Novas "tendências" de moda: a alfaiataria de quimono em desenhos de vestidos parisienses, africanos e indianos
DOI:
https://doi.org/10.26563/dobras.i38.1624Palavras-chave:
Quimono, Globalização da moda, Orientalismo, Midiatização da modaResumo
O quimono convida a transformação, seja como fibra, como tecido, como moda ou material cultural, desde as primeiras etapas de sua concepção até seu consumo. Criado por designers japoneses para um público japonês, o quimono mantém suas principais características ao mesmo tempo em que atende às novas tendências e exigências. Fora do Japão, o quimono, através do tempo, encontrou uma variedade de territórios onde pôde prosperar como um item de moda. Uma variedade de designers não japoneses reimaginaram e personalizaram o quimono, vendo suas mangas, cores, superfícies e dimensões de material negociadas por meio de uma nova estrutura. Um exemplo importante analisado aqui são os desenhos de Vitali Babani, criados em Paris durante o «pico» do Japonismo (1900-1930). A segunda categoria considerada a seguir é o quimono confeciconado com tecidos africanos encerados e kanga, conforme desenvolvido pelas marcas contemporâneas WAfrica, Lezele e Über Dandy Kimono. Uma terceira categoria, utilizando a técnica específica de tingimento de quimono de Kyō-Yūzen, será discutida devido sua recente transformação da paleta "icônica" do quimono e seus temas para o mundo do sari indiano. Os três exemplos, variando em seu tempo e características materiais, proporcionam um terreno rico para discutir a "niponicidade" do quimono e como ele é negociado e adaptado como uma peça de vestuário usada em corpos reais, assim como uma presença midiática-pictórica. Este artigo analisa estas três categorias de "tendências" de quimono, primeiro analisando como estas práticas de design se interconectam materialmente com o quimono, com foco no tipo de bricolagem que está em ação. Em segundo lugar, a discussão explora como os desenhos são exibidos e anunciados, interrogando-se sobre a oferta, demanda e luxo.
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