London College of Fashion, Fashion Space Gallery Fashion At The Time Of Fascism – Italian Modernist Lifestyle 1922-1943 Curated by Mario Lupano and Alessandra Vaccari Thursday 29th April – Friday 11th June 2010 By interpreting the suggestions of rich iconographic sources, the exhibition ponders on the methodological aspects of the research which inspired the book as a visual essay. It brings back the editors’ minute research work in exploring and comparing a great variety of documents and data – women’s, fashion, cinema and gossip magazines; photographic archives; exhibition and commercial catalogues; books and magazines on sartorial techniques; design and architecture. The display interprets the assembling of texts and images which in the book revolves around the four key concepts of Measurement, Model, Mark and Parade: from project to production, from distribution to consumption. Measurement investigates the aspects of modernism which are closer to the concepts of order, rationality, scientific rigor and technical control. Rationalization in the productive processes of fashion is exalted by the use of beauty machines and sartorial instruments to measure the body, such as the one Domenico Caraceni patented. Model is more directly connected with the discourse on “types” and lifestyles and is devoted to the dress code and models of style that become reference points for the whole epoch: from the iconic value of the “duce” to the stars of Hollywood and Italian cinema. Mark analyses the connections between fashion and the construction of identity processes: from search for originality in national products, to authority of fashion creators, to the attempt of structuring an Italian fashion system. Parade deals with the catwalk rite in its elements of modernist seriality and is concerned with fashion display in exhibitions, shop windows, cities and parades. In order to better grasp the theoretical configuration elaborated in the book and consequently organize a critical discourse on the modernist conception of fashion design in Italy, the exhibition includes the conceptual maps which, for each single session, identify the relationships between modernist ideas on the one hand and fashion practices on the other. The exhibition is a reflection on the expressive modalities adopted in the book, such as the rhythms of film editing, the use of cutting borrowed from the creative processes of fashion, the “modern day” routine and its rituals in Italy and the conjuring of figures according to the techniques of abstraction.
Fashion at the Time of Fascism. Italian Modernist Lifestyle 1922-1943
LUPANO, MARIO;VACCARI, ALESSANDRA
2010-01-01
Abstract
London College of Fashion, Fashion Space Gallery Fashion At The Time Of Fascism – Italian Modernist Lifestyle 1922-1943 Curated by Mario Lupano and Alessandra Vaccari Thursday 29th April – Friday 11th June 2010 By interpreting the suggestions of rich iconographic sources, the exhibition ponders on the methodological aspects of the research which inspired the book as a visual essay. It brings back the editors’ minute research work in exploring and comparing a great variety of documents and data – women’s, fashion, cinema and gossip magazines; photographic archives; exhibition and commercial catalogues; books and magazines on sartorial techniques; design and architecture. The display interprets the assembling of texts and images which in the book revolves around the four key concepts of Measurement, Model, Mark and Parade: from project to production, from distribution to consumption. Measurement investigates the aspects of modernism which are closer to the concepts of order, rationality, scientific rigor and technical control. Rationalization in the productive processes of fashion is exalted by the use of beauty machines and sartorial instruments to measure the body, such as the one Domenico Caraceni patented. Model is more directly connected with the discourse on “types” and lifestyles and is devoted to the dress code and models of style that become reference points for the whole epoch: from the iconic value of the “duce” to the stars of Hollywood and Italian cinema. Mark analyses the connections between fashion and the construction of identity processes: from search for originality in national products, to authority of fashion creators, to the attempt of structuring an Italian fashion system. Parade deals with the catwalk rite in its elements of modernist seriality and is concerned with fashion display in exhibitions, shop windows, cities and parades. In order to better grasp the theoretical configuration elaborated in the book and consequently organize a critical discourse on the modernist conception of fashion design in Italy, the exhibition includes the conceptual maps which, for each single session, identify the relationships between modernist ideas on the one hand and fashion practices on the other. The exhibition is a reflection on the expressive modalities adopted in the book, such as the rhythms of film editing, the use of cutting borrowed from the creative processes of fashion, the “modern day” routine and its rituals in Italy and the conjuring of figures according to the techniques of abstraction.
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