Cuadernos del Centro de Estudios en Diseño y Comunicación. Ensayos, Nov 28, 2023
Abstract: Gender studies and feminist movements question the gender condition, taking into accoun... more Abstract: Gender studies and feminist movements question the gender condition, taking into account that gender differences are not natural but are socially constructed, especially the inequality between female and male identities in heteropatriarchal society. Identities are individual and collective beliefs and thought systems that are manifested through signs, visible or invisible markers. One of the most important is the ornament, which is the set of clothing and accessories, makeup, hairstyle, tattoo or piercing. Each person uses the dress to show themselves and communicate with other individuals. From queer theory, the issue of identities and their relationship with clothing and fashion is raised. Starting from this theoretical basis and social reality, this paper wants to offer a response to the current debate on gender inequality and new identities from the Barcelona Design Museum; building a reinterpretation of the history of fashion from a gender perspective, to propose a new permanent exhibition at the Museum. The writing reviews a new social history of fashion up to the present, in which a growing number of designers and fashion companies raise gender issues as the essence of the brand or marketing strategy. In these cases, new methods are adopted to make the body shape invisible with oversize models without the need to resort to traditional pattern making. This is how it is possible to promote and optimize new patterns, on men’s and women’s garments indistinctly. Resumen: Los estudios de género y los movimientos feministas cuestionan la condición de género, teniendo en cuenta que las diferencias de género no son naturales sino que están construidas socialmente, especialmente la desigualdad entre identidades femeninas y masculinas en la sociedad heteropatriarcal. Las identidades son creencias y sistemas de pensamiento individuales y colectivos que se manifiestan a través de signos, marcadores visibles o invisibles. Uno de los más importantes es el ornamento, que es el conjunto de vestido y complementos, maquillaje, peinado, tatuaje o piercing. Cada persona utiliza el vestido para mostrarse y comunicarse con otros individuos. Desde la teoría queer se plantea el tema de las identidades y su relación con el vestido y la moda. Partiendo de esta base teórica y de la realidad social, el presente escrito quiere ofrecer una respuesta al debate actual sobre desigualdad de géneros y nuevas identidades desde el Museo del Diseño de Barcelona; construyendo una reinterpretación de la historia de la moda desde la perspectiva de género, para plantear una nueva exposición permanente en el Museo. El escrito revisa una nueva historia social de la moda hasta la actualidad, en la cual un número creciente de diseñadores y de empresas de moda plantean temas de género como esencia de la marca o estrategia de marketing. En estos casos, se adoptan nuevos métodos para invisibilizar la forma del cuerpo con modelos oversize sin la necesidad de recurrir a un patronaje tradicional. Así es como se logran fomentar y optimizar nuevos patronajes, sobre prendas masculinas y femeninas indistintamente. Resumo: Os estudos de gênero e os movimentos feministas questionam a condição de gênero, levando em consideração que as diferenças de gênero não são naturais, mas construídas socialmente, especialmente a desigualdade entre as identidades feminina e masculina na sociedade heteropatriarcal. Identidades são crenças e sistemas de pensamento individuais e coletivos que se manifestam por meio de signos, marcadores visíveis ou invisíveis. Um dos mais importantes é o enfeite, que é o conjunto de roupas e acessórios, maquiagem, penteado, tatuagem ou piercing. Cada pessoa usa o vestido para se mostrar e se comunicar com outras pessoas. A partir da teoria queer, levanta-se a questão das identidades e sua relação com o vestuário e a moda.
