Abstracts - Dipartimento Storia Culture Religioni

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Abstracts
Scientific Direction
Giovanna Motta
Editing
Antonello Battaglia
Alberto Becherelli
Anida Sokol
Centro di ricerca Cooperazione con l'Eurasia, il Mediterraneo
e l'Africa sub-sahariana
Facoltà di Lettere e Filosofia
Dipartimento di Storia, Culture, Religioni
SCIENTIFIC COMMITTEE
Giordano Altarozzi, Universitatea Petru Maior, Târgu Mureș
Victor Aquino, Universidade de Sao Paolo
Nello Barile, IULM, Milano, Franklin University, Lugano
Antonello Folco Biagini, Sapienza Università di Roma
Laura Bovone, Centro per lo studio della moda e della produzione culturale, Milano
Patrizia Calefato, Università di Bari Aldo Moro, Master in Fashion Studies, Sapienza
Università di Roma
Cinzia Capalbo, Sapienza Università di Roma
Andrea Carteny, Sapienza Università di Roma
Vittoria Caratozzolo, Master in Fashion Studies, Sapienza Università di Roma
Mariam Chkhartishvili, Ivane Javakhishvili, Tbilisi State University
Paola Colaiacomo, Università IUAV, Venezia
Anna Maria Curcio, Università Roma Tre
Leopoldina Fortunati, Università di Udine
Fabiana Giacomotti, Master in Fashion Studies, Sapienza Università di Roma
Maria Cristina Giorcelli, Università di Roma Tre
Simona Ironico, Istituto Marangoni, Milano
Maria Cristina Marchetti, Sapienza Università di Roma
Alison Matthews David, Ryerson University, Toronto
Mario Morcellini, Sapienza Università di Roma
Giovanna Motta, Sapienza Università di Roma
Eugenia Paulicelli, Queens College, City University of New York
Federica Perazzini, Master in Fashion Studies, Sapienza Università di Roma
Simona Ranaldi, Accademia del Lusso, Roma-Milano
Giulia Rossi, Fashion Journalist, Sapienza Università di Roma
Alessandro Saggioro, Sapienza Università di Roma
Satomi Sugiyama, Franklin University, Lugano
Donatella Strangio, Sapienza Università di Roma
Efrat Tseëlon, University of Leeds
Lucio Ubertini, IHP Unesco – Italian Committee
Martine Villelongue, Université Lumiere Lyon 2
STEERING COMMITTEE
Antonello Battaglia, Sapienza Università di Roma
Alberto Becherelli, Sapienza Università di Roma
Giuliana Paola De Luca, Sapienza Università di Roma
Gabriele Natalizia, Sapienza Università di Roma
Valeria Nofri, Sapienza Università di Roma
Stefano Pelaggi, Sapienza Università di Roma
Roberto Sciarrone, Sapienza Università di Roma
Anida Sokol, Sapienza Università di Roma
Alessandro Vagnini, Sapienza Università di Roma
AUTHORS INDEX
A
Laila Al Bassam
Giordano Altarozzi
Carlo Amendola, Martina Musarra, Raffaella Preti
Romana Andò
Petya Andreeva
Victor Aquino
B
Nello Barile
Ana Paula Barroso Faria, Joana Cunha, Bernardo Providência
Ben Barry, Kimberly Wahl
Caterina Bassetti
Antonello Battaglia
Sonya Battla
Alberto Becherelli
Romano Benini
Luigia Bersani
Barbara Bettoni
Martina Bitunjac
Fiammetta Borgia
Lucia Boscaini
Sergio Botta
Laura Bovone
Julie Renée Bruhns
C
Rita Caccamo
Patrizia Calefato
Cinzia Capalbo
Andrea Carteny
Authors Index
Emilio Cassese
Alessandra Castellani
Giovanni C. Cattini, Carles Santacana
Cecilia Cestari
Chloe Chapin
Silvano Mo Cheng
Eleonora Chiais
Mariam Chkhartishvili, Sopio Kadagishvili, Zurab Targamadze
Milica Cicmil
Ornella Cirillo, Roberto Liberti
Volodia Clemente
Viviana Cois
Paola Colaiacomo, Luisa Valeriani
Dana Connell, Amanda Huff
Anna Maria Curcio
D
Luisana D’Amato
Paolo De Luca
Maria Roberta De Robertis
Veronica De Sanctis
Benedetta Del Romano
Carla Del Zotto
Francesca Di Giulio
Antonella Di Spalatro
Antonietta Di Vito
Laura Dimitrio
Elena Dumitru
Elena Dundovich
F
Michela Fasanella
Emanuela Ferreri
Georgeta Fodor
Giovanni Luigi Fontana, José Antonio Miranda
Authors Index
Leopoldina Fortunati, Manuela Farinosi, Yao Nie
Lorenza Fruci
G
Emma Gago Sánchez
Fabiana Giacomotti
Andrea Giannotti
Maria Cristina Giorcelli
Paola Goretti
Mihaela Grancea
Fabio L. Grassi
H
Yeva Hambarcumyan
Corina Elena Hategan
Shalom D. Hazan
Virginia Hill
Hadas Hirsch
I
Roberta Iannone
Marco Iervese
Simona Ironico
Fabio Isopo
K
Nina Kelecsenyiova
Matina Kousidi
Petra Kovacs, Daniele Di Giorgio
Authors Index
L
Cesare La Mantia
Eleonora Lanave
Chiara Landi
Eka Lekashvili, Lia Lursmanashvili, Ekaterine Tukhashvili
Francesca R. Lenzi
Umberto Longo
Ethel Lotto
Marco Lucietti
Michal Lynn Shumate
M
Paola Maddaluno
Maria Cristina Marchetti
Paolo Marcoaldi
Valentina Mariani
Laura Mariottini
Maria Federica Marrella
Vanessa Martore
Samantha Maruzzella
Chiara Mastromonaco
Alison Matthews David
Paolo Meroni
Ana Maria Moisuc
Roberta Montagna
Maria Teresa Morelli
Vivian Yoshie Martins Morizono
Raffaella Morselli
Giovanna Motta
Giuseppe Motta
Martina Musarra, Fabrizio D’Ascenzo, Giuliana Vinci
Maria Giuseppina Muzzarelli
Authors Index
N
Gabriele Natalizia, Piero De Luca
Luz Neira
Bruna Niccoli
Marzia Nocilli
Valeria Nofri
O
Rafał Ojrzyński
Cristina Oliva
Iulia Alexandra Oprea
Assia Federica Orneli
P
Paola Panarese
Rudi Papa
Magdalena Pasewicz-Rybacka
Justyna Pawlowska
Stefano Pelaggi
Domenico Pellerito
Federica Perazzini
Isabella Pezzini
Valeria Pinchera
Alessandro Pistecchia
Daniel Pommier Vincelli
Sabrina Pomodoro
Francesco Pongiluppi
R
Simona Ranaldi
Raffaele Rivieccio
Angelo Romeo
Giulia Rossi
Marta Rossi
Authors Index
Manrica Rotili
Davide Ruggieri
S
Julia Sabova
Luisa Salvati, Luana Cosenza
Arturo Sánchez Sanz
Salvatore Santangelo
Roberta Sassatelli
Lucia Savi
Ilaria Schiaffini
Roberto Sciarrone
Marco Semeghini
Eleonora Sgambetterra
Cornel Sigmirean, Maria Tătar-Dan
Corneliu Cezar Sigmirean
Julia Sinchuk
Anida Sokol
Manuela Soldi
Ljiljana Stošić
Donatella Strangio
Satomi Sugiyama
Réka Szentesi
Zuzana Šidlíková
T
Bianca Terracciano
Ruslan Tleptsok, Emilia Sheudzhen
Ülle Toode
Efrat Tseëlon
Murat Turgut
Liliana Ţuroiu
Authors Index
U
Serna Uçar
Valentina Ughetto
V
Alessandra Vaccari
Alessandro Vagnini
Alexia Vahlas
Roberto Valle
Villa Vilaithong
Martine Villelongue
W
Astrid Wiedersich Avena
Anna Wyszyńska
Y
Sema Yalçin
İsmail Yüce
Z
Shirin Zakeri
Rome Conference 2015. Fashion through History. Costumes, Symbols, Communication
Laila Al Bassam
[email protected]
Professor of History of Clothing and Textile at the Department of Fashion Design,
College of Art and Design, Princess Noura bint Abdul Rahman University, Riyadh.
Holds a PhD on the “Methods and Ornaments of Traditional Costumes in Najd
Region” and an MA on “Traditional Costumes for Women in Najd Region” from the
College of Art Education and Home Economics, Riyadh.
Language: English
The Art of the Traditional Costume of Saudi Arabia
This study aims to document the traditional costume of Saudi Arabia, as well as
decorative arts used in embellishments. With unique creativity, women use
embroidery, beadwork, appliqué, patchwork, braids, fringes and tassels. Most of the
time, the appearance of a dress is created by a combination of ornamentations.
Motifs are inspired by local environments such as palm trees, dates, flowers,
pomegranates, jewelry and carpet motifs. Furthermore, straight lines and geometric
patterns are also used. Artisans use large range of materials, even items not usually
used for decorations such as zippers, buttons, coins and keys. Some ornamentation
have functional purposes such as reinforcement, protection and extending the life of
the costume. These are the creative skills our artisans have used to produce a rich
historical and cultural heritage. This study has been conducted through personal
interviews and direct observation of the garments and has two parts: the first is
historical and analytical, while the second part includes modern designs that use
traditional techniques.
Giordano Altarozzi
[email protected]
Associated Professor of Modern History at the “Petru Maior” University of Tîrgu
Mureş; graduated with honors at the Faculty of Political Scienza at “Roma Tre”. PhD in
History of Europe at Sapienza University of Rome.
Language: Italian
Fashion and Costume in Sixteenth-Century Europe. Considerations from “Massacre
of Innocents” by Pieter Brueghel the Elder
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Abstracts
In the sixteenth century, international trade recorded a significant increase,
transforming political, economic and social relations. Textiles were among the main
goods traded. The rising commercial traffic also meant an increase in travel and
contacts between people of different origins, each characterized by their own fashion
and costumes. This paper aims to reconstruct a specific aspect of social history of the
sixteenth century, using as the main source the Flemish painting “Massacre of
Innocents” by Pieter Brueghel the Elder.
Carlo Amendola, Martina Musarra, Raffaella Preti
[email protected]
Carlo Amendola (speaker) is Researcher and Professor at Sapienza University of
Rome, Faculty of Economics, Department of Management. Professor of Technology
and Logistic at Fashion and Costumes Sciences-Literature and Philosophy Faculty.
Language: Italian
Cosmetic Industry: Market Evolution and Consumers’ Behaviors
Expectations of today’s consumers are constantly evolving, and more than ever
before cosmetics have become essential components of quality of life and well-being.
During history, consumer’s needs have changed, and in fact, nowadays, consumers
are well informed about the presence of several contaminants in cosmetic products,
and about their risks for human health and environment, furthermore many people
are sensitive to some ethical aspect of their purchases, such animal welfare and fair
trade labeled products. To meet ever-changing consumer demands, science and
innovation together with responsible use of resources will bring to an
implementation of the best practices in the cosmetic supply chain by promoting
quality and safety consciousness in a sustainable and integrated vision. The research
examines a random sample of women, in order to define their purchase intentions for
sustainable cosmetics by product attributes, environmental concerns and sustainable
behavior with the aim to develop a theoretical model founded on exogenous
variables. The results will lead to an analysis of the cosmetic sector and its future
scenarios, related to the customers’ willingness to pay to promote sustainability. It
will be also analyzed the cosmetic market structure in Europe, with the objective to
define the customers’ trend of purchase and to confront the two biggest different
segments in the cosmetic industry: the green and the chemical.
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Romana Andò
[email protected]
Language: English
Assistant Professor in Audience Theory and Analysis and Communication and Fashion
Sociology, Sapienza University of Rome. She is the scientific coordinator of “Social TV
Observatory” at Digilab Sapienza, a research project on social and connected TV,
financed by the most relevant Italian TV broadcasters.
“I dress well”. Fandom Identification and Fashion through TV Series and Social
Media: The Case of Claire Underwood’s Power Dressing
The purpose of this proposal is to discuss the relationship between TV series
characters, fashion and appropriation and consumption dynamics enacted by fans
through social media. I will focus on a specific kind of TV series – quality dramas –
inside which the apparel has evolved into a key factor for fandom engagement: the
fashion universe is clearly included in the story, contributing to the definition of the
environments and characters, or even becoming a character itself. The relevance of
style, outfits, clothes and fashion accessories is underlined by several fandom online
interactions: audiences daily talk about how particular characters dress or act, check
information and images about outfits and brands, and buy online the articles seen on
TV. This identification process is a kind of performative self-representation, by means
of which fans build and negotiate their gender identity, using (buying and wearing)
symbolic materials provided by TV contents. Consumption behavior is now enabled
by Social TV phenomenon, TV networks strategies (such as enhanced product
placement) and grassroots activities, which allow audiences to engage with contents
in a sort of expanded TV experience. In order to discuss these issues I will show the
results of my netnoghraphic research on Claire Underwood’s power dressing as seen
in House of Cards, Netflix’s popular TV drama on political conflicts within USA
Congress.
Petya Andreeva
[email protected]
PhD student at the University of Pennsylvania. She studies East Asian art history
under the supervision of Dr. Nancy Steinhardt and her main focus is the cultural
transfer between China and Central Asia as observed in the production and exchange
of golden objects.
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Abstracts
Language: English
Voices of Tradition and Whispers of Change: Redefining Edo Female Identity
through “Iki” Aesthetics in Undergarment Textiles
The Tokugawa rule marked significant changes in terms of the social and gender
dynamics in Japanese society. Fashion, more specifically the underrobe known as
juban, was a pivotal signifier of the alterations in aesthetics and social trends. In one
sense, the introduction of new dying techniques and the usage of forbidden colors
like benibana red and murasaki purple resulted from the growing social awareness of
women in merchant families. On the other hand, the implementation of the new
brave designs in Japanese undergarments also relates to the concept of iki – a
popular vernacular aesthetic ideal that arose in the Yoshiwara district and proliferated
among samurai, farmers, craftspeople and merchants. The bakufu assigned strict
codes of conduct for all social strata. This politically imposed stratification translated
into the harsh sumptuary laws that attempted to keep the growing merchant class
inferior to the samurai by prohibiting certain colors and designs that remained the
preserve of the samurai and their families. The implementation of benibana red in
female underkimonos was a means to express female resistance against the strict
inflexible social order of the bakufu. Wearing prohibited colors was also a token of
delicate, restrained eroticism and turned into a new medium through which women
expressed their sexuality.
Victor Aquino
[email protected]
Brazilian writer, professor and researcher, working around 40 years at the “Escola de
Comunicaçoes e Artes” of the “Universidade de Sao Paulo”, where he obtained titles
of Doctor in Science, “Livre Docente in Arts” and Full Professor of Aesthetics in
Advertising.
Language: English
The Laws of Fashion
Increasingly, fashion is a matter of debate. There is more controversy than agreement
on this subject. Most of these discussions do not always lead to logical conclusions.
Almost always they are surrounded by personal emotions. Fashion is much more an
object of study than a discipline, because it is related to sociology, anthropology,
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behavioral sciences, art and especially history, but also to the business world and
market. However, it is not always well understood. There is always someone who can
imagine that fashion can be understood in an autonomous way, without taking into
account a whole framework of theories that support the uses and habits of dress by
human beings. When studying the nature of fashion attributes, taking into account
the logic of relations with other areas of knowledge, for example, any scholar may
discover some axioms which are shown by the results of these studies. Axioms, or
laws, that are practically unchanged, are what one might call “fashion laws”. Recently,
I published a small book in Portuguese that has this title. It shows thirty-eight of
those laws. The first, for example, says that “not all clothing is fashion, but all fashion
is clothing”. Another law states that “fashion is the redundancy of the same aesthetic
standard of clothing” and that “fashion is the concurrence of the same source of
taste”.
Nello Barile
[email protected]
Nello Barile teaches Media Studies and Sociology of Cultural Processes at IULM
University of Milan where he also has coordinated for six years a Master program in
Creativity Management. He holds a PhD in communication sciences, resources
management, and formative processes at Sapienza University of Rome.
Language: Italian
A History of Waste. Fashion, Culture and Luxury as a Clash between Democratic and
Elitarian Forces
When we hear the word “fashion,” we immediately associate it with clothes and
dresses. However, underneath the surface-level association lie power, values and
paradigms that are critical in understanding fashion. Adopting the fashion of dress as
a starting point, this paper will examine the transformation of fashion from a cultural
phenomenon to a structured system with its specific rules and goals, the most recent
intersection between underground and mainstream, and the intimate relationship
between fashion and luxury. The paper will divide the entire development of fashion
into four main stages: 1) Pre-Fashion, 2) Haute Couture, 3) Prêt-à-Porter, and 4) PostFashion. During the first stage fashion is still submitted to external rules, such as the
logic of status exhibition and the role of Etiquette during the Ancient Regime. In the
second stage fashion turns into an international productive empire, and Paris
becomes the centre of propagation of the main trends spread all over the world. The
third stage reshapes the dynamic of modern fashion under a democratic logic with a
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Abstracts
new dialogue between designers and urban subcultures. The fourth one establishes
the final mutation of the system as exemplified by the definite hybridization of styles
and aesthetics, the crisis of the street styles, and the advent of Fast Fashion as the
most dissipative and disruptive model of production. By explicating each stage, the
paper seeks to offer a different perspective on fashion history: a history of waste.
Ana Paula Barroso Faria, Joana Cunha, Bernardo Providência
[email protected]
Ana Paula Barroso Faria (Speaker): Master in Fashion Communication Design at the
University of Minho, graduated in Graphic Design at the Polytechnic Institute of
Cávado and Ave. She works as a Communication Designer since 2013 in the company
SkillmindConsultoria de Gestão e Formação, Lda.
Language: English
Mobile User Experience: New Insights into Fashion Communication Strategies
The paradigm of fashion communication differs significantly nowadays. If once the
editorial domain and expensive advertising campaigns governed the disclosure of
brands, this is not currently the case. Through a competitive environment that exists
in the fashion industry, the challenge that brands face today is to reach the consumer.
In order to disseminate the brand image and connect with the consumer, fashion
communication strategies should take into account the consumers’ needs and desires
providing powerful emotional experiences. Through an exploratory study of an
application for iPad, focused on a single fashion project, we tried to understand how
users relate emotionally with new digital media. An application whose graphical
interface was conceived based on the recommendations of prominent professionals
in the field of interaction design and psychology of design. This app was designed to
establish an emoziona relationship with the user. A usability study was conducted in
order to understand the relationship between people and digital fashion
communication supports at the level of emotions, through the observation of users
interacting with the application. Therefore, several techniques and methodologies
have been used, namely, think aloud protocol. The observation was complemented
with information gathered by means of a questionnaire. The usability tests allowed
concepts related to emotions in interface design to be overcome, provided relevant
information to help demystify the relationship of users with tablets and highlighted
valuable inputs to be considered in creating exciting and memorable experiences.
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Ben Barry and Kimberly Wahl
[email protected]
[email protected]
Ben Barry is an Assistant Professor in the School of Fashion at Ryerson University and
a Visiting Scholar at Parsons The New School for Design. Funded by a grant from the
Social Sciences and Humanities Research Council of Canada. He is currently exploring
how men use fashion to deconstruct and re-imagine their gendered identities.
Kimberly Wahl is an Associate Professor in the School of Fashion at Ryerson
University. She holds a PhD in Art History from Queen’s University, where her
dissertation focused on artistic dress in Victorian Britain in relation to artistic
discourses and design reform.
Language: English
New Visibilities: Public Spectacle, Fashion and Gender in Nineteenth-Century Print
Culture and Twenty-First Century Digital Space
In the writings of Charles Baudelaire and Walter Benjamin, women’s bodies were
conflated with the spectacle of fashion in the urban spaces of the nineteenth century.
In the arts and print culture of the period, the fashionable female body was
positioned as the bearer of cultural change. Reflective of nineteenth-century values of
aestheticism and a concern for authenticity, the rhetorical uses of essentialism
solidified the public perception of fashion as irretrievably “feminine” and inherently
frivolous. Yet sub-textual analyses reveal an awareness of artifice and a growing
concern with the fashioning of the male body as a counterpoint to these feminized
discourses of cultural change. Post-modern theories have diversified earlier cultural
formations, acknowledging the performative nature and constructive role of fashion
and gender in the public realm. Frank Mort and Tim Edwards have argued that the
1980s reframed the male body as an expression of masculinity and an object of
desirability. These new representations initiated the “homosocial gaze” as an
acceptable male practice, encouraging men to publically look at each other and
explore the fashion realm. The introduction of fashion’s digital culture has served to
further undercut the perceived feminization of fashionable display due to the
gendered association of technology as well as cultural, political and economic
transformations. Twenty-first century virtual networks have subsequently encouraged
more men to confidently present themselves for visual consumption through fashion
and actively engage in the spectatorship of the fashionable man. Imbricating the
homosocial gaze with discursive notions of artifice and authenticity, this paper
examines intersections between two historical moments, over a century apart, in
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Abstracts
order to expose new insights into the malleable and fluid nature of gender as
enacted, embodied and communicated through fashion.
Caterina Bassetti
[email protected]
PhD in History of Europe with a doctoral thesis on devolution and sovereignty: the
Catalan and Scottish cases and is currently a Postdoctoral Fellow at the Department
of Law, Philosophy and Economic Studies (DiGEF), Sapienza University of Rome.
Language: English
The Victorian Age: Economy, Fashion and Society
The Victorian age encompassed a long period of time, which lasted almost sixty-four
years, characterized by an extraordinary manufacturing growth that contributed to
generate prosperity and wealth not only for the gentry and the upper class but also
for the bourgeoisie. However, the tremendous growth in the British population
determined the rise of serious social matters. In the slums poverty prevailed together
with dreadful work and hygienic conditions, high mortality, degradation and social
disorders. It was an era of many contradictions where the moral righteousness found
ground in the cult of hard work, in self-discipline, in the sense of duty and Victorian
prudery. All these elements influenced fashion and jewellery tendencies reflecting the
huge transformation of this period, as Great Britain became an icon of elegance and
style. Victorian costume freely took inspiration from the past reinvented it in a new
way merging together different styles and epochs: romantic, baroque, gothic and
rococo. For women corset was the most fashionable garment – with all its variations –
combined with the right accessories: hats, gloves, parasols, foulards, silk and
cashmere cloaks. According to the dominant stylistic idea of the time, women had to
be pretty and elegant, real “angels in the house”. Men’s fashion trends were inspired
by sobriety and simplicity. Hats, gloves, walking sticks, pocket watches and wallets
were all conceived and worn to reveal a gentleman’s industriousness and
respectability. The Victorian age was a transition epoch that enclosed the idea of
progress and, at the same time, the survival of a traditional world not jet vanished. All
that left an indelible mark on economy, society and fashion.
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Antonello Battaglia
[email protected]
Research Fellow at the Department of Law, Philosophy and Economic Studies of
Sapienza University of Rome and Adjunct Professor of History of International
Relations at the Department of European, American and Intercultural Studies of
Sapienza.
Language: Italian
Chasubles and Cassocks between Tradition and Innovation
The dress of the soul as St. Francis of Assisi loved to define the sackcloth.
Ecclesiastical robes, materials, symbols; this subject binds our world to the
supernatural one, connects the man with the divine. The paper analyzes the meaning
of some of the religious clothing from the history of priests’ cassocks to the meaning
of liturgical colors, from headgears to chasubles and accessories; not only of priests,
but also of monastic orders, not only in relation to tradition, but also regarding
innovation. However, there are also criticisms of the traditionalists, the “purists”.
Religious clothes are not only about the exclusive ecclesiastical sphere, many stylists,
in fact, as early as the 1950s, were inspired by religious dress for the realization of
“civilian” clothes. Many fashion houses – Versace, Biagiotti, Fendi, Schmitt,
Schreibmayr – restyled the ecclesiastical robes, including liturgical ones. Stylists of the
past, stylists of the present, stylists specialized in religious clothing, stylists of
“ordinary” clothes are inspired by ecclesiastical robes, but also film directors like
Federico Fellini in La dolce vita or Lana and Andy Wachowski in Matrix Reloaded and
Matrix Revolution. Thus, it is a fascinating subject that goes beyond the religious
sector and attracts the interest of many.
Sonya Battla
[email protected]
A fashion designer from Karachi, Pakistan. She is interested in nature and organic
forms and her main inspirations are body and movement. She views the body and
fabrics surrounding it as a sculptural give and take between negative and positive
space.
Language: English
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Abstracts
The Fashion-Craft Dialogue: Bridging the Gap
Symbolic craft traditions have traditionally lent value and magic to otherwise
“normal” textiles. The tradition of handmade local crafts are very strong in Pakistan.
Fashion too has become an integral part of today’s living. However, a new path needs
to be forged where historical craft traditions could join the modern dynamics of
simple, usable, aesthetically viable products. Craft does not stand a chance of survival
in our lives if it is not adapted. The aim of the paper is to explore how craft can be
given a new life by adding “relevance” to it in today’s context.
Alberto Becherelli
[email protected]
Research Fellow at the Department of History, Cultures and Religions of Sapienza
University of Rome. He holds a PhD in History of Europe and deals with issues related
to the history of the Balkans and Central-Eastern Europe.
Language: English
Bosnian Islam between Orientalism and Modernization
The tradition of the Ottoman Empire was and still is a deep and complex cultural
heritage, a meeting between East and West that has helped in the creation of the
kaleidoscope of cultures and customs that were formed in the territory of Bosnia and
Herzegovina in the course of centuries, bringing with it the elements that have
characterized the political and social history of the region. The Islamization of a good
part of the population – a phenomenon that enriched the confessional panorama
already complex by the schism between Western and Eastern Christianity (1054) – is
certainly one of the most characteristic aspects, important and much debated, in the
modern and contemporary history of Bosnia and Herzegovina around which myths
and legends have arisen before, followed by a historiographical debate. The paper
analyzes the costumes and clothing of the Bosnian Islam and other nationalities of
Bosnia and Herzegovina through the ages and political regimes that have occurred in
the Balkan region.
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Romano Benini
[email protected]
Economic journalist, RAI television writer and Adjunct Professor of Labor Policies. He
directs the master’s degree program in Management of Labor Services of the Link
Campus University of Rome and is a scientific advisor of the “Fondazione studi
consulenti del lavoro.”
Language: Italian
Fashion between Identity, History and Economy
The paper has the aim to discuss fashion as “modus”, aesthetic affirmation of an
identity and to give the overall assessment of the system of the fashion phenomenon,
historical, sociological, psychological and economic. What will be analyzed is the
affirmation of fashion in the evolution of Roman, Italian and European identity;
“moda e modi” from Rome to the Middle Ages (tastes, styles and consumption), the
legacy of Rome as an opening and assimilation of the beautiful and the good; fashion
as an affirmation of social belonging and as individual appropriation of beauty: the
two “eternal” sides of the phenomenon of fashion; the Renaissance and the
affirmation of the man through the enhancement of individual taste; Italian spirit; the
affirmation of the phenomenon of individual identity from clothing to housing, from
Italy to Europe as a matter of European identity; affirmation of identity and openness
in comparison to contamination; affirmation of culture and fashion as a result. Other
concepts include: fashion as development, the development of fashion and
development of craftsmanship; fashion as a result of beauty and crafts; techniques
from the past to the future in the promotion of individual identity; fashion as a
“adhesion” to oneself, to a class, a group, to a uniform, to a status; vocation of
fashion and Made in Italy; fashion and the connection between materials, design and
products; “handmade and made to measure”, the beautiful to look at and use;
identity and beauty as an affirmation of the “unique piece” and the traits of the
Italian style in relation to the northern European one; the values of craftsmanship and
tailoring; identity as a choice and Made in Italy as an instrument of personal choice
and not of mass consumption; the difference between “personal” fashion and the
Italian “state of mind” and the phenomena of mass culture and fashion brands; the
return of the “well-done” and the value of duration: vintage as a statement of style.
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Luigia Bersani
[email protected]
Lawyer at “Ordine degli Avvocati di Roma” and deals with the law of arts and of
intellectual property. She is a PhD candidate in International Law at the University Tor
Vergata of Roma, working on a research dedicated to cultural rights in the
international law.
Language: Italian
Fashion in the UNESCO Conventions and in the Regulations on Cultural Rights: The
Sphere and the Limits of International Protection
For the values that fashion represents, its protection and its exploitation could be
delegated, at the international level, besides to the instruments relating to
intellectual property, also to those relating to the intangible cultural heritage and
cultural diversity, as well as to those related to a specific category of human rights:
cultural rights. Of specific relevance are the UNESCO Conventions of 2003 for the
Safeguarding of the Intangible Cultural Heritage and of 2005 for the Protection and
Promotion of the Diversity of Cultural Expressions. The 2003 UNESCO Convention
defines universal intangible heritage as, among other, practices, expressions,
knowledge, know-how, objects and artifacts, transmitted from generation to
generation, that communities, groups and, in some cases, individuals recognize as
part of their cultural heritage and that can be manifested, among other things, in
social customs. The UNESCO Convention of 2005 identifies the concept of cultural
diversity in the multitude of forms by which the cultures of groups and societies
express themselves and pass internally or spread to other groups and societies such
cultural expressions. The same Convention states that cultural diversity is not only
reflected in the different ways in which the cultural heritage of humanity is expressed,
enriched and transmitted thanks to the variety of cultural expressions, but also
through distinct modes of artistic creation, production, dissemination, distribution
and appreciation of cultural expressions, regardless of the technologies and tools
used. Furthermore, fashion can also be considered as an object of protection by the
international standards on the protection of human rights, in particular, by the rules
on the protection of freedom of expression and other regulations on cultural rights.
The paper, therefore, aims to provide a brief survey of the law and of international
jurisprudence that describes the scope and the limits of the protection of fashion in
the context of international instruments on the protection of intangible cultural
heritage, cultural diversity and cultural rights.
