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A Economia Estética Na Moda Contemporânea a Partir Da Passarela De Alexander Mcqueen (1992-2010)

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A Economia Estética Na Moda Contemporânea a Partir Da Passarela De Alexander Mcqueen (1992-2010) UNIVERSIDADE FEDERAL DE JUIZ DE FORA INSTITUTO DE ARTES E DESIGN - IAD PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES, CULTURA E LINGUAGENS HENRIQUE GRIMALDI FIGUEREDO ENTRE PADRÕES DE ESTETIZAÇÃO E TIPOLOGIAS ECONÔMICAS: A ECONOMIA ESTÉTICA NA MODA CONTEMPORÂNEA A PARTIR DA PASSARELA DE ALEXANDER MCQUEEN (1992-2010) Juiz de Fora 2018 1 HENRIQUE GRIMALDI FIGUEREDO ENTRE PADRÕES DE ESTETIZAÇÃO E TIPOLOGIAS ECONÔMICAS: A ECONOMIA ESTÉTICA NA MODA CONTEMPORÂNEA A PARTIR DA PASSARELA DE ALEXANDER MCQUEEN (1992-2010) Dissertação apresentada ao Programa de Pós-Graduação em Artes, Cultura e Linguagens, área de concentração: Teorias e Processos Poéticos Interdisciplinares, do Instituto de Artes e Design da Universidade Federal de Juiz de Fora, como requisito parcial para obtenção do grau de Mestre. Orientadora: Prof. Dra. Maria Lucia Bueno Ramos Juiz de Fora 2018 2 3 TERMO DE APROVAÇÃO DA DISSERTAÇÃO DO PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES, CULTURA E LINGUAGENS Henrique Grimaldi Figueredo Nome do aluno Entre padrões de estetização e tipologias econômicas: a economia estética na moda contemporânea a partir da passarela de Alexander McQueen (1992-2010) Título Prof. Dra. Maria Lucia Bueno Ramos Orientador Dissertação apresentada ao Programa de Pós-Graduação em Artes, Cultura e Linguagens, Área de Concentração: Teorias e Processos Poéticos Interdisciplinares, Linha de pesquisa: Arte, Moda: História e Cultura, da Universidade Federal de Juiz de Fora, como requisito parcial para obtenção do grau de Mestre. Aprovada em 14/12/2018 Banca Examinadora: ____________________________________________ Maria Lucia Bueno Ramos - Orientador – Universidade Federal de Juiz de Fora ____________________________________________ Maria Claudia Bonadio - Membro UFJF - Universidade Federal de Juiz de Fora ____________________________________________ Glaucia Kruse Villas Bôas - Membro externo – Universidade Federal do Rio de Janeiro ____________________________________________ Paula Maria Guerra Tavares - Membro externo – Universidade do Porto 4 A Alan Kardec Grimaldi e Euzi Grimaldi [In Memoriam] 5 I remember walking up the road [for a Vogue event] and seeing all these flashes of the paparazzi cameras and this huge crowd of people... shouting ‘Alexander, Alexander!’ That’s when it really hit me how well known he was. Until then I’d only met Lee, but there he was Alexander McQueen George Forsyth, 2010 6 AGRADECIMENTOS Muitas mãos e mentes auxiliaram-me, direta ou indiretamenete, na tessitura deste texto. Uma escrita polifônica que por vezes me atravessou mas também serviu-me de redenção. Eis aqui uma porção minha, um espaço-poema onde renasci e me recriei inúmeras vezes. Aos colaboradores deste parto, meu muito obrigado. Agradeço imensamente pela gentileza e carinho de minha orientadora, Maria Lucia Bueno Ramos, que para além do conhecimento passado, mostrou-se uma pessoa de uma grandeza extrema, acreditando e estimulando constantemente meu trabalho, apontando meus equívocos - muitos talvez pelo excesso de paixão juvenil - mas também elogiando-me e inculcando em mim o desejo por uma pesquisa séria e potente. Às professoras Renata Zago, Patrícia Moreno, Rosane Preciosa, Maria Claudia Bonadio, Luís Alberto Rocha Melo e Sandra Sato pelo apoio e sensibilidade nas trocas acadêmicas, cada linha deste texto respira um pouco de vocês. Meus sinceros agradecimentos a Lara Velloso e Flaviana Polisseni, secretárias do PPG-ACL da UFJF, pelos trâmites burocráticos mas também pela amizade construída, espero que o riso nunca nos falte. Aos amigos de longa data - Isis, Gregório, Bruno, Ramon, Luiz Phillip, Tarcísio, Paula, Letícia, Monique e Isadora - pela paciência, compreensão e estímulo durante a elaboração desta pesquisa, tenho muita sorte de tê-los como parte da minha família. À querida amiga Thamara Venâncio, que embarca em todas as minhas dissidências textuais, auxiliando-me na construção de um eu-pesquisador para além das temáticas aqui tratadas, que nunca nos falte textos escritos à quatro mãos. À amiga e mentora desde tenra idade, Helén Queiroz, por ter despertado em mim o apreço pelas coisas bonitas da vida. Aos companheiros de mestrado pelas risadas, pelas conversas e pela companhia constante na academia. O meu muito obrigado à Letícia Machado e Thalita Castro, pelos abraços apertados, pelo auxílio nas horas difíceis e pelas conversas de bar, ninguém salta com tanta facilidade de discussões tão sérias para a mais engraçada banalidade quanto elas, obrigado por estes momentos de respiro. Sou muito grato ao Programa de Pós-Graduação em Artes, Cultura e Linguagens da Universidade Federal de Juiz de Fora pela excelência na educação e responsabilidade na formação dos