Fashion History

espanolLos casamientos reales celebrados durante la Edad Moderna constituyen una fuente inagotable de informacion, que se transmitio, en buena medida, a traves de las relaciones de sucesos. Son numerosos los testimonios conservados sobre tales acontecimientos, siendo uno de los enlaces mas relevantes del Siglo de Oro, por la produccion impresa que ocasiono, el matrimonio entre Felipe III y Margarita de Austria. En este caso, el evento estuvo reflejado en mas de una veintena de relaciones festivas, como las de Lope de Vega, Gaspar Aguilar o Felipe de Gauna. Una de las relaciones festivas sobre ese acontecimiento es el Tratado copioso y verdadero de la determinacion del gran monarca Felipe II para el casamiento del III con la serenisima Margarita de Austria. La obra, de la que ofrecemos estudio y edicion modernizada, aporta informacion valiosa no solo sobre los fastos que tuvieron lugar en torno al evento real, dando claves para comprender el mundo cortesano, sino tambien sobre el gen...

Su «la Repubblica - Bologna» un mio articolo sulla mostra che la Fondazione Magnani Rocca dedica al rapporto tra moda, pubblicità e fotografia: una tensione attrattiva che nel secondo Novecento seppe costruire e lanciare nel mondo lo Stile Italiano

In an architectural context, the term "vernacular" typically designates the constructed works of those who exercise their design skills as builders, carpenters, or masons rather than academically trained architects. The houses of Sisteron, a village in the Southern French region of Provence, result from the labor of these vernacular figures.1 In his 1918-20 painting titled Sisteron, Amédée Ozenfant depicts interlocking hillside houses and the Porte du Dauphiné, one of the gates of the village's citadel.2 Aside from these recognizable motifs, the painting is more informative of Ozenfant's creative agenda than of the architectural actuality of Sisteron at the time of his visit. The artist visibly departs from naturalism by rendering Sisteron's beige facades in shades of burnt orange and deep crimson. Most importantly, Ozenfant does not represent doors, windows, or shutters that punctuate these facades, thus depicting these vernacular buildings as abstract geometrical volumes more akin to Platonic solids than lived-in dwellings. When represented in this abstracted manner, the architecture of the village is hardly distinguishable from the rocky hill on which it stands. While pyramidal volumes may be interpreted as slanted roofs, the cubic masses at the center of the composition cannot be strictly identified as either natural or architectural. In his autobiography, Ozenfant recalls appreciating Sisteron for its geometry: "I saw Provence for the first time in Sisteron, where I stopped for two days [in 1914] to draw because I was in awe of the admirable alliance between the strongly calculated architecture of the star-shaped citadel à la Vauban and the natural architecture of the rock, which appealed to my spirit's geometrical taste."3 In his painting, Ozenfant emphasized the features of Sisteron that he appreciated the most, geometry in nature and architecture, thus proposing an idealized and fundamentally subjective depiction of the Provençal village. Like Ozenfant, several other key figures of the European avant-garde-including Raoul Hausmann, Georges Braque (pp. 54-55), and Le Corbusier-expressed their deep interest in Mediterranean vernacular architecture and its geometrical predisposition.4 Sisteron is an essential instance within this extended history of creative interaction between modern art and Mediterranean vernacular architecture.