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Barbara Bettoni
[email protected]
Assistant Professor of Economic History at the University of Brescia. Her research
interests focus on material culture, life styles, and consumer models in Early Modern
Italy.
Language: Italian
At the Origins of “Made in Italy” Buttons. Fashion and Innovation in Italian Button
Manufacturing from the Late Middle Ages Until Today
Today buttons are everyday objects and belong to men, women, and children. Behind
the apparent simplicity of these accessories, which are nowadays extremely
widespread and used with variety in functions, a very complex history is hidden. As
recent studies underline, especially relating to the Renaissance Italian context,
clothing accessories were both multivalent and complex items, which already in the
past played a particular role in social practices. Therefore, because of their deep
roots, vast range of uses, and technical endless evolution during centuries, buttons
can be used as a particular point of view in order to explore changes that took place
in economy, society, and culture. Starting from this assumption and employing a wide
variety of sources (treatises, post-mortem inventories, patents, guilds’ documents),
this paper analyzes, from an economic and social perspective, how fashion and
innovation interacted in Italian button manufacturing during centuries, making its
evolution special and original within the European context. Keeping into evidence
how this process has been characterized both by craftsmen skill improving and by the
parallel unceasing search for materials, shapes, and colors, in order to create a double
function (useful and ornamental) product, the paper aims at highlighting the deep
roots of the primate reached during the XX century by “Made in Italy” buttons, and
then the reasons of the success that still nowadays some Italian buttons obtain on the
international market.
Martina Bitunjac
[email protected]
PhD, researcher at the Moses Mendelssohn Centre for European-Jewish Studies in
Potsdam. She holds a PhD in Modern History (Humboldt University of Berlin) and in
History of Europe (Sapienza - University of Rome).
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Language: English
The Cultural History of Female Trousers in the Orient and Occident
From the Late Middle Ages, when aristocracy and chivalry developed, until women’s
movement in the nineteenth century, trousers were – in the Western world – a
symbol of masculinity and dominance. This was connected with the presence of men
in the world of work, in politics and in war, while women were only permitted to act
in the domestic respectively the private sphere. In the Western culture, women had
to fight hard for their right to wear pants. Mostly they got nothing but ridicule and
misunderstanding. The Orient, to which since the eighteenth and nineteenth
centuries Europeans travelled with much curiosity, offered a contrasting clothing
culture. For this reason, the wearing of the Oriental female pants became a model for
many emancipated women in the West like Amelia Blommer, the inventor of the
homonymous trousers-costume. This paper aims to show and to compare the history
of female trousers in the Oriental and Occidental world until the modern times.
Fiammetta Borgia
[email protected]
PhD in International Law, is currently Lecturer of International Law at the University of
Rome “Tor Vergata” and at the European University of Rome, where she teaches
International Economic Law. She also teaches Law of the Sea and European Union
Law at the Italian Military Academy.
Language: English
Fashion Industry in the Context of International and EU Law: The Effort to Protect
“Luxury Icons”
Versace “medusa head”, Hermes birkin bag, Alexander McQueen “Skull” are products
of applied intellectual creativity and skill in the fashion industry. No one doubts the
great value of intellectual capital to the creation and marketing of products in the
fashion industry. In the current business environment, the primary source of
competitive advantage for fashion industry is innovation and original creative
expressions. Fashion corporations need to identify such valuable intangible assets and
agree on those to be protected and leveraged through the intellectual property (IP)
system. Copyright, industrial designs, trademarks, trade secrets and patents are key
intellectual property tools, which are relevant for the fashion industry in the
knowledge-driven economy enabling them to compete effectively in domestic and
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export markets in the era of increasing globalization and market integration. These
tools play a key role in establishing and consolidating a company’s market position,
and by protecting intangible capital through specific IP rights, fashion houses may
increase profit margins and improve their market share. This paper discusses the
growing importance of fashion industry in the global economy and reviews the effort
to develop an international and European legal framework able to protect “luxury
icons”. The rise in counterfeiting and design piracy is one of the first threats to fight in
this field. A review of international design laws shows some clear areas of agreement
emerging in international agreements on the legal principles that should govern the
protection of fashion industry. However, the current legal framework (the so-called
fashion law) is far to be able to effectively protect copyright, industrial designs,
trademarks, trade secrets and patents, especially at international level.
Lucia Boscaini
[email protected]
Bulgari Brand and Heritage Curator, in charge of the historical assets of the Company,
Lucia Boscaini joined the Bulgari Marketing Department in 2001, in 2007 she was
appointed the Marketing Director and in 2010 the Head of the Events and Heritage
Department.
Language: English
Bulgari: Sharing the Brand Heritage
For a brand with over 130 years of history as Bulgari, to communicate its unique
creative heritage is a precious opportunity of prestige and visibility. The preparation
of retrospective exhibitions in museums around the world and the creation of
thematic publications are the main tools to disseminate to the public the stylistic
evolution of the brand and its strong innovative contribution in the world of jewelry.
In this context, the dialogue with the world of fashion has always been intense and
fruitful: the ideal complement to clothes, jewelries also transmit the taste and
personality of those who wear them. On the occasion of two exhibitions at the V&A
Museum in London and at the MAXXI in Rome, Bulgari jewelry and high fashion
clothes have been joined to narrate the artistic and cultural ferments that in the
immediate postwar period led to the development of Made in Italy at the
international level. For the exhibition, Elizabeth Taylor and Bulgari organized in Dubai
the costumes worn by the actress on the set of Cleopatra have enriched the
exhibition that celebrated an unforgettable character and charisma of a woman who
loved so much the Bulgari creations. The selection of jewelry, the conception of the
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Abstracts
most suitable preparation and the choice of material of communication to support
are therefore key elements to best convey the identity and values of the Brand.
Sergio Botta
[email protected]
Researcher in History of Religions. He is the Director of the Master in Religions and
Cultural Mediation at the Department of History, Culture, Religions. He teaches
History of Religions and History of the Americas at Sapienza University of Rome.
Language: Italian
The Post-Colonial Mask of Caliban: Counter-Representations of Subaltern Bodies in
Une tempête by Aimée Césaire (1969)
With the publication in 1873 of the work by Daniel Wilson, the Shakespearean figure
of Caliban entered the Victorian lexicon and legitimated the discursive production of
positivist science. The “monstrous” and naked body of Caliban – heir of the cannibals
described by Christopher Columbus in the journal of his first voyage – embodied a
metonymical representation of Native American cultures. The alleged absence of
dresses – and/or the Native-American misinterpretation of the “natural dress code”
of the West – became a visual and rhetorical way to denote the indigenous “lower”
moral qualities. The paradoxical human representation of Caliban – a meta-reflection
on the British colonial experience suggested by William Shakespeare in The Tempest –
would have opened, since the beginning of the twentieth century, a critical reaction
within the postcolonial counter-discourse known as calibanismo. The aim of this
paper is to investigate the new image of Caliban proposed in Une tempête (1969) by
Aimée Césaire, Martinican writer and main thinker of the literary and ideological
movement known as négritude. The re-working of Caliban represents a critical
reflection on the Western representation of otherness. Césaire, through a provocative
use of the masks and a re-evaluation of nudity, unveils the artificial production of
colonial identities and the bio-political control of subaltern bodies.
Laura Bovone
[email protected]
Professor of Sociology of Communication, Director of the Center for the Study of
Fashion and Cultural Production and the Director of the Master Communication for
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the Creative Industries at the Catholic University of the Sacred Heart in Milan. She
was the Head of the Department of Sociology and was in charge of the Doctorate in
Sociology.
Language: Italian
Ethical Fashion as a Post-Postmodern Phenomenon
Postmodern era has often been described as ruled by aesthetic imperatives, that is by
the image culture. It means that emotion and taste, which modernity confined to the
margins of its rational and productive world view, gain new force and consideration.
Clothing does not respond to fixed hierarchies any longer, but to a dream of beauty or
a masquerade. The recent debate about cultural economy and aesthetic markets
though has clearly shown that economic rationality and aesthetic taste are
inescapably intertwined when producers and consumers make their choices. Further
on, the ethical/slow/ sustainable fashion movement proves that our social imaginary
can be enriched with an unexpected ethically driven capacity, through which we can
combine aesthetic innovation with the inescapable need to think up rationally
planned solutions for a global social justice and healthier life. Postmodern
aestheticism is overcome but not totally denied. Post-postmodern imagination
appears to be able to challenge modern dichotomies, as well as the one opposing
modern to postmodern, and even some gender bias.
Julie Renée Bruhns
[email protected]
Educated in fashion economics, buying and production and has a BA in Art History
and Visual Studies. She has placed her Art History thesis work on the relationship
between art and fashion cultures, emphasizing methods such as sociology,
anthropology and aesthetics.
Languge: English
A Theoretical Approach to Fashion Blogs
In 1967 the French Marxist theorist Guy Debord writes following in his book The
Society of the Spectacle: “The spectacle is not a collection of images, but a social
relation among people, mediated by images.” Here he at an early time states his
concerns for a society driven by the powers of mass media and consumption. The
spectacle has become one with social life lived through images, and in this way there
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is no longer a distinction between real life and its representation, as the idea of
“being” is created through having and the appearance of having. In light of these
critical observations regarding society and the influence of mass media, this text will
address the influence of fashion blogs in our society from a theoretical point of view.
The technological progress have today presented us with endless opportunities to
communicate through medias, where real social interaction has become secondary to
a life led through images at the Internet. A common factor for fashion blogs is that
they are primarily an expression of personal creativity, documentation of individual
experience, and sharing of practical knowledge. Fashion blogs are continuous and
dedicated to everyday life, which is exhibited through fashion consummation, which
makes it an ideal space for identity building. The computer screen becomes a mirror
in which the bloggers gaze upon their own self-portrait. The fashion blogs thereby
become a platform that expresses a panoptic gaze where women are exposed as
being a spectacular object. With respect to these observations I will investigate these
ideas through theoretical usage in the fields for narcissism in relation to self-staging
and identity building.
Rita Caccamo
[email protected]
Professor of General Sociology at the Department of Communication and Research,
Sapienza University of Rome. Visiting Scholar in the US, Fellow at Cambridge,
member of the International Association of French Language Sociologists. Historian of
sociology, she has been dealing with the “styles of life”.
Language: Italian
Georg Simmel: Fashion Versus Art
In the work of the German sociologist, the aesthetic dimension is predominant, along
with the artistic one. What takes shape, however, is a profound difference between
fashion and art. In the first, with its undeniable “aesthetic cachet” what is in force is a
“promise of happiness” in a temporary deadening of unresolved tensions of the
modern subject. In the second, however, operates a “saving principle” suspending
from foundations the malaise of modernity. In the “new” historical time, in fact, the
man is even more a prisoner of the “means”, among which money is central; it tones
down the colors to consider only “the quantity”. The metropolis, the masterpiece and
the monster of modernity, combines in itself all the contradictions. In the subject that
inhabits it, a unique look is formed; in the ambivalence between a greater openness
than ever before and excess of stimuli which that reality provides. The result is a
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“withdrawal” of the citizen’s investment in human relationships, also these are be
measurable on what is useful. The new snobbery is born, represented in the highest
degree by the individual blasé. Moreover, the speed of events and the same life of
things pushes the individual to search for new stimuli for his stressed nerves. A useful
tool is fashion, with its constant change that accompanies the hectic pace of life of
the metropolitan existence. It plays a useful social function, due to the reconciliation
of opposing principles: homogenization vs. differentiation. It makes the subjects
similar to each other when they are fashionable, or different when everyone gives
their own messages. The daughter of time, fashion is opposed to art: the first is
perishable, it feeds itself on the new, dies and is reborn in continuation, accelerating
the pace of change; the second is an end in itself, “it is always the goal”. The first is
“the salt of modernity”; the second goes beyond the historical time in which it was
generated.
Patrizia Calefato
[email protected]
Associate Professor at the University of Bari Aldo Moro, where she teaches in the
disciplines of Linguistics and Sociology of Cultural and Communication Processes. She
is Affiliated Professor at the University of Stockholm, Centre for Fashion Studies.
Language: Italian
The Trans-Disciplinary of Fashion Theory: The Covered Body and Narratives of
Fashion
Fashion Theory was born in the second half of the twentieth century as a field of
study separate from the more traditional costume history. It is based constitutionally
on a trans-disciplinary and trans-cultural complexity regarding not only sartorial
fashion, but also regarding cultural fashions, lifestyles, forms of imagination. The
discourse of fashion has in fact directly, in a tangible way, to do with the materiality of
the body and with the complexity of the human senses. Through the signs of clothes,
accessories, everyday objects, that fashion incorporates in its rules and its inventions,
pass stories, meanings, passions, values that are not reduced only to the ephemeral
surface of appearance. This complexity makes the Fashion Theory therefore an
extremely interesting area between humanities and social sciences.
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Abstracts
Cinzia Capalbo
[email protected]
Teaches Economic History and History of Fashion Industry at Sapienza University of
Rome. Her works include: “Storia della moda a Roma. Sarti, culture e stili di una
capitale dal 1871 ad oggi’’ (2012), and “Seta e Moda. Dalla filiera della seta alla
produzione tessile” (2004).
Language: Italian
Italian Men’s Tailoring from the Nineteenth Century until the post-Second World
War Period between Artisan Tradition and Innovation
Today Italian men’s fashion is known and appreciated worldwide. It represents an
important segment of the entire Italian fashion system, in all its various categories
(outerwear, knitwear, shirts, leather). But it was not always so. Until the first decade
of the twentieth century, in fact, an Italian male style did not exist and Italian tailoring
production reused the diktat that seasonally came from the city of London, which
since the end of the eighteenth century became the undisputed capital of men’s
fashion. However, it was thanks to the Italian tailors who, in the 1920s, affirmed the
idea of tailoring as a scientific discipline, that it became a central point for the
renewal of men’s fashion. Italian tailors gave decisive contributions in style and design
of the male suit, starting from its most important part: the jacket, which became less
rigid than English. These were the years when began to emerge the first “signatures”
of Italian men’s fashion, appreciated all over the world, such as that of Domenico
Caraceni, who opened an atelier in Rome in 1926. A new era for Italian men’s tailoring
was ushered, which from the second half of the forties would definitely undermine
the British rule. Another important contribution that came from the Italian tailors
occurred in anthropometric measurements. In 1933, in Milan a tailor Bruno
Piergiovanni patented a mechanical device with which he took exact measures of the
male body; while in 1940 the Roman tailor Luigi Branchini built a measurement
system capable of registering the proportions of the body and determining a
corresponding shift of projections and reports, to allow the tailor to give the right
harmony to the forms of the suit. These innovations in tailoring measurements,
associated with the contribution given by the military tailors, were resumed and
improved after World War II, when the male suit, long before the female one, also
met in Italy the success of ready-to-wear.
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Andrea Carteny
[email protected]
Assistant Professor of History of Europe and lecturer at the course of Science of
Fashion and Costume of Sapienza University of Rome. His deals with studies focused
on national and religious identities and is part of the research group coordinated by
Prof. Giovanna Motta for the publication “La moda contiene la Storia…” (Rome 2015).
Language: English
Russian Influences on the Western Fashion
Based on the Vassiliev studies, the aim of this paper is to research the Oriental
influences from the Russian world, from the Russian aristocratic environments,
before and after the October Revolution, on the Western fashion. Aristocrats and
designers were the protagonists in the main Western cities, firstly in Paris, in the postwar decades and influenced and shaped the Western exigencies of fashion through
Russian and Eastern elements of costume.
Laura Casal-Valls
[email protected]
She holds a doctorate in the history of art and is specialized in the history of fashion.
She is taking a Master’s degree on Cultural Heritage and is a Researcher Fellow in
Gracmon (Research Group in Art and Design History) at the University of Barcelona.
Language: French
The Evolution of Fashion Production as Part of Social History: The Impact on the
Nineteenth-Century Women in Catalonia
This article describes aspects of women’s clothes in relation to Barcelona at a time
when one of the most important sections of the textile industry was emerging: haute
couture. We analyze the production method and the factors that enabled creators to
be recognized though labels, which provides evidence of a significant change in
culture and everyday life in Barcelona. Although textiles and clothing are of
undeniable value as historical documents that help us to understand the economic
and cultural status of a society, we consider that it is important to stress the gender
aspect of clothing, in other words, the information that this topic provides about
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Abstracts
women. In this paper, we study social aspects of textile and fashion, particularly the
relationship between dressmakers and the development of haute couture in
Barcelona. We do not only focus on the consumption of clothes, but also on
production, so that we can recreate many voices and experiences linked to the
development of the city, which are frequently overlooked in the dominant narratives.
Clearly, an interdisciplinary study within the new social sciences should be carried out
to consider and reconsider the history of textile and fashion from a gender
perspective. Some authors have studied the ways in which fashion changes, flows,
fluctuates, comes up with new forms and reinvents old ones. However, we still need
an in-depth study of the beginnings of haute couture as part of the textile history and
its social impact on the nineteenth-century woman, particularly in Catalonia.
Emilio Cassese
[email protected]
PhD in History of Europe at Sapienza University of Rome. He has been collaborating
with the Department of the History of Economics of the State University of St.
Petersburg. His scientific interests concern the history of Russia in the nineteenth and
the twentieth centuries.
Language: Italian
From the Belle Époque to the Revolution: Fashion as a Mirror of Society
The twentieth century for Russia started under the double policy of Nicholas II. On
the one hand, it was a backward society calling for reforms, on the other, a frenzied
political-economic imperialism that exploded under the effect of modernization. The
Russian version of Art Nouveau became a way of life, which coincided with the
industrial development. A portion of gains made with textile, chemicals and mining
and the construction of railways was spent on the protection of arts. Prince Sergei
Scherbatov organized exhibitions of contemporary art, while the leader of the
Modern Style, Sergei Diaghilev, was heading to inspire the new fashion of czarist
aristocracy. However, between 1905 and 1917, two revolutions and two wars ravaged
definitely the lifestyle of Russian society. In this context what is decisive is one of the
major indicators of social change, “fashion.” Revolutionary and of war, this “forced”
fashion had changed the status of the social fabric, reflecting the essence of a new
image. A storm would swept away the haute couture of Paul Poiret, opening the
doors to minimalism and anti-capitalism of revolutionaries, between valenki (felt
boots), tulup (jacket) and budënovki (pointy hats) for men and dresses in military
style for woman. The paper therefore analyzes the change of Russian society between
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1900 and 1920 through the costumes and trends that mirror the inexorably changed
society. Wild and eclectic, the style worn by men and women in the post-Czarist
Russia has definitely marked an era compared to the Russia of Nicholas II. Among
men, some advanced resolutely toward communism, others mourned the end of an
elitist belle époque. Both the one and the other, however, were torn from their old
lifestyle and catapulted into a new society.
Alessandra Castellani
[email protected]
PhD in Cultural Anthropology of Complex Societies, Sapienza University of Rome.
Currently she teaches Sociology and Anthropology of Communication at ISIA (Istituto
Superiore Industrie Artistiche) at Florence, Italy. She is one of the foremost Italian
scholars in Youth Culture and Fashion.
Language: English
Tattoo Trend and Ephemeral Appeal
Contemporary tattooing in the West can be traced to the period beginning in the
1970s when members of punk subculture started to wear tattoos as sign of resistance
to middle-class values. In ways similar to performance artists, punks manipulated
their bodies to communicate symbolic messages of chaos and pain. Indeed, tattoo
culture also developed from social and innovative discourses that since the 1960s
emerged from body art, feminism and gay liberation. Nowadays a new kind of tattoo
enthusiast has catapulted the ritual of body ink from countercultural selfstigmatization to fashion trend. “New high-end tattoo parlors are popping up as fast
as gourmet coffee shops in Brooklyn” states Chioma Nnadi, the Fashion News
Director of Vogue.com in Is The Tattoo Becoming Passé? (Vogue.com, May 13, 2014).
If once tattoo was for punks, goths, and aesthetic weirdos of every ilk, now those kind
of weirdos are become the new ordinary guys. Also a body artist as Franko B recently
designed “Fai bene collection” (2015) for Rruna, moving from the provocative staging
of the bleeding tattooed body to fashion industry. As a matter of fact, nonstereotyped ways to self-representation have transmigrated to different alternative
contexts as queer culture or extreme body modification, leaving the formerly
rebellious tattoo to fashion. Marking the body inscribes identity in blood and ink, as
potent forms of self-expression, but fashion mocks death and seriousness, and
promises seasonal renewal. After an overdose of tattooed testimonials and tattoo
styled designs and textures, nowadays flash tattoos, like the gold foil temporary
tattoos recently showed off by Beyonce, start to be trendy. Temporary tattoos designs
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add an easygoing ephemeral appeal to body adornments. Indeed, fashion industry
seems to have undertaken a long farewell to tattoo culture and its symbolism.
Meanwhile permanent tattoo is a constant reminder of something deja passé, fashion
perspective is based on now-time (Jetztzeit) as Walter Benjamin observed. Although
death lies at heart of both fashion and tattoo, they have totally opposite attitudes
toward time.
Giovanni C. Cattini and Carles Santacana
[email protected]
[email protected]
Giovanni C. Cattini is a lecturer of Contemporary History at the University of
Barcelona. A specialist in the Historiography and History of Catalan Nationalism.
Carles Santacana Torres is a Teacher at the Barcelona University and Consultant at the
Open University of Catalonia (UOC). His research is focused on the study of Cultural
History; Francoism, Sports and Social History; Local History.
Language: English
Fashion and Political Identities. The Symbolism of Hats and Berets in Contemporary
Spain
The processes of politicization of European societies during the nineteenth century
are characterized by the ability of growing mobilization of different social classes in
every country. The identity of a community was at the base of the creation of sociopolitical movements of the contemporary age. The way to feel part of a community,
to share the same objectives, the same tactics represented a shared itinerary of
political learning. With the current paper, we will reflect about the importance of the
identification of visual and political belonging symbols that had been the major
popular movements of contemporary Spain: the republican Phrygian cap and the
arlist beret. But also we want to explain that other movements used similar
strategies, such as in the Catalan and Basque cases, which also adopted visual
identification symbols for example the Catalan hat or the Basque beret.
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Cecilia Cestari
[email protected]
Graduated in Fashion Cultures and Techniques, Unibo – Rimini Campus, where
currently she collaborates as a tutor for educational activities at Department for Life
Quality Studies. In AY 2014–15 she attended the Master in Fashion Studies, Sapienza,
with a research about the Italian fashion language during the Fascist period.
Language: Italian
Italian Dictionary and Commentary of Fashion by Cesare Meano (1936)
In 1936 the National Board of Fashion commissioned the journalist Cesare Meano to
compile an Italian Dictionary and Commentary of Fashion. It is a material that still has
been little considered by scholars and theorists, although it was fundamental within
the disciplinarian aims promoted by the regime, capable to fully seize the persuasive
power of words in the name of the purest nationalism. The Commentary had the
purpose to Italianize and at the same time establish a language of fashion – right
where French words reigned – in accordance with Italian culture, aesthetics and
traditions, encoding a distinct taste and style to better forge the identity of the
country. The overall result of the work surprises today for its clarity, depth and vision
with which Meano addresses issues related to fashion, understood as an industry, but
also as a symbolic power in a totalitarian regime. The volume is divided into two
sections: the first corresponding to the Dictionary and Commentary, in which 1, 568
entries are registered that give a privileged repertoire for the study of the main areas
of Italian costume history and literature. The second section connects the nationalist
goal to a function of utility in the Guida per la versione delle voci e dei modi stranieri,
containing 337 foreign words adapted by the author (for example. golf becomes
“panciotto a maglia”, collant “attillato” and pois “coriandoli”). However, the project of
creating an Italian language of fashion could be understood only if inserted and
mirrored in the context of fashion journalism of the time and in the manner in which
the two are connected, reconstructing the original framework of a modern sensibility
and profiling the basic steps towards the consolidation of the great Italian fashion.
Chloe Chapin
[email protected]
A costume designer and fashion historian. She taught Fashion history at the Fashion
Institute of Technology from 2006-2014, and is currently a visiting professor in
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Costume Design at Reed College in Portland, OR. She has an MFA in Design from the
Yale Drama School, and is currently an MA candidate in Fashion & Textile Studies at
FIT. She was a 2014 Fulbright scholar in Stockholm, Sweden.
Language: English
The Swallow Flies Only By Night: The Uniform of Male Formalwear
Over the course of the nineteenth century, male dress evolved into a uniform that has
remained relatively unchanged to this day, but how did this unique civilian uniform
first begin to develop? In this presentation, I will investigate developments in the
category of male attire that is most strictly codified – formal eveningwear – during
the period of most intense change. Between 1790-1840, standard day dress evolved
from tailcoats and kneebreeches to frock coats and trousers; along the way as the
tailcoat became more and more old-fashioned, it became established as the only
appropriate style to wear for evening occasions. Along with this came the wearing of
black and white as standard protocol for eveningwear – a black tailcoat and trousers,
white vest, white shirt and white tie. This strong color scheme must have seemed
fairly natural in the period; for decades in the early nineteenth century women across
Europe had worn mainly white muslin dresses for day and evening, and men
frequently dressed in the “Werther” style of blue jacket and tan breeches. However,
as both men’s and women’s fashion recovered from such a strict color palette, men’s
fashion for evening stayed black and white, and remains so today, almost two
hundred years later. I will explain not only when and why the wearing of black and
white first became fashionable, but also when trousers replaced knee-breeches,
when necklines of waistcoats lowered to display more shirt front, and occasional
variations such as the wearing of white trousers and double waistcoats, among other
changes in fashion for standard evening dress. During my analysis, I will also be
seeking answers to the underlying questions: why did these fashion shifts occur, who
made them popular, and what about them spoke so accurately to the male sense of
self that many of them remain in place today?
Silvano Mo Cheng
[email protected]
PhD student at the University of Rome Sapienza, Scienze del Testo - Filologia
Romanza. His research focuses on the early historical and cultural exchanges between
China and Italy.
Language: English
42
Imagery of Cathay – Chinese Costumes in the Eyes of Early European Missionaries
Though the silk commerce between China and Europe could date back to the age of
the Roman Empire and the Han Dynasty, it was not until the age of Marco Polo and
the Gran Khan that Europeans began to come into close contact with this ancient
empire in the East. The mysterious Seres with their exotic lifestyle and costumes have
always attracted great attention in the West. Like the Venetian traveller Marco Polo,
early missionaries in China have put great effort in describing what they witnessed in
this country, and through the descriptions in the recounts of Odorico da Pordenone,
who arrived in China in the Yuan Dynasty, and Matteo Ricci in the Ming Dynasty, until
Joachim Bouvet and his L’Etat présent de la Chine in the Qing Dynasty, we will see the
different perspectives of missionaries on Chinese costumes in these ages, and their
gradual influence on the western perception of China, which then led to the
flourishing of the trend of Chinoiserie in Europe.
Eleonora Chiais
[email protected]
PhD student in Sciences of Language and Communication at the University of Turin.
She graduated in Mass Media Communication Studies with a thesis about the media’s
representation of the ideal man and her final dissertation received the award for the
best thesis in the Faculty of Humanities (academic year 2010/2011).
Language: Italian
From Marilyn to Kate. Toward a Semiotic History of Body Representation
Between the end of fifties and the early sixties, the fashion system was subject to a
shock caused by the revolution of prêt-à-porter. Intended to change the model of
feminine beauty itself, prêt-à-porter dismissed the lush beauties of the previous
decade (one for all Marilyn Monroe) and introduced “a long-limbed, wiry, ephebic
female figure”: Twiggy and the Shrimp became the icons. However, already at the
beginning of the seventies, fashion magazines were back with the celebration of a
“well-shaped and curvy” body, carrying the concept of “dress to undress”, going
through the nude of the 60s look until the “nude” Made in Seventy. The woman from
the eighties is maybe a hedonist, but certainly she is more educated than ever before,
she has two parallel souls: on the one hand she acts like Madonna in “Like a Virgin”,
on the other hand she is a Yuppie with the motto “Dress for Success”. In March 1990
the magazine The Face published a photo portraying an unknown sixteen-years-old
43
Abstracts
girl: Katherine Ann Moss. An icon of the grunge movement, Kate Moss will impose a
new model of androgynous beauty but, for the first time, emaciated. During the
second half of the nineties, this paradigm will coexist with (and in the new
millennium will be exceeded by) a slight but carved physicality, that, according to
Valerie Steele, will inherit the role of that corset that has never disappeared
becoming “the modern well-trained body” itself. Therefore, in the post-modern age,
the process of identity building is realized basically through the modeling of the body,
which is the privileged object of fashion. The body is thus transformed into a plastic
element that modifies itself in the wake of the new rules that gradually emerge
because, citing Elsa Schiaparelli, “clothes don’t have to adapt to the body, but it is the
latter that should adapt to them”. The paper aims to analyze, with the tools of
semiotics, the modification of body representation in fashion articles published by
Vogue Italia between 1960 and 2000.
Mariam Chkhartishvili, Sopio Kadagishvili, Zurab Targamadze
[email protected]
[email protected]
Sopio Kadagishvili and Zurab Targamadze are PhD students at Ivane Javakhishvili
Tbilisi State University, Doctoral program: Georgian History and Source Studies, under
the supervision of Professor Mariam Chkhartishvili, Head of the Department of
Medieval Studies at the Institute of History and Ethnology.
Language: English
National Dress as an Expression of Authenticity in the Georgian Nationalistic
Discourse
As it well known that dress reflects not only an individual’s spirit and worldview, but
also self-perceptions and cultural dispositions of entire communities. The style of
clothing visualizes the essence of a shared identity. Different social classes, ethnic
groups or nations, gender-based or age-based groups express their particularity or
uniqueness through the clothes they prefer to wear. The issue of national costume
occupies an important place in nationalistic discourses: traditional dress is often
viewed by nationalists (builders of a nation) as ethnic heritage and, therefore, it is
identified by them as one of the principal targets in search for national authenticity.
