ZoneModa Journal <strong>ZoneModa Journal – ISSN 2611-0563</strong> is the first Italian journal dedicated to fashion research in its complexity: aesthetic, social, cultural, economic, historical. Its aim is to cover an interdisciplinary space intersecting fashion criticism and fashion theory. Dipartimento delle Arti - Alma Mater Studiorum - Università di Bologna en-US ZoneModa Journal 2283-7043 <p>The copyrights of all the texts on this journal belong to the respective authors without restrictions.</p><div><a href="" rel="license"><img src="" alt="Creative Commons License" /></a></div><p>This journal is licensed under a <a href="" rel="license">Creative Commons Attribution 4.0 International License</a> (<a href="">full legal code</a>). <br /> See also our <a href="/about/editorialPolicies#openAccessPolicy">Open Access Policy</a>.</p> Editorial Daniela Calanca Simona Segre-Reinach Copyright (c) 2022 Daniela Calanca, Simona Segre-Reinach 2022-07-12 2022-07-12 12 1 i iii 10.6092/issn.2611-0563/15025 Introduction Daniela Calanca Grazia D'Annunzio Copyright (c) 2022 Daniela Calanca, Grazia D'Annunzio 2022-07-12 2022-07-12 12 1 v vii 10.6092/issn.2611-0563/15053 I DRESS, THEREFORE I AM A Journey Through Anna Piaggi’s Unmistakable Persona <p>She was the Rara Avis of fashion journalism.<br>She was THE influencer before the influencers.<br>She was Anna Piaggi.&nbsp;<br>An analysis of the subversive style of the lady who re-wrote the aesthetic codes of the XX century. And became an icon.</p> Grazia D’Annunzio Copyright (c) 2022 Grazia D’Annunzio 2022-07-12 2022-07-12 12 1 75 88 10.6092/issn.2611-0563/14885 From <em>cronista</em> to <em>directora de moda</em>: The Birth and Evolution of the Role of Fashion Editor in the Women's Press in Spain <p>This research falls within the framework of studies on fashion journalism and the women’s press in Spain. During the 1930s the previously unknown professional role of fashion editor began to take shape in the American media: a position whose main activity was no longer directly linked to writing and which was implicitly associated with the photographed image. In Spain, where fashion reporting had not yet been professionalised into such specific positions, women’s publications consolidated the practice of including journalists in their staff, writing being their main activity. Adopting a comparative perspective across a series of newspapers from the Francoist period and through a methodological approach that combines the use of oral and newspaper sources, this article focuses on describing the birth of the role of fashion editor in the Spanish context. Our research starts with the columnists of the illustrated press of the early 20<sup>th</sup> century, goes through the journalists affiliated to the <em>Círculo de Escritores de la Moda</em> [Circles of Fashion Writers] in the 1960s, and concludes with Sofía Torga de Caruncho’s appointment at <em>Telva</em> and the institutionalisation of the “<em>directora de moda</em>” position.</p> Daniele Gennaioli Paloma Díaz Soloaga María Villanueva Cobo del Prado Copyright (c) 2022 Daniele Gennaioli, Paloma Díaz Soloaga, María Villanueva Cobo del Prado 2022-07-12 2022-07-12 12 1 89 102 10.6092/issn.2611-0563/14886 Communicating Fashion Through Virtual Exhibitions: <em>1972. Fashion, Design, History</em>, a Case Study Carried Out at the Centro Studi Archivio della Comunicazione (CSAC) of the University of Parma <p>Virtual exhibitions represent an effective way of enhancing cultural heritage by allowing institutions responsible for conservation the possibility of combining historical research and documentary protection, in order to make their heritage on the Internet usable, with increasingly engaging solutions. The article first examines some significant examples of virtual exhibitions dedicated to fashion and design, highlighting the points of effectiveness regarding the enhancement of the collections, and then moves on to the description of a virtual exhibition dedicated to the year 1972 (year in which two epochal events occurred: the MoMA exhibition: Italy: The New Domestic Landscape and the birth of prêt-à-porter) and held at the Centro Studi Archivio della Comunicazione (CSAC) of the University of Parma.