Emilio Pucci, marchese di Barsento, nacque a Napoli il 20 novembre 1914 da una nobile famiglia fiorentina. La sua vicenda personale, avventurosa e cosmopolita, si intreccia profondamente con la storia della moda italiana del secondo dopoguerra, di cui fu uno dei protagonisti assoluti. Lontano dall'essere un enfant prodige del settore, si avvicinò alla moda solo in età adulta, dopo un percorso di vita straordinariamente ricco: fu sciatore olimpionico, aviatore pluridecorato nella Regia Aeronautica durante la Seconda guerra mondiale, e studioso di scienze sociali al Reed College in Oregon, dove già a metà degli anni Trenta realizzò le uniformi per la squadra di sci universitaria, anticipando inconsapevolmente il proprio futuro da stilista. Nel 1947, quasi per caso, disegnò una tuta da sci dai colori vivaci per un'amica, fotografata sulla neve da Toni Frissell per Harper's Bazaar: l'immagine divenne iconica, e segnò l'inizio di una carriera fulminante. Nel 1950 aprì la sua prima boutique a Capri, destinata a trasformare radicalmente l'idea di abbigliamento da vacanza. Le sue creazioni -pantaloni Capri coloratissimi e aderenti, camicie in twill di seta, top in jersey a righe -esprimevano una nuova idea di eleganza solare, disinvolta, femminile e moderna, perfettamente in armonia con i colori vividi e il fascino mediterraneo dell'isola. Il successo fu immediato, prima tra la sofisticata clientela cosmopolita di Capri, poi nel mondo intero. Le sue collezioni conquistarono dive come Marilyn Monroe, Sophia Loren, Jackie Kennedy, Gloria Guinness, fino a star contemporanee come Madonna e Nicole Kidman A partire dagli anni Cinquanta, Pucci rivoluzionò la moda prêt-à-porter con tessuti innovativi decorati da stampe astratte, grafiche e psichedeliche, ispirate ai paesaggi del Mediterraneo e a suggestioni esotiche. Onde, fiori stilizzati, motivi caleidoscopici e linee dinamiche arricchivano capi dalle forme semplici ma sensuali, accessibili e desiderabili. Fu il primo stilista italiano a trasformare il proprio nome in logo, firmando ogni stampa con una minuscola scritta "Emilio" a mano. Questo gesto pionieristico, che contribuì alla creazione di un'identità visiva fortemente riconoscibile, gli valse il soprannome di The Prince of Prints, coniato dalla stampa internazionale. La sede operativa della maison fu stabilita a Firenze, nello storico Palazzo Pucci in via de' Pucci, quartier generale e simbolo di una visione estetica originale e sofisticata. Celebri sono gli scatti sul tetto del palazzo, icona del gusto visionario dello stilista. Le sue collezioni si arricchirono via via di elementi ispirati all'Oriente e al folklore mediterraneo: tute etniche, pigiama palazzo, turbanti, smalti colorati e gioielli evocavano mondi lontani, riletti in chiave glamour. Alcune delle sue collezioni più celebri furono dedicate alla Sicilia (1956), al Palio di Siena (1957) e a Botticelli (1959). Nel 1966 lanciò il suo primo profumo, Vivara, e l'anno successivo riportò le sfilate nella sua dimora fiorentina. In quegli stessi anni si cimentò anche con la moda maschile, il design d'interni e la ceramica d'autore, espandendo il concetto di lifestyle Pucci in direzioni inedite. Negli Stati Uniti, nei grandi magazzini come Saks, esplose una vera e propria "Puccimania"..

Fashion industry is a combination of art, stereotypes and inequality. Having studied Fashion Design here in Ecuador, I have been learning how this industry happens in the local fashion scene. I have had the chance to get to know and work with a lot of great seamstresses in academic and professional projects, as well as some great fashion designers. It has come to my attention that there is an enormous gap between their jobs. My principal objective is to find the main differences between seamstresses and fashion designers in the area of Cumbayá and San Juan, which is where I have developed most of my projects, as well as defining the determinant causes for such differences. I believe that social and economic classes are important factors that determine whether someone with a degree in Technology in Fashion Design works as a seamstress or a fashion designer. This generates a great difference in the creative and business processes in them. With such conclusions I would like to put forward a way to give recognition to the people who design and create the brands, as well as the people who manufacture their garments. It would be necessary to achieve a balance between manual and intellectual work, given the fact that one would not subsist without the other. Finally I would like to reach out to fashion consumers so that they would start making informed decisions when shopping.

The behavior of following the most in vogue and admired styles of dressing has been there since the ancient times. With time, people have moved on with the rapid change in the surroundings. Both the genders acknowledge fashion. Fashion is an extension of regular clothing. This paper investigates the role of economical players which includes per capita income and inflations in shaping up the various trends/ fashion trends/ trends in clothing and their consumptions for Pakistan, India, United States and Australia. The findings of this paper confirms that the outline economical players do matter for various popular trends of Pakistan, India and United States, while the same economical players they don't really matter for shaping up the fashion trends in Australia, this suggest that these nations have different socio economical conditions along with the various different modes of lifestyles which are mattered for various categories of reasons.

By critically examining previous interpretations of Cata Dujšin’s artistic work in art criticism and art history, this paper aims to highlight some of the problems of classical methodology when considering the oeuvre of women artists. An analysis of the reception of Cata Dujšin’s work in art criticism reveals that the vast majority of assessments are positive, that most authors recognize her stylistic relevance and high level of painterly execution, and that there is a consensus on acknowledging her exceptional
achievements in visual expression. However, a significantly different impression emerges when considering the place assigned to her by art history. Prejudices distort the perception of her art, with an emphasis on so-called “feminine” characteristics, an unjustified overemphasis on the role of her teacher (which led to her poetics being labelled as a “feminized Becić technique”), and the fabrication of biographical data—all of which have contributed to an unfair undervaluation of her work.