The nineteenth century was a time of Georgian national consolidation. Georgian
intellectuals tried to solve two principal tasks simultaneously: to “rediscover” an
authentic past for their native community and “couple” it with main trends of
modernity. The Concept of Modernity was equated with the concept of Europeaness.
44
However, the attitude to Europe was ambivalent. On one hand, Europe was attractive
by her progressiveness, on the other hand, Europe and globalization processes were
considered as a dangerous challenge for Georgian identity. In our paper we intend
display a short overview of Georgian style and characterize the Georgian nationalistic
discourse of the nineteenth century concerning the dress as a national identity
marker and as an expression of national values. Literary fictions, memories and
archival data, mainly photographs, are used as sources. However, most of Georgian
nationalists of the period under analysis wore European costumes, despite the fact
that they considered the Georgian national dress (of nobility as well as of peasantry)
perfect: comfortable and at the same time very aesthetic.
Milica Cicmil
[email protected]
PhD candidate at the Department of Art History, Faculty of Philosophy, University of
Belgrade. She is interested in eighteenth-century European art and female visual
identity.
Language: English
Female Costume in Eighteenth-Century Rome
In the eighteenth century, the “century of women”, female influence was stronger
than ever before. The society changes caused by the Enlightenment affected visual
identity. Costume with accessory was one of the key elements that made up the
presentation of Roman women. Although Paris dictated fashion, Roman women gave
their seal to the leading fashion trends, with the help of the developing Italian fabrics
industry. There was a massive use of lighter materials, such as cotton, and brighter
colors. These changes and developments of costume can be traced on female
portraits, from rich costumes of the late Baroque to simplified monochromy of
Neoclassicism. It represents the modification of cultural climate and new values and it
affected the entire visual identity.
45
Abstracts
Ornella Cirillo, Roberto Liberti
[email protected]
[email protected]
Ornella Cirillo is Assistant Professor at the Faculty of Architecture of the Second
University of Naples, at the DICDEA Departmant (Ingegneria Civile, Design, Edilizia e
Ambiente). She teaches the course History and Tendencies of Contemporary Fashion
at the Master’s Degree in Design for Innovation.
Roberto Liberti is Assistant Professor of Industrial Design at the DICDEA Department
of the Second University of Naples. He conducts research and teaches in the sector of
strategic design, design fashion driven and packaging design in the BA in Industrial
Design for Fashion of the Faculty of Architecture and at the Master’s Degree in Design
and Innovation.
Language: Italian
Naples in the Geography of Made in Italy: Stories and Characters
In the history of Italian fashion, traditionally centered around Florence, Rome and
Milan, also Naples has played a major role, through the work of some significant
protagonists. This was not so much through the activities of those creative ones who
looking for a sure success had left their native land in favor of the capital – mainly F.E.
Schuberth and Fausto Sarli – or Florence – Emilio Pucci – but rather thanks to those
who, such as Livio De Simone, Mario Valentino and numerous sartorial houses of
Campania, have invested in the city all their resources, contributing greatly to the
consolidation of the city of Naples in a wide frame of Italian fashion. This result was
achieved also thanks to the contribution that some of them have provided in the
conception of the event Mare Moda Capri; an event carried out between 1967 and
1977 with the aim of fostering the international market in summer fashion and
making many Italian designers emerge from the shadows. Scientific research has,
therefore, the task of recognizing the contribution made by the city of Naples in the
geography of the history of Made in Italy and to pay back, especially to those who
have not yet received it, part of the debt incurred in respect of the history of
international fashion. The paper gives the results of research carried out in some
Neapolitan archives and, through wide reading of Livio De Simone (edited by Roberto
Liberti) and Mario Valentino (edited by Ornella Cirillo) highlights the contribution of
Naples in the success of Made in Italy.
46
Volodia Clemente
[email protected]
PhD student in Geopolitics, at the Department of Political Science at University of
Pisa, whose research interests include the History of International Relationship, with
particular reference to the History of Eastern Europe and the former Soviet Union.
Language: English
From Traditional Attire to Modern Dress: Modes of Identification in the Balkans
The goal of this work is to show how the Balkans is not only a region that came to our
attention because of the dramatic events of destruction and war in recent years, but
it is, above all, a region of countries and peoples of ancient heritages, from music to
traditional costumes, also taken from recent artistic expressions. Throughout history,
the Balkans has been a crossroads, a zone of endless military, cultural, and economic
mixing and clashing between Europe and Asia, Christianity and Islam, Catholicism and
Orthodoxy. This cultural influences are visible very clearly in the history of Balkan
costume that, as in many other countries, has been strongly influenced by various
authorities in power, who used very often dresses as an instrument to create and
consolidate the national identity of people.
Viviana Cois
[email protected]
Master of Arts in Italian Studies from the University of California, Berkeley. Her
research interests include Italian literature, fashion, film, and cultural criticism. She
currently works as a University project manager in Cardiff, Wales.
Language: English
McFashion Made In Italy: Jeremy Scott’s Parody of High Fashion and Luxury
Branding in a Fast Fashion Economy
This paper explores Jeremy Scott’s recent collections for Italian fashion house
Moschino and their function as an artistic critique of the current state of high fashion
and luxury brands within a “fast fashion,” or “McFashion” economy. I argue that
through a parodic aesthetic, Jeremy Scott subverts some of the tenets of luxury
branding, (e.g. quality, value, refined taste), thus communicating the changing state
47
Abstracts
of the fashion industry under the growing dominance of fast fashion and its rapidly
decreasing production and consumption cycles. His collections, which draw upon
kitsch Americana by incorporating brand logos and iconography of McDonald’s, other
American junk food brands, and Barbie, present us with an aesthetic content at odds
with the value creating objective of high fashion luxury branding. Furthermore, the
kitsch Americana elements disrupt the nationally determined “Made In Italy” concept
of fashion design and production, which has recently faced pressure from the growing
fast fashion economy of foreign competitors, such as H&M, Zara, etc., and Chinese
textile and fashion production and distribution in the Italian market. I will use close
readings of Jeremy Scott’s fashion collections for Moschino to analyze their parody of
fast fashion and luxury branding through its kitsch design aesthetic and celebratory
turn to American consumerism. I will turn to philosopher Giorgio Agamben’s category
of “parody” to illuminate how Scott’s parodic aesthetic critiques the overly
determined model of luxury branding and the “Made In Italy” concept, yet ultimately
maintains its marketing strategies intact (e.g. premium pricing, limited distribution,
etc.). My paper will nuance discussions on the intricate relationship between design
and branding and contribute to current examinations of the “Made in Italy” concept
within the globalised economy of fast fashion.
Paola Colaiacomo, Luisa Valeriani
[email protected]
Paola Colaiacomo has taught English Culture of Fashion and Aesthetics, at the Degree
Course in Fashion Design at the IUAV University of Venice.
Luisa Valeriani was a lecturer of History of Art at the Academy of Fine Arts. From 1999
she teaches Sociology of Arts and Fashion at Sapienza University of Rome and from
2009 Creativity of Arts at IULM University of Milan.
Language: English
Habits of Power in Televisual Format
The highly successful American fantasy drama television series Game of Thrones,
created in 2007 by David Benloff and D. B. Weiss for HBO (Home Box Office Inc., an
operating subsidiary of Time Warner), is an adaptation of A Song of Ice and Fire,
George R.R. Martin’s series of fantasy novels, the first of which is titled A Game of
Thrones. Martin’s novels and their TV adaptation mainly derive settings, characters
and plot elements from European history. Though inspired by different cultures, as far
apart as Japanese and Persian, Bedouin and Inuit, the show’s costumes are
48
nevertheless coherent in the complex visualization they enact of the core theme of
the whole series, which is – as evinced by the title – the classic one of the struggle for
power and the exercise of authority. It is no exaggeration to say that the costumes
here create a sort of dumb show, or play-within-the-play, which duplicates the action
proper. For instance, the richly embroidered belt of Sansa’s wedding dress, is an
illustration of her life’s history. Could the costuming of Game of Thrones respond to
the desire, uncannily resurfacing in the third millennium in televisual format, for the
lost world of the old correspondences? The success of the series prompts an answer
in the affirmative. Perhaps too facile an answer. The paper explores this cluster of
problems.
Dana Connell and Amanda Huff
[email protected]
[email protected]
Dana Connell is a tenured Associate Professor in Fashion Studies at Columbia College
Chicago. She earned her BA in Fashion Merchandising and MBA in Marketing at
Dominican University’s Brennan School of Business.
Amanda Huff is a Registered Nurse specializing in Oncology. She earned her BSN from
King College and has extensive Oncology experience at such notable institutions as
Rush University Medical Center in Chicago, IL.
Language: English
Fashionability and Comfort: Designing Chemotherapy Uniforms to Enhance the
Well-Being of Patients and Oncology Nurses
In the United States, oncology nurses who administer chemotherapy drugs to cancer
patients wear personal protective equipment (PPE) when handling chemotherapy.
The recommendations for these garments are consistent across several groups,
including the National Institute for Occupational Safety and Health (NIOSH),
Occupational Safety and Health Administration (OSHA), and American Public Health
Association to protect them from potentially harmful spills. Each disposable gown is
one-size-fits-all, made of a lint-free low-permeability fabric, such as polyethylenecoated materials. The gown should have a solid front, long sleeves, ribbed cuffs and
ties at the neck and waist. In addition to the gown, the technicians wear protective
eye wear and powder-free disposable gloves. Though the safety of the technicians
who administer the drugs is paramount, equally the response of the patient to the
technician’s appearance is important too. Chemotherapy is administered as an
49
Abstracts
outpatient drug; patients receive the therapies wearing their street clothes. The
patients sit waiting in anxious uncertainty and are emotionally vulnerable, and when
the healthcare worker approaches shrouded in a noisy, somewhat monstrous uniform
the overall effect can be quite alarming. In addition, when interviewed about their
experience, the technicians complained that the garments are uncomfortable, hot
and that one size does not fit all; only to those who fall within the central range of the
size spectrum. This paper conjectures that the comfort and ease of both technicians
and cancer patients might be greatly enhanced through attractive user-friendly
uniforms, made of breathable/washable textiles in adjustable sizes that present a
“fashionable” aspect. In a faculty-led design challenge using a technician-safe,
patient-friendly paradigm, students in a fashion design program at a mid-western
college developed some innovative solutions that might improve the comfort level of
all concerned, demonstrating that fashion plays an important role in more places than
a catwalk or glossy magazine.
Anna Maria Curcio
[email protected]
Professor of General Sociology at the Faculty of Education of University of Roma Tre
and president of the Association “Osservatorio sui fenomeni di moda”. She has
carried out numerous researches at national and international level on the
phenomena of fashion and social changes.
Language: Italian
Christian Garve e Norbert Elias: Two Interpretations of Fashion and Costume
Garve (1742–1798), a philosopher but also a sociologist, when sociology did not exist,
unknown to most, in an essay entitled On Fashion, in 1792, states with courage,
because talking about fashion was certainly brave at the time and more from a
follower of E. Kant, that in every society, with a high degree of social integration,
besides the uniformity that is the result of human nature [...] there is another
uniformity due to imitation (G. Tarde affirms it about a century later). “This
imitation”, Garve writes, “is partly involuntary; people who meet each other daily
begin to adapt to each other without realizing it”. Norbert Elias about two centuries
later, in The Court Society (1975) describes in detail the rituals of the court of
Versailles, mandatory for those who want to be accepted and welcomed in that
society, and without adapting to them it was impossible to attend or live at the court.
Two worlds not very dissimilar that help us understand how fashion, etiquette,
imitation are the rules of the game to be part of a rigorous but also original social
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system.
Luisana D’Amato
[email protected]
MA in archaeology, University of Malta; she is currently employed as a curator at
Heritage Malta, the national agency for museums, conservation practice and cultural
heritage. For the previous three years, she worked as a researcher within the
Collections Management Office of Heritage Malta.
Language: English
The Role of Costumes in the Levant from c. 1565 BC until 586 BC
Dress has always been an integral part of an individual, a means of asserting one’s
own identity. It is a way of differentiating individuals, based on gender, age, social role
and social class, as well as differentiating cultural groups. The main aim of this paper
is to present a picture of the fashion of dress worn by the Levantine cultures –
cultures living in the strip of coastal land between modern Turkey and Egypt – with
the help of archaeological sources, especially human figurative representations, such
as representations of individuals on stone reliefs and statuary. Did Levantine people
utilize attire as a means to maintain their identity? The various purposes and roles of
attire, such as an indicator of social class and social role will also be discussed.
Paolo De Luca
[email protected]
PhD student in Philology, Linguistics and Literature at Sapienza University of Rome.
His fields of interests are the history of Russo-Italian relations and the cultural
exchanges between Italy and Russia.
Language: Italian
The Wardrobe of the Chigi-Barjatinskij Family in the Archival Documents and the
Art of “Palazzo Chigi” in Ariccia
The paper deals with the fashion of the Italian and Russian nobility. It will describe
textile products and garments of Chigi’s princes in Ariccia between the eighteenth
51
Abstracts
and twentieth century. In Palazzo Chigi’s collection there is a varied repertoire with
artifacts of the highest quality. There are garments from private and precious
collections of the eighteenth century and clothes that remind on the movie “Il
Gattopardo”, filmed by Luchino Visconti in that palace in 1962. Through archival
photographs and artwork, such as portraits and other paintings of the ChigiBarjatinskij family, it is possible to investigate the Russian costum and costume from
the nineteenth century. In 1857, in fact, the Russian noble family of Barjatinskij and
the Chigi family were connected through the marriage of Antonietta SaynWittgenstein Barjatinskaja with the Italian Prince Mario Chigi Albani della Rovere.
Maria Roberta De Robertis
[email protected]
PhD student in History of Europe at Sapienza University of Rome, carrying out a
research on the European cohesion policy.
Language: Italian
Fashion System in Italia. Elio Fiorucci
The sixties were a decade characterized by the most important generational change
of the last century. In the Western world, millions of young people went to the streets
to express their political ideals, to express their social disadvantage, their dissent, the
desire for change. In this climate, the door of the desire to progress, of the pursuit of
novelty and creativity was opened, which affected also the fashion industry. Young
people were those who set the rules of the change, showing off various types of
clothing that expressed their personality and imposing even on the Italian industry a
path of adaptation and adjustment to the new times. One of the greatest interpreters
of the changes of the cultural climate in the fashion industry was Elio Fiorucci, to
whom this paper is dedicated. He was not only a fashion designer and an
entrepreneur, a communicator, but also a profound observer of the needs and desires
of young people, their desire for renewal and a break with the formalism of the past,
who had the ability to interpret making a courageous turning point in the history of
fashion. He replaced traditional clothing, in fact, with nonconformist ones – made of
poor fabrics, colored, extravagant clothes and often poorly finished, high platform
shoes, hoodies, jeans – which made the “Fiorucci style” and its brand, the main
expression of the spirit of transgression of the new times in the fashion industry.
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Veronica De Sanctis
[email protected]
Phd student in History of Europe at the Department of Political Studies, Faculty of
Political Studies, Sociology and Communication. She deals with the history of
propaganda between England and Italy in the period from 1915 until 1919.
Language: Italiano
From Kennedy to Obama. Style and Power of the American Presidential Couples
Like it or not, style matters in politics. The message that a leader can convey with a
cardigan, a suit or a pair of jeans can indicate non only the political inclination and
personality, but also can start a fashion. Who but American presidents and their first
ladies can better represent the strong link between fashion and politics. Jackie and
John Kennedy symbolized the pride of America in the sixties: beautiful, refined and
intelligent, they embodied the image of the perfect couple, also a visual metaphor of
the American dream and the expectations of the Kennedy administration. It is
precisely from the Kennedys, archetype par excellence of the fashion icon presidential
couple, that the article intends starts. From the Kennedys to the Carters, from Clinton
to Bush until the Obama family, the paper portrays presidential couples who have had
the courage to communicate also through style and therefore can be considered
“most significant” in terms of fashion and consensus that they had received.
Benedetta Del Romano
[email protected]
PhD candidate in Anthropology and History of Religions with a research project
entitled “Dressing the New World: French Reflection on the Religious Otherness”. She
is the coordinator of the Master in Fashion Studies.
Language: English
American Bodies: Nudity and Otherness in the Work of Claude d’Abbeville and Yves
d’Evreux
In seventeenth-century Europe, the attention over exteriority and dressing manners
was very high because of the subsiding of a recognizable system of outward signs that
had been undergoing for already a century. The description of exteriority therefore
becomes a vehicle for deep meanings that can reveal the real nature of the
53
Abstracts
otherness. The aim of my paper is to analyze the work of two French missionaries
that went in Maranhao (Brazil) between 1612 and 1614, Claude d’Abbeville and Yves
d’Evreux, studying the descriptions of cultural aspects outlining the idea of otherness
exposed in their texts. In particular, my focus is the analysis of the descriptions of the
“other” exteriority, first and most visible sign of the cultural sphere of the alterity.
Claude d’Abbeville was a capuchin friar, commissioned to write the report of the
mission in Brazil, he wrote in fact in 1614 his Histoire de la Mission des Pères Capucins
en l'isle de Maragnan et terres circonvoisines. Yves d’Evreux’s work is entitled Suitte
de l'Histoire des choses plus Memorables advenues en Maragnan és années 1613 et
1614, and it is in fact the continuation of the work of father Claude. The description
of the bodies and the reflections on nudity that we can find in this kind of works
become privileged starting points for the reconstruction of conventions and
stereotyped representations recurring over the years and that we can find in several
texts, very different for purpose and style.
Carla Del Zotto
[email protected]
Associate Professor of Germanic Philology, Sapienza University of Rome. She worked
as Assistant Professor of Swedish Language and Literature, at Istituto Universitario
Orientale of Naples and held Postgraduate Research Scholarships at the Nordic
Institute of the University of Oslo, Copenhagen, Uppsala, Munich.
Language: Italian
Clothing in Medieval Scandinavia. Social and Legal Implications
This essay focuses on medieval clothing in Scandinavia and its social and legal
implications, according to the most relevant passages in the corpus of the Icelandic
Sagas. Besides accounts of ordinary clothes for the main character, when required by
the plot, we find also descriptions of peculiar outfits: the costume of a Finnic
sorceress (seiðkona); women’s wear that seemingly the Christian priests like pagan
warlocks have on when performing their rituals; the new trend for men’s trousers,
which originated from the East and came into fashion in Norway under the reign of
Olaf Kyrre (1050-1093). Additionally, some statements of the Old Icelandic Laws are
related to clothing and inappropriate behavior, by barring men and women from
wearing clothes of the opposite sex.
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Francesca Di Giulio
[email protected]
PHD student in History of Europe, at Sapienza University of Rome. She is working on
the history of the evolution of the Italian community in Libya during the fifties and
the sixties. She collaborates with the Chair of Contemporary History at University G.
D’Annunzio in Chieti.
Language: English
The Islamic Veil as a Part of Cultural and Fashionable New Identity?
This paper analyses how the Islamic veil is a form of cultural identity and how a new
generation of Muslim women redefine themselves wearing a fashionable hijab. The
hijab is a symbol that defines Muslim women all over the world; even in the Western
countries the hijab has a great meaning, it represents the stereotypical imagery of the
oppressive Muslim societies in which women have no civil rights. We can state that
the veil is a social experience and it can be used to assert or negate identity. In the
last twenty years the hijab became an issue of fashion for high class woman in
different Muslim countries and also in Western countries: these women, who have a
high level of education and their own job, aim to redefine their identity and their
social class. The desire of the young Muslim generation to be unique and to
emphasize their own individuality has created a new market trend which is called
“Islamic fashion”. We would like to investigate how young women in Islamic countries
and in Europe feel and perceive themselves through a “modern Islamic dress”, which
refuse to conform to the stereotypical concept of the oppressive veil. This huge
transformation in Islamic fashion is highlighted by the new crew of “hijabloggers”,
women who wear hijab and blog about it, who have become very popular among
Muslim women.
Antonella Di Spalatro
[email protected]
PhD student in Italian Literature at Sapienza University in Rome. She is interested in
comparatism in literature and is doing a research on translation and censorship
during fascism. She is a secondary-school teacher of English, French and Italian and a
journalist.
Language: Italian
55
Abstracts
Identity and Fashion in the French Novel of the Nineteenth Century
The literary imagery of the French realistic and naturalistic novel of the second half of
the nineteenth century was deeply influenced by the social changes that were
transforming society, especially the advent of bourgeoisie and the triumph of
capitalism. As well as painting real, detailed aspects of life, the novels written by
Honoré de Balzac (1799-1850), Gustave Flaubert (1821-1880) and Émile Zola (18401902) also concentrate on describing clothes and accessories of their characters so as
to give the readers a complete description of them. In the works of the first two
authors – Balzac and Flaubert - clothes essentially have a descriptive function and
often reflect the psychology of characters, adding something new also about the
relationship among them. In the works of Zola, fashion becomes a real symbol of
social identification, in particular for bourgeoisie. Furthermore, he describes the
urbanistic changes that were transforming and modernizing Paris at his times and,
concerning fashion, he reports the passage from the old, gloomy “boutique” to the
radiant and glittering atmosphere of crowded shopping centers, getting information
from some real examples. The analysis will focus on some significant excerpts taken
from the following novels: La maison du chat-qui-pelote (1830), Eugénie Grandet
(1833), Père Goriot (1835) for Balzac, Madame Bovary (1857) for Flaubert, La Curée
(1871), Nana (1880) and Au Bonheur des Dames (1883) for Zola.
Antonietta Di Vito
[email protected]
Anthropologist, collaborates with the University of Udine and has taught at the
Sapienza in Economic Anthropology (2003-2011), at the Faculty of Sociology, and at
the Faculty of Political Science (2010-2011), and Anthropology of Health for the
Faculty of Medicine.
Language: Italian
Veiling Versus Containing: Orientalism Through Womenswear
The paper aims to show the construction of the “otherness”, be it cultural, social,
political or gender, through signs and symbols that immerse their history in areas that
are external to those of fashion in the strict sense but which are properly cultural, full
of meaning in the anthropological sense. This is the case of the “veil”, which always
has a central role in the “narratives” about the Arab and Muslim world. Only
apparently the headscarf debate is a recent debate. In fact, the "veil " belongs very
56
intimately to that very building process of Orientalism (Said) in which attention to the
ways of being, doing and women’s dressing is a way to talk about the East tout court
and the Arabic world in particular (Pepicelli), a process that tends to represent the
East as inferior, through the representation of the submission of its women, it has
been said. The paper aims to examine the historical-anthropological and symbolic
aspects of the use of the “veil” both in Western culture and in the representations of
the Oriental cultures and civilizations: frequently part of women’s clothing (but not
only female), it was in time and space an eminent religious attribute but also a highly
eroticized one, becoming (through its various, non-overlapping, declinations: hijab,
niqab, etc.) the metaphor of female submission. This interpretation of the veil, a very
rhetorical process that makes a part of the female clothing the metonymy of women
in the Arab and Muslim world, has as a component the concealment (rhetorical as
well) of forms of “coercion, containment” not only present in the Western
womenswear but also very valued as an expression of liberation from the famous
“heel 12” until the use of uniforms, which explicitly and/or implicitly recalls a
“disciplinary society” (Foucault, Di Vito).
Laura Dimitrio
[email protected]
PhD student in History at the University of Bologna, where she is currently studying
the influence of Japan on Italian fashion. She has published articles about the history
of art in Italy from the eighteenth to the twentieth century and about Italian fashion
in the twentieth century.
Language: English
Italian Fashion and Japan in the 1970s
This paper will analyze the important role Japan played in developing and renewing
Italian fashion during the seventies. In the post-Second World War period there was a
growing interest, in the West, towards Japan, which at that time was in the midst of
an economic boom. This interest was seen in different fields, such as design and
figurative arts and it was especially noted at the Expo which took place in Osaka in
1970. Even in the world of fashion there was a renewed curiosity about Japan and its
traditional garments, around 1970. In Italy, some fashion designers, such as Mila
Schön and Ken Scott, were inspired by Japan and they presented clothes which
echoed the kimono for their shape and for the decorative motifs of the fabrics. In the
following years, Italian fashion designers, as well as French ones, were inspired not
only by ancient Japanese garments, but also by the styles of the contemporary
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Japanese fashion designers Kenzo Takada and Issey Miyake, who both moved to Paris
at the beginning of the seventies. With their over-sized and unstructured clothes,
they sparked a revolution in Western fashion.
Elena Dumitru
[email protected]
PhD in Hungarian Renaissance poetry at the University of Bucharest and in History of
Europe at Sapienza University of Rome. She works as a translator and collaborates as
Adjunct Professor with the Department of Communication and Social Research at
Sapienza University of Rome.
Language: English
Greece. The Traditional Costumes that Made History
Taking a brief foray into the world of fashion, we can say that this phenomenon has in
Greece a very strong tradition, considering that it finds its roots back in the fashion
and customs of the ancient Greece. Remaining in the same area of fashion and
characteristic clothing, we discover another reason of pride for the Greeks: the
national costumes, with different motives characteristic for each region, for the
islands or for the continental parts of the country. Even if the population no longer
wears the traditional costumes in everyday situations but mostly in festive occasions
or at folklore festivals, they remain a symbol for their intricate history and a source of
inspiration for today’s society. In this sense, the male traditional costume plays a
fundamental role, especially if we take into consideration the Cretan, the Pontic or
the outfits worn by kleftes, warlike mountain-folk who lived in the countryside and
fought the Turks during the Turkish occupation in Greece. Such historical and
traditional symbols became, since 1867, an inspiration for the ceremonial uniform
worn by the Evzones that serve today under the name of the Presidential Guard.
Elena Dundovich
[email protected]
Professor of History of Eastern Europe and the Soviet Union and History of
International Relations at University of Pisa, School of Political Science. She is
President of three Department’s courses and President of PhD programme. She is
member of “Memorial Italia”, association created in 2004 for studying the Soviet and
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Russian history and the destiny of Italian victims of the Gulag.
Language: Italian
At the Court of the Tsar. The Petrine Reforms and the National identity
The contribution analyses the way in which costume in Russia developed from the
ancient Kievan Rus until the fall of the empire in 1917. Such as in other countries, also
in Russia the history of fashion was directly conditioned both from the evolution of
the country’s economic system and from the efforts of the authorities in power for
the creation of a strong sense of national identity. Overall, apart from some changes
due to the fall of Constantinople in 1453 and the greater spread of models of oriental
type, the way the Russians dressed inspired by the Byzantine fashion remained
unchanged for centuries until the arrival to the throne of Peter the Great . The
reasons lie in the specific conditions of the country that for a long period of time
failed to modernize also for the absence of a real urban fabric that could serve as a
background to the emergence of a middle class. With the Petrine reforms the higher
classes had to adopt a different attire inspired by European fashion in the broader
framework of the project of Westernization initiated by Tsar Peter. Since then, albeit
with some significant changes, such as a widespread feeling against the French during
the Napoleonic wars, European clothes, hairstyles and jewelry continued to enrich
the luxurious wardrobe of the Russian nobility.
Michela Fasanella
[email protected]
Founder and designer of the womenswear brand Aroma30. After studying at
Accademia di Costume e Moda in Rome and St Martins College in London, she
worked with Valentino and Salvatore Ferragamo. She also works as a freelance
designer for fashion companies worldwide and collaborates as lecturer with
Accademia di Costume e Moda and IED.
Language: English
Rome – An Artisanal Approach to Fashion
In the last five years a new generation of young designers have been exploring a
different scenario out of the established paths of Made in Italy. Rediscovering the old
values of craftmanship and limited productions, an increasing number of small brands
are focusing on artisanal techniques to find their own place in a saturated market.
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Abstracts
Rome is an important scene of this new artisanal wave, and historical names of the
roman Alta moda are now sharing the spotlight with an interesting group of
upcoming labels. These brands act locally for manufacturing and supplying but think
globally for the promotion and selling of their collections, thanks to the use of social
media, international fairs and online shops. The focus on artisanal culture and
craftmanship grew along with the economic crisis that affected Europe in the last few
years, as an attempt to master the esthetical and productive values that lie at the
roots of the entire Made in Italy.
Emanuela Ferreri
[email protected]
PhD in History and formation of the socio-cultural processes of the modern age from
the Faculty of Political Science, Sociology and Communication. She is a lecturer the
Department of Political Studies, Sapienza, in Development Anthropology and
Sociology.
Language: Italian
When the Crisis is Fashionable. Ethnicity, Pauperism and Environmentalism as a
Value
One particular thesis is examined: fashion as a special shape of the relationship
between cultural frames and structural condition of our current society. Fashion
makes and takes values that are collectively identified, negotiable, manageable as
artifacts and as symbols. The phenomena of fashion are both generalizable and
incredibly specific. Peculiar and historical cultural styles become “mass” and for a
selected few in the same instant. The basic contradiction urges an anthropological
reflection: on the importance of the cultural structure (deeply and widely believed);
on the importance of the social conditioning (incisive and repetitive). References for
an anthropology of fashion go to the masters: A. Appadurai, J. Friedman and P.
Bourdieu.
Georgeta Fodor
[email protected]
Assistant Professor PhD at “Petru Maior” University of Târgu Mureș, Faculty of
Science and Letters, History and International Department. The main research field is
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women’s history. Author of several studies on Romanian women’s history from
medieval and modern ages.
Language: English
The National Dimension of Fashion: Women’s Traditional Garment as a National
Symbol in Romanian Society
National identity is forged on a complex mixture of myths and symbols, including the
feminine allegories of nations. Almost every European nation has a feminine
personification enriched with a set of symbols: national colors, flags or traditional
garments. From the beginning of the modern age up to nowadays these symbols
proved their efficiency: one who sees a country’s flag, a traditional garment, although
without knowing its local origin, can recognize that they are national. Considering
these facts, the present paper’s aim is that of revealing the context and manners in
which a feminine vestimentary element such as the folk costume, originally having
only a regional or local identity, was used as a national symbol but also as a means of
reinforcing, when needed, national identity. It is our intention also to analyse the
context in which women used – or were represented wearing it – the traditional
costume in order to express national solidarity.
