Brazilian Fashion

Since its beginnings in the middle of the 19th century, fashion has been narrated through multiple media, both visual and verbal, and for such different purposes as marketing and advertising, art, costume history, social research and cultural dissemination. In this light, fashion has represented an important piece of material culture in modern industrial urban societies and in postcolonial and non-western contexts. Today, we are witnessing a turn in this imaginary as issues related to social, environmental and cultural sustainability come to predominate in many areas of human activity.
The book addresses this challenge. By facilitating encounters between disciplines and cultures, it explores a multitude of fashion issues, practices and views that feed the contemporary fashion imaginary: local cultures, linguistic codes, TV series, movies, magazines, ads, blogs, bodily practices. The book deals with a paramount issue for fashion studies: how do the production and circulation of fashion imaginary come about in the 21st century?

Essa pesquisa busca compreender as negociações entre o costureiro Dener Pamplona de Abreu e a mídia, na criação de sua imagem enquanto costureiro-artista nos periódicos "Veja", "O Cruzeiro", "Manchete", "Intervalo", "Jornal do Brasil", "A Cigarra" e "Manequim"; entre os anos de 1960-1978, a fim de observar como Dener se apropriou de uma aparência afeminada na construção de sua figura, tornando-se um desviante dos padrões de gênero.

AIn the present work I look at the influence of architecture in Brazilian and Portuguese fashion from the collections of some Brazilian stylists and a Portuguese stylist. To do so, I give a brief history of the social dress of fashion and show the influence of Brazilian architecture in the collections of designers who have contributed to the history of fashion, seeing the influences of the architectures of Lina Bo Bardi, Oscar Niemeyer and Ruy Ohtake in some collections of Brazilian fashion designers. Finally, I present a collection of the Portuguese stylist Miguel Gigante with strong influence of the Portuguese Architecture and medieval traditions of the Historical Villages of Portugal.

The article discusses the historical relevance for initiative and costumes related to the Brazilian modernist fashion, in to the pioneer Instituto de Arte Contemporânea from the Museu de Arte de São Paulo – IAC-Masp – in the context of it’s activities between 1950 and 1953. It was analysed the Habitat magazine and O Cruzeiro magazine. On this way, it was proposed to show the contribution of this period in the Brazilian modernist fashion, not valorised, but relevant in that time and until nowadays.

In this study we examined the important work of the graphic artist Alceu Penna (1915-1980) through the analysis of articles, illustrations and texts created by him for the fashion section of the magazine O Cruzeiro between 1939-1947, as well as his probable collaboration in the development of costumes for Carmen Miranda. We note how he demonstrated concern for the "creation" of a Brazilian style in fashion by presenting the latest international fashion news, often in a critical manner, and sketching costumes for the Carnaval, creating, thus, a "Brazilian visuality" based on the ideas proposed by the New State. We consider yet how his experience in looking at Brazil from the United States and his reviews of the images of "Brazil" proposed by Hollywood are relevant in this process.

Resumo: No Brasil dos anos 1950, elegante era vestir-se à moda da alta-costura parisiense. O comércio de moda e a indústria têxtil nacional, geralmente vendiam e produziam artefatos que reproduziam tais modas. A identidade nacional na moda praticamente não se colocava. Exceções são: coleção ―Moda Brasileira‖ criada e exibida no MASP; ações da Bangu Têxtil para promoção do algodão nacional. Nessa comunicação irei explanar como e porque tais ações foram impulsionadas respectivamente por P.M. Bardi e Assis Chateaubriand. Palavras-chave: moda, identidade, cultura brasileira. Abstract: In Brazil during the 1950s, it was fashionable to dress in style of Parisian haute couture. The fashion trade and the domestic textile industry usually sold and produced artifacts that reproduced Parisian fashion. The national identity on fashion wasn't an issue. Exceptions are: collection "Brazilian Fashion" created and displayed in MASP; shares of Bangu Textiles for promotion of domestic cotton. In this communication will explain how and why such actions were driven respectively by PM Bardi and Assis Chateaubriand.