In parallel with the development of early nineteenth century men’s social roles, the sartorial dandy style, with its elegance and neatness reflected in theories about ‘hygienic and dress’, opened new opportunities for men to dress and ‘dictate taste’ for fashion by wearing plain woollen bespoke tailored clothing for outside activities, country and urban. This led to the need for improved construction and fit which in turn stimulated the development of the already dominant London tailoring profession. The same period also witnessed the expansion of women’s social roles, not least when it came to horse riding. In response, tailors took their techniques for constructing male fitted clothing to produce women’s walking habits alongside well-established garments like the riding habit, bringing together style and practicality that was deliberately masculine in its cut, construction, and silhouette. These developments contributed to the emergence of new social roles and meanings. Dandyism alongside the craft of bespoke tailoring therefore helped to break down established gender boundaries, offering new forms of identity for women and a route towards empowerment within a society where male and female sex were understood to operate in a patriarchal ideology of separate spheres.

This article explores the cut, construction and silhouette of early nineteenthcentury men's coats as a methodology for the development of contemporary womenswear. This practice-based research focuses on aspects of bespoke tailoring between the late eighteenth and twenty-first centuries, with a specific interest in the period between 1820 and 1845, examining how the forms and shapes of the garments were achieved through methods of construction, and how these, in turn, helped to shape discourses surrounding gender narratives. Christian Dior and Vivienne Westwood designs have been selected as examples of womenswear that were shaped by historical forms, tailoring and notions of gender. In order to explore how the techniques of men's tailoring can be translated into a contemporary women's garment, a woman's jacket, drawing on elements of historical design, construction and bespoke tailoring methods, was produced by the author. The very feminine form, with an emphasis on sharp shoulders, narrow waist and wide skirt, captures the hourglass shape found in men's tail and frock coats of the early nineteenth century as well as Christian Dior and Vivienne Westwood's tailored garments. The past and the present are thereby brought together through bespoke tailoring.

Investiga sobre os primórdios do esporte em Vitória e as relações que o fenômeno esportivo estabelece com o processo de modernização desta cidade nas primeiras décadas do século XX. Apresenta como objetivos: a) dar visibilidade às mudanças nos hábitos de vestuário das pessoas; b) apresentar o quanto as práticas esportivas contribuíram para o tal encurtamento no vestuário sobretudo das mulheres. A fonte explorada foi a Revista Vida Capichaba, periódico que circulou nas décadas de 1920 à 1950 e que tinha importante repercussão na vida dos capixabas. Por questões metodológicas, o recorte adotado compreende o intervalo de 1925 à 1940.

La moda parla una lingua di immagini che ha la prerogativa di rappresentare emblematicamente il contesto sociale nel quale essa è prodotta, diventandone insieme lo specchio e la proiezione ideale. L'iconografia di moda assolve, in effetti, una funzione socio-culturale che travalica il messaggio commerciale strictu sensu. Lo scopo ultimo rimane la vendita di un prodotto ma il processo che vi conduce offre ai professionisti del settore notevoli possibilità di espressione e sperimentazione. In particolare, è per mezzo delle immagini pubblicitarie che la moda riesce a oltrepassare le sue finalità immediate, per veicolare presso il pubblico non soltanto nuovi modelli consumistici, ma anche inedite elaborazioni dell'io. I suoi messaggi di natura identitaria, nondimeno, si iscrivono in un discorso che risulta fondamentalmente paradossale: se da un lato, in effetti, la moda chiama in causa l'affermazione dell'identità, dall'altro essa promuove il conformismo, proponendo in modo normativo un ventaglio ristretto e prêt-à-porter di modelli. Tuttavia, è interessante rilevare che, per quanto riguarda le rappresentazioni di genere, la pubblicità di moda può interpretare una coscienza più complessa e profonda di quella di altri media. Non di rado, in effetti, essa riflette un pannello di generi più ampio e diversificato, in contrasto con la rappresentazione dei sessi veicolata da altri tipi di pubblicità e dalla televisione in generale, in cui si constata ancora la tendenza a svalutare l'esperienza e le competenze delle donne, in favore di immagini incentrate sulla bellezza plastica ed esaltanti stereotipi legati ai ruoli tradizionali.

La presencia en la corte romana durante la Edad Moderna de comunidades extranjeras procedentes de diversos lugares de Europa -y no siempre de territorios seguidores mayoritarios de la fe católica-fue uno de los rasgos sociológicos más singulares de la Ciudad Eterna durante aquel periodo. La historiografía ha avanzado apreciablemente en el conocimiento de aquellos foráneos establecidos en Roma, muchos de los cuales llegaron a naturalizarse romanos con el sucederse de las generaciones 13 . El caso de las distintas comunidades ibéricas asentadas en la Urbe ha ido clarificándose también en los últimos años, si bien con desigual fortuna, tanto por la atención variable prestada a las diversas identidades peninsulares como por el no siempre acertado enfoque de estos estudios 14 .

Clothes are more than just a necessity—they represent culture, identity, and personal style. From traditional attire to modern fashion trends, clothing reflects who we are and how society evolves, making it an essential part of human life and lifestyle.

