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Università di Bologna, Department of the Arts (DAR), Faculty MemberUniversità di Bologna, Department. for Life Quality Studies – QUVI- Rimini, Faculty Member add
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Simona Segre Reinach is cultural anthropologist and Associate Professor of Fashion Studies at Bologna University.She ... moreSimona Segre Reinach is cultural anthropologist and Associate Professor of Fashion Studies at Bologna University.She has written extensively on fashion from a global perspective. She sits in the Editorial Board of Fashion Theory, The International Journal of Fashion Studies and Critical Studies on Fashion and Beauty, Dress Cultures (Bloomsbury), Moda, Cultura, Società (Mondadori-Pearson), Fashion in Process (Mandragora), Anthem Studies in Fashion, Dress and Visual Culture. She has done field work in China on Sino-Italian joint ventures contributing to a collaborative study in Cultural Anthropology. In Italy she authored: Mode in Italy. Una lettura antropologica (Guerini 1999), La moda. Un'introduzione (Laterza 2005 and 2010), Orientalismi. La moda nel mercato globale (Meltemi 2006), Un mondo di mode (Laterza 2011), Exhibit! (Bruno Mondadori with Luca Marchetti 2017). Fashion in Multiple Chinas (I.B. Tauris with Wessie Ling 2018).
She curated the exhibitions 80s-90s Facing Beauties. Italian Fashion and Japanese Fashion At A Glance (Rimini Museo della Città 2013), and Jungle (Venaria Reale 2017).
Scientific Direction of Fashion Projects in Master Design and Technology for Fashion Communication.
Editor of Zonemoda Journal.
https://zmj.unibo.it edit
Decostruire la Madre Appunti intorno a due "fashion film": Franca. Chaos and Creation (2016) di Francesco Carrozzini e La scomparsa di mia madre (2019) di Beniamino Barrese Simona Segre Reinach * Pubblicato: 29 luglio 2020 È il sogno di... more
Decostruire la Madre Appunti intorno a due "fashion film": Franca. Chaos and Creation (2016) di Francesco Carrozzini e La scomparsa di mia madre (2019) di Beniamino Barrese Simona Segre Reinach * Pubblicato: 29 luglio 2020 È il sogno di molte madri avere un figlio modello, seppure diversa possa essere la manifestazione di tale perfezione. Per qualcuna potrebbe essere il successo professionale che il figlio raggiunge, per un'altra la devozione che esprime nei suoi confronti. Per molte madri il fatto stesso di averlo generato fa del bambino il figlio perfetto. Ci sono anche madri che sebbene in apparenza non abbiano particolarmente ricercato il figlio modello, impegnate com'erano a vivere una vita fuori dagli schemi, se ne ritrovino due, devoti e di successo, anche grazie a loro. Sto parlando di Beniamino Barrese (1986)-quarto e ultimo figlio di Benedetta Barzini (1943), modella e docente di moda-e di Francesco Carrozzini (1982)-figlio unico di Franca Sozzani (1950-2016) direttrice di Vogue Italia-entrambi intelligenti e sensibili registi, autori di due bellissimi film sulle loro rispettive genitrici. Benché non sappia immaginare due donne più diverse per storia familiare e personale, per stile e modi, accomuna Benedetta Barzini e Franca Sozzani la peculiarità di essere il soggetto di un film da parte dei lori rispettivi figli: "La scomparsa di mia madre" (2019) per Benedetta e "Franca. Chaos and Creation" (2016) per Franca e di essere entrambe protagoniste, seppure in modo antitetico, come vedremo, del sistema della moda internazionale. Le somiglianze non finiscono qui: sono state tutte e due delle ribelli per la loro epoca, hanno sfidato gli stereotipi del femminile, della famiglia, della maternità. Hanno cre-sciuto i loro figli da sole, seppure Benedetta abbia avuto diversi compagni, e diversi figli da padri diversi, mentre Franca un solo figlio, ma da subito con l'idea di crescerlo da sola. Benedetta ha avuto un'infanzia complicata che l'ha resa guardinga; Franca un' infanzia felice che le ha dato serenità e sicurezza. Sono state tuttavia entrambe critiche nei confronti della loro famiglia di origine. Franca perché proveniva da una famiglia troppo borghese per comprendere le sue scelte fuori dagli schemi. Benedetta perché nasce da un padre, Luigi Barzini Jr, e da una madre, Giannalisa Feltrinelli, troppo poco borghesi per comprendere il suo desiderio di ancorarsi da qualche parte. A sette anni Franca decide di andare in collegio. A 22 si sposa per uscire di casa, il matrimonio dura tre mesi, il figlio lo farà dopo con un altro uomo. Benedetta,
Visioni francesi per una moda italiana simona seGre reinacH BIKI Visioni francesi per una moda italiana il racconto della moda milanese, italiana e internazionale nelle parole e nelle immagini di una delle sue protagoniste, elvira... more
Visioni francesi per una moda italiana simona seGre reinacH BIKI Visioni francesi per una moda italiana il racconto della moda milanese, italiana e internazionale nelle parole e nelle immagini di una delle sue protagoniste, elvira leonardi Bouyeure, in arte Biki, la "sarta" della callas.
