Research in the overlapping area between Fashion and Information and Communication Technologies - hereafter referred to as "Digital Fashion" - is growing and attracting the interest of both academics ...and practitioners. However, due to the richness and heterogeneity of the involved fields, no map is already available of it. A systematic literature review was conducted in July 2019 utilizing the keywords "digital" and "fashion" in five research databases, including academic papers from 1998. This provided 491 relevant items for analysis. Three main categories to which those research papers belong to are identified: (i) Communication and Marketing (C&M); (ii) Design and Production (D&P); and (iii) Culture and Society (C&S). Each category includes two or three subcategories. This study provides an overview of the state of the art of digital fashion studies, with a focus on Communication and Marketing related research.
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The article explores the links between fashion and the past in contemporary times, the love of revival, the taste for vintage and the importance of a brand's cultural heritage. All elements that ...today, in the midst of globalisation, have become increasingly important. Brand heritage is a fundamental aspect of a brand's identity, it represents what a brand is now seen through the lens of its own history. This yearning for the appreciation of one's roots is one of the priorities of the big luxury holding companies which, for 25 years now, have tirelessly continued their climb up the ranks of the brands with the most illustrious history.
Die Wirkung von Bühnenkostümen in der darstellenden Kunst wird oft unterschätzt. Dabei prägen sie nicht nur das Aussehen, die Haltung und die Bewegungen der Darstellenden, sondern dienen auch als ...textile Verkörperung der Bühnenfigur. Susanne Stehles Untersuchung der Mode- und Theatergeschichte zeigt auf, wie sich das Kostüm über die Jahrhunderte zum komplexen Ausdrucksmittel mit eigener visueller Sprache entwickelt hat. Sie ergründet die kommunikative Wirkung von Bekleidung, deren Botschaft auf der Bühne wie im Alltag zu finden ist. Darüber hinaus verweist sie in einem Exkurs zu körperlosen Kleidungsstücken in der bildenden Kunst auf das eigenständige, künstlerische Potenzial des Kostüms.
Though discreet, the animal is an omnipresent actor of fashion. The treatment accorded to it seems, in many respects, to be a paradox. Sometimes instrumentalized for the manufacture of clothing ...objects, sometimes celebrated in fashion's images, the place assigned to it is difficult to identify, in part because it can engage ethical questions. Looking carefully at the fashion's images, we realize that this paradoxical relationship is determined in fact by a mechanical arrangement. In the ways fashion uses the animal, is revealed no longer oppositions, but forms of continuity. Through the use of animals in its various forms, fashion tends to assert its immaterial nature, which goes beyond the mere framework of the manufacture of pieces of clothing. The animal figure is one of the tools that allows us to grasp the logics at work in the fashion system and how the factory of it rests on its capacity to inscribe the garment in the dimension of visible and in narrations aiming universal thematics.
Carl Franz Bally founded a shoe factory in Switzerland in 1851. Within decades, the Bally name had achieved worldwide recognition for its high-quality footwear. The history of modern footwear can be ...traced through the lens of Bally's corporate evolution. This book brings together the results of research on such topics as the economic importance of fashion, Bally's fortunes in the US, the career of shoe design, the sourcing and use of materials, and the rise of strategic product display. The research focuses on the 1930s and 1940s: years of economic crisis and war, characterized by a wide diversity of designs and increasing variety in product range. Shortages also led to experiments with materials and technical innovations. Featuring numerous points of contact with adjacent fields of historical study, this publication marks a contribution to the history of fashion as the history of industrially manufactured products.
This collection of essays explores the ways in which Iberian cultural production has constructed kings and queens since 1975. Our focus is the royal figure who inherits their status and power through ...'blood' and justifies their power invoking the transcendental mystique of monarchic sovereignty. In one way or another, the figures of Juan Carlos I and his son Felipe VI permeate all cultural representations of monarchical rule produced during the democratic period; and these representations shape our political understanding of the two kings and become a site to contest hegemonic understandings of Spanishness, post-Francoist Spain and Iberian political communities.
