published in the "manifesto" of 26 / 10/2010
OPENING but because the reasons and the tensions which it is based are the stuff of which literature is made. Starting from the "aesthetic function" spoken of in the '30s Petr Bogatyrev, among leaders of the Circle of Prague, who discovered acting within (particularly in the traditional costumes of Moravian Slovakia) a hierarchy of functions - practical, magic, ritual and aesthetic - of which the latter had as actually less "functional." Similar to the poetic function in this communication that Roman Jakobson, in the same year and at the same intellectual context of Bogatyrev, identified in the language. What is in fact the meaning of fashion, and more generally of the dress, decorations, linings of the body, than to be "fashionable" to say a slight pleasure principle, which depends on - but at the same time builds - taste like common sense. Cyclic changes the taste of this principle, sometimes even forcing them, but always acts in the field of the same "infunzionalità" signs that also builds the basis for literature. The "real fashion," as Barthes would call , then, contains a surplus of meaning similar to the excess of signs of literature. Of course, it is also regarded as very often the aesthetic infunzionalità converting itself into a social function for where fashion becomes an element of distinction and status of representation. The social history of luxury is born from this inversion of meaning: a longer train in the Middle Ages, a lofty label today, and here the absurd and sublime beauty of a dress becomes a sign of power or wealth. Literature, fortunately for her, hardly incurs such adventures, but now happens more and then less frequently to be flaunted as a status symbol.
The trinkets of Mallarme
addition to the "real fashion" there is, however, the same as Barthes tells us, the described fashion, fashion writing, ie the language that concerns fashion and that's about it molds. A language that is not always, strictly speaking, "literary", but through fashion it becomes. Just a systematic and ponderous essay, for example, what is the Fashion System Barthes, was defined by its own creator a "poetic project" in the sense that it was, wrote Barthes in an interview in 1967, "a sort of philosophy of nothingness ":" At first there is nothing the fashionable clothing there is something very trivial and unimportant in the end there is a new object that exists, and the analysis that the formed. There is nothing but the word that appointment, to paraphrase Barthes again: in this fashion is a system Copy for literature, because just like the word that says the fashion works on "nothing in the world", so in literature from anything that creates worlds, you are born and live characters, are made of chains of times and places , we coin new words, styles are forged. - Barthes cites in this regard Mallarmé, who as director and editor of "La Dernière Mode," worked on "a sort of variation, passionate in its way, the theme of emptiness, nothing, "on what he called" the trinket. " And at the same Mallarmé fashion reporter that the recent book by Daniel Baroncini Fashion in literature Contemporary (Bruno Mondadori, pp. 154, € 16) devotes a whole chapter where the writer and instructive French inventor is called "a totally original blend of fashion and poetry." Interesting, therefore, the experience of the magazine that had life in 1874, in which Mallarmé availed himself of the work of outstanding writers and illustrators, and in which he multiplied in a myriad of male and female pseudonyms, under which signed different kinds of articles. The author writes masks were fashionable in Mallarmé something more than simple strategies aimed at readership and readers: instead become disguises disguises the real counterparts of fashion, the 'Carnival' that establishes the basis for the mechanism of the dress and put on the bodies.
Futurism and Everyday Life Baroncini's book, a reference to Mallarmé open reflection on the relationship between fashion and literature, along with references to dandyism and nineteenth-century aesthetics and the concept of 'trick' in Baudelaire. All these elements are certainly the key pillars of the union between fashion and modernity, or better if we want to say, the emergence of modernity from the point of fashion, in literature no less than in other areas. Fashion and death, for Leopardi, fashion as a praise of artifice, for Baudelaire, dandyism as natural by the artificial construction of and the mask. Three questions which arises from and feeds the fashion in mass society and from whose perspective the fashion tests at the same time, its intrinsic literary, on the one hand, the literary canon, on the other. - This challenge to the fees were aware of the twentieth century avant-garde art, especially the future, as Baroncini stresses in the chapter that opens the part of his book dedicated to the idea of \u200b\u200bartist apparel. This concept, which we find in Proust, and passing through the liberty of Gozzano Guglielminetti and the elegance of De Pisis and Savinio, the concept of mask Pirandello, Bontempelli and Rosso di San Secondo. In futurism and avant-garde in particular, however, the fashion came into play in an exemplary manner, and not only because it was the fashion that made explicit reference to the paintings of Balla and perishable, Manifesto of women's fashion Volt (1920) and Against the luxury Marinetti (1920), but because, especially in some parts of futurism, fashion was first put into relationship with the everyday. A paradoxical, but for this very "literary" and deeply relevant today.