Giovanni Luigi Fontana, José Antonio Miranda
[email protected]
Giovanni Luigi Fontana is Full Professor of Economic History, head of the Department
of Historical and Geographic Sciences and the Ancient World, and member of the
Senato Accademico at the University of Padua. He was Visiting Professor to many
universities, among which the École des Hautes Etudes en Sciences Sociales in Paris.
José A. Miranda is Professor of Economic History at the University of Alicante (Spain).
He has also taught at the Pompeu Fabra University, Barcelona, and has been Visiting
Researcher at the European University Institute, Florence, and Visiting Professor at
the University of Padua.
Language: English
Design and Fashion as Determinants of Industrial Competitiveness: A Comparative
Study of the Evolution of the Footwear Industry in Italy and Spain
In both Italy and Spain, development of the footwear industry’s export activity since
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Abstracts
the mid-twentieth century was made possible because labour costs were initially
much lower than those in countries with high purchasing power, which became the
main importers of footwear. However, it was not only a matter of low wages. The
ability to supply footwear with a certain level of quality and adapted to trends in
fashion was also a decisive factor. Italy and Spain possessed this ability thanks to the
production structure that had already been forged in the first half of the twentieth
century based mainly on industrial districts specialising in footwear which had the
know-how to combine large-scale production with constant product innovation.
Nevertheless, the Italian industry was still well ahead of the Spanish since the fifties,
not only due to the better political and economic context of Italy, but also because its
reputation for high quality associated with traditional shoemakers and leather
craftsmen, together with the promotion of Italian fashion that begun in the 1950s,
transformed Italian companies into benchmarks for international footwear fashion.
Made in Italy became synonymous with footwear quality and fashion, whereas many
Spanish companies merely imitated the designs created in Italy and even adopted
brand names suggesting that they were Italian companies. Our work examines the
causes and evolution of this path of Italian success and Spanish imitation and
competition.
Leopoldina Fortunati, Manuela Farinosi, Yao Nie
[email protected]
[email protected]
[email protected]
Leopoldina Fortunati is the Head of the PhD programme in Multimedia
Communication at the University of Udine, Italy. Her research interests include the
relationship between fashion and technology, Made in Italy, and fashion
consumption.
Manuela Farinosi is Post-Doctoral Researcher at the University of Udine. Her areas of
interest include social media, grass-root communication, social and cultural aspects of
digital technologies.
Yao Nie, University of Udine, PhD student in Multimedia Communication. Her main
research interests concern the mobile fashion applications and the dynamic fashion
system in the virtual world.
Language: English
Exploring the Grass-Root Fashion Storytelling: An Analysis of the Online
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Conversations On/Against the Bloggers’ Style
In the last decade, the online social platforms have deeply changed the way in which
fashion is produced, communicated and consumed, leading to the emergence of what
can be defined a “grass-root fashion storytelling”. Fashion blogs in particular have
added a lot in this picture of fashion narrative. They in fact have become increasingly
popular and achieved a pivotal role in promoting and driving new fashion trends.
Nowadays they are an integral part of the fashion industry (Bruzzi & Gibson, 2000;
Kawamura, 2005), but have received little scholarly attention so far (Berry, 2010;
Khamis & Munt, 2010; Palmgren, 2010). Moreover, the existing studies have mainly
focused on the blogs themselves and overlooked the different online tools – such as
Facebook pages, Instagram or YouTube – that revolve around the fashion bloggers.
The aim of this contribution is to investigate how grass-root fashion discourse has
developed online, introducing new registers in social networks and microblogs such a
specific modality of storytelling. We will focus our attention in analyzing the content
of some of the most active Italian Facebook pages concerning the critics of the outfits
created by the fashion bloggers. As a comparison, we will also analyze some popular
Chinese fashion micro blogs that convey considerably different opinions from the
mainstream fashion discourse. By further scrutinizing these blog posts, we will get
into a clearer picture of the various tensions, which develop in the dynamics between
mainstream and grass-root discourses. These tensions emerge between the main
steams in the fashion world led on the one hand by celebrities, fashion brand
testimonials, and fashion houses, and, on the other hand, by the aesthetic needs and
requests of Chinese fashion consumers; the tension between the Western culture and
the Chinese traditional values; the international fashion proposals and their adoption
in Chinese context. The specific analysis of these tensions will enable us to highlight
how the storytelling is characterized in the Chinese micro blogs by a specific focus on
fashion education.
Lorenza Fruci
[email protected]
A journalist and writer, with a degree in communication. She deals with culture,
costume and eros working as a freelancer for various publications. She has published
several works and has collaborated with Il Punto, Terra and with www.style.it.
Language: Italian
Beauty and Communication: The Boom of Burlesque and its Influence on the
Aesthetics of Fashion
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What is the new burlesque and what is its history? We are facing a unique form of
entertainment that has emerged in the nineties and has taken on the character of a
social and cultural phenomenon going to contaminate other arts internationally. Its
history and evolution is a fascinating story, where, beyond the significant legacy of
the past, the return of burlesque that we saw, and we witness today, is explained by
stressing the importance of different cultural factors, such as the vintage wave that
has influenced fashion recently, first of all, and then the significant reaction to the
sheer pornography dictated by the search for greater femininity. Because the new
burlesque refers to the traditional burlesque regarding the sets, the choreography
and the irony, but is expressed through the current cultures with which it melted
becoming a genre in its own right and giving voice to a new vision of woman, who is
finally the mistress of her own body and expressiveness. I have been following the
topic since 2008, after being fascinated by the performances of the company Cabaret
New Burlesque at the Napoli Teatro Festival and continue to record the evolution,
especially as a cultural phenomenon. Burlesque exploded as a mass phenomenon
affecting the aesthetics of women and therefore also the brand of lingerie,
accessories and apparel that were seen as a business opportunity. Today when we
talk about burlesque, we no longer refer only to the kind of show, ‘’but a real fashion
style’’, well defined and delineated, whose features will be presented in the paper,
also thanks to the help of photographs and video.
Emma Gago Sánchez
[email protected]
Graduated in Journalism and holds a PhD in Language Teaching. She worked as a
professor at the Spanish Course for Foreigners at the University of Málaga from 1996
to 2008. Currently, she is a lecturer at Sapienza University of Rome and collaborates
with the Cervantes Institute.
Language: Italian
Spanish Maisons from Balenciaga to Galerias Preciados
The history of Spanish fashion in the last fifty years is a reflection of changes in
society. Masters such as Balenciaga, Loewe and Rabanne have given way to new
creators, artists and tailors, who built the modern concept of fashion in Spain and an
international image. Today fashion is undoubtedly a distinctive cultural identity, like
other forms of artistic expression. From Galerias Preciados to Zara, from dictatorship
to the twenty-first century, the Spanish have learned make fashion a way to relate to
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reality and project their image abroad.
Fabiana Giacomotti
[email protected]
Journalist, writer, curator, graduated in French Literature. She is actually a columnist
for the cultural pages of the daily Il Foglio, Sette-Corriere della Sera, lettera43.it and
Ulisse Alitalia. She was appointed Lecturer of Fashion Science at Sapienza University
in Roma in 2005 and Professor in Fashion Journalism of the Master in Fashion Studies.
Language: English
From ‘’Swell’’ To ‘’Cool’’. How and Why the Fashion Language Changed Over the
Last Century
The language of fashion is not a mere expression of the way we dress. Its significance
goes way further the vocabulary. It is definitely more than how we define a shirt, a
skirt, a gown. The language of fashion affects fashion itself. Even more, it’s a fashion
in itself, a cultural phenomenon, a signifying system of values, hopes, ideas and
experiences, thus offering interesting insights and precious hints about different
social groups and their evolution. The use of specific adverbs, adjectives or nouns
taken from the world of fashion can help characterize a historical period or a novel as
precisely, sometimes even more deeply, than visual references. Drawing on a range of
famous Italian fashion and women’s magazines such as “Margherita”, “Lei”, “Amica”,
and similar foreign publications ranging from the twenties of the twentieth century
until now, from “Vogue” to “I-D” to “Love”, this paper introduces the language of
fashion as ways of communicating, challenging both the audience and readers in their
beliefs about the use and significance of fashionableness. How did writers and
musicians chose and promptly abandoned adjectives like “swell”, “divine”, “gorgeous”,
“hot”? How did they become fashionable, how did they go out of fashion and, most
of all, why? The study is focused on a specific term: the etymology and history of the
notion of “coolness”, used both in English and Italian, as most of terms about fashion
are now. What is “coolness”? Neither too hot nor too cold, it’s with this meaning that
the word initially slipped into the English and then into international language from
its cognates in Dutch and German. It appeared in the ninth century as col, when
someone translated the poetry of the Roman philosopher Boethius from Latin into
English, and, for a long time, was misspelled. It toyed with coul, became with coole,
and even went through a koole phase. It finally found its definite form as cool, all the
while holding on to its sense of climatic moderation, but it was not until the Roaring
Twenties, and the Afro-American influence on music, that the interjection “dat’s cool”
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become synonym with attitude.
Andrea Giannotti
[email protected]
PhD candidate in Geopolitics at the Pisa University and at the Institute of Europe of
the Russian Academy of Sciences. His research and study activity is focused on the
foreign policy of the Russian Federation and international relations in the Eurasian
Region.
Language: English
La Maison Moscou. The Failure of the Sartorial Constructivism and the Stalinist
Style
Our age was celebrated as “the age of fashion”. But if it is true that globalization has
imposed some fashions at the global level, it is also true that the whole history of
civilization has been marked by a strong tendency to standardize clothing, which
represented a clear expression of the Zeitgeist (spirit of the time). Even in the Soviet
Union, whose starting period was characterized by an attempt to cancel fashion for
ideological reasons, it has finished to prevail with the birth of a Soviet fashion. The
article analyses the evolution of this “socialist style” paying specific attention to civil
uniforms, developed under the Stalin rule and becoming a typical Soviet icon.
Maria Cristina Giorcelli
[email protected]
Professor Emerita of Anglo-American Literature at the University of Roma Tre.
President of the Italian Association for North American Studies from 1989 to 1992,
she was Vice-President of the European Association for American Studies’ 1994-2002.
Language: English
Clothes and Women’s Emancipation
In the mid-nineteenth century (1848), at the famous Congress of Saratoga Falls of the
Women’s Rights Movement, the American feminist and suffragette Amelia Bloomer
wore and propagated the use of Turkish trousers that were named after her:
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bloomers. It was a disconcerting novelty the more so since the dress which was then
in fashion was the one that gave the woman’s body the shape of a bell (namely: tight
from head to waist, because of the corset, and large from waits to foot due to
crinoline and skirts). Since they were ridiculed by the press (as well as by rightthinking) and, of course, did not improve the silhouette of the woman, bloomers
were accepted only for a few years. At the end of the nineteenth century, however,
with sports becoming popular also for women and, especially, with the invention of
bicycle that thrilled the young, since it gave them a previously unknown mobility, the
pants were increasingly becoming popular among more courageous girls. Their shape
changed a little – thanks to the initiative of Lady Haberton (in 1895) in England –
becoming, first, more like men’s trousers (and they were called, divided skirts) and,
then, roughly in the same years, more similar to male knickerbockers. Their use and
significance will be observed in the works of the US writer: Willa Cather.
Paola Goretti
[email protected]
With the background in the history of the sixteenth century, a historian of art and
costume, she is an expert in sensory integration and culture of aesthetics and curates
exhibitions, conferences, educational services, conferences. Professor of History of
Fashion at the Academy of Fine Arts in Bologna.
Language: Italian
Cabinet de beauté of Pietro Antonio Rotari
After an apprenticeship matured on sacred, mythological and celebrative themes of
important persons of the Empire, Pietro Antonio Rotari (Verona 1707 - St. Petersburg
1762), became an unsurpassed master of a new genre, specializing in highly accurate
female subjects that soon became fashionable. The pose is flirtatious, smiling,
benevolent, weeping, sleepy, intent on watching with half-closed lids. But it is also
languishing, winking, sullen, sulky, mischievous; in a carousel of proposals in which
the court is reflected. Timeless representations, where the elegance of movements
and postures become a sentimental atlas of infinite variations: 368 pictorial units,
almost “selfies” of that epoch.
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Mihaela Grancea
[email protected]
Professor at the University “Lucian Blaga” of Sibiu, Romania, Faculty of Socio-Human
Sciences, Department of History and Patrimony.
Language: English
Observations of the Western Travelers on the Danubian Principalities, Transylvania
and Banat during the Eighteenth Century Concerning the Identitary Character of the
Other’s Clothing
Western travelers were the “agents” of the modern nations in Danubian Principalities,
Transylvania and Banat, those nations that had built in the European political context
of the eighteenth and nineteenth centuries a functional ethnic image within society –
a process that supposed relating to the Other, the different one. The mechanisms of
differentiation were based on the visible distinctions – the skin color, physiognomy (in
that way one may explain the emphasis on the somatic-biologic representation), way
of living, gastronomy, traditional costumes (this was almost always related to the
phenotype and way of living). Some of the differences were to be partaken and
developed during the nineteenth and twentieth centuries by the popular geography
and by the physical anthropology – the traditional costume became a fundamental
component during those times in the system of representation referring to ethnotype and ethno-history. The interest of foreign travelers was directly linked to the
aspects of local clothing and the “fashionable” items, as well as the way in which the
clothing was a manifestation of the degree of civilization, an indicator of the socialeconomic and political-juridical evolution. This is also a proof of the changes in
mentality, especially in the case of elites (see the behavior regarding the opulent life
of the elites in Danubian Principalities; see also the a-cultural orientalism of the
boyars’ clothing determined by the need of manifesting their obedience towards the
Turks). On the other hand, the traditional costume of the Romanians, the Hungarians
and the Saxons was perceived as a mark of identity, as it was receptive to what was
fashionable, to foreign influences, keeping its representative character. The traditional
costume was representative for the identity of the Other, regarded at the rural
dimension (considered as a characteristic reality for “barbaric” people”).
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Fabio L. Grassi
[email protected]
Assistant Professor in History of Eastern Europe at Sapienza University of Rome, he
deals with the history of the Late Ottoman Empire, Republican Turkey and Turkish
World. He is Director of the BAU Center of Eurasian Studies in Sapienza University and
Representative of the Rector in EURAS (Union of Eurasian Universities).
Language: English
The Burden of Memory. The Emergence of the Past in the Art of Chalayan
This paper inquires the traces of the Turkish-Cypriot past in the production of a great
contemporary fashion designer. Born in 1970 as Hüseyin Çağlayan in a Nicosia still
formally united but already affected from tragic intercommunal clashes, after the
escape of his family to London in 1978 he became Hussein Chalayan and dived in
British culture. More recently he has cast off the name showing the will to be known
simply as Chalayan. This is not a matter of easy pronunciation and sounds like a
clearly political-cultural choice. Maybe also a psychological choice. In “Hussein
Chalayan”s production the remembrance of the past is evident. In “Chalayan” will
past be definitively buried or will the fight go on?
Yeva Hambarcumyan
[email protected]
PhD student in Sociology at the Yerevan State University. She works as a junior
assistant at the Laboratory of Applied Sociological Researches, Yerevan State
University.
Language: English
The “National” Symbols of the Republic of Armenia
The “national” symbols of Republic of Armenia have very high values for the majority
of the Armenians. By the help of the sociological research we will find out what the
“national” symbols of the republic are, how to characterize them according to the
form and the contents and what typology the “national” symbols have. Lavash
(Armenian bread) symbolizes cleanness, fertility. During wedding ceremonies, the
mother of the groom puts a Lavash on the bride’s shoulder as a sign of fertility. An
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Abstracts
apricot symbolizes the Armenian people’s balsam and the heat of the sun rays of
Armenia; Duduk, a music instrument made of apricot wood, expresses the emotions
of the Armenian people, while Mountain Ararat symbolizes peace; Lake Sevan,
simplicity, Mount Aragadz the unity of Armenian people. The paper will also research
the traditional dress as a symbol of the republic.
Corina Elena Hategan
[email protected]
PhD student at the University of “Babeş-Bolyai”, Cluj-Napoca, Romania. Her research
interests lie in the field of recent history and in the past three years she has focused
her attention on the Romanian communist regime in terms of propaganda, especially
during the 1980s.
Language: English
Woman as a Social Model during Romanian Communism
In 1986 the Italian daily La Stampa in an article entitled “Ceausescu order: you have
to make children” relate the story of a Romanian woman of 32 years, mother of two
children who woke up in her home with a representative of a youth association. At
first, he asked the reasons why, although young, with a job and a range of services
provided by the state, she has no children. Considering the questions too personal,
she told him to leave the house, but the next day, he returned accompanied by a
police officer, so she was forced to answer the questions. Officially, they were doing a
demographic statistics, but in reality, the communist state entered women’s houses,
the intimate life of Romanians as in so many other aspects of life, personal or social.
The author confirms that work, family and procreation were considered as civic duties
of a good communist, and women in particular were the targets of propaganda. The
state required a certain code in behavior, thinking and also in the way of dressing.
Everything that was not adequate to national politics and the dress code was
considered capitalist, bourgeois, corrupt and especially altered. For example, wearing
jeans, tight leather pants (rock fashion, especially, was considered immoral), long hair
for men was considered offensive, immoral and led to degradation of society and
youth. This article aims, first, to present the way in which the perception about
fashion was influenced, modified or manipulated during Romanian communism
creating stereotypes of good or bad fashion and, second, how fashion managed to
exist in a time when there was scarcity not only in food but in the choice of clothes as
well.
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Shalom D. Hazan
[email protected]
An ordained rabbi, he has studied Talmudic and Mystical sources in the Chassidic
tradition in Paris and New York. Inspired by the Lubavitcher Rebbe, Rabbi Menachem
Schneerson, Shalom and his wife Chani have dedicated their lives to Jewish outreach,
primarily by creating learning opportunities through the organization they run,
Chabad-Lubavitch di Monteverde.
Language: Italian
Garments of the Soul
From the Bible to the Talmud to the mystical tradition of the Kabalah, Jewish thought
throughout the ages has attributed many layers of significance to the garments we
wear. The speech will touch upon some of the more general aspects while also
bringing to the fore some examples from an ancient fashion replete with meaning,
namely, the priestly vestments mandated by the Torah. Also, a peek into what the
kabalists call the “garments of the soul”.
Virginia Hill
A dress historian, currently lecturing at Istituto Marangoni (Milan Fashion Campus) on
history of ancient costume, history of twentieth-century fashion and history of art
courses. Fellow of the Higher Education Academy, UK, since 2011, she is involved in
the field of further training in academic practice for fashion and design lecturers.
Language: English
Interpreting Spring Summer 2015 Haute Couture: The Perspective of History of
Fashion
This study proposes to consider the Paris s/s 2015 haute couture shows from a purely
historical perspective. All the shows will be closely analyzed to find references made
by the designers to the past. The significance of the term “past”, in this context, is to
be taken as follows: past fashions of any historical period going from recent to prehistoric times (i.e. what people were wearing in past epochs), but also ‘past’ in a
wider sense which could include references to other forms of cultural production,
from textiles, art or literature. The results should indicate the current interests and
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Abstracts
some of the cultural concerns of the haute couture designers taken into consideration
for the study. The information resulting from the study will then be used to address
some of the questions which arise in the topic “Fashion Tales and Social Change”
chosen by our Istituto Marangoni team for investigation.
Hadas Hirsch
[email protected]
PhD degree from the Haifa University in the field of Middle East History and is
currently serving as the Head of the Department of History, Oranim Academic College
of Education. Fields of interest: cultural and social history of medieval Islam, material
culture, appearance, clothing and adornment in pre-modern Muslim societies, gender
relations, women studies.
Language: English
Dress and Colors in Early Islam: A Discourse on Adornment and Gender
The Qur’an, The Muslim Holy Scripture, refers to colors as a divine grace for human
beings and some verses even mention five colors: red, yellow, green, black and white.
The colors appear in the Qur’anic context in both meanings; descriptive and
metaphoric. This metaphoric use is a reflection of the biblical influence as well as of
the pre-Islamic culture of the seventh-century Arab peninsula. The later medieval
legal discussion of colors appropriate for men’s and women’s clothing is a reflection
of the importance of outward appearance in general and a proof for the use of colors
to construct gender differentiation. The presentation and analysis of the legal
discussion of colors appropriate for clothing of both sexes demonstrate the
importance of jurisprudence in Islam in everyday life. Another aspect is the use of
colors to construct and preserve the hierarchy between men and women, as women
in patriarchal structures are subjected to men in many spheres of life, including colors
for dress. Muslim jurists divided colors into groups according to gendered
differentiation of what is considered to be the appropriate colors for each sex. The
first group is composed of three colors with no gender differentiation, white, black
and green. The second group is composed of the color of blue which is almost absent
from the legal sources and does not have any gendered meaning. The third and most
gendered group will focus on two colors with clear gendered differentiation although
in a different degree. The first color is red, and only some of its hues are gendered.
The second color is yellow which bares the most significant gendered meanings. The
use of colors for clothing was common in medieval Islam as a means of adorning the
human body and constructing gender differences. The legal Muslim discourse reveals
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a complicated system of connections and contradictions between the human will for
adornment and the legal prohibitions aimed at defining the appropriate Muslim
dress, as the meanings of colors are a cultural variable influenced by time, place and
the nature of society.
Roberta Iannone
[email protected]
Associated Professor of General Sociology at the Department of Political Sciences of
Language: Italian
Fashion and Modernity in the Thought Of Werner Sombart
Can modern and Western societies, those of the early twentieth century, to which
Werner Sombart was referring, as well as the contemporary ones, be conceived
regardless of fashion? If we consider fashion as a daughter of luxury and capitalism,
democracy and secularism, and more generally of social change and its acceleration,
there are no doubts: fashion is an emblem of modernity and its social concretization,
both at individual level, and the collective one. It is what Sombart suggests mainly in
the works ‘’Modern Capitalism’’ and ‘’Luxury and Capitalism’’. However, other
writings apparently distant from the theme, such as ‘’The Borghese’’, ‘’The Jews and
economic life’’ and ‘’German socialism’’, find in fashion an indispensable cognitive
tool and an inexhaustible container of modernity, although from time to time a cause
and effect of extremely heterogeneous phenomena: the birth of the ‘’new rich’’ and
the ‘’new city’’, the affirmation of international merchant trade and propensity to
consume, from the new relationship between the sexes to the secularization of love.
The aim of the paper is to research these aspects in the light of the insights of one of
the greatest classics of sociological thought.
Marco Iervese
[email protected]
After graduating from the Faculty of Arts, Sapienza University of Rome, he continued
his studies at the Vatican School of Archives and Paleography. He is currently a PhD
student of History of Europe at the Faculty of Political Science of Sapienza University
of Rome and a tutor at the University College Don Nicola Mazza.
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Abstracts
Language: Italian
Ecclesiatical Costume and the Second Vatican Council
The study of the history of fashion has always considered the period between the
1950s and 1960s as a time of extraordinary evolution and cultural upheaval. New
mass phenomena entered the society that saw the breaking of patterns and
stereotypes that had been considered immutable. In this scenario, the study aims to
understand the echoes and the consequences of these new feelings inside Catholic
culture, in one of its most important moments in the twentieth century: the Second
Vatican Council. In an analytical framework often focused on critical positions that
consider the Church as an institution that is conservative and reactionary, it is useful
to add an additional point of view, related to the reflection of the clergy on itself
about clothing, its symbolic meaning and its social role. The work of the Committee
prior to the Second Vatican Council, whose documents are kept in the Vatican Secret
Archives, will be examined. To this end, a special commission was established that,
inspired by the historical evolution of the ecclesiastical clothes until the 1960s, came
to express conflicting needs: on the one hand the need to strengthen the traditional
uniqueness of ecclesiastical clothes, on the other, the need to meet the demands of a
new ministry to adapt to a rapidly changing society and to meet the challenges of the
new evangelization.
Simona Ironico
[email protected]
Lecturer in Sociology of Fashion, Fashion Marketing and Research Methods at Istituto
Marangoni – Milan and Shanghai Campus. She is also Contract Professor of Creative
Industries Communications at the University of Modena and Reggio and Sociology of
Consumption at Iulm University of Milan, where she earned her PhD in Marketing and
Business Communications.
Language: English
Unveiling Fashion Tales: A Socio-Semiotic Interpretative Framework for Investigating Fashion Collections
The paper illustrates the socio-semiotic interpretative framework adopted for investigating spring summer 2015 fashion tales. Possible worlds theory (Eco, 1979; Volli,
200; Ironico, 2014) is applied to explain how the aspirational imaginaries of luxury
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brands are progressively spread to the real world of consumers by the use of integrated communication strategies. Following this perspective, creative inspirations,
color stories, material stories, prints, silhouettes, decorations and other aesthetic
components of fashion collections become the engine of powerful narrations spread
through catwalk sets, advertising campaigns, fashion editorials, windows display and
other promotional initiatives.
Fabio Isopo
[email protected]
PhD student in History of Europe Sapienza University of Rome.
Language: Italian
Mods a Way of Life
At the end of the 1950s in a restricted and conservative England, the transformation
of clothes led the British youth to a real revolution in style and mentality. In the
districts of London, Stepney and Stepherd’s Bush, a movement was born that will be
shortly called modernism and completely will change the concept of innovation; a
revolt, sometimes ephemeral, which left its mark in the years ahead. To be
modernists implied a cultural research towards the new, everything was prepared to
what was new and unusual. The modern trend was put into practice by the mods
with daily commitments, most of which were dedicated to the care of their look. The
jacket worn in a certain way, a certain haircut seen as a religion and a syncretic
contamination of different types of music were the basis of the style seen as a
dogmatic approach. Being mod was an identity composed of many facets that passed
through music, aesthetics, a certain ethics, a way of living and understanding life, an
aesthetic and interior cleaning, a “special” and particular approach to daily life.
Nina Kelecsenyiova
[email protected]
Student of the Master Degree in Science of Fashion and Costume at Sapienza
University of Rome. In Istanbul she carried out a research on the Turkish fashion. She
collaborates with Prof. Anna Florenzi and Star Production S.R.O. as external partner.
Language: English
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Abstracts
Turkish Fashion
Turkish fashion has been strongly influenced by the Muslim religion and Eastern
Culture. Although the largest part of the population is Muslim, still Turkey is one of
the most modern countries within Muslim Eastern areas. The aim of this paper is to
present some of the most important pieces of clothes within Turkish history and
follow the transformation that started with Mustafa Kemal Ataturk, the founder of
the Republic of Turkey. This transformation also influenced the female emancipation
and women’s choice of clothes. I will talk about differences between Arabic and
Turkish style, rich textile industry and decorations with intense colors and materials. I
will introduce successful modern designers, for example Ozlem Ozrutk, and how they
make compromises between modern European and Muslims fashionable outfits.
Matina Kousidi
[email protected]
A Swiss government fellow and academic guest at the Chair for the Theory of
Architecture Prof. Dr. Laurent Stalder, part of the Institute for the History and Theory
of Architecture of the Swiss Federal Institute of Technology in Zürich.
Language: English
The Knot Krause. Revisiting the Weaving Workshop through an Italian-Born Artist
In contrast to the ample number of remaining artifacts of the Bauhaus Weaving
Workhop – namely tapestries, tablecloths and rugs – “Bauhaus-Dresses
[Bauhauskleider]” are rare works of art, as only three pieces are currently included in
the Bauhaus Foundation Archives. One of the dresses was produced by Corona Krause
– an artist, whose practice has been as obscure as the dresses themselves. Among the
weavers of the Bauhaus Weaving Workshop, the skilful Italian-born textile artist held
an important, yet undiscovered role. Krause was born on August 16, 1906 to a
German consular, Friedrich Krause, and his wife, Isolde Morrison in Coronata; a rural
district of the Italian city of Genoa, which had arguably influenced her first name.
Crossing between the production of textiles intended for clothing and those designed
for the coating of domestic elements, Krause’s contribution to the textile designs
produced at the Bauhaus State School is broad. However she belongs to the body of
artists who although they gave significant impetus to the innovative themes of the
School of Weimar, their profile remains still relatively unknown. Examining the
context of her work and following the thread that brought her from Italian to German
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grounds and from textile design to painting and sculpture, this paper will untie the
“knot Krause”. It will draw upon unpublished material from the Archives and elucidate
her involvement in the Bauhaus Weimar and by extension in the history of modern
textiles. By doing so, it will highlight the techniques and materials deployed by
Krause, placing particular emphasis on the textiles and garments attributed to the
artist, in the course of and beyond her educational stay at the Bauhaus School.
Petra Kovacs, Daniele Di Giorgio
[email protected]
[email protected]
After a Master in Fashion Project Management (Milan), Petra Kovacs worked in the
Fratelli Rossetti company and then in the Ralph Lauren’s team. She collaborates with
GlamJam as a journalist and consultant.
Daniele Di Giorgio works in the field of communication and marketing as a business
consultant in Media Planning, Retail Marketing and communication processes that
regulate the Knowledge Management of Fashion and Art. He is a lecturer at the
University Consortium Humanitas of Rome, at the Master of Communication and
Marketing of Fashion IED Rome and expert on the subject of Techniques of
Advertising Communication at LUMSA University of Rome.
Language: Italian
New values in the fashion system: Ethical & Green Fashion
The article will research the following concepts: traditional values of fashion in
Europe; the fashion system in the last decade: fast life, fast fashion, decline of quality,
increasing role of marketing and communication, crisis of values and economic crisis
in Europe, reflection, dissatisfaction, researching new values; the urgent need to
leave the frenetic pace of everyday life, the rise of conscious/sustainable consume,
the meaning of “Conscious Fashion”, new tendencies: green fashion and ethical
fashion, green showroom. “Luxury means to us true values – Brands and products
with a story to tell, working in respect to the environment and yet with the main
emphasis on design”. Eco-Fair Brands. Luxury fashion vs. Sustainable fashion.
