News are coming. Ready and happy to introduce a new project joining the CLIQUE family, a new music idea started from sound developing about design, fashion and party collaborations.
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It’s not a legend. Bologna is really a hotbed of creativity and talent and Made in Bologna book proves it.
Published in February 2015 by the journalist Silvia Santachiara, Made in Bologna is a bilingual guide in Italian and English which reveals and describes fashion and design success and invention in Bologna. From clothing to accessories, from furniture to jewels the book collects the stories of 59 independent designers disclosing unique techniques, ideas, projects, concepts symbolizing the precious rescue of tradition and the innovative look to the future.
Silvia Gaiani, environmental sustainability expert, curated the section about eco-fashion. In these pages 12 artists choose recycling materials (air chambers, old fabrics, stones, cans, film), organic textiles or natural elements like wood, paper and dry flowers. Focusing about aesthetics and working on ethics and environmental awareness, the eco-designers offer new points of view and values distancing themselves from mass production.
Made in Bologna represents a useful instrument for citizens and tourists to discover the dense craftsmanship network in Bologna and the manufacturing culture of the whole Emilia Romagna. Handed down from generation to generation and jealously guarded, methods and brilliance from Bologna are an important part of the invaluable Made in Italy.
On top the pictures from four designers who never give up about colors.
Isabella Petrachi earrings (facebook page IB Isabella), Vicolo Paglia Corta rings (http://www.vicolopagliacorta.it/ ), Chiara Gennari for Up-Cycle Project couch made out of a suitcase (http://up-cycle-project.blogspot.it/ ) and the clothes designed by Germana Bargoni for Gira e Rigira la Moda (http://giraerigiralamoda.blogspot.it/ ).
At the end of the winter fashion weeks the fashion system needs spring.
Spring is synonymous of colors, light and harmony, but also of beauty and blooming. So I’ve decided to dedicate this article to the designer Elio Fiorucci. Fiorucci, fiori, flowers.
Fabriano Fabbri, professor at Culture e Tecniche della Moda at the Rimini University, has been the first one to call him the “King of Flowers” in his book Agatha Ruiz de la Prada loves Elio Fiorucci. Art and fashion from Pop to Neopop. Studying the main features of the Pop Art during the 60s, Fabbri finds interesting similarities and differences between the artistic trend and the designer’s fashion attitude. A part from the celebration of bright and vivid colors, Pop Art typical icons and aesthetic are the real inspirations for Elio Fiorucci. Clean, fixed and beautiful pictures as the starting point for a lively and intense idea of fashion. The difference is the additional value that the designer gives to the images. While Pop artists’ pictures are an impassive and cold representation of the 60s consume society, Elio Fiorucci’s creations are full of sensuality and emotional involvement.
(pictures on top: Dior Fall Couture 2010, Dior Spring Couture 2013 and Viktor & Rolf Spring Couture 2015)
Alla chiusura delle settimane della moda invernali il fashion system ha voglia di primavera.
La primavera è sinonimo di colori, luce e armonia, nonché simbolo di bellezza e fioritura. Così ho deciso di parlare di fiori e dedicare questo articolo al designer Elio Fiorucci. Fiorucci, fiori, fiorellini.
A chiamarlo “Re di Fiori” è stato per la prima volta Fabriano Fabbri, professore al corso Culture e Tecniche della Moda all’Università di Rimini nel libro Agatha Ruiz de la Prada loves Elio Fiorucci. Arte e moda dalla Pop al Neopop. Analizzando i tratti principali della corrente Pop Art degli anni ’60, Fabbri trova interessanti similitudini e differenze tra il movimento artistico e le creazioni dello stilista. Oltre all’esaltazione di colori saturi e squillanti, sono le icone e l’estetica le vere ispirazioni che Elio Fiorucci ritrova nella Pop Art. Immagini nitide, ferme e belle come punto di partenza per un’idea di moda vivace, viva, vistosa. La differenza è il valore aggiunto che il designer conferisce alle rappresentazioni. Mentre le immagini dei Pop artisti risultano fredde e asettiche rappresentazioni della società anni ’60 basata sul consumo, le icone di Elio Fiorucci sono cariche di sensualità e coinvolgimento emotivo.
Known internationally as one of the most prestigious and influential school in the fashion system, the Royal Academy of Fine Art in Antwerp is synonymous of multicultural brilliance and exchange. In the same way La Cambre in Brussels and the Royal Academy of Fine Arts in Ghent keep the Belgian creativity on top of worldwide fashion.
The synergy between the different students’ native countries is not only a constant source of inspiration for them but also the reason for involuntary style influences. One of the clearest is the Japanese one. The creative Japanese characteristics we can find in Belgian fashion are mainly two.
The first one refers to the stylistic trend called Neopop. A lot of colors, unreal shapes and childhood and emotional features typical of the manga characters of teenagers Japanese subcultures are the dominant themes. The body and the dress are taken as a toy (most of the times in a provocative way) with childish and cartoon connections. Designers Walter Van Beirendonck and Bernhard Willhelm are the best examples.
The second significant influence can be found in volumes and shapes. Like some of the most famous Japanese designers (Rei Kawakubo as the first one) a lot of Belgian creators reinvent the body silhouette changing and experimenting its outlines. In this case the anatomy is enriched with new volumes realized thanks to the study of special textiles and their properties. Black is certainly the main color used, sometimes matched to white or neutral tints. The designers who mostly show these influences are Ann Demeulemeester and Cedric Jacquemyn.
Like the bitterness of the morning alarm, for everyone January means the “back to school” (or to work) mood. After cheerful holiday celebrations and parties, everyday-life returns finding us completely unprepared. Comfortable pajamas leave space to school uniforms and that’s why for this week I’ve chosen to tell you the story of the Italian brand Lazzari and its fall-winter collection.