Abstract: Gender studies and feminist movements question the gender condition, taking
into accoun... more Abstract: Gender studies and feminist movements question the gender condition, taking into account that gender differences are not natural but are socially constructed, especially the inequality between female and male identities in heteropatriarchal society. Identities are individual and collective beliefs and thought systems that are manifested through signs, visible or invisible markers. One of the most important is the ornament, which is the set of clothing and accessories, makeup, hairstyle, tattoo or piercing. Each person uses the dress to show themselves and communicate with other individuals. From queer theory, the issue of identities and their relationship with clothing and fashion is raised. Starting from this theoretical basis and social reality, this paper wants to offer a response to the current debate on gender inequality and new identities from the Barcelona Design Museum; building a reinterpretation of the history of fashion from a gender perspective, to propose a new permanent exhibition at the Museum. The writing reviews a new social history of fashion up to the present, in which a growing number of designers and fashion companies raise gender issues as the essence of the brand or marketing strategy. In these cases, new methods are adopted to make the body shape invisible with oversize models without the need to resort to traditional pattern making. This is how it is possible to promote and optimize new patterns, on men’s and women’s garments indistinctly. Resumen: Los estudios de género y los movimientos feministas cuestionan la condición de género, teniendo en cuenta que las diferencias de género no son naturales sino que están construidas socialmente, especialmente la desigualdad entre identidades femeninas y masculinas en la sociedad heteropatriarcal. Las identidades son creencias y sistemas de pensamiento individuales y colectivos que se manifiestan a través de signos, marcadores visibles o invisibles. Uno de los más importantes es el ornamento, que es el conjunto de vestido y complementos, maquillaje, peinado, tatuaje o piercing. Cada persona utiliza el vestido para mostrarse y comunicarse con otros individuos. Desde la teoría queer se plantea el tema de las identidades y su relación con el vestido y la moda. Partiendo de esta base teórica y de la realidad social, el presente escrito quiere ofrecer una respuesta al debate actual sobre desigualdad de géneros y nuevas identidades desde el Museo del Diseño de Barcelona; construyendo una reinterpretación de la historia de la moda desde la perspectiva de género, para plantear una nueva exposición permanente en el Museo. El escrito revisa una nueva historia social de la moda hasta la actualidad, en la cual un número creciente de diseñadores y de empresas de moda plantean temas de género como esencia de la marca o estrategia de marketing. En estos casos, se adoptan nuevos métodos para invisibilizar la forma del cuerpo con modelos oversize sin la necesidad de recurrir a un patronaje tradicional. Así es como se logran fomentar y optimizar nuevos patronajes, sobre prendas masculinas y femeninas indistintamente.
Resumo: Os estudos de gênero e os movimentos feministas questionam a condição de gênero, levando em consideração que as diferenças de gênero não são naturais, mas construídas socialmente, especialmente a desigualdade entre as identidades feminina e masculina na sociedade heteropatriarcal. Identidades são crenças e sistemas de pensamento individuais e coletivos que se manifestam por meio de signos, marcadores visíveis ou invisíveis. Um dos mais importantes é o enfeite, que é o conjunto de roupas e acessórios, maquiagem, penteado, tatuagem ou piercing. Cada pessoa usa o vestido para se mostrar e se comunicar com outras pessoas. A partir da teoria queer, levanta-se a questão das identidades e sua relação com o vestuário e a moda.
CAMPI, Isabel, VENTOSA, Silvia (eds.), tejidos, moda y cuerpos, IV Coloquio de Investigadores en Textil y Moda, Fundación Historia del Diseño, Barcelona., 2023
catalaEl nou Museu del Disseny de Barcelona ha obert les seves portes amb quatre exposicions inau... more catalaEl nou Museu del Disseny de Barcelona ha obert les seves portes amb quatre exposicions inaugurals. Entre elles, l’exposicio El cos vestit, siluetes i moda, 1555-2015 permet observar criticament com s’ha manipulat al llarg de la historia l’aspecte exterior de la figura humana, i deduir-ne l’absurditat de ser esclau del propi cos o de la moda. Una reflexio que pren especial rellevancia en la nostra societat, en que la imatge personal te un gran valor d’identitat i de comunicacio social. EnglishThe new Design Museum of Barcelona has opened its doors to the public with four inaugural exhibitions. Among them, Dressing the body; silhouettes and fashion 1555-2015 provides a critical insight into how the outward appearance of the human shape has been manipulated throughout history, and highlights the absurdity of being a slave to one’s own body or to fashion. This reflection takes on special importance in our society in which the personal image plays such a powerful role in the creation of identity and in social communication.
Aurèlia Muñoz, recerca infinita: fibres, textures i espai, 2013
Retrospective exhibition of Aurelia Muñoz works, just after her death, organised by Ajuntament de... more Retrospective exhibition of Aurelia Muñoz works, just after her death, organised by Ajuntament de sant Cugat i Diputació de Barcelona.
Texts in Catalan, Spanish and English
Digital technology has radically changed the manufacturing of decorative fabrics, now known as di... more Digital technology has radically changed the manufacturing of decorative fabrics, now known as digital fabrics or woven images. The invention of the computerised Jacquard loom, the digital loom and digital processing programs have opened up a huge field for developing new digital textures.
