TRACK: FASHION COMMUNICATION IED FIRENZE
DESCRIPTION OF INDIVIDUAL COURSE
Course Title History of Arts, Fashion and Costume
Semester Spring
Teaching Method Theory Lessons Theoretical Total Hours Total Hours workshop Theory Lessons 37.5 Lab – project --- activities (1 hour – 60 minutes) (1 hour – 60 minutes) Practical workshop activities
Credit 3
The goal of this course is Necessary To provide students with the techniques to analyze fashion as a cultural phenomenon, using the appropriate vocabulary, and to enable them to understand the social condition of the wearers. Ideally, at the conclusion of the course they will have learned to consider a work of art through the use of new critical tools. The class begins with an introduction to the origins of the different ways in cui primitive Western people protected Their bodies from heat and cold, and then goes on to explore the development Throughout the centuries of clothing as an expression of a social condition or of a country's cultures, up to the birth of the concept of fashion. By studying costumes and how it changes through the ages we shall examine many interesting perspectives about people, different social classes, Learning political and social changes. In the past, When social divisions were more strictly defined, social rules were Objectives Clearly reflected through the outfits. Historic costumes must be Analyzed as visual documentations reflecting artistic and political changes, especially in reference to women. We'll focus on Italian fashion and a series of characteristics That could be Summarized as the International, European, and Italian style; an outline of Italian fashion will be given. Then the class continues studying the language and system of fashion. Specific designers are Studied and presented in class during Professor's lectures and student's assignments, oral presentations. During each term a different selection among the aforementioned designers and more are discussed and presented during the classes.
The course is a journey through fashion as a mirror of Western society: from historic costumes to the modern concept of fashion. It teaches participants the tools to be able to decode and interpreting the silent language of fashion as an interdisciplinary subject, from a critical perspective, according to Functional many factors related to: historic, social, economic, artistic context. The Course, after a brief excursus into the origins of fashion as a social and cultural phenomenon in the Western society, Enters Into the 20th century up to the contemporary styles. The course follows an interdisciplinary approach; fashion styles are decoded in relation to art history, society, anthropology, economy, gender studies, and media studies in National Contents of and International context. Fashion and its interactions with cultures, subcultures, gender, and the course communication are emphasized. Both The course follows a chronologic and thematic approach, as well as an experiential learning method, taking into participant students on-site itineraries and activities to Enhance Their educational experience based on first-hand knowledge. Florence, its rich culture, heritage and are used as the main source for classroom and students' researches and learning activities. By the end of the term to Achieve participants have a strong theoretical basis based on the studying of academic reliable sources, combined together with the knowledge of practical aspects related to the making of historic costumes and fashion.
Teaching The teaching method consists of series of classroom lectures devoted Method to explaining the subjects in question in detail, using audiovisual supports and moments when the lecturers interact with the students, who are stimulated to speak up and contribute to the process of transmitting and imparting the course contents. Students may be requested to undertake an additional shorter research project or other development on one or more course contents, to be presented and discussed during their examinations. This course runs for throughout the semester and the exact number of class meetings will be determined upon the confirmation of class site visits and fieldtrips. The weekly course overview is indicative of the topics covered, assigned work and class fieldtrips. Meetings with professionals and workspaces are generally confirmed shortly before the visit according to speaker availability. Consider that: lectures will be supported by visual material, mainly PPT; hand-outs with additional information will be provided by the instructor; visits to local museums to view costumes and images of costumes; discussions and Q&A’s will be an integral part of many class sessions; video materials will be used to highlight costume in historical context, and to show the work of the modern costume designer; tests; individual research will be an integral part of the course.
Fieldtrips and visits are a very important component of this program and an integral part of the course. They are designed to complement what is learned in the classroom as well as serve as an ongoing orientation to the field of design, fashion industry and city. Fieldtrips and visits are tentatively scheduled and may change based upon availability of the instructor, speakers and venue scheduling. (NOTE: Two museum visit s are scheduled during the semester. Other visits to artisans’ workshops can be delated due to the pandemic situation)
WEEK 1 - February 14
Introduction to the course. Course content brainstorming and students open questions.
