We know how much the colors of clothing as in all consumer goods have been simplified; first by number (for example, we observe common objects and textile motifs) and then by quantity (in the chromatic composition), returning to primary colors, pure and essential to better represent the synthesis of form, belonging to contemporary aesthetic sensitivity.

We learned to create through a few signs, emptying abundance and aiming at perceptual enrichment, making any idea and concept that we want to expose become aware, aware that the void enhances and the full creates confusion. By observing the work of Marcius Galan, we fully grasp this essentialist skill, made of illusion but also of associations, where for example the idea of movement that does not move is accentuated by the use of the black color, firm and immobile, an optical imbalance game that becomes the clear, balanced and stable opposite for the chromatic choice.

The advent of black, elegant and austere is strong, contains all the colors, unites them and resets them at the same time, it’s subtractive, it’s a no-color, so in some cases it is associated with mourning and only rarely with rebirth. Minimalist in art, in fashion as in design, it represents essentiality, all in one, also becoming the symbol of some youth subcultures such as Dark, which take refuge there, who take refuge there, as if to hide from the daytime life, the one in which, failing to identify themselves, they refuse, hiding, in a non-space space. With Emo, a more recent youth phenomenon, the discomfort becomes more drastic, up to self-cancellation.

A distinctive choice that does not recall the traditional and rather wants to be unconventional, wants to create a break with the past, with the usual, until it becomes unlimited and innovative; black is radical. Lucido is solemn, sumptuous and elegant, irreplaceable, which is why it is used in high class products, while when we find it opaque, it becomes sober, modest and simple and still original and iki as you would say in Japan, or chic.

The black concept could be summarized with the vision of Pulp Fiction, by Quentin Tarantino, model of a life in black. Adopted as an icon in various fashion houses, for example for make-up Urban Decay becomes a limited edition line, promoting an aggressive, bold and uninhibited look, black transmutes rebellion, an unconventional and unprejudiced personality. Pulp Fiction’s black represents the charm of a life outside the rules, inside a wild urban forest, the metropolis. Linked to the nocturnal world, we find it associated with darkness and darkness, and becoming a symbol of mystery acquires a completely noir charm, where the game with death gives tone to life, typical of gothic noir that has fascinated for centuries, from Francisco Goya to Johann Wolfgang von Goethe, from film noir to femmes fatales. [rights reserved]

 

in its social essence, showing us through a few symbolic elements, complementary issues of an epochal change.

The bourgeois male suit, a symbol of rigor and devotion to work, is not by chance chosen by the French painter Edouard Manet (already in 1863), to represent well-circumscribed roles and codes and contrasted with a woman’s completely naked body, with the interest of creating a clean cut on some important social issues.

In fact, it is not the naked body of the woman that scandalized the public opinion of the time, but the fact that it is represented in everyday life, at the side of two bourgeois men, fully dressed, in their work uniform, going in this way to decay those ideals of respectability and seriousness in which they were recognized, to show a moment of lightness and breaking of the same codes.

For this reason, E. Manet’s work not only formalizes the men’s men’s suit with art, framing it, (although existing since the early 1800s), but recontextualises it in multiple new roles, placing the viewer before different questions, such as; diversity between the sexes, clothes and sexuality, the relationship with our body and therefore our nature, where the setting of the work becomes its symbol, the stage.

The breaking of the artist’s schemes, gives a preview of a new representation of the bourgeois uniform, by creating a bohemian, unconventional aura, we could confirm a release that has now become established, finds as a background no longer a wood but indefinite, evanescent spaces, oriented by lights as in the “icons” works of Dan Flavin, and we could therefore easily reverse the scenario, undressing men and dressing women in suit. [rights reserved]

 

 shapes of customs deriving from the desire to preserve,, despite the change, own cultural origins.

African Americans with their vital energy, fighting between gender discrimination and oppression, they manage to impose themselves by creating through music, a completely new and overwhelming language, to the point of being able to quickly influence anyone without distinctions.

Jazz with its Afro effervescence is initially with the trumpeter Buddy Bolden who begins his forward-looking and revolutionary journey, immediately followed by as many musical geniuses as; Louis Armstrong, John Coltrane, Ray Charles, Billie Holiday and Ella Fitzgerald. A real battle at to strokes of music that will not only address multiracial issues, but that will evolve according to concepts common to anyone such as the principle of equality and brotherhood that will unite young people of any social class and country in a few decades, to the point of dragging them into squares all over the world.

Growing up ghettoized, African Americans, although marginalized, become not only the inspiration for any contemporary musical genre, giving an alternative to classical music, but they manage to make the streets sing, they create alternative clothing, done by minorities and anticipating youth subcultures. Through the “Zoot” (born around the 1940s considering the spelling of the word “suit”), affirm a new way of dressing, characterized by excessive breadth, of jackets as well as trousers, creating a new relationship between body and dress, without restrictive social obligations. [rights reserved]

our choices.

