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The Horn of Plenty De Mcqueen Uma Conjunção Paródica Entre O Design, a Moda E a Arte No Contemporâneo

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The Horn of Plenty De Mcqueen Uma Conjunção Paródica Entre O Design, a Moda E a Arte No Contemporâneo Universidade Estadual Paulista Faculdade Arquitetura, Artes e Comunicação Programa de Pós-graduação em Design THE HORN OF PLENTY DE MCQUEEN UMA CONJUNÇÃO PARÓDICA ENTRE O DESIGN, A MODA E A ARTE NO CONTEMPORÂNEO Andréa Barbosa Camargo Orientador | Prof. Olimpio José Pinheiro Coorientadores | Profa Monica Moura e Prof. Mario de Carvalho Bauru 2015 0 Universidade Estadual Paulista Faculdade Arquitetura, Artes e Comunicação Programa de Pós-graduação em Design THE HORN OF PLENTY DE MCQUEEN UMA CONJUNÇÃO PARÓDICA ENTRE O DESIGN, A MODA E A ARTE NO CONTEMPORÂNEO Andréa Barbosa Camargo Tese apresentada ao Programa de Pós-Graduação em Design da Universidade Estadual Paulista, Faculdade de Arquitetura, Artes e Comunicação, Campus de Bauru, para obtenção do Título de Doutor em Design Bauru 2015 1 metamorfose liberdade beleza, ELE materializou-se azul borboleta, contemplou se orgulhou, hoje, sua semente germinou Ao meu pai (in memoriam) todo o meu amor e minha saudade eterna A minha avó (in memoriam) Com amor por aquela que sempre vibrou com minhas conquistas 2 AGRADECIMENTOS A Deus por me dar força para continuar mesmo diante das adversidades; A minha mãe e minha irmã pela paciência e apoio incondicional, na reta final deste projeto; A minha tia Boy pelo carinho sempre devotado a minha pessoa; A minha tia Melânia pela força que me impulsionou em momentos difíceis; A todos os meus familiares e amigos pela compreensão da minha ausência em vá- rios momentos de nossas vidas nesses últimos 4 anos; A Helena e a Teca pela dedicação durante todo o processo de finalização da minha tese. A minha amiga Cristiana Pimenta pelo apoio sempre presente; A minha amiga Flavia Zimmerle pelos inúmeros conselhos epistemológicos; A minha amiga Nara Rocha que mesmo distante emanou energias positivas; A todos do Dinter, Marcela, Tércia, Danilo, Manoel, Renata, Emílio, Charles, pelas horas compartilhadas em conjunto; Aos coordenadores do programa prof. Paschoarelli e profa Paula, sem esquecer a profa Marizilda, pelo exemplo de dedicação; Aos meus orientadores, prof. Olímpio Pinheiro e profa Monica Moura, pela atenção e comprometimento com meu projeto; À profa Kathia Castilho pelas propostas valiosas durante o exame de qualificação; A Luiz Augusto, Helder, Sílvio, por desempenharem suas funções de forma desme- dida na transmissão de toda a burocracia exigida pela Secretaria da pós-graduação; Por fim, mais uma vez mencionados: a meus pais, pelo exemplo de dignidade e per- severança, minha eterna gratidão; À Fundação de Amparo à Ciência e Tecnologia do Estado de Pernambuco (FACEPE); E, a todas as pessoas que contribuíram direta ou indiretamente com este trabalho. 3 RESUMO Nosso objetivo é entender como o designer de moda McQueen se utiliza da arte, do espetáculo, como cenário de ativação contestatória diante dos acontecimentos do mundo contemporâneo. Para tal, iremos analisar 5 looks de sua coleção The horn of plenty, de 2009. Esta coleção tem um caráter conceitual que a identifica com a arte. No design de moda o termo conceitual se refere ao lado artístico e fantasioso do designer, no qual ele pode esboçar ideias contrastantes com o usual visto no mer- cado, mas que conotam estilos que irão fazer parte de sua coleção comercial (aque- la vendida ao mercado consumidor). É pelo design conceitual que o designer fica conhecido na mídia, pois ele representa a apoteose do seu trabalho; é o espetáculo, onde o criador mostra todo seu talento à espera de aprovação da audiência. Porém, além do caráter publicitário, o espetáculo atual possui uma vertente contestatória, idealista, a ser reconhecida, nesta pesquisa, como um potente canal de comunica- ção. De onde podemos questionar: Como o contemporâneo é revelado criticamente pela obra de McQueen, the horn of plenty? Utilizaremos como aporte teórico para responder tal questionamento, a teoria da Transtextualidade que surgiu a partir da Intertextualidade de Kristeva, essa alicer- çada pela noção de dialogismo de Bakhtin. A Transtextualidade foi proposta por Ge- rard Genette a partir do conceito de Intertextualidade mais abrangente. Essa teoria diz respeito à definição de um conjunto de textos e às relações estabelecidas entre os mesmos e, também, constitui-se na reelaboração do passado textual. Assim, percebemos o viés paródico da obra de McQueen que atrelado a intertextos diversos geraram personagens com carga crítica e irônica, e ao mesmo tempo per- meada de expressão artística. 