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The following article is built on an interview with two of the co-founders of The Fashion Studies Journal (FSJ), Lauren Downing Peters, Editor-in-Chief, and Laura Snelgrove, Editor-at Large. The ...interview was conducted and article was written by the editorial assistant at Fashion Studies, and is the first step towards creating a collaborative partnership between the two publications. FSJ began in 2012 as a traditional academic outlet and was relaunched in 2016 as an online journal, with a focus on taking a thoughtful approach to fashion from a range of perspectives while representing diverse voices. Meanwhile, in 2017 Fashion Studies launched as the first open-access journal in the transdisciplinary field of fashion studies, celebrating work that is focused on refashioning the world into a more equitable, just, and inclusive place. Connected through their similar journal names, the two publications soon realized that there were endless ways they could work together to further the field of fashion studies. In particular, the journals are united through their shared values of taking a critical approach to fashion, making fashion studies accessible, and building a fashion studies community. What follows are excerpts from the interview conducted between Fashion Studies and FSJ. Topics include how FSJ began, why the study of fashion is important, and advice for others hoping to establish themselves within the field.
This study examines the different themes of communication that take place in video ad campaigns deriving from the French luxury fashion houses Louis Vuitton, Dior, Chanel, Cartier and Hermès. By ...using semiology as a method we were able to recognize the themes of adventure, seduction, love and play in the videos. This study explores also how the myth becomes an important meaning-maker of the luxury commodity and fills it with sensations and pleasure. Unlike all other ads, we could see that the meaning of luxury in the Hermès’ ones was not directly connected to the objects per se but to the experience of human senses in contact with nature. We could further conclude that the visual communication of the ads has no need to be logical as long as it can seduce with its positive signs. The object of luxury constitutes a strong communication tool helping the viewer to discover new places, to fall in love, to create magic and to experience the amusement of play. Embedded in recognizable social narratives, the objects in the moving image are provided with a seductive meaning able to support the eternal myth of luxury.
O realismo cinematográfico de Visconti diz respeito à história das transformações de identidade dos italianos do pós-guerra ao boom económico, e se baseia na representação do contexto ...psico-sócio-antropológico em que “modelos de mulheres contemporâneas” surgem, às vezes erotizados, e sempre emblemáticos de tentativas de vingança feminina ainda a germinar. Nos primeiros filmes de Visconti este aspecto particular toma, portanto, forma em tons idealmente progressistas e não concretos, representados através de personagens interpretados por divas da época como Giovanna-Calamai em Ossessione (1943), Maddalena-Magnani em Bellissima (1951) e Pupe-Schneider em Il lavoro (1962). Subjacente ao potencial expressivo destas obras está o valor antropomórfico do cinema, proposto num dos seus famosos ensaios como “declaração de intenções”, um preâmbulo dos seus filmes concebido para evidenciar a capacidade, ainda por construir, de reproduzir o valor da autenticidade humana na representação e na cena, ou a partir de aspectos materiais de que é composta. É precisamente a teoria cinematográfica subjacente e a representação cénica, implicada tanto nas formas simbólicas construídas pelo realizador como nos materiais que compõem o cenário, figurinos e requisitos da cena, que inicialmente assumem traços do neo-realismo, ou como o próprio especificou de “realismo humano”, característica que manterá sempre, mesmo nos filmes do segundo período definido pela crítica como barroco e decadentista. Esta transição será determinada pelo entendimento de que o boom económico e o advento de uma nova sociedade capitalista mudaram radicalmente a vida e a cultura dos italianos, e nem sempre para melhor. A fim de narrar esta mudança, Visconti definirá novas formas narrativas “ realisticamente pré-estruturadas “ que mostram, através da riqueza da materialidade dos ambientes e do guarda-roupa, os aspectos simbólicos de um novo “realismo humano” degenerado pelo dinheiro e muitas vezes escondido por detrás do aparente crescimento social. A partir deste discurso, as três personagens femininas acima mencionadas são analisadas, com particular atenção o personagem interpretado por Pupe-Schneider, num estudo de caso escolhido pelas conotações dramatúrgicas particulares construídas através dos elementos barrocos da cena e dos figurinos/vestidos da marca Chanel.
