LA MAJA FLAMENCA

Ana Belén Santos-Orjón Peña 2º Diseño de Moda

LA MAJA FLAMENCA

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LA MAJA FLAMENCA 01

pag....6-23

INTRODUCTION - Abstract...........................pag 6-7 - Concept...........................pag 8-11 - Briefing............................pag 12-13 -Needs.................................pag 14-15 -Materials Research...........pag 16-21 -Collection Materials........pag 22-23

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pag....24-59

RESEARCH

-Brainstorming..........................pag 24-25 -Moodboard...............................pag 26-31 -Research....................................pag 32-33 -Historical Comparisons..........pag 34-39 -History of accesories................pag 40-43 -Brand Research.........................pag 44-49 -Sustainable Brand Research....pag 50-53 -Eco-Design Experimentation..pag 54-57 -Slope construction process......pag58-59

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pag....60-73

IDEAS GENERATION - Line Up........................pag 60-63 - Technical Date.............pag 64-71 - Textile Letter................pag 72-73

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LA MAJA FLAMENCA 04

pag....74-81

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pag....82-95

EDITORIAL

BIBLIOGRAPFY

- Editorial.....................pag 74-81

- Bibliography.....................pag 82-95

A B S T R A C T 6

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fter an initial research on the collection called "La maja flamenca", consisting of 12 bold and summery looks, along with 10 accessories that accompany and integrate the spring-summer collection. Developing in greater detail some of the key aspects present at the time of the realisation especially of some of the looks and accessories selected to bring them to reality.

In general this look is one of the most summery of the collection and at the same time colourful, as it corresponds to the first, colourful stage of the painter Goya, besides having present the flamenco dress for the volumes acquired.

Another of the final accessories we have dedicated to a bag that can be integrated into the vast majority of looks because its colour as versatile as black makes it one of the most characteristic colours of the collection, this complete is formed by a rectangular base and a recycled wooden handles, also maintains the fringe appliqués that make a fluid and unique bag.

On the other hand, we speak of a dress that is part of a long and crossed jacket, this one has the main part in white colour, but the appliques in black. Undoubtedly it has a clear inspiration from the famous costumes of lights and traditional bullfighting in Spain, such as flamenco and bullfighter costumes. The accessories that we talked about in this look are some traditional and delicate shoulder pads with stones sewn by hand in addition to appliques with tassels and leaf shapes.

As for the looks, two of them have been made.

On the one hand, we have a pistachio green top with ruffles on the straps and on the top of it, accompanied by a black and green trouser skirt, with volume on the sides, as these volumes are sewn from the same fabric as the top we were talking about.

Figura1: Obra de Domino Público

Figura 2: Obra de Domino Público

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C O N C E P T 8

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he collection is composed of twelve looks, prêt-à-Couture, spring-summer, inspired by the artist Francisco de Goya, in addition to the Spanish regional costume, such as the Goyaesque costume and flamenco fashion.

Throughout the documentation process we have obtained some very relevant data that reflect the concept of the collection.

On the one hand, the figure of the artist Francisco de Goya and the different stages he went through during his artistic career, as they are very influenced by his personal life, being very different from each other.

It has been seen how in the first stage, the artist tends to see life from a more cheerful and dynamic perspective while, on the contrary, after the course of different wars and personal problems of the painter, we discover a much darker and disturbing Goya, reflected in the same way in the transition of his paintings.

For this same reason, the singularity that his paintings acquire is unequaled, progressing from a realistic character typical of the numerous portraits of the court family, to paintings in which undoubtedly stands out that loose brushstroke that verges on impressionism.

Figura 3: Autorretrato Goya (1815)

Figura 4: El desfile de Alejandro Santizo en SIMOF 2022

For this reason, the designs will have a tour of first looks more cheerful and lively, for the day, ending with those looks darker, for the night.

Other inspirations have been, the Spanish regional costume, such as flamenco fashion, as it is one of the sectors of fashion, which has been most affected by the course of time, and it has been obtained a lot of volume, properly ruffles, in addition to its contours and shapes.

