Giulia Bonali, especialista em literatura e em história do design, participa nos Seminários Online do Doutoramento em Design de Moda da Universidade da Beira Interior, no dia 29 de maio (sexta-feira). O tema da sessão é “Wearing the change: Fashion in Portugal after the April Revolution” e vai explorar a evolução do sector português da moda, depois do 25 de abril de 1974.
Dividido em duas partes, o evento tem lugar na plataforma Zoom (ID da reunião: 911 7919 1421). A primeira (das 15h00 às 16h30) é aberta a todos os interessados. A segunda (entre as 16h45 e as 17h15) destina-se aos investigadores em design de moda. Para a segunda parte, deverão fazer previamente a leitura recomendada (ficheiro em anexo).
Este seminário decorrerá em inglês, podendo os participantes intervir em português.
Resumo
Giulia Bonali holds a degree in Modern Literature from Florence University and a
Masters’ Degree in the History of Design from the Royal College of Art and the Victoria and Albert Museum. Since 2009, she has been involved in the planning and delivery of undergraduate contextual studies modules at the University for the Creative Arts (UCA) in London and the Liverpool John Moores University. More recently, she has started teaching fashion studies to undergraduates and postgraduates’ students at the Polimoda Fashion School in Florence, and at the Sapienza University of Rome, Italy. In 2016, she wins the research scholarships for foreigners on Portuguese Culture, Fundação Calouste Gulbenkian, Lisbon.
Part 1:
In 1972 a young woman named Ana Salazar opened her own clothing shop in Lisbon in the Avenida da Igreja. The shop’s name ‘Maçã’ means ‘apple’ in Portuguese and is an allusion to the famous Beatles’ icon as well as symbolising temptation.
Portuguese editor of Marie Claire in the ‘90s, Helena Redondo, when speaking about Lisbon as it was then from a fashion perspective, remembers the city as “suspended,” a city “where people made resignation into a way of living” and in which only a minority were interested in an alternative look. Maçã seemed to introduce a new concept: it welcomed a generation waiting for things to change.
As fashion theorist Elizabeth Wilson points out, fashion can be seen “as a site of struggle, as an arena in which the conflicts of society are played out in semi-symbolic forms that may heighten rather than drug the consciousness of oppression. Fashion, too, as a collective as well as a highly individualistic enterprise, is a means of expression on a mass scale of solidarity and group identity (...)”.
Part 2:
Discussion around the book chapter (here joined) “Leafing through the 1980s in Portuguese Fashion Magazines”, by Giulia Bonali in Consumption and Gender in Southern Europe Since the Long 1960s (2016).