Alta costura: origem e percurso na cultura da massificação

Detalhes bibliográficos
Autor(a) principal: Costa, Maria Auxiliadora Leite
Data de Publicação: 2016
Tipo de documento: Tese
Idioma: por
Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
Texto Completo: https://tede2.pucsp.br/handle/handle/19539
Resumo: The study object of this dissertation is the couture phenomenon connected with photography’s mechanical reproduction. In this sense, it investigates the origins of couture origin while circumscribing it to Walter Benjamin’s definition of the aura concept. Also, it approaches the aura’s loss under the growing diffusion of fashion photography. Given these facts, the study develops the argument that couture built a structure based on the dialectics of distance and proximity, which are the foundations of the, and whose incidence occurred in two different ways: 1) in the material existence of the garment produced in this dialectics, in its uniqueness, rarity and, subsequently, authenticity, all linked to the know-how tradition and 2) in the perception of distance of the produced garment in the couture context. Conversely, the argument presents that the diffusion of fashion photography shattered the perception of distancing and, paradoxically, the need for the garment’s presence to form fashion and consumption trends, therefore removing the auratic character from couture and weakening its power. Aiming at circumscribing Benjamin’s concept of aura in the field of couture, this research conducted an immersion in Benjamin’s expansion of Marx’s method of historical materialism as well as its profound consequences in the concept of history itself, without which it would be impossible to acknowledge any circumscription. Besides, some fashion editorials have been selected for containing works of well-known professionals such as Tim Walker, Nick Knigth, Andrew Fee, and Koo Bohn Chang, in the sense of evaluating the possibility for fashion photography to stand as a legitimate form of expression and experimentation as well as photographic construction, thus overcoming what Benjamin called creativity fetishism, a mere artifice of photomontage. Last, this research aims at shedding light over this important media phenomenon: fashion
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spelling Motta, Leda Tenório dahttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4719909P1Costa, Maria Auxiliadora Leite2016-12-19T15:04:57Z2016-12-02Costa, Maria Auxiliadora Leite. Alta costura: origem e percurso na cultura da massificação. 2016. 174 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2016.https://tede2.pucsp.br/handle/handle/19539The study object of this dissertation is the couture phenomenon connected with photography’s mechanical reproduction. In this sense, it investigates the origins of couture origin while circumscribing it to Walter Benjamin’s definition of the aura concept. Also, it approaches the aura’s loss under the growing diffusion of fashion photography. Given these facts, the study develops the argument that couture built a structure based on the dialectics of distance and proximity, which are the foundations of the, and whose incidence occurred in two different ways: 1) in the material existence of the garment produced in this dialectics, in its uniqueness, rarity and, subsequently, authenticity, all linked to the know-how tradition and 2) in the perception of distance of the produced garment in the couture context. Conversely, the argument presents that the diffusion of fashion photography shattered the perception of distancing and, paradoxically, the need for the garment’s presence to form fashion and consumption trends, therefore removing the auratic character from couture and weakening its power. Aiming at circumscribing Benjamin’s concept of aura in the field of couture, this research conducted an immersion in Benjamin’s expansion of Marx’s method of historical materialism as well as its profound consequences in the concept of history itself, without which it would be impossible to acknowledge any circumscription. Besides, some fashion editorials have been selected for containing works of well-known professionals such as Tim Walker, Nick Knigth, Andrew Fee, and Koo Bohn Chang, in the sense of evaluating the possibility for fashion photography to stand as a legitimate form of expression and experimentation as well as photographic construction, thus overcoming what Benjamin called creativity fetishism, a mere artifice of photomontage. Last, this research aims at shedding light over this important media phenomenon: fashionO objeto de estudo desta tese é o fenômeno da alta-costura em conexão com a reprodutibilidade técnica da fotografia. Neste sentido está voltado a uma investigação da origem da alta costura e de circunscrevê-la ao conceito de aura, conforme definição de Walter Benjamin, abordando também a sua perda sob a ação da crescente difusão da denominada fotografia de moda. Assim sendo foi desenvolvido o argumento de que a alta-costura formou uma estrutura calcada na dialética do distanciamento e proximidade, base da forma aura, cuja incidência se deu em duplo sentido: 1) na existência material do vestuário nela produzido, em seus aspectos de unicidade, raridade e, posteriormente, autenticidade, todos ligados à tradição do saber fazer e 2) na percepção do distanciamento deste vestuário produzido no âmbito da alta costura. No sentido inverso, argumenta-se que a difusão da fotografia de moda abalou tanto a percepção de distanciamento quanto, paradoxalmente, a