The new taste that emerged from industrialization, brought about a new approach to objects, the latter no longer developed to cover individual needs but the need of many. An aesthetic sense increasingly close to the masses that begins to move away from old stereotypes related to aristocratic classes, to represent new values such as those of freedom and equality.

The functionalism that emerged first with industrial design immediately affects each sector, from architecture to fashion, up to determine the birth of a real language; synthetic, fast and immediate, easily described by the choices made by Le Corbusier as in those of Chanel.

“L’esprit nouveau”,  expression of the way of thinking then, he ended up creating real existential models; as a refined harmony between man and environment proclaimed by Le Corbusier and between space and body by Cocò Chanel, causing a real aesthetic revolution, not simply on our lifestyle, but on our gestures, on our intimate behaviors, but also by determining new social roles.

[rights reserved]

to get something new, but also that it is capable of conquering.

The new is not easy to determine, find it or create it today that there are no more mysteries and everything is made available to anyone, making most of the time the obvious, trivial objects, repetitive without characterization and sometimes also without functionality.

But the thing that makes it even more difficult to create an original object, is the inability to use the imagination, or rather to release it, knowing how to start as Kant said from a zero degree of approach to things.

The ability of products to conquer is an even more subtle factor, as you have to be able to grasp the interests of those you want to approach, you have to know them, identify yourself, live what they feel and only afterwards could I create an idea capable of starting to move your imagination and those you want to hit.

It is from the head that everything originates, our thoughts, our ideas, our culture, our imagination, our very soul, to which we often subject an indeterminate power, such as to make everything live, and it is perhaps for this reason that since ancient times man has wanted to protect this part of himself, creating the hat.

Referring to Giuliana Berengan, we can confirm that the hat is therefore a “body code, and that like other forms of language it serves to send messages, to communicate”.

The genres, forms and functions are innumerable and have gone through history, distinguishing social classes or more simply representing professional roles, eventually becoming also sculpture, installation, work of art as in the case of the mad hatter, Philip Treacy.

It is therefore no longer a question of carrying out the univocal profession of milliner, but also in this case to be transversal figures, able to know how to start from an interest, a pleasure, like boating could be, and then take a simple sheet of paper, maybe that of a newspaper and start creating ideas, finding similarities, combinations, experimenting, especially playing, just as children can do, and artists, craftsmen, some designers and the most brilliant people.

In this case; a journey, a boat, crafts, recycling, ready made and research can become the source from which to start the nautical hat.

if ideas can arise from any event.

The new mass culture, born in America following the opening of department stores, the introduction of man made fibers, of the industrial development and cinema, has determined the conditions for anyone to be able to imitate the rich, in clothing as in furnishing the home, thus living in well-being.

Although the dress continued to determine a social distinction, clearly evident in Europe, made even more explicit by the birth of the New Look presented in 1947 by Christian Dior, in the same year the timeless youth uniform was born from the streets in America, through bikers, aggressive dressed in jeans, boots and leather jackets ((the so-called Perfecto manufactured since 1913 by the American company Schott).

An epochal revolution immediately amplified worldwide by the 1953 film; The wild one, starring Marlon Brando. An event that not only sees for the first time putting the world of youth at the center of the film’s plot, with his thoughts and actions, freeing them from social hierarchical impositions and labels, but which determined those cultural and gender revolutions that emerged in the following decades, affirming a new uniform, those youth one as opposed to the bourgeois one, made of: jeans, sneakers, t-shirt and leather jacket. [rights reserved]

known as emblems representing this sector.

But essential for those who feel fashionable and live it, is the desire to diversify, certainly with the addition of a hedonistic charge that is still aimed in the interest of conquering others.

Fashion as we will demonstrate through this editorial, first of all, remains a communication phenomenon and as such, always has many things to say and express about us and our thoughts, and can also give its free rein through the choice of one product rather of another. And perhaps this is mainly what fascinates us and most attracts us to always be fashionable.

Originality is one of the fundamental characteristics both upstream of the creation of a product and during its sale, as the wave of fashion is generally ridden by that customer who wants to stand out more than the others, has the courage to dare and for this he will choose a product, not only because it belongs to an already established brand, but because in this object we recognize ourselves and find a renewed identity, keeping up with changes. At the same time his daring choice allows him to conquer for a moment a sense of uniqueness that satisfies him to the point of feeling himself the author of the work.

We note that the spirit of originality for those who experience fashion is part of the phenomenon itself and therefore as well as in art, whoever breaks the mold wins, foreseeing a change in the social phenomenon even before a beautiful or ugly shape can please the public.