Dressing the Body. Silhouettes and Fashion 1550-2015 is one of four permanent exhibitions on disp... more Dressing the Body. Silhouettes and Fashion 1550-2015 is one of four permanent exhibitions on display at the Barcelona Design Museum. It uses the museum's heritage costume collection to support a narrative, the ultimate goals being to increase awareness of a current social concern-the human body-and to provide tools for reflection. Fashion, clothing and the body are the three threads that run through the thesis of the exhibition. In a society in which personal image and fashion are aspects of mass culture, the display seeks to show how clothing has modified the body during various periods of history, with changes that are arbitrary since they depend on the canons of fashion that prevail in each era. We in the museum have taken a museographical approach to the contemporary debate about the body, a powerful presence in the media, in artists' work and in academic studies-by doctors, anthropologists and philosophers-but less so in museums. This exhibition builds a narrative that has a pedagogical purpose in order to make its thesis understandable with a museography that reinforces the narrative.
"Now Jimmy looking sweet though he dresses like a queen He can kick like a mule" All the Young Du... more "Now Jimmy looking sweet though he dresses like a queen He can kick like a mule" All the Young Dudes, David Bowie, 1972 El punto de partida de este texto fue una conversación con el escultor Fabian Vogler en el Museo del Diseño de Barcelona sobre el género líquido, la moda y su propia obra artística. Según él, entre el blanco y el negro, o entre el hombre y la mujer, hay una infinidad de matices de grises, y en este espacio de tonalidades intermedias se encuentra la relación entre los cuerpos ambiguos, las apariencias indefinidas y las modas. La discusión se centrará en lo que significa ser femenino o masculino desde el punto de vista de la construcción social del género a través de la moda, teniendo en cuenta los elementos externos y visibles del cuerpo, la imagen y la apariencia en la sociedad actual. En los períodos históricos de cambios políticos y de rupturas sociales, como la Revolución Francesa, los años 1910 y 1920 entorno a la Primera Guerra Mundial, los años 1960 y 1970 y la crisis social actual, la moda refleja estos cambios y huye de los géneros estereotipados, proponiendo otras maneras de vestir. Viviendo en una sociedad líquida El presente ha dejado de ser estático, es cambiante y fugaz, en una dinámica perpetua. Esta idea no es nueva, se encuentra ya en el pensamiento de Heráclito de Éfeso, que con increíble modernidad afirma que la naturaleza no está formada por una substancia inmutable. Defiende, al contrario, que todo se encuentra en perpetuo cambio. Heráclito cree que todo fluye constantemente, como demuestra su conocida frase de que un hombre no puede bañarse dos veces en el mismo río, ya que el hombre y el río serán diferentes la segunda vez. Es célebre su aforismo; todo fluye, nada está quieto, o, de una manera más abstracta, todo deviene, nada existe. A finales del siglo XIX, Thorstein Veblen afirma que "e am i i e a e e e i e e re i e u a búsqueda i quie a e a que ea a ra a e a ue r e i e i " en relación a la moda (2017 [1899]). En 1904, el sociólogo Georg Simmel argumenta que «la moda, con su juego entre la tendencia a una expansión universal y la aniquilación de su propio sentido que comporta justamente esa expansión, posee el atractivo singular del límite, el atractivo simultáneo del comienzo y del final, de la novedad y, al mismo tiempo, de la caducidad». Simmel define la moda como novedad y caducidad. Introduce y desarrolla la idea del carácter individual y a la vez social de la moda. Retoma la idea de Heráclito de navegar o flotar en un río, en una corriente social, en la ola: "We have here the one hand a field of general imitation, the individual floating in the broadest social current, relieved of responsability for his tastes and his actions, yet on the other hand we have a certain conspicuousness, an emphasis, an individual accentuation of the er a i y". Simmel fue un visionario de la enorme influencia de la moda en los
The exhibition Distinction, a century of fashion photography is the culmination of six years of r... more The exhibition Distinction, a century of fashion photography is the culmination of six years of research into the fashion system carried out by a team from the Barcelona Design Museum, formerly the Textile and Costume Museum of Barcelona. Over the century that the exhibition covers, fashion has been represented not only by clothing and accessories but also through graphic and photographic documents, magazines, publications and a variety of other materials, all of which have contributed to the dissemination of novelties in fashion. Since the 1960s, the Museum has held a sizeable collection of fashion engravings and illustrations, books including Cesare Veccelio's Habiti antichi et moderni di tutto il Mondo (published in 1598, containing descriptions of clothing from across the world), periodicals and magazines from the eighteenth century onwards, and photographs from the nineteenth and twentieth centuries. In 2010, this collection was used as the basis for two exhibitions, Fashion images and Outumuro Looks, twenty years photographing fashion, which looked at how fashion images are constructed, and led to the curation of a new photographic collection, highlighting the importance and ubiquity of fashion photographs in modern society. The project was overseen by a committee that worked with the Museum team to compile a selection of 490 images representing the output of 38 photographers from the early twentieth century up to the present. The guiding criterion was to select images that showcased outfits for forthcoming seasons and were published in fashion magazines and designer or brand catalogues. In making its selection, the committee considered the outfits themselves, the designers, the media impact of the photographs, their public reception, and in particular the technical and aesthetic quality of the images. It was decided not to include work by photojournalists, reports on fashion shows, outfits on dummies or artistic photographs. The collection, the first of its type and unique in Spain, is a representation of the language of fashion, which emerges from the world of commerce but finds a second life in the cultural universe, converting immaterial and ephemeral images into items of cultural heritage.