With this, some of the designers who have served as inspiration are Vicky Martí Berrocal’s some of Alejandro Santizo’s less colorful flamenco dress collections.

Figura 5: Vicky Martín Berrocal, 10 años sobre la pasarela: vestido con escote Figura 6 : Vicky Martín pronunciado.2015 Berrocal, 10 años sobre la pasarela: Nieves Álvarez, la estrella de la noche.2015

Tomado por Diario de Sevilla. 2022.

Antonio Pizarro Recuperado por: diariodesevilla.es

Figura 7 : Traje Goyesco 2021

Tomado por el Museo del Prado (2022) por Goya.

Museodelprado.org.

For all this, three different ranges of colors have been obtained according to their time. Giving a degradation of colors, from the most cheerful and vivid to earth tones and ending in a chromatic range almost black. This is the name given to Goya's own term "black paintings".

Tomado por Goaragon (2021)Alberto Mora Recuperado por: Goaragon.es

Tomado por Woman (2022) Marta Nieto Recuperado por: woman.elperiodico.com

Tomado por Woman (2022) Marta Nieto Recuperado por: woman.elperiodico.com

Thus finding a nexus of connection with the costume of the time itself as the Goyesque costume.

In what we can say that they are the beginnings of this union between the regional costume and the first bases in which in the future will lead to what is the flamenco dress itself.

Figura 8: Obra de Domino Público

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C C C OO NM P C L E E PM T E

Her embroideries were of oriental origins, such as dragons or lotus flowers. But later, it obtained a certain European taste, represented by embroideries of tulips, roses or carnations. Becoming a symbol of Spanish regional clothing.

ollection composed of 10 flamenco accessories correlative to the collection "La Maja Flamenca", of the spring-summer season of 2022 and 2023.

Figura 9 : Detalle de dos de los trajes regionales españoles expuestos.

Inspiration originated from the trajectory and life of the painter Francisco José de Goya, together with the combination of the different regional costumes, such as the flamenco, Goyaesque or "traje de luces" (costume of lights).

A palette of colors has been obtained according to the prolongation of the artist Goya's life, there being a connection between this degradation of colors, and the combination of silhouettes and shapes typical of the famous regional costumes.

Figura 10 : Juego delantal y pico huertana amarillo.

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Tomado por danzaymas.2022 Recuperado de danzaymas.com

Figura 11: Dragón Chino.

Figura 14 :Detalle de una hombrera de uno de los vestidos de luces

Tomado por viaje a china,2022 Recuperado de viaje a china.com

Tomado por Victor Hugo 2017 Recuperado de el país.com

On the other hand, the shapes of the collection represent the most common accessories of Flamenco dresses, such as bouquets or pionías, which serve the function of a kind of crown or comb, composed of flowers, symbolizing beauty, happiness and love.

Considering some of the most significant colors of the collection, such as red and black.

After a previous search of the references that are reflected in the collection of accessories, we have obtained some of the most iconic elements in flamenco fashion, such as: The famous and most significant Manila shawl, name that acquires by the city of Manila (China), where it comes from, about 4,000 years ago. It is still in use today, but throughout history it has undergone several changes, because at first it was more common in darker colors such as brown.

As for the costume of lights, we cannot forget the shoulder pads, rich in ornamentation, created with embroidery of canutillo thread, gold, silver or jet, which in addition to fulfilling an aesthetic function, also fulfill a protective task.

Tomado por abc de Sevilla Recuperado por Sevilla.abc. es So, the greater the ornamentation, the higher the status acquired in the rank. All these trimmings are called Alamares. They have served as inspiration especially in some of the earrings of the collection.

Another of the elements that acquire great importance both in our collection and in flamenco fashion are the earrings, mostly in the form of hoop or teardrop, the latter known as coralitos, both can be accompanied by the flowers mentioned above.

All these complements originating from such references will be created with the most common materials of flamenco goldsmithing, such as: enamel, crystal stones, resin, mother-of-pearl, porcelain, metal or fringe.

Figura 12 : Ramillete flor flamenca.

Figura 13: Pendientes flamenca

Tomado por anfermoda.2022 Recuperado por Anfermoda. com

Tomado por two june.2020 Recuperado por twojune. com

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B R I E F I N G

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he following questions will help you to know more about the collection we are talking about.

