Undergraduate and graduate programmes offered by the University iuav of Venice:

Fashion Aperture // Fashion Designers and the Moving Image


a three-day workshop


24,25, 26 January 2018

Teatrino di Palazzo Grassi, Venezia


curated by

Caroline Evans, Central Saint Martins

and Alessandra Vaccari, Università Iuav di Venezia


From the beginning of the 20th century, film has been an important form of communication for couture houses, independent fashion designers and major global brands alike. It has been variously used as a means of promoting collections, expressing designers’ creative ideas and experimenting with new forms of fashion image-making.


Crucially, it has proved to be an effective and affordable alternative to runway shows for up-and-coming designers looking for different ways to show their work. In order to open up a debate on how fashion designers have been involved in, and made use of, film, this three-day programme of workshops investigates the historical and cultural implications of the relationship between new visual technologies and new fashion.


The workshop will be followed by a film programme organised by Palazzo Grassi – Punta della Dogana and curated by Marketa Uhlirova to celebrate the ten-year anniversary of the FASHION IN FILM FESTIVAL, London.



workshop 1


Wednesday 24 January 2018, 16

Parallel Stories: New Technologies and New Fashion


Spanning the 20th and 21st centuries, this workshop features fashion newsreels, commercials, fashion films, video lookbooks, film trickeries, and live image projections. From the beginning of the 20th century when the camera entered into the design studios, to contemporary collaborations between fashion designers and filmmakers, the programme investigates the many ways in which fashion designers have used new technologies of the moving image.


followd by…



film programme 1


Wednesday 24 January, 18.30

The Enigma of Clothes


With a talk by Marketa Uhlirova Combining archival shorts from British Pathé and The Library of Congress with films by avant-garde artists and early filmmakers including Georges Méliès, Hans Richter, Man Ray, Kenneth Anger and Christine Noll Brinckmann, this programme celebrates the poetics of cinematic clothing. With an absence of – or disregard for – conventional storytelling, these films focus on animating clothes, in some cases allowing them to assume lives of their own. Presented in rituals such as flying and spinning, folding and unfolding, touching and feeling, soaking and inflating, clothes here become independent, at least to a degree, from the bodies that normally give them purpose and meaning. With their immediate function obscured, they appear as dreamlike, playful and elusive, becoming potent carriers of fascination, desire, emotion and sensual pleasure.



workshop 2


Thursday 25 January, 16

1970s Radical Fashion in Motion

Il manto e la pelle introduced by Nanni Strada


This workshop considers the key role that film played in making visible the radical anti-consumerist ideals of the 1970s Italian design scene. Against this background, the workshop focuses on Nanni Strada’s pioneering film Il Manto e la Pelle (The Mantle and the Skin) and provides a unique opportunity to meet the designer herself. Presented at the XV Milan Triennale (1973), the film explained and promoted her new system of ‘dressing design’: geometric, two-dimensional, compressible clothes assembled with futuristic stitching (the Mantle series) and tight tubular garments without seams – a seamless suit (the Skin series).


Italian fashion designer Nanni Strada has devoted her career to developing unconventional ways of thinking about clothing. In 1971 she designed the so-called abito abitabile (habitable dress) with no lining, no fixed size, adjustable fastenings and no reinforcements, kept together by ‘welding stitches’ (derived from knitwear). Searching for architectural purism in clothing, she has developped her research and design practice over a period of several decades, while also contributing to the theory and culture of fashion design with books such as Moda design (Modo, 2000), and Lezioni. Moda design e cultura (Lupetti, 2013).


followd by…



film programme 2


Thursday 25 January, 18.30

The Inferno Unseen + Live Music

(Italian Premiere)


