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

   

As part of the final results obtained in a doctoral research (an urban photoethnography applied to fashion), an urban group is presented here, formed by men, between 25 and 50 years old, with a strong desire for consumption, frequenters of pool parties and after parties (electronic parties). aimed at the homosexual public), which elaborates its fashion lexicon through the choice of clothing and aesthetic interventions that project and frame their (re)designed bodies. From there, reflections on consumption and identity (BAUMAN, 2008), corporeality (LE BRETON, 2012, 2013, 2016) and symbolic capital (BOURDIEU, 1989, 2015) converge. Pool party goers translate their ideals of fashion consumption into the belief that their musculature — bought, built and standardized — is synonymous with success and social insertion, therefore it must be evidenced. The selection of photographs, carried out by this researcher, reports their immersions in the following places: Brasília, Recife, São Paulo, João Pessoa, Natal, Tibau do Sul and Maceió, between December 2020 and March 2022. The ethnographic data presented corroborate, thus, the thesis that, in face of the countless pressures of consumption, the male body (covered by tattoos, cut during gym hours, hormonal modulations and large and invasive dermato-cosmetic procedures, to different degrees) — before a mere adjunct to dressing — it is (re)designed and elevated to the central position of a fashion element, generating a desire for belonging comparable to thatprovoked by menswear products.

This article aims to report and discuss inventive learning dynamics, with a focus on body experience, used in the optional course Laboratório de Joalheria Contemporânea, offered at the School of Design at the State University of Minas Gerais, from 2017 to 2019. approaching the relationship between body and jewelry, thinking about the unfolding of this intertwining in the individuals who design and use them, the discipline proposed to explore the connection between being in the world and the lived world. Using Maurice Merleau-Ponty’s (2011) sense of “own body” as a reference, students were invited to experiment and create from their own bodies, exploring and interacting with collective territories. Through practical-reflective activities, the body dynamics allowed to extract motivations, reflections, for the development of a contemporary jewelry. By exploring different pedagogical formats, we seek to stimulate invention, foster the production of subjectivities, and create environments conducive to experimentation from the analysis and delivery of the body to the process and questioning of the contemporary.

This study aims to discuss the elements that permeate the performances of plus size fashion influencers on the digital platform Instagram. To this end, it applies concepts from the Dramaturgical Theory proposed by Erving Goffman, considering both the complexity of the relation between fashion and fat bodies, as well as the particularities that involve social interactions that occur in digital environments. Non-participant observation was carried out with three of the main profiles of Brazilian plus size fashion digital influencers on Instagram: Thais Carla, Letticia Munniz and Ju Romano. From the analysis of the data, two categories of analysis were proposed: (1) the public image that composes the performances of plus size fashion digital influencers on Instagram and (2) the interactional dynamics associated with the performances of plus size fashion digital influencers with her followers on Instagram. It is concluded that, through the performed performances, influencers transmit to their followers an image of body self-acceptance, adopt strategies that manage their interactions in order to preserve their personal public images, maintain credibility and a sense of representation towards the followers and use fashion as an instrument to break oppressive paradigms in relation to the fat body.

Fashion advertising photography, through its aesthetic arrangements, seeks to produce the meaning of the brand, its identity and personality. In these images, the body and performance become important elements in the production of fashion, especially in the construction of an aura of luxury in advertising messages from brands in the young and popular market. The aim of this article is to investigate how the performing body is articulated in advertising photographs of contemporary fashion, producing aesthetic arrangements and effects of a sense of luxury in popular and young fashion brands. As a main result, it appears that the images addressed have indicators that point to a certain pattern that characterizes the aura and the effects of luxury in photographs of advertising campaigns in the youth market and popular market: one of them is the performing body. The bodies are articulated to account for the brand identity and the behavior of the audience for which the campaign is intended.

In this work, we present fashion as a phenomenon that is outlined from dual principles, having as an important milestone in its history the encounter with photography. If both integrate a heterogeneous device, which awakens other ways of seeing the female bodies, in the editorial productions carried out in the bond between the photographer Edward Steichen and the couturier Paul Poiret, we observe a two-way street in the discursive construction through the image, where it is possible to glimpse an active circuit of narrative production that takes place on and in the body, which reverberates in codes that explore the gestures of this body in movement and in modification.

This article, anchored in discursive studies, from the archegenealogical method ngendered by Michel Foucault, aims to observe the mechanisms, which frame the body image as described and seen in the historical, social and cultural lines as masculine, on discursive networks of Fashion. At first, we contextualized the acknowledgement of event making it possible to take the statements that, in different orders, select, organize and redirect the speech that talk about men and/or women. Then, we wanted to demonstrate how the body - and its signs and meanings - has been the object of struggle in theFashion space. The corpus, to which our analytical gaze turns, is shaped by an essay-report that was published by Manchete magazine on the 0652nd edition in 1964, whereupon was possible to observe that the Fashion, by transgressing the body rules, would be able to (re)model itself in the multiplicity of masculine and feminine, destabilizing ‘truths’ about the determining policies of the body, gender and subjectivities.

Socila was a school of good manners founded in Rio de Janeiro, with great sucess in the 1950s and 1970s, which is still mentioned in the press as a synonym for elegance. One of its founders, Maria Augusta, taught hundreds of women so called “social improvement”: it was important not only to beautify themselves, but to master techniques of posture and body education, in order to compose something that Goffman ([1959] 2014) called “façade”. Is fashion an element of the façade? What are the others? Through reports on Socila in the press (1954-2022), we propose to reflect what extent elegance is a construction based on manners; if and how it can be learned by teaching of habitus and a corporeal hexis (BOURDIEU, 1983); and to reflect on clothes and body as elements which are amalgamated in a production of meaning.

This paper presents a view about the Nymph in the History of Art and intends to offer reflections on female bodies and traces of human development. According to Georges Didi-Huberman, the mythological figure of the Nymph is understood either as a female body or as draperies lying on the floor and detached from a body. The reflection on the character becomes an instrument to talk about the female body, which is impregnated with meanings, the movement of time and the fall of the Nymph, in addition to the violated or subversive body. On the other side we have the cloths separated from the body.Like still lifes, they rot on the ground and bear witness to stories of violence and oblivion.