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Abstracts
Cesare La Mantia
[email protected]
Associate Professor of History of Eastern Europe, Departement of Political and Social
Sciences, University of Trieste. Research areas: contemporary Poland; church-state
relations in Poland, post soviet-Russia, Belarus.
Language: Italian
The Decline of the Habsburg Empire through its Fashion
This research aims at analyzing whether and to what extent the 1914 crisis was
sensed by fashion. “By fashion” are meant a number of clothing, literary, musical or
resort selection preferences. Vienna was the very heart of the Austro-Hungarian
Empire, not only in political but also in cultural “stylish” terms. Indeed, provincial
notables harked back to the lifestyle of the capital’s élite. Thus, upper classes looked
at the Imperial Family and its varied entourage in matter of clothing, theatrical and
musical taste: it was further, impactful power tool for asserting their supremacy all
over the country. As he himself claimed, Franz Joseph’s attire reflected his role as the
first officer of the Empire. Such a mentality, however, was bound to decline as
nationalisms and nation buildings came to the fore. The way the Emperor and his
family came across still earned them esteem from the majority of their subjects.
Nevertheless, many prominent nationalist leaders harked back to a pre- Habsburg
cultural and political past and questioned the legitimacy of Vienna in intruding not
only in political matters but also in their own lifestyle. The rise of the Habsburg myth
coincided with the Empire’s implosion and its wretched aftermath. Precisely, this
mythopoeia arose precisely from the Imperial Family’s public lifestyle.
Eleonora Lanave
[email protected]
Holds a Master degree in Fashion and Costumes Sciences. From June to Dicember
2014 she worked as a Secretary at the Fondazione Maxxi (XXI Century Arts Museum).
From January 2015 she has been working as Archivist at MAxxi B.A.S.E.(Library,
Archives, Studies, Publishing).
Language: Italian
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Florence, Ferré and the 1996 Fashion Biennale
This work aims to analyze the complex relationship between art and fashion, the
relationship that is still criticized by popular culture. Fashion is felt as a form of
consumerism, and often the creative process of the fashion designer is not felt as a
fuel for his thoughts and manual work. A common misunderstanding is that only the
work of artists belongs to museums as a status quo. In 1996 the Biennale issued the
exhibition “Il tempo e la Moda” (“Time and Fashion”). Twenty fashion stylists were
invited to show their works in twenty museum centers in Florence. In particular, my
work focuses on the “Visitors” section, with an in-depth analysis of the stylist
Gianfranco Ferré, who, during this event, displayed his models in the Cappelle
Medicee (Medici’s Chapels) and in the Basilica of San Lorenzo (Saint Lauren’s Basilica).
I have divided my work in three parts: History and architecture of the Basilica of San
Lorenzo (Saint Lauren’s Basilica), Gianfranco Ferré’s career and philosophy and an indepth analysis of the Biennale and the dichotomy between the stylist and the places
where the exhibition took place.
Chiara Landi
[email protected]
PhD student in Communication, Research and Innovation the Department of
Communication and Social Research of Sapienza University of Rome. The title of her
research project is L’impatto socio culturale ed economico dell'intrattenimento di
marca.
Language: English
Technological Expression in New Fashion: 3D Printers
The aim of this paper is to analyze the evolution of the relationship between fashion
and technology in recent years. Today, the fashion industry seems profoundly
transformed and reinvented as a result of the introduction of new technologies that
have opened up new possibilities of formal and productive expression. One of the
factors can be considered the possibility to use machines for rapid three-dimensional
prototyping which allows a wide expressive ability and an extreme precision in
realization. The possibility to create a digital model has created the opportunity to
experiment various types of modeling, including the parametric one based on
algorithms. This design method is a fundamental component of the new design
process that overlooks the new fashion-science scene. We are witnessing the advent
of technology, not only as an integral tool in the design process, but also as a material
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Abstracts
component of the fashion product. Firstly, within the presentation, what will be
presented is an overview on the existing combination between fashion, and
technology, in order to highlight the changes of which fashion is a witness. Secondly, a
focus will be placed on a case study dedicated to experimentation on fabrics of new
technologies: the best practice of Michela Musto, architect and fashion designer, will
be used to show clothes created with a mathematical algorithm through laser cutter,
printers for rapid prototyping (3D). The work of Michela Musto highlights the use of
new software and digital systems that allow processing of parametric surfaces. These
programs are normally used for architectural contexts, but in this case they are
adapted to a production of clothes in the fashion industry, through non-conventional
techniques. At the end, the different ways in which technology integrates with
fashion will be analyzed, highlighting the possible developments in the global market.
Eka Lekashvili, Lia Lursmanashvili, Ekaterine Tukhashvili
[email protected]
Eka Lekashvili (speaker) Associate Professor, Doctor in Economics at Ivane
Javakhishvili Tbilisi State University, Faculty of Economics and Business. She is a
Deputy Director of Tourism Development Institute and of the German Institute –
Economic Policy and Economic Education in Georgia.
Language: English
Silk Production in Georgia: History and Development Opportunities
The study presents the evolution of silk making in Georgia from the ancient period up
to the present day. As it is known, silkworm is fed with leaves of Mulberry tree, which
is an indigenous plant in the Caucasus. Supposedly, this has contributed to the
development of sericulture in ancient Georgia. The technology of silk fiber production
was known in Georgia in early years. During the Russian colonial regime, Georgia,
along with other countries of the South Caucasus, provided silk to textile factories in
Russia, only small part of it was processed in local factories. Since 1920s, great
attention was paid to the development of sericulture in the Soviet Union. There were
almost all the stages of silk making in Georgia. Georgian natural silk fabric (chiffon)
was highly demanded not only in the former Soviet countries but in Europe as well. It
is noteworthy that natural silk fabric is still in great demand. Nowadays, according to
international organizations, such as USAID and IFC, Georgia has a good potential for
textile manufacturing and is one of the most competitive in international market. In
addition, the portfolio of the Partnership Fund of Georgia includes several investment
schemes connected with silk manufacturing, including promoting production of
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clothes, thread and fiber. Professional skills, past experience, a favorable geographic
location, open and free trade, relatively cheap labor, rich human resources,
experience in different fields of manufacturing, developed infrastructure inside the
country and at border checkpoints, low taxes favorable to investors, reliable and
relatively cheap utility services (electricity, water, etc.) reduce production costs and
bureaucratic barriers, which makes Georgia competitive in the region as well as
globally.
Francesca R. Lenzi
[email protected]
PhD in History of Europe Sapienza University of Rome and Assistant Professor at the
European University of Rome, at Temple University, Philadelphia/Rome, at Unitelma
University of Rome and LUISS University of Rome.
Language: Italian
The Globalization of Dressing in Postmodernity and the Inditex Case Study (Zara)
Every new combination of clothing, no matter whether traditional or alternative, is an
effect of a thought, of a remake, sometimes in line with or sometimes in opposition
to an existing regime. However, it is a winning game if it rides the age or anticipates
and influences it. The globalization process has swept up fashion not only in a
productive sense. On one side, if the end of a certain ethnocentrism - as a result of
the displacement of the textile industry and the outbreak of new poles of fashion in
the south and in the east of the world - has involved deep contaminations in the
stylistic guidelines, also and above all the daily apparel has been overwhelmed by the
birth of the so-called “Fast Fashion”. A case study, pioneering in the Fast Fashion’s
world, is the Spanish group Inditex, with its main brand Zara. Inditex, today’s number
one in the field of textile-apparel, in spite of the crisis rides the wave of the success.
The advantage of the Spanish brand is not only the relationship between quality and
price, but also the successful realization of the so-called Fast Fashion. The paper
investigates the relationship between globalization and Fast Fashion, through the
“Inditex/Zara” case study, in order to analyse its impact in the fashion system and the
concerned effects, as well as the role of communication and the new global dynamics
in the creation of a different kind of expression and, at least, the new need of a “fast”
identity grown in the new generations of customers.
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Abstracts
Umberto Longo
[email protected]
He teaches Medieval History at Sapienza University of Rome. From 2009 he
coordinates the Percorso di eccellenza in Scienze storiche. From 2011 he is director of
the Master in Digital Heritage.
Language: Italian
The Relationship between Clothing and Religious Identity for Monks and Hermits in
the Middle Ages
The aim of this essay is to investigate into the complex relationship system among the
body, the clothing and the religious universe. In particular, it intends to focus the
attention on the theme of the cloak as an identity symbol to express a definite
religious option. On this theme entailing a great hagiographic, theological and
symbolic interest, an excursus offering the opportunity to treat a series of
problematic issues relating to the relationship between habit and sanctity and the
concept of clothing as a sign system can be made in the Christian tradition. Clothing,
in fact, is a system of signs, a language, which is naturally strictly related to the body.
In the action of getting dressed, there is a circular relationship between an individual
and society. With respect to the body, clothing is not only something exterior. Clothes
are the product and the reflection of a habitus, of a social and cultural tradition in
which an individual is immersed and which an individual has a confrontation with.
The monks’ habit does not in any way elude this type of dynamics, on the contrary it
can often become an obvious example of it, above all with respects to saints. Just
think of hermits and of the fathers of the desert who build on their body their own
spiritual path and make of their nakedness and their wildness, produced and
represented by clothes of rough hides, an element of immediate and recognizable
protest against society and their difference from it. Clothing is a marker, a factor of
immediate distinction and, broadly speaking, it plays a relevant role in every sacred
rite and its meanings enrich the ritual symbolism.
Ethel Lotto
[email protected]
Degree in Architecture and Design of Fashion. PhD candidate in Design Sciences at the
Doctoral School of the University IUAV of Venice.
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Language: Italian
The Science of Fashion. Sartorial Techniques in the Italian Fashion
The paper, reflecting on the technique as a tool in constant transformation of a design
process focused on the body and its dynamics, investigates the evolution of sartorial
techniques and their role in the design of fashion, with a focus on the relationship
between development of techniques and industrialization in Italy. In the first decades
of the twentieth century the development of the technical literature on the sartorial
craft was accelerated. This process measures the change from a position that
preserves the corporative skills, transmitted exclusively as inheritance and connected
to individuals, to the disclosure of operational knowledge related to a project for the
masses. The figure of the tailor-craftsman changed moving toward that path that
passes through the myth of the 'creator' to the definition of the figure of the fashion
designer. It is a historical and cultural process that interacts with both the design
philosophy and with the industrial processes and that has still room for further study,
necessary for a correct interpretation of the relationship between the techniques of
construction of the garment and the other figurative disciplines of the design, and for
the current mutual technological developments that proceed in synergistic
relationship.
Marco Lucietti
Global Marketing Director of SANKO/ISKO™ division. He manages the worldwide
marketing activity with a global and highly structured output combining marketing,
sales and communication strategy, including partnerships, cultural and educational
projects, events, promotions.
Language: Italian
Fashion between Inspiration, Contamination, Education: ISKO I-SKOOL™ and the
Young Talents of Denim
Fashion is beauty, allure and trend - but it’s a “thought”, above all. The commitment
to develop and pass knowledge on to the sector is at the heart of ISKO's approach,
the global leading denim producer. The evolution of research and innovation is
possible thanks to a sharing of skills, a contamination of experience and, most of all,
the education of the young talents that will be the protagonists of the future of the
sector. From this very vision arises I-SKOOL, the denim and fashion "talent award"
promoted by ISKO: a cultural initiative dedicated to the worlds of design and
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Abstracts
marketing, where top players of the denim value chain are making their special knowhow available for students coming from the most important schools on a global level,
including Sapienza University as excellence in education.
Michal Lynn Shumate
[email protected]
MA candidate in Visual and Critical Studies at the School of the Art Institute of
Chicago. His research and writing in contemporary fashion began at the University of
Chicago with her undergraduate thesis in Art History.
Language: English
Fashion Spaces
A fashion space could be a room; it could be a drawer, or a building, and certainly the
public spaces where fashion happens—stores, runway shows, museums—have been
well documented and studied. My focus is something different: I am interested in an
investigation of fashion spaces that includes the inside of a garment, the outside of a
garment, a state of mind, and even the memory of a garment. The direction of
influence is just as intriguing—do we construct our fashion spaces, or do they
construct us? This paper argues for a consideration of fashion spaces as layered and
complex. I want to make surface and depth personal and to slice them into multiple
pieces, to consider fashion as part of a slippage, part of a visual and linguistic
movement between the different spaces that we produce, experience, embody, and
inhabit—from the psychological to the corporal, from the sartorial to the
architectural and back again.
Paola Maddaluno
[email protected]
PhD in Ambient, Design and Innovation at the Second Univesity of Naples. She
teaches Textile Design at the Academy of Fine Arts of Brera and History of Fashion at
the Academy of Fine Arts of Bologna.
Language: Italian
New Categories of Textile Design
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Fashion and textile, in contemporary historiography, often are narrated as
autonomous entities. “New categories of textile design” wants to re-read some
moments of Italian fashion and textile of the recent years, trying to unveil
connections. Moving from some key concepts such as design, innovation and
environment, the research aims to investigate the various nuances of this
“collaboration”, assuming three main categories: textile as linguistic metaphor, textile
as mechanical metaphor, textile as environment metaphor.
Maria Cristina Marchetti
[email protected]
Associated Professor of Political Sociology at the Dept. of Political Sciences of Sapienza University of Rome. She obtained her PhD degree in “Sociology of culture and
political processes” at the same university. Her research activity is mainly focused on
the topics of social change in complex societies.
Language: Italian
Power Dressing: Women and Power
The relationship between fashion and power has always been controversial. On the
one hand, power used fashion to represent itself, and on the other, power distanced
itself from fashion, considered too frivolous and unstable. So, according to the
classical literature, power became the realm of men and fashion was the way women
used to find their role in society (Simmel, Veblen). The changes that occurred in the
role of woman in society, marked by the transition from a family context to a wider
socio-professional one, have been characterized by the birth of new fashions:
trousers, miniskirt, male tailleur that marked some crucial passages in women’s
condition. Power dressing refers to a style of clothing which aims to seem
authoritative and professional in business and politics. It usually refers both to men
and women even if we use the expression to stress the adoption of male dress code
by women. Examples move from first ladies to heads of state and prime ministers,
from business women to emerging women in developing countries. The paper will
focus on the following topics: the symbolic representation of power through fashion;
the presence of women in positions of power; female power dressing in business and
politics.
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Abstracts
Paolo Marcoaldi
[email protected]
Architect and PhD in Architectural and Urban Composition. Among his recent
projects: the redevelopment of the showroom of the Aquilanti SPA Expò. From 2011
he teaches at the Faculty of Architecture of Sapienza University of Rome.
Language: Italian
“La pelle che abito”. Correspondence and Contamination between Fashion and
Architecture at the End of the Nineteenth Century
What are the origins of contamination and correspondences between Fashion and
Architecture? Habitus and Habitat are not just coatings or filters between us and the
outside world, but they are masks with which we show and send information to the
others. Following the socioeconomic upheavals arising from the Industrial Revolution,
any covering “bears the imprint of its occupant” (Benjamin). The definitive
hybridization between different artistic disciplines is realized with the Art Nouveau,
under the reforms of the Chicago School in America and William Morris in Europe.
Morris, in particular, was able to combine for the first time the figurative quality of
the handcraft production with the advantages of the industrial production. Inhabit
the body, inhabit the place, inhabit the world find in the Art Nouveau a common
aesthetic expression with many variants and names: Catalan Modernism in Spain,
Liberty in Italy, Jugendstil in Germany, Sezessionstil in Austria.
Valentina Mariani
[email protected]
PhD student in History of Europe at Sapienza University of Rome. She has
collaborated with the Institute of International Legal Studies of the CNR. She also
collaborates with the Historical Office of the Air Force and the Air Force Magazine.
Language: Italian
Haute Couture and Fiction. Fashion "Space" of the Sixties and the Seventies
After the World War II, society entered into an era of mass consume. The dynamics
of production were evident everywhere in the world of fashion. Technological innovations proliferated, accelerating the development of artificial fibers. As a result,
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there was the birth of the prêt-à-porter clothing, with low costs and good quality. The
Haute Couture, which until that moment was considered the highest model in the
field of fashion, no longer seemed able to offer good models for the lifestyle of the
population of the new era. In those years, new artificial textiles inaugurated a new
minimalist and futuristic fashion. Before the shocking affirmation of the miniskirt, a
feminine style based on pants made its way into the world of fashion. In the US,
jeans, a garment originally created for manual labor, became an informal leader for
men and women in the Thirties. This trend influenced high fashion and when Andre
Courreges presented in Paris, in 1964, a evening pants suit, the taboo against this
item of clothing in the haute couture was finally broken. Pantsuits became the topic
of the day.
Laura Mariottini
[email protected]
Researcher of Spanish Language and Translation at the Department of Political
Sciences of University Sapienza of Rome. She has a PhD in Synchronic, Diachronic and
Applied Linguistics with specialization in Spanish Linguistics, obtained at the
University of Roma Tre.
Language: English
Politeness and Impoliteness in Fashion Advertisements in Spanish Language
This study deals with discourse strategies used in fashion advertisements in Spanish
language. Specifically, the aim is to analyze politeness and impoliteness as
pragmalinguistic resources in order to convince the receipt to consume a product.
Politeness is defined as a human strategy (Mariottini, 2007) tending to maintain a
social equilibrium between the speaker and hearer faces (Goffman, 1981) involved in
a specific communicative situation. It is based on two empty categories, “affiliation”
and “autonomy” (Bravo, 2003; Bravo, Briz Gómez, 2004), to fill in each sociolinguistic
community. Within this theoretical framework, my aim is to examine politeness and
impoliteness strategies in a corpus of one hundred Spanish fashion advertisements.
Specifically, I analyze: in-group and out-group communication, compliments, facethreatening acts. Concerning the last ones, only in very recent times, some
researchers have explored impoliteness (Culpeper, 1996) as intentional strategy used
in order to reach a specific goal: among others, Alcaide Lara (2010) studied
impoliteness in advertisement; Brenes Peña (2011) examined impoliteness in TV
debates; Cuadros (2011) focused on impoliteness in open forums and SMS to TV
debates.
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Abstracts
Federica Maria Marrella
[email protected]
PhD candidate in Communication and New Technologies at IULM University (Milan).
After achieving a BA degree in Communication and Management of the Markets of
Art and Culture at IULM she obtained an MA degree in History of Art at the Catholic
University of Milan in 2012.
Language: Italian
The Iconography of Women in Contemporary Fashion Photography. Aby Warburg,
Media, Erving Goffman and Contemporary Society
In the history of fashion photography the images of women have constantly been
anchored to a limited number of archetypes. According to Federica Muzzarelli (2013)
these archetypes include those of the androgynous woman, of the exotic woman and
of the femme fatale. Although they can be traced back to ancient myths and
observed throughout the centuries (L. Nochlin, 1999), these archetypes acquired
distinctive iconographic shapes in the late nineteenth and early twentieth century.
But are we sure that these archetypes are all the archetypes of the modern women?
My research will analyze the different archetypes and “Fashion Bodies” (R. Grandi,
2001) in the Fashion Advertising Campaign during the years 2010-2015, in order to
discover the new ideal women in fashion photography and contemporary image
iconography. As Aby Warburg’s achievements have shown, in order to be aware of
the role played by a specific iconographic custom in contemporary society it is
important to trace back its tradition. The method can certainly also be applied to the
image of woman in contemporary society. In this particular case, it would be relevant
to study how fashion photography has changed the representation of women. Does
the medium used affect the social significance of images? Has the so-called lo-fi,
digital media and the subsequent “Democratization of Fashion” (N. Barile, 2012),
changed women’s iconography and experimented new styles? What are the new
female archetypes used in the contemporary fashion advertisements? What can we
discover looking at the Fashion Brand Advertisements, starting from the E. Goffman
work (Gender Advertisements, 1976)?
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Vanessa Martore
[email protected]
Graduated in Foreign Languages and Literatures at the University of Rome, with a
thesis on the relationship between the Hungarian artistic and literary avant-garde
movements and the cultural policy in the period of Kàdàr. She has worked as a
translator and Italian language teacher.
Language: Italian
The Secret History of the Soviet Fashion. Industry of Fashion and Society under the
Communist Regime in Eastern Europe
Throughout the twentieth century, changes of Western fashion were studied and
analyzed in detail, but there were many who have stopped to think that at the same
time, even in the communist bloc, there was an industry of fashion with rules and
values. The idea of fashion under the communist regime evokes images of old sad and
gray uniforms. But if one investigates more in details it turns out that the official
report of fashion with the regime has not always been the same over time: from an
initial total refusal it came to a progressive consumption in the following decades,
although increasingly controlled by an omnipresent state and the state’ women’s
press. If we take a look back to the beginning of the century, we note that since the
first years after the Russian Revolution of 1917, on the one side, propaganda posters
showed fertile women with simple peasant clothes advancing towards a socialist
future, on the other a current avantgarde promoted an ultra-modern fashion, based
on geometry and constructivist art. Later, in the Stalinist period, the clothes had
become part of the official myth: all women should have access to fashion. It created
the Modelei Dom (House of Prototypes) to whose inauguration also the Italian Elsa
Schiaparelli assisted. She designed a simple line suitable for the Soviet woman, ideal
for mass production, which had never materialized because the authorities
considered it too common! At the same time, magazines promoted sophisticated
models that never arrived in stores. From the seventies there was a change worth
noting, first in Hungary, where political leaders collaborated with the famous
American brand Levi Strauss Co. All this was to express political and cultural
pragmatism and to increase the quality and progress of the Hungarian economy.
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Samantha Maruzzella
[email protected]
PhD student in History of Europe at Sapienza University of Rome. She is currently
working mainly on the history of fashion, focusing on the contribution that some
relevant female figures, as Christina of Sweden, Catherine de 'Medici and Rosalba
Carriera, made.
Language: Italian
Piavole de Franza: Venice Invents the Sartorial Dummy
While the role of fashion in the construction of society and the European culture has
been recognized, there are still spaces and realities that deserve to be researched:
among them, often forgotten or considered unreal, the “poupées des modes” have
played a key role as a vehicle for the transmission of fashion. The first poupée that
that has been reported goes back to 1398 when the Duchess Isabella of Bavaria sent
it as gift to the Queen of England. But the archives of the various Italian dynasties
preserve many documents which demonstrate that these dolls, whose main function
was to represent fashion from one country to another, were often part of the kits of
princesses and gifts received both from other rulers or princes who aspired to take
their hearts. There are numerous examples, in the archives of the families, of the
purchases of the dolls, such as those given as a gift by the Duchess Anne of Brittany to
the Queen of Spain, or those of Charles V or even those that Henry IV used to win the
love of Maria de’ Medici.
Chiara Mastromonaco
Language: Italian
Case Analysis of the Working and Teaching Method of the “Visual e Retail”
The fashion product comes from the desire of the individual to assert his/her identity
within a community or society. For the customer it has a meaning that goes beyond
its functional characteristics and is a tool used to communicate his/her way of living
and being. The changes in the market, more and more fragmented and volatile,
together with the increase of competitiveness, have made the strategic marketing
assume an ever more critical role in an industry where art is central. The activity of
Visual Merchandising has changed its nature too. No longer tied primarily for
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Communication and Promotion Point of Sale but aims to communicate the imagery of
the brand.
Alison Matthews David
[email protected]
Associate Professor in the School of Fashion at Ryerson University and Graduate
Program Director of the Master of Arts in Fashion. Her current research project
examines how fashion harmed its makers and wearers and includes a co-curated
exhibit at the Bata Shoe Museum in Toronto entitled Fashion Victims: The Pleasures
and Perils of Dress in the 19th Century (June 2014-June 2016).
Language: English
Historical Fashion Under the Microscope: The Science of Dangerous Dress Past and
Present
Many cultures and historical periods have ‘poison garment’ legends. Yet there was
renewed cultural interest in the classical myth of the Cloak of Nessus, the tunic that
killed the Hero Herakles, in nineteenth-century Europe. A combination of factors
generated fear of deadly garments, spurred by real cases of clothing that transmitted
contagious disease, leached chemical toxins, and caused deadly fire accidents. A new
secularism saw religious moralising against ‘sinful’ fashions supplemented by medical
knowledge: nineteenth-century dress was not only bad for the immortal soul but for
the mortal body as well, and doctors and chemists were determined to discover the
scientific origins of the problem. One of the root causes was that the democratization
of fashion was that their scientific and industrial colleagues put novel chemical and
technological innovations in the production and dyeing of textiles on the market
before their hazards were fully understood. These changes outpaced medical
knowledge, creating a situation that was dangerous for producers and consumers
alike. This paper explores the race to invent and market new products and followed
by the often heroic efforts of doctors, chemists, and forensic experts like William
Hoffmann and Henry Letheby, who attempted to detect and solve these sometimes
deadly health problems. Case studies include the spread of diseases like typhus and
anthrax through the circulation of clothing between social classes and across national
boundaries, the invention of bright, popular new green, purple, and red pigments and
dyes using poisonous arsenic, and the introduction of ‘immaterial’ materials like
mechanical tulle into the female wardrobe, literally sparking fires and spurring early
efforts at chemical fireproofing. This paper explores the historical roots of these
problems and the role science and medicine played in their regulation, as well as the
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collaborative work I undertook with Physicists and Museum Conservators to apply
contemporary scientific techniques like X-Ray Fluorescence Spectrometry to detecting
the surviving traces of these dangers in a range of historical museum artifacts.
Paolo Meroni
Professor of Brand Marketing and Financial and Control, he participated as a lecturer
at seminars and university courses at national and international level. In 2012 he
supervised the courses development for Istituto Marangoni Paris, London and
Shanghai Campus as group academic coordinator and the new start up design School
Marangoni in Milan. Since 2012, Paolo Meroni is member of the Higher Education
Academy.
Language: English
Fashion Ethics: A New World Focused on Dignity and Responsibility
The paper aims to identify the main actors of the ethical vision in the fashion world
for spring summer 2015 and fall winter 2015-16 seasons. The development of
consumers awareness of the environmental and social issues pushes the attention of
the fashion companies to creating products that enhance the intrinsic values of
respect for human dignity and the environment. This attention is experienced not as a
burden by businesses, but as a valuable contribution to the sustainability and ethical
progress of society.
Ana Maria Moisuc
[email protected]
PhD student at the Faculty of History, of the University “Alexandru Ioan Cuza”, Iasi,
Romania. The graduation paper and master thesis concerned the court clothes in the
Romanian Principalities (fourteenth-seventeenth centuries); she has pursued the
same theme in her PhD dissertation.
Language: English
Court Clothes in the Romanian Principalities – the Sixteenth Century
During the Middle Ages, the taste for beauty, luxury and greatness manifested itself in
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all aspects related to daily life. This was the period when, in order to consolidate their
position, to state their power or to emphasize their glory, princes used a wide range
of rituals. In this sense, a fundamental role was played by refined clothing. By
combining the finest fabrics, by matching colors, by using original embroidery and
motifs (all of which were highlighted by the sparkle of precious stones), an exquisite
outfit provided refinement, greatness and status to the owner. Over time, the court
clothes worn in the Romanian Principalities suffered several alterations. Therefore,
during the sixteenth-seventeenth centuries, the dress code was influenced mainly by
the Byzantine and the Occidental fashion, but also by the Oriental fashion (for the
first time). In this paper, I aim at analyzing the dress code for galas specific to the
sixteenth century. I propose the following objectives: presenting the court clothes,
pinpointing the main clothing influences and the new customs adopted, and outlining
the main fabrics used for manufacturing court clothes. I decided to study this century
because the court clothing style preserves characteristics of the fifteenth century, but
it is also surprising, in terms of richness and beauty, reason for which it is called “the
century of pearls.”
Roberta Montagna
[email protected]
Master degree in Politcal Science at Sapienza University of Rome. Advanced Course in
Diplomacy and International Studies at the Institute of European Studies in Turin.
Language: Italian
It is Not a Simple Bag. It is “Kelly”
One of the objects of worship in fashion is the bag “Kelly” of Hermes, a brand without
equal and a timeless style. The Petit sac de voyage à courroies pour Dames, born as a
bag for jockeys and riders to hold saddles and bridles, today is a bag of small size,
convenient and discreet, sober and modern, chic and youthful, that shaped the new
life style (in the 1930s) that Western women, dynamic and enterprising, have
managed to win. It will be a particular woman, twenty years later, to transform this
simple bag in a myth, delivering it to the history of fashion renamed with its own
name. The association of the bag to the beauty and elegance of the Princess of
Monaco makes her famous all over the world so as to baptize the bag with the name
“Kelly”. Today, eighty years after the birth of the most iconic of bags, the fashion
house Hermes keeps it perfectly intact and unchanged.
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Maria Teresa Morelli
[email protected]
Phd in Political Thought and Communication in History. She collaborates with the
Chair of History of Politcal Istitutions at the Department of Political Science of
Language: Italian
Male Fashion of Naples of the Nineteenth Century and the Influencesof English
Fashion
In the twentieth century Naples was considered a center of European elegance.
Serafini, De Nicola, Morziello, Gallo, Blasi and then Rubinacci, Balbi, Piemontese,
were just some of the names of the most famous tailors. Gennaro Rubinacci, for
example, opened the 'London House', first in Chiaia Street and then in Filangieri
Street. Eugenio Marinella opened two ateliers and went to London to meet his future
suppliers. His shop soon became a little piece of England in Naples, offering a wide
range of exclusive products from London. During the eighties, the President of the
Republic Francesco Cossiga became an “ambassador” of the brand Marinella bringing
during the official visits to the heads of state, a box containing five Marinella ties as a
gift.
Vivian Yoshie Martins Morizono
[email protected]
Master’s Program in French Literature in the University of São Paulo since 2013. Her
research interests include French and Brazilian literature, journalism, fashion, social
traditions and the salons.