W. Ling and S Segre Reinach (2018) Fashion-Making in the Transglobal Landscape, in Wessie Ling and Simona Segre Reinach (eds.) Fashion in Multiple Chinas: Chinese Styles in the Transglobal Landscape, London: IB Tauris, pp. 1-12.
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(abstract in Italian and English) EXHIBIT! esplora lo sfaccettato panorama della mostra di moda da diversi punti di vista − socioculturale, storico, estetico − con particolare attenzione
alle contaminazioni tra arte e mercato.
La prima... more
(abstract in Italian and English)
EXHIBIT! esplora lo sfaccettato panorama della mostra di moda da diversi punti di vista − socioculturale, storico, estetico − con particolare attenzione alle contaminazioni tra arte e mercato. La prima parte del libro è dedicata alla storia, alla teoria, ai diversi approcci al curating di moda e alle sue recenti trasformazioni nei principali paesi in cui questa pratica si è sviluppata: Europa, con un focus sul caso italiano, Stati Uniti e Asia. La seconda parte del libro propone alcune ipotesi di ricerca sulle relazioni tra lo spazio della mostra e lo spazio della marca, dal negozio, ai cosiddetti “fashion hotel”, fino alle fondazioni d’arte a nome dei grandi marchi del lusso. Nel tracciare un’inedita prospettiva sul consumo culturale, il volume offre al lettore una visione originale della cura della mostra con l’intento di problematizzare sia lo statuto della moda sia quello della marca nel contesto contemporaneo.
LUCA MARCHETTI, semiotico di formazione e specializzato sulla moda, è professore a contratto per chiara fama all’Università di Bologna, visiting professor e ricercatore alla HEAD di Ginevra e senior lecturer all'IFM a Parigi, dove lavora anche come curatore e consulente per aziende internazionali. Oltre alle collaborazioni per riviste come Vogue e Domus, è autore di pubblicazioni come Fashion Curating / La Mode Exposée (HEAD – Ginevra, 201 6) e Simplifier (con E. Quinz, it:éditions, 2017). Tra i suoi progetti curatoriali: Object of Ordinary Madness (Kühlraum Gallery, Vienna, 201 4), Foulards (Biennale Internationale de St. Étienne, 201 3), Basic Instincts (con E. Quinz, Berlino, 2011 ; Shanghai, 2012) e Dysfashional (con E. Quinz, Lussemburgo, 2007; Losanna, 2008; Berlino, 2009; Parigi e Mosca 2010; Jakarta, 2011).
SIMONA SEGRE-REINACH, antropologa culturale, è professore associato presso l'Università di Bologna. Il suo ambito di ricerca riguarda la globalizzazione e la rappresentazione della moda. Tra le sue pubblicazioni principali si segnalano: Orientalismi (Meltemi 2006), La moda. Un'introduzione (Laterza 201 0), Un mondo di mode (Laterza 201 1 ). Fa parte del comitato scientifico di riviste di moda internazionali, quali Fashion Theory, International Journal of Fashion Studies, Critical Studies on Fashion and Beauty. Ha curato progetti allestitivi e mostre, tra cui 80s 90s Facing Beauties. Italian Fashion and Japanese fashion at a Glance (Rimini Museo della città 2013, curatela) e Jungle. L’immaginario animale nella moda (Torino, Venaria Reale 2017, direzione scientifica e co-curatela).
EXHIBIT! explores the multi-faceted field of fashion exhibitions curation from a socio-cultural, an historical and an aesthetic angle. The main features and approaches that characterize this practice internationally are considered within the frame of contemporary popular cultural, with a particular attention given to the contaminations between the art and the market.
