Cette thèse porte sur l'analyse de l'exode julien-dalmate dans une perspective géopolitico-sexuelle. La première partie interroge le tracé de la frontière entre l'Italie et la Yougoslavie après la fin de la Deuxième Guerre mondiale et les deux constructions identitaires nationale et multinationale qui en découlent pendant la période de la guerre froide. Ce travail met ensuite en évidence les diasporas installées dans le contexte européen contemporain, en tant que réalités créatrices de nouveaux espaces politico-intimes d’apprentissage d'autres valeurs de partage non-occidentales qui inspirent des formes communautaires non alignées sur les normes européennes. Dans la deuxième partie nous analysons trois pratiques quotidiennes nées dans la diaspora, basées sur la récupération de matériaux usagés et développées dans une perspective féministe : le collage, la couture et l’envoi postal. Il s’agit de trois pratiques situées à la frontière entre l’activité artisanale, car elles sont en mesure de créer des sources de revenus, et la création artistico-culturelle, car elles sont également capables de communiquer dans une perspective postexotique avec le monde de l'art contemporain en tant qu'archive partielle de l’histoire culturelle occidentale. L’analyse conclut que dans l’espace de la diaspora se retrouvent des outils nécessaires tant aux processus postcoloniaux des sociétés ou des îles d'origine des groupes diasporiques qu’aux processus égalitaires au sein des sociétés occidentales multiculturelles à majorité blanche en tant que lieux d’installation de ces groupes. / This thesis analyses the Julian-Dalmatian exodus from a sexual and geopolitical perspective. The first part examines the border between Italy and Yugoslavia after the end of World War II, and the processes of both national and multinational identity constructions during the period of the Cold War. This work then highlights the diasporas in the contemporary European context, as realities create new political-intimate spaces of learning non-Western values of sharing that inspire different forms of communities not aligned with European norms. In the second part, we analyse three practices of daily life that emerged inside the diaspora communities which are based on the recovery of used materials and had been developed in a feminist perspective: collage, sewing and sending. These three practices are located on the border between craft activity and artistic and cultural creations, as they enable the development of both income sources as well as the communication from a postexotic perspective with the contemporary art world being a partial archive of Western cultural history. This analysis concludes that we can find the necessary tools in the diaspora spaces that are needed for both the postcolonial processes in the diaspora groups’ societies or islands of origin and for the processes for equality inside the multicultural, but predominantly white, Western societies in which these groups are located.

No description available.

Québec Université Laval, Bibliothèque 2012

"Reflection of Haute Couture in The Czech lands" deals with fashion in the second half of the 19th century and early 20th century in the Czech lands. Before confirmation of national independence in the form of Czechoslovak republic the Czech fashion was evolving between two opposing tendencies. First, there was acceptance of influence from abroad, especially from France, England and Germany particularly through fashion magazines, and second, there was an effort to preserve national originality. The target of this thesis is not the analysis of fashion trends in the Czech environment but analysis of fashion as a phenomenon linked to wider societal aspects, political affiliations, construction of national identity and specific, nearly missing position of Czech aristocracy. This thesis monitors the status of a tailor in the Czech lands, his struggle with the beginning of apparel production and compares his emplacement with the French tailors, also known as coutiers who have created an autonomous and independent status of the clientele already in the second half of the 19th century.

The main purpose of this study is to examine how the media representation of the war in Ukraine is portrayed in Balenciaga’s runway for "Summer 23" collection in Paris Fashion Week 2022. To reach the objective of this study I used an approach based on a qualitative method with support from theories concerning socio-semiotics, Pierre Bourdieu’s theory of capital, provocation and taste. The material, based on video sequences and screenshots from the runway-show, are analyzed in correlation to the contemporary social and cultural context of a westernized perspective. The outcome of this study indicates that Balenciaga, as a luxurious brand with high levels of all forms of capital, alludes to the media’s representation of war as a means of provocation, which makes the "good taste" that they possess change. / The primary aim with my Media Production is to create a visual material whose purpose is to emotionally touch the intended target group to click on the Action for Happiness website and to learn more about how one can live to achieve a happier life. My animated introductory video is meant to be an entry to the "10 Key Words for a Happier Life" page on the website.