If January can’t give us the possibility to travel and rest again, it encourage our mind to imagine and dream. Who more than children at school during boring mathematics lessons is able to fantasize? What was your wonderland?
Come il disturbo della sveglia mattutina, per tutti Gennaio è una doccia fredda. Il mood “back to school” (per alcuni “back to work”) ci riporta alla normalità dopo settimane di spensierate vacanze e feste con gli amici sorprendendoci completamente impreparati ed inevitabilmente insonnoliti. I comodi pigiama lasciano il posto ad uniformi scolastiche e questo è il motivo per cui questa settimana ho scelto di raccontarvi la storia del brand veneto Lazzari e della sua collezione autunno-inverno Wanderlust.
Se Gennaio non può offrirci la possibilità di viaggiare e continuare a riposare, incoraggia la nostra mente a sognare. Chi meglio di un bambino durante noiose lezioni di matematica riesce ad fantasticare? Dove vi ha portato la vostra immaginazione?
Getting ready to overstep this exciting 2015 and looking forward to discover the new year’s surprises I want to thank all thecurliest.com followers and supporters, those who first started to believe in me and those I will meet in the future, those who told me their full story and those who seemed to hide and protect their secrets as gold. You are all part of my beautiful experience that will grow and grow and grow. A 2016 full of joy, peace and success for everyone, a fresh and glorious year is the best wish I can make. Happy new year guys!
According to the common saying “in fashion everything returns” we can confirm that the importance of history in fashion is absolute and essential. The fashion history teaches that the designers’ inspirations keep on being about the past, as infinite source of ideas. Nothing completely new is created but every new trend is a modern explanation of something linked to the past and “Citationism” is the key-word.
Artistic definition used in America during the 20s, the Citationism thorises the return of manual skills in art after years of abstract approaches. In fashion the same term has been introduced by Fabriano Fabbri, Bologna University art professor, to describe some designers’ attitude to mix historical elements with contemporary manners.
The best example to explain Citationism in fashion is the case of the brand Valentino. For the fall winter 2014 couture collection, Valentino revisits the feminine manners used during the Roman Empire (1st century BF – 4th century). The aristocratic women used to wear a long and light tunic with a ribbon rolling up chest and shoulders. The temporal gap between the Romans and Valentino reveals another similar approach during the early nineteenth century in Europe when the “Stile Impero” became the trend of the moment and the robe en chemise took the place of the roman tunic.
Versace and Jean Paul Gautier are perfect example for other historical inspirations. In love with the Greek culture, Gianni first and then Donatella Versace take inspiration from the Hellenistic Period and, not by chance, the brand logo represents he mythological Medusa. Jean Paul Gautier walks through the France history with explicit connections with Baroque, French Revolution and the colorful twenties.
A perfect winter mood suggests me to tell the story of Sinterklaas day in Belgium.
Taken as a symbol for the Christmas time beginning, Sinterklaas is a legendary and folkloric figure celebrated in Belgium the 6th of December. Represented as an elderly man with a long white beard wearing red and sumptuous vestment and hat, he traditionally rides a white horse arriving in the city to give gifts and sweets. The Zwarte Piet is his companion and assistant.
Sinterklaas and Zwarte Piet are typically depicted carrying a bag which contains candy for nice children. This legend was born during the Middle Ages and Sinterklaas is the basis for the North American figure of Santa Claus.
In Italy a similar figure is the good and blind Santa Lucia arriving the 13th of December carrying sweets for good children and coal for the naughty ones.
Il perfetto mood invernale suggerisce il racconto del mito belga Sinterklaas.
Preso come il simbolo dell’inizio del periodo natalizio, Sinterklaas è un leggendario e folcloristico personaggio celebrato in Belgio il 6 Dicembre. Rappresentato come un anziano dalla lunga barba bianca che indossa una sontuoso cappello e una stola rossi, Sinterklaas è tradizionalmente raffigurato a cavallo di un destriero bianco accanto al suo aiutante e compagno Zwarte Piet. Insieme portano in città doni per i bambini buoni.
La leggenda di Sinterklaas fonda le radici nel Medioevo e sta alla base della ben nota figura Nord Americana di Santa Claus. In Italia un simile personaggio è Santa Lucia, celebrata in Italia la notte del 13 Dicembre. La santa cieca e buona porta in città doni per i bambini obbedienti e carbone per quelli dispettosi.
Who said that fashion and ecology can’t coexist? It’s always necessary to create something new to catch the consumers’ attention every six months and the environmental attention is one of the newest source of inspiration for the designers. A lot of creators look for brilliant solutions combining style and ecology like never before.
One of the best examples is the Falabella Bag realized in 2010 by Stella McCartney. Besides being a timeless must-have the Falabella accessory is an ecology icon entirely made of artificial leather which joins fashion and environmental care.
The real challenge in particular for the younger brands is to produce something really new not only aesthetically but also thanks to the production methods chosen. Experimentation, research and innovation of the creative process are necessary to develop interesting projects about both nature protection and fashion image. For example the up-cycling practice (it means the re-use of industrial excesses) is widespread and popular and it gives a new fashion live to wasted materials. Leathers, fabrics, plastics and every kind of unused material is re-invented creating unique design and fashion pieces. A lot of designers see in those industrial stocks the starting point for beautiful collections.
A part from the eco-friendly production, there are other aspects to think about. Next to the recycling processes and the transport methods chosen, the consumers have a key role. The clients can choose to buy not only for pleasure but for real need; this way the clothes’ life can be longer and waste is reduced (“less is more” teaches).