eugenia paulicelli

Abstract
Costume and fashion have been an integral component of Fellini’s artistic arsenal and have contributed greatly towards the layering and historical montage
of his films. In this article, I will explore the historical implications of Fellini’s use of fashion and costume and the profound impact that they have had on
the aesthetics and texture of his films. Through a close examination of fashion and costume, the chapter highlights Fellini’s contribution towards a new
historiography and archaeology of both Rome/Italy and cinematic form. In the article, Fellini’s cinema, especially La Dolce Vita ( The Sweet Life) in 1960 and Roma ( Fellini’s Roma) in 1971, is approached from both the standpoint of
fashion and from that of the cyclical temporality contained in Benjamin’s theory of fashion, so as to understand not only Fellini but also the contemporaneity of
his approach.

Topics and issues in naTional cinem a " This critically elegant and highly readable book tackles anew how fashion and cinema combine social history with aesthetics. Impressively well researched, Italian Style is a compelling exploration of how the fashion industry and its costume designers shaped the cultural context of national identity. With vigor and clarity, Paulicelli illuminates such films as Fellini's Roma, Antonioni's Le amiche, and Sorrentino's La grande bellezza. A must-read for anyone with an interest in cinema and passion for this glorious art. " gaetana Marrone, Professor of Italian, Princeton university, uSa " Paulicelli's book is a tour de force of film and fashion scholarship, a beautifully written and authoritative exploration of Italian national identity that will appeal to a wide readership. In mapping out Italy's rich cultural heritage from early twentieth century modernism, through the economic miracle years to the present day, this book sets out to do nothing less than define Italian style as embodied by the dialogue between fashion and film. That Italian Style achieves this is testament to its brilliance. " Stella Bruzzi, Professor of Film and Television Studies, university of Warwick, uK This is the first in-depth, book-length study on fashion and Italian cinema from the silent film to the present. Italian cinema launched Italian fashion to the world. The book is the story of this launch. The creation of an Italian style and fashion as they are perceived today, especially by foreigners, was a product of the post World War II years. Before then, Parisian fashion had dominated Europe and the world. Just as fashion was part of Parisian and French national identity, the book explores the process of shaping and inventing an Italian style and fashion that ran parallel to, and at times took the lead in, the creation of an Italian national identity. In bringing to the fore these intersections, as well as emphasizing the importance of craft in cinema, fashion and costume design, the book aims to offer new visions of films by directors such as Nino Oxilia,

Rosa Genoni (Tirano, 1867 - Varese, 1954) was a pioneer in several fields. She was a founding mother of transnational feminism, of peace activism and of the Made in Italy when it was still only being imagined. She was the first woman to be awarded the International Jury Prize for her dress designs at the Universal Exposition of Milan held in 1906. Genoni achieved international recognition as a result of her opposition to WWI. She was the Italian delegate at the 1915 First International Women's Conference in the The Hague. The first historical and analytical essay, in a bilingual edition, reconstructs the life and career of Rosa Genoni, connecting her multiple activities in the fields of fashion and design and their impact on national identity. The case of Rosa Genoni and the multiplicity of her life allow us to understand the long history of the Made in Italy and the relationship between tradition and innovation. To study fashion can revolutionize the writing of history.

Contents:

PART I: THE CULTURES OF FASHION: Moda and moderno; The Book of the
Courtier and the discourse on fashion: Sprezzatura, gender, ‘national
identity’. PART II: THE FABRIC OF CITIES: NATIONS, EMPIRE IN COSTUME BOOKS
BY CESARE VECELLIO AND GIACOMO FRANCO: Mapping the world: dress in
Cesare Vecellio’s costume books (1590, 1598); Power, history and
dress in Giacomo Franco’s costume plates (1610–1614). PART III:
BEYOND SPREZZATURA: FASHION AS EXCESS: Sister Arcangela Tarabotti:
hair, wigs and other vices; La moda and its technologies: Agostino
Lampugnani’s La Carozza da nolo, ovvero del vestire e usanze alla
moda (The rented carriage or of clothing and fashionable habits,
1648–1650). Bibliography; Index.
Includes 8 color and 48 b&w illustrations
June 2014 278 pages
Hardback 978-1-4724-1170-9 $109.95 $87.96*
ebook PDF 978-1-4724-3603-0
ebook ePUB 978-1-4724-3604-7
www.ashgate.com/isbn/9781472411709
“Eugenia Paulicelli presents a convincing argument for the crucial
signifi cance of clothing and fashion in the mentalities of early modern
Europe; her book is richly informed by the research of economic,
social, and feminist historians, historians of dress, and by her own
alertness to the links between past and present in the ways that dress
is presented today. Her narrative incorporates close readings of a wide
and interesting array of early modern writings, and offers a wealth of
intriguing examples—the fashionable rosary, the mustachioed gallant,
the revolver-toting Frenchwoman—as well as possibilities for further
work in the fi eld.”
—Ann Rosalind Jones, Smith College
“In the sixteenth and seventeenth centuries fashion came to
characterize a ‘modern’ new world, one in which changes in shapes,
materials, colors and manners had to be recognized and understood.
Eugenia Paulicelli’s book is a spectacular investigation of the discourse
of fashion in early modern Italy, from Baldassarre Castiglione toz Cesare
Vecellio, to Arcangela Tarabotti. In this book you will fi nd yourself
immersed in an early modern society obsessed with civility, love, vice,
dissimulation and, of course, fashion.”
—Giorgio Riello, University of Warwick
The fi rst comprehensive study on the role of Italian fashion and Italian
literature, this book emphasizes the centrality of Italian literature and
culture for understanding modern theories of fashion and gauging
its impact in the shaping of codes of civility and taste in Europe
and the West. Using literature to uncover what has been called
the “animatedness of clothing,” the author explores the political
meanings that clothing produces in public space.
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When we think of Italian fashion, Gucci, Max Mara and the meteoric rise of Prada immediately spring to mind. But Italian fashion has a dark history that has not previously been explored. The Fascism of 1930s Italy dominated more than just politics - it spilled over into modes of dress. Fashion under Fascism is the first book to consider this link in detail.Fashion often functions as a tacit means of making a social statement, but under Mussolini it vividly reflected political tyranny. Ones allegiance to the regime was choreographed by the dictatorship with the intent of creating a new national consciousness. Women in particular were manipulated through fashion ideals to create an authentic Italian femininity. Paulicelli explores the subtle yet sinister changes to the seemingly innocuous practices of everyday dress and shows why they were such a concern for the state. Importantly, she also demonstrates how these developments impacted on the global dominance of Italian fashion today.T...