In the first part of the book the authors discuss the theory and practice of curating, analysing the critical-historical transformations within geographical and cultural variations. Specific relation with art and the museum entails different curation styles in Northern and Southern Europe, the United States and Asia. The second part of the book suggests some innovative research hypothesis on the evolving relation between the art space of the exhibition and branded spaces, such as "shops”, "fashion hotels" and "art foundations" in the name of major luxury brands. Sketching a new perspective on cultural consumption, the book drives the reader's attention on the curation of fashion in space as an emerging practice to explore both the status of fashion the nature of nowadays brands from an original point of view.
LUCA MARCHETTI is professor and researcher at the HEAD – Genève (CH), Contract Professor of Highest Repute at the University of Bologna (I) and Senior Lecturer at the IFM Institut Français de la Mode (Paris, FR). Based in Paris, he also works internationally as brand consultant and exhibition curator. Beside his collaborations with magazines such as Vogue or Domus, he regularly contributes to editorial publications on fashion and design. Among his curatorial projects: Blasé (with Hadas Zucker, Shanghai-Bologna, 2016), Tillmann Lauterbach: Object of Ordinary Madness (Vienna, 2014), Foulards (Lyon, 2013). The exhibitions Basic Instincts (Berlin, 2011; Shanghai, 2012), Dysfashional (Luxembourg, 2007; Lausanne, 2008; Berlin, 2009; Paris and Moscow 2010; Jakarta, 2011) and EN:TRANCE (Bolzano 2004, Paris 2007) were co-curated with Emanuele Quinz
SIMONA SEGRE-REINACH is a cultural anthropologist and Associate Professor of Fashion Studies at Bologna University. She has written extensively on fashion from a global perspective. in the books such as Berg Encyclopedia of World Dress and Fashion (2010), The Fashion History Reader (2010), Fashion Media. Past and Present (2013), as well as published articles in Fashion Theory, Fashion Practice, Business and Economic History, and Critical Studies in Fashion and Beauty. She is also involved in Fashion Curation Studies. She sits in the Editorial Board of Fashion Theory, Critical Studies in Fashion and Beauty and The International Journal of Fashion Studies. She has done field work in China on Sino-Italian joint ventures contributing to a collaborative study in Cultural Anthropology. In Italy she authored: Mode in Italy. Una lettura antropologica (Guerini 1999), La moda. Un’introduzione (Laterza 2005 and 2010), Orientalismi. La moda nel mercato globale (Meltemi 2006), Un mondo di mode (Laterza 2011). She curated the exhibitions “80s-90s Facing Beauties. Italian Fashion and Japanese fashion at a Glance” (Rimini Museo della città 2013) and “Jungle. The Imagery of Animals in Fashion” (Torino, Venaria Reale 2017).
EXHIBIT! esplora lo sfaccettato panorama della mostra di moda da diversi punti di vista − socioculturale, storico, estetico − con particolare attenzione alle contaminazioni tra arte e mercato. La prima parte del libro è dedicata alla storia, alla teoria, ai diversi approcci al curating di moda e alle sue recenti trasformazioni nei principali paesi in cui questa pratica si è sviluppata: Europa, con un focus sul caso italiano, Stati Uniti e Asia. La seconda parte del libro propone alcune ipotesi di ricerca sulle relazioni tra lo spazio della mostra e lo spazio della marca, dal negozio, ai cosiddetti “fashion hotel”, fino alle fondazioni d’arte a nome dei grandi marchi del lusso. Nel tracciare un’inedita prospettiva sul consumo culturale, il volume offre al lettore una visione originale della cura della mostra con l’intento di problematizzare sia lo statuto della moda sia quello della marca nel contesto contemporaneo.
LUCA MARCHETTI, semiotico di formazione e specializzato sulla moda, è professore a contratto per chiara fama all’Università di Bologna, visiting professor e ricercatore alla HEAD di Ginevra e senior lecturer all'IFM a Parigi, dove lavora anche come curatore e consulente per aziende internazionali. Oltre alle collaborazioni per riviste come Vogue e Domus, è autore di pubblicazioni come Fashion Curating / La Mode Exposée (HEAD – Ginevra, 201 6) e Simplifier (con E. Quinz, it:éditions, 2017). Tra i suoi progetti curatoriali: Object of Ordinary Madness (Kühlraum Gallery, Vienna, 201 4), Foulards (Biennale Internationale de St. Étienne, 201 3), Basic Instincts (con E. Quinz, Berlino, 2011 ; Shanghai, 2012) e Dysfashional (con E. Quinz, Lussemburgo, 2007; Losanna, 2008; Berlino, 2009; Parigi e Mosca 2010; Jakarta, 2011).