Lecture & Class Discussion:
The transition from Costume to Fashion and the main factors that led to a gradual democratization of the Course fashion system. The second half of the 19th century and French influence: Charles Friedrick Worth. The program simplification of styles and the liberation of female from constricting shaping structures: Paul Poiret, Mariano Fortuny.
Readings:
James L., Costume and Fashion. A Concise History, 2002, ch. 8, pp. pp. 177-211; Mendes V., De La Haye A., Fashion since 1900, 2010, ch. 1, pp. 10-47.
WEEK 2 – February 21
Lecture & Class Discussion:
Maria Monaci Gallenga. The First World War, the flappers and à la garçonne fashion: Coco Chanel and her fashion revolution. Elsa Schiapparelli between art and fashion.
Readings:
Gnoli S., The origins of Italian Fashion: 1900-1945, 2014, ch. 1, pp. 9-25; James L., Costume and Fashion. A Concise History, 2002, ch. 9, pp. 213-251; Mendes V., De La Haye A., Fashion since 1900, 2010, ch. 2, pp. 48-75.
WEEK 3 – February 28
Lecture & Class Discussion:
The unification of Italy and the first attempts for defining and promoting a national appealing fashion system. Rosa Genoni and the first National Exhibitions. Futurists and fashion.
Readings:
Gnoli S., The origins of Italian Fashion: 1900-1945, 2014, ch. 2, pp. 27-43, ch. 3, pp. 45-70; James L., Costume and Fashion. A Concise History, 2002, ch. 10 (part of), pp. 252-255; Mendes V., De La Haye A., Fashion since 1900, 2010, ch. 3, pp. 76-103, ch. 4, pp. 104-125.
WEEK 4 – March 6
Class visit:
Ferragamo museum (meeting in piazza Santa Trinita, 5r, in front of the entrance to the Museum at regular class time: 12:10. Punctuality is recommended)
Lecture & Class Discussion:
Fascism and autarky. Ferragamo “the shoemaker to the stars” (back in class).
Readings:
Mendes V., De La Haye A., Fashion since 1900, 2010, ch. 4, pp. 104-125; Braun E., “Futurist Fashion: Three Manifestoes” in Art Journal, pp. 34-41; Paulicelli Eugenia, Fashion under fascism: Beyond the black shirt, 2004, pp. 17-128.
WEEK 5 – March 13
Lecture & Class Discussion:
Christian Dior and the new line. Cinecittà, "Hollywood on the Tiber”, and the first Italian designers: Sorelle Fontana, Emilio Schubert, Fernanda Gattinoni.
Readings:
Gnoli S., The origins of Italian Fashion: 1900-1945, 2014, ch. 4, pp. 73-88, ch. 5, pp. 89-102; Mendes V., De La Haye A., Fashion since 1900, 2010, ch. 5, pp. 126-157.
WEEK 6 – March 20
Lecture & Class Discussion:
Giorgini and the birth of Italian Fashion: the first fashion shows at Palazzo Torrigiani and the Sala Bianca of the Pitti Palace. Roberto Capucci and Emilio Pucci.
Readings:
Valeria Pinchera & Diego Rinallo, The emergence of Italy as a fashion country… 2017, full article. OOOOOOOOOOO
WEEK 7 – March 27
Lecture & Class Discussion:
The Italian ladies of the “Snob Appeal”: Irene Galitzine, Simonetta, Carosa, Jole Veneziani, Germana Marucelli. Roberta di Camerino. Fendi and Gucci.
Readings:
Frisa M. L., Simonetta, The First Lady of Italian Fashion, 2008 ( pages on her biography)
WEEK 8 – April 3
Class visit:
Gucci Museum (meeting at school in class)
Readings:
Hand-outs provided by the professor.
WEEK 9 – April 17
Lecture & Class Discussion:
Short overview on the Sixties and the Beat Generation. Mary Quant in London. Courrèges, Pierre Cardin and Yves Saint Laurent in Paris. Valentino and Gianfranco Ferrè in Italy.
Readings:
Mendes V., De La Haye A., Fashion since 1900, 2010, ch. 6, pp. 158-191; Hand-outs provided by the professor.