Originality congenital with functionality, are inseparable elements and determine the return of feedback from the end customer, as well as its duration over time, although many companies in the sector continue to emulate others, without however making any changes and therefore destined to remain in the shade.

The world of design that has always coexisted and raised contents and ideas from art, therefore could not do without the use of ready made, artistic experience cultivated by its founder Marcel Duchamp who had among his most revolutionary supporters; Elsa Schiapparelli.

We can remember, for example, the shoe-hat of the stylist Schiapparelli which, although made by the surrealist painter Salvador Dalì, referred in a fun and pleasant way to the ready made concept, by the artist Marcel Duchamp.

Art has become behavior with Duchamp, identified in the removal of an object and its transfer to another function, so he conquered the world of design right away, turning into one of the most characteristic practices of making fashion too.

The decontextualization of the object, practice used always and more frequently, still allowing today to release ideas, bringing news, freshness and if we always want with a touch of irony as Moschino has handed down to us. [rights reserved]

us to re-evaluate uses and habits, including the work.

Thus, the way of conceiving work, with more flexibility and autonomy, using so-called smart working, also forms part of a new collective vision.

But are we really sure that it didn’t already exist?

Proposed and treated as a completely new condition, in reality if we only browse a few pages back, as well as in the present we discover that it has always existed and that man created the work, in all sectors starting right from home, because ideas have no boundaries, as well as thinking and above all ingenuity.

And therefore analyzing the fashion sector it is quite simple to find prominent characters who if we want have revolutionized our way of dressing, employing remote work, communication to interact simultaneously.

In fact, there is no more active and faster sector of fashion, in the seasonal cyclical renewal and in the speed of response between supply and demand.

Using remote work, we can only remember the character who revolutionized our way of dressing, Morris Levis Strauss through the creation of jeans that was born precisely from home work around the mid-1800s and which sees the first factory only twenty years later.

Morris Levis Strauss of Jewish origins found himself creating a product, immersed in nothing in California during the gold rush and he ended for creating the jeans, through inventiveness and genius, as well as obviously organizational skills.

Although in two eras and with different approaches in creating fashion, London designer Alexander Mc Queen also contributed to a revolution, more than in the concept of creation, for the dissemination of the work, developing with his inspiration the first interactive fashion shows. He allowed this way, to follow live, simultaneously and together, the catwalks, breaking the boundary between the elite and the public, because he was convinced that fashion as communication must be within everyone’s reach, as is art.

Two creative geniuses with surprising intuition, that although different, together they can provide us with innumerable ideas to manage smart working, from our homes where through telecommunication and information technology,  today we can go, travel without borders and operate more efficiently, functional for reach any goal. [rights reserved]

the most felt social transformations by both sexes and is still developing. A game of forms, genres and expressions that involved different brands, first seeing the woman make radical transformations and then the man increasingly in doubt about the static nature of their clothing. The man is now increasingly taking inspiration from the women’s wardrobe, creating a mix that becomes the starting point for every choice, as it was originally for the woman. How many are the garments that we find worn by both? In these cases our real daily challenge is to combine the work of the fashion designer with that of the pattern maker to translate what are originally abstract concepts into concrete data, transforming them into shapes and wearability, thus giving rise to the final product ready to be worn by man and woman.[rights reserved]

interactive and multimedia millennium.

As in the Matrix he definitively relegated the bourgeois uniform to a few restricted occasions, to unleash its multiple personalities, always on the road to new discoveries.

ctive, dynamic, eternal traveler, with no time limits, today more than ever, he is demanding and careful to find his own identity, versatile and multifaceted, in what he wears. It no longer seeks only comfort and functionality, but products able to dress his variable and flexible way of thinking, technological and multi functional.

Countless male personalities still hidden, they show us the multi-facets of a virtual world that appears to us more and more like in a bullet time shoot, where everything is experienced slowly in many sequences, fluid and interactive, transforming reality into simple sensory perceptions. [rights reserved]

iconic fantasies that characterize the world of fashion are durable and timeless and are copied and reinterpreted with the ambition to ride the same commercial wave of those who originated them to distinguish themselves. The original work desired and coveted by all, thus reproduced by competitors to be visible and salable, takes on a higher value after its massification. As Christian Dior said: “We sell ideas” However, the question that can often arise in a globalized and telematic market such as that of the twenty-first century is: how can we determine who is the “0” author of the idea? We can reconstruct the history of the most historic brands and establish who has used tartan, art deco, some other geometric motif or texture to represent their identity, but today we can hardly establish; who originated what. This speed in producing and selling easily has allowed many emerging brands to be on the market, but more and more often without making fashion, or without distinguishing them for originality and exclusivity. In the meantime, on the other hand, it has further strengthened the presence on the market of historic companies, of those brands that have always been at the top of the pyramid and have thus further consolidated their hegemony, as holders of exclusive and primordial ideas. Being in fact at the origin of the fashion system, they have become progenitors. We can then talk about budgets, logistics, marketing and much more but remember that regardless of these aspects, what is most important in fashion is precisely being taken as a reference model, through iconic patterns without seasonality, timelessness. Looking at Liberty London, I let you think .. [rights reserved]