O presente trabalho aborda a trajetória do costureiro Cristóbal Balenciaga. Entendendo a relevância deste costureiro para a moda e os aspectos inovadores das suas criações, o objetivo desta pesquisa é investigar sua contribuição para a evolução da silhueta feminina na moda. Para isso, foi realizado um estudo sobre como as relações entre moda e modernidade criam aspectos imperativos que vão alçar a figura do costureiro ao topo da hierarquia da moda. Em seguida, também se discorre sobre as condições sociais e históricas que vão contribuir com a construção de uma feminilidade intimamente relacionada com a moda. Compreendendo como a trajetória e a obra de Cristóbal Balenciaga são articuladas com a teoria, estuda-se sua contribuição para a silhueta feminina por meio da análise de artigos de revista e jornal impressos do período entre os anos 1955 e 1967. / The present work describes the trajectory of the couturier Cristóbal Balenciaga. Understanding this couturiers relevance to fashion and the innovative aspects of his creations, this research aims to explore his contribution for the development of the feminine silhouette in fashion. This study recognizes the relationship between fashion and modernity as an imperative trigger to the rising of the couturiers figure to the top of fashions hierarchy. In addition, this research discusses the social and cultural conditions that have contributed to the construction of a specific kind of femininity that relates to fashion intimately. Comprehending how Cristóbal Balenciagas work and legacy articulates with the theory, this study investigates his contribution the feminine silhouette through analysis of printed magazine and newspaper in a period between 1955 and 1967.

Submitted by Marlene Aparecida de Souza Cardozo (mcardozo@pucsp.br) on 2016-12-19T15:04:57Z No. of bitstreams: 1 Maria Auxiliadora Leite Costa.pdf: 4391352 bytes, checksum: 8373d57a410924c768fbd543090d86b0 (MD5) / Made available in DSpace on 2016-12-19T15:04:57Z (GMT). No. of bitstreams: 1 Maria Auxiliadora Leite Costa.pdf: 4391352 bytes, checksum: 8373d57a410924c768fbd543090d86b0 (MD5) Previous issue date: 2016-12-02 / The study object of this dissertation is the couture phenomenon connected with photography’s mechanical reproduction. In this sense, it investigates the origins of couture origin while circumscribing it to Walter Benjamin’s definition of the aura concept. Also, it approaches the aura’s loss under the growing diffusion of fashion photography. Given these facts, the study develops the argument that couture built a structure based on the dialectics of distance and proximity, which are the foundations of the, and whose incidence occurred in two different ways: 1) in the material existence of the garment produced in this dialectics, in its uniqueness, rarity and, subsequently, authenticity, all linked to the know-how tradition and 2) in the perception of distance of the produced garment in the couture context. Conversely, the argument presents that the diffusion of fashion photography shattered the perception of distancing and, paradoxically, the need for the garment’s presence to form fashion and consumption trends, therefore removing the auratic character from couture and weakening its power. Aiming at circumscribing Benjamin’s concept of aura in the field of couture, this research conducted an immersion in Benjamin’s expansion of Marx’s method of historical materialism as well as its profound consequences in the concept of history itself, without which it would be impossible to acknowledge any circumscription. Besides, some fashion editorials have been selected for containing works of well-known professionals such as Tim Walker, Nick Knigth, Andrew Fee, and Koo Bohn Chang, in the sense of evaluating the possibility for fashion photography to stand as a legitimate form of expression and experimentation as well as photographic construction, thus overcoming what Benjamin called creativity fetishism, a mere artifice of photomontage. Last, this research aims at shedding light over this important media phenomenon: fashion / O objeto de estudo desta tese é o fenômeno da alta-costura em conexão com a reprodutibilidade técnica da fotografia. Neste sentido está voltado a uma investigação da origem da alta costura e de circunscrevê-la ao conceito de aura, conforme definição de Walter Benjamin, abordando também a sua perda sob a ação da crescente difusão da denominada fotografia de moda. Assim sendo foi desenvolvido o argumento de que a alta-costura formou uma estrutura calcada na dialética do distanciamento e proximidade, base da forma aura, cuja incidência se deu em duplo sentido: 1) na existência material do vestuário nela produzido, em seus aspectos de unicidade, raridade e, posteriormente, autenticidade, todos ligados à tradição do saber fazer e 2) na percepção do distanciamento deste vestuário produzido no âmbito da alta costura. No sentido inverso, argumenta-se que a difusão da fotografia de moda abalou tanto a percepção de distanciamento quanto, paradoxalmente, a necessidade da presença do próprio vestuário para formar as tendências de moda e consumo, retirando, portanto, o caráter aurático do vestuário da alta-costura e enfraquecendo o seu poder. Com o intuito de circunscrever o conceito benjaminiano de aura no campo da alta-costura, realizou-se uma imersão no alargamento operado por Benjamin no método do materialismo histórico de Marx e suas profundas consequências no próprio conceito de história, sem a qual seria impossível dar qualquer credibilidade a tal circunscrição. Além disso, alguns editoriais de moda foram selecionados a partir de trabalhos fotográficos de profissionais conhecidos pela forma inusitada de lidar com a fotografia de moda, assim fotógrafos como Tim Walker, Nick Knigth, Andrew Fee e Koo Bohn Chang foram escolhidos como parte do corpus a ser estudado, no sentido de avaliar a possibilidade de a fotografia de moda se constituir em legítima expressão de experimentação e construção fotográfica e, assim, superar aquilo que Benjamin chamou de fetiche da criatividade, um mero artificialismo de montagem fotográfica. Em última instância a pesquisa procura lançar luzes sobre este importante fenômeno midiático: a moda