Cuadernos del Centro de Estudios en Diseño y Comunicación. Ensayos, Nov 28, 2023
Abstract: Gender studies and feminist movements question the gender condition, taking into accoun... more Abstract: Gender studies and feminist movements question the gender condition, taking into account that gender differences are not natural but are socially constructed, especially the inequality between female and male identities in heteropatriarchal society. Identities are individual and collective beliefs and thought systems that are manifested through signs, visible or invisible markers. One of the most important is the ornament, which is the set of clothing and accessories, makeup, hairstyle, tattoo or piercing. Each person uses the dress to show themselves and communicate with other individuals. From queer theory, the issue of identities and their relationship with clothing and fashion is raised. Starting from this theoretical basis and social reality, this paper wants to offer a response to the current debate on gender inequality and new identities from the Barcelona Design Museum; building a reinterpretation of the history of fashion from a gender perspective, to propose a new permanent exhibition at the Museum. The writing reviews a new social history of fashion up to the present, in which a growing number of designers and fashion companies raise gender issues as the essence of the brand or marketing strategy. In these cases, new methods are adopted to make the body shape invisible with oversize models without the need to resort to traditional pattern making. This is how it is possible to promote and optimize new patterns, on men’s and women’s garments indistinctly. Resumen: Los estudios de género y los movimientos feministas cuestionan la condición de género, teniendo en cuenta que las diferencias de género no son naturales sino que están construidas socialmente, especialmente la desigualdad entre identidades femeninas y masculinas en la sociedad heteropatriarcal. Las identidades son creencias y sistemas de pensamiento individuales y colectivos que se manifiestan a través de signos, marcadores visibles o invisibles. Uno de los más importantes es el ornamento, que es el conjunto de vestido y complementos, maquillaje, peinado, tatuaje o piercing. Cada persona utiliza el vestido para mostrarse y comunicarse con otros individuos. Desde la teoría queer se plantea el tema de las identidades y su relación con el vestido y la moda. Partiendo de esta base teórica y de la realidad social, el presente escrito quiere ofrecer una respuesta al debate actual sobre desigualdad de géneros y nuevas identidades desde el Museo del Diseño de Barcelona; construyendo una reinterpretación de la historia de la moda desde la perspectiva de género, para plantear una nueva exposición permanente en el Museo. El escrito revisa una nueva historia social de la moda hasta la actualidad, en la cual un número creciente de diseñadores y de empresas de moda plantean temas de género como esencia de la marca o estrategia de marketing. En estos casos, se adoptan nuevos métodos para invisibilizar la forma del cuerpo con modelos oversize sin la necesidad de recurrir a un patronaje tradicional. Así es como se logran fomentar y optimizar nuevos patronajes, sobre prendas masculinas y femeninas indistintamente. Resumo: Os estudos de gênero e os movimentos feministas questionam a condição de gênero, levando em consideração que as diferenças de gênero não são naturais, mas construídas socialmente, especialmente a desigualdade entre as identidades feminina e masculina na sociedade heteropatriarcal. Identidades são crenças e sistemas de pensamento individuais e coletivos que se manifestam por meio de signos, marcadores visíveis ou invisíveis. Um dos mais importantes é o enfeite, que é o conjunto de roupas e acessórios, maquiagem, penteado, tatuagem ou piercing. Cada pessoa usa o vestido para se mostrar e se comunicar com outras pessoas. A partir da teoria queer, levanta-se a questão das identidades e sua relação com o vestuário e a moda.
