Publication: Identidades en exhibición. Los escaparates de moda de la Exposición de Artes Decorativas e Industriales 1925, o la puesta en escena de sujetos en quiebra.
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2015-09
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Abstract
El presente estudio plantea una reflexión en torno al fenómeno de los escaparates de moda y decoración de la Exposición Internacional de Artes Decorativas e Industriales Modernas de París de 1925, y en torno a las implicaciones teóricas que éstos presentan en relación con los discursos de la identidad social. En tanto en cuanto el art déco, y la Exposición de 1925 como consumación del estilo, plantearon la difusión y popularización de las artes decorativas francesas, es decir, la combinación de exclusividad y producción en masa, son susceptibles de interpretarse como representación del nacimiento de la sociedad de masas y de consumo: nuevo paradigma cultural, en construcción en aquella época de entreguerras, que simbolizó y puso de manifiesto la pérdida de la individualidad y el desgaste de la hegemonía de los principios de unicidad y originalidad. De ahí la consiguiente fragilidad y el vacío existencial
creado en el seno de esas identidades, que trataron de disimular mediante la celebración de lo opuesto, a través de un culto exacerbado de la apariencia, en una “cultura de superficies” de la que son símbolo los escaparates de las tiendas y pabellones de la Exposición de 1925. El trabajo se propone estudiar cómo la puesta en escena de los objetos que sirven de ornamento y decoración del cuerpo, pensados como prolongación de esos sujetos fragmentados, se manifiesta en realidad como una puesta en escena de las propias identidades desarticuladas que, a través de la dialéctica del escaparate, refleja las necesidades de distinción y de
recuperación de la individualidad.
This study presents a reflection on the phenomenon of fashion and decorative shop windows of the International Exhibition of Modern Industrial and Decorative Arts held in Paris in 1925, and about the theoretical implications they present concerning the social identity. Insofar as Art Deco, and the 1925 Exhibition as consummation style, raised the expansion and popularization of the French decorative arts, that is to say the combination of exclusivity and mass production, they are liable to be interpreted as representing the birth of mass and consumer society: a new cultural paradigm, under construction at the time of interwars, which symbolized and revealed the loss of individuality and wear of the hegemony of the principles of uniqueness and originality. Hence the resulting fragility and existential vacuum created within these identities, which tried to conceal by holding the opposite, through an exaggerated cult of appearance, in a "culture of surfaces" which are symbols the showcases of shops and pavilions of 1925 Exhibition. The work aims to study how the staging of objects that serve as body ornament and decoration, designed as an extension of these fragmented subjects, actually revealed as a set scene of disjointed identities which reflects, through the dialectics of the showcase, the needs of distinction and recovery of individuality.
This study presents a reflection on the phenomenon of fashion and decorative shop windows of the International Exhibition of Modern Industrial and Decorative Arts held in Paris in 1925, and about the theoretical implications they present concerning the social identity. Insofar as Art Deco, and the 1925 Exhibition as consummation style, raised the expansion and popularization of the French decorative arts, that is to say the combination of exclusivity and mass production, they are liable to be interpreted as representing the birth of mass and consumer society: a new cultural paradigm, under construction at the time of interwars, which symbolized and revealed the loss of individuality and wear of the hegemony of the principles of uniqueness and originality. Hence the resulting fragility and existential vacuum created within these identities, which tried to conceal by holding the opposite, through an exaggerated cult of appearance, in a "culture of surfaces" which are symbols the showcases of shops and pavilions of 1925 Exhibition. The work aims to study how the staging of objects that serve as body ornament and decoration, designed as an extension of these fragmented subjects, actually revealed as a set scene of disjointed identities which reflects, through the dialectics of the showcase, the needs of distinction and recovery of individuality.