un arco cronologico compreso tra l’inizio del XX secolo e il presente. Il libro traccia una geografia urbana che comprende sia storiche capitali della moda, come Parigi, Milano, Anversa e New York, sia città europee ed extra-europee tradizionalmente considerate fuori dalle mappe del lusso e dell’innovazione. I temi analizzati includono il ruolo della moda nella creazione della città moderna; le relazioni tra moda e spazi urbani nelle memorie individuali; gli strumenti e le azioni curatoriali per comprendere e rappresentare le culture della moda nella città; le città della moda come stili e brand; i display e le strategie urbane dei brand della moda
The Slit Skirt: Fashion and Empathy in the Tango Era
No full textMy paper focuses on the slit skirt as a fashionable means of self-expression in the early 1910s. At that time the slit skit was turned into a fashion icon by the dance craze of those years, and particularly tango. It was also the time of spectacular and shocking suffrage movements and women’s emancipation. I consider the slit skirt as worn fashion and, as such, as an object deeply related to vision and to the modernist experience of women’s legs on show. It is in this period that legs became a key manifestation of modernism, inaugurating a discourse that lasted through the entire 20th century. This discourse used visible legs as a positive and self-sufficient category to describe the new feeling of freedom and women’s emancipation.
The first part of this paper introduces the slit skirt in its early 20th century historical context; in the second part the analysis of the slit skirt relies on the concept of visuality to investigate the historical and cultural construction of vision. The analysis also takes into account the resurgence of the theory of empathy, with its capacity to reassert the value of emotions and their transmission
La moda nei discorsi dei designer
No full textNonostante la grande attenzione mediatica ricevuta dai fashion designer nel corso degli ultimi secoli, ciò che hanno raccontato e scritto ha finora ottenuto poca considerazione da parte degli studi sulla moda. Il libro presenta dichiarazioni e testi di fashion designer, con l’obiettivo di commentarli criticamente e contribuire alla comprensione della moda attraverso una delle figure più affascinanti e discusse prodotte dalla cultura occidentale di epoca contemporanea.
Jean-Philippe Worth, Rosa Genoni, Charles Creed, Paul Poiret, Madeleine Vionnet, Elsa Schiaparelli, Christian Dior, Emilio Pucci, Gianfranco Ferré, Franco Moschino, Marc Jacobs, Alexander McQueen, Bless e Bruno Pieters sono alcuni dei nomi coinvolti in questo dialogo ideale.
Il libro indaga il processo storico di definizione del potere culturale dei designer e i loro ambiti progettuali, con particolare attenzione al lavoro creativo e ai concetti di autorialità e storytelling. Il volume esplora inoltre le interazioni dei fashion designer con il sistema della moda, mostrando la vitalità del dibattito interno e gli aspetti conflittuali
Una conversazione con Maria Luisa Frisa a cura di Alessandra Vaccari / A talk with Maria Luisa Frisa edited by Alessandra Vaccari
No full textThe Fashion Futuring: a Sustainable Paradigm for The Time to Come
Full text linkThis paper aims to investigate the stories that fashion tells about its imagined future. It intends to identify and analyse the “futuring” discourses that are emerging as a possible way forward for fashion by taking into account the contact zones between critical thinking, environmental activism, and history. The purpose is to show the significant role that “futuring” and speculative fiction could play in redirecting fashion, and, broadly speaking, in reimagining fashion itself. The research would like to overcome the dominant identification of fashion with its own industry and to open up a different interpretation of inventions, fantasies, and alternate history beyond the promotional and heritage-related purposes of fashion design and communication. By doing so, it aims to challenge the dominant dualistic understanding of fashion as an unrealistic fantasy for a real industry, and to point out some possible aims for designers and fashion thinkers.