Abstract: Gender studies and feminist movements question the gender condition, taking
into accoun... more Abstract: Gender studies and feminist movements question the gender condition, taking into account that gender differences are not natural but are socially constructed, especially the inequality between female and male identities in heteropatriarchal society. Identities are individual and collective beliefs and thought systems that are manifested through signs, visible or invisible markers. One of the most important is the ornament, which is the set of clothing and accessories, makeup, hairstyle, tattoo or piercing. Each person uses the dress to show themselves and communicate with other individuals. From queer theory, the issue of identities and their relationship with clothing and fashion is raised. Starting from this theoretical basis and social reality, this paper wants to offer a response to the current debate on gender inequality and new identities from the Barcelona Design Museum; building a reinterpretation of the history of fashion from a gender perspective, to propose a new permanent exhibition at the Museum. The writing reviews a new social history of fashion up to the present, in which a growing number of designers and fashion companies raise gender issues as the essence of the brand or marketing strategy. In these cases, new methods are adopted to make the body shape invisible with oversize models without the need to resort to traditional pattern making. This is how it is possible to promote and optimize new patterns, on men’s and women’s garments indistinctly. Resumen: Los estudios de género y los movimientos feministas cuestionan la condición de género, teniendo en cuenta que las diferencias de género no son naturales sino que están construidas socialmente, especialmente la desigualdad entre identidades femeninas y masculinas en la sociedad heteropatriarcal. Las identidades son creencias y sistemas de pensamiento individuales y colectivos que se manifiestan a través de signos, marcadores visibles o invisibles. Uno de los más importantes es el ornamento, que es el conjunto de vestido y complementos, maquillaje, peinado, tatuaje o piercing. Cada persona utiliza el vestido para mostrarse y comunicarse con otros individuos. Desde la teoría queer se plantea el tema de las identidades y su relación con el vestido y la moda. Partiendo de esta base teórica y de la realidad social, el presente escrito quiere ofrecer una respuesta al debate actual sobre desigualdad de géneros y nuevas identidades desde el Museo del Diseño de Barcelona; construyendo una reinterpretación de la historia de la moda desde la perspectiva de género, para plantear una nueva exposición permanente en el Museo. El escrito revisa una nueva historia social de la moda hasta la actualidad, en la cual un número creciente de diseñadores y de empresas de moda plantean temas de género como esencia de la marca o estrategia de marketing. En estos casos, se adoptan nuevos métodos para invisibilizar la forma del cuerpo con modelos oversize sin la necesidad de recurrir a un patronaje tradicional. Así es como se logran fomentar y optimizar nuevos patronajes, sobre prendas masculinas y femeninas indistintamente.
Resumo: Os estudos de gênero e os movimentos feministas questionam a condição de gênero, levando em consideração que as diferenças de gênero não são naturais, mas construídas socialmente, especialmente a desigualdade entre as identidades feminina e masculina na sociedade heteropatriarcal. Identidades são crenças e sistemas de pensamento individuais e coletivos que se manifestam por meio de signos, marcadores visíveis ou invisíveis. Um dos mais importantes é o enfeite, que é o conjunto de roupas e acessórios, maquiagem, penteado, tatuagem ou piercing. Cada pessoa usa o vestido para se mostrar e se comunicar com outras pessoas. A partir da teoria queer, levanta-se a questão das identidades e sua relação com o vestuário e a moda.
CAMPI, Isabel, VENTOSA, Silvia (eds.), tejidos, moda y cuerpos, IV Coloquio de Investigadores en Textil y Moda, Fundación Historia del Diseño, Barcelona., 2023
catalaEl nou Museu del Disseny de Barcelona ha obert les seves portes amb quatre exposicions inau... more catalaEl nou Museu del Disseny de Barcelona ha obert les seves portes amb quatre exposicions inaugurals. Entre elles, l’exposicio El cos vestit, siluetes i moda, 1555-2015 permet observar criticament com s’ha manipulat al llarg de la historia l’aspecte exterior de la figura humana, i deduir-ne l’absurditat de ser esclau del propi cos o de la moda. Una reflexio que pren especial rellevancia en la nostra societat, en que la imatge personal te un gran valor d’identitat i de comunicacio social. EnglishThe new Design Museum of Barcelona has opened its doors to the public with four inaugural exhibitions. Among them, Dressing the body; silhouettes and fashion 1555-2015 provides a critical insight into how the outward appearance of the human shape has been manipulated throughout history, and highlights the absurdity of being a slave to one’s own body or to fashion. This reflection takes on special importance in our society in which the personal image plays such a powerful role in the creation of identity and in social communication.
