A young and modern concept inspired by the past, when people from everywhere met in Viadana to dance and party at La Rotonda. Bright and sparkling it moved following the music’s rhythm and the soul’s light heartedness. Today CLIQUE wants to recreate that magic atmosphere taking back La Rotonda and its vibes. CLIQUE does it playing good music and enjoying beautiful people. Like you. These are the appointments you can’t miss:
July the 22nd W/ ALFA PLANET
August the 26th W/ MATTEO CABASSI FROM CAFELOCO
September the 9th CLOSING W/ CLQ RESIDENTS
The CLIQUE family transforms ideas and motivation into adrenaline and the aim is to enjoy not only music but design, fashion, places, people. Wiliam Gnaccarini and Nicola Mozzina are the founder and starters. But it’s just the beginning.
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.
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.
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).
As projection of an abstract idea then adapted to a concrete dimension, the dress has an important key role; translate the designer’s intense creative project and identity. Even if the last step is to create a piece of clothing, a lot of designers don’t think about it as something to wear. They create dresses like art pieces and sculptures, extremely inappropriate for every-day life but still very interesting from an artistic prospective.
In this case the body’s natural anatomy is taken as a skeleton to re-invent and the external design is a challenge to aesthetic standards and stylistic proportions. The silhouette is the starting point for bigger structures whose aim is to go beyond fashion becoming art creations. This attitude is extreme but instinctive for those who perceive the body shapes as an area to explore and restructure.
The study of the outlines to build is possible thanks to a fundamental step; the textile research. The materials used are the mean to transform the surface in space to explore. The designers who alter the classic silhouette preferring more innovative shapes keep on working about textile development and new working techniques.