Language: French
The Tropical Belle Époque’s Fashion in the Social ArPcles by João do Rio
The end of the nineteenth century and the beginning of the twentieth in Brazil was
called by some historians as the Tropical Belle Époque (Needell, 1993). This period, as
in France, was characterized by the recent changing not only in the city, the
commerce and the constructions, but also in the social and cultural life of the whole
population. In this context João do Rio, an important Brazilian journalist and writer,
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published multiple articles in the newspapers, showing the habits and the costumes
of Rio de Janeiro’s elite. The purpose of this presentation is to show how the writer
portrayed what he used to call the frívola-city, the charming people (Rio’s elite) and
the Belle Époque's fashion. Furthermore, it will be introduced the writing style of this
author, which includes irony and a mixture of real and fictional characters to expose
his opinions and to advise women and also men on this new society. With this in
mind, the analysis was carried out by the examination of some chosen articles of the
author, written with the pseudonym of José Antônio José for the magazine A Revista
da Semana and the newspaper O Paiz, in 1916. Presumably, the fashion, considered
as art, assumes different roles for João do Rio: it is important to know how to dress
for the salons and for the Central Avenue, le trottoir-roulant of the social celebrities,
even if it means following or copying the Europeans’ fashion and lifestyle.
Raffaella Morselli
[email protected]
Chair Professor of Modern Art History at Università di Teramo, where she also leads
the Department of Artistic Communication. She wrote more than 400 essays and
books on artistic patronage in Mantova and Bologna, on the history of collecting and
social economic history of art of the seventeenth century.
Language: English
Becoming the Duchess of Lorrain: Margherita Gonzaga (1591-1632) and her Bridal
Wardrobe
The series of Margherita Gonzaga’s portraits painted by Frans Pourbus the younger,
court artist at the Gonzaga rulers between 1600 and 1609, allow us to make some
observations on fashion, symbols, and the art of portraiture in the first decade of tje
seventeenth century. In particular a portrait of Margherita Gonzaga on the day of her
marriage on April 24, 1606 in Mantua (formerly Weiss Gallery, London) tell us a story
about the commission and the strong relation with the destiny of the young lady. The
painting itself is a flag for the social art history at the court in Europe.
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Giovanna Motta
[email protected]
Full professor of Modern History at Sapienza University of Rome. She deals with the
processes of transformation of European society with particular attention to the
modernization of the economy in the Flemish area, Mediterranean dynamics, social
mobility and gender history. She directed numerous interdisciplinary and
international projects. She coordinated and is still the Scientific Director of the PhD in
History of Europe at Sapienza University of Rome. She also is Scientific Director of the
Center for Studies and Research on Azerbaijan, and Scientific Director of the project
History Fashion Communication.
Garments of Cards and Porcelain. The Art of Manifacture and the Factory of Luxury
Language: Italian
The paper proposes the analysis of the garments of playing cards and figurines of
Meissen porcelain as a specific interpretation of the society of Ancien Regime.
Through the playful dimension and after the invention of the European porcelain by
the alchemist Böttger, it is possible to follow the signs that expressed the modern age
in a continuous mixture of tradition and change. On the playing cards as well as on
the Saxon statues, clothes follow shapes, colors, codes, adapted to the values that
have emerged in each era.
Giuseppe Motta
[email protected]
Assistant Professor at Sapienza University of Rome, where he teaches Eastern
European History and Modern History. Expert in the study of national minorities and
their rights.
Language: English
Fashion and Art Nouveau. Social Changes and Innovations
The contribution will take in consideration the aspect of fashion in the period
between the nineteenth and twentieth centuries, in connection with that important
artistic phenomenon which has been called Art Noveau, Secession or Liberty. The age
of Belle èpoque has proposed a whole of important changes and innovations that are
reflected on arts, economy, politics and society and naturally on the sphere of
fashion. Clothes, tendencies, accessories show us the transformation of a world that
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was inevitably addressed towards modernity and fashion testifies this passage, which
was particularly evident in the image and the role of women on social occasions
(concerts, parks, theatres) but also in a simple walk in the streets.
Martina Musarra, Fabrizio D’Ascenzo, Giuliana Vinci
[email protected]
Martina Musarra (speaker) is a PhD candidate in Management, Banking and
Commodity Sciences at Sapienza University of Rome, Faculty of Economics.
Language: English
Green Innovation in Textile Sector: The Bamboo
Textile sector in the last decades has changed its structure, by implementing the
sustainable way of production with the usage of natural fibres, sensors and
biotechnologies. Ecological qualities in the sector are increasing, due mainly to the
attention addressed to the environment and the role of the social responsibility
implemented in the companies. A fundamental role is played by innovation in the
textile sector for ecological improvement, in order to reduce the greenhouses gas
emissions and the usage of the resources employed in the production processes. The
most natural material used in this sector is the bio-cotton, but in the recent 15 years a
new, innovative and natural material has become to be utilised for the production:
the bamboo. This fibre is natural, breathable and biodegradable (Afrin et al., 2014),
and has been introduced in the Italian industry districts. The advantages of the
bamboo concern its fast renewability, its biodegradability, its efficient space
consumption, its low water use and its organic status (Coster, 2007). However, there
are also some constraints, which deal with costs and the resources employed in the
transformation process (energy, water and chemical requirements). This study
provides the strengths and the weaknesses of this new material, in order to outline
an evaluation of the life cycle of the bamboo and to analyse the employment of this
natural resource in the Italian industry. It will be interesting to examine how the
innovation generated by the introduction of a new material can change the
production of Made in Italy, by maintaining invariable the quality.
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Maria Giuseppina Muzzarelli
[email protected]
Full Professor at University of Bologna, she teaches Medieval History, History of Cities
and History of Fashion and Costume. She deals with History of society, of culture and
mentalities.
Language: Italian
Fashion and History: Five Topics
Fashion has a different history in every country and is deeply linked to social,
economic and political matters. Thus, fashion represents an idea of society that it
helps to achieve. But fashion is also made up of many stories: of individuals, groups,
development of thought, geographical discoveries. Finally, reflection on the history of
fashion is a way to shed light on some important political and cultural moments
(between the thirteenth and fourteenth century, between the fifteenth and
sixteenth, but also between the nineteenth and the twentieth century) in which
fashion and discourse on it have been able to impact on history.
Gabriele Natalizia, Piero De Luca
[email protected]
Researcher in Political science at Link Campus University of Rome. He obtained his
PhD degree in “History and Formation of Political Processes in the Contemporary
Age” at Sapienza University of Rome, where he is Adjunct Professor of International
Politics and member of the “CEMAS” Research Center.
Lingua: Italian
Geopolitics of Made in Italy
The international status of every country is measured with its power. This concept is
not univocal and results by different indicators, usually distinguished between hard
power and soft power. Hard power is the capacity of a state to influence the behavior
of the others in order to obtain the outcomes it wants. It can compel them with
threats (power of coercion) or induce them with payments (power of corruption).
Soft power is the ability of a state to lure and co-opt the others to want what it wants
(power of suasion). According to Joseph Nye, a country’s soft power rests on three
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elements: “its culture (in places where it is attractive to others), its political values
(when it lives up to them at home and abroad), and its foreign policies (when others
see it as legitimate and having moral authority)”. Within the sphere of the first there
are the fashion system, the food culture and the life-style, which can be included in
the geopolitical strategy of a middle power as Italy. This study will try to show where,
how and with which outcomes the soft power of “Made in Italy” works.
Luz Neira
[email protected]
Graduated in Visual Arts and got her PhD in Art History. The subject of her thesis is
about nationalism in Brazilian textile design and the British influence over it. Her
research activity is focused in “Textiles: Design and History” in Brazil. She is a lecturer
in a graduate curses in Fashion and Textile Design and at present is working at
Universidade Anhembi Morumbi.
Language: English
The Style History: An Inner Approach
The studies that form the basis of historical research into fashion have turned to the
social and economic background to explain the adoption and changes of styles and
tastes. This perspective lays stress on the user-contextual relationship and fails to
address the question of establishing aesthetic parameters, since these, as stipulated
in the former statement, result in a production-contextual relationship. Thus by
adopting a historical “inner” approach, which is based on a theory and criticism of
the arts and visuality, rather than the “external” approach, which is grounded on the
idea of conditioning factors sets out from a number of different aesthetic reflections,
this paper aims to explain how to formulate some of the models that were designed
to be spread through society in the form of “fashion”, from the mid-nineteenth to the
mid-twentieth century. This argument is supported by examples such as decorative
fabrics and clothing, since these were the main products of the fashion industry and
largely responsible for the notion of the seasonal changes and individuality. When
analyzed in their space-time, they demonstrate some of the main criticisms of the
arts, architecture and design. This is the case from the criticism of industrialization
encouraged by the Arts & Crafts movement, going on to the adoption of modernity
practiced in the Wiener Werkstätte or the Bauhaus, and finally by means of theories
of perception (Gestalt and Arnhein). In this way, an attempt was made to combat,
neutralize or be linked to technology and now this stance is present in fashion. By
noting a production-contextual relationship, it is possible to be aware of how this
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process, as well as common aesthetic parameters and different languages grounded
on different forms of fashion, has helped create a new vocabulary for describing
visuality and led to the definition of new concepts of style.
Bruna Niccoli
[email protected]
PhD and Professor of History of Costume and Fashion at University of Pisa. She is
involved in the promotion of the studies on fashion with her activity in MISA
(Associazione italiana degli Studi di Moda).
Language: English
The Art of Costume. Italian Creativity for Theatre and Film
This paper discusses some of the ways in which the Art of Costume has designed and
later produced technically quality artefacts creating spectacular masquerades in Italy.
During the twentieth century in Europe, costume has represented a cultural
expression pertaining to multiple national identities. The topic of how certain items of
costume came to signify the “Made in Italy” is discussed within a discourse of
national identity, and the context of historical and cultural events. The specificity of
the Italian costume for the stage is described by the important historical
reconstructions carried out from the 1930s. From the 1960s, costume represents one
of the most celebrated expressions of Italian design. Italian couture obtains
international recognition. Italian literature focuses mainly on the history of the major
couture-houses, and analyses the costumes made for the performing arts, films and
authors. We will focus starting from the Italian collection Cerratelli Foundation (Pisa)
which counts 30,000 stage costumes (realized between 1914 and 1995 for
international stages) and can therefore scientifically represent a complete typological
survey of the subject. The following step will be a critical comparison with the most
important Italian examples: supremacy in the field of period costume today belongs
to Tirelli, who has created costumes for the most important international film
productions; for the theatre we will also note the major archives (La Scala, San Carlo
and Opera Roma). This paper aims to set the study of stage costume not only in a
national network of scientific references, but also to confront it with other European
examples (France, United Kingdom, Spain).
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Marzia Nocilli
[email protected]
PhD student in History of Europe.
Language: Italian
Italian experience for an Ethical Fashion
The fashion industry in Italy is a productive sector that, in economic terms, has a
market share of about 4% of total GDP. The textile industry, before others, attempted
to reshape its standards to become more competitive, in terms of time and of labor
costs in a global market. These factors have contributed to the birth of a movement
to raise awareness for an ethical fashion, that is for a production model capable of
harmonizing the various aspects that contribute to the creation of the final product.
To this end, we need a series of interventions aimed at the realization of an “ethical”
production process able to comply with the proper conduct of activities, such as the
protection of child labor, improving the environment for the health and safety of
workers, attention to the supply of raw materials, commitment to production phases
as the most polluting dyeing, tanning, sandblasting, disposal. With reference to the
Italian situation, taking account of the campaigns carried out, emerges the experience
of companies that have proved willing to build, with their behavior, a new idea of
fashion.
Valeria Nofri
[email protected]
Graduated with honors in Science of Fashion and Costume at Sapienza University in
2013 and is now a PhD student in European History at Sapienza University with a
project that deals with Cesare Vecellio, the author of the first costume history in
1590.
Language: Italian
Kitsch’s Aesthetics: From Versace to Prada
As it is usually stated today: everything is trendy (vogue); we no longer have to follow
the style rules of a limited group of designers, there is no longer one single and
dictatorial trend for the next season. This tendency, whatever positive or negative,
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has certainly allowed the kitsch to spread, in the most literal meaning of the term.
Kitsch comes from the German word ‘kitschen’ that means “concoction”; in the
common use kitsch is used as a synonym for bad taste, or trash. Actually this term
emerged to define an in fieri phenomenon during the fin de siècle society: the birth of
mass art, due to the evolution of technology, thirty years later analyzed by Walter
Benjamin through the study of the concept of mechanical reproduction. The aim of
the kitsch is to satisfy a massifying aesthetic need tracing the mechanisms of goods
market and with the debasement of the original. According to this definition of kitsch,
one could wonder: is every Zara dress that takes inspiration from, or better that
copies, the last prêt-à-porter fashion show kitsch? Actually yes, according the original
sense of the word. But this is only one side of the coin, the other side is about the
common use/abuse of the word: kitsch is a person with bad taste that makes
excessive choices about his dresses, kitsch is a provocative dress full of sequins and/or
plumes, kitsch is a very flashy and brighty accessory. In the common language the
disparaging meaning of this term is the only one recognized and it is used to describe
stylistic research, that in fact is much more deep and constructive.
Rafał Ojrzyński
[email protected]
PhD candidate in History of Europe at Sapienza University of Rome and at the
University of Warsaw.
Language: Italian
The Color Blue in the Medieval Liturgical Vestments - Fact or Fiction? An
Iconographic Analysis
The canon of liturgical clothing colors of the Latin Church in the Middle Ages was not
established (this has happened only at the Council of Trent). In the treatises on the
liturgy of the time among the various indications on the subject of color, there is also
an order that prohibits the wearing of blue robes. However, in the miniatures of the
medieval codices there are quite often depictions of priests dressed in blue. What can
be the reason for this discrepancy?
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Cristina Oliva
[email protected]
Student in Science of Fashion and Costume at Sapienza University of Rome.
Language: Italian
Female Emancipation through Lingerie. The Revolution Made with the Silk
Stockings
The race to the conquest of women's rights was revealed in the course of the
twentieth century, in the phenomenon that sees women freed from the weight of the
fabric. The aim of this paper is to analyze the female emancipation focusing,
specifically, on lingerie and the stockings. From silk to nylon, to pantyhose, stocking is
a key garment for the analysis of a social process still in progress. The analysis starts
from the Belle Epoque marked by a change of taste, then going through the years
when the lingerie becomes seduction, until our new century.
Iulia Alexandra Oprea
[email protected]
PhD Candidate in History of Europe, Department of Political Sciences at Sapienza
University of Rome, where she is conducting her reseach on the subject “Identity and
Alterity in Contemporary Turkey”. Her main research interests are: imagology studies,
Turkish identity politics, history of Turkey, minority issues, Kurdish question,
multiculturalism, Islamic movements and secularism.
Language: English
Turkey’s Headscarf Issue Unveiled: Fashion, Politics and Religion
Tradition and modernity; religion and secularism; unwritten conventions and
defiance; change and continuity; trends and anti-trends; headscarves and mini-skirts;
competing identities that seemingly exclude themselves. Briefly, Turkey is the land of
contrasts reflected in almost every aspect of life, from politics to one’s spiritual and
religious choice, including even apparently neutral fields such as fashion. “Clothes do
not make the man” is a generally accepted truth, yet in Turkey clothing can provide
information not only about the social status, but also about the religious thinking and
political orientation of a person. Fashion, especially women’s clothing, has been
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playing a central role in Turkish politics. From Atatürk’s dress code, which encouraged
Turks to adopt European clothing instead of the Ottoman fez and the Islamic veil – a
measure supported by the state-owned clothing industry – to the headscarf
“revolution” and the controversial veil ban of the 1980s, from the emergence of the
Western-inspired shopping malls overloaded with European-style clothes to the
opening of their Islamic counterparts, promoting modern, fashionable ways of
covering – respectively the so-called türban, available in many colours and various
forms, unlike the traditional çarşaf worn in rural areas, as well as the recent lifting of
the veil ban and the political debates focusing on the headscarf, we can notice that
both politics and religion has exerted influence on Turkish fashion trends, challenging
at the same time the Turkish identity, belonging and even the definition of
secularism. While, according to the Kemalist elite, the veil ban was meant to preserve
the secular nature of Turkey, by excluding religion from the public sphere, the
conservative elite considers that the ban has violated the freedom of conscience and
religion, being therefore anti-secular. Fashion trends in Turkey carry multiple,
sometimes contradictory, significance, providing information about the identity of
their followers.
Assia Federica Orneli
[email protected]
Master degree in Fashion and Costume Science at Sapienza University of Rome.
Language: Italian
History of Costume and Society in Cinema. The Case of “The Great Gatsby”
From a careful analysis of the four cinematic representations of the masterpiece by
the American author F.S. Fitzgerald, “The Great Gatsby”, we can follow the radical
changes and the evolution within customs, history, cinema and society, through four
epochs that are very different. In fact, the four films, although placed in the Roaring
Twenties, were under the influence of the changes in society, interpreting subjectively
the habits and customs of the era in which they were filmed. The paper analyzes,
then, the film versions of the work of Fitzgerald in the following periods, 1926, 1949,
1974 and 2013.
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Paola Panarese
[email protected]
Researcher of Sociology of Communicative and Cultural Processes at Sapienza
University of Rome and Assistant Professor of Advertising and Integrated
Communication Strategies for the Faculty of Political Science, Sociology and
Communication of La Sapienza
Language: Italian
Slow Motion: Images of Women in Vogue’s Fashion Advertisements over the Last
Fifty years
Numerous studies (Bourdieu, 1979; Edgell, Hetherington, Warde, 1996; Kirkham,
1996; Ames, Martinez, 1996; Dholakia, 1999; Commuri, Gentry, 2000; Gunter,
Furnham, 1998) indicate that purchasing decisions and consumption practices help to
express (and generate) masculinity and femininity. As one of the most visible forms
of consumption, clothing performs a major role in the social construction of gender
identity (Crane, 2000). Moreover, as an engine of consumption, advertising has an
important function in promulgating gender roles and prescribing sexual identities
(Schroeder, Zwick, 2004). The paper regards women portrayals in Italian fashion
advertisements. International studies on gender and advertising date back to the
early seventies and cut across various disciplines, such as sociology (Goffman 1976),
mass communications (Busby 1975), feminist theory (Barthel 1988), critical theory
(Williamson 1978), and marketing (Courtney, Lockeretz 1971). After an extensive
scientific production, the academic research effort on this topic has slowed. To
resume the discussion, update the classical findings, and re-examine in a critical
perspective the concept of media representation, we studied the old issue of gender
in advertising, focusing on the print representation of women (in the Italian Vogue
magazine), and analyzing female bodies, roles and intra-gender and inter-gender
dynamics, over the last fifty years. We used the content-analysis, considered as a mix
between the Berelson’s "classical" approach (1952) and the analysis as investigation;
then we carried out a qualitative research (based on the visual analysis) of some case
studies.
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Rudi Papa
[email protected]
PhD candidate in History of Europe at Sapienza University of Rome. He collaborates
with “Istituto Luigi Sturzo” and “Osservatorio sulle Strategie Europee per la Crescita e
l'Occupazione (OSECO)”. He is member of the European Press Federation (EPF) and
the European International Studies Association (EISA).
Language: English
Communicating Fashion through Digital Media. New Interactive Ways to Improve
Creativity
Since 1999 the first attempts to bring fashion into the digital environment has
changed the visibility of different fashion brands. The fashion system interacts with
the aesthetic aspects of the digital world and the fusion of stylistic and creativity work
using digital media technologies. The interaction between the technical branch as
creative web design and the digital imaging produces a new technological fashion
content. The article examines the tools that are used to create a new way to
communicate fashion and its aspects .These tools should be considered as a narrative
space where to stage not only products but especially interactive fashion. Interactive
TV is as a multidimensional platform for multimedia content based in a hypertext
structure for the fashion, allowing to get in touch and have relations between the
final user and the fashion world. The article concludes by giving an overview of the
new digital society that will be more and more interactive and technological, giving
the opportunity to share knowledge and creativity in a natural way without losing
value and content.
Magdalena Pasewicz-Rybacka
[email protected]
PhD student at the Univeristy of Gdansk, Poland, with a Master’s degree in History.
Her research focuses on a role of fashion in post-war society, especially during
Stalinist regime. Her doctoral work concerns the functioning of fashion in the Polish
totalitarian system.
Language: English
Dress of a New Man. A Concept of Socialistic Fashion in People’s Poland in the Early
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1950s
After the Second World War communist authorities behind the Iron Curtain, also in
Poland, started to construct a new order in opposition to the “imperialistic West”.
Along with a resurgence of the society communists had to determine their attitude
towards various areas of daily life, including fashion, which was regarded as a part of
bourgeois culture. The post-war fashion in People’s Poland referred especially to
foreign models, mainly coming from the USA. In order to discourage people to
replicate them, the authorities created an image of “irrational capitalist fashion”
based upon “class exploitation”. This concept was contrasted with a vision of
socialistic fashion, which evolved in the spirit of nation and corresponded to the
working class’ actual needs. A system of guidelines for proper models was established
by the Institute of Industrial Design constituted in 1950. According to a principal of
common equality, new socialist clothing had to be plain, uniform and sober. Creating
precise and rigorous guidelines for fashion had a few purposes. It emphasized
differences between Western and Eastern society and facilitated to control the
national economy. But the most important aim was to create a New Man – a basic
part of Stalinist utopia. A New Man was shaped in every respect according to the
requirements of the regime and was a symbol of a new socialist order. The paper
examines the problem of socialist fashion in People’s Poland during the Stalinist
period (1950-1956), its connections with the official propaganda and the desired
external appearance of a New Man on the basis of the “Institute of Industrial Design
Bulletins”, the press and politicians’ speeches.
Justyna Pawlowska
Language: Italian
Fashion Forecasting e Coolhunting: Case analysis of the Free Lance Work and
Teaching “Trends - Cool hunting”
With the birth of the pret-a-porter and with the democratization of fashion activity,
fashion forecasting became a necessity for fashion companies, without which one
cannot follow the requirements of the market and consumers that increasingly
multiply and diversify. The forecasting of trends consists in preparing the trendbooks,
identifying materials, colors, lines and shapes emerging for the subsequent
collections. The search has two fields of observation: the first takes place within the
fashion system and its supply chain by creating trends from above (trickle-down) and
the second by observation of what happens to “road trying to figure out in advance
the changes in styles of consumers (bottom-up)”. The Cool Hunting is born within the
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fashion system and converges at many points with the activities of Fashion
Forecasting although its research field is much broader. While the fashion forecasting
is an internal system to the fashion industry that seeks to identify trends in color, cut
and fabric, coolhunting tries to incorporate the social trends related to lifestyle and
with all the trends that are born out of the fashion system and which is not only the
clothing.
Stefano Pelaggi
[email protected]
Phd in History of Europe at Sapienza University of Rome. His research interests mainly
focus on Italian emigration abroad, analyzed from an historical and sociological
perspective. He is currently Deputy Editor of the newspaper The Italian, published in
Buenos Aires and addressed to the Italian community in Argentina.
Language: English
Italian Emigration and the Dress in the Americas from the End of the Nineteenth
Century to the Spread of Made in Italy
The paper focuses on the analysis of the relationship between clothing and Italian
emigration from the last decade of the nineteenth century until 1960. The
descriptions of arrivals in the Americas by the local press, the iconographic collections
of Italian emigrants and letters exchanged with the the mother country are the
primary sources used in the research. Restrictions on direct migration flows from Italy
to North America between 1890 and the beginning of the First World War led to
more stringent measures, not only related to health and linguistic issues but also to
appearance. Many guidebooks and brochures focused on emigration started
suggesting that a new dress should be worn for landing at Ellis Island and the
chronicles of departures in those years always included the presence of a dress
specially packed for the occasion. Other cases will be analyzed as the Borsari
Expedition in Patagonia in 1948 where migrants came off the ship with US Army
uniforms, reflecting the colonial aspirations behind the expedition itself.
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Domenico Pellerito
[email protected]
Master degree in International and Diplomatic Sciences at University of Trieste. PhD
student in History of Europe at Sapienza Uniersity of Rome.
Language: Italian
“Not a Step Without Baťa”: From Zlín to the World
Footwear is a product of our ingenuity since nature did not provide human beings
with extra foot protections; in addition to this, shoes go beyond their functional
applications becoming an object of power, beauty and art. Whether an essential
means of protecting feet, a practical accessory to perform tasks more effectively or an
object of fashion and a sign of status, shoes are linked to our identity throughout
history and tell who we are, what we do and where do we come from. Shoe making is
in fact one of the world’s oldest profession and shoemakers, as individual artisans,
were the only source of footwear for ages. It was only in the middle of the nineteenth
century that mechanisation was applied to this job resulting in the expansion of the
shoe industry. Following the wave of industrial development, Tomáš Baťa, a Czechborn shoemaker coming from a family of cobblers, would be an innovator in his field,
applying American and German models of production to his business, in a country,
Czechoslovakia (but the Czech lands in particular), which has been recognised by
post-Communist historical revisions as a dynamic centre with a growing industrial
tradition during the interwar years. Tomáš’ mission, i.e. providing shoes for everyone
in the world, was primarily a social one and would still be remembered after his
death, which occurred in 1932. His merits consisted in shaping a progressive business
model and developing a new concept of organising human labour. The purpose of this
article is to tell the history of the Baťa concern and its gradual expansion around the
world, its achievements and crises, from its establishment in 1894 until the second
post-war period. The references used are based on monographs and archival sources.
Federica Perazzini
[email protected]
PhD in English and American Literature at Sapienza University of Rome where she
currently teaches several ESP courses (English for Fashion Studies) as well as English
Culture and Literature for Fashion Studies. She was visiting researcher at the Stanford
University (CA) and at the department of Digital Humanities of UCL (UK).
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Language: English
Blurring the Line: Fashion and Masculinity from the Great Renunciation to the
Metro-Sexual
As Jennifer Craik pointed out in her The Face Of Fashion: Cultural Studies In Fashion
“the discourse surrounding men’s fashion resolves around a set of denials”. It is not by
chance that one of the major turning points in the history of clothing, the Great Male
Renunciation, evolves around men capitulation to adornment and beauty in favor of
the new, sober monopoly of the suit. Across the decades, such a tendency of resisting
the idea of a male fashion as well as the display of a sharp disinterest in it have been
considered as weapons of patriarchal empowerment over women for through the
continuous recreation of feminine dress codes women were gradually assigned the
role of the fashionable gender stereotypically predisposed to an excessive interest in
their appearance. However, if it is true that power has always been associated with
the manly indifference towards clothes, it is undeniable that the whole XX century
has put such an assumption to the hardest test. Since when and how have men
become more and more concerned with their appearance? Why have they developed
awareness, when not an addiction to, fashion? The answer to these riddles can only
be accounted by considering some of the essential phenomena of the post-modern
world: the impact of youth cultures and sexual revolution on the relationship
between fashion and gender, the role of the visual imagery promoted by the media
(films, magazines, advertising, fashion photography) and the increased trade in
symbolic goods (branding). The aim of the following paper is therefore to analyze the
way fashion market has been blurring the lines between genders, playing with both
the notions of sexual identity and sexual orientation, queering the perception of
contemporary masculinity from the first countercultures to the latest “metro-sexual”
homoerotic imagery of the male fashion victim.
Isabella Pezzini
[email protected]
Full Professor of Philosophy and Linguistic Theories at the Department of
Communication and Social Research at Sapienza University of Rome, where she
teaches Semiotics. She was president of Associazione Italiana di Studi Semiotici, and
part of the board of Versus. Quaderni di studi semiotici and Lexia.
Language: Italian
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Fashion as a “Scientific Poem”: The Semiotic Work of Greimas and Barthes
This relation aims to explore the way in the history of Semiotics of the twentieth
century in which fashion is a privileged field of study as a crossroad between
diachrony and synchrony, between history and system. This is confirmed in the works
of Algirdas Julien Greimas, La mode en 1830. Essai de description du vocabulaire
vestimentaire d'après les journaux de l'époque (Paris, Seuil, 2000), and of the best
known Roland Barthes, Système de la mode (Paris, Seuil, 1967). They consider fashion
like a complex system that is fully functional in society, something to which everyone
is sensitive but not aware of its rules, just as happens with the language. In fact,
fashion is a very complex object, multifaceted, elusive, just as the language is, and
therefore seems to be the ideal ground to test the theoretical hypothesis formulated
by Ferdinand de Saussure, able to develop a more comprehensive theory of sign
systems on the model of the new structural linguistics. But what is even more
important today is the “invention” of fashion, what emerges from these works as a
new object of the analysis produced by the movement itself, which is structured in a
real “scientific poem”.
Valeria Pinchera
[email protected]
Associated Professor of Economic History at the Department of Economy and
Management of the University of Pisa. She deals with Economic History of Fashion.
Language: Italian
From Product to Brand, Dematerialization and Counterfeiting of the Luxury
Accessories
This paper presents a preliminary investigation into the counterfeiting phenomenon
within the handbag and leather goods sector, by examining the case-studies of the
two most well-known, and counterfeited, international luxury and fashion brands:
Gucci and Louis Vuitton. The market of counterfeited products recorded a marked
and constant increase on both an international and national level over recent years,
with a growth rate of 1,850% between the 1994 and the 2011 (Frontier Economics,
2011). The International Chamber of Commerce estimated that the quote of
international market of the counterfeit products accounts 7-9% of the overall world
trade. In 2015 Frontier Economics forecasts the global market value of the counterfeit
industry up to $ 960 billion. In the last decade practitioners and researchers of
different streams of social science such as economist, business economist, sociologist,
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law experts, economic and social historians have developed an increasing interest in
this subject (Staake, Thiesse and Fleish, 2009). These new researches contributed to
highlight the efficacy of a cross-curricular investigation in regard to the interaction
between trademark and counterfeiting in the long term (Belfanti, 2013). Through an
historical analysis and a multisciplinary (marketing and economic history) approach
this paper tries to identify the market evolutions and the competitive dynamics
within the industry that have favoured the development of the counterfeit
phenomenon in the last decades.