WHAT?: It is a collection composed of 10 accessories, designed to complement the collection of the looks "La maja flamenca", thought of exclusive complements typical of the pret-â- Couture, but which in turn maintain a line that refers to the regional costumes, such as the flamenco dress.

HOW AM I GOING TO DO IT, PATTERN MAKING, DESIGN?: For the realization of most of the accessories we have thought of recycled and sustainable materials, as long as they adapt to the shapes and contours by which the collection is defined.

Being very present the use of ruffles and bangs, in addition to a color range in which while defining the concept of goya also represent the most traditional colors of flamenco fashion such as red and black.

WHERE? Being an online collection consumed internationally.

WHAT FOR? The aim of this collection is designed so that the public can consume a complement in which a wink to the Spanish culture is made in addition to consuming a piece in which he has also thought of one of the most iconic painters of Spain as Goya.

FOR WHO? Collection dedicated to all those women who are looking for a unique and exclusive accessory, with origins in Spanish culture.

PRICE? As for the economic range we are talking about a variability, depending on the complexity of the complement, all of them within an economic range of 30 euros to 150 euros.

WHEN?: Spring season, summer 2022-2023.

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Figura 17: Obra de Domino Público

B N E E D S

Sustainable:

efore we started the collection we are talking about, we have thought about some of the needs that the consumer will get, in the case of consuming our garments.

Some of these needs will be associated with a series of chemical properties that make this need possible: Figura 15: Obra de Domino Público

Lightweight:

Since we are talking about a collection of accessories, one of the most demanded needs by the public is its lightness, since these accessories are designed to be worn for long hours without any inconvenience to the consumer.

A need that is possible due to its low density and fluidity, to be worn for a long period of time.

Figura 16: Obra de Domino Público

Recyclable:

Necessity for which the great majority of complete products have been designed with the objective of starting from recycled objects.

In a way that avoids industrialized and unsustainable products for the environment.

Volume:

Because this need makes possible certain structures characteristic of flamenco fashion, and thus acquire the large number of elements associated with volume and movement such as bangs, flowers or ruffles, especially characteristic in flamenco fashion.

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For us it is essential that the collection we are working for is environmentally responsible, using natural materials and avoiding toxic elements for the environment.

Adaptable:

Due to the fact that we are designing a complete collection adapted to an existing collection such as the maja flamenca, we have considered that this need is important both when adapting to this collection and to maintain the same line of origin to the Spanish regional tradition.

Quality:

We must not forget that the collection for which we are working is an extension of the concept of "La maja flamenca" and therefore a collection of pret-â- Couture, where a special treatment is required in particular with the contours and materials that make it possible in order to achieve elements with greater durability, since it will remain unchanged over time thus becoming complements of greater value.

Striking:

This is one of the most evident needs within the collection, as the fact that it is inspired by flamenco fashion means that it is characterized by its large contours and silhouettes, applied by means of ruffles and decorative elements that make it have great qualities in terms of density, both in mass and volume.

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M A T E R I A L S R E S E A R C 16 H

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e proceed to show you the investigation of materials prior to the development of any collection that covers the world of fashion and its accessories.

For all the materials that are going to be exposed have been attributed some of the properties that acquire these materials, in addition to relate each of them with their most appropriate and inappropriate use.

- Its improper use means that it cannot be exposed to strong heat, in addition to not being able to be used in large sizes, due to its high density.

Plastic:

Stones:

Where we can find materials generated through it, such as: Resins, Per, Silicones, Acrylic (dry), among others...

- Its most suitable use would be for any function that requires waterproofing, as well as being a material that can easily be adapted to the economy of a ready-towear collection.

Figura 18: Obra de Domino Público

The properties attributed to this group are: Resistance(physical), Density(physical), Combativity( physical), Rigidity(physical), Ductility(physical), Opacity(Physical), Touch(physical), Reactivity (chemical), Organdeptics (physical).

This group can be categorized by normal, semi precious or precious stones.

-Its most appropriate use is for that exclusivity, making it a richer and more exclusive material.