In the last few years, a growing body of scholarship has identified the importance of race to explain and interrogate the power of fashion as a multibillion dollar manufacturing industry and as a strong symbolic force. Race, and more in general the politics of fashion, have never been so openly discussed in the fashion industry and in the media as they are today, as is also the case for labels such as “Made in Italy.” Disrupting the traditional narratives of fashion, a growing awareness among consumers has questioned the ethics of the imagery brands disseminate on the internet and of products that degrade race, gender and religious belief. Following these lines and drawing on fashion and translation studies, I would like to offer a critical examination of the relationship between the Harlem based designer Dapper Dan and the house of Gucci. In particular, the essay highlights the notion of difference inherent in the process of translation as it is practiced by minoritarian groups, which as a result become socially visible. One of the questions posed in the paper is how can cultural translation actually be practiced in order to change existing power relations regulating class, gender and race, rather than consolidate them.

This chapter traces the life and career of Italian shoe designer Salvatore Ferragamo. Ferragamo’s life and work is a compelling story that helps us understand several cultural contexts and threads that link different worlds and industries: shoes and cinema; Italy and America; cultural heritage and national identity. Ferragamo’s career took him from an early life of hardship in Italy to a career as shoemaker to the stars in Hollywood, where he worked on a number of iconic films, and finally, back to Italy, where he transformed the Italian and global fashion industries, while continuing to influence costume design in Hollywood.

... f > *-j EUGENIA PAULICELLI assert the superiority of portraits written by poets over those done by painters. There were also other intellectuals who established certain levels of relationship between visual and verbal languages, such as Lodovico Dolce, Benedetto Varchi, Anton ...

... In the text's official presentation made by the ENM—written most probably by the president of the institution Giovanni Vianino and the ... the most recurrent literary authors he cites are Agnolo Firenzuola and his dialogical treatiseOn the Beauty of Women, Giacomo Leopardi from ...

... of his time, in his descriptions of the performance of the dressed body never neglects to draw attention to local features: 'Le maniche a comeo ... and it is on his shoulders that Vecellio drapes a piece of cloth so that the naked 'national character' himself can choose the tailor to cut ...

The article examines the concept of Made in Italy in the context of the long history of Italian Fashion and Italian nation building. It wishes to pose some methodological questions: it argues for a more sophisticated understanding of Made in Italy, suggesting that it must be considered in relation to the complexity of the formation of an Italian Style...

... In the text's official presentation made by the ENM—written most probably by the president of the institution Giovanni Vianino and the ... the most recurrent literary authors he cites are Agnolo Firenzuola and his dialogical treatiseOn the Beauty of Women, Giacomo Leopardi from ...

... f > *-j EUGENIA PAULICELLI assert the superiority of portraits written by poets over those done by painters. There were also other intellectuals who established certain levels of relationship between visual and verbal languages, such as Lodovico Dolce, Benedetto Varchi, Anton ...

In the last few years, a growing body of scholarship has identified the importance of race to explain and interrogate the power of fashion as a multibillion dollar manufacturing industry and as a strong symbolic force. Race, and more in general the politics of fashion, have never been so openly discussed in the fashion industry and in the media as they are today, as is also the case for labels such as “Made in Italy.” Disrupting the traditional narratives of fashion, a growing awareness among consumers has questioned the ethics of the imagery brands disseminate on the internet and of products that degrade race, gender and religious belief. Following these lines and drawing on fashion and translation studies, I would like to offer a critical examination of the relationship between the Harlem based designer Dapper Dan and the house of Gucci. In particular, the essay highlights the notion of difference inherent in the process of translation as it is practiced by minoritarian groups, which as a result become socially visible. One of the questions posed in the paper is how can cultural translation actually be practiced in order to change existing power relations regulating class, gender and race, rather than consolidate them.