WEEK 10 – April 24
Lecture & Class Discussion:
The Seventies and the hippies. The Eighties, Milan and the birth of the “Made in Italy” with Beppe Modenese. The Italian look and the Italian iconic fashion brands: Dolce & Gabbana, Gianni Versace, Giorgio Armani, Prada.
Readings:
Mendes V., De La Haye A., Fashion since 1900, 2010, ch. 7, pp. 192-219, ch. 8, pp. 220-251
WEEK 11 – May 8
Lecture & Class Discussion:
Modern industry and communication: Fiorucci, Benetton, Diesel. 1990s New directions in Italian fashion. Globalization and its Impact on the Italian Fashion Industry. How big financial groups have retained control of a large number of famed independent Italian brands.
Readings:
Mendes V., De La Haye A., Fashion since 1900, 2010, ch. 9, pp. 252-274, ch. 10, pp. 274-295
WEEK 12 – May 22
FINAL EXAM / FINAL RESEARCH PROJECT DUE
Mandatory readings/resources to be studied, accordingly to the class schedule, to come to class prepared for any class discussion and to do well the Final Exam:
Reference texts Braun Emily, “Futurist Fashion: Three Manifestoes” in Art Journal, Vol. 54, No. 1, Clothing as Subject (Spring, 1995), pp. 34-41; Gnoli Sofia, The origins of Italian Fashion: 1900-1945, London, Victoria and Albert Publishing 2, 2014; James Laver, Costume and Fashion. A Concise History, London, Thames and Hudson, World of Art, 2002; Paulicelli Eugenia, Fashion under fascism: Beyond the black shirt, Oxford, Berg Publisher Books, 2004; Frisa Maria Luisa, Simonetta, The First Lady of Italian Fashion, Firenze, Marsilio Editions, 2008; Mendes Valerie, De La Haye Amy, Fashion since 1900, London, Thames and Hudson, World of Art, 2010; Valeria Pinchera & Diego Rinallo, The emergence of Italy as a fashion country: Nation branding and collective meaning creation at Florence’s fashion shows (1951–1965), Business History, DOI, 2017
Further readings/resources to be done to expand the student’s knowledge for the Final Exam: Steele Valerie, Fashion, Italian Style, New Haven/London, Yale University Press, 2003; Schiapparelli Elsa, Shocking Life. The Autobiography of Elsa Schiaparelli, London, V&A Publications, 2007; Sennet Richard, The Craftsman, London, Allen Lane/Penguin Books, 2008; Frisa Maria Luisa, Italian fashion now, Milan, Marsilio, 2011; Pagliai Letizia, Florence at the Time of Giovanni Battista Giorgini, Florence, Edifir Editions, 2011. Stanfill Sonnet, catalogue of the exhibition (curated by) The glamour of Italian Fashion. London, Victoria and Albert Museum, 2014; Segre Reinach Simona, “The Italian fashion revolution in Milan” in Stanfill Sonnet, The glamour…. London, Victoria and Albert Museum, 2014; Evolution of the Prato textile district, (Prato, Italy, Unione Industriale Pratese, 8 “Il marchio Cardato cambia pelle e diventa Cardato Recycled,” (2014), Unione Industriale Pratese; Segre Reinach Simona, “The meaning of 'Made in Italy' in fashion”, in Craft + Design Enquiry, Issue, 2015, 7, pp. 135-150; Fortis Marco, Production Districts and Their Relevance in the Italian Economy: A Few Analytical Profiles, Cham, Springer International Publishing Switzerland, 2016, ch. 2.
