Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article intends to discuss the work of the fashion designer Elsa Schiaparelli within the world of art, more specifically in the surrealist movement, arguing that her performance in such context is greater than great works of the history of art and fashion indicate. For this, we make a bibliographical review to describe two contexts in which the designer works together with the artist Salvador Dalí, creating surrealistic images which inspire not only the artist but also the surrealist group.

This article is part of the doctoral research The Modernist Wardrobe, which analyses the costumes and the appearance of Mário de Andrade, Tarsila do Amaral and Oswald de Andrade. The appearance and the clothing of these artists is compared with the aesthetic and ideological design of Brazilian modernism – that engendered by the modernists of São Paulo –, marked by the desire, especially since the mid-1920s, for the elaboration of a national identity. In this text, the interpretation is directed to some pictures of clothes used by Mário de Andrade and Oswald deAndrade. We tried to relate the ways of dressing of these two poets with the modernist Brazilianism project.

This article aims to present and reflect on the course of the fashion designer Charles Frederick Worth. Some of the major moments of his professional career and his relevance for the study of the Fashion History will be pointed out. The study highlights the years 1850’s and 1860’s, the period of the ascension of Worth, in an age known as the Second French Empire.

Como Caroline Evans nota em uma discussão sobre as manequins americanas contratadas pelo designer francês Jean Patou em 1924, na moda “o modelo da padronização e a estética industrial eram comumente percebidas como americanas” (EVANS, 2008, p. 250). O artigo de Evans (2008, p. 261) traça “tensões na modernidade do início do século XX: entre criatividade e negócio, entre França e América e entre o consumo pela elite e a produção de massa”. Ele se apoia no trabalho de Nancy Troy que mostra em seu livro de 2003, Couture Culture, como designers do início do século XX promoviam conceitos de autenticidade em uma batalha frenética para suprimir a lógica interna de cópia e padronização que definia a moda, e como explorar a perceptível oposição entre França e Estados Unidos era uma estratégia importante nesta batalha. Aqui, eu trabalho a partir dos relevantes insights de Troy (2003) e Evans (2008) para destacar o relacionamento tenso entre França e América nos discursos das casas de moda. Entretanto, eu começo pelas articulações autobiográficas dos próprios designers, pois estas abrem novas dimensões – uma epistemológica e uma íntima e psíquica – que nos permitem pensar sobre como o (a) designer está envolvido na manutenção de um discurso de diferenças nacionais – e, ainda, o que o designer pode nos dizer sobre o papel da moda na modernidade. [...]

The article reports the result of a research done in the Professional Master in Design of Univille. The objective of this research was to articulate, through design management, a cooperation process between the NGO Women’s Network to Combat Cancer of Indaial, the confections of the Indaial region, the Leonardo da Vinci University Center and the Indaialense Foundation of Culture. This articulation aims to contribute to the sustainability of the NGO, for which a descriptive research was carried out, with data collection and analysis for foundation, and an exploratory,through methods and techniques of design thinking. The research led to the elaboration of a design management proposal that allows its replication in other NGOs and demonstrates the articulation.

Desde o início do século XX, o cinema tem sido um meio de comunicação para casas de alta costura, estilistas independentes e grandes marcas globais, e foi usado de diversas maneiras para promover coleções, expressar as ideias criativas dos designers e experimentar novas formas de criação de imagens de moda. O cinema tem sido um mensageiro da modernidade e até mesmo da pós-modernidade e provou ser uma alternativa efetiva e acessível para os designers em busca de maneiras inovadoras de mostrar seu trabalho. [...]

The sharing of personal knowledge is a tool and a practice of knowledge management that can assist in teaching practices. This study sought to understand how knowledge sharing occurs in the interventions and teaching practices applied in the clothing modeling discipline among professors in a Fashion college. Qualitative research with data collection through semi-structured interviews was used as methodology. It was observed that knowledge sharing is present not only in the modeling discipline, but throughout the course, in which teaching practice involves different methods and projects in order to improve student learning.

This article reflects on the importance of clothing modeling knowledge during design thinking construction. From a bibliographic review associated with the professional experience of the researchers in the areas of modeling and project methodology, it interweaves the approaches of the area of modeling, with the area of design and education. Starting from a view towards integrated teaching-learning, connections are established linking knowledge of the area of modeling of clothing to the design context, as a formative part of the fashion design professional.

Para fazer valer a expressão “corpos na moda”, é necessário possibilitar a emancipação dos padrões que se repetem. Há que se ajudar novas corporeidades, a saber: ouvir seus ritmos e compreender suas possíveis e necessárias inserções no mundo promovido pela moda e, ao espectador, ajudar a reconhecer as singularidades e padrões plurais de belezas. [...]

This article analyzes Arezzo’s Winter 2016 advertising campaign, using the principles of Jenkins (2009) for Transmedia Storytelling. To accomplish the goals of this work it was decided to use the bibliographical research, qualitative research, and case study. In the analyzed campaign a new type of storytelling was created: the interactive authoring in the network. The construction of this complex narrative allows the format to be able to expand and distribute its content through several communication platforms, connecting different audiences who personalize their experience with the product presented.