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Om italiensk mode og modedesignere fra 1945 til i dag
"The essence of Italian style through fashion and costume in the 20th century in a volume that captures the evolution of Italian fashion's biggest brands. The fashion archive of Enrico Quinto and Paolo Tinarelli has been painstakingly assembled over the last twenty years and traces the international evolution of costume from the mid-19th century to the present day. This quintessential volume on Italian style narrates the development of fashion through around three hundred dresses, chronologically ordered and selected from an international collection of over six thousand pieces, enriched by commentary by historians, journalists, and fashion designers, but also by photography, film, and personal testimony: a concrete resource for historians of costume, students, and those passionate about style" --
A celebration of the unmistakable Missoni style, whose innovative approach mixes bold color, pattern, and material with an extraordinary sense of balance and elegance. This is the first fully comprehensive book about Missoni, created with full access to the archives and with the support of the Missoni family. Lavishly designed, it features reproductions of Missoni patterns printed on special material and stitched into the binding between signatures along with other special features. This volume was conceived as a design object, in which images, texts, original fabrics, drawings, color palettes, and fashion patterns speak to one another. Missoni celebrates an elegance that has become an artistic expression as well as something of a cultural and fashion revolution since the early 1950s, when Rosita and Ottavio Missoni began their creative journey into fashion and art, with a talent for experimentation that never betrayed the spirit of their origins in the decades to come. Divided into thematic sections, each is introduced by an essay including quotes by the Missonis themselves, highlighting the artistic decisions that contributed to the success and recognizability of their fashion house. With previously unpublished material from both the family and the company archives, this volume is a look into the creative and artistic world of Missoni.
The Origins of Italian Fashion examines the history of Italian fashion from the beginning of the twentieth century, when the Lombard tailor Rosa Genoni created the first Italian fashion house independent from the prevailing French style, to World War II, when the Fascist regime co-opted fashion as a propaganda tool. Illustrated with archive material from the designers and the earliest Italian fashion magazines, this book concentrates on the most important designers from the early years of Italian fashion. From Gabriella di Robilant, the Italian 'inventor' of sportswear fashion, to Salvatore Ferragamo and his famous orthopaedic shoes, to Elsa Schiaparelli, the first great protagonist of Italian style, these designers' influence continues to be felt today.
The first comprehensive study on the role of Italian fashion and Italian literature, this book analyzes clothing and fashion as described and represented in literary texts and costume books in the Italy of the 16th and 17th centuries. Writing Fashion in Early Modern Italy emphasizes the centrality of Italian literature and culture for understanding modern theories of fashion and gauging its impact in the shaping of codes of civility and taste in Europe and the West. Using literature to uncover what has been called the ’animatedness of clothing,’ author Eugenia Paulicelli explores the political meanings that clothing produces in public space. At the core of the book is the idea that the texts examined here act as maps that, first, pinpoint the establishment of fashion as a social institution of modernity; and, second, gauge the meaning of clothing at a personal and a political level. As well as Castiglione’s The Book of the Courtier and Cesare Vecellio’s The Clothing of the Renaissance World, the author looks at works by Italian writers whose books are not yet available in English translation, such as those by Giacomo Franco, Arcangela Tarabotti, and Agostino Lampugnani. Paying particular attention to literature and the relevance of clothing in the shaping of codes of civility and style, this volume complements the existing and important works on Italian fashion and material culture in the Renaissance. It makes the case for the centrality of Italian literature and the interconnectedness of texts from a variety of genres for an understanding of the history of Italian style, and serves to contextualize the debate on dress in other European literatures.
Italian fashion has long been revered for its craftsmanship and luxury, but also for its iconic status in the fashion world. Floral brocades, leopard print and show-stopping red dresses – the masters of Italian fashion know how to make a statement. In Iconic: The masters of Italian fashion, internationally renowned fashion illustrator Megan Hess explores ten of the best known and most loved Italian designers: Versace, Dolce & Gabbana, Fendi, Valentino, Pucci, Prada, Miu Miu, Missoni, Gucci and Armani. Megan takes readers on an unforgettable journey beneath the seams of each designer, learning about their history and significance to Italian – and global – fashion culture. Filled with Megan's stunning illustrations of some of the most well-known and fabulous outfits, from suits to swimwear to haute couture gowns, Iconic is a truly unique celebration of one of the world's most important fashion destinations.