- Its unsuitable use is for those collections that require certain exclusivity such as high jewelry or luxury collections, besides not being a very sustainable material and would not withstand high temperatures.

-Its inappropriate use would be when applied in large volumes.

Figura 20: Obra de Domino Público

The properties attributed for such material are: Strength(physical), Density( physical), Combativity( physical), Natural( physical), Stiffness(physical), Opacity( physical), Touch(physical), Corrosion(chemical), Sustainability( physical).

Living Materials:

The beginning of this group is in the Neolithic period, working with materials such as: adobe, esparto grass, leather, cotton, silk, hemp, among others...

As for the relationship of the material with these properties, we can say that it provides: Viscosity (physical), Reflection (physical), Solubility (physical), Plasticity (physical), Malleability (physical), Conductivity (physical), Ductility (physical), Touch (physical), Toxicity (chemical), Corrosion (chemical), Reactivity (chemical), Organdeptics (physical) and Recyclability (physical).

Metals:

- Its most appropriate use is in cases where unique and exclusive complements that require a certain delicacy are sought.

Group in which a large number of materials are integrated, such as: Gold, silver, aluminum, stainless steel, tin, cobalt and iron.

- Its most appropriate use is in the functionality of Zippers or Snaps, which are applied in small quantities.

- Its inappropriate use would be if we were looking for sustainable materials that do not harm both the planet and the environment.

Figura 19: Obra de Domino Público

The properties attributed to this group are: Moisture(physics), Biodegradable(physics), Reflection(physics), Natural(physics), Hydroscopy(physics), Opacity(physics), Touch(physics), Corrosion(chemistry), Sustainability(physics), Recyclable(physics).

Figura 21: Obra de Domino Público

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M A T E R I A L S R E S E A R C 18 H

Tissues:

Glass:

- In the case of natural fabrics such as: Abaca, Cotton, Organic cotton, Bonote, Hemp, Linen, Ramie, Sisal, among many others...

- Its most appropriate use would be for garments that are designed for a long period of time, being basic garments that would always be a closet background.

- Its inappropriate use would be in cases where we seek a sustainable collection and committed to the environment.

- Its most appropriate use is seen in small details that add exclusivity to the garment.

Fragmented group between natural and artificial tissues.

Figura 22: Obra de Domino Público

- In case of artificial fabrics such as: Polyamide ( also known as Nylon), Polyester, Kevlar, Nomex, HDPE: (High Density Polyethylene), Thundero, Spectra, Thinsulate.

- Its most appropriate use is when creating low-cost garments that do not require such exclusivity, such as ready-to-wear collections or even work clothes.

- Its inappropriate use is due to the lack of sustainability involved in the process of elvoration.

The general properties given to this material are: Thermal(physical/chemical), Elasticity(physical), Biodegradable(physical), Synthetic(physical), Viscosity(physical),Reflectivity(physical),Absorbent(physical), Pilling(physical), Malleability(physical), Conductivity(physical), Ductility(physical), Tact( physical), Reactivity( chemical), Recyclable(physical).

Grouped by materials generated from it, such as mirror or laminated glass.

- Its inadequacy could occur in those garments or accessories that require daily use, in addition to the fact that if it is supplied in large sizes it would lose functionality.

Inks:

The properties given to this material are: Density(physics), Compact(physics), Reflectance(physics), Stiffness(physics),Ductility(physics), Touch(physics), Recyclable(physics).

Figura 24: Obra de Domino Público

Group that in turn is fragmented into chemical or natural, the latter obtained through vegetation.

- In the case of chemical inks we can find platinum, acramines, lacquers or the best known as water-based inks.

- Its most appropriate use is when industrializing a certain pattern in a multitude of garments, which makes it very useful for prêt-à-porter collections.

- Its most inappropriate use is when we are looking for sustainable and ecological garments.

Wood:

Figura 25: Obra de Domino Público

Very useful material for the generation of structures. Among its types we can find: Pine, Maple, Beech, Walnut, Cherry, Oak, Mahogany, Teak.

- Its most suitable use for fashion design would be applied in small quantities using very light particles, easy to carry.

