Page 15 of LUX.5 by Foscarini

026 design hierarchies that have never been attempted canceling others in a stylistic language in which terms such as form color proportion design and volume no longer mean anything are worth nothing at the old exchange rate are now reconsidered as new conventions that must be re-identified one by one relabeled as something that has just emerged from chaos is newborn where every prejudice regarding style skill habit and practice is eradicated just like schoenberg and the others quirino conti mai il mondo saprà conversazioni sulla moda feltrinelli milan 2005 transparency on the other hand accentuates the meaning that clothing gives to the body given that clothing as roland barthes sustains il sistema della moda einaudi turin 1970 neither hides nor shows but alludes and emphasizes it does not exhibit it semanticizes by dressing the body sustains eleonora fiorani fashion recreates it with the natural quality it subtracts from it and thus disguises it abitare il corpo la moda lupetti milan 2005 transparency hints at and reveals the natural quality of the body thus making the disguise all the more effective finally transparency replaces brilliance and becomes precious in the rock crystal jewels tied with gold thread by giancarlo montebello and in the blown glass bubbles with which marina and susanna sent create airy ornaments and even dresses sculptures that are almost non-existent because they do not dress do not disguise but simulate the body to give consistency even to transparency because we began this excursus on transparency with nylon stockings we will end it with a dress created for the summer of 2005 and made of flesh-colored transparent nylon stockings it is signed with a white nameless label because there is nothing to add that the dress does not already say cristina morozzi oggetti risorti costa&nolan genova 1998 by martin margiela the belgian fashion designer from the legendary school at antwerp known for his recycled fashion the dress made of stockings which is very elegant despite the use of recycled materials fully expresses the poetics of this anomalous fashion designer whose fashion collection after collection appears as a journey through conceptual art the ready-made the unfinished the accumulation and the cataloguing of nouveau realisme his performance/clothing that exhibits what is usually hidden seams stitching and selvage that puts the inside/outside lining and the below/above slips bras stockings revealing as if it were deconstructed architecture the constituent elements of clothing that are usually hidden and bring to a system of perpetual deception the truths that are well known and that no one has the courage to denounce that fashion designers repeat themselves that new clothing is none other than a representation of past styles by doing so he makes fashion which is accustomed to simulation transparent cristina morozzi opera come giornalista critica e art director muovendosi soprattutto negli ambiti di confine tra arte moda e design autrice di vari volumi e cataloghi di esposizioni ha diretto dal 1987 al 1996 la rivista modo e collabora a numerose riviste di settore italiane e straniere tra cui interni the plan e intramuros all attività di ideazione e cura di mostre in particolare per pitti immagine a firenze affianca le consulenze per aziende di moda e di design È docente alla domus academy di milano e all ecole cantonale d art de lausanne she is a journalist critic and art director working along the boundaries between art fashion and design author of several books and exhibition catalogs she directed modo magazine between 1987 and 1996 and has collaborated with many italian and foreign magazines in the field including interni the plan and intramuros in addition to her work conceiving and curating exhibitions especially for pitti immagine in florence she is involved in consulting work for the fashion and design industries she teaches at the domus academy in milan and at the ecole cantonale d art de lausanne 027 rete in fili di carta woven paper strands

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