Visconti’s filmic realism concerns the story of the identity transformations of Italians from the post-war period to the economic boom, and is based on the representation of the psycho-socio-anthropological context in which “models of contemporary women” appear for eroticized traits, and always emblematic of attempts at a female revenge still in germ. In Visconti’s early films this particular aspect therefore takes shape in tones that are only ideally progressive and not concrete, represented in characters played by divas of the time such as Giovanna-Calamai in Ossessione (1943), Maddalena-Magnani in Bellissima (1951) and Pupe-Schneider in Il lavoro (1962). Underlying the expressive potential of these works is the anthropomorphic value of cinema, described in one of his famous essays that seems more like a ‘declaration of intent’, a preamble to his films designed to highlight their capacity, yet to be constructed, to reproduce the value of human authenticity in the acting and in the scene, or from the material aspects of which it is composed. It is precisely the film theory at the basis of his films and the correlated scenic representation, both in the symbolic forms constructed by the director and in the materialistic ones of the set, costumes and scene requirements, that initially assume the traits of neo-realism, or as he specified “human realism”, whose character he will always maintain, even in the films of the second period defined by critics as baroque and decadentist. This change will be determined by the understanding that the economic boom and the correlated advent of a new capitalist society have radically changed the life and culture of Italians, and not always for the better. In order to narrate this change, Visconti will define new forms of “realistically pre-structured” storytelling that show, in the richness of the materiality of environments and costumes, the symbolic aspects of a new human verism degenerated by money and often hidden behind the mask of apparent social growth. Starting from this discourse, the three female characters mentioned above are analysed, with particular attention to Pupe-Schneider, a case study chosen for the particular dramaturgical connotations constructed through the baroque elements of the scene and costumes/dresses of the Chanel brand.
Il verismo filmico viscontiano riguarda il racconto delle trasformazioni identitarie degli italiani dal dopoguerra al boom economico, e si basa sulla rappresentazione del contesto psico-socio-antropologico in cui “modelli di donne della contemporaneità” appaiono per tratti erotizzati, e sempre emblematici di tentativi di una rivalsa femminile ancora in germe. Nei primi film di Visconti questo particolare aspetto prende dunque forma in toni solo idealmente progressisti e non concreti, rappresentati in personaggi interpretati da dive del tempo quali Giovanna-Calamai in Ossessione (1943), Maddalena-Magnani in Bellissima (1951) e Pupe-Schneider ne Il lavoro (1962). Alla base dei potenziali espressivi di queste opere vi è il valore antropomorfico del cinema, descritto in un suo saggio famoso che sembra più una “dichiarazione di intenti”, un preambolo ai suoi film atto a evidenziare la capacità, tutta da costruire, di riprodurre il valore dell’autenticità umana nella recitazione attoriale e nella scena, o a partire dagli aspetti materiali di cui è composta. Proprio la teoria filmica alla base dei suoi film e la correlata rappresentazione scenica, sia nelle forme simboliche costruite dalla regia, sia in quelle materialistiche dell’insieme di scenografie, costumi e fabbisogno scena, inizialmente assumono i tratti del neorealismo, o come egli precisava del “verismo umano” del quale manterrà sempre il carattere, anche nei film del secondo periodo definito dalla critica barocco e decadentista. Questo cambiamento sarà determinato dalla comprensione che il boom economico e il correlato avvento di una nuova società capitalista hanno cambiato radicalmente la vita e la cultura degli italiani, e non sempre verso il meglio. Per narrare tale cambiamento Visconti definirà nuove forme del racconto “realisticamente pre-strutturate” che mostrano, nella ricchezza della materialità degli ambienti e dei costumi, gli aspetti simbolici di un nuovo verismo umano degenerato dal denaro e spesso celato dietro la maschera dell’apparente crescita sociale. A partire da questo discorso si analizzano i tre personaggi femminili citati sopra, con particolare attenzione a Pupe-Schneider, caso di studio scelto per le particolari connotazioni drammaturgiche costruite tramite elementi barocchi della scena e costumi/abiti del marchio Chanel.
Fashion is an integral part of popular culture, closely intertwined with tales, magazines, photography, cinema, television, music and sports...up to the emergence of dedicated exhibitions and ...museums. Fashion is undergoing a major digital transformation: garments and apparels are presented and sold online, and fashion trends and styles are launched, discussed and negotiated mainly in the digital arena. While going well beyond national and linguistic borders, digital fashion communication requires further cultural sensitivity: otherwise, it might ignite inter-cultural misunderstandings and communication crises. This book presents the recent transformation of fashion from being a Cinderella to becoming a major cultural attractor and academic research subject, as well as the implications of its digital transformation. Through several cases, it documents intercultural communication crises and provides strategies to interpret and prevent them.
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