Alessandro Pistecchia
[email protected]
Member of UNAR, Ufficio Nazionale Antidiscriminazioni Razziali, Department for
Equal Opportuinities, Italian Presidency of the Council of Ministers. PhD in History of
Europe at Sapienza University of Rome.
Language: Italian
Cour des Miracles: Symbols and Costumes
The subject of this paper regards historical patterns of marginalized categories, such
as beggars and Coquillards, with a focus on techniques, habits and survival strategies
as available from specific literature, focusing on Rome. This paper thus reflects on the
current situation, including the analysis of contradictions and opposite stances
between welfare policies and repressive actions.
Daniel Pommier Vincelli
[email protected]
PhD in History of International Relations. He is Researcher and Professor of political
sociology at the Department of Comunication and Social Sciences at Sapienza
University of Rome. His fields of interest are: history of World Wars in Europe, History
of the Cold War and History of the Caucasus.
Language: Italian
The Organization of Consensus under Fascism and Nazism
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George Mosse’s studies about nationalization of masses approached the Fascist and
Nazi experiences in terms of symbolism, ritual, liturgy and style. With fashion as the
quintessential self-representation of style, this paper has the aim to analyze when
and how fashion and the use of clothes contributed to the development of what
Mosses called “new politics” as a distinctive feature of totalitarian European regimes
between the two World Wars. The ruling parties (NSDAP and PNF) in Germany and
Italy were modeled as modern militias and there was a use of party uniforms
(modeled on military uniforms after WWI) as self-representation of membership and
leadership. Mussolini and Hitler dismissed “normal clothes” of their civilian life, by
replacing them with self-styled party uniforms. The two dictators appeared as both
party and state leaders by wearing in different occasions, different uniforms. This
paper tries to find out if there was a coherent strategy of clothing in the image of
totalitarian leadership. There are other issues related to the relations between
fashion and dictatorships between the two wars. Were fashion and fashion industry
part of this process? How fashion contributed to the construction of consensus in
Italy and Germany? Was fashion a part of nationalization of masses?
Sabrina Pomodoro
Lecturer in Communication Strategies and Brand Management at Istituto Marangoni
– Milan Campus. She also teaches and makes research activity in Sociology of
Consumption and Advertising Strategies at IULM University in Milan, where she
earned her PHD in Marketing and Business Communication.
Language: English
Menswear and Womenswear Fashion Tales: Spring Summer 2015 Ready to Wear
Integrated Communication Strategies
The contribution adopts the perspective of brand management for investigating
spring summer 2015 ready to wear integrated communication strategies. Qualitative
content analysis methods are used for analyzing the degree of integration between
the seasonal aesthetic themes of fashion collections and the communication themes
used in their promotional activities, from teasers spread through web 2.0 platforms
before fashion shows to in store visual communication. Specifically, the research aims
at generating an in depth comprehension of the mechanisms by which creative
inspirations, color stories, material stories, prints, silhouettes decorations and other
aesthetic components of the collections become the key inspirational motive for
catwalk sets, advertising campaigns, fashion editorials, windows display and other
promotional initiatives.
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Francesco Pongiluppi
[email protected]
PhD research project history of Italian community in Turkey during the Twentieth
century. He conducted his researches and studied the Turkish language at Istanbul
University. He is currently a Visiting Student Research in the Department of History at
Boğaziçi.
Language: Italian
The Textile Sector in Italian-Turkish Relations: The Past and the Present
The Italian textiles have been famous since the Middle Age and Italian merchants
have established their emporiums around the Western Mediterranean region through
the commercial activities of the Maritime Republics. This connection grew during
centuries and now Italy is one of the most important economic partners of Turkey.
One sector of this trade bridge is the textile compound, linked to the fashion
activities. The aim of this paper is to describe the Italian influence on Turkish fashion
sector by an analysis on the history of Italian companies involved in the Turkish textile
market. The research on this subject will be based on the study of the relative
bibliography in Turkish, French, English and Italian. The main source will be the
analysis of records owned by the Italian Chamber of Commerce in Istanbul and
interviews with the involved actors.
Simona Ranaldi
[email protected]
Designer for “high fashion”, stylist for fast fashion and product manager. In recent
years she has been teaching Fashion Design and Image Consulting at institutes of
fashion.
Language: Italian
Case Analysis of the Teaching Method of “Accademia del Lusso” and “Sophie
Charlotte” . Phases and Processes of Fast Fashion
The Accademia del Lusso focuses its courses direct experience in the working world
and on transfer of this experience by the teacher to the student. The paper analyzes
the production stages in setting the organization and collections of ready to wear,
with particular reference to the trademark “Sophie Charlotte”, starting from the
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definition of the content of the sample, for colors, fabrics and product categories. The
first step needed to start a new collection is research trends and colors, on the basis
of this study a research on the lines, the types of garments, patterns, graphics, fabrics
will be carried out. The decision on the type of collection to be implemented will be
decided together with the direction, based on the study trends, the target market and
their analysis of the chosen field sales. The next phase is the vision of the samples,
fabrics and accessories procurement and development models with a relative division
between the production reserved for the Italian market and the foreign supply, that
will be finished the production phase.
Raffaele Rivieccio
[email protected]
Journalist and writer, Director of “IlCinemante” and Professor of History and Cinema
at the Exsperimental Centre of Cinematography.
Language: Italian
Tiber Boulevard: Hollywood on Tevere
Since the end of forties and the beginning of sixties, there was an exceptional
convergence of political, economic, cultural and legislative factors of Rome, the world
centre for the cinema. It was an attraction pole not against the American and
Hollywood industry, but was set in an osmotic way with the majors of the United
States, with their directors, their actors, their life ideology. The desire of a renascence
for the new art, was felt, after the Second World War not only by Italian cinema
magnates – in a tragic moment with destroyed studios and a depressed economy – or
by politicians, but was the cause and a consequence of a fast, perturbing,
anthropological change in the Italian people between the fall of and the born of a
new contest with the end of the war, democracy, a strong injection of American
money to help the rebuilding of the nation. This general contest was reflected in the
cinema, with a positive coincidence of mutual affairs between the American and
Italian images’ industries. In many years, Roma, for its studios, not only Cinecittà, for
its professionals and low budget, was the ideal location for the new American films. It
was ideal also for the magnificence of the city and the Italian style of life, an ancient
and exotic dream where a film can become an unforgettable holyday for the stars and
the troupe; an ideal city to become the world scenery for cinema, for culture, for
gossip and fashion.
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Angelo Romeo
[email protected]
PhD in Sciences of Communication, he teaches Sociology of the Cultural Processes at
the European Institute of Design and Theory of new media at the Faculty of Social
Sciences of the Pontifical Gregorian University of Rome.
Language: Italian
Proto-Sociological Fashion. The Contribution of Fausto Squillace
When there are questions on the studies of the sociology of fashion, it is customary
to link the origin of this scientific interest to the thought of authors such as G.
Simmel, H. Spencer, G. Tarde, sometimes omitting a part of sociology precisely
defined as “proto-sociology”. The prominent proto-sociologist Fausto Squillace (18781920), has made a significant contribution to the various sociological fields, including
fashion. Born in Sondrio to Calabrian parents, he probably emigrated in 1878 and died
at the age of 42. In 1912, he published his book “Fashion”, the same title of the
volume by G. Simmel dating back to 1911. The extraordinary coincidence of these
two volumes that appeared in a historical period whose studies of fashion were not at
all common and the time when there was no correspondence between the two
scholars who looked at the fashion issue in the same historical moment.
Giulia Rossi
[email protected]
She worked as a free-lancer for various public and private companies in culture, art,
fashion, design, tourism and studied these fields as a researcher and a writer. She is a
PhD candidate in “Communication, Research and Innovation” at Sapienza University
of Rome and is working as a Professor for International Classes in IED Florence and
IED Rome.
Language: English
Fashion Blogger, New Dandy?
In recent years, we have witnessed a revolutionary process in the world of
communication in general, which changed also fashion communication irreversibly.
With the web 2.0 and the growth of interaction some rules have changed, as well as
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some positions and professional careers in the fashion system. Journalists in this area
had to rethink their position, and to face the arrival of young, dynamic, interactive
and competitive new figures, the bloggers, or better the fashion bloggers. At the
beginning, the work of fashion bloggers was compared to the one of journalists, but
during the last three or two years, this point of view has been changing and
researchers do not speak more about fashion bloggers as journalists, but more as
influencers, with different skills. They are not only looking for interesting news,
interviewing people and writing articles, but more and more they are working as
digital and social media pr, making photos and videos and spreading them on the
web, making themselves icons or brands. They are trying to become, “it-girls” or “itboys” helping companies to sell products with their faces, bodies and the allure of
their lifestyle. It is not so different, except from the commercial aspect, from the past
in which the honnete homme and the dandy launched a trend and everyone copied.
Marta Rossi
[email protected]
MA Student in Fashion and Costume Science, she deals with fashion in Spain and
Catalogna.
Language: Italian
“El cuerpo vestido”. Elements of Catalan Identity and the “Museu del Disseny” in
Barcelona
The “Museu del Disseny”, one of the main museums of the European design culture
and fashion in Europe, is home to the permanent exhibition “El cuerpo vestido.”
Siluetas y fashion (1550-2015), a rich collection of fabrics, costumes and clothing that
articulates the modern age of the Catalan textile production. The paper aims to
illustrate the social and cultural transformations of Catalonia through the centuries,
starting from the evolution of standards of beauty that have marked the history of
fashion and in particular the tradition indumentaria female.
Manrica Rotili
[email protected]
PhD candidate in History of Europe at Sapienza University of Rome. Her main focus is
concentrated on analytic aesthetics, particularly concerning the so-called Art
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Question. She is the coordinator of the online Master in Aesthetics and Museum
Communication.
Language: Italian
Pop Art & Fashion: A Symbiotic Rapport
Art and fashion have always shared a common source of inspiration, making
symbiotic connections. It is a relationship that has existed in the past, which now
seems increasingly topical. This essay builds on that art-historical moment that made
the link between fashion and art a definitive constant in cultural history: the
emergence of Pop Art. We will show how the advent of Pop Art in the sixties led
inevitably to new artistic revolutions in fashion, lending the field a prominent place in
the so-called “art of mixing”, having made quotation, revision and crossover its key
elements. Pop Art represents the abundance and prosperity of the sixties, an era
defined by star and media power, thanks in part to technological progress. “Pop”
indicates a renewed popular culture: the first time when art ceased to be an imitation
of life, instead borrowing from it and making use of life’s inherent beauty and
communicative power. In this way, Pop Art spawned a revolutionary relationship
between life and the artistic image, while the art of Andy Warhol, perhaps the
movement’s greatest champion, exemplified a complex system of a new cultural
balance. Half a century later, this confusion of roles that redefined the concept of
interactive art, fashion and contemporary industry continues to inspire the fashion
and mass culture of our modernity.
Davide Ruggieri
[email protected]
PhD in History and Philosophy, Università del Salento (2008); PhD student in
Sociology, Università di Bologna (upcoming dissertation on Georg Simmel and the
relational sociology).
Language: Italian
How Fashion is Possible? A Relational Analysis of Fashion as a Form of Social Life
This paper aims to consider fashion through the sociological relational paradigm.
Considering many studies and approaches in the field of cultural sociology, in the
contemporary sociological debate about fashion and its impact on social life, the main
purpose of this contribution is to demonstrate that fashion is a relational issue: I
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particularly intend to use the relational AGIL scheme (Donati) to read fashion trends,
starting from the viewpoint of Georg Simmel’s contributions on this theme. Simmel
was the first sociologist to point out the relational character of fashion – through the
formula of Wechselwirkung – and to consider the vital conditions which gain fashion
as “social form”. I will, then, argue for a consideration of fashion as “form of social
life”, that is considering it beyond economics, aesthetics and the communication
(systemic) approach. Form of social life means that fashion is a “form” (objective
formation) of human spirit (life, subjective spirit) detectable in “social” transactions:
this is to intend as a demarcation criterion to designate what “fashion” may
represent.
Julia Sabova
[email protected]
Julia Sabova is Professor in Applied Arts – Textile at Academy of Fine Arts and Design
in Bratislava, Slovakia. Head of Fashion Design Studio in Bratislava.
Language: English
One Step Forward Means Two Steps Backward
The topic focuses on the textile and fashion techniques. Slovakia is not a country with
a rich history of fashion but it is a country with a rich tradition of manual processing
of textile and textile techniques. The need for decorating of clothing was reflected in
folk traditions as well as in urban areas. These two milieux had been influencing each
other constantly and sometimes the only difference remained in the selection of
available materials and their processing. In addition, the geographical position of
Slovakia had a major impact on the technical processing of textile techniques and
their colorings. The knowledge of memory and history of a nation’s culture has
become a rich material in my educational process for future fashion designers. I
deliberately choose semestrial topics to push students to uncover these values and
return back in time. Thus, they are able to step out of their own way, profile the
creativity and search for their own handwriting. This is just a matter of naming such a
creation with the copyright process. We can also comprehend it as slow fashion,
which is understood as a fashion where clothing becomes an enduring value for the
user. Consequently, it reduces the acceleration of production and partially solves the
problem of textile waste. The theme of redesign has shaped the tone of my classes
and students are often asked to work with readymade materials. It gives them greater
freedom, flexibility and the shape inspires the creation of new forms. The principles
of slow fashion and redesign are nothing new in history of textile and fashion design.
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It is rather a new term for time proven techniques and practices. We realize that the
previous generation was more environmentally-friendly than ours. In the past it was
the lack of necessity, now it is a necessity of excess.
Luisa Salvati and Luana Cosenza
[email protected]
[email protected]
Luisa Salvati is a PhD in Linguistics (2012) and has an MA degree in Intercultural
Studies (2004). Now she is a Research Fellow at Università per Stranieri di Siena.
Luana Cosenza is a PhD student in “Linguistics and teaching Italian as second
language” at the University for Foreigners of Siena. She graduated from the University
for Foreigners of Siena in Linguistics and Intercultural Communication, with a
specialization in Arabic language and culture. She has worked as translator, linguistic
and cultural mediator and taught Italian to foreigners.
Language: English
Creativity and Business: Made in Italy Localization
For Italian brands, multilingual websites are becoming a necessity to do business in a
foreign market because today language is a factor affecting enterprises and the
managerial processes of worldwide trade exchanges, e.g. contacts, mechanisms of
control and coordination, processes of integration and organizational structures.
European directives in the field of languages and business underline the extent to
which knowledge and use of foreign languages are crucial to the success of an
enterprise and its business communication. Indeed, intercultural communication
plays a pivotal role within the world of business (Feely and Harzing, 2003; Marschen
et al., 1997). Internationalization today is used together with the term localization
which means the “process of modifying a website for a specific locale” (Yunker 2002:
17), where the term locale refers to a group of people who share a language, a
writing system and other properties which may require a separate version of a
product (Sandrini, 2005). The aim of website localization is to internationalize
marketing strategy satisfying both the reader and the client: on the one hand, the
reader wants to read the web page in his/her own language and expect not be
culturally offended by linguistic and semiotic factors; on the other hand, the client
requires a localization based on what the company wants to achieve the new website
version. Our paper aims at describing the localization strategies adopted by Italian
brands in order to modify their websites for a specific locale according to the their
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business goals. We will examine a corpus of multilingual websites of some Italian
brands: the analysis will focus on the localization activity management, in order to
identify the adaptation of images and the setting up a language structure.
Arturo Sánchez Sanz
[email protected]
BA in History, Universidad Complutense de Madrid and Master in History and Science
of Antiquity, Univ. Complutense de Madrid / Universidad Autonoma de Madrid. Now
he is a PhD student of the Dep. Of Ancient History at the Universidad Complutense de
Madrid.
Language: English
Dressed for Life and War: Female Fashion of the Nomadic People of Eurasia in
Antiquity
There are numerous discoveries that, until recently, have provided data on lifestyle
and attire of many people who lived along the Eurasian steppe in Antiquity. Nomadic
societies such as Scythians, Sarmatians, Sakas, Yueh-Chih, etc. practiced burial rituals
in places where the special climate of those areas has allowed numerous skeletal
remains, fabrics, jewellery, ornaments, etc. to survive in good condition until today.
Excavations performed in those areas allowed us to know how women of these
cultures were dressed, clothes they wanted to wear in their Afterlife, types of fabrics
and jewellery they wore, types of dresses and clothes that were used by women
practicing war or women who were part of the royalty. All these parts, whose
conservation is almost miraculous, have shown existing commercial connections
between these nomadic people with nearby sedentary societies or those distant
through the famous and prosperous Silk Road. Styles, influences and ideas circulated
along it, with knowledge and products of all kinds in both directions, and fashion was
no exception. Even today we continue to be fascinated with vivid colours, elaborate
garments, rich ornaments or practical clothes which those women who faced life in
such harsh regions and conditions used to wear.
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Abstracts
Salvatore Santangelo
[email protected]
Phd candidate in History of Europe
Language: Italian
The Wristwatch: From a Luxury Object to a Military Instrument
It was 1812, when Monsieur Abraham-Louis Breguet handed the first wristwatch in
history to the Queen of Naples (and sister of Napoleon), Caroline Murat. The jewel
was commissioned two years before and the Swiss master had precisely defined all
the details: slightly oval, off-center dial, bracelet made with hair braided in gold
thread (almost certainly the hair of the children of the queen). It was the famous
Breguet No. 2639, which required thirty-eight operational phases and the work of
seventeen people. The transition from a fashion item to technical “instrument”
wristwatch goes back to the late nineteenth century, with the request for a specific
product by the German Navy to manufacture Swiss Girard-Perregaux. In the scenario
of the twentieth century, when the combat strategies and equipment were rapidly
changing in the direction of individual movements and groups, the wristwatch proved
an indispensable tool for the maneuvers of men and equipment, with the need to
respond simultaneously with the high requirements of the required functionality.
Roberta Sassatelli
[email protected]
Associated Professor of Sociology of at the University of Milano. She taught at the
University of East Anglia (Norwich, Great Britain) and the University of Bologna. She
deals with the sociology of costume, sociology of the body, gender studies and
cultural teories.
Language: Italian
At the Roots of Made in Italy
Italy and fashion: in recent decades this combination has become crucial. The image
of contemporary Italy is profoundly marked by the fashion industry. Italian fashion
has in turn become a cultural icon, element of style, of a good life that combines
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wellness and aesthetic refinement. The textile and clothing industry is now the
subject of dynamics of economic restructuring and reorganization of global reach,
even for the aggressive presence of cheap goods from China, but the Italian fashion
industry remains, not only on a symbolic level, one of the three major players on the
world stage, along with that of the United States and France. And if Paris has long
played a hegemonic function in the flows of people, goods and ideas in the world of
global fashion, Rome, Florence and Milan have been the icons of Made in Italy
maintaining centrality worldwide. This paper briefly retraces the history of Italian
fashion trying to contextualize its current relevance as the socio-cultural peculiarities
of our national context.
Lucia Savi
[email protected]
Research Assistant on the exhibition “Shoes: Pleasure and Pain” which will open at
the Victoria & Albert Museum, London in June 2015. Lucia has worked as Research
Assistant on the V&A’s exhibition “The Glamour of Italian Fashion 1945-2014”.
Language: English
Italian Fashion in the Page of British Vogue 1945-1955
The pages of British Vogue offer a unique perspective on the rise of the Italian fashion
phenomenon. This rich source documents the increasing foreign interest in Italian
fashion in the decade from 1945 to 1955, a pivotal period that laid the groundwork
for the development of an independent Italian fashion system. The articles along with
the photography published during these years, illustrate the shift in Italy’s fashion
identity, from a post-war agrarian country that specialized in a few highly crafted
products to the new European fashion capital, on a par with Paris and London. I will
highlight how the British magazine explored different aspects of Italy’s allure at
different times. The systematic analysis of articles published in this decade, reveal a
shift of interest. In the late 40s, we noticed the presence of a number of articles on
Italian cities and regions as well as on Italian rising talents in the art field.
Interestingly, at this time, the focus is not on Italy’s fashion output; however, the
Italian landscape became a background for fashion editorial featuring British
garments. As the 1950s progressed, the attention shifted and Italian designer
garments become of interest. At first, set against sumptuous natural and artistic
backdrops, the garments appear less relevant then the surroundings. However
progressively Italian fashion creativity was offered a full focus and, in 1953, Vogue
named Italy as one of Europe’s four fashion capitals. The change of perspective on
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Abstracts
Italy as a fashion force was subtle but at the same time radical. The clothes, now
worn by professional models, became the focus of photographs shot with a much
closer view. The innovation and creativity the designers displayed in all branches of
fashion paved the way for what would become the global success of Italian fashion in
the decades to come.
Ilaria Schiaffini
[email protected]
Assistant Professor of Contemporary Art History at the Sapienza University of Rome.
Her research interests have focused on the international art between symbolism and
modernism, with particular interest in the relationship with the literature, philosophy,
fashion, and the history of photography.
Language: Italian
Between Fashion, Art and Photography: Irene Brin and the Obelisk gallery
The paper aims to investigate the relationship with art by Irene Brin (1914-I1969), a
brilliant journalist of fashion and costume and owner, with her husband Gaspero del
Corso de L’Obelisco, one of the most significant postwar Roman galleries for opening
international and innovative proposals. Although the artistic program was managed
directly by the husband, the contribution of Irene was central for its fusion with the
world of fashion, photography and journalistic communication. What will be
considered are: the fashion shows organized in the gallery, promotions of
International fashion tourné accompanied by exhibitions of art, the artistic patronage
given to the queen of cosmetics, Helena Rubinstein, the role of photography in the
services of the fashion magazines and its reflections in the exhibitions of the Obelisk.
Roberto Sciarrone
[email protected]
Fellow Researcher at the Department of History, Cultures, Religions of Sapienza
University of Rome. PhD in History of Europe.
Language: Italian
The Beat Generation. Music, Clothes, Transgression
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At the end of the Second World War and during the Sixties Western culture was
influenced by new social phenomena. The nonconformist movement of those years,
the “Beat generation”, helped to change the literature and culture of the time, as well
as it had its own view of life and of the collective consciousness of a society that still
bore the marks caused by the war. The term “beat” was coined by Jack Kerouac in
1947, this movement involved fashion, apparel and innovation in costume. For the
first time young people became protagonists of fashion. This essay aims to investigate
symbols and styles of fashion during the era of the Beat generation.
Marco Semeghini
Marco Semeghini is a marketing manager with significant experience in the industry
of fashion, with a focus on menswear. Lecturer in Retail Management, Merchandising
and Luxury Brand strategies at Istituto Marangoni, he regularly holds lessons and
seminars at institutions such as Richmond University and New York University.
Language: English
Analyzing Fall Winter 2015-16 Ready to Wear Trends: The Perspective of Fashion
Design and Merchandising
The interpretative framework of fashion design is applied for analyzing fall winter
2015-16 collections. Inspirations, color palettes, materials, silhouettes, volumes and
other aesthetic features of fashion products are examined for discussing upcoming
trends and forecasting the possible evolutions of collective taste in the future.
Technical issues regarding product and production management within the fashion
industry are examined too.
Eleonora Sgambetterra
[email protected]
MA Student in Fashion and Costume at Sapienza University of Rome.
Language: Italian
The Social and Cultural Evolution of the Underwear: From the Bodice to the Bra
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Abstracts
Used either as a protection and an accessory of seduction, this garment over the
centuries has changed, going from a simple band until an uncomfortable bodice. It
was only in 1907, when the US Vogue published photos of an accessory that changed
the history of the underwear and revolutionized the way women dress. It is called
brassiere and is the first bra, formed by two simple strips of cloth. Denigrated in 1968
by the feminist movement and re-launched by high fashion of the 1980s. The aim of
the paper is to examine the evolution across the centuries of this garment that
became an indispensable part for every woman.
Zuzana Šidlíková
[email protected]
Studied history of art at the Comenius University and fashion design at the Academy
of Fine Arts and Design (AFAD) in Bratislava, Slovakia. She worked as an editor of the
design magazine “Designum” in the Slovak Design Centre. In 2010 she finished her
PhD thesis at the AFAD. Currently, she is employed as a Research Fellow and Lecturer
of the academy.
Language: English
From Sweatpants to a Mini-Skirt
The article is devoted to the transformation of fashion in Czechoslovakia in the years
1945 – 1965. The period immediately after the communist takeover subordinated the
clothing culture to ideological manipulation; however, at the end of the 1950s,
domestic clothing creations gradually approached the fashion of the Western centers.
Still, it was an lagging industry and its limited production potential represented the
problem for the clothing design. Key areas of the presentation include these topics:
the issue of the post-war economy, the nationalization of the Czechoslovak fashion
industry, the role of vocational education and the new role of the designer in
development studios.
Cornel Sigmirean, Maria Tătar-Dan
[email protected]
[email protected]
Cornel Sigmirean, PhD, Professor at “Petru Maior” University of Tîrgu Mureș, director
of “Gheorghe Șincai” Institute for Social and Humanistic Research, specialist in the
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history of Transylvanian Romanian elite formation.
Maria Tătar-Dan, PhD, Assistant professor at “Petru Maior” University of Tîrgu Mureș,
Research Assistant at “Gheorghe Șincai” Institute for Social and Humanistic Research
of the Romanian Academy. Research interests are centred on Romanian modern
history.
Language: English
Between Tradition and Modernity: Fashion in Transylvania at the End of the
Nineteenth Century. The Romanian Case
At the end of the nineteenth century the Romanians of Transylvania underwent
profound changes under the influence of the Western model of society, a model
disseminated especially by their elites. The assumption of the Western way of life
expresses the option of the Romanian society for modernity and modernization, a
process marked by the contrast between the old patriarchal way of life and the new
dynamic bourgeois life style. Promoters of the new, the elites were at the same time
prisoners of traditions, as daily life in all its aspects, including fashion, marked the
national identity. Elites reserved their right to keep their traditions, but they did it
especially on private occasions. Their option for the new model of society expressed
modernity and everyday life dilemmas of the nations of Central and Eastern Europe
Corneliu Cezar Sigmirean
[email protected]
University Lecturer at “Petru Maior” University, Tîrgu Mureș, Romania.
Language: English
Personal Marketing or How We Grow our Personal Branding by Using Social Media
This current study’s main purpose is to focus on the impact of social networks on
promoting human personality. Initially identified as a means of communication
between people, social networks soon became a major factor in the process of brand
building. Practically, at the end of 2014, in regard to the Romanian political class, we
were surprised by the success of the mayor of Sibiu in the presidential elections.
Famous political analists and social media specialists concluded that, beyond the
political climate or the international context, the social networks managed to create
the image of a special man, with a special personality, that fitted Romanian people’s
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Abstracts
wishes and expectations. Judging by the number of his Facebook likers, President
Iohannis now has one of the most popular virtual images among the European
political personalities. For example, he has amassed nearly double the number of
Angela Merkel’s Facebook likers, widely considered as the most important political
actor in Europe.
Julia Sinchuk
[email protected]
PhD in History of Europe at Sapienza University of Rome
Language: Italian
Italianskaya Moda. The Success of Italian Fashion in Russia
Made in Italy as a synonym of glamor is known throughout the world. Russia is no
exception. Italian fashion has always been the ultimate expression of style, quality,
elegance and taste for Russian consumers. In this regard the Italian companies are the
main exporters to the Russian market for some product categories and not just
talking about the big houses, but also small and medium companies specialized in the
production of luxury and quality. Prada, Gucci, Dolce&Gabbana, Moschino and many
others have created a bridge between Russia and Italy. Made in Italy nowadays is
synonymous with the economic success of the partnership and and loyalty of the
most demanding consumers as the Russian ones.
Anida Sokol
[email protected]
Holds a PhD in History of Europe, Sapienza Univeristy of Rome and an MA degree in
English Language and Literature, University of Sarajevo.
Language: English
The Costumes of the Elizabethan Theater between Fashion and Crossdressing
The English Renaissance theater (1562-1642), also known as the first modern theater
of England, is considered the most brilliant period in the history of the British theater
and is unprecedented for its production and quality. During the Elizabethan era the
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theatrical drama became a cultural expression shared and addressed to both the
nobles and common people. The Elizabethan theater exploded becoming a profitable
business, comparable with the popularity of films and cinema of the early twentieth
century. Because of the great demand for performances, the costumes were often
improvised, borrowed or used repeatedly in multiple representations. The costumes
seem to be a strange combination of fashionable clothing of the period and clothes
that vaguely represented a certain historical period or some exotic worlds. English law
prohibited women to act on stage, deemed indecent and immoral, for which “Boy
Actors” took female roles. This convention was part of a larger set of strict principles
of hierarchy and subordination of women to men. Although such rigor was mainly
linked to the patriarchal society of the time, some elements may also suggest other
reflections. The custom of the English Renaissance drama had contradictory
meanings: on the one hand, the theater reflected the rigid hierarchy of Elizabethan
society, in which women were subordinate to men, on the other, it became a way to
transgress gender roles, a deviation of the natural order that never failed to amuse
the audience.
Manuela Soldi
[email protected]
PhH in History of Art and Performance at University of Parma. She deals with history
of textile handcraft and fashion and coordinates the archive of Festivaletteratura in
Mantova.
Language: Italian
Before the Italian Fashion. Textile Handcraft in Italy, 1861-1911
The first fifty years of the Kingdom of Italy had a fundamental importance in the
history of the Italian fashion; the economic, social and cultural factors that laid the
foundation for the future development of the sector started in this period. Instances
of redevelopment of applied arts spread at European level also came in the peninsula,
combining them with the need to build a shared cultural heritage for the new nation,
as well as to adopt policies for economic development in a country largely untouched
by industrialization. In such instances the textile sector was woven with the needs of
the emerging women’s organizations, determined to undermine the secular tradition
that wanted the work of women solely in the service of their own family. These
circumstances gave rise to a major phenomenon, which allowed the rediscovery of
many craft techniques, and a fervent debate on the objectives of the recent recovery
of not only technical, but also decorative languages, taken from high artistic tradition
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or from the popular one, brought to light by the diffusion of ethnographic studies.