- between literature and journalism
are to be collected in this way are two main issues: first, as noted Baroncini, the invention relates, in the Manifesto of volts, clothing and accessories using materials such as corks, old book covers, fish bones and shells, almost like an art of recycling and vintage before its time. Then add a second aspect, which directly affects the relationship between fashion and not in an imaginary writing a prescription, like that of the Manifesto of fashion, but in concrete practices such as the famous drawings of Depero, for the cover of "Vogue" and " Vanity Fair. " Effective symbol of this relationship is also, beyond the future itself, the poem by Sonia Delaunay-Robe, 1923, a suit that brought upon himself the lines of the poem by Tristan Tzara The Ventilateur tourne dans le coeur, and anticipates that the T-shirt written the lettering and logos on clothing, the whole literary short, which is now constantly and the bodies that constitute "the letter," the contemporary system of fashion. The last part of the book is devoted to Baroncini domain of fashion in contemporary literature, a definition that time comes, however, only half of the twentieth century, despite going a bit 'ahead with Pasolini and Arbasino, and assume that as the privileged object Italian literary context. Of particular interest and originality are the pages dedicated to writers who combine literary writing and journalistic writing dedicating a privileged look at fashion on the one hand as an object of cultural curiosity, the other as a framework in which to measure the power of writing as a true female power. In this way should be interpreted, for example, the requirements of good manners and the ironies about the foibles of fashion victims of the '30s as a writer and journalist Irene Brin, invented by Leo Longanesi pseudonym for Maria Vittoria Rossi, then firmatasi as Contessa Clara. Or the Chronicles of Gianna Manzini, plot 'exquisite fashion and high culture, "a few years which follow and Brin also declined through a variety of pseudonyms that the author took.
From couture runways to
The Italian literary and cultural climate in which they symbol of these two writers can certainly be said precursor quell'Italian Style that flourished after the interruption of World War II, during the years of reconstruction and then boom. With the concept of Italian Style means a virtuoso blend of cultures in which fashion, between the '50s and '60s of the twentieth century, sits across the cinema, art, literature, science and technology, gastronomy, tourism and where he built an idea of \u200b\u200bItaly as a place of beauty, leisure, pleasure of life. It was certainly a rhetoric which inhabit the great contradictions of rising neo-capitalism, however, but relied on a literary dimension, poetics that it was the fashion forward and who became culture in the broadest sense and deep. is this atmosphere that reigns in the Italian Style pages of the recent novel by Letizia Muratori Sun without anyone (Adelphi, pp. 133, € 16), where the stories and memories of the protagonist and narrator Emilia, a former mannequin of the early 60s, are tied to those of his mother Iole, already awarded the Roman atelier of the Fontana sisters. Fashion for Masons is an area full of stories, of stories never told stories underlying the notes: they are woven into the folds of his clothes, Ava Gardner, one in which no one could ever take the measures, and Audrey Hepburn, then "betrayed" the Fountain Givenchy. These are the stories of the passage of Italian fashion from the White Hall of Florence to Rome couture catwalks of Milan and then to the line of coatings Emilia wearing the exalted names of those years: Capucci, Galitzine, and early leaders of the Mila Schön Milan.
Today, at a time when the novel takes place, that world is not that the parody: Emilia is in fact engaged as a counselor to come from a style of his old friend and lover, Murita, celebrated once in Roman fashion, and now organizer of trips for those Japanese who used to spend a weekend in Rome to be blessed in a Catholic church in clothes, decorations and wedding ceremony. On their return home, photos of the ceremony will be shown to friends as postcards of a "real and typical Italian wedding.
street styles evolving What then is the history of fashion in contemporary complex idea of \u200b\u200b"literature"? The sgallettate tales of chick-lit? The obsessions of shopping? The devils who wear Prada? Hagiographic biographies of the designers? There is only that, fortunately, although these genera to be presented today by publishing mainstream discourse as the one Scripture of fashion. Yet we can find contemporary examples where fashion becomes literature Gomorrah, in the story (real or fictitious, but little Import) Pasquale, the craftsman working in the field of textile manufacturing belt undergrowth Neapolitan and see on TV wearing the suit made by him to Angelina Jolie, the Oscar night. O generation in the saga of Jonathan Coe, composed of the novels The Rotters' Club and The Closed Circle, where to be "written" are all the cities of Birmingham and styles of street youth between the early 70's and early 2000.
fashion are then interwoven forms of contemporary literature represented by the blog, where he created the sort of fashion blog, one of the principal mode of communication vehicles, both government and "street." The most famous and influential as the Sartorialist, those of the native of the Internet as a Style Rookie Tavi Gevinson, to the more sarcastic as the Italian "The badly-dressed" fashion blog not just collect pictures and comments on collections and clothing but in turn create the clothing styles. Just as it once when writing etiquette adviser from the pages of the magazines 'female'.
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