Flags are everywhere, even in our wardrobes. Why are these brightly coloured cloth rectangles so fascinating? Are they fetishistic cult objects, fascinating stereotypes of identity or unsettling signs of power? And how do they fit into the omnivorous iconography of fashion and the anarchy of the creative processes of style? The book, Wig Wag, The Flags of Fashion rides along in the midst of that dense stream of visions and references - sporty, ethnic, patriotic or nostalgic - triggered by flags as a theme and by their relationship with fashion. It tears them away from the immediate association with the concept of nations and follows them through their visual metamorphoses that were created and guided by historic names such as Elsa Schiaparelli, Christian Dior and Emilio Pucci; designers and brands like Tommy Hilfiger, Ralph Lauren, Vivienne Westwood, Franco Moschino, Dolce & Gabbana, Prada, Antonio Marras, Alexander McQueen and Viktor & Rolf; and street-style brands, including Mambo, Vans, Eastpak, Gsus, Nigo, Stussy and Ipath. Irony and identity are the driving forces behind the multiple ways in which the flags of the United States, Great Britain and Italy have been appropriated. Fashion also has a place for the colors of Brazil, Jamaica and Japan, red flags, rainbow flags and flags that have no country. The book traverses this explosion of colourful symbols to present the creative processes of a fashion in close contact with cinema, art, design and music.
Il volume 32.2 è suddiviso in due parti. La prima contiene un inserto speciale, intitolato “From Pottery to Context. Archaeology and Virtual Modelling” e curato da Vincenzo Baldoni. L’inserto, che raccoglie complessivamente 11 contributi, è suddiviso a sua volta in due sezioni, di cui la prima (The ‘Alma Idea’ Numana Project) illustra i principali risultati del progetto di ricerca “Dal reperto al paesaggio: analisi archeologica e modellazione virtuale delle necropoli picene di Numana (AN)”, promosso dall’Università di Bologna, mentre la seconda (From Pottery to Context: Methodologies, Practices, Case Studies) approfondisce alcune tematiche di ricerca di particolare attualità nel settore dell’archeologia digitale. Nella seconda parte del volume, intitolata “Archaeological Computing: Selected Papers from the 2020 IMEKO TC-4 MetroArchaeo International Conference” e curata da Alessandra Caravale, sono pubblicati i migliori contributi scientifici sull’informatica archeologica selezionati da un Comitato scientifico internazionale e premiati nel corso dell’edizione del Convegno internazionale Metrology for Archaeology and Cultural Heritage promosso nel 2020 dall’Università di Trento https://www.metroarcheo.com/ma2020/awards
Flags are everywhere, even in our wardrobes. Why are these brightly coloured cloth rectangles so fascinating? Are they fetishistic cult objects, fascinating stereotypes of identity or unsettling signs of power? And how do they fit into the omnivorous iconography of fashion and the anarchy of the creative processes of style? The book, Wig Wag, The Flags of Fashion rides along in the midst of that dense stream of visions and references - sporty, ethnic, patriotic or nostalgic - triggered by flags as a theme and by their relationship with fashion. It tears them away from the immediate association with the concept of nations and follows them through their visual metamorphoses that were created and guided by historic names such as Elsa Schiaparelli, Christian Dior and Emilio Pucci; designers and brands like Tommy Hilfiger, Ralph Lauren, Vivienne Westwood, Franco Moschino, Dolce & Gabbana, Prada, Antonio Marras, Alexander McQueen and Viktor & Rolf; and street-style brands, including Mambo, Vans, Eastpak, Gsus, Nigo, Stussy and Ipath. Irony and identity are the driving forces behind the multiple ways in which the flags of the United States, Great Britain and Italy have been appropriated. Fashion also has a place for the colors of Brazil, Jamaica and Japan, red flags, rainbow flags and flags that have no country. The book traverses this explosion of colourful symbols to present the creative processes of a fashion in close contact with cinema, art, design and music.
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