Most studies of fashion in the West emerge from theories that have taken shape and have been formulated in a European and North American context, because these theories have been given an impetus in geographic places where fashion has been endowed with political, economic and social significance – the so-called 'central' places. This means that not only fashion but also the grounds for studying it have always been (and continue to be) extensively reproduced in the regions that are regarded as peripheral to the field, such as Brazil. As Arjun Appadurai (1986) argues, although the meaning of peripheral refers to something that is geographically remote and, in particular, everything that is seen as morally and culturally different, it also has a hierarchical sense in fashion. This is because it is embedded in the principle of subordination to a model that is regarded of central importance. Over the course of time, these concepts have become key features for interpreting fashion within or emerging from Brazil so far as studies in the field tend to polarize the ways it can be understood: either they lay stress on its exoticism and independence, or they recognize that fashion involves imitation and subordination – or arguments that make it difficult to adopt any alternative position to support these studies. Setting out from these underlying assumptions, this article supports the idea of undertaking studies of fashion (i.e. historical, sociological, design-based, etc.) which employ methods that include peripheral configurations that can provide a more balanced approach to this field. Globalization requires a new way of reflecting on this question. 7. INFS_5.1_Neira_95-110.indd 95 5/27/18 5:08 AM

The construction of an exoticism associated with diverse elements of Brazilian cultural identities is a subject that has been widely investigated in several studies. Although much of what one sees and does in Brazilian fashion is characterized by images of exoticism, there has been little reflection on how it has become exotic. And yet, is this something that is just exotic to ‘others’ or also to Brazilians? Do Brazilians also understand themselves as such? In this article, I seek possible answers to these questions by outlining a brief history of the way the visual identity of Brazilian fashion has been created, by examining the role of the textile industry and cultural institutions (in particular the São Paulo Museum of Art) in the preparation of this visual understanding.

In this study we examined the important work of the graphic artist Alceu Penna through the analysis of articles, illustrations and texts created by him for the fashion section of the magazine O Cruzeiro between 1939-1947, as well as his probable collaboration in the development of costumes for Carmen Miranda. We note how he demonstrated concern for the "creation" of a Brazilian style in fashion by presenting the latest international fashion news, often in a critical manner, and sketching costumes for the Carnaval, creating, thus, a "Brazilian visuality" based on the ideas proposed by the New State. We consider yet how his experience in looking at Brazil from the United States and his reviews of the images of "Brazil" proposed by Hollywood are relevant in this process. Keywords: Alceu Penna, fashion, identity and style. RESUMO Neste estudo, observamos a importância do trabalho do artista gráfico Alceu Penna , através da análise de reportagens, ilustraçõe...

Brezilya’nın kolonileştirilmesi sürecinden bu yana, neredeyse dünyanın her yerinden pek çok farklı topluluk ülkenin çeşitli yerlerine yerleşmiştir. Bu topluluklar kendi kültürlerine ait unsurları da şüphesiz beraberinde getirmiş ve kültürlerin kaynaşması ile pek çok farklı kültür
unsuru bölgenin çeşitli yerlerine dağılıp melezleşmiştir. Bu nedenle, giyim bakımından Brezilya birçok farklı geleneksel giyim biçiminin görüldüğü ve bu biçimlerinin birbiri ile kaynaştığı bir yer haline gelmiş; buna benzer olarak birçok farklı tekstil zanaatı uygulaması da ülkede
yaşama imkanı bulmuştur. Brezilya modasında, geleneksel zanaat uygulamaları modernleştirilmiş bir biçimde Brezilyalı moda tasarımcıları tarafından kullanılmakta ve Brezilya modasına uluslararası moda sahnesinde kimlik kazandıran önemli bir unsur olarak karşımıza
çıkmaktadır. Moda; geleneksel el işçiliğini sembolik anlamlarla donatılmış bir alana taşımanın yollarından biridir ve geleneksel el işçiliğinden temellenen yeni estetik biçimler ve değerler etrafında üretilmiş katma değeri yüksek ürünler üretmek bölgelerin ve ülkenin
ekonomisine katkı sağlamaktadır. Bu araştırmada, hem Brezilya hem uluslararası moda sahnesinde isimlerinden söz ettiren ve Brezilya’da yaygın bir geleneksel el işçiliği olan Rönesans dantelini güncel tasarımlarında kullanan iki moda tasarımcısı Martha Medeiros ve Marcia
Ganem tanıtılacak ve bu tasarımcıların çalışmaları gelenekseli güncele dönüştürme fikri ışığında ele alınacaktır.