- Its most unsuitable use would be when exposed to high temperatures, due to its easy burning.

Figura 26: Obra de Domino Público

Figura 23: Obra de Domino Público

The properties attributed to such material are: Strength(physical), Thermal(physical/chemical), Density(physical), Compact(physical), Biodegradable(physical),Resistance(physical),Absorbent(physical), Natural(physical), Stiffness(physical), Ductility(physical), Flammable(chemical),Flammable(chemical),Flame retardant(chemical), Opacity(physical), Touch(physical), Corrosion(chemical), Sustainability(physical) and Recyclable(physical).

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- In case of natural titas we can find especially of three different groups; being these of plants, such as: Catechu, Gutagamba, Himalayan rubhada root, Indigofera plant, Kamala tree, Consolida|Larkspur plant, Pomegranate root or Rubia tinctorum, Myrabolan fruit, Punica granatum|pomegranate peel, Reseda luteola|Gualda, animals, such as: Cochineal bug, Cow urine, Lac bug, Cañadilla Murex brandaris, Octopus sepida or minerals, in which are found: Arsenic, Clay, Cadmium, Coal, Chromium, Cinnabar, Cobalt, Copper, Iron oxide, Lead, Limonite, Titanium, Zinc.

Figura 27: Obra de Domino Público - Its most appropriate use is when designing for the environment and sustainability.

- Its most inappropriate use is when it is intended to have large amounts of industrialized fabric.

The general properties attributed to these materials are: Moisture(physical),Biodegradable(physical),Absorbent(physical), Solidity(chemical),Solubility(physical), Hydroscopicity(physical),Flammable(chemical), Touch(physical),Toxicity,(chemical) (especially in artificial inks),Reactivated(chemical), Sustainability(physical).

Leather:

Fragmented group between natural and artificial leathers: - Within the natural skins we can find: Originated by cattle, goats, sheep, calves, pigs.

Figura 28: Obra de Domino Público - Its most appropriate use is in very exclusive and unique garments, as well as in very small quantities.

- Its most inappropriate use is due to the animal saccharification that it undergoes before obtaining the final material.

Therefore, the most inappropriate use would be to use it in large quantities.

- As for the artificial feet, we find the synthetic leather. In which the skin is simulated, without being made of such material.

Figura 29: Obra de Domino Público - Its most appropriate use is in the industrialization of accessories, both in bags and shoes (these being the most common).

- Its most inappropriate use is when the product is exposed to high temperatures.

The general properties given for such material are: Resistance(physical),Thermal( physical and chemical), Biodegradable(physical), Absorbent(physical), Solid(chemical),Natural(physical), Rigidity(physical), Ductility( physical), Flammable(chemical), Touch(physical),Corrosion(chemical),Reactivity(chemical), Organdeptic(physical).

Clay:

As for this material is very present in the manufacture of ceramics. Its types can be kaolin, stoneware, ball clay, fireclay and clay.

Figura 29: Obra de Domino Público - Its most appropriate use is when applied in small quantities, since it would lose its functionality due to its density.

- Its most inappropriate use is when applied in large masses.

The properties acquired for such material are: Thermal(physical/chemical), Density(physical), Compact(physical),Moisture(physical),Absorbent(physical),Solid(chemical),Solida(chemical),Solubility(physical), Natural(physical),Malleability(physical),Hydroscopy(physical),Opacity(physical),Tactility(physical), Orgaandeptics(physical),Sustainability(physical), Recyclable(physical).

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C O L L E C T I O N

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Figura 32: Restos de acrilico. 2022

nce a specific study of the appropriate materials has been made when creating a fashion collection, we proceed to develop specifically the materials that have been used in this collection called "La Maja Flamenca".

The most recurrent materials have been:

Figura 30: Pedrería negra. 2022

Plastic: Trimmings.

Because of its versatility it makes possible to obtain this kind of trimmings that treated with delicacy due to its integration sewn by hand to one of the accessories, providing a certain exclusivity that at first glance is not associated with this material, but in this example we can see how it is possible.