This is the first book written about Maria Monaci Gallenga (1880-1944), the enigmatic fashion artist and designer marginalized after decades of fortune and fame. The daughter of Ernesto Monaci, the illustrious philologist and mentor of Luigi Pirandello, Gallenga was the wife of Pietro Gallenga, a medical scientist related to the Gallenga Stuart family. The text outlines Maria Monaci Gallenga’s impact on the world of fashion, contextualizing her work and that of other forgotten fashion designers in the 1920s and 1930s. It sheds light on her cultural impact and idealism as a business entrepreneur in Europe and America promoting Italian art and culture. It also highlights her engagement in social and educational activities after she retired from the world of fashion, and explains the reasons behind her marginalization and disappearance, and the obstacles and constraints she faced during the years of Fascism. The book also considers the influence of the British arts and crafts movement and the vision of the Pre-Raphaelite Brotherhood on her aesthetic vision, and, in turn, investigates Maria Gallenga’s influence on late Pre-Raphaelite paintings (Frank Cadogan Cowper) inspired by her designs and fabrics. The discovery of her fabrics and accessories by the Fendi sisters in the collections of the Tirelli House eventually sparked a new interest in her models, now enhanced by digital media.
In the course of the twentieth century, Italy succeeded in establishing itself as one of the world's preeminent fashion capitals, despite the centuries-old predominance of Paris and London. This book traces the story of how this came to be, guiding readers through the major cultural and economic revolutions of twentieth-century Italy and how they shaped the consumption practices and material lives of everyday Italians. In order to understand the specific character of the “Italian model,” Emanuela Scarpellini considers not only aspects of craftsmanship, industrial production and the evolution of styles, but also the economic and cultural changes that have radically transformed Italy and the international scene within a few decades: the post-war economic miracle, the youth revolution, the consumerism of the 1980s, globalization, the environmentalism of the 2000s and the Italy of today. Written in a lively style, full of references to cinema, literature, art and the world of media, this work offers the first comprehensive overview of a phenomenon that has profoundly shaped recent Italian history.
Italy is a country synonymous with style and beauty in all aspects of life: the rich history of Rome, Renaissance art of Florence, graceful canals of Venice, high fashion of Milan, signature pasta alla bolognese of Bologna, colorful architecture of Portofino and winking blue waters of Capri and the Amalfi Coast, among many others. Italians themselves live effortlessly amid all this splendor, knowing instinctively just the type of outfit to throw on, design element to balance, or delectable ingredient to add.
Since the 2000s, fashion exhibitions have become some of the most popular displays presented in museums. Fashion brands celebrate anniversaries with blockbuster retrospectives and lavish catalogues, and increasingly exhibit archive pieces in their stores. Italy is a major player in the global fashion industry, yet little has been written about its contribution to fashion curation. This book explores the management, display and curation of Italian fashion heritage, highlighting the role played by companies and industry associations. By contextualising fashion curation within Italy's economy, culture and art-historical tradition, this book unfolds the ties between the preservation of fashion heritage and corporate policies. It traces the shift of companies from sponsors to cultural producers and discusses the different uses of archives and exhibitions. Through the critical analysis of key examples such as Salvatore Ferragamo, Pitti Immagine and Gucci, this book illustrates how the inevitable commercial interests underlying fashion curation can exist alongside the scholarly contribution of corporate initiatives. Most importantly, it defines the curatorial approaches developed by the involvement of the industry in fashion curation, thus providing an overarching interpretation of the characteristics of this practice in Italy. Matteo Augello provides an unprecedented insight into the management of Italian fashion heritage and presents a comprehensive account of the development of fashion curation in Italy, drawing from archival records, existing literature and oral history. This book is essential reading for scholars, industry professionals and students interested in the intersections of curation, heritage, national identity and corporate cultural policies.