MOMENTING THE MEMENTO - Ryuichi Sakamoto and Daito...

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    Polimoda Research Hub

    14-15 May 2015

    Edited by Polimoda Introduction by Danilo Venturi

  • Edited by: Polimoda via Curtatone 1 50123, Firenze Italy Conference Proceedings 2015 Momenting The Memento, Biblioteca Nazione Centrale di Firenze, 14-15 Maggio 2015

    © International Foundation of Fashion Technology Institutes 2015

    Individual contributors will also retain ownership of separate copyrights in their own contributions.

    All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior permission of the publisher.

    Momenting The Memento ISBN: 978-88-596-1774-7 Graphic Design by The Creatures Factory Printed by: Polistampa (Italy)

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    The Moment is a space-time fragment that lies between the arcadia (a perfect past that never existed) and the utopia (a perfect future that will never exist), where creativity and the highest existential expression spreads in all its emotional load.

    As asserted in the book ‘Momenting the Memento’ that provided the theme for the IFFTI Conference 2015, the Moment is the result of epochal changes that we are still largely living through. Globalisation and maximum territorial expansion on earth create standardisation but also the emergence of extreme localisms. In the impossibility of a further outward expansion, human beings tend to draw into themselves, accumulating positive and negative energies, producing a high level of emotionality as well as a new sense of spirituality. Globalisation leads to a greater exchange of ideas (that result in copying, on the negative side, and the technique of appropriation, on the positive) and a greater exchange of goods and people. They are travelling and mixing more and more, up to the point that the IDentity of a person is no longer defined by one’s DNA, language or ethnicity but rather by the place one decides to stop and live in a certain moment. So, DNA becomes DNi and ethnicity, ethni[city]. As a consequence, now the sense of exotic doesn’t come from what is far, but from our neighbour. We are all foreigners and we need to recognise ourselves as part of the same tribe in a creative act, which we share as an emotion in a given space-time, precisely, in the Moment.

    The internet cancels geography and since geography is made by history, it cancels history too. In fact, when surfing the internet, time passes without a progressive sense of time, rather as an infinite and intense oblivion. Now, new generations don’t use the internet, they live in it. They are technologically native and electronic devices are an extension of their bodies as well as of their minds. Everything on the internet becomes instantaneous and absolute, the choice of a picture or a statement that is manifested by clicking “I like” is at the same time instinctive, primitive, almost brutal, but also evolved for the medium it uses. Everything seems


    to be a matter of style, everyone builds a persona with a profile on social networks, meanings travel in three dimensions through the hyperlinks, but the medium is not the substance. Once boys were serenading girls under their windows and now they send them songs on Facebook. Technology changes but love always triggers the same instincts. Therefore, the internet does not change the nature of the human being, rather it brings it to the extreme in making him [be] come what he really is, a mix of spirit and technique, an animal that needs to build an artificial identity other than that of the animal: idENTITY. In the end, the life we live on the internet is once again nothing else but a Moment.

    1989, downfall of ideologies: as people stopped to believe in clear, strong and opposed tales, there was no longer distinction between mainstream and alternative, in music, in art or in fashion. The quest for sustainability is on everybody’s lips as well as a good dose of hypocritical green washing, great politicians disappear but politics is everywhere, wars are fought in uniform but costumes can cause wars, romantic designers are endangered but every product and even a business plan must be imbued with aesthetic. Classic is the new avant-garde, documentary and news are forms of expression used now by the Society of the Spectacle but the prose loses value in favour of poetry or essay, scoring a point in favour of the concentration of meaning, be it emotional or technical. Propaganda, advertising and shows are all noise because it’s in the Moment that a pulsation goes through a nerve, a click switches from a wi-fi and a word is whispered in a message that can entice. The word, like the image, is now symbolic, iconoclastic and icono[clash] at the same time, paradoxical like the installations of Momenting the Memento, a way for the future to help the past, beyond space, time and defined categories like love after death. Once mythical action was told by a story, today the word generates the action: a pre-Raphaelite post-Soviet style is not possible in history, it is in the Moment.