SIMONA SEGRE-REINACH, antropologa culturale, è professore associato presso l'Università di Bologna. Il suo ambito di ricerca riguarda la globalizzazione e la rappresentazione della moda. Tra le sue pubblicazioni principali si segnalano: Orientalismi (Meltemi 2006), La moda. Un'introduzione (Laterza 201 0), Un mondo di mode (Laterza 201 1 ). Fa parte del comitato scientifico di riviste di moda internazionali, quali Fashion Theory, International Journal of Fashion Studies, Critical Studies on Fashion and Beauty. Ha curato progetti allestitivi e mostre, tra cui 80s 90s Facing Beauties. Italian Fashion and Japanese fashion at a Glance (Rimini Museo della città 2013, curatela) e Jungle. L’immaginario animale nella moda (Torino, Venaria Reale 2017, direzione scientifica e co-curatela).
EXHIBIT! explores the multi-faceted field of fashion exhibitions curation from a socio-cultural, an historical and an aesthetic angle. The main features and approaches that characterize this practice internationally are considered within the frame of contemporary popular cultural, with a particular attention given to the contaminations between the art and the market.
In the first part of the book the authors discuss the theory and practice of curating, analysing the critical-historical transformations within geographical and cultural variations. Specific relation with art and the museum entails different curation styles in Northern and Southern Europe, the United States and Asia. The second part of the book suggests some innovative research hypothesis on the evolving relation between the art space of the exhibition and branded spaces, such as "shops”, "fashion hotels" and "art foundations" in the name of major luxury brands. Sketching a new perspective on cultural consumption, the book drives the reader's attention on the curation of fashion in space as an emerging practice to explore both the status of fashion the nature of nowadays brands from an original point of view.
LUCA MARCHETTI is professor and researcher at the HEAD – Genève (CH), Contract Professor of Highest Repute at the University of Bologna (I) and Senior Lecturer at the IFM Institut Français de la Mode (Paris, FR). Based in Paris, he also works internationally as brand consultant and exhibition curator. Beside his collaborations with magazines such as Vogue or Domus, he regularly contributes to editorial publications on fashion and design. Among his curatorial projects: Blasé (with Hadas Zucker, Shanghai-Bologna, 2016), Tillmann Lauterbach: Object of Ordinary Madness (Vienna, 2014), Foulards (Lyon, 2013). The exhibitions Basic Instincts (Berlin, 2011; Shanghai, 2012), Dysfashional (Luxembourg, 2007; Lausanne, 2008; Berlin, 2009; Paris and Moscow 2010; Jakarta, 2011) and EN:TRANCE (Bolzano 2004, Paris 2007) were co-curated with Emanuele Quinz
SIMONA SEGRE-REINACH is a cultural anthropologist and Associate Professor of Fashion Studies at Bologna University. She has written extensively on fashion from a global perspective. in the books such as Berg Encyclopedia of World Dress and Fashion (2010), The Fashion History Reader (2010), Fashion Media. Past and Present (2013), as well as published articles in Fashion Theory, Fashion Practice, Business and Economic History, and Critical Studies in Fashion and Beauty. She is also involved in Fashion Curation Studies. She sits in the Editorial Board of Fashion Theory, Critical Studies in Fashion and Beauty and The International Journal of Fashion Studies. She has done field work in China on Sino-Italian joint ventures contributing to a collaborative study in Cultural Anthropology. In Italy she authored: Mode in Italy. Una lettura antropologica (Guerini 1999), La moda. Un’introduzione (Laterza 2005 and 2010), Orientalismi. La moda nel mercato globale (Meltemi 2006), Un mondo di mode (Laterza 2011). She curated the exhibitions “80s-90s Facing Beauties. Italian Fashion and Japanese fashion at a Glance” (Rimini Museo della città 2013) and “Jungle. The Imagery of Animals in Fashion” (Torino, Venaria Reale 2017).
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La cultura della moda italiana-made in Italy
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«Tutte le mode, in un certo senso, nascono come 'emancipazione da Parigi' ma ogni storia di questa emancipazione è diversa, peculiare e ricca di implicazioni che hanno a che fare con il passato, le storie sartoriali, gli scambi... more
«Tutte le mode, in un certo senso, nascono come 'emancipazione da Parigi' ma ogni storia di questa emancipazione è diversa, peculiare e ricca di implicazioni che hanno a che fare con il passato, le storie sartoriali, gli scambi commerciali tra i paesi, le specialità manifatturiere, l'emergere di nuove 'capitali della moda'. Le grandi potenze come Cina, India e Brasile sono interessate sia allo sviluppo della creatività locale, sia all'interazione con la moda internazionale in modo sempre più originale. Le nuove ricerche di antropologia della moda vanno dunque fondamentalmente in due direzioni: la comprensione della diffusione globale dei marchi occidentali e lo studio delle diverse mode locali che si affermano in modo più o meno indipendente dall'Occidente».