Aurèlia Muñoz, recerca infinita: fibres, textures i espai, 2013
Retrospective exhibition of Aurelia Muñoz works, just after her death, organised by Ajuntament de... more Retrospective exhibition of Aurelia Muñoz works, just after her death, organised by Ajuntament de sant Cugat i Diputació de Barcelona.
Texts in Catalan, Spanish and English
Digital technology has radically changed the manufacturing of decorative fabrics, now known as di... more Digital technology has radically changed the manufacturing of decorative fabrics, now known as digital fabrics or woven images. The invention of the computerised Jacquard loom, the digital loom and digital processing programs have opened up a huge field for developing new digital textures.
Dressing the Body. Silhouettes and Fashion 1550-2015 is one of four permanent exhibitions on disp... more Dressing the Body. Silhouettes and Fashion 1550-2015 is one of four permanent exhibitions on display at the Barcelona Design Museum. It uses the museum's heritage costume collection to support a narrative, the ultimate goals being to increase awareness of a current social concern-the human body-and to provide tools for reflection. Fashion, clothing and the body are the three threads that run through the thesis of the exhibition. In a society in which personal image and fashion are aspects of mass culture, the display seeks to show how clothing has modified the body during various periods of history, with changes that are arbitrary since they depend on the canons of fashion that prevail in each era. We in the museum have taken a museographical approach to the contemporary debate about the body, a powerful presence in the media, in artists' work and in academic studies-by doctors, anthropologists and philosophers-but less so in museums. This exhibition builds a narrative that has a pedagogical purpose in order to make its thesis understandable with a museography that reinforces the narrative.
"Now Jimmy looking sweet though he dresses like a queen He can kick like a mule" All the Young Du... more "Now Jimmy looking sweet though he dresses like a queen He can kick like a mule" All the Young Dudes, David Bowie, 1972 El punto de partida de este texto fue una conversación con el escultor Fabian Vogler en el Museo del Diseño de Barcelona sobre el género líquido, la moda y su propia obra artística. Según él, entre el blanco y el negro, o entre el hombre y la mujer, hay una infinidad de matices de grises, y en este espacio de tonalidades intermedias se encuentra la relación entre los cuerpos ambiguos, las apariencias indefinidas y las modas. La discusión se centrará en lo que significa ser femenino o masculino desde el punto de vista de la construcción social del género a través de la moda, teniendo en cuenta los elementos externos y visibles del cuerpo, la imagen y la apariencia en la sociedad actual. En los períodos históricos de cambios políticos y de rupturas sociales, como la Revolución Francesa, los años 1910 y 1920 entorno a la Primera Guerra Mundial, los años 1960 y 1970 y la crisis social actual, la moda refleja estos cambios y huye de los géneros estereotipados, proponiendo otras maneras de vestir. Viviendo en una sociedad líquida El presente ha dejado de ser estático, es cambiante y fugaz, en una dinámica perpetua. Esta idea no es nueva, se encuentra ya en el pensamiento de Heráclito de Éfeso, que con increíble modernidad afirma que la naturaleza no está formada por una substancia inmutable. Defiende, al contrario, que todo se encuentra en perpetuo cambio. Heráclito cree que todo fluye constantemente, como demuestra su conocida frase de que un hombre no puede bañarse dos veces en el mismo río, ya que el hombre y el río serán diferentes la segunda vez. Es célebre su aforismo; todo fluye, nada está quieto, o, de una manera más abstracta, todo deviene, nada existe. A finales del siglo XIX, Thorstein Veblen afirma que "e am i i e a e e e i e e re i e u a búsqueda i quie a e a que ea a ra a e a ue r e i e i " en relación a la moda (2017 [1899]). En 1904, el sociólogo Georg Simmel argumenta que «la moda, con su juego entre la tendencia a una expansión universal y la aniquilación de su propio sentido que comporta justamente esa expansión, posee el atractivo singular del límite, el atractivo simultáneo del comienzo y del final, de la novedad y, al mismo tiempo, de la caducidad». Simmel define la moda como novedad y caducidad. Introduce y desarrolla la idea del carácter individual y a la vez social de la moda. Retoma la idea de Heráclito de navegar o flotar en un río, en una corriente social, en la ola: "We have here the one hand a field of general imitation, the individual floating in the broadest social current, relieved of responsability for his tastes and his actions, yet on the other hand we have a certain conspicuousness, an emphasis, an individual accentuation of the er a i y". Simmel fue un visionario de la enorme influencia de la moda en los