From the colonization period of Brazil, many various communities
from almost all over the world have settled in various places around
the region. Undoubtedly, these communities have brought their
cultural beliefs and practices as well as the ways of creating and
transforming the aesthetic and artisanal objects with themselves. By
the cultural amalgamation, various cultural elements have spread
throughout the region and hybridized. In terms of textiles and
clothing, in Brazil, it is possible to recognize so many different ways of
traditional clothing and also artisanal applications and practices based
on textiles. In the contemporary Brazilian fashion, it has become
common to fashion designers and luxury fashion-lifestyle brands to
employ modernized versions of these artisanal applications and
practices in their collections. In addition to this, employing traditional
artisanal applications and practices in the contemporary Brazilian
fashion is also a significant branding strategy that provides the
opportunity of gaining recognition in the international fashion scene
to the Brazilian fashion and Brazilian fashion-lifestyle brands. So that,
fashion is a way of moving the traditional handcraft to a sphere
surrounded by symbolic meanings. Also, producing products with high
added value based on traditional handcrafts through new aesthetic
values and approaches contributes the regional and national
economy and development. In this study, I introduce two well-known
Brazilian fashion designers, Martha Medeiros and Marcia Hanem,
whose works are based on a traditional handcraft common to
northern regions of Brazil, Renaissance Lace, and examine their
designs in the light of the notion of transforming the traditional into
the contemporary.

A la moda brasileña, a pesar de su innegable alineamiento con el sistema global, le es exigida una originalidad expresiva que la vincule a su posición geográfica. Si en términos discursivos esa perspectiva parece reverenciar atributos de identidad inconfundibles y elogiados, esconde estereotipos que la limitan en términos creativos, dada la necesidad de adecuarse a esos criterios para despertar el interés de la comunidad internacional. Al creer que esa posición se debe a la ausencia de teorías que integren la cultura de moda en Brasil al sistema global, este trabajo defiende que las consecuencias inmediatas es la perpetuación de preconceptos y estereotipos por el no reconocimiento del país en la dinámica global de la moda, lo que se comprueba por la invisibilidad de las cuestiones regionales en el panorama histórico y teórico predominante, así como por la construcción de espejismos que omiten su invisibilidad en el segmento.

In this study we examined the important work of the graphic artist Alceu Penna (1915-1980) through the analysis of articles, illustrations and texts created by him for the fashion section of the magazine O Cruzeiro between 1939-1947, as well as his probable collaboration in the development of costumes for Carmen Miranda. We note how he demonstrated concern for the "creation" of a Brazilian style in fashion by presenting the latest international fashion news, often in a critical manner, and sketching costumes for the Carnaval, creating, thus, a "Brazilian visuality" based on the ideas proposed by the New State. We consider yet how his experience in looking at Brazil from the United States and his reviews of the images of "Brazil" proposed by Hollywood are relevant in this process.

In this study we examined the important work of the graphic artist Alceu Penna through the analysis of articles, illustrations and texts created by him for the fashion section of the magazine O Cruzeiro between 1939-1947, as well as his probable collaboration in the development of costumes for Carmen Miranda. We note how he demonstrated concern for the "creation" of a Brazilian style in fashion by presenting the latest international fashion news, often in a critical manner, and sketching costumes for the Carnaval, creating, thus, a "Brazilian visuality" based on the ideas proposed by the New State. We consider yet how his experience in looking at Brazil from the United States and his reviews of the images of "Brazil" proposed by Hollywood are relevant in this process. Keywords: Alceu Penna, fashion, identity and style. RESUMO Neste estudo, observamos a importância do trabalho do artista gráfico Alceu Penna , através da análise de reportagens, ilustraçõe...