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All’interno del processo di globalizzazione, la moda è diventata un’industria transnazionale, che coinvolge moltissimi paesi. La fine della visione eurocentrica è quindi fisiologica, ma in larga misura è attribuibile a un fenomeno... more
All’interno del processo di globalizzazione, la moda è diventata un’industria transnazionale, che coinvolge moltissimi paesi. La fine della visione eurocentrica è quindi fisiologica, ma in larga misura è attribuibile a un fenomeno specifico di questi ultimi anni – il massiccio spostamento dell’industria tessile da Ovest verso Est – e a ciò che esso comporta in termini economici e culturali. Le modalità, peraltro tuttora in rapida trasformazione, con cui il cambiamento di traiettoria avviene influenzano le convinzioni e le pratiche sul produrre abbigliamento, sul vestire e sul comunicare moda a Est e a Ovest, e a loro volta ne sono influenzate. Nuove “città della moda” in Asia, Sud America e Australia si aggiungono oggi alla lista storica di Parigi, Milano, Londra, New York. Una nuova generazione di stilisti, provienente da paesi un tempo considerati “esotici” dall’Occidente, riutilizza in modo creativo le tradizioni tessili e stilistiche, e muovendosi tra nuovi e vecchi stereotipi agisce, pur non senza difficoltà, su una scala impensabile fino a pochi anni fa. L’autrice esamina le fasi di questo cambiamento dai primi esotismi vestimentari a oggi, soffermandosi sulle tendenze attuali dell’orientalismo in ogni ambito del nostro look.
La moda, intesa come punto d’incontro di corpo, abito e cultura, è un universo fatto da diverse componenti in relazione tra loro. Il libro, che si rivolge agli studenti dei vari corsi universitari sulla moda recentemente istituiti, vuole... more
La moda, intesa come punto d’incontro di corpo, abito e cultura, è un universo fatto da diverse componenti in relazione tra loro. Il libro, che si rivolge agli studenti dei vari corsi universitari sulla moda recentemente istituiti, vuole fornire gli strumenti per esaminare queste diverse componenti con sguardo unitario. Sono affrontati i temi dei significati e delle ambivalenze della moda dalle origini europee all’attuale circolazione globale; il suo ruolo nella definizione dell’identità; la storia delle idee sulla moda; le modalità principali con cui questo settore si è espresso, dall’alta moda francese al prêt à porter, all’attuale moda ‘veloce’; le caratteristiche, infine, del fashion marketing. Il volume ricostruisce anche la mappa delle capitali più importanti legate alla moda – Parigi, New York, Milano, Londra, Shanghai, Hong Kong, Anversa – e i loro diversi modelli di stile. Il filo che collega le varie parti del volume è quello di un’analisi pensata per restituire sfaccettature, sfumature e complessità e nello stesso tempo per orientare il lettore in modo agile.
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A review of Paola Colaiacomo book on Pasolini
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Western designers have always created collections inspired by China. JuanjuanWu explains that until recently, however, it has been a question of fascination and reciprocal exoticism. Chinese fashion\u2014fashion that has been truly... more
Western designers have always created collections inspired by China. JuanjuanWu explains that until recently, however, it has been a question of fascination and reciprocal exoticism. Chinese fashion\u2014fashion that has been truly designed, produced, and worn in China since Deng Xiaoping\u2019s open-door policy made it possible\u2014has, in fact, received very little attention from Western fashion theorists. This is the first book to deal with Chinese fashion, written from a Chinese perspective and in English. The conceptual and historical slant that marks it achieves the twofold purpose of acquainting the Western reading public with the evolution of Chinese fashion from 1978 to today and offering the Chinese reader an interpretation of fashion as a cultural product and not merely a material object, as it is usually treated in Chinese academic studies
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Th e recognition of Chinese fashion needs to come both from outside and from within China (Finnane 2008) in order to overcome the stereotype of a Chinese \u2018lack of taste\u2019 and the bad connotation of \u2018Made in China\u2019... more
Th e recognition of Chinese fashion needs to come both from outside and from within China (Finnane 2008) in order to overcome the stereotype of a Chinese \u2018lack of taste\u2019 and the bad connotation of \u2018Made in China\u2019 (Segre Reinach 2011). Th at\u2019s why Parent chose the provocative named for his blog. Style is the capability of choosing and mixing garments in order to perform oneself; being fashionable is sporting a brand that reassures you about your taste, and in the case of the Chinese, gives you \u2018face\u2019, or respectability. I do not know if the Younik store is still selling only Chinese fashion and expressing all the nuances of contemporary Chinese style. In 2009, it wasn\u2019t clear whether the owner of the shop intended to continue with Parent\u2019s strategy or if he was going to add Chinese objects, such as jade vases in th