</p> <p>Through open source technical solutions (in particular the Omeka-S platform and the use of innovative standards such as IIIF) this case study is proposed as a significant element of reflection on how a series of archival documents dedicated to fashion and design can be offered in an effective and captivating way even for a non-specialist audience.</p> Valentina Rossi Lara Marziali Alberto Salarelli Francesco Zanichelli Copyright (c) 2022 Lara Marziali, Valentina Rossi, Alberto Salarelli, Francesco Zanichelli 2022-07-12 2022-07-12 12 1 103 118 10.6092/issn.2611-0563/14909 The Fortune of the Ancient World’s Heritage Within the Context of Fashion Museums’ Communication in Italy <p>Demonstrating the contribution and the communicative potential of classics to the history of Italian art and, as a consequence, to the history of Italian fashion is the aim of this paper. In support of this thesis, some museological and museographical cases studies will be highlighted. The Museo Salvatore Ferragamo and the Gucci Garden, for example, are both strategically located in historical and well-known Florentine palaces such as Palazzo Spini Feroni and the Tribunale della Mercanzia. The Valentino Garavani Museum, the pioneering virtual fashion museum launched in 2011, recalls the imagery of a modern temple such as the Ara Pacis Museum in Rome with its exquisite “marbles” decorating the walls, the large interior spaces marked by staircases and skylights. Some iconic exhibitions and fashion shows organized by luxury brands in cultural venues will be also presented as a general expression of this trend about the use of the Ancient world’s heritage as a tool in the narration of Italian fashion.</p> Virginia Spadaccini Copyright (c) 2022 Virginia Spadaccini 2022-07-12 2022-07-12 12 1 119 134 10.6092/issn.2611-0563/14907 From <em>“Out of fashion”</em> to <em>Upcycling</em>. How Art and the <em>Fashion Industry</em> Have Resemantized the Word “Recycling” <p>Over the years, the idea of ​​“recycling” linked to the fashion sector has experienced a fluctuating fortune. The practice of “putting something old back into use, re-using, re-proposing” has passed from the fashionable stigma of the “so last year” to the fashionista thrill of the vintage total look reaching, today, an unprecedented success with the so called “upcycling”. This term, which literally refers to the creative recycling process capable of making the new object acquire a greater value than the original, is now an authentic must for many luxury brands and for as many beginners. Nowadays the attention to this “luxury recycling” characterizes the world of institutional fashion which looks at upcycling process substantially from two points of view. On the one hand the creative, commercial and communicative one; on the other hand, the more strictly artistic one. The following article, using the tools offered by the semiotics methodology, investigates the consequences of the resemantization of the term “recycling” in the fashion industry. Starting from the presentation of some case histories, the aim of the research will be to demonstrate that the synergistic relationship between fashion companies and artists has allowed a change of perspective that will have important repercussions on the production sector.</p> Eleonora Chiais Copyright (c) 2022 Eleonora Chiais 2022-07-12 2022-07-12 12 1 135 144 10.6092/issn.2611-0563/14887 Intellectual Fashion/Fashion Intellectual: Luxury, Branding, and the Glamorization of Theory <p>In <em>No Logo</em>, Naomi Klein states: “It is not to sponsor culture but to be the culture”, referring to world-famous brands that started approaching new and experimental marketing techniques. Yet, as early as 1974, Pierre Bourdieu argued that the discourse on <em>haute couture</em> was already a discourse on <em>haute culture</em>, undoing the exquisitely philosophical prejudice that collocated fashion among small and frivolous things, unworthy of observation.