On the other hand, the reason that has led us to use this type of material has been for its lightness and versatility, because if we had used the real stones that simulates the material, it would have a higher density which would make it heavier and less practical for the consumer, without forgetting the increase in the cost of the product. Something that has been avoided by using the material we are talking about.

Figura 31: Laminas de aluminio.

Tomado de arcoiris libreria.com 2022

Aluminum: The fact that this material has been placated to the collection is due to the resistance and firmness that it contributes to those complements more weak or with lack of structure. In addition to providing these requirements, it makes it easy to mold, thus achieving the desired structure without the need for a multitude of tools. Along with all these qualities of this material, it adds the lightness that perhaps other similar materials can not provide us, being the case of iron or other firmer and heavier elements.

Recycled acrylic: Material in which undoubtedly wins for its sustainability, due to being a totally recycled material obtained by the acrylic discarded after having already been used, because the fact that this material has been very recurrent and not another is due to the originality and character to the complement, since no piece will exist the same as the other, in addition to betting on the most sustainable diesels.

Figura 33: Obra de Domino Público Natural and artificial fabrics: In this case, the use of synthetic fringe has been one of the most recurrent materials when manufacturing the collection, all this is due to the lightness that such material provides, besides being one of the easiest materials to mold, because to all this is added the fluidity and movement when the user is walking. In the case of this collection, it has been applied in the contours of the shoulder pad and in one of the most visible sides of the bag.

Figura 34: Bastidor punto de cruz.

Wood: Well we have opted to use the wood itself of the typical frames dedicated to embroidery, by the echo of having the possibility of recycling such material that is no longer in use, thus giving them a second life, in this case as a handle of a bag, also the fact of using this material and is due to the structure that brings in the garment, plus some character and personality, because we can say that, seen from the textile field, perhaps it is not one of the most recurrent materials. Thus rewarding originality and sustainability in the same material.

Recuperado de Amazon.es 2022 Figura 35: Obra de Domino Público

Metal: (clasps, fasteners, nuts) In this case the most recurrent type of metal in the collection has been stainless steel, because most of the adjustments that make the garment more useful is thanks to this material as it is used in zippers, nuts (in case of earrings) or automatic buttons.

The fact that these adjustments are manufactured by this type of metal, is due to its low cost, since in case of using silver or gold would increase a higher cost for the consumer. The chosen one implies a more practical and economical collection.

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B R A I N S T O R M I N G 24

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M O O D B O A R D

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R E S E A R C H 32

A

fter a thorough research process on Prêt-à-Couture we

Figura 36: Obra de Domino Público

As for the term

Prêt-à-Couture itself, we must take into account that it is one of the most recent, within the progress of fashion, despite not having a specific time when it began to be implemented, we can say that it was around 2006, when its emergence is intuited, although not in a very clear way.

By this time society moves by an economic and social system based on private property, in terms of the means of production such as capitalism. In which everyone works and it is no longer so common to dedicate their time in several tests to obtain a garment, proper for the day to day. (E. Funes, personal communication. 19 November. 2021) Thus, the Haute Couture houses realize that this service, for For the reason that a new segment which the consumer was preof fashion emerges, in which it is viously satisfied, is no longer allowed to obtain fast garments to sell useful and that, on the contrary, at prices that are above Prêt-à-Porter, many of the garments are chabut below Haute Couture. (Conchy & llenged by the prices and the Richard,2017, pag wed). speed of the markets and production. Thus losing much of their profit.

Figura 37: Obra de Domino Público

Specifically, the main objective was to find a solution so that haute couture ateliers would not close their doors due to the disuse of Haute Couture. And thus to look after the interests of consumers who do not want to be dressed like thousands of others, but also cannot or do not want to pay a fortune for a tailor-made suit

Thus obtaining a system that unites the traditional of haute couture and the popular and massive of industrial manufacturing.

As the French designer Jean Paul Galtier said, referring to this new system: "Fashion is, by essence, a dream, but the times we live in are pushing creators to show less abstract dreams and more real and concrete ones".

This is why the term Prêt-à-Couture triumphs, for all those consumers who are more inclined to a personalized service, with a touch of uniqueness in terms of showrooms and fashion workshops, compared to the new stores of the big stores.