In order to achieve the above-mentioned purposes, the research relied on “what if?” as a key methodological tool. This allowed the achievement of two major outcomes. The first is that speaking about fictional histories proved to be an effective tool to identify and understand current and actual issues, such as the precarity of the fashion designer vis-à-vis Artificial Intelligence, and the precarity of the real garments vis-à-vis the digital. The second is the role that speculative fashion plays in rethinking the idea of history, for example finding a counterhistory of European fashion to overcome the narrative of the big brands and the cliché of glamour and beauty. The research originality lies in its effort to experiment futuring and speculative methods to fashion, whose theory is still lacking in this regard
The Simultaneous Dress of Sonia Delaunay, Fashion, and the Tangibility of the Tango
Full text linkSonia Delaunay’s simultaneous dress of 1913 incorporates a heterogenous variety of materials in its patchwork structure, which includes both fur and fabrics of different weights and colours. By focusing on the relationship between art, fashion, and the tango, this article studies the dynamic between the tangibility and intangibility of Delaunay’s dress and proposes an interpretation related to the collage. The dress materialises the collage within the lexicon of fashion, while its texture incorporates fragments of movements, tango poses, and everything one could find drooped over the patronesses and patrons of the ballrooms of the age. This article transposes the concept of the collage from the surface of the dress to the space of the ballroom, and reflects on the new idea of intimacy and physical proximity encouraged by the fashion of the tango
En plein air: Light, space and fashion in Filippo de Pisis’s aesthetics
No full textThis article addresses the concept of en plein air regarding men’s fashion in early twentieth-century Italy. The act of painting outdoors has been addressed at length in the field of art history as one of the most radical practices of nineteenth-century avantgardes. It focused on the changing appearance of light and weather conditions, as in the case of the renowned French Impressionist painters, who often represented women and their clothing in the natural environment. However, en plein air can also provide an opportunity to reframe men’s fashion in its relationship with the environment. The Italian painter and dandy Filippo de Pisis (1896–56) relied on en plein air to constitute his peculiar vision of ‘pictorial elegance’, connecting painting skills with the experience of wearing clothes in open spaces,
for instance, during a stroll in the Mediterranean sunshine. This article analyses de Pisis’s artworks and writings on male elegance and its pictorial qualities, aiming to explore the under-investigated invisibility of men’s fashion in the early twentieth century. By doing so, it challenges the misogyny of the antifashion rhetoric of Modernist aesthetics. The case of de Pisis is particularly interesting in this
regard because it provides an illuminating pictorial and textual affective interpretation of the interdependences between men’s bodies, the colours and fabrics of their clothes and the qualities of the open-air environment in which they were experienced. This contribution intends to shed light on the concept of ‘pictorial elegance’ that was for de Pisis a queer, destabilizing and poetic transfiguration of masculinity in the context of European Modernism
Learned in Italy. An Approach to Made in Italy Through the Lens of Fashion Education
No full textThis paper discusses the notion of “learned in Italy”, in order to reflect on the meaning that fashion education may represent for critically rethinking the culture and history of Italian fashion in the 21st century. Learned in Italy is modelled on the label ‘Made in Italy’, but unlike the latter it has been the object of very little discussion and academic work. The paper suggests a vision of fashion culture not separated from its productive reality, which remains central to the Italian national context of the 21st century. “Learning in Italy” is an invitation to a research journey through the fashion manufacturing districts of Veneto Region. This approach stems from an ongoing research work carried out at the Iuav University of Venice and is an opportunity to reflect on the collaborative dimension of fashion and on the issues of generational turnover and offshoring-reshoring dynamics that are putting at risk the material and immaterial knowledges and skills of the Made in Italy
“La storia siamo noi”. Moda e cultura popolare in Annarella ‘benemerita soubrette’
No full textThe paper analyzes the persona and wardrobe of Annarella (Antonella Giudici), the showgirl and model who has been the female member of the Italian punk band CCCP – Fedeli alla linea for decades. Through her clothes and style, the paper discusses how she has tackled the many contradictions associated with gender and women’s condition. The paper adopts the lens of fashion to investigate Annarella’s role and contribution to both the band’s aesthetics and ethics. Her approach to clothes is here considered in relation with the depoliticization of subcultures and the neoliberalism of 1980s Italian fashion. The paper also intends to address the under-researched relationships between CCCP and fashion in the twenty-first-century’s resurgence of critical impulses against cultural elitism
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