Some suggested links http://www.moda.san.beniculturali.it/wordpress/ http://www.museoferragamo.it/en/index.php http://www.vam.ac.uk/page/f/fashion/ http://www.museumofcostume.co.uk http://harpersbazaar.victorian-ebooks.com http://www.metmuseum.org/about-the-museum/museum-departments/curatorial- departments/thecostume-institute http://www.metmuseum.org/about-the-museum/museum-departments/curatorial- departments/thecostume-institute
Videography As a part of this course, selected excerpts of the following documentaries and films will be shown in class. Students are encouraged to view all of these works in their entirety outside of class time: “Funny face”, directed by Stanley Donen (1957); “Who are you Polly Magoo”, directed by William Klein (1966); “Blow-up”, directed by Michelangelo Antognoni (1967); “Frames from the Edges”, directed by Helmut Newton (1989); “Prêt-à-porter”, directed by Robert Altman (1994); “Zoolander”, directed by Ben Stiller (2001); “The devil wears Prada”, directed by David Frankel (2006); “Valentino: the last Emperor”, directed by Matt Tyrnauer (2008); “Coco avant Chanel” directed by Anne Fontaine (2009); “Coco Chanel & Igor Stavinsky”, directed by Jan Kounen (2009); “I love shopping”, directed by P. J. Hogan (2009); “The September issue”, directed by R. J. Cutler (2009); “The day before: Fendi” directed by Prigent, Loïc (2010); “The day before: Versace” directed by Prigent, Loïc (2010) “Diane Vreeland. The eye has to travel”, directed by Lisa Immordino (2011);” “Yves Saint Laurent”, directed by Jalil Lespert (2014); “Saint Laurent”, directed by Bertrand Bonello (2014); “Dior and I”, directed by Frederic Tcheng (2014); “The Dressmaker”, directed by Jocelyn Moorhouse (2015); “The Neon Demon”, directed by Elle Fanning (2016); “Personal Shopper”, directed by Olivier Assayas (2016); “Phantom Thread”, directed by Paul Thomas Anderson (2017);
Teacher’s Elisabetta Digiugno Name Art, Costume, Jewelry and Fashion Historian.
She graduated and specialized in Florence, where he later obtained a PhD in Art History.
She participated in numerous exhibitions, including as a curator of the written catalogue, preparing essays and catalogue cards.
She published numerous essays on glyptic and jewelry, on the Medici family and their collections, and Eighteenth-century collections, on the history of costume.
She has taken part to numerous Art History conferences as a lecturer. Teacher’s Curriculum She teaches History of Costume, Fashion, Jewelry, and Architecture, as well as History of Medieval and Renaissance Art, in various universities in Florence including Lorenzo de 'Medici Institute, Polimoda, NYC Fashion Institute of Technology. She is a contract professor at the University of Florence where he teaches History of Costume to the post graduate students.
She regularly gives Guest Lectures in the main foreign/American universities in Florence, like Kent State University, Richmond University and others.
She has been working for decades as a Tour Guide, specialized in Renaissance Art, Craftsmanship Textile and Fashion production in Florence and in the Province.
Language ENG
Grading and Student Evaluation The Italian Grading System ranges from 18/30 to 30/30. The highest mark is 30/30 with distinction (Lode). Exams grades under 18/30 Assessment are considered as “failed”. Written/oral examination Total final score - percentages Continuous Final project 20% Attendance and Class participation Assessment of suitability 40% Final Exam (and presentation)
40% Final Research Project
Student Assessment Students will be assessed through:
Attendance and class participation Attendance counts, with class participation, 20% of the final grade. Students are expected to pay attention and participate in the class discussion by weekly reading assignments and class notes, and by regularly doing homework. A disrespectful behaviour in class (i.e., talking, snoring, text messaging, etc.) will considerably reduce the student’s final grade. PLEASE NOTE: THE USE OF ANY TIPE OF ELECTRONIC DEVICE IS NOT ALLOWED IN CLASS. Smart phones are to be turned on silent and kept in the bags. NOTES ARE TO BE TAKEN WITH PEN AND PAPER.
Final Exam At the end of the semester students will be evaluated on the base of a written FINAL EXAM, counting 40% of the final score. It will consist of a combination of multiple choices, image identifications, short answers, short essays, and will be based on lectures, readings and visits. Also movies, or excerpts of movies seen in class or assigned to be watched at home, will be part of the Exam. The FINAL EXAM will take place in class on WEEK 12.
Final research project As a part of the FINAL EXAM, each student is requested to carry on a FINAL RESEARCH PROJECT, counting 40% of the total final score. The FINAL RESEARCH PROJECT has to be handed in on the day of the Final Exam, on WEEK 12. PLEASE NOTE: for complete details refer to separate specific assignment document provided by the professor on the first days of the course. This will also include a list of topics.