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Nella prima parte viene affrontato l'ambito della mostra tanto negli aspetti teorici della pratica del curating quanto in quelli storico-critici legati alle trasformazioni cronologiche e alle varianti geografiche di questa. Nella... more
Nella prima parte viene affrontato l'ambito della mostra tanto negli aspetti teorici della pratica del curating quanto in quelli storico-critici legati alle trasformazioni cronologiche e alle varianti geografiche di questa. Nella seconda parte invece, si propongono alcuni spunti di ricerca per una lettura dello spazio dedicato alla marca di moda attraverso il prisma del curating. Oltre al "negozio" si affrontano due altre declinazioni spaziali della marca di moda: gli hotel e gli spazi dedicati all'arte, seguendo l'ipotesi che entrambi questi contesti ne intercettino oggi dimensioni culturali divenute ineludibili
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In this article, Segre-Reinach outlines the profile of the celebrated pop singer Teresa Teng (1953–1995), also known as Teresa Deng and Teng Li-Chun (traditional Chinese: 鄧麗君; simplified Chinese: 邓丽; pinyin: Dèng Lìjūn). Twenty-six years... more
In this article, Segre-Reinach outlines the profile of the celebrated pop singer Teresa Teng (1953–1995), also known as Teresa Deng and Teng Li-Chun (traditional Chinese: 鄧麗君; simplified Chinese: 邓丽; pinyin: Dèng Lìjūn). Twenty-six years after her death, Teresa Teng, Segre-Reinach argues, has a role not only for her music but as a fashion icon of global reach. Her fame has in fact continued after her death, and she has recently acquired a new global interest. Teresa Teng is a Chinese fashion icon influencing global fashion, much beyond her life.
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An issue on Global Fashion is very much needed given the crucial transition facing the disciplines of fashion in recent times, in the attempt to give an account of the increasing complexity of the material and symbolic flows of fashion.... more
An issue on Global Fashion is very much needed given the crucial transition facing the disciplines of fashion in recent times, in the attempt to give an account of the increasing complexity of the material and symbolic flows of fashion. No other form of commerce, arguably, can claim to be more pervasive throughout the globe than the textile and apparel business, and no other visual culture is more pervasive than fashion. But global fashion is not simply about the global dissemination of dress and fashion. For most fashion theorists, global fashion should not be defined merely as brand circulation or the international expansion of Western fashion. What is more, the interchanges of fashion imply an understanding of the circulation of technologies, objects, and ideas around fashion.
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Each case tells a story in the global production of "national fashions," a historically Eurocentric field. The first Italian-Chinese collaborations were characterized by joint ventures led by Italians and aimed at the Chinese market. New... more
Each case tells a story in the global production of "national fashions," a historically Eurocentric field. The first Italian-Chinese collaborations were characterized by joint ventures led by Italians and aimed at the Chinese market. New types of collaboration are vastly more complex. Indeed, they are reshaping Western-Chinese relations in both directions, and present a template for global fashion in the twenty-first century.
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The celebration of Giovanni Battista Giorgini’s catwalk show in February 1951 aims to give the historical relevance of an event that wasn’t just an episode, but the result of long and established relations, especially with America. It... more
The celebration of Giovanni Battista Giorgini’s catwalk show in February 1951 aims to give the historical relevance of an event that wasn’t just an episode, but the result of long and established relations, especially with America. It revealed also an international attitude expressed by Italian fashion practitioners long before Italian fashion was officially recognised. For this reason, some narratives around the different processes of “emancipation from Paris” deserve to be scrutinized in more nuanced narratives. The archive of seamstress and then couturiere Elvira Leonardi Bouyeure (1906-1999), aka Biki, offers one of those narratives.
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Much has been written about the transformation of China from a clothing manufacturing site into a fast-rate, fashion-consuming society. However, little investigation has been made into the making of contemporary Chinese fashion, a process... more
Much has been written about the transformation of China from a clothing manufacturing site into a fast-rate, fashion-consuming society. However, little investigation has been made into the making of contemporary Chinese fashion, a process that often involves a borderless entanglement from manufacturing to circulation, to retailing and branding. Revealed within this chapter are the tremendous cultural and economic dynamics in Chinese fashion that are at times challenging to articulate.