Bridal fashion in India has undergone a significant transformation over the years. From traditional sarees and lehengas to customized bridal gowns and designer bridal blouses, modern brides are now seeking a blend of tradition and contemporary style. This paper highlights the growing trend of wedding gowns for women, customized bridal white gowns in Coimbatore, and the popularity of Aari work and stone work bridal blouses.

The essay focuses on the circulation of fashion images in the contemporary scene, highlighting the practices of specific authors and independent magazines that are experimenting in the editorial and photographic fields. A central role in the development of the discourse is played by Juergen Teller's exhibition "i need to live", Nick Knight's technological research in photography, and the practices of contemporary editors and creative directors.

As trajetórias de A Cigarra (1914-1975) e Alceu Penna (1915-1980) estão muito entrelaçadas. Integrada aos Diários Associados de Chateaubriand em meados da década de 1930, a revista passou a contar com as colaborações do artista gráfico e figurinista mineiro nessa mesma época. Com as jornalistas Helena Ferraz e Elza Marzullo, desenvolveu A Cigarra Feminina, um amplo suplemento da revista que circulou entre 1948 e 1955. Utilizando o gênero como categoria de análise histórica, e ainda como maneira de observar as relações de poder, pretendo, neste artigo, relacionar os trabalhos de Penna com a produção de normativas, bem como sugeridas às leitoras, explicitamente ou nas entrelinhas e nos entretraços. Para tanto, farei uma análise imagética e textual da fonte selecionada.

In the middle of the 17th century, a type of portrait emerged in which women sitters, wearing a riding habit imitating masculine dress, are represented in a manner resembling contemporary portraits of men. Previous research has been content to acknowledge the existence of these portraits, but there has never yet been an art historical inquiry dedicated to their study. This thesis aims to explore these portraits, preliminarily termed equestrienne portraits, as unusual representations of femininity, and to interpret them in light of early modern artistic and cultural norms and notions of gender. The problem is approached along the following lines of questioning: How do equestrienne portraits differ from other, contemporary types of women's portraits? Can equestrienne portraits be said to negotiate the 17th century female gender role? How does clothing work to perform gender in these portraits? How can they be understood in light of 17th century cultural attitudes towards sex, dress, and morality? Why did the sitters choose to be represented in this manner of dress? These questions are asked from a theoretical perspective of gender performativity and self-fashioning, supposing that identity and gender may be performed through clothing and visual representation. On the basis of ten English and French portraits spanning the period 1630-1710, a set of five comparative analyses are conducted according to a method proposed by Ingrid Mida, drawing on supplementary material including artwork and literature. The study finds that while other women's portraits emphasise beauty ideal and fashionability, the equestrienne portraits cite conventions of male portraiture through the adoption of masculine gestures and deportment. The riding habit is found to work as a masculine disguise, obscuring the sex of the wearer. The adoption of masculine manners which accompanies the wearing of the habit is argued to be a theatrical performance of masculinity. Literary material contemporaneous with the portraits examined shows that sex was intimately tied to manner of dress, and that the riding habit was perceived as transgressive, most likely influencing the reception of these portraits. Lastly, the study suggests that the decision to be portrayed in this manner can be interpreted biographically. The study concludes that these portraits may be understood as a devices of gender negotiation.

Eva Kant, protagonist of sisters Angela and Luciana Giussani's Diabolik, represents a unique female figure in the Italian cultural landscape: suspended between pop, cinematic, and fashion imagery. Equal companion to the famous masked criminal, Eva Kant is not a simple "femme fatale" but an emancipated, autonomous, cultured, and refined woman. Her elegant and sophisticated style, inspired by 1960s high fashion's codes, influenced by film noir, and the style of Hollywood divas, made her a timeless style icon. In the cinematic context, Eva Kant has been interpreted by several actresses, including Marisa Mell in Mario Bava's Diabolik (1968) and, more recently, by Miriam Leone in the Manetti Bros.' trilogy. After a brief historical and critical introduction to Eva Kant's character, the essay traces her transmedia evolution as a glamorous icon. It aims to demonstrate how her relationship with fashion is closely linked to the construction of her visual "modernity" and power. For Eva Kant, clothing is not merely a matter of aesthetics, but a mask, a disguise, an instrument of seduction and protection. In conclusion, the essay aims to highlight how Eva Kant represents a disruptive and highly modern figure, capable of synthesizing both elegance and subversion, seduction and strength, glamour and violence. A figure who has transcended ever changing fashions and decades with undiminished symbolic power, influencing pop culture as well as fashion and cinema, both Italian and international.

