Italy is a major player in the global fashion industry, yet little has been written about its contribution to fashion curation. This book explores the management, display and curation of Italian fashion heritage, highlighting the role played by companies and industry associations.
By contextualising fashion curation within Italy's economy, culture and art-historical tradition, Curating Italian Fashion unfolds the ties between the preservation of fashion heritage and corporate policies. It traces the shift of companies from sponsors to cultural producers and discusses the different uses of archives and exhibitions. Through the critical analysis of key examples such as Salvatore Ferragamo and Pitti Immagine, this book illustrates how the inevitable commercial interests underlying fashion curation can exist alongside the scholarly contribution of corporate initiatives. Most importantly, it defines the curatorial approaches developed by the involvement of the industry in fashion curation, thus providing an overarching interpretation of the characteristics of this practice in Italy.
Matteo Augello provides an unprecedented insight into the management of Italian fashion heritage and presents a comprehensive account of the development of fashion curation in Italy, drawing from archival records, existing literature and oral history. This book is essential reading for scholars, industry professionals and students interested in the intersections of curation, heritage, national identity and corporate cultural policies.
Rezensionen / Stimmen
An insightful history of Italian fashion curation, marketing and heritage, essential to understanding Italian fashion today. * Lucia Savi, Design Museum, UK * An important contribution to the opening of the anglo-saxon focus in the discipline of fashion curating. Matteo Augello highlights and shows the uniqueness of some key cases in the history of fashion exhibitions and museums in Italy. * Marco Pecorari, Parsons Paris, France * A rigorous critical analysis based upon extensive research. Matteo Augello takes the reader on a fascinating journey that explores the evolution of fashion studies and curatorship, and their relationship with industry, in Italy. * Amy de la Haye, London College of Fashion, UK * A much needed summary in English of fashion curation in Italy. I would recommend this book for fashion historians, curators, Italian studies specialists and all those interested in the complex dynamics of how fashion is consumed in our time. * Sonnet Stanfill, V&A, UK *
Sprache
Verlagsort
Verlagsgruppe
Bloomsbury Publishing PLC
Zielgruppe
Für höhere Schule und Studium
Produkt-Hinweis
Broschur/Paperback
Klebebindung
Illustrationen
Maße
Höhe: 234 mm
Breite: 156 mm
Dicke: 25 mm
Gewicht
ISBN-13
978-1-350-23081-1 (9781350230811)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Matteo Augello is a lecturer at Istituto Marangoni London, Regent's University London and London College of Fashion, University of the Arts London, UK, where he teaches research methods, fashion history and theory, and heritage marketing. He regularly delivers workshops and lectures for other institutions such as the University of Glasgow, Domus Academy and Nuova Accademia di Belle Arti in Milan. From 2013 to 2017, he worked as curatorial consultant for the V&A on the exhibition 'Opera: Passion, Power and Politics' (2017).
Autor*in
London College of Fashion, UK
List of Figures
Preface
Acknowledgements
Introduction
a. Situating Italian fashion curation
b. Defining terminology
c. Structuring the book
Chapter 1: Constructing Italian fashion heritage
1.1 Renaissance as Italianness
1.2 The strategic use of the past
1.3 Fashion, heritage and artification
1.4 Fashion as Renaissance legacy
Chapter 2: Industry and corporate heritage in Italy
2.1 Corporate heritage: an Italian perspective
2.2 Investing in corporate heritage
2.3 Corporate cultural policies
2.3.1 Patronage
2.3.2 Sponsorship
2.3.3 Partnership
2.3.4 Investment
2.4 Industry and scholarship
Chapter 3: Corporate heritage and institutions
3.1 Corporate foundations
3.2 Collecting corporate heritage
3.2.1 Corporate archives
3.2.2 Corporate collections
3.3 Corporate museums
3.4 Exhibiting corporate heritage
3.5 Researching corporate heritage
3.6 Interpreting corporate heritage
Chapter 4: A history of fashion curation in Italy
4.1 The beginnings (1900s-1940s)
4.2 The study of historical textiles and fashion (1950s-1970s)
4.2.1 CIAC, the International Centre of the Arts and Costume
4.2.2 Textiles and fashion at CIAC
4.2.3 CIAC in the 1960s
4.2.4 Fashion studies in Milan in the 1970s
4.3 Moving towards contemporary fashion (1980s-1990s)
4.3.1 CISST, the Italian Centre for the Study of the History of Textiles
4.3.2 The 1981 exhibition at the Museo Poldi Pezzoli in Milan
4.3.3 The 1985 retrospective on Salvatore Ferragamo
4.3.4 The 1990 conference on ready-to-wear history
4.3.5 The relaunch of Florence as a fashion capital
4.3.6 The 1996 Biennale di Firenze
4.4 The lead of corporate institutions (2000s-2010s)
4.4.1 The Fondazione Pitti Immagine Discovery
4.4.2 Exhibitions as promotional tools
4.4.3 The increasing importance of fashion heritage
4.4.4 Online archives
4.4.5 Recent developments
Chapter 5: Industry and curation: a critical commentary
5.1 Companies as sponsors
5.2 Companies as cultural producers
5.3 Curating corporate heritage
5.4 Managing corporate and civic needs
Concluding remarks
Notes
Reference list
Index