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Visioni francesi per una moda italiana simona seGre reinacH BIKI Visioni francesi per una moda italiana il racconto della moda milanese, italiana e internazionale nelle parole e nelle immagini di una delle sue protagoniste, elvira... more
Visioni francesi per una moda italiana simona seGre reinacH BIKI Visioni francesi per una moda italiana il racconto della moda milanese, italiana e internazionale nelle parole e nelle immagini di una delle sue protagoniste, elvira leonardi Bouyeure, in arte Biki, la "sarta" della callas.
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Abstract What is the meaning of national fashion in a globalized world? Having or not having a 'national fashion' upon which to rely seems to matter more and more for the success of brands operating in the contemporary... more
Abstract What is the meaning of national fashion in a globalized world? Having or not having a 'national fashion' upon which to rely seems to matter more and more for the success of brands operating in the contemporary market. This is so despite and perhaps because of ...
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Abstract The intensification of production relocation has changed the geography of fashion and the relations between “made in” and national creativity. The possibility of creating fashion, i.e. of being recognized as “author countries,”... more
Abstract The intensification of production relocation has changed the geography of fashion and the relations between “made in” and national creativity. The possibility of creating fashion, i.e. of being recognized as “author countries,” is part of a process in which hierarchies and roles are being constantly renegotiated according to the contexts and players concerned.
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Abstract Since the 1980s China has been the prime producer internationally and, since a decade ago, one of the main fashion consumers. Western brand dependence and its logos coexist in China with various forms of self-affirmation and... more
Abstract Since the 1980s China has been the prime producer internationally and, since a decade ago, one of the main fashion consumers. Western brand dependence and its logos coexist in China with various forms of self-affirmation and predilection for other Asian aesthetics, not least Japanese and Korean. Joint ventures with Western fashion companies are also part of the present-day fashion choice, preventing us from understanding the current fashion system in China. Chinese leadership in production and strong consumer practice will very probably soon extend to design and branding. But what is Chinese fashion? This question is important regarding not only the specific characteristics of Chinese fashion, but also the whole international fashion system. This article will attempt to address these questions.
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The ‘making’ of fashion cannot merely refer to garment production and manufacturing. It is the prerequisite for a nation to actively participate on the global stage. To establish a ‘recognisable’ fashion image, a country must go far... more
The ‘making’ of fashion cannot merely refer to garment production and manufacturing. It is the prerequisite for a nation to actively participate on the global stage. To establish a ‘recognisable’ fashion image, a country must go far beyond the competition of a specialised garment and textile industry. Being recognised as the ‘author countries’ for fashion creation is part of a process in which the (re)negotiation of national hierarchies and roles are constantly at play. For a country or a city, expressing an instantly recognisable aesthetic has become an important corollary of the communication of political and economic strength. More than in the past centuries, fashion has been tasked with not only reflecting and representing social or individual needs, but also constructing ex novo territories in which old stereotypes and imaginary are creatively set free. This is because, unlike most production and commercial activities, fashion expresses an elaborate culture whose composition of...
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Based on the archival material of Gianni Fabbri’s Discoteca Paradiso, guarded by Paolo Fabbri and Simonetta Franci, a site-specific installation was created with unpublished photographs that highlight the relationship between fashion,... more
Based on the archival material of Gianni Fabbri’s Discoteca Paradiso, guarded by Paolo Fabbri and Simonetta Franci, a site-specific installation was created with unpublished photographs that highlight the relationship between fashion, celebrities, events and disco club during the eighties and nineties of the twentieth century. Paolo Fabbri has kindly welcomed our invitation to introduce Zonemoda International Conference 2019 “Be Cool! Aesthetic Imperatives and Social Practices” (see ZMJ, 10, 1S 2020) with a comment on the events of the celebrated disco club Paradiso, owned by his brother Gianni. A site-specific installation curated by Nicola Brajato, graphic project by Leandro Palanghi with the collaboration of Flavia Piancazzo and Yingntao Zhong. Scientific direction: Simona Segre Reinach. https://zonemoda.unibo.it/fashion-in-paradise-rimini-and-the-golden-age-of-discoteca-paradiso/
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Confrontarsi con il gigante cinese, con quel vero e proprio cosmo o universo rappresentato dalla Cina (e ospitante al suo interno, per così dire, una miriade di microcosmi diversi in relazione sia fra di loro, sia con il resto del mondo),... more
Confrontarsi con il gigante cinese, con quel vero e proprio cosmo o universo rappresentato dalla Cina (e ospitante al suo interno, per così dire, una miriade di microcosmi diversi in relazione sia fra di loro, sia con il resto del mondo), è diventato ormai un compito ineludibile e imprescindibile per tutti in Occidente, a qualsiasi livello. Vale a dire, sia che ci si confronti con la Cina a un livello economico o sociopolitico, sia che ci si confronti con essa a un livello culturale. Livello culturale che poi, a sua volta, può riguardare ovviamente campi diversi fra loro, come quelli, ad esempio, dell’etica, dell’estetica, della religione, delle tradizioni, delle varie arti e pratiche (letteratura, pittura,musica), ecc.Rientra in ciò, chiaramente, anche un campo come quello dellamoda, riguardo al quale appare parimenti necessario confrontarsi seriamente con tutto ciò che, nel bene e nelmale, in grande e in piccolo, rappresenta oggi la Cina. Risponde precisamente a questo compito ed ...