This study explores the cultural and social significance of accessories within the haute couture fashion system. Through literature review, case analysis, and semiotic methods, the research examines the role of accessories in the generation and accumulation of symbolic capital, the construction of brand narrative power, and the reproduction of consumer identity. Findings reveal that accessories serve not only as symbols of identity through scarcity and craftsmanship but also acquire enduring value by accumulating cultural recognition. Brands employ accessories to construct narratives that shape women’s images and social discourses, while consumers reproduce their identities and participate in narrative re-creation through the selection and use of accessories. The study argues that haute couture accessories are indispensable symbolic carriers in the fashion system, functioning beyond mere decoration to become vital tools of social stratification, cultural communication, and identity construction. The conclusion emphasizes the academic value of accessories as symbolic capital and narrative media, and suggests that future research could further expand into digital fashion and virtual contexts.

El libro analiza cómo se gestionaron los intereses diplomáticos de Felipe II en el Sacro Imperio entre 1559 y 1570, sobre todo en calidad de duque de Borgoña y, en menor medida, como duque de Milán. También explica que esos intereses pertenecían mayormente a un subsistema diplomático denominado «política del Norte». En segundo término, explica la razón por la que algunos antiguos servidores de Carlos V, que formaban parte de la representación diplomática de Felipe II ante el Sacro Imperio, fueron desplazados por hombres de la Península Ibérica. En tercer lugar, muestra que la defensa de los intereses jurisdiccionales y confesionales de Felipe II en el Sacro Imperio eran una expresión de dinámicas diplomáticas multilaterales. Finalmente, identifica y explica los temas referidos a la Italia imperial que trataron sus embajadores permanentes en Viena. La investigación muestra que el manejo de los intereses diplomáticos de Felipe II en el Sacro Imperio entre 1559 y 1570 experimentó un proceso de transición. Pasó de un modelo borgoñón a uno hispano que dependía del subsistema diplomático «política del Norte». Este último, casi a modo de una reminiscencia, hundía sus raíces en la tradición de los antiguos duques de Borgoña y dotaba de sentido y organización a los mecanismos empleados por el Rey Prudente. El dinasticismo, la multilateralidad y el desdoblamiento de su representación (duque de Borgoña y de Milán, príncipe extranjero, pariente de los emperadores) fueron sus principales recursos para tratar de alcanzar sus objetivos en el espacio imperial.

Versión digital en https://cech.es/publicaciones/felipe-ii-y-el-sacro-imperio-la-transicion-de-la-politica-del-norte-1559-1570/

Sounds of Masculinity is an original, cutting- edge examination of the role The Beatles and male fandom played in introducing a new self-aligned awareness and trajectory of popular music culture. Based on the groundbreaking research into The Beatles' example of 20th century masculinity.

Este artículo se propone establecer y analizar la gran repercusión que tuvo la figura de la petimetra en la sociedad española del siglo XVIII. La petimetra, de origen francés, se convertiría así en una imagen emblemática, a pesar de haber sido tratada principalmente de forma despectiva desde su aparición y así se reflejó en la escena cultural y artística. Sin embargo, el gusto afrancesado por las altas clases españolas la encumbró y llevó al deseo de emulación por parte de muchas damas dieciochescas, en un momento en el que las modas parisinas eran consideradas como el máximo exponente del buen gusto y del prestigio social. Desde el ámbito artístico, hasta el literario y musical, acaparó todo el protagonismo social del momento, dejando una gran estela que perduraría también en el siglo posterior.

Neste trabalho, buscamos resgatar a trajetória do transformista Darwin nos cineteatros brasileiros nas primeiras décadas do século XX e, a partir disso, refletir sobre as relações e dinâmicas entre atrações de palco e tela. Para isso, utilizamos a pesquisa em arquivos, com consulta, principalmente, aos periódicos disponibilizados na Hemeroteca Digital da Biblioteca Nacional. Refazemos o percurso de Darwin pelos cineteatros de 1914 a 1937, investigamos seus espetáculos, compreendemos sua participação na comédia Augusto Annibal quer casar (Luiz de Barros, 1923), analisamos o seu público e escrevemos a biografia do artista. A partir disso, concluímos que o sucesso tanto dos cineteatros quanto dos espetáculos de Darwin se dava por ambos atenderem à lógica da sociedade brasileira da época, que desejava a modernidade, ao mesmo tempo em que não abandonava as tradições. O artista combinava em seus espetáculos a imitação de mulheres, a apresentação de canções modernas e a exibição de figurinos de luxo. Suas apresentações eram assistidas por homens, mulheres e crianças, tanto das classes mais altas, quanto das mais baixas, assim como por brancos e negros. Todo esse destaque o levou a participar da comédia de Barros. Por fim, ao recontarmos a história do transformista que tanto fez sucesso no início do século XX, esperamos que mais pessoas o conheçam e que mais pesquisas sejam realizadas.