Ljiljana Stošić
[email protected]
PhD, art historian, Principal Research Fellow at the Institute for Balkan Studies of
Serbian Academy of Sciences and Arts in Belgrade. Her main field of expertise is the
Serbian art of the eighteenth and nineteenth centuries.
Language: English
Symbolism of Stripes through History
In Western medieval culture, striped suits or striped details on clothes were meant to
indicate an infidel or a heretic, an Old Testament or a New Testament sinner, a
dishonourable man or an apostate. Such representations first appeared in profane
miniatures of the twelfth and thirteen centuries and, subsequently, in frescoes.
Instead of striped clothes worn by figures, Romanesque and Byzantine art favoured
striped backgrounds consisting of two to three wide or several narrow stripes
intended to discreetly enclose a biblical event in a protected and consecrated, sacred
space. Judging by early examples, Oriental striped fabrics found their place in the art
of the Christian East as a distinguishing feature of holy characters considerably earlier
than in Western European painting, without being assigned negative secular
meanings. During the Renaissance, in the West, stripes gradually ceased to be used
only as a sign of the evil, sinful and negative. It was probably under the influence of
the Crusades and vast epidemics of plague, that striped patterns covering entire
fabrics or only their borders began to be perceived as an expression of constant
movement and life, bearing previously unimaginable connotations of such concepts
as ceremony, exoticism and freedom. What remains and persists to this day are the
visual accent and the perceptual priority of striped patterns. The relationship
between stripes and proscription and punishment, especially temporary exclusion
from social life, is not coincidental. As a kind of barrier, passage or protection from
evil powers and diabolical creatures, stripes were early visualized as a warning, they
became a kind of protection cages, and they have remained this, in the true sense of
the word, to this day. Stripes always bring system and order into the world of chaos,
indicating the belonging to a particular zone, level or sphere and offering an
opportunity for a hierarchical classification.
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Donatella Strangio
[email protected]
Associated Professor of Economic History at Sapienza University of Rome. She deals
with the Pre-Industrial Era, public finance, economic growth and development,
economic history of Italian migration.
Language: Italian
Italy in International Competition: The Crisis of the Textile Industry (1973-1976)
The oil crisis of 1973 coincided with the development of the model and the strategies
outlined in the period between the two world wars. On the one hand, the public
enterprise helped to develop key sectors (steel, energy, infrastructure) for the growth
of the country. On the other hand, private companies were able to increase the
production capacity of the industry, with mixed results. The “economic miracle” that
characterized this period was cutting across the entire country and also involved the
growth of small and medium size enterprises. It is a period of great expansion for the
Italian economy which reached levels of GDP growth among the highest in the world
being able, at the same time, to reduce regional disparities between North and
South. Through the examination of the original sources, collected at the Historical
Archives of the Bank of Italy, and the revision and review of statistical data for the
period 1958-1976, the paper aims to contribute to the knowledge of the period of
crisis, with particular reference to the crisis in the Italian and European textile
industry.
Satomi Sugiyama
[email protected]
PhD at Rutgers University, she is Associate Professor of Communication and Media
Studies at Franklin University Switzerland. Her research interests include mobile
information and communication technology (ICTs), culture, and fashion processes.
Language: English
From a Smart Phone to a Wearable Device?: Exploring Images of Wearable ICTs in
the Young People’s “Near Future” Everyday Life
One of the most recent trends in the development of mobile information and
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communication technologies (ICTs) is the attention to the wearable devices such as
the Google Glass, the Samsung Galaxy Gear, and the Apple Watch. Recent
development of the technology industry and media hype suggests that the wearable
technology is a direction into which the smart phone can evolve. The idea of people
wearing technologies does not have to be confined within science fictions any longer,
and can well be conceived of as “realistic” in everyday life. However, despite their
technical possibilities to remedy the restrictions of hand-held devices, wearable
technologies continue to face a major challenge in their image that the public holds:
wearable ICTs have to satisfy the proper image as ICTs and as fashion accessories
simultaneously. For wearable technologies to be domesticated into our everyday life
and into our body, the general images that people have toward such technologies,
particularly focusing on the concept of fashion, need to be uncovered. How do people
perceive wearable technologies? What are the images associated with them? Are
they perceived as a status symbol and/or a fashionable object to carry in the way
pagers and mobile phone once did? If not, what are some of the image associations
that currently prevail? The present paper explores these questions drawing on some
quantitative and qualitative studies of university students.
Réka Szentesi
[email protected]
PhD student at Eötvös Loránd University of Sciences, Budapest and the head of
education at Mod’Art International School of Fashion and Arts, where she is also a
lecturer of dress culture and history of fashion.
Language: English
Fashionising the Woman Body. The Corseted Woman Body as Representative of the
Social Status
The corset is perhaps the most controversial garment of fashion history. Among the
spread of feminist ideas, debates on corsetry (and on women’s clothing generally)
were increasing during the second half of the nineteenth century. Dress reformers,
among them artists, doctors and feminists blamed the corset for countless diseases,
women’s oppression both physically and socially and for aesthetical reasons.
Traditionally the corset has been viewed in the context of repression versus
liberation, and has been stigmatized as the symbol of women’s oppression. It has also
been viewed as a symbol of Victorian morals, which tended to cover the woman body
as fully as possible. This point of view needs to be revisited. Was it really the dress
reform that ended the reign of the corset? Did the fashion of corsetry end at all or has
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it just transformed? What are the social backgrounds of corsetry and tight lacing?
What are the correlations between changing social roles, body image and fashion? By
investigating the ideal beauty and the social backgrounds of the Victorian and
Edwardian era, these questions can be clarified. The ideal beauty of the era within the
context of the social status of women explains why the dress reform could not change
women’s fashion and why is it only the alteration of the social background that can
bring change in fashion. In this topic it is not the corset, but the corseted woman
body which can be considered as a status symbol. Why the wasp waist was
considered as ideal feminine look and why was it important for women to achieve
this look by the practice of tight-lacing? Was it really oppression? My research
attempts to answer these questions by processing through contemporary sources of
the opponents and the voters of corsetry
Bianca Terracciano
[email protected]
PhD in Semiotics at the Italian Institute of Humanities and at the University of
Bologna. She collaborates with the Department of Communication and Social
Research of Sapienza University of Rome.
Language: Italian
The “Contemporary” Fashion System
When Roland Barthes started writing The Fashion System he thought he had to
analyze the products of the writing civilization, that is the fashion magazine captions,
maker of social mythology and fashion sense. Fifty years later the written dressing
codes are changed, they do not call back any longer to memory “teas at Juan-lesPins”, they are no more a clear expression of the meaning, but they list, in an almost
mechanical way, the support of meaning (i.e. trench), materials (i.e. cotton), and
brand (i.e. Burberry). When in some fashion reportage there is the price expressed,
Barthes’s didactic mythology is demythologized at all. Also the visual text is changed:
they have passed from a “neat” representation of the dress, that is, complete and
detailed to a syncretic photo requiring a continuous interpretative effort, helped
exactly by the captions that from manual-like become clues to reconstruct shapes and
labels. Sometimes the main subject is not the model herself but the scenery and its
objects that, for the most part do not communicate anything about the elective and
social background of the dress. In synthesis the present-day system of fashion is
opposite to that described by Barthes. But it completely differs from the past
decades, too, also if it proposes some significant items, and as such it must be
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analyzed. My purpose is to focus the changes from Barthes's The Fashion System
onward through the analysis of fashion magazines, websites, blogs, etc. The corpus is
selected from 1960s to nowadays. The key-concept to understand the “new” fashion
system is the body because its changing is proportionate to that of fashion both being
a mirror of the cultural and identity-making metamorphosis of society. Studying
fashion is not only limiting to dresses but it means examining the way they are worn,
the hidden or enhanced body shapes, movements, gestures and attitudes typical of
an age, the way to move head and hands. The body of fashion is support,
transformer, inglobing and being inglobed by the Fashion system.
Ruslan Tleptsok, Emilia Sheudzhen
[email protected]
Tleptsok Ruslan Aslanovich, PhD, is Associate Professor of Russian history,
historiography, theory and methodology of history at Adyghe State University,
Maykop.
Sheudzhen Aemilia Ayubovna, Phd, is Professor at the department of national history,
historiography, theory and methodology of history at Adyghe State University,
Maykop.
Language: English
The Circassians – A Symbolic Meaning of the Caucasus Mountains
Although the Circassians lacked the system of writing even as late as the end of the
twentieth century, the comprehensive analysis of the Circassian symbolism as a sign
system, being a pictorial form of reflection of the people’s mentality and
interpretation of the world and thus resulting in peculiar design and aesthetic
features of the national Circassian garment, has yet to become the subject of a
dedicated study. The process of evolution of a set of national garments also known as
“Chokha” reveal several aspects such as natural/geographic, economic and military
(due to conversion to fire weapons caused by its overall proliferation throughout the
eighteenth century). The “Chokha” does not bear just a symbolic meaning but is
rather a set of community approved rules that are to be adhered to by anyone
wearing it.
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Ülle Toode
[email protected]
PhD researcher at Jyvaskyla University, Finland,, has been a Visiting Lecturer in
Political Communication and Political Marketing at Tallinn University of Technology
since 2000 and is holding courses on Behaviour of Masses, Reputation Management
and Political TV journalism for the Tallinn University in Estonia.
Language: English
Fashion Society and Tradition: The Estonian Case
Fashion always reflects how society is structured and how the individual reacts within
that society. This presentation observes fashion as symbolic language and non-verbal
communication of women in two socially different conditions, in the planned
economy and in the market economy. As a case study, Estonia will be analysed as a
country which has had the experience such as being part of the Soviet Union and
which thereafter rapidly became an independent state with typically capitalistic
market economy. Through a journey of fashion photography in the Estonian fashion
magazines during the Soviet Era, the following decades and current fashion
photography, it is possible to have a complete vision of how fashion has changed its
image and with that the image of women. There will be also analysed in which way
fashion reflects the strong connection with nature and their traditions - two
phenomena which have been always present in Estonian mindset and continue to
resist even despite of the strong pressure from the international fashion brands on
the Estonian current society.
Efrat Tseëlon
[email protected]
Chair of Fashion Theory at the School of Design at the University of Leeds, and editorin-chief of the journal Critical Studies in Fashion & Beauty. Her research approach is of
Critical Fashion: examining fashion practice, attitudes and representation as symbols
and signifiers of deep social and political processes.
Language: English
New Fashion World Order: The Impact of Globalisation on How we Buy Fashion
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The paper will look at how shifts in consumption trends in the last decade reflect the
influence of globalisation on the global fashion market, and on the hegemony in the
new fashion world order. Within this context I will examine the thesis that "brands"
are not sustainable in the age of democratisation and perfect communication.
Murat Turgut
[email protected]
Research Assistant at Selcuk University, Faculty of Letters, History Department, Konya.
His PhD subject was “The objects used in Hittite ReligiousRituals”. He is interested in
ancient religion, ancient sacred-unsacred symbols.
Language: English
The Confrontation About Effects of Dress and Vicinity Cultures to the Hittite Empire
and the Late Hittite Period According to Kurunta and Ivriz Reliefs
Hittites had lived in Anatolia from the second millennium BC to the first millennium
BC. Hittites made rock reliefs in sacred spaces for gods, kings, gods-kings, ritual
scenes according to the Hittite religion. The Kurunta relief was found in the Hatip
region of the Konya city and dates back to the late twenth century BC. The God-King
figure was made by the Hittites on the rock. He wore a short and slim tunic that does
not cover knees and arms, a conical hat and Hatti shoes, the tip of which went
upward. The Ivriz relief was found in the Halkapinar region of the Konya city. The
relief dates back to the 738 BC and 710 BC. The relief have two men figures. One of
these figure is Storm God Tarhunt and the other one Warpalawaš, king of Tabal. The
god figure wears earrings, a herringbone patterned belt and a v-collar dress amd Hatti
shoes. The king figure wore a geometric patterned dress under, with long sleeves. The
Kurunta relief was 500 years before the Ivriz relief and shows the effects of the Hittite
and Hatti arts. The Ivriz relief show the effects of the Phryg and Aramean arts. We will
examine in this study similarities and differentiates between the two reliefs and
effects of the vicinity cultures to the Hittites art.
Liliana Ţuroiu
[email protected]
PhD Lecturer at the Fashion Department, Faculty of Decorative Arts and Design, from
the National University of Arts Bucharest.
136
Language: English
The Romanian Traditional Blouse - IA - National Identity Passport
The exposure is a presentation of the most famous piece of the Romanian traditional
costume “IA” in the context of the current international trends. Every “IA” is unique.
Rooted in an idyllic past, Romanian women carry on the tradition of sewing peasant
blouses, according to Romanian provinces. “IA” exists since ancient times and it was a
permanent inspiration for the fashion designers and famous artists such as Yves Saint
Laurent, Jean Paul Gaultier, Tom Ford, Kenzo, Oscar de la Renta, Anna Sui, who
interpreted in their own style the Romanian blouse patterns. During my artistic career
I have created reverently collections that capitalize the Romanian traditional costume
and its symbols, my last collection called “Zestrea” (“Dowry”) integrating fragments
from authentic “IA” in a contemporary context.
Serna Uçar
[email protected]
Finished her doctorate and achieved efficiency in Arts by 2012 at the Department of
Textile and Fashion Design, Mimar Sinan Fine Arts University-Turkey. Since 2012 she
has been teaching at the Department of Fashion Design, Okan University-Turkey, as an
Assistant Professor.
Language: English
A Haute-Tech Design Project: Utopia
A fashion design project titled “Utopia” is introduced from front end to the realization
of the garments. The haute-tech collection is based on a smart fabric which is made
of woven fiber-optics and the collection is inspired by the Ottoman Caftans and
traditional royal weavings and patterns. With the inspiration of traditional Ottoman
clothes and techniques, the objective was to achieve an innovative look by changing
ancient materials with high-tech and new method. Instead of ancient(traditional)
threads and techniques, the initial objective was to use a high-tech material with the
same glamour and brilliance in a contemporary way. The haute-tech design project
consists of six looks. Each look is designed inspired by an Ottoman Caftan or royal
weaving. Within the collection intertextual links are used to define connections
between cultural roots and contemporary, traditional methods and high-tech, fashion
design and artworks. As a result a fashion collection ensued that refers to “haute137
Abstracts
tech” or “high-tech couture.”
Valentina Ughetto
[email protected]
Historian and Archivist, from 2009 she works for Soprintendenza Archivistica per il
Lazio “Censimento degli Archivi della Moda del Novecento di Roma,” with particolar
reference to the sector of the fashion schools.
Language: Italian
The Web Portal “Moda del Novecento”. A resource for Archival Research
Fashion can be studied through the documents collected in museums, foundations,
archives and libraries. Today the internet makes things easier, the distances have
shrunk enticing new generations to understand this world knowing where to find
their tastes, emotions and desires. The Portal of Fashion of the Twentieth Century has
been developed by the Italian National Archives, and carried out in collaboration with
the General Directorate for the Archives of the Ministry of Heritage and Cultural
Activities and the Directorate General for Libraries, Cultural Institutes and Copyright
of the Ministry of Heritage and Cultural Activities and with the involvement of a
number of prestigious institutions. The Portal of Fashion is the promoter of a new
way to communicate more usable and scientific archives. During the report I will
open the portal pages to explain how to research literature and documents.
Alessandra Vaccari
[email protected]
Associate Professor at the Iuav University of Venice, where she teaches Fashion
History and Theory, and she coordinates the Fashion curriculum of the MA in Visual
Arts and Fashion.
Language: English
Learned in Italy: The Legacy of “Made in Italy” in the Early Twenty-First Century
Fashion Industry
The paper introduces the concept of “Learned in Italy” and explores its cultural
meanings in relation to the recent development of Italian fashion industry. In Italy,
138
fashion has been one of the greatest experiments of modernity and one the most
important events since the end of the World War II. In a few decades, it has grown in
terms of identity, cultural impact, export volumes, and business, becoming a highly
regarded aspect of the Italian culture. Modelled on the “Made in Italy“ label,
“Learned in Italy” focuses on the process of learning fashion, but, unlike the former, it
has been the object of very little discussion and academic work. This paper presents
some reflections under development at IUAV University of Venice on the peculiarities
of learning fashion in the Italian context, taking into account academic-based
experiences and in-company training. The perspective of ‘learned in Italy’ makes it
possible to explore immaterial aspects of fashion production, considering the human
and relational factors of Made in Italy, from the local and regional scale.
Alessandro Vagnini
[email protected]
Assistant Professor of History of Eastern Europe at the Department of History,
Cultures, Religions of Sapienza University of Rome. His research interests focus mainly
on Hungary and its relations with Italy in interwar period.
Language: English
Reality and Symbols in the Uniforms of Austria-Hungary
The military clothing has long been a matter of great interest, by the political and
cultural implications that are often underestimated. In this context, the case of
Austria-Hungary is particularly interesting for the many ideas that can offer and given
the leading role it has played in the field of military uniforms. The paper intends to
present an overview of the different Austro-Hungarian uniforms and friezes relating
them to the political and social development of the Empire even compared to its
complex multinational structure. The uniforms also become in fact a means to assert
national identity. In a context like that of Austria-Hungary, characterized by the many
nationalities and constant contrasts that influenced internal politics, issues related to
the army, seen as military policy but also as an event in daily life, was one of the fields
in which the national question was extremely present.
139
Abstracts
Alexia Vahlas
[email protected]
Graduated in History of Art at the University of Toulouse in France. She is doing her
first MA year at Sapienza University in Rome in the frame of an Erasmus exchange.
Her study concerns the Marmoreal Polychrome and draperies in religious sculpture in
Rome of the seventeenth century.
Language: English
The Marmoreal Polychrome and Draperies in Religious Sculpture in Rome of the
Seventeenth Century
The Marmoreal polychrome and draperies in religious sculpture in Rome of the
seventeenth century were born in a particular context. We will show that religion
used symbols in the arts, and in particular the draperies and polychrome marble for
communication purposes. The art then tries to answer two major questions of the
city and of the Catholic religion: to reaffirm the value of this religion with the
glorification of the saints, the power of relics, and reconfirm the pontifical power. We
shall illustrate in this study, with the examples of some artists, the evolution of the
sculpture. For his spectacular restorations, Nicolas Cordier uses a large variety of
coloured marbles that refer to the ancient statuary suggesting the power of the
Roman Empire. We will see how the artists of the Baroque have used this polychrome
to accentuate the emotional effect of statuary. White is preferred for the bodies but
the architectural framework of their representation is alive with symbolic colours so
that the clothes of polychrome marbles curl the very complex game of the drapery
and bend. We will see different ways that have been used throughout the centuries,
from the bright and dreamlike evocations of Bernini to the dramatic meditations of
Legros.
Roberto Valle
[email protected]
Associated Professor in History of Eastern Europe at the Faculty of Political Science,
Sociology and Communication of Sapienza University of Rome.
Language: Italian
Secret Freedom and Illimitated Freedom. Dandysm, Byronism and Nihilism in the
140
Russian Political Thought
In the nineteenth century, European Dandyism had two centers of irradiation: London
and Paris. As noted by Jurij Lotman, Dandyism appeared in England, which opposed
the national French fashion imposed by revolutionary cosmopolitanism and
“Napoleonic Caesarism”. While London and Paris were centers of irradiation and
codification of Dandyism, San Petersburg was the capital of the Russian Dandyism.
Russian Dandyism went over the aesthetic sphere and assumed a peculiar political
dimension that had a significant influence until the twenties of the twentieth century.
Villa Vilaithong
[email protected]
Lecturer in history at the department of history, Chulalongkorn University, Thailand,
Bangkok where she teaches courses on modern Thai history. She is currently
researching the history of beauty institutions in Thailand from the late 1950s to
1960s.
Language: English
“Thai Fabrics”, Fashion and Femininity in 1960s Thailand
The Thai fashion business started growing during the development of industrial
capitalism and modern marketing in Thailand in the 1960s. Although the period has
been labeled by scholars of Thai history as the “American era”, the business clearly
illustrated the diversity of global connections. Thai and international fashion
entrepreneurs from the United States of America and European countries, who were
owners of fabric companies, dressmaking schools, and fashion houses, played an
important role in promoting Thai silk and cotton fabrics through the new language of
design. Their Thai traditional and modern dresses made from Thai fabrics symbolized
the Thai glorious past, national pride and modern nation. Beauty and fashion icons
such as Queen Sirikit, Thai pageants, movie stars and elite women wore their clothes
at various social scenes like balls and dances and present the ideal of feminine body
and identity to both female and male audiences. The high fashion styles that
portrayed women as mature, elegant and sophisticated became widely disseminated
through the mass media, which allowed different groups of women to experience the
notion of newness and share the sense of sexuality and femininity. This paper
combines methods in business and cultural history to examine fashion as a specific
form of social change.
141
Abstracts
Martine Villelongue
[email protected]
PhD in Art History, MV worked for fifteen years at the Museum of Textile and
Decorative Arts in Lyon. She is teaching at the Université Lumière Lyon 2 in Art History
and Fashion Department, known as the University of Fashion.
Language: French
L'exemple italien dans le textile de luxe français, les résurgences du modèle
stylistique italien dans la mode contemporaine
Le développement du textile dans la notion de luxe à la française est essentiel. Le
textile, et plus spécifiquement la soierie, ont défini les moments forts de l'histoire de
l'ameublement, comme celui de la mode française. Si la soierie s'est développée en
France, dans un but de concurrence commerciale dès la Renaissance, le modèle
italien dont elle s’inspire et qu’elle imite - graphismes, coloris, techniques – a affiché
dans l’Histoire une réelle pérennité et des expressions fortes et originales – exemple
des soieries « bizarres » au XVIII°siècle -. Mais les résurgences du modèle stylistique
italien dans la mode contemporaine confèrent au luxe une expression spécifique. Dès
lors que le textile de luxe français trouve, avec la haute couture au XIX° siècle, un
autre débouché économique, le modèle italien, dans ses acceptions baroques, dans
l'exubérance de certaines de ses productions artistiques, apparaît comme un modèle
inspirant, dont les résurgences dans les créations contemporaines sont régulièrement
justifiées par certaines tendances du luxe. Les créateurs sont divers et nombreux,
pour qui le modèle italien reste une source d'inspiration récurrente: Christian Lacroix,
John Galliano pour Dior, Jean Paul Gaultier ou encore la maison Lanvin, comme s'en
sont inspirés aussi, dans un phénomène de mondialisation de la mode et du luxe, le
britanniqe Alexander Mac Queen ou certaines maisons italiennes comme Dolce &
Gabbana.
Astrid Wiedersich Avena
[email protected]
Graduated in Law at Sapienza University of Rome, she holds a Master degree in
Intellectual property law at the Queen Mary University of London. From 2010, she
works for De Tullio & Partners - Intellectual Property Attorneys.
Language: English
142
Copyright Law and Design Law Protection for Fashion Works: A Comparative
Analysis
“Being copied is the ransom of success” Coco Chanel once said. While during the past
century many creative industries sought to strengthen their legal entitlements by
arguing that a stronger copyright law protection would stimulate future creativity, the
fashion industry represents a significant exception. In the United States, one of the
biggest markets of such industry, works created by fashion designers are – for a series
of legal and cultural reasons - excluded from the realm of copyright. The practice of
copying another’s fashion design, known in the trade as “knocking off”, is widely
spread. However, investments and creativity remain vibrant. In Europe, where
copyright or quasi-copyright protection for works created by fashion designers exists,
copying is still omnipresent and these laws are rarely used by creators in order to
prevent the illegal reproduction of their works. Some commentators, referring to the
so called “piracy-paradox”, have argued that this particular situation is due to the fact
that copying plays an essential role in the fast cycle of the fashion industry. By causing
an “induced obsolescence” of apparel’s designs and thus obligating designers to
produce new creations, the cheap and illegal reproductions of works would stimulate
innovation and growing rather than preventing it. On the other hand, there is
evidence that copyright and/or design protection of such creations is of essential
importance for young designers who cannot rely on the protection of a strong
trademark. Emerging designers are not able to absorb the losses caused by piracy as
large and established corporations do. Moreover, the digital age has made copying
easier and quicker. Pictures of designs shown on a catwalk can be almost
instantaneously sent in a factory in China where knockoffs are rapidly produced and
put on sale even before the original garment reaches the market. Like in the other
creative industries, the internet era might call for a re-examination of the legal
protection of works created in the fashion industry. This paper will seek to discuss
and explore the relationship, or the lack thereof, between IP law enforcement and
the fashion industry in the jurisdictions of the Unites States, UK, Italy and France.
Anna Wyszyńska
[email protected]
Completed MA in Art History and since 2012 she is a PhD student at the Institute of
Art History of the Jagiellonian University in Cracow. She focuses her research efforts
exclusively on the subject of dress history, concentrating in particular on the period
between 15th and 16th centuries.
143
Abstracts
Language: English
The Curious Case of the Golden Coif. Is it Proper for the Polish King?
The sources created at the beginning of the Early Modern Period should be regarded
as an important statement, an inseparable element of sovereigns’ portraits, revealing
not only their wealth or social status, but also ancestry or political and religious
views. The growing frequency of depicting rulers in private (or even informal) clothes
enabled to introduce and convey even more information, while the art of powerdressing was a significant element of court etiquette, as evidenced by the wardrobes
of Henry VIII Tudor, Charles V or Casimir, Margrave of Brandenburg-Bayreuth, among
others. Throughout the sixteenth century, the sovereign was still rendered distinct
not only through the physiognomy, but also via specific attributes or garments.
Portraits therefore provide splendid evidence of transformations in depicting royal
garments, while frequent copying and repetition of certain effigies elevates
distinctive elements of clothing to the rank of symbols, rendering them as fixed parts
of the king’s very body. The golden coif of Sigismund I the Old of the Jagiellon dynasty
(reigned 1507-1548) may serve as a confirmation of that statement. A big collection
of portraits and effigies of said sovereign is still available today – paintings, etchings
and medals. Ever since roughly 1520s, all of these consequently repeat the image of
the sovereign dressed in certain garments – szuba (long-sleeved fur coat), sayan (fullskirted and low-necked jerkin) and, most importantly, a coif of gold. Although this
headdress appears at the end of fifteenth century in numerous portraits of city
dwellers in German States, the reasons for its status of an inseparable part of the
Polish King’s dress and its constant reoccurrence in the sovereign’s depictions remain
unknown. Covering the subjects not yet fully researched by the scholars of history of
art and dress, the author traces the origins of the golden coif within European
fashion, studies the iconography of said headdress and examines the matter of
ennoblement of garments in court fashion of Early Modern Period.
Sema Yalçin
[email protected]
Worked as the Head of Department and Lecturer at the Textile and Fashion Design
Department of the Faculty of Fine Arts at the Adana Çukurova University between
2001-2013. She has been working as a Lecturer at the Fashion Design Department of
the Faculty of Fine Arts at the Okan University at İstanbul/ Turkey since 2013.
Languge: English
144
European Influences On Ottoman Bridal Gowns During the Eighteenth and the
Nineteenth Centuries
European fashion we have followed during the Westernization process has also
become the guiding light of changes in the bridal gowns and the Ottoman Palace
adapted European fashion in that regard almost at the same time as in Europe. Red is
known as the color of the choice for bridal gowns at the Ottoman Palace. In the
Ottoman Empire, different gowns were worn on different days of the wedding
ceremony. After 1870 with the influence of Western culture, the white bridal gown
was worn for the first time by the daughter of Sultan Abdülhamid, Naime Sultan
during her marriage ceremony to Kemalettin Pasha. White bridal gown fashion, which
started at the Ottoman Palace and became widespread, became indispensable in the
twentieth century. This essay, which follows the change in Ottoman and European
bridal gowns at the beginning of 1800 and 1900s, examines differences and
similarities in models, clothes, other bridal materials and fashions in both cultures.
The subject has been researched by reviewing the literature about the “meaning and
historical development of bridal gowns”, supported by the special features of those
gowns from photographs of European and Ottoman bridal gowns of the eighteenth
and the nineteenth century.
İsmail Yüce
[email protected]
The Trakya University Vocational School of Technical Sciences Clothing Production
Programme, Edirne, Turkey. He finished his PhD at the Uludag University in Bursa.
Language: English
Traditional Dresses in the Edirne Region
Edirne located in the Thrace section of the Marmara region is a city with about
150,000 population. Having served as a capital of the Ottoman Empire for about a
hundred years, Edirne has a historical and cultural importance. Traditional clothing is
quickly disappearing because of the increase in national and international
trademarks, mass production and communication channels. The purpose of this study
is to introduce the disappearing folkloric clothing as well as the accessories and to
reveal the cultural values. Folkloric dresses and accessories that are worn in Edirne
have been introduced in this study. These dresses and accessories were separated
into two groups, male and female, supported with pictures.
145
Abstracts
Shirin Zakeri
[email protected]
PhD student in History of Europe at Sapienza University of Rome, with the project on
European Civil society and Iran, links, impacts, and developments.
Language: English
Iranian Fashion Industry: Traditional Diversity and Modern Transformations
This paper analyses the actual dress in the Iranian market and society, the new
creativity of using the modern-tradition dress, how it influences the general taste of
society and how the Iranian designers integrate the traditional Iranian clothes to the
modern one. The geographic size and the ethnic diversity within the country are all
considered as an enrichment to the culture. Every region has its own folk-dances
which are usually performed during the festivities and traditional celebrations. Every
region has its own distinctive costuming. More than half of the population is made up
of Persian ethnicity, besides minorities like the Azari Turks, Arabs, Afsharies, Bakhtiari,
Baluchis, Gilaki (Gilani), Ghoochani, Korasan (Kohrassan), Kords, Lors, Mazandaranis,
Qashqai, Shahsavan, and Turkmen among many other ethnic groups.
146

Abstracts - Dipartimento Storia Culture Religioni

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