Dans cette thèse, j'étudie l'émergence, la diffusion, et la transformation du prêt-à-porter à New York et à Paris depuis les années 40 jusqu'aux années 70, au travers de 3 articles constitutifs. L'étude comparative de l'article 1 révèle l'origine, le sens et la complexité du prêt-à-porter en tant qu'innovation. Puis, dans l'article 2, je m'intéresse au processus de diffusion complexe et d'institutionnalisation du prêt-à-porter dans le système de la haute couture, en me concentrant sur le contexte institutionnel, les acteurs clés et les forces influentes. Enfin, dans l'article 3, je décompose le processus de diffusion complexe en quatre étapes et j'examine les différents acteurs et réseaux dans chaque étape, en établissant les interactions entre réseaux et institutions. Dans leur ensemble, ces trois articles enrichissent notre compréhension de la diffusion complexe, y compris ses sens, ses processus sous jacents et mécanismes, depuis des points de vue différents. L'article 1 se concentre sur la complexité du prêt-à-porter lui-même. L'article 2 souligne la complexité depuis le cadre institutionnel et l'adaptation associée au processus de diffusion. L'article 3 traite de la complexité depuis l'évolution des réseaux et leur interaction avec les institutions. / In this dissertation, I study the emergence, diffusion, and transformation of ready-to-wear fashion in New York and Paris from the 1940s to the 1970s through three component papers. The comparative study in paper 1 reveals the origin, meaning, and complexity of ready-to-wear as a business innovation. Then in paper 2, I look into the complex diffusion and institutionalization process of ready-to-wear fashion in the haute couture system, focusing on the institutional context, key actors, and driving forces. Finally, in paper 3, I decompose the complex diffusion process into four stages and examine multiple actors and networks in each stage, addressing the interplay between networks and institutions. Taken together, these three papers enrich our understanding of complex diffusion, including its meanings and the underlying processes and mechanisms, from different angles. Paper 1 focuses on the complexity of ready-to-wear fashion itself. Paper 2 underlines the complexity from the institutional setting and the adaptation associated in the diffusion process. Paper 3 addresses the complexity from the evolution of networks and their interplay with institutions.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ce travail résulte d'une recherche laquelle a été dirigée à la construction poétique de Scénarios composites d'éléments de mémoire autobiographie, assortis par l'acte de la couture que, conjointement avec des photographies et des objets scéniques, composent un travail d'Arts Visuels qui s'approche conceptuellement du Cinéma et du Théâtre. L'objectif de deconstruire des travaux qui disaient à histoires des autobiographie allumées à l'acte de la couture a pris la recherche pour cette approche avec les deux secteurs mentionnés ci-dessus, étant la relation avec le cinéma prouvé par le concept de montage comme générateur de conflit et significação, et avec le Théâtre par l'idée du montage de la pièce, y compris tous les éléments et procédures qui impliquent cette construction. Ces concepts ont été rapportés à des procédures des Arts Visuels qui traitent le corps de l'artiste comme a supporté et mote de travaux artistiques. La photographie comme enregistrement du processus et la photographie mise en scène ont été sujets approfondis pendant le parcours de la recherche, où s'est cherché à établir les relations de découpage space-temporel proportionné par l'image photographique. Pour telle procédure, le travail est divisé à trois chapitres qui dissertent sur Photographie, Mémoire, Temps et Vestige, au premier chapitre ; l'Auto-portrait, le Corps et les Stratégies Narratives au second chapitre et, finalement, une réflexion sur la construction de mon travail artistique, reflétant sur des questions rapportées aux Montages, dans le Cinéma et dans le Théâtre, et sa relation avec les Scénarios de Mémoires que je construis comme objet d'Arts Visuels. / Este trabalho resulta de uma pesquisa que foi direcionada à construção poética de Cenários compostos de elementos de memória autobiográfica, unidos pelo ato da costura que, juntamente com fotografias e objetos cênicos, compõem um trabalho de Artes Visuais que se aproxima conceitualmente do Cinema e do Teatro. O objetivo de construir trabalhos que narrassem histórias autobiográficas ligadas ao ato da costura levou a pesquisa para esta aproximação com as duas áreas citadas acima, sendo a relação com o Cinema evidenciada pelo conceito de montagem como geradora de conflito e significação, e com o Teatro pela idéia da montagem da peça, incluindo todos os elementos e procedimentos que envolvem esta construção. Esses conceitos foram relacionados a procedimentos das Artes Visuais que tratam o corpo do artista como suporte e mote de trabalhos artísticos. A fotografia como registro do processo e a fotografia encenada foram temas aprofundados durante o percurso da pesquisa, onde se procurou estabelecer as relações de recorte espaço-temporal proporcionado pela imagem fotográfica. Para tal procedimento, o trabalho está dividido em três capítulos que dissertam sobre Fotografia, Memória, Tempo e Vestígio(primeiro capítulo); o Auto-Retrato, o Corpo e as Estratégias Narrativas (segundo capítulo) e, finalmente, uma reflexão sobre a construção do trabalho artístico resultado desta pesquisa (terceiro capítulo), onde reflete-se sobre questões relacionadas às Montagens, no Cinema e no Teatro, e sua relação com os Cenários de Memórias que resultam como objeto de Artes Visuais de tal investigação.