The present research deals with fashion exhibitions, specifically those presented in the city of Sao Paulo between the beginning of the 1980s and the year 2018, with the purpose of analysing the development of fashion exhibition practices and understanding the relevance of expositions in the consolidation of the capital city of Sao Paulo, as a centre of professionalization and diffusion of fashion in Brazil. From the mapping of exhibitions, the dissertation makes an investigation about the concepts linked to the term exhibition and the studies of exhibitions history, especially those dedicated to fashion. A historical retrospective on the fashion exhibition practices in the city of Sao Paulo is also carried out. By means of statistical studies, information on quantity, category and frequency of exhibitions mapped in several places in the city is presented. From the mapping, correlations are evidenced with the historical, political and economic moment of the country. The text still approaches the role of the curator and its importance in the design of fashion expositions. Other aspects related to fashion exhibitions, such as blockbuster expositions, number of visitors and catalogues, are also discussed, drawing parallels between the Brazilian and the international context. It is noticed that, the fashion exhibition practices followed the process of organizing the field in the city of Sao Paulo, highlighting the relevance of the expositions for the study of the history of fashion in the country.

(DEUTSCH)

Die vorliegende Arbeit befasst sich mit Modeausstellungen, insbesondere die, die in der Zeit von Anfang der 1980er Jahre bis zum Jahr 2018 in Sao Paulo vorgestellt wurden, mit dem Ziel, die Entwicklung der Modeausstellungspraktiken zu analysieren und die Relevanz von Ausstellungen, für die Konsolidierung der Hauptstadt Sao Paulo als Zentrum der Professionalisierung und Verbreitung von Mode in Brasilien, zu verstehen. Ausgehend von der Bestandsaufnahme der Ausstellungen, untersucht die Dissertation, die mit dem Begriff Ausstellung verbundenen Konzepte und die Studien zur Geschichte der Ausstellungen, insbesondere die der Mode. Eine historische Retrospektive zu den expositiven Praktiken der Mode in der Stadt São Paulo wird ebenfalls durchgeführt. Durch statistische Untersuchungen, werden Informationen zu Menge, Kategorie und Häufigkeit der kartierten Expositionen, in mehreren Orten der Stadt, dargestellt. Aus der Kartierung ergeben sich Zusammenhänge mit dem historischen, politischen und wirtschaftlichen Moment des Landes. Der Text befasst sich auch mit der Rolle des Kurators und seiner Bedeutung für die Gestaltung von Modeausstellungen. Andere Aspekte im Zusammenhang zu Modeausstellungen, wie Blockbuster Ausstellungen, Besucherzahlen und Kataloge, werden ebenfalls diskutiert und es werden Parallelen zwischen dem brasilianischen und dem internationalen Kontext gezogen. Es ist zu bemerken, dass die expositiven Modepraktiken dem Prozess der Organisation des Feldes in der Stadt Sao Paulo folgten und die Relevanz der Ausstellungen für das Studium der Modegeschichte in Brasilien, wurde hervorgehoben.

(PORTUGUÊS)

A presente pesquisa versa sobre exposições de moda, especificamente aquelas apresentadas na cidade de São Paulo entre o início da década de 1980 e o ano de 2018, tendo como propósito analisar o desenvolvimento das práticas expositivas de moda e compreender a relevância das exposições na consolidação da capital paulista como centro de profissionalização e difusão da moda no Brasil. A partir da realização de um mapeamento de exposições, a dissertação realiza investigação sobre os conceitos atrelados ao termo exposição e os estudos da história das exposições, sobretudo daquelas dedicadas à moda. Realiza-se também uma retrospectiva histórica acerca das práticas expositivas de moda na cidade de São Paulo. Por meio de estudos estatísticos, são apresentadas informações sobre quantidade, categoria e frequência das exposições mapeadas em diversos locais da cidade. A partir do mapeamento, são evidenciadas correlações com o momento histórico, político e econômico do país. O texto aborda ainda a função do curador e sua importância na concepção das exposições de moda. Discute-se também, outros aspectos relacionados às exposições de moda, tais como as megaexposições, o número de visitantes e os catálogos, traçando paralelos entre o contexto brasileiro e internacional. Constata-se que, as práticas expositivas de moda acompanharam o processo de organização do campo na cidade de São Paulo, destacando relevância das exposições para o estudo da história da moda no país.