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Berardi Antonella Modern Kirumono Reformulación del tradicionalismo Japonés en Argentina Berardi Antonella 93940 Diseño textil y de indumentaria Creación y expresión Diseño y producción de objetos, espacios e imágenes. 15/09/2020 0 Índice Introducción. ..............................................................................................................................3 Capítulo 1. Diseño de Autor y Orientalismo. ..................................................................... 12 1.1 Diseño de Autor .............................................................................................................. 12 1.1.1. ¿Qué es el diseño de autor? ...........................................................................13 1.1.2. Diseño de Autor en Argentina. ........................................................................14 1.2. Diseño, colecciones y moda. ....................................................................................... 15 1.2.1. Tipos de colecciones.......................................................................................16 1.2.2. Pasos para la creación de una colección. .......................................................17 1.2.3 Fundamentos del diseño ..................................................................................20 1.3. Orientalismo en la moda. .............................................................................................. 24 1.3.1. ¿Qué es el orientalismo? ................................................................................25 1.3.2 Influencia del Orientalismo Japonés: Japonismo. .............................................27 Capítulo 2. Japón: Evolución de la indumentaria. ............................................................ 31 2.1. Escrituras y mitos antiguos. .......................................................................................... 31 2.2 Prehistoria: Cultura y vestimenta primitiva ................................................................... 32 2.2.1 Periodo Jōmon. ................................................................................................32 2.2.2 Periodo Yayōi. .................................................................................................33 2.3 Japón antiguo: Religión y cambios políticos-sociales. ................................................ 35 2.3.1 Periodo Kofun. .................................................................................................35 2.3.2. Periodo Asuka y Nara: Influencias Chinas. .....................................................37 2.3.3. Periodo Heian, metamorfosis al modelo Japonés. ..........................................39 2.4 Bakufu: Periodos Kamakura, Muromachi y Azuchi-Momoyama................................. 42 2.5 Periodo Tokugawa-Edo: Último bakufu y aislamiento. ................................................ 45 2.6 Periodos Meiji y Taisho: Restauración y Occidentalización de Japón. ................51 Capítulo 3. Desarrollo técnico: Tipologías tradicionales. ............................................... 54 3.1 Evolución del kimono, desde prenda casual a objeto de lujo ..................................... 54 3.1.1. Tipologías tradicionales. .................................................................................55 3.1.2. Técnicas textiles y estampados tradicionales ..................................................60 3.1.3. Accesorios. .....................................................................................................62 3.2 Artes teatrales. ................................................................................................................ 64 3.2.1 Teatro Noh .......................................................................................................64 3.2.2 Teatro Kabuki ..................................................................................................68 3.3 Samurái: Principios, Armadura y Alma. ........................................................................ 71 3.3.1 Elementos constructivos de las armaduras. .....................................................71 1 3.3.2. Guerreros montados: O-yoroi. .........................................................................75 3.3.3. Guerreros a pie: Do-maru y Haramaki. ...........................................................75 3.3.4. Protección de la cabeza y rostro: Kabuto. .......................................................76 3.3.4. Alma del samurai: Katana ...............................................................................77 Capítulo 4. Análisis e investigación de la moda contemporánea.................................. 79 4.1. Feminización de la masculinidad: Androginia y Danshi sin género. ......................... 79 4.2. Moda Japonesa: Diseñadores, Streetwear y Harajuku .............................................. 83 4.2.1. Harajuku y Tokyo: Barrios de las subculturas y tendencias. ............................84 4.2.2. Diseñadores Japonesas y Streetwear Trends .................................................86 4.3. Diseñadores contemporáneos con influencias japonesas. ........................................ 91 4.3.1. Diseñadores extranjeros. ................................................................................91 4.3.2. Diseñadores Argentinos. .................................................................................93 Capítulo 5. Propuesta de colección: Modern Kirumono. ................................................ 96 5.1 Concepto de colección: Moodboards. ........................................................................... 96 5.2 Rubro y Usuario. ............................................................................................................. 97 5.3. Silueta, tipologías y recursos. ....................................................................................... 99 5.4. Estampas y Paleta de color. ....................................................................................... 101 5.5 Representación visual. ................................................................................................. 103 Conclusiones ......................................................................................................................... 108 Lista de Referencias Bibliográfica: ................................................................................... 112 Bibliografía: ............................................................................................................................ 119 2 Introducción. A lo largo del tiempo debido al imperialismo comercial de Europa sobre los países orientales hasta la globalización en las comunicaciones del siglo XXI, los elementos tradicionales de cada región, comenzaron a tener notoriedad fuera de su lugar de origen. En un comienzo los productos oriundos de Asia eran un lujo, en especial los textiles. De esta manera, artistas y diseñadores han utilizado estas influencias como inspiración para sus propias creaciones. En referencia a lo anterior, se define el orientalismo como una corriente de pensamiento y estilo Occidental que pretende dominar, reestructurar y tener autoridad sobre Oriente. En pocas palabras. El término Oriente es un concepto creado por el hombre Europeo. (Said, 1978, p.21). Continuando con los conceptos anteriores, la moda no fue una excepción. Un ejemplo de esto es el Kimono que en la actualidad se encuentra en el mercado. Tanto las prendas como las estampas Japonesas tradicionales fueron, sin duda, importadas. Debido a esto, lo que en occidente, en este caso Argentina, se conoce como algo de origen japonés, en general no fue traído por personas nativas de esa cultura y debido a esto, están de alguna manera ‘contaminadas’. Estos ‘importadores’ de cultura, solo traían parte de lo que se observaba allí o lo que consideraban que podría vender y gracias a eso, comenzó a crearse un imaginativo colectivo erróneo de cómo son las cosas en ese lugar, en este caso las prendas japonesas, haciendo un mix de culturas distintas. Como consecuencia de esto, se generó la imposibilidad en los occidentales de distinguir entre culturas y categorizar todo de una misma manera: Ropa China. En los marcos de las observaciones anteriores el fin del presente Proyecto de Graduación titulado Modern Kirumono. Resignificación del tradicionalismo japonés en la moda Argentina, es revalorizar esos elementos de la ropa tradicional japonesa y de qué manera no caer en esos estereotipos que se tiene del país del sol naciente. 3 La pregunta principal de este Proyecto de Grado, cuya categoría es creación y expresión y su línea temática se enmarca en la de Diseño y Producción de objetos, espacios e imágenes, es ¿Cómo tomar elementos de la indumentaria tradicional japonesa para resignificarlos en la Argentina? Y el objetivo general que forma parte de la respuesta a esa pregunta es diseñar una colección cápsula urbana contemporánea con influencias de la indumentaria tradicional japonesa reformulando la moldería y la estampa para el mercado Argentino. A su vez para poder responder esta pregunta y realizar el objetivo general, es necesario resolver los objetivos específicos del Proyecto de Graduación. En primer lugar se debe Identificar los elementos claves de la moldería y estampa japonesas para reformularlas. Este objetivo es clave ya que sin él se podría caer en lo que se plantea anteriormente: examinar y evaluar cómo modificar el imaginativo colectivo erróneo de Japón establecido por la influencia de los elementos importados, el anime y el sarariman. Por último
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