O presente trabalho aborda a trajetória do costureiro Cristóbal Balenciaga. Entendendo a relevância deste costureiro para a moda e os aspectos inovadores das suas criações, o objetivo desta pesquisa é investigar sua contribuição para a evolução da silhueta feminina na moda. Para isso, foi realizado um estudo sobre como as relações entre moda e modernidade criam aspectos imperativos que vão alçar a figura do costureiro ao topo da hierarquia da moda. Em seguida, também se discorre sobre as condições sociais e históricas que vão contribuir com a construção de uma feminilidade intimamente relacionada com a moda. Compreendendo como a trajetória e a obra de Cristóbal Balenciaga são articuladas com a teoria, estuda-se sua contribuição para a silhueta feminina por meio da análise de artigos de revista e jornal impressos do período entre os anos 1955 e 1967. / The present work describes the trajectory of the couturier Cristóbal Balenciaga. Understanding this couturiers relevance to fashion and the innovative aspects of his creations, this research aims to explore his contribution for the development of the feminine silhouette in fashion. This study recognizes the relationship between fashion and modernity as an imperative trigger to the rising of the couturiers figure to the top of fashions hierarchy. In addition, this research discusses the social and cultural conditions that have contributed to the construction of a specific kind of femininity that relates to fashion intimately. Comprehending how Cristóbal Balenciagas work and legacy articulates with the theory, this study investigates his contribution the feminine silhouette through analysis of printed magazine and newspaper in a period between 1955 and 1967.