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Godfather five families bot free 20154/10/2023 ![]() ![]() The same demystification that the first Italian top model Benedetta Barzini has sought through her path as a model and a political activist, as shown in the documentary “The Disappearance of My Mother” by her son Beniamino Barrese, and which will also be explored. To illustrate it, I analyze the work of the designer Martin Margiela, that, by deconstructing the structures of the garments and their meanings - while keeping himself out of public view - challenged the establishment with a resonating silence. Additionally, it is also considered the influence and the similarities of this thought with the Japanese wabi-sabi sensibility that values the absence, reflection, and simplicity, much based on Zen principles. To develop a further understanding of this idea, I will bring the ideas introduced in the homonym essay of 1967 by Susan Sontag to the perspective of Fashion Studies. But, what could mean to metaphorically disappear inside this system? This work aims to discuss what could be the “aesthetics of silence” through an intersectional approach addressing media, aesthetics, and fashion, considering it a counter-movement to hegemonic ideals: a response for an image-saturated environment. ![]() In the postmodern world, a culture of simulation and constant stimulation is installed, relying on surfaces and appearances, often flattening experiences and limiting creativity. Fashion, as an extremely visual medium, not only got transformed by it but also extended its logic of seduction to all spheres of society. Since the last century, with the domination of mass media in Western culture, individuals are constantly surrounded by images and have themselves become such, with social media and smartphones being pivotal tools for the acceleration of this process recently. To navigate contemporaneity is to experience cacophony. Analysis of the clothes’ silhouettes, patterns, materials, construction and deviations from tradition underscores the capacity of fashion to create meaningful change in the embodiment of class, gender, race and disability. ![]() The dates of these collections offer two distinct snapshots of the industry’s willingness to accept Japanese fashion. In other words, how has Kawakubo’s work shaped fashion’s view on the body, and is there something inherently Japanese to this reconstruction process? The paper investigates two specific collections, “Dress Meets Body, Body Meets Dress” (S/S 1997) and “Broken Bride” (A/W 2005). Using Rei Kawakubo as a case study, this research aims to understand how fashion can redefine society’s image of a clothed body’s race, gender or ability, while simultaneously delineating the political and social expectations of that body’s behavior. The success of these three designers has consequently tied their heritage to their work and its impact on the global stage. Three designers in particular, Rei Kawakubo, Issey Miyake and Yohji Yamamoto, fostered the recognition of Japanese fashion in Paris in the 1970s by shattering industry conventions. Adorning the body through fashion represents a genuine solution to a paradox of basic human needs: to express individuality and conform to a larger group or society. We present our identities, both wittingly and unwittingly, through the aesthetic choices we make in regards to our bodies. ![]()
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