necessidade da presença do próprio vestuário para formar as tendências de moda e consumo, retirando, portanto, o caráter aurático do vestuário da alta-costura e enfraquecendo o seu poder. Com o intuito de circunscrever o conceito benjaminiano de aura no campo da alta-costura, realizou-se uma imersão no alargamento operado por Benjamin no método do materialismo histórico de Marx e suas profundas consequências no próprio conceito de história, sem a qual seria impossível dar qualquer credibilidade a tal circunscrição. Além disso, alguns editoriais de moda foram selecionados a partir de trabalhos fotográficos de profissionais conhecidos pela forma inusitada de lidar com a fotografia de moda, assim fotógrafos como Tim Walker, Nick Knigth, Andrew Fee e Koo Bohn Chang foram escolhidos como parte do corpus a ser estudado, no sentido de avaliar a possibilidade de a fotografia de moda se constituir em legítima expressão de experimentação e construção fotográfica e, assim, superar aquilo que Benjamin chamou de fetiche da criatividade, um mero artificialismo de montagem fotográfica. 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dc.title.por.fl_str_mv Alta costura: origem e percurso na cultura da massificação
title Alta costura: origem e percurso na cultura da massificação
spellingShingle Alta costura: origem e percurso na cultura da massificação
Costa, Maria Auxiliadora Leite
Moda
Alta-costura
Fotografia
Aura
Fashion
Haute couture
Photography
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
title_short Alta costura: origem e percurso na cultura da massificação
title_full Alta costura: origem e percurso na cultura da massificação
title_fullStr Alta costura: origem e percurso na cultura da massificação
title_full_unstemmed Alta costura: origem e percurso na cultura da massificação
title_sort Alta costura: origem e percurso na cultura da massificação
author Costa, Maria Auxiliadora Leite
author_facet Costa, Maria Auxiliadora Leite
author_role author
dc.contributor.advisor1.fl_str_mv Motta, Leda Tenório da
dc.contributor.authorLattes.fl_str_mv http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4719909P1
dc.contributor.author.fl_str_mv Costa, Maria Auxiliadora Leite
contributor_str_mv Motta, Leda Tenório da
dc.subject.por.fl_str_mv Moda
Alta-costura
Fotografia
Aura
topic Moda
Alta-costura
Fotografia
Aura
Fashion
Haute couture
Photography
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
dc.subject.eng.fl_str_mv Fashion
Haute couture
Photography
dc.subject.cnpq.fl_str_mv CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
description The study object of this dissertation is the couture phenomenon connected with photography’s mechanical reproduction. In this sense, it investigates the origins of couture origin while circumscribing it to Walter Benjamin’s definition of the aura concept. Also, it approaches the aura’s loss under the growing diffusion of fashion photography. Given these facts, the study develops the argument that couture built a structure based on the dialectics of distance and proximity, which are the foundations of the, and whose incidence occurred in two different ways: 1) in the material existence of the garment produced in this dialectics, in its uniqueness, rarity and, subsequently, authenticity, all linked to the know-how tradition and 2) in the perception of distance of the produced garment in the couture context. Conversely, the argument presents that the diffusion of fashion photography shattered the perception of distancing and, paradoxically, the need for the garment’s presence to form fashion and consumption trends, therefore removing the auratic character from couture and weakening its power. Aiming at circumscribing Benjamin’s concept of aura in the field of couture, this research conducted an immersion in Benjamin’s expansion of Marx’s method of historical materialism as well as its profound consequences in the concept of history itself, without which it would be impossible to acknowledge any circumscription. Besides, some fashion editorials have been selected for containing works of well-known professionals such as Tim Walker, Nick Knigth, Andrew Fee, and Koo Bohn Chang, in the sense of evaluating the possibility for fashion photography to stand as a legitimate form of expression and experimentation as well as photographic construction, thus overcoming what Benjamin called creativity fetishism, a mere artifice of photomontage. Last, this research aims at shedding light over this important media phenomenon: fashion
publishDate 2016
dc.date.accessioned.fl_str_mv 2016-12-19T15:04:57Z
dc.date.issued.fl_str_mv 2016-12-02
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dc.identifier.citation.fl_str_mv Costa, Maria Auxiliadora Leite. Alta costura: origem e percurso na cultura da massificação. 2016. 174 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2016.
dc.identifier.uri.fl_str_mv https://tede2.pucsp.br/handle/handle/19539
identifier_str_mv Costa, Maria Auxiliadora Leite. Alta costura: origem e percurso na cultura da massificação. 2016. 174 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2016.
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dc.publisher.program.fl_str_mv Programa de Estudos Pós-Graduados em Comunicação e Semiótica
dc.publisher.initials.fl_str_mv PUC-SP
dc.publisher.country.fl_str_mv Brasil
dc.publisher.department.fl_str_mv Faculdade de Filosofia, Comunicação, Letras e Artes
publisher.none.fl_str_mv Pontifícia Universidade Católica de São Paulo
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