In this paper we seek to recover the trajectory of the female impersonator Darwin in Brazilian movie theaters in the early decades of the 20th century and, from this, reflect on the relationships and dynamics between stage and screen attractions. To do this, we used archival research, mainly consulting the periodicals available in the National Library's Digital Library. We retraced Darwin's journey through theaters from 1914 to 1937, investigated his shows, understood his participation in the comedy Augusto Annibal quer casar (Luiz de Barros, 1923), analyzed his audience and wrote a biography of the artist. From this, we concluded that the success of both the movie theaters and Darwin's shows was due to the fact that they both responded to the logic of Brazilian society at the time, which wanted modernity while at the same time not abandoning traditions. In his shows, the artist combined the imitation of women, the presentation of modern songs and the display of luxurious costumes. His performances were attended by men, women and children from both the upper and lower classes, as well as blacks and whites. All this prominence led him to take part in Barros' comedy. Finally, by retelling the story of the female impersonator who was so successful at the beginning of the 20th century, we hope that more people will get to know him and that more research will be carried out.

Analizamos las primeras patentes registradas por mujeres en la provincia de Granada, intentando encontrar pistas que nos lleven a conocer las innovaciones realizadas por estas emprendedoras, que se esforzaron por mejorar el trabajo de los distintos sectores implicados. Contamos con once registros, entre patentes y modelos de utilidad, realizados hasta 1966, fecha que nos imponemos como límite por ser patentes históricas. El objetivo es que la divulgación del presente trabajo arroje más luz y datos biográficos sobre la figura de estas inventoras.

The concept of prosperity is often associated with economic growth and the success of a product on the market, neglecting or downplaying the impact on the environment and people according to a model that has long been considered unsustainable. What is your definition of prosperity and what do you think are the tools and approaches to develop it?

The contribution explores the concept of textile hacking as an approach that redefines the material surface of fashion, through transdisciplinary actions ranging from the reuse of textile waste to the development of new materials. Through the analysis of several case studies, the research identifies two different interpretations of the concept of textile hacking: (i) hacking the waste, in which independent emerging designers appropriate the textile scraps of global fashion brands for redesign actions, as analysed in Avavav and Dapper Dan; (ii) hacking the Anthropocene, in which fabrics are colonised by other living beings and become vibrant matter in a posthuman perspective, as demonstrated in the work of Paula Ulargui Escalona with Loewe and in Biogarmentry.

The contribution explores the concept of textiles hacking as an approach capable of recoding the material surfaces of clothing and reintroducing textile waste into the supply chain. Through the analysis of several case studies, the research identifies three different interpretations of the concept of hacking: (i) hacking as collaboration, in which two brands develop a joint project by hybridizing their textiles and graphic design to create a new shared imagery. The cases investigated are The Hacker Project, presented in 2021 by Gucci and Balenciaga, and Fendace, elaborated in 2022 by Fendi and Versace; (ii) hacking as waste valorization, in which independent emerging designers appropriate the textile scraps of global fashion brands for redesign and sabotage actions, as analyzed through Avavav and Dapper Dan; (iii) hacking as a posthuman phenomenon, in which fabric is colonized by other living beings and becomes vibrant matter, as demonstrated in the work of Paula Ulargui Escalona and Biogarmentry. The case studies allow us to highlight new interpretations of textile waste. The designers develop and experiment with new codes with which to transform clothing and textiles into a political and social instrument, capable of giving voice to alternative and sustainable visions.

Una exposició important. Una exposició important per a la ciutat. Una exposició important per conèixer la vida social de la burgesia del Sabadell del tèxtil. Per intuir les interioritats dels seus luxes compartits en la intimitat de la família i dels seus clubs tancats. Una vida social pseudoacomplexada, lluny dels divismes de les grans capitals. Ensumem el glamour d'una societat que ja no existeix, que s'ha extingit, fruit de la crisi dels mateixos materials que lluïen. Una manera d'entendre el món més enllà de la funcionalitat, però també deconstruint-la per fer-ne art. Un món amb dissenyadors de prestigi i modistes anònimes treballant per les senyores benestants de la ciutat. Darrere d'aquesta màgia descoberta per molts i redescoberta per als qui l'han viscuda, la prova n'és l'èxit que ha tingut, hi ha en Josep Casamartina i Parassols, comissari independent, historiador, crític d'art del diari El País, membre de la Fundació La Mirada, assessor del Museu de Montserrat i director de la Col•lecció Tèxtil Antoni de Montpalau. Ha publicat monografies sobre els pintors Josep de Togores, Ángeles Santos, Marian Pidelaserra, Antoni Vila Arrufat, el ceramista Marian Burguès, i entre altres, de l'arquitecte Josep Renom i Costa. I ha estat el comissari de moltes exposicions realitzades a Madrid:

Una exposició important. Una exposició important per a la ciutat. Una exposició important per conèixer la vida social de la burgesia del Sabadell del tèxtil. Per intuir les interioritats dels seus luxes compartits en la intimitat de la família i dels seus clubs tancats. Una vida social pseudoacomplexada, lluny dels divismes de les grans capitals. Ensumem el glamour d'una societat que ja no existeix, que s'ha extingit, fruit de la crisi dels mateixos materials que lluïen. Una manera d'entendre el món més enllà de la funcionalitat, però també deconstruint-la per fer-ne art. Un món amb dissenyadors de prestigi i modistes anònimes treballant per les senyores benestants de la ciutat. Darrere d'aquesta màgia descoberta per molts i redescoberta per als qui l'han viscuda, la prova n'és l'èxit que ha tingut, hi ha en Josep Casamartina i Parassols, comissari independent, historiador, crític d'art del diari El País, membre de la Fundació La Mirada, assessor del Museu de Montserrat i director de la Col•lecció Tèxtil Antoni de Montpalau. Ha publicat monografies sobre els pintors Josep de Togores, Ángeles Santos, Marian Pidelaserra, Antoni Vila Arrufat, el ceramista Marian Burguès, i entre altres, de l'arquitecte Josep Renom i Costa. I ha estat el comissari de moltes exposicions realitzades a Madrid:

Preprint version. DOI via Zenodo: 10.5281/zenodo.16985595

This is a pre-publication version of the book The Intuitions Age: Creative Intuitionism & Reclaiming Knowledge in a Post-AI World: Toward a New Epistemology, deposited to ensure authorship, DOI assignment, and academic visibility.

The book introduces Creative Intuitionism, an original philosophical framework that reclaims intuition as a rigorous, generative, and perceptually structured form of knowledge-making, and Intuitional Echo Mapping (IEM), a methodological practice for sensing weak signals and emergent patterns.

Emerging at the intersection of philosophy, futures studies, design, and cultural epistemologies, the work critiques algorithmic rationality and proposes intuition, resonance, and symbolic depth as vital epistemic tools in a post-AI world.

Copyright © 2025 Hamza Leo Aytaç Dalgalıdere

All rights reserved. No part of this work may be reproduced, distributed, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the author, except for brief quotations used in critical articles, reviews, or academic citations.

This version is deposited as a pre-publication manuscript for the purposes of DOI assignment, academic visibility, and scholarly record. A revised and final publishing edition may follow. All intellectual content, concepts, and methodologies remain the sole work of the author.

This thesis explores the emotional language of fashion, examining how colors, materials, silhouettes, and presentation styles influence viewers’ emotional responses. Using a mixed-method approach combining fashion show analysis and consumer surveys, the study finds that certain color palettes and fabric textures consistently evoke specific emotions. These findings highlight the potential of integrating psychological insights into fashion design and marketing strategies

Independent fashion designers and retailers Bruce Slorach and Sara Thorn operated the Galaxy Emporium from 1986 until 1992, an outlet for independent fashion, and created the Abyss, Funkessentials and Konka labels. They concentrated on the youth market, in particular streetwear, in their fashion business. Fashion Historian Laura Jocic will discuss her project, funded by the Public Records Office of Victoria through the Local History Grant program, to digitise and interpret their archive. Their collection comprises 37 boxes of material with an estimated 1,000 items including fabric swatches, magazines, photographs, merchandising materials, garments, artwork and other ephemera. A collection of garments related to this Archive is held in the National Gallery of Victoria, and another smaller collection at the MAAS (Museums of Applied Art and Sciences), Sydney. Participants will have the opportunity to view the original artefacts and ephemera held in this unique archive.

