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History of Arts, Fashion and Costume

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History of Arts, Fashion and Costume 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.
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