In partnership with Lobster Films and MUBI, Fashion in Film Festival is proud to present a newly mastered cut of rushes created in 1964 in preparation for Henri-Georges Clouzot’s film Inferno (France 1964) which was never finished. Together with his cinematographers Andréas Winding, Armand Thirard and Claude Renoir, Clouzot staged seemingly endless kinetic and optical experiments focusing primarily on actress Romy Schneider performing simple, seductive actions in carefully composed mises-en-scène. These ‘filmic portraits’ of Schneider invite a comparison with Andy Warhol’s Screen Tests, created around the same time. Although Clouzot’s intentions and working methods were very different from Warhol’s, he too was fascinated by the potential of a screen test – an otherwise rudimentary studio device used to determine an actor’s photogenic appeal – as a stand-alone study of ephemeral and sometimes involuntary gestures, with a unique, almost unsettling temporality. In focusing on moments of holding a pose, rather than acting, he too was exposing the person behind the actor. Though here of course the actor and their dress were treated as a screen on which to project coloured lights, shadows and patterns. Departing from Serge Bromberg’s critically acclaimed documentary about the making of Clouzot’s film (2009), The Inferno Unseen focuses solely on Clouzot’s intoxicating visions, allowing them to build up their own momentum as they unfurl in all their glory. Live music performed by Rollo Smallcombe


The newly mastered edit was created by Rollo Smallcombe and Marketa Uhlirova, and was co-produced by Marketa Uhlirova at Fashion in Film Festival, Kiri Inglis at MUBI, and Serge Bromberg and Maria Chiba at Lobster Films. The edit exclusively features film rushes for Henri-Georges Clouzot’s unfinished film Inferno (1964), left behind in 185 cans at the CNC Archive and re-discovered by Lobster Films in 2007. With Romy Schneider, Serge Reggiani, Dany Carrel, Jean-Claude Bercq, Jacques Gamblin, Bernard Stora, Brigitte Bardot and others. Cinematography by Andréas Winding, Armand Thirard and Claude Renoir. Costumes by Jacques Fonteray. The edit incorporates voice recordings of Serge Bromberg for Monocle’s podcast The Cinema Show (March 2017).




workshop 3


Friday 26 January, 16

Curating Fashion in Film

A Conversation between Marketa Uhlirova, Caroline Evans and Alessandra Vaccari


This conversation explores different ways of conceptualising the intersections between the moving image, fashion, and costume. It offers the students a rare glimpse of how to work in film archives to rediscover lost and rarely-seen films, and how to programme and create imaginative curatorial frameworks that cast film works in a new light so as to bring them to new audiences.


Caroline Evans (Professor of Fashion History and Theory, Central Saint Martins, University of the Arts London) studied art history at University of Sussex and taught at a number of London art schools, including Middlesex, Goldsmiths and the RCA, before joining CSM as a cultural studies lecturer in 1994. She has been instrumental in developing the discipline of fashion history and theory, publishing 7 books and over 40 scholarly articles in the field. Her research focuses on twentieth-century and contemporary fashion; gender and performativity; fashion and silent cinema; modernism; history of the body; pose and gesture; cultural memory; theories of vision and looking.


Marketa Uhlirova (Senior Research Fellow, Central Saint Martins, University of the Arts London) is an art historian with an interest in the display, representation and mediation of fashion and dress, especially in the moving image. In 2005 she co-founded the Fashion in Film Festival, the first major exhibition, research and education project to explore the common ground between the worlds of fashion, cinema, and art. Her research focuses on design and style in cinema; fashion and costume in cinema, photography, retail, and exhibitions; problems of display and spectacle; fashion film; curating.


Alessandra Vaccari (Associate professor of Fashion History; Fashion History and Theory, Università Iuav di Venezia) has an art historian background. Her research focuses on early 20th-century and contemporary fashion, fashion and modernism, history of vision, fashion designers’ narratives.



practical information


The workshop is open to the Università Iuav di Venezia students’ (Arts and Fashion tracks) and will give 2 Cfu D or F.

The workshop is in English. Participation is free.

Registration is required between 8 and 20 January: designmoda.dcp@iuav.it