Å intervenere tilsier å gripe inn. Det samme gjelder for kunstneriske intervensjoner. Men der en alminnelig intervensjon kommer overraskende på den mottagende part er kunstneriske intervensjoner ønsket av den mottagende part da denne type intervensjon ofte er bestilt. I selskap med kunstneriske intervensjoner finner man gjerne invitert kritikk og institusjonskritikk som tilsier et kritikkgrunnlag i interveneringen. En institusjon inviterer således én eller flere kunstnere inn i institusjonen for å kritisere, problematisere og belyse aspekter ved institusjonenen form for selvevaluering. Dette var tilfellet ved Museum Stavanger i 2014 da de åpnet utstillingen Hvem eier historien? Makt kunst og demokrati i forbindelse med markeringen av grunnlovsjubileet. Museum Stavanger ble konsolidert i 2010 og har siden den gang bestått av fem fagavdelinger og fire ulike fagtradisjoner: kunst, kulturhistorie, naturhistorie og sjøfart og industri. I anledning Hvem eier historien inviterte Museum Stavanger inn 8 lokalt tilknyttende kunstnere med fri tilgang til museets samlinger i det de skulle se naermere på hvordan museet fungerer og hvordan institusjonen forteller historier. Dette var Museum Stavangers første anledning til et så omfattende tverrfaglig samarbeid etter konsolideringen. Utfordringene viser seg således å vaere mange da fagtradisjonene har helt ulike utgangspunkt og ståsteder. Saerskilt ser man forskjellene mellom den kunstfaglige tradisjon og de andre fagtradisjonene på Museum Stavanger. Ulikhetene kommer spesielt til syne i møtet mellom fagavdelingene og kunstnerne. Dette møtet viser seg å manifestere et forhandlingsaspekt som strekker seg langt utenfor Museum Stavangers rammer. Denne studien undersøker hvordan Museum Stavanger som konsolidert institusjon benytter seg av kunstneriske intervensjoner. Studiens utgangspunkt og case er prosjektet og utstillingen Hvem eier historien? Makt, kunst og demokrati. Studien baserer seg videre på å undersøke hvordan bruken av kunstneriske intervensjoner i et større perspektiv omhandler forhandlinger av museenes autoritet. Det viser seg at Museum Stavanger bruker kunstneriske intervensjoner som et selvrefleksivt verktøy i møte med kunstnerne og det er i dette møtet forhandlingene av museenes autoritet skjer. Fagavdelingene blir i møte med kunstnerne satt i en posisjon hvor de må se på seg selv med nye øyne og revurdere sin egen autoritet som forvaltere og formidlere av vår kulturarv. VI VII VIII Forord Her er det mange som skal takkes. Først og fremst vil jeg rette en stor takk til min flotte veileder Line Esborg. Du har vaert gull verdt! Jeg vil også takke Lise Camilla Ruud fra Kulturrådet som satte meg på sporet av tema for oppgaven. Videre vil jeg takke Milena Høgsberg for uvurderlig veiledning da jeg slet med å finne min stemme i oppstartfasen. Jeg vil selvfølgelig gi en stor takk til informantene mine. Uten dere hadde faktisk ikke denne oppgaven vaert mulig. Mamma og pappa må også få en stor takk da de har vaert mine største supportere og heiagjeng. Bedre foreldre skal man lete lenge etter! Takk til lillesøster Matilde for deilige, fjollete avbrekk fra skrivingen. Det trengte jeg! Takk til verdens beste kjaereste og samboer Magnus for støtte, tålmodighet, kjaerlighet og omsorg gjennom denne prosessen. Bare det at du er deg er nok for meg. Tusen takk til Kristine og Tina for god hjelp, støtte og oppmuntring i innspurten. Takk til Flavio for god hjelp helt i siste liten. Tenk at du satte av tid til en tidligere elev midt i den travleste tiden, det setter jeg utrolig stor pris på. Og en stor takk til alle som har hatt «trua på meg», saerlig når jeg selv ikke har hatt det. Det er dere som har dratt meg gjennom dette. IX X 24

Through a comparative study of four countries during two key periods, this study reveals that clothing culture exhibited regular patterns, with each period, demonstrating distinct characteristics associated with specific countries or historical eras, such as the Song Dynasty, Ming Dynasty, the Renaissance period, and the Byzantine Empire. Focus this rule on the contemporary era, analyzing the changes in the clothing of the United States and South Korea under the influence of modern times and this historical logic.

Fashion is more than just adornment or a
statement of style. Fashion has always
been a powerful vehicle that is entangled
in global history, economics, and power
dynamics. From the silks of imperial China
to the bright fabrics of West Africa, fabrics
have built and destroyed empires, created
both cultural flourishing and cultural
devastation, and altered societies. The
history of textiles provides insight into
how clothing what was worn and how it
was manufactured has systematically
followed the trajectory of capitalism,
colonialism, cultural change, and socio-
political resistance.

Arguably, there are scarcely Nigeria theatre journals with a special focus on lighting and costuming. Most theatre journals in Nigeria are focused on such other aspects of the performative arts like playwriting, directing, acting and the general performance criticism. This is perhaps due to the fact that there are, possibly, few experts in these areas of theatre study in Nigeria and the fact that there seems to be a form of unwritten gender based interests on/in them. However, this paper focuses on the claims that costumes and lighting are essential elements of theatre that are capable of elevating play production aesthetics in performance to create lasting memories in the audience. Albeit, they play different roles to different productions; to some, costume is a fashionable material, to some; it is to enhancement human beauty as means of providing body-shields. However, lighting, apart from illuminating the stage for clearer vision, also alongside costume, is also capable to speak of time, period, mood and thus facilitate proper understanding of such production. The paper adopts performance theory and content analysis in its mode of analysis. It notes that most costume professional/artists are women while those in lighting are often men, even in film industry. We recommend that costumes and lighting should be given adequate attentions, encouragement and supports to motivate students'/theatre apprentices to develop interests in these theatre study areas across gender lines.