    Polimoda’s Director

  • Susan Barnwell Spectres and Ethereal Space – The New Dimension

    Armando Chant De-Stabilizing the Frame: the Transitional and Transformative Nature of the Image within Fashion Practice

    Maarit Aakko Crafting Aesthetics: the Meaning of Materiality and Process in Artisanal Fashion

    Anupam Rana, Hemali Mehta Wellness of Women Artisans Working in Hand Embroidery Sector, Gujarat through Ergonomics

    Rakhi Wahee Pratasp Metamorphosis of Ritual and Spiritual Textiles of India into New Fashion

    Ben Barry, Daniel Drak The Monster in My Closet: Men, Fashion and Embodiment

    Daphne Mohajer Va Pesaran From Wajiro Kon to Fruits Magazine:Tokyo Street Fashion Culture’s Imprint on Collective Memory

    Group Trendtank (Bernina Chan, Kasia Luczak, Abigail Rands, Mylène Lemercier) The Science of Fashion. Looping the Memento

    Alyssa Choat Fetishisation of the Image: the Ugly/Beautiful Paradigm

    Binwant Kaur 3DPrinting on Fashion: from Futuristic Conceit to Pragmatic Realization

    Tony Kent, Claire Phipps, Eva Schwarz, Marta Blasquez Cano Fashion Space and Place: Convergence of Consumer Experience

    Sanjeev Kumar Jharkede, Anshoo Rajvanshi Craft Redefined: an Expression

    Kavita Saluja ‘Absent’ is the New Present

    Rhian Solomon, Katherine Townsend, Amanda Briggs-Goode Crafting Anatomies: Material, Performance, Identity

    Maja Gunn, Annika Enqvist in collaboration with the group MYCKET Exclude me in – Redressing Space through a Carnivalesque Act

    Maja Gunn On & Off – The Designer as a Writer

    Shweta Joshi The Drapes Unsung, the Ornaments Uncherished

    Goutam Saha, Satya Shankar Banerjee, Darniya Roy Design of Future: an Invitation to Creative and Argumentative Designers to Debate on Designing Future Society Alice Payne Writing Fashion’s Future: the Gods and Monsters of the Anthropocene





















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    ABSTRACT Living in an invisible world is not new. In June 1692 Bridget Bishop, a washerwomen, was hanged as a witch - the first of many censured individuals executed during the Salem trials. Several reports on the events of the period refer to ‘the wonders of the invisible world.” Recently some inspired creative research by students at Newcastle University gave invisible life to wireless networks - referenced as ‘spectres.’

    This paper will explore contemporary connections between spectres and ethereal space in the form of a discourse connecting fashion innovators of the twentieth century - such as the Italian Futurist Giacomo Balla and his revolutionary manifesto of men’s clothing from 1913; the inspired forms of Rei Kawakubo, Yohji Yamamoto and Issey Miyake who collectively transformed the Japanese sensibility challenged long held attitudes towards clothing and the body and the thought-provoking creations of Vivienne Westwood that blurred genders and created confusion - to established concepts of fashion.

    For millennia many established cultural controls endorsed the separation between the man made world and nature - the animate and inanimate. Within the last decade these distinctions have been shown to be false. According to most astrophysicists all the matter found in the universe today was created at the very first moment of time thought to be about 15 billion years ago. Everything that we can see and experience, from the furthest nova to nanotransistors - everything is composed of stardust.

    We are on the cusp of phenomenal change. We need individuals capable of unifying the technical

    advances in the world we experience with those digital technologies with their invisible underpinnings that are creating the secrets of future generations. We need fearless individuals capable of creating “errors without a past” while gravitating towards some other space beyond utopia.

    SPECTRES AND ETHEREAL SPACE Living in an invisible world is not new. In June 1692 Bridget Bishop, a washerwomen, was hanged as a wi