Against the effervescent backdrop of the nineteen–eighties, characterized by multiple innovations in commercial design and architecture, the works of Sottsass Associati for Fiorucci and Esprit stand out for their creativity. Taking advantage of the freedom to experiment characteristic of the commercial sector, and seeking to align with the wishes of the increasingly demanding, selective and fickle postmodern consumer, the Milanese group found in these collaborations the perfect opportunity to put a new design approach to the test. Indeed, notwithstanding the differences in the two outcomes, these shops, boutiques and showrooms represented a sharp departure from the standard and from the scale, norm and universality typical of the modernist era, thus opening a wholly original cultural season. Drawing on predominantly unpublished archive materials from The Study Centre and Communication Archive, this paper aims to analyze Sottsass Associati’s projects for Fiorucci and Esprit in order to demonstrate how, once more, it was the fashion world which first picked up on and embraced contemporary trends, while it was the retail world which spread them around the globe.
Fiorucci, Esprit e l’immagine degli anni Ottanta nei progetti della Sottsass Associati / Ines Tolic. - In: ZONEMODA JOURNAL. - ISSN 2611-0563. - ELETTRONICO. - 9:1(2019), pp. 119-143. [10.6092/issn.2611-0563/9493]
Fiorucci, Esprit e l’immagine degli anni Ottanta nei progetti della Sottsass Associati
Ines Tolic
2019
Abstract
Against the effervescent backdrop of the nineteen–eighties, characterized by multiple innovations in commercial design and architecture, the works of Sottsass Associati for Fiorucci and Esprit stand out for their creativity. Taking advantage of the freedom to experiment characteristic of the commercial sector, and seeking to align with the wishes of the increasingly demanding, selective and fickle postmodern consumer, the Milanese group found in these collaborations the perfect opportunity to put a new design approach to the test. Indeed, notwithstanding the differences in the two outcomes, these shops, boutiques and showrooms represented a sharp departure from the standard and from the scale, norm and universality typical of the modernist era, thus opening a wholly original cultural season. Drawing on predominantly unpublished archive materials from The Study Centre and Communication Archive, this paper aims to analyze Sottsass Associati’s projects for Fiorucci and Esprit in order to demonstrate how, once more, it was the fashion world which first picked up on and embraced contemporary trends, while it was the retail world which spread them around the globe.File | Dimensione | Formato | |
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