</p> <p>This paper returns to this question through investigating the case of <em>Gucci</em> <em>Aria,</em> which used famous books of philosophy and critical theory as props. Even if this is not a novelty in the fashion world – from Miuccia Prada’s “radical chic-ism” to Martin Margiela’s deconstruction – what is new is that fashion has found itself having to study and incorporate knowledge that comes from the so-called high culture usually aimed at a niche audience of intellectuals. This is more than the attempt of lifestyle branding to address social and political movements’ vindications as part of the social corporate responsibility strategy. What is the purpose behind selling theory itself? How can this exploitation carried out by fashion brands be read as a way of popularizing high culture? Are fashion designers playing at being organic intellectuals and is conspicuous consumption finding its new goal?</p> Romana Andò Leonardo Campagna Copyright (c) 2022 Romana Andò, Leonardo Campagna 2022-07-12 2022-07-12 12 1 145 162 10.6092/issn.2611-0563/14889 On Fashion Videos <p>Until a few months ago, if not just a few a days, one of the most recurrent beliefs in the fashion journalistic landscape was the influence of the pandemic on the art of dressing. In the communicational imagery of the media, the long shadow of Covid19 seems to have fallen like an ax capable of changing the rules of clothing, of changing its DNA even at the level of forms. Clearly it would be absurd to underestimate the impact of such an epochal storm, but it is necessary to establish a fundamental distinction: the nefarious presence of the virus has upset the world of fashion only and exclusively from the point of view of communication and has not in the least affected the strength of styles. In a brief succession of examples, this essay aims to investigate the before and after, the use of video as an expressive medium, recognizing a full continuity of content on both sides of the pandemic watershed. For some time now, fashion films have been made objects of care and attention not infrequently conducted by the great film directors; they reach the most experimental results of contemporary art, resulting in solutions, effects and settings capable of competing with the best music video clips or with the most spectacular video games.</p> Fabriano Fabbri Copyright (c) 2022 Fabriano Fabbri 2022-07-12 2022-07-12 12 1 163 179 10.6092/issn.2611-0563/14905 Fashion film <em>Mode</em>. The Political Narrative of The Socialist Unity Party of Germany through Moving Images <p>Mode directed by Klaus Ehrlich, produced by the state television of the German Democratic Republic (GDR) and aired between 1975 and 1990. The study is focused on the specific features of <em>mise-en-scène</em> of the medium, a multifunctional container capable of holding simultaneously several messages on different levels. The purpose is to highlight the communicative power of the body in a visual representation. The body, together with the dress and the setting are the elements on which is based the composition of a fashion image committed to the propagandising of the values and principles of the Socialist State. At the same time, the same elements are the key to revealing a series of contradictions and complexities, which are intrinsic characteristics of the very peculiar political and social context of those years.</p> Maria D'Uonno Copyright (c) 2022 Maria D'Uonno 2022-07-12 2022-07-12 12 1 181 191 10.6092/issn.2611-0563/14908 Fashion Exhibitions: The Power of Communication <p>Dr. Valerie Steele, director of The Museum at FIT, describes curatorial strategies for communicating visually within the context of the fashion exhibition.&nbsp; Focusing on her exhibition, <em>Gothic: Dark Glamour</em>, she explains how she used objects and sets to convey an atmosphere and tell a story. She then interviews three other curators. Patricia Mears, deputy director of MFIT, describes her process (“I typically start an exhibition by asking two questions: how and why?”) curating exhibitions, such as <em>Madame Grès</em>, <em>Ivy Style</em>, <em>Expedition</em>, and <em>Ballerina: Fashion’s Modern Muse</em>. Colleen Hill, curator of costume and accessories, describes her innovative exhibition, <em>Fairy Tale Fashion</em>: “Sleeping Beauty was the tale that started me on my research journey… She was asleep for 100 years and when the prince wakes her up he thinks, ‘She’s so beautiful, but her clothing is like something my grandmother would have worn’.”