rearrangement, the reference to one’s origins, sometimes even the most archaic and static ones, represents in a decisive way the need to re-establish a sense of belonging and collective identity. These choices, however, attributed to a strong call for stability, do not preclude the desire that unites all global citizens, that is to say that sense of identity and belonging to a single territory, the planet. Every day wherever we walk, run, fly, the globe reminds us that we are all an integral part of a great tribe. The tribal forms displayed on the Pure London catwalks capture for their sense of unity, aggregation, equality, refer beyond traditional borders and invite the search for our primordial origins. Pure London expresses the sense of nomadism through millennials, representing the desire of the new generations to move without borders. After all, what pushes us to cross borders, to inhabit the world, breaking borders, is part of human experience and like fashion, it is a way of living, it is the need to meet new cultures, creating aggregation and renewal of customs and traditions. What emerges for the new seasons is that the collective multi identities represented by an increasingly dynamic, fast and changing market can only be grasped by experts who are able to translate the codes of the new media, into clear and well-defined messages for consumers.[rights reserved]

What is colorless fashion? A uniform, perhaps a dusty, abandoned costume, to be worn without vibrations, with a veil of melancholy for a past that no longer exists? Then, going beyond the uniform monochromatic barrier, to which we give the meaning of rigor and balance, the time has come to explore that virtual labyrinth which undoubtedly represents a changed reality, technological and interactive that interferes with our senses every day, creating various perceptive dimensions, constantly changing. Fashion is then speed, constant change, increasingly multi-faceted and multicolored, it no longer has static boundaries, it is no longer a single way of being, but different ways of acting that change daily, it is action. Summer 2021 geared towards activewear, combines practicality and elegance, savoring tradition, but wants to go beyond borders, abandoning easy color preclusions, for a new need for integration with nature, freeing body and soul. Like a carousel in motion, the chromatic circle rotates offering virtuous and intense colors, on the one hand to be forged in technical fabrics, in the name of movement and action, on the other to be absorbed by purer, organic materials, in harmony with a new environmental balance.[rights reserved]

 

spring – summer 2021. Regenerated cotton and Tencel Lyocell are the most sought after composition, thanks to their ability to absorb the fibers they are versatile and offer us intense colors, lively and in the most varied shades, remaining elastic and smooth to the touch with the advantage of maintaining a remarkable epidermal breathability. The interest in obtaining eco-sustainable compositions with zero environmental impact, gave birth to regenerated cotton, allowing the use of used items, such as rags and old cotton clothes and at the same time to take advantage of the enormous consumption of plastic, to obtain from the bottles recycled, polyethylene fiber. With the recycling of used items, consumption is reduced not only for plastic but also for water, a vital element and indispensable resource for the future of our planet, and it is precisely from this need that regenerated cotton is born. Fashion always versatile to changes has now an increasingly responsible journey at a global level to be made, it must merge with the ecosystem to generate contents capable of expressing the importance of nature in all its forms, it must transmit respect for the environment, as a primordial habitat and use new technologies to reduce waste and overproduction. [rights reserved]

emerge, the knitwear returns in vogue and wherever we find the imprint linked to art, albeit the keyword is innovation. The technology exhibited for the first time as an accessory has in fact become an integral part of our daily life, offering us new visions, new ways of conceiving fashion.Classic materials and shapes offer us infinite recoding, starting alternative visual systems that are just waiting to be explored.  [rights reserved]

the whole neck! Of course you must have a very long neck, I would say ..
aristocratic.. could being! But they are definitely more ethnic, they are simple but precious, they are handmade.Try searching for them and tell me if you find them? Didn’t I lose them.. If you look carefully, you will find them. Here the earrings are worn by Haidy, but not only .. But where did Haidy buy them? In Salvador Bahia, where Haidy was born. When? During a trip, in the year 2010.. The story is as long as the earring! I like to make associations. I like to ask myself where fashion is born? How was it born? .. It is not the first time. These earrings are part of the Studio Cheidy archive. We see, however that they parade albeit different but with a similar size, in the spring – summer 2020 for Valentino. In this case we see an artisan bijoux, created from natural elements belonging to the Amazon rainforest, elegantly adapting to a more over-structured, recomposed and rigorous world, thus mirroring the image of the brand
We could be seen as visionaries, this is interesting because we have always done trend research! We at Studio Cheidy create ideas fashion! But you, what kind of femininity do you recognize yourself in? [rights reserved]