COSA C’ENTRA LO ‘ZEITGEIST’ (LO SPIRITO DEL TEMPO) CON LA FASHION PHOTOGRAPHY?

By Patrizia Rossato Mari

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Per la gioia di fashionisti e fashioniste, fotografi apprendisti e aspiranti fashion editors, nonché per tutti i cultori della foto artistica di moda, si è aperta il 15 novembre a Milano la terza edizione del VOGUE PHOTO FESTIVAL, kermesse di incontri, mostre, talk, workshop ecc. dislocata in tutta la città, che quest’anno sceglie come focus il rapporto tra fotografia artistica e contemporaneità e l’esplorazione dell’estetica culturale odierna.

Vogue, capofila delle testate di fashion e tendenze, si è segnalata da sempre per l’uso della fotografia come strumento di ricognizione della società e del presente; come setaccio di prototipi e particelle dell’immaginario collettivo, spie non solo delle nuove e nuovissime tendenze di consumo, ma, in controluce, anche dello sfondo temporale e sociale nel quale il nuovo edonismo si inquadra, con status-symbols che spesso preconizzano trends e intercettano mutamenti. Non è forse vero che una rivista di fashion e lifestyle, per sopravvivere alla vita effimera della moda, deve tenersi al passo fiutando il tempo attraverso editoriali e scatti innovativi, ironici, anche volutamente controversi, perché talvolta smontare canoni può fare un effetto spaesante ma ad alto quoziente adrenalinico? non è forse vero che le rivoluzioni nello stile e nel gusto distruggono in fretta il passato e il lifestyle e la moda, tutt’uno con l’arte, fungono da termometro estetico di un excursus temporale esternandone energia creativa e contraddizioni?

Da sempre siamo una civiltà che privilegia la ‘vista’: ora più che mai sono i social a forgiare i linguaggi visivi che ci modellano celebrando ormai definitivamente il primato dell’immagine sulla parola. Leggere tali linguaggi rivela una poetica, dei modelli culturali, l’Uomo e l’Universale, il rumore in fondo ai giorni. Fra le innumerevoli, segnaliamo presso Palazzo Reale la mostra  “Beyond the still imagine” sino al 9 dicembre, monografica del fotografo svedese Solve Sundsbo. Attraverso le Stanze del Principe, con foto iconiche e inedite, installazioni site-specific, video e proiezioni, si snoda un percorso creativo di grande impatto e fascino, che rivoluziona il concetto stesso di fashion-photography. Ben oltre la mera ‘illustrazione’ di capi d’abbigliamento e di brand, la macchina mette a fuoco un universo visionario di sofisticate composizioni che sfidano la bidimensionalità mercé l’uso avanguardistico di diversi tipi di illuminazioni e tecniche.

Nell’altro polo del Festival, il riconvertito spazio industriale di Base Milano in via Bergognone cuore del design-district meneghino, sono aperte al pubblico due collettive di artisti selezionati attraverso lo scouting indetto sul canale Photo Vogue, iniziativa tuttora in corso. I temi qui non potrebbero essere più attuali: se infatti da un lato ci si interroga su Diversità e Inclusione, dall’altro è il concetto di Mascolinità a venire declinato nelle tante interpretazioni di fotografi di moda contemporanei. Identità, genere, appartenenza… ecco le chiavi di lettura di una modernità di riflusso, nella cui omologazione e liquidità l’individuo spersonalizzato cerca radici cui aggrapparsi, barriere che delimitino uno spazio-mondo indifferenziato e divenuto luogo di meri flussi commercial-finanziari, finanche identità di genere e razza. In definitiva l’eterno conflitto tra Kultur e Zivilisation, radici culturali e cosmopolitismo, che esattamente un secolo fa l’opera del tedesco Osvald Spengler dal titolo apocalittico “Tramonto dell’Occidente”, da poco tornata in libreria, additava quale cifra di una civiltà occidentale al crepuscolo, in cui concetti come ‘sangue, suolo e razza’ iniziavano drammaticamente a radicalizzarsi e l’universalità dei principi dell’Illuminismo, al pari di quelli della democrazia e del parlamentarismo, veniva stigmatizzata come origine di decadenza e debolezza morale. By PM —————————-

 

For the joy of fashionistas, apprentice photographers and aspiring fashion editors, as well as for all lovers of the artistic fashion photo, the third edition of the VOGUE PHOTO FESTIVAL, kermesse of meetings, exhibitions, talks, workshop etc., opened in Milan on November 15, dislocated throughout the city, which this year focuses on the relationship between artistic photography and modernity and the exploration of today’s cultural aesthetics.
Vogue, leader of fashion and trends, has always been noted for the use of photography as a means of recognizing society and the present; as a sieve of prototypes and particles of the collective imagination, spies not only of new trends of consumption, but, against the light, also of the temporal and social background in which the new hedonism is framed, with status-symbols that often predict trends and intercept changes. Is it not true that a fashion and lifestyle magazine, in order to survive the ephemeral life of fashion, must keep up by sniffing the time through editorials and innovative, ironic shots, even deliberately controversial, because sometimes dismantling canons can have a disorienting effect but high adrenaline quotient? Is it not true that revolutions in style and taste quickly destroy the past, and lifestyle and fashion, all one with art, act as the aesthetic thermometer of a temporal excursus, externalizing its creative energy and contradictions?
We have always been a civilization that privileges ‘sight’: now more than ever, it is socials that forge the visual languages ​​that shape us, by definitively celebrating the primacy of image over words. Reading these languages ​​reveals a poetic, cultural models, Man and the Universal, the noise at the bottom of the day. Among the countless, we report at the Royal Palace the exhibition “Beyond the still imagine” until December 9, a monograph by the Swedish photographer Solve Sundsbo. Through the Stanze del Principe, with iconic and unpublished photos, site-specific installations, videos and projections, a creative path of great impact and charm unfolds, revolutionizing the very concept of fashion-photography. Far beyond the mere ‘illustration’ of garments and brands, the machine focuses on a visionary universe of sophisticated compositions that challenge two-dimensionality through the avant-garde use of different types of lighting and techniques.

In the other pole of the Festival, the reconverted Base Milano industrial space in via Bergognone, the heart of the Milanese design district, two group exhibitions of artists selected through the scouting on the Photo Vogue channel, an initiative still underway, are open to the public. The themes here could not be more current: if on the one hand one wonders about Diversity and Inclusion, on the other is the concept of Masculinity to be declined in the many interpretations of contemporary fashion photographers. Identity, gender, belonging … here are the keys to reading a modernity of ebb, in which homologation and liquidity the depersonalized individual seeks roots to cling, barriers that delimit a world-space that has become a place of mere commercial-financial flows, even gender and race identity. Ultimately the eternal conflict between Kultur and Zivilisation, cultural roots and cosmopolitanism, which exactly a century ago the work of the German Osvald Spengler with the apocalyptic title “Sunset of the West”, recently returned to the bookstore, pointed as the figure of a civilization Western at twilight, where concepts like ‘blood, soil and race’ began to dramatically radicalize and the universality of the principles of the Enlightenment, like those of democracy and parliamentarianism, was stigmatized as the origin of moral decadence and weakness.

About The Patrizia Rossato Mari

Co-founder FormaEssenza, Research and Content Manager

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