Figura 38: Obra de Domino Público

On the other hand, we must admit that although it seems a simple and easy to understand term, we must admit that when cataloging certain garments, it can have a somewhat confusing terminology, as there are some market sectors that have appropriated the terminology. Such is the case of some Spanish designers, from Massimo Dutti to Milano or Artesanos Camiseros. Even some brands sold in El Corte Inglés, such as Emidio Tucci, sell you an exclusive use for choosing a certain size or buttoning, which is really part of a chain of sizing, through standardized measures, which does not meet the exclusivity of which we speak, thus creating some confusion with the terminology.

In short, this system is excellent if the consumer is looking for an exclusive and unique garment, without the need to invest maximum amounts of money, thus having a garment for a single person.

But in the same way, we must also be aware that this unique garment we are talking about, partly depends on the ethics of each designer, because it is he who decides how many times he wants to reproduce the same design and not to sell false exclusivity. (J. M. Montes-Fernández,2005,pag wed.)

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H I S T O R I C A L C O M P A R I S O N 34 S

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aving clarified the concept and the inspiration that has been forming this collection, we proceed to expressly expose some of the looks in what will explain the comparison of the inspiration we talked about the final result of some of these looks The inspiration that has led us to end As one of the first looks we can observe up in these looks, is the admiration especially the union of two of the styles for some of the Spanish regional that we have previously exposed, because costumes such as; the bullfighting at the top we can see a clear inspiration in costume, the Goyesque costume, as the flamenco dress, as the ruffles is one of a symbol of the traditional and eco- the most significant elements of it, as well nomic boom stage of that time or the as the objective of highlighting the femiflamenco dress, as one of the most nine contour through a bodice that highlisignificant icons in Andalusia, espe- ghts the figure of women. (The Andalusian cially in one of the Spanish provinces Palace, 2020) Figura39: Vestidos de las such as Seville, where it acquires a Bailadoras de Flamenco great devotion in the famous Feria de Abril (April Fair).

On the other hand, the upper part we wanted to refer to the costume of lights, but this time transformed into a skirt that composes very significant elements of it such as tassels on the sides and bangs at the top.

Tomado por El palacio Andaluz (2020). Recuperado de. El flamenco en Sevilla. com Taking into account the inspiration to such costumes, we proceed to briefly expose some data of interest own such styles ; It should be noted that before the seventeenth century, bullfighting was not considered an official profession, and therefore the costumes were not seen as elements of importance, but it is in the seventeenth century, when the first bullfighting costumes appear, as more special and delicate elements, being back in 1730, when the bullfighters were dressed by the Maestranza de Sevilla, in which they are acquiring specific colors, such as maroon to be highlighted

One of the most curious data in relation to the collection, arises in 1787 because at this time the painter Goya portrayed one of the suits of green color with gallon (Insignia that is put on the cuff or on the arm of the uniform of the bullfighter suit) of shining silver and with silver trimmings in the seams. Thus proving the admiration with which the painter looked at these costumes.

(Anonymous, 2022) As we can see, at a glance the highlight of this look is the volume of the back, highlighted, as well as a clear inspiration the Goyesque costume (originated in 1954 as part of the Fair and Festival of Pedro Romero.)For this is composed of a dress or a 'midi' skirt or long flight, garnished with lace and embroidery, a bodice or a jacket with volume on the shoulders. On the other hand, some modifications have also been created, as the skirt's hem is shorter in the front, in addition to creating a more exaggerated volume than the inspiration we are talking about (E. Albendea, 2022).

Figura 40: El Origen y la historia del traje de luces

Tomado por Mastoro (2022).

Recuperado de Mastoro.es

Figura 41: Mujeres ataviadas con este traje típico posan en 1996, antes de la corrida en Ronda. Entre ellas, Belén Ordóñez con un diseño en tonos corales / Gtres

Tomado por Estrella Albendea.2022. Recuperado de okdiario. com

As for the upper part, we have kept a bodice typical of the inspiration costume, but adding a greater volume in the sleeves more typical of the flamenco costume.

