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MODA E ARTE FASHION AND ART

机译:MODA E时尚和艺术

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Like photography, fashion has always had trouble being considered as a true form of art This issue is still being rndebated although with fa; less verve given the current art scene. In a 1985 issue of Domus, Pierre Restany wrote, "Art is like fashion: it bows to the same'model'culture, where the design is seen as an object in its own right. The art model and the fashion model are the same: the same reasons and conditions of development lie behind the object-design." He quoted Basquiat,rnSaint Laurent, Keith Haring, Cartier, David Salle and Schnabel to back up his theory, but we could simplify and dispel all doubts by merely naming Elsa Schiaparelli. Her life and her work are testimony to the fact that fashion can be true and absolute art.rnPoiret, who preceded her by a few decades, still saw fashion as decoration. But for Schiaparelli the garment was like a piece of art, a painting or a sculpture. Elsa Schiaparelli's haute couture fed off and dialogued with art. Arn1936 suit with applique drawer-like pockets was inspired by Dali's famous Venus de Milo aux tiroirs. The 1930 Mad Cap was a simple but brilliant knitted top hat that a lady could place on her head and work into a variety of forms. Inrn1937 she designed a coat in the form of a column bearing a vase of roses created by the contrasting profiles of two faces drawn byrnCocteau. Everything in Schiaparelli's collections was remarkable: the knitwear with trompe-t'oeil designs, the long evening gloves with applied metal nails, the porcelain aspirin necklace designed by Triolet, the surrealist hats with fake profiles, the sculpture-buttons, the evening dresses cut like a broken egg at the top, the cellophane scarves, the "glass cape" made of "Rhodophane", the crepe de Chine jackets lined with latex, and the chic coats inspired by the Commedia dell'Arte and sewn with plain felt patchwork. There was also the embroidery, true "works of modern art" {The New Yorter1932), mostly produced by the great Lesage in the most surprising shapes and highly unusual materials.
机译:像摄影一样,时尚一直很难被认为是一种真正的艺术形式。考虑到当前的艺术景象,人们对此不太满意。皮埃尔·雷斯蒂尼(Pierre Restany)在1985年出版的《多莫斯(Domus)》中写道:“艺术就像时尚:它向相同的'模特'文化鞠躬致敬,在这种文化中,设计本身就是一个对象。艺术品模型和时装模型是相同的:对象设计背后的发展原因和条件相同。”他引用了巴斯奎特,圣洛朗,基思·哈林,卡地亚,戴维·萨勒和施纳贝尔的观点作为他的理论的支持,但是我们可以仅通过命名艾尔莎·夏帕拉瑞利来简化和消除所有疑问。她的一生和她的作品证明了时尚可以成为真正的绝对艺术。波依特在她之前的几十年中,仍然将时尚视为装饰。但是对于Schiaparelli来说,服装就像一件艺术品,一幅画或一件雕塑。 Elsa Schiaparelli的高级时装蓬勃发展,并与艺术对话。 Arn1936西装搭配贴花抽屉状口袋,灵感来自大理(Dali)著名的维纳斯·米洛(Venus de Milo)辅助摆线。 1930年的Mad Cap是一顶简单但耀眼的针织高顶礼帽,女士可以将其戴在头上,并以多种形式工作。 Inrn1937年,她设计了一种圆柱状的外套,上面挂着一花瓶玫瑰花,花瓶是由rnCocteau绘制的两个面孔的对比轮廓创建的。 Schiaparelli的收藏系列中的一切都非同凡响:采用斜纹棉布设计的针织衫,带金属钉子的长款夜间手套,由Triolet设计的瓷阿司匹林项链,带有假轮廓的超现实主义帽子,雕塑纽扣,晚礼服剪裁就像顶部的破鸡蛋一样,玻璃纸围巾,用“ Rhodophane”制成的“玻璃斗篷”,衬着乳胶的绉纱Chine夹克以及受Commedia dell'Arte启发并缝有平整的拼布的别致外套。还有刺绣,真正的“现代艺术作品”(The New Yorter1932),主要由伟大的Lesage公司以最令人惊奇的形状和极为不寻常的材料制成。

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  • 来源
    《Domus》 |2009年第4期|138-139|共2页
  • 作者

    ETTORE BELLOTTI;

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  • 入库时间 2022-08-18 01:04:10

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