seus, que eu possa contribuir agora e no futuro para a escrita desta história, orgulhando o programa que me acolheu e me transformou em um pesquisador apaixonado. À FAPEMIG, pela bolsa de pesquisa concedida e que foi de crucial importância para a execução deste trabalho, que os incentivos possam ser multiplicados. Meus sinceros agradecimentos às componentes da minha banca: Professora Paula Guerra, do Instituto de Sociologia da Universidade do Porto, pela amizade, pelas risadas e principalmente por me auxiliar na criação de uma visão mais sólida e substancial na pesquisa sociológica da cultura. À 7 Professora Maria Claudia Bonadio pelo exemplo na seriedade e qualidade da pesquisa em Moda, é uma honra ter sido seu aluno; e à Professora Glaucia Villas Bôas, da Universidade Federal do Rio de Janeiro, por ter reacendido em mim, ante ao nosso pequeno contato, o desejo pela investigação sistemática. É um desafio estimulante entregar esta ainda tímida pesquisa à apreciação de vocês. Por fim, e não menos obstante, agradeço aos meus pais, Alcinea e Osvaldo, à minha avó Noeme e à minha irmã, Larissa, pelo apoio incondicional, todo o meu amor e reconhecimento; e aos que se perderam ao longo do caminho, deixo aqui às minhas mais sinceras saudades. Como nos brindou o saudoso poeta Manoel de Barros, “Só uso a palavra para compor meus silêncios”; que esta composição possa lhes ser aprazível e edificadora. 8 RESUMO No contexto de uma modernidade avançada, o sistema capitalista de produção e circulação de mercadorias é reorganizado. Novos padrões e públicos consumidores surgem, assim como práticas inauditas que ratificam, em muitos casos, a substituição do objeto por sua imagem. Na era de um capitalismo artista responsável por estetizar e monetarizar quaisquer tipologias de produtos e experiências, um tema torna-se central: as economias estéticas da cultura. Utilizando a moda conceitual como estudo de caso, nomeadamente aquela produzida pelo britânico Alexander McQueen entre 1992 e 2010, este texto busca elucidar o funcionamento e os desdobramentos mercadológicos e estéticos deste fenômeno, pontuando no processo questões pertinentes como a artificação e a elaboração de um quadro sociológico desta comunidade, nos auxiliando a apreender tais formatações. Estruturado em três capítulos, este estudo recupera inicialmente questões relacionadas à estetização do cotidiano e sua aplicabilidade ao universo da cultura (arte e moda) para, posteriormente identifica- las e discuti-las no contexto inglês da década de 1990. A composição de um redesenho social deste cenário nos permitirá, por fim, a experimentação de nossa hipótese: ao aplicarmos tais diálogos à criação de McQueen a partir de seus desfiles, passamos a tatear o tênue equilíbrio estabelecido entre estética e economia nas produções contemporâneas. PALAVRAS-CHAVE: Alexander McQueen; Artificação; Economias estéticas; Desfile; Mercado. 9 ABSTRACT In the context of an advanced modernity, the capitalist system of production and circulation of commodities is reorganized. New standards and public consumers emerge, as well as unprecedented practices that ratify, in many cases, the substitution of the object for its image. In the age of an artist capitalism responsible for aestheticizing and monetizing any typologies of products and experiences, a theme becomes central: the aesthetic economies of culture. Using conceptual fashion as a case study, namely the one produced by the British designer Alexander McQueen between 1992 and 2010, this text seeks to elucidate the functioning and the developments of this phenomenon, punctuating pertinent issues in the process as the artification and the elaboration of a sociologic framework of this community, helping us to learn such formatting. Structured in three chapters, this study initially retrieves questions related to the aestheticization of everyday life and its applicability to the universe of culture (art and fashion), and then identifies and discusses them in the English context of the 1990s. The composition of this social scenario will finally allow us to experiment our hypothesis: by applying such dialogues to the creation of McQueen from his fashion shows, we come to feel the tenuous balance established between aesthetics and economics in contemporary productions. KEYWORDS: Alexander McQueen; Artification; Aesthetic economies; Fashion shows; Market. 10 SUMÁRIO DA DISSERTAÇÃO INTRODUÇÃO................................................................................................................................14 CAPÍTULO I - MODA E ESTÉTICA 1.1 - Um problema estético: breves considerações.............................................................................17 1.2 - A estetização do cotidiano e a moda............................................................................................21 1.3 - Entre polarizações: do conceito ao marketing............................................................................25
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