4 ABSTRACT Our goal is to understand how McQueen uses art, spectacle, as anti-establishment activation scenario before the contemporary world events. To this end, we will examine five looks from the collection The horn of plenty, 2009. This collection has a conceptual character that identifies with art. In fashion design conceptual term refers artistic and fanciful side of the designer, in which he can sketch contrasting ideas with the usual seen in the market, but that connote styles that will be part of its commercial collection (the one sold to the consumer market) . It is the conceptual design that the designer is known in the media because it represents the apotheosis of their work; is the show where the creator shows all his talent waiting for approval from the audience. However, in addition to advertising character, the current show has a contester characteristic, idealistic, to be recognized in this research as a powerful communication channel. Where we may ask: How contemporary is revealed critically the work of McQueen, the horn of plenty? We use as theoretical framework to answer these questions, the theory of transtextuality that emerged from the Intertextuality of Kristeva, this underpinned by the notion of dialogism Bakhtin. The transtextuality was proposed by Gerard Genette from the broader concept of Intertextuality. This theory concerns the definition of a set of texts and the relationships established between them and also constitutes the reworking of textual past. Thus we see the parodic bias McQueen's work that linked to many intertexts generated characters with critical and ironic charge, while permeated with artistic expression. 5 LISTA DE FIGURAS Figura 1. McQueen desenvolvendo a técnica de moulage [p. 20] Figura 2. Espartilho na coleção, 2001, da Chloé [p. 25] Figura 3. Pintura de Toulouse-Lautrec, Mulher com espartilho (1896) [p. 25] Figura 4. Chapéu sapato [p. 27] Figura 5. Vestido lagosta. [p. 27] Figura 6. Vestido tear. [p. 27] Figura 7. Vestido Mondrian, coleção de Yves Saint Laurent, 1965. [p. 28] Figura 8. Vestido Mondrian, coleção de Yves Saint Laurent, 1965. [p. 28] Figura 9. Pleated dress, Miyake, 1994. [p. 29] Figura 10. Ombreiras de plumas costuradas em lugares irregulares, Kawakubo, 1997. [p. 29] Figura 11. Herchcovitch, 2001. [p. 30] Figura 12. Chalayan, 2007. [p. 30] Figura 13. Margiela, 2009. [p. 30] Figura 14. Thierry Mugler, 1997. [p. 31] Figura 15. Coleção The Golden Shower, 1998. [p. 32] Figura 16. Lady Gaga. [p. 33] Figura 17. New Look de Christian Dior. [p. 37] Figura 18. Chanel coleção alta-costura, primavera 2014. [p. 37] Figura 19. H&M x Saint Laurent. [p. 38] Figura 20. Coleção de Christian Lacroix para a Maison Schiaparelli, 2014. [p. 38] Figura 21. Loja de prêt-à-porter Rive Gauche. [p. 40] Figura 22. Amostras de tecidos e aviamentos. [p. 45] Figura 23. McQueen no estúdio entre painéis de referências. [p. 47] Figura 24. Quadro preto, exemplo de painel de inspiração. [p. 47] Figura 25. Calça bumster, 1995. [p. 48] Figura 26. A modelo Kate Moss vestindo a calça bumsters. [p. 49] Figura 27. Coleção Plato’s Atlantis, 2010. [p. 50] Figura 28. Coleção Plato’s Atlantis, 2010. [p. 50] Figura 29. Coleção Plato’s Atlantis, 2010. [p. 50] Figura 30. Variações de croquis a partir de uma peça base (vestido). [p. 51] Figura 31. McQueen fazendo uma moulage em seu ateliê. [p. 52] Figura 32. McQueen fazendo uma moulage em seu ateliê. [p. 52] Figura 33. Instalação de Chalayan. [p. 56] Figura 34. Peça da coleção N° 13, 1999. [p. 60] Figura 35. Peça da coleção N° 13, 1999. [p. 60] 6 Figura 36. Aimee Mullins. [p. 61] Figura 37. Prótese criada por McQueen. [p. 61] Figura 38. Desfecho do espetáculo N° 13, 1999. [p. 62] Figura 39. Alexander McQueen Eyes. [p. 67] Figura 40. Espetáculo da coleção Deliverance, primavera/verão, 2004. [p. 68] Figura 41. Look da coleção primavera/verão, The hunger, 1996. [p. 69] Figura 42. Looks da coleção primavera/verão, The hunger, 1996. [p. 69] Figuras 43. Obra McQueen. [p. 70] Figura 44. Obra McQueen. [p. 70] Figura 45. Obra McQueen. [p. 70] Figura 46. Look primavera/verão 2005 It’s only a game. [p. 71] Figura 47. Look primavera/verão 2005 It’s only a game. [p. 71] Figura 48. A ilusão que McQueen proporcionou à audiência via holografia. [p. 71] Figuras 49. McQueen, o Deus arte do contemporâneo, desafiando o Deus racional modernista. [p. 72] Figura 50. Look primavera/verão 1994, Nihilism. [p. 73] Figura 51. Look primavera/verão 1994, Nihilism. [p. 73] Figuras 52. É uma nova era na moda. Não há regras. [p. 73] Figura 53. Peças da coleção In Memory of Elizabeth Howe, Salem, 1692, 2007/2008. [p. 74] Figura 54. Peças da coleção In Memory of Elizabeth Howe, Salem, 1692, 2007/2008. [p. 74] Figura 55. Peças da coleção In Memory of Elizabeth Howe, Salem, 1692, 2007/2008. [p. 74] Figura 56. Sapato Armadillo, com cerca de 30 cm de altura. [p. 79] Figura 57. Acessório sadomasoquista. [p. 80] Figura 58. Acessório sadomasoquista. [p. 80] Figura 59. Versão do look, desfilado na coleção horn of plenty, em 2009. [p. 81] Figura 60. Cenário do espetáculo Voss, 2001. [p. 82] Figura 61. Performance da modelo. [p. 83] Figura 62. Instalação de McQueen no espetáculo Voss, 2001. [p. 83] Figura 63. Obra Sanitarium do fotógrafo Joel Peter Witkin. [p. 84] Figura 64. Leigh Bowery, artista performático australiano.
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