1,720,997 research outputs found
Space, Time and Catwalks: Fashion Shows as a Multilayered Communication Channel
Full text linkFashion shows - the key moment in the fashion communication system - have become a privileged setting for experimenting with new communication languages that implement multifaceted and multi-channel strategies, poised between innovation and tradition. Fashion shows always could read and interpret the spirit of the times in different eras, transforming and shaping themselves into different formats each time while always remaining true to themselves. The article investigates the different contemporary forms of the catwalks, whether real or virtual, implemented due to the digital acceleration witnessed during the Covid-19 social distancing period. In this context, the fashion shows define new communication forms and strategies that are no longer limited to the “here and now” but expand space, thanks to the possibility of remote participation and time, by amplifying the whole concept: the catwalk-event become amplified with the inclusion of a pre, a during and a post. The time expands thanks to communication strategies that increasingly stage the phases that precede the fashion show (the creative process, the backstage, the work in progress), but also the subsequent phases, those of storytelling and narration, formerly the prerogative of a few privileged journalists, now shared storytelling, in which designers directly tell and explain their point of view, both through traditional narrative forms (such as interviews) and through forms of interaction typical of digital (such as gaming, sharing and Instagram live)
Modalità espressive, luoghi e strategie nella comunicazione dei brand contemporanei
No full textAll'interno del panorama dei nuovi marchi emergenti del sistema moda il testo indaga le nuove traiettorie comunicativo-strategiche capaci di inquadrare differenti e innovativi percorso di rigenerazione degli strumenti strategici di approccio al mercato
Fashion Now!
Full text linkNel bene e nel male, la moda è diventata oggi uno fra i più importanti motori dello sviluppo urbano(se non proprioilpiù importante). Dal sistema commerciale-culturale di Prada fino alle realizzazionidel gruppo LVMH, dalla “periferia amabile” di Brunello Cucinelli e del borgo di Solomeo all’ArtLab diGucci nella periferia di Firenze, negli ultimi decenni la moda ha dimostrato di essere in grado di sfruttaregli spazi delle città di ogni dimensione, di conoscere il linguaggio dell’architettura di tutte le epoche e disaper manipolare le dinamiche della vita urbana a ogni ora del giorno, notte compresa. La moda è (ed èsempre stata) un fenomeno urbano e la città il suo territorio naturale. Non c’è da stupirsi dunque cheancora oggi, quando il mondo fisico si confonde sempre di più con quello digitale, sia proprio il puntodi vista urbano ad offrire spunti di riflessione apparentemente inesauribili.For better or worse, fashion has now become one of the most important drivers of urban development (if not the most important). From Prada’s commercial-cultural system to the achievements of the LVMH group, from Brunello Cucinelli’s “pleasant peripheries” and the village of Solomeo to Gucci’s ArtLab on the outskirts of Florence, in recent decades fashion has shown that it is capable of exploiting the spaces of cities of all sizes, that it knows the language of architecture of all epochs and that it is able to manipulate the dynamics of urban life at all times of day, night included. Fashion is (and always has been) an urban phenomenon and the city its natural domain. No wonder then that still today, as the physical world is becoming increasingly confused with the digital world, it is the urban point of view that offers seemingly inexhaustible food for thought
Learning by archives. The role of fashion exhibitions and fashion archives to defining (and stimulating) possible new educational paths.
No full textIn the contemporary panorama of fashion design - a domain that is becoming a hybrid between tradition and innovation increasingly, between digital and physical, between product and communication - archives and the staging of fashion are becoming more and more essential tools not only for the design of individual products but also for the definition of innovative communication and educational processes. In fact, in contemporary times, the fashion archives, both in their physical and digital forms, represent an essential element for fashion design education. The archives are officially considered a "cultural asset", not only because it preserves but also because it is able, through its activity, to generate innovation, becoming an active protagonist of the contemporary fashion design scene. The artefacts that fashion archives preserve can convey not only individual stories related to a single product, brand or designer but also collective stories related to the culture of a specific time or place, to artistic movements and political ones, to music, cinema and photography. The archive is not a physical place that crystallizes products, but a creative and dynamic space, also digital, capable of generating new trends and an inexhaustible source for contemporary fashion. The archive becomes the generator of new narrations through a mechanism capable of connecting different worlds, styles, eras and products. From this point of view, clothing (as well as fashion accessories) are not seen as a finished product but as artefacts capable of narrating past stories and, at the same time, producing new ones. In this context, museums, exhibitions and archives are increasingly taking on a renewed and active role in contributing to the definition of new design paradigms, capable of overcoming the traditional categories of revival or costume favouring a more contemporary "mash-up" approach. Mash-ups in which past and present, craftsmanship and new technologies, revival and experimentation blend seamlessly. The paper aims to present the didactic experience in the Master in Design and Technology for Fashion Communication, born from the collaboration between the University of Bologna and several fashion archives in Italy (such as Archivi di Ricerca Mazzini and Fashion Research Italy). A project of didactic experimentation built through a multidisciplinary approach, in which the students are involved in a project activity in which they play a central role in the design of all the phases of an exhibition: from historical research to archival research, from curatorship to spatial planning, up to the definition of the multimedia translation of the exhibition contents. A training project, organized in phases of increasing complexity, in which the curatorship and the staging of fashion artefacts become educational tools based on learning by doing and learning by experience approach
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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