&nbsp; Finally, Emma McClendon, former associate curator of costume, emphasizes relevance and real-world issues: “With my exhibition, <em>The Body: Fashion and Physique</em>, I really had a message: that fashion has always had a problematic relationship with the female body.”</p> Valerie Steele Copyright (c) 2022 Valerie Steele 2022-07-12 2022-07-12 12 1 1 15 10.6092/issn.2611-0563/14883 Teaching Fashion in a Complex Society <p>This paper analyzes the issues related to the establishment of an academic fashion course in our age of complexity. It shows the transition from studies focused on the analysis of the fashion object, with reference to the history of costume and the history of art, to studies focused on the complex of productive, cultural and communicative activities that established the current fashion system. It also shows the correspondence of the course launched at the University of Milan with respect to the so-called “Triple Helix” cultural policy. It therefore refers to the connections among the three poles of the virtuous exchange relationship: first, the university, with its research centers and scientific and educational activities; secondly, the world of work, with the relationship with representatives of companies and various entities in the fashion world, as well as the promotion of internships; finally, the third pole consists of the national and European government and the various initiatives to support innovative aspects and sustainable fashion.</p> Emanuela Scarpellini Copyright (c) 2022 Emanuela Scarpellini 2022-07-12 2022-07-12 12 1 17 21 10.6092/issn.2611-0563/14882 Unisex, Genderless: Let the Debate Ensue <p>Fashion communication has adopted a decidedly political language of late. This is particularly evident in the ongoing debate about gender and clothing. While clothes, per se, have no definite gender connotations, on a symbolic level clothes do actually hold specific gender connotations. In the current climate of ongoing deconstruction of old norms, the notion of <em>genderless </em>has become central to the global aesthetic and cultural debate, to much media fervor. The essay analyzes the very idea of <em>genderless </em>in comparison to the notion of <em>unisex </em>which surfaced during the 1970s, another moment of intense cultural deconstruction. By dissecting the two terms and related fashion imagery, the essay highlights the changes in the way fashion both communicates and acts, leaving the ending deliberately open.</p> Angelo Flaccavento Copyright (c) 2022 Angelo Flaccavento 2022-07-12 2022-07-12 12 1 23 28 10.6092/issn.2611-0563/14902 How Digital Technology Influences Information about Fashion <p>Fashion is experiencing the same pioneering phase as many other sectors of the economy and society. The digital age raises many questions while the crisis of understanding the "fashion phenomenon" continues to concern the sphere of the surface, thus discouraging the conceptual approach. Its pervasiveness in the media does not seem to allow problematic investigations, stopping at product information, arousing a critical reflection before it studies objective. Paolo Landi analyzes the change in information on fashion in a media universe where social networks prevail and outlines the main new elements.</p> Paolo Landi Copyright (c) 2022 Paolo Landi 2022-07-12 2022-07-12 12 1 29 34 10.6092/issn.2611-0563/14903 Case Study T: The New York Times Style Magazine 2004–2010 <p>In this detailed and personal account, Stefano Tonchi recounts the thought process behind his legendary transformation of <em>T: The New York Times Style Magazine</em> in 2004. An award-winning editor and journalist specializing in the intersection of art, fashion, and contemporary culture, Tonchi was uniquely positioned to create a new, boundary-pushing, and very lucrative iteration of <em>T,</em> by combining all of legendary newspaper’s seasonal style, design, and culture supplements into one weekly magazine. Tonchi served as Editor in Chief of <em>T</em> for 9 years, during which time the magazine, with a sophisticated new design; a fresh hybrid of subjects; and a new, oversized Gothic-T logo, attracted a new crop of talented photographers, featured A-list Hollywood celebrities, brought in a surplus of advertising pages; and garnered numerous industry awards. In his unique and honest voice, Tonchi takes the reader through his creative philosophy of “connecting the dots”; the vital importance of team-building; understanding a corporate culture and its values; and how and when to best spark change.