The Magnani-Rocca Foundation (Traversetolo locality, in the province of Parma) tells through an exhibition, “Fashion and Advertising in Italy. 1850- 1950”, curated by Dario Cimorelli, Eugenia Paulicelli and Stefano Roffi, the close ties between the two universes through 150 fascinating works from the late nineteenth to the mid-twentieth century, scheduled from 10 September to 11 December. Fashion and advertising, as we know, are part of the collective imagination of an entire country, of a feeling, looking and inventing the world. The exhibition investigates how the emergence of department stores responds to the demands of a new society that aspires to be able to represent itself, a daughter of the industrial revolution that finds in clothes and objects the witnesses of its own existence and diversity. A development, that of the new centers of consumption, which changes scale in size and speed. From the traditional small shops where the tailor-made suit was modeled and sewn, the department store was born, the customers enter lush buildings that overflow with goods and can freely choose, finding, next to the tailored suit, the prêt-à-porter and , based on availability, composes its kit. Welcoming places, luxurious but not too much, where prices are always displayed, where offers of goods offer the possibility of buying for all budgets, and where small and large gifts are offered in profusion, in order to build customer loyalty. customer loyalty is one of the worries of new entrepreneurs, because competition is fierce between department stores. Accusations of imitation, search for effective slogans, creation, production and use of every promotional tool, from posters, to illustrated catalogs, to postcards, brochures, to advertisements in newspapers. Each commercial establishment studies its own promotional strategy and declines it on the various means of communication where it proposes what artists and illustrators conceived, interpreting the languages of Italian customs and society in a period of unprecedented creativity. The birth of fashion is illustrated, with over 150 works, thanks also to the communication tools that have supported it, from posters to magazines, to department store catalogs, in a chronological period that begins in the nineteenth century and continues until the mid-twentieth century. . The role of cinema in the development and communication of fashion since its advent is also of great importance, reconstructed within the exhibition and in the catalog. “Fashion through advertising becomes a collective dream – reads a note from the Magnani Rocca Foundation – From the mysterious fin de siècle ladies proposed by Aleardo Villa, Leopoldo Metlicovitz, Marcello Dudovich in the Magazzini Mele posters, whose sumptuous elegance reflects their ambitions of a new bourgeois class on the rise, to the thin, diaphanous ‘women-crises’ of the 1920s, who want to finally be freed from the slavery of corsets and whalebones, to the vigorous, sporty and dynamic modern woman, as outlined by the Dudovich himself in the 1930s advertisements for La Rinascente “. “At the beginning of the twentieth century, women’s struggles for the conquest of greater independence affect the length of skirts, haircuts, gestures, body language – it continues – as will the limitations dictated by economic sanctions to Italy, to following its colonial policy, at the end of the Thirties, giving rise to new rules, new constraints of ‘decoration’ and the use of self-sufficient materials. In this span of time, fashion, fashions, become, through the posters, immediate representation of a status and the mirror in which very rapid social and economic changes, moods, trends, whims, dreams are reflected “. “” Between the nineteenth and twentieth centuries, two factors contribute to the development of the clothing market – writes Dario Cimorelli – New social ‘representatives’ come forward with the second industrial revolution who aspire to participate and emphasize their role on the stage of society, and the consequent birth of a new form of consumer offer, the department stores, born in France and spread in a short time in Italy as well as throughout Europe and the United States “.” The competition between department stores is fierce and every means, every idea, every novelty is an opportunity to capture and retain customers – Stefano Roffi remembers – The manifesto, as larger, more evident, is the tool that from the end of the nineteenth century to the early fifties will cover the city walls by building models and therefore worlds and ways of participation and representation. From Mele to Miccio in Naples, from the Cooperative Union to La Rinascente in Milan, to Zingone in Rome, each warehouse is proposed through advertising, as well as accessories companies, from hats to gloves to footwear “. The exhibition tells this detail. the nascent world of communication presenting about 100 large posters, most of them restored for the occasion and never exhibited to the public since their creation, also focusing on two unique cases that distinguish Italy from any country in the world. Mele di Napoli, the most impressive, widespread, rich promotional activity ever carried out, which begins in 1889 and continues until the second decade of the twentieth century, and the communication of La Rinascente in Milan, which chooses Marcello Dudovich as artistic director from 1921 to 1956, thus maintaining a unique and unrepeatable stylistic coherence. The exhibition also invites an important reflection on the birth of made in Italy. in the Twenties of the twentieth century women’s fashion had been fundamentally French, while England was the reference for men’s. Yet the idea of creating an Italian fashion was in the air. A pioneer at the beginning of the 20th century is Rosa Genoni who launched the project of a national fashion as ‘pure Italian art’ from the pages of women’s magazines, free from subjection to the French. As a source of inspiration the classical world and the masterpieces of the Renaissance. Subsequently, during the twenty years of fascism, a profile of Italian fashion will be built (the Saloni in Turin, the National Fashion Organization founded in 1935) which was the basis of what would become, in the future, the great Italian fashion starting from after the war.
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