The exhibition Distinction, a century of fashion photography is the culmination of six years of r... more The exhibition Distinction, a century of fashion photography is the culmination of six years of research into the fashion system carried out by a team from the Barcelona Design Museum, formerly the Textile and Costume Museum of Barcelona. Over the century that the exhibition covers, fashion has been represented not only by clothing and accessories but also through graphic and photographic documents, magazines, publications and a variety of other materials, all of which have contributed to the dissemination of novelties in fashion. Since the 1960s, the Museum has held a sizeable collection of fashion engravings and illustrations, books including Cesare Veccelio's Habiti antichi et moderni di tutto il Mondo (published in 1598, containing descriptions of clothing from across the world), periodicals and magazines from the eighteenth century onwards, and photographs from the nineteenth and twentieth centuries. In 2010, this collection was used as the basis for two exhibitions, Fashion images and Outumuro Looks, twenty years photographing fashion, which looked at how fashion images are constructed, and led to the curation of a new photographic collection, highlighting the importance and ubiquity of fashion photographs in modern society. The project was overseen by a committee that worked with the Museum team to compile a selection of 490 images representing the output of 38 photographers from the early twentieth century up to the present. The guiding criterion was to select images that showcased outfits for forthcoming seasons and were published in fashion magazines and designer or brand catalogues. In making its selection, the committee considered the outfits themselves, the designers, the media impact of the photographs, their public reception, and in particular the technical and aesthetic quality of the images. It was decided not to include work by photojournalists, reports on fashion shows, outfits on dummies or artistic photographs. The collection, the first of its type and unique in Spain, is a representation of the language of fashion, which emerges from the world of commerce but finds a second life in the cultural universe, converting immaterial and ephemeral images into items of cultural heritage.
Aurèlia Muñoz Recerques infinites Del tèxtil al paper, 2012
Textile art works by Aurelia Muñoz, studied in a book that could be a summary of her researches 1... more Textile art works by Aurelia Muñoz, studied in a book that could be a summary of her researches 1960-2010
Katinka Schweizer, Fabian Vogler (Hg.) Die Schönheiten des Geschlechts Intersex im Dialog, 2018
Liquid Society
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Ornament
Intersex and art, in relation with dress
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into account that gender differences are not natural but are socially constructed, especially
the inequality between female and male identities in heteropatriarchal society.
Identities are individual and collective beliefs and thought systems that are manifested
through signs, visible or invisible markers. One of the most important is the ornament,
which is the set of clothing and accessories, makeup, hairstyle, tattoo or piercing. Each
person uses the dress to show themselves and communicate with other individuals. From
queer theory, the issue of identities and their relationship with clothing and fashion is
raised.
Starting from this theoretical basis and social reality, this paper wants to offer a response
to the current debate on gender inequality and new identities from the Barcelona Design
Museum; building a reinterpretation of the history of fashion from a gender perspective,
to propose a new permanent exhibition at the Museum.
The writing reviews a new social history of fashion up to the present, in which a growing
number of designers and fashion companies raise gender issues as the essence of the brand
or marketing strategy. In these cases, new methods are adopted to make the body shape
invisible with oversize models without the need to resort to traditional pattern making.
This is how it is possible to promote and optimize new patterns, on men’s and women’s
garments indistinctly.
Resumen: Los estudios de género y los movimientos feministas cuestionan la condición
de género, teniendo en cuenta que las diferencias de género no son naturales sino que
están construidas socialmente, especialmente la desigualdad entre identidades femeninas
y masculinas en la sociedad heteropatriarcal.
Las identidades son creencias y sistemas de pensamiento individuales y colectivos que se
manifiestan a través de signos, marcadores visibles o invisibles. Uno de los más importantes
es el ornamento, que es el conjunto de vestido y complementos, maquillaje, peinado,
tatuaje o piercing. Cada persona utiliza el vestido para mostrarse y comunicarse con otros
individuos. Desde la teoría queer se plantea el tema de las identidades y su relación con el
vestido y la moda.
Partiendo de esta base teórica y de la realidad social, el presente escrito quiere ofrecer
una respuesta al debate actual sobre desigualdad de géneros y nuevas identidades desde
el Museo del Diseño de Barcelona; construyendo una reinterpretación de la historia de la
moda desde la perspectiva de género, para plantear una nueva exposición permanente en
el Museo.