</p> Stefano Tonchi Copyright (c) 2022 Stefano Tonchi 2022-07-12 2022-07-12 12 1 35 50 10.6092/issn.2611-0563/14884 Breaking Point: The Unchangeable Men’s Fashion and a Magazine Born to Destroy the Machismo’s Stereotype <p>At the end of the 1960s, the arrival of <em>L’Uomo Vogue</em> on Italian newsstands caused a disruption with the dominant male culture. Despite being a magazine designed for a man of average culture and bourgeois extraction, the magazine manages to link fashion to the avant-garde cultures of the times by mixing fashion references with cinema, music, literature… And it becomes a medium through the which to build a different awareness that frees males from the prison of gender clichés that keep them prisoners of a retrograde and conservative mentality so difficult to change. A historical hint on the birth and cultural nourishment of patriarchal stereotypes leads to the example of an attempt at change in the second half of the XX Century that comes through the first Italian men’s fashion monthly in a historical moment in which our country has not yet done modern achievements of social civilization, such as the divorce law, while the world is about to discover the demands for social modernity of 1968. An excursus closed by the unpublished memories of Flavio Lucchini, the founder and the first editor in chief of the magazine.</p> Michele Ciavarella Copyright (c) 2022 Michele Ciavarella 2022-07-12 2022-07-12 12 1 51 60 10.6092/issn.2611-0563/14888 Italian Women's Publishing: A Journey between Aesthetics and Politics <p>From the birth of the first magazines of a post-unification Italy up to the 1980s, publications aimed at women, generally considered part of a "minor" publishing, have proved to be laboratories of linguistic and visual experimentation not only of considerable importance in the evolution of journalism, but also in the ethical and political formation of both progressive and conservative readers. And this was paradoxically made possible precisely by the gaze of sufficiency addressed to them by power, which in some cases, however, wanted them as allies. A more in-depth investigation is then conducted on the weekly Grazia which, more than the others, in the progress of its articles and fashion services, proved to be the guide and accomplice of a woman who was slowly finding a place in society and struggling to conquer the rights that were due to her.</p> Antonio Mancinelli Copyright (c) 2022 Antonio Mancinelli 2022-07-12 2022-07-12 12 1 61 74 10.6092/issn.2611-0563/14904 Mariella Lorusso. <em>La decolonizzazione della moda. Lingua, appropriazione e sostenibilità nelle culture native nordamericane</em>. Bruno Mondadori, Milano 2021 Simona Segre-Reinach Copyright (c) 2022 Simona Segre-Reinach 2022-07-12 2022-07-12 12 1 193 194 10.6092/issn.2611-0563/14986 Susanna Ausoni and Antonio Mancinelli. <em>L'arte dello styling. Come raccontarsi atraverso i vestiti</em>. Milano: Antonio Vallardi Editore, 2022 Luca Fabbri Copyright (c) 2022 Luca Fabbri 2022-07-12 2022-07-12 12 1 195 196 10.6092/issn.2611-0563/14989 Conversazioni tra Moda e Arte. <em>Yves Saint Laurent Aux Musées</em>, Parigi, 29 gennaio-15 maggio 2022 Dorothea Burato Copyright (c) 2022 Dorothea Burato 2022-07-12 2022-07-12 12 1 197 200 10.6092/issn.2611-0563/15004 L'Annuario del "Foglio della Moda": un esperimento di poli-periodicità Barbara Notaro Dietrich Copyright (c) 2022 Barbara Notaro Dietrich 2022-07-12 2022-07-12 12 1 201 202 10.6092/issn.2611-0563/15052 Laura Dimitrio. <em>Non solo Kimono. Come il Giappone ha rivoluzionato la moda italiana</em>. Skira, 2022 Vincenza Caterino Copyright (c) 2022 Vincenza Caterino 2022-07-12 2022-07-12 12 1 203 204 10.6092/issn.2611-0563/15013 <em>Cinzia Ruggeri. Cinzia says…</em>. MACRO – Museo d'Arte Contemporanea di Roma. April, 14 2022-August, 28 2022 Elena Fava Copyright (c) 2022 Elena Fava 2022-07-12 2022-07-12 12 1 205 212 10.6092/issn.2611-0563/14983 Pragmatism, Critical Theory, Pop Culture, and Fashion: Interview with Stefano Marino Bálint Veres Copyright (c) 2022 Bálint Veres 2022-07-12 2022-07-12 12 1 213 218 10.6092/issn.2611-0563/15050