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In the wake of her economic success, fashion has become a new accessory to China on both production and consumption level. The active exchange between the West and China stimulates production and consumption of a hybrid style which has... more
In the wake of her economic success, fashion has become a new accessory to China on both production and consumption level. The active exchange between the West and China stimulates production and consumption of a hybrid style which has form part of the identities of Chinese fashion, as pointed out in many recent works on contemporary Chinese fashion. But China has also a role in reshaping Western fashion. If China's new role as a consumer is frequently underlined, as opposed to that of manufacturer, little has been written on how international fashion production in China presents ambivalences right from the manufacturing stage. China has a relevant role in determining global fashion. It is a complex process blurring the boundaries between Chinese and Western fashion systems, and disavowing essentialism on both sides. The paper deals with the specific relation between China and Italy in the process of "fashion making". It refers to a collaborative study (2002-2010) in C...
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El regreso al Renacimiento, fundamental de un cierto discurso occidental sobre elvestir, que se reanudó nuevamente durante los años ochenta del siglo XX para explicar la moda,indica no tanto un intento por conocer la historia de un... more
El regreso al Renacimiento, fundamental de un cierto discurso occidental sobre elvestir, que se reanudó nuevamente durante los años ochenta del siglo XX para explicar la moda,indica no tanto un intento por conocer la historia de un fenómeno que se desarrollaría mástarde, cuanto la necesidad de partir de un período en el que Italia tenía el liderazgo del gusto.No se trata sólo del deseo de volver a los orígenes, sino también de poner entre paréntesisuna Italia que, a partir del siglo XVII, ve disminuir progresivamente su posición privilegiadaen Europa. Durante los años 80, sin embargo, la explicación del Renacimiento resalta particularmente, dado el carácter revolucionario del nuevo sistema, posteriormente imitado porotros países y otras modas y por la estrecha relación entre moda y sociedad de consumo, entreestética e industria.
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Fashion studies are born as an interdisciplinary sector. Since the foundation in the 1980s of the twentieth century there was clearly reference to the disciplines of fashion, in the plural, and not to a single discipline. This issue of... more
Fashion studies are born as an interdisciplinary sector. Since the foundation in the 1980s of the twentieth century there was clearly reference to the disciplines of fashion, in the plural, and not to a single discipline. This issue of ZMJ is particularly interesting from this point of view. The theme of deconstruction crosses various fields, from philosophy to architecture, to fashion, giving rise to a fruitful debate both on design and its methods, as well as on the theoretical implications that situate fashion well beyond clothing and garments, to involve many other fields of human action. The issue deals with both the historicization of deconstructionism and its most current meanings “especially inquiring into some of its implications, connections and ramifications in such fields as philosophy, fashion, art, design, gender studies and music” as the editors Stefano Marino and Ines Tolic write in the introduction to the volume. With this inclusive and expansive principle, ever more current and necessary, the first part of the volume presents punctual and wide in scope articles for a dialogue in progress in many fields of knowledge. The “backstage”, as always, heeds the call with reviews of exhibitions, films and books under the same explorative attitude towards conventions and stereotypes.
This issue is dedicated to the memory of Paolo Fabbri (1939–2020), a semiologist and a cosmopolitan Rimini born scholar who has made interdisciplinarity an art, while bringing the different areas of knowledge back to his favorite discipline. He will always be an example for us.
This issue is dedicated to the memory of Paolo Fabbri (1939–2020), a semiologist and a cosmopolitan Rimini born scholar who has made interdisciplinarity an art, while bringing the different areas of knowledge back to his favorite discipline. He will always be an example for us.