El escrito revisa una nueva historia social de la moda hasta la actualidad, en la cual un
número creciente de diseñadores y de empresas de moda plantean temas de género como
esencia de la marca o estrategia de marketing. En estos casos, se adoptan nuevos métodos
para invisibilizar la forma del cuerpo con modelos oversize sin la necesidad de recurrir a
un patronaje tradicional. Así es como se logran fomentar y optimizar nuevos patronajes,
sobre prendas masculinas y femeninas indistintamente.
Resumo: Os estudos de gênero e os movimentos feministas questionam a condição de gênero,
levando em consideração que as diferenças de gênero não são naturais, mas construídas
socialmente, especialmente a desigualdade entre as identidades feminina e masculina
na sociedade heteropatriarcal.
Identidades são crenças e sistemas de pensamento individuais e coletivos que se manifestam
por meio de signos, marcadores visíveis ou invisíveis. Um dos mais importantes
é o enfeite, que é o conjunto de roupas e acessórios, maquiagem, penteado, tatuagem ou
piercing. Cada pessoa usa o vestido para se mostrar e se comunicar com outras pessoas. A
partir da teoria queer, levanta-se a questão das identidades e sua relação com o vestuário
e a moda.
Texts in Catalan, Spanish and English
into account that gender differences are not natural but are socially constructed, especially
the inequality between female and male identities in heteropatriarchal society.
Identities are individual and collective beliefs and thought systems that are manifested
through signs, visible or invisible markers. One of the most important is the ornament,
which is the set of clothing and accessories, makeup, hairstyle, tattoo or piercing. Each
person uses the dress to show themselves and communicate with other individuals. From
queer theory, the issue of identities and their relationship with clothing and fashion is
raised.
Starting from this theoretical basis and social reality, this paper wants to offer a response
to the current debate on gender inequality and new identities from the Barcelona Design
Museum; building a reinterpretation of the history of fashion from a gender perspective,
to propose a new permanent exhibition at the Museum.
The writing reviews a new social history of fashion up to the present, in which a growing
number of designers and fashion companies raise gender issues as the essence of the brand
or marketing strategy. In these cases, new methods are adopted to make the body shape
invisible with oversize models without the need to resort to traditional pattern making.
This is how it is possible to promote and optimize new patterns, on men’s and women’s
garments indistinctly.
Resumen: Los estudios de género y los movimientos feministas cuestionan la condición
de género, teniendo en cuenta que las diferencias de género no son naturales sino que
están construidas socialmente, especialmente la desigualdad entre identidades femeninas
y masculinas en la sociedad heteropatriarcal.
Las identidades son creencias y sistemas de pensamiento individuales y colectivos que se
manifiestan a través de signos, marcadores visibles o invisibles. Uno de los más importantes
es el ornamento, que es el conjunto de vestido y complementos, maquillaje, peinado,
tatuaje o piercing. Cada persona utiliza el vestido para mostrarse y comunicarse con otros
individuos. Desde la teoría queer se plantea el tema de las identidades y su relación con el
vestido y la moda.
Partiendo de esta base teórica y de la realidad social, el presente escrito quiere ofrecer
una respuesta al debate actual sobre desigualdad de géneros y nuevas identidades desde
el Museo del Diseño de Barcelona; construyendo una reinterpretación de la historia de la
moda desde la perspectiva de género, para plantear una nueva exposición permanente en
el Museo.
El escrito revisa una nueva historia social de la moda hasta la actualidad, en la cual un
número creciente de diseñadores y de empresas de moda plantean temas de género como
esencia de la marca o estrategia de marketing. En estos casos, se adoptan nuevos métodos
para invisibilizar la forma del cuerpo con modelos oversize sin la necesidad de recurrir a
un patronaje tradicional. Así es como se logran fomentar y optimizar nuevos patronajes,
sobre prendas masculinas y femeninas indistintamente.
Resumo: Os estudos de gênero e os movimentos feministas questionam a condição de gênero,
levando em consideração que as diferenças de gênero não são naturais, mas construídas
socialmente, especialmente a desigualdade entre as identidades feminina e masculina
na sociedade heteropatriarcal.
Identidades são crenças e sistemas de pensamento individuais e coletivos que se manifestam
por meio de signos, marcadores visíveis ou invisíveis. Um dos mais importantes
é o enfeite, que é o conjunto de roupas e acessórios, maquiagem, penteado, tatuagem ou
piercing. Cada pessoa usa o vestido para se mostrar e se comunicar com outras pessoas. A
partir da teoria queer, levanta-se a questão das identidades e sua relação com o vestuário
e a moda.
Texts in Catalan, Spanish and English
Dressed body
Ornament
Intersex and art, in relation with dress
Fashion history and gender