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C

rossed dress with certain origin of the suit of lights of the nineteenth century, because the famous bullfighter Francisco Montes made some changes to the suit, adding sequins and buttons of adornment, which are reflected in this design. The modifications of the bullfighter are due with the aim of converting that suit of low quality typical of the less affluent classes, in what it is today, a suit that requires some exclusivity typical of the wealthiest class of the time.

Figura 42: El Origen y la historia del traje de luces

Look in which a tight bodice is combined at the top, typical of the Goyaesque costume in which no adornment is enough, as these bodices are usually accompanied by a jacket with volume on the shoulders, a tailored comb and a mantilla rondeña or madroños and occasionally, a sash with a bow and a flower in the hair. Its origin comes from the French fashion.

Maintaining to this day that exclusivity, composed of elements of the suit itself, such as the hoops and males, corresponding to that name those specific decorative elements of the bullfighter's jacket. (Muñoz Villalta. M,2020).

Pues como podemos ver este look es mucho más depurado de lo que suele ser el traje goyesco, pero no nos podemos olvidar de la falda que lo acompaña, pues esta se lleva un gran protagonismo por su grandioso volumen, propio del estilo del que hablamos.

Pues ya que lo tenemos tan presente en este look nos perece muy interesante que tengas claro su origen ya que proviene de las pinturas de Goya, haciendo referencia a la vestimenta del Madrid del S.XVIII que inspiró al artista (E.Carlos, 2017)

Figura 43 : En la 52 edición de la Corrida Goyesca de Ronda una joven Cayetana Rivera se vistió con un diseño azul turquesa con detalles en color crema y se dejó ver paseando en un carruaje junto a otras acompañantes / Gtres

Tomado por Estrella Albendea.2022. Recuperado por okdiario.com

Tomado por Mastoro (2022).

Recuperado de Mastoro.es

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W

e can say that of thepreviously exposed look, this is one of the look that perhaps more difficult to see at first glance which of them has been the most predominant inspiration, but if we look at the details that look, we can see some of the appliques of nets and bangs, Moreover, this is one of the looks in which we have thought about its future realization, putting in the foreground the materials with which it would be made, being silk one of the most predominant materials of the look, as it is in the bullfighter's costume. (Muñoz Villalta, M.2020)

Figura 44: Carmen Ordóñez vestida de dama goyesca, de color naranja, en una imagen perteneciente a la corrida de la Feria de Pedro

Tomado por Estrella Albendea.2022. Recuperado de okdiario.com

Figura 45: Obra de Domino Público Figura 46: Obra de Domino Público

On the other hand, we have also opted to expose this look showing its strong inspiration by the flamenco dress, as it is one of the styles that we have had more present throughout the development of the collection. We can see how the main element that characterizes this look is the ruffle that comes from the waist, as this is one of the symbols that allude to this style. For its roots are in Seville and in the custom that had the peasants and gypsies, in the late nineteenth and early twentieth century, to use a robe with ruffles as a uniform to do their chores.

Specifically in the year 1847, with the celebration of the April Fair in Seville, where many gypsy women accompanied their husbands and used these peculiar outfits to show off at the event.

Figura 47: Complementos del traje de Flamenca

Tomado por El palacio Andaluz (2020). Recuperado de. El flamenco en Sevilla. com

Since that precise moment, the suit continued its evolution, in such a way that it crossed borders and became part of the fashion industry. Well, we can say that this costume remains alive as it adapts over time, but always maintaining a number of characteristics of the origin that define it. (The Andalusian Palace, 2020)

In short, and under personal observation, it seems to me that we should be very pleased that our own country provides us with such characteristic and exclusive costumes. For this makes it much easier when creating other designs because, with such a complete and well established bases makes the fusion of different styles is wonderful because between them include several things in common, thus affirming what we already knew and that is that all these concepts are not independent, but that are chained with each other.

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o carry out the specific collection of accessories, which we have taken from the concept itself formerly known as the Maja Flamenca, we have obtained a rigorous research on the emergence of accessories so essential now in our daily lives and as unique as are those of the collection for which we have worked.

Nowadays we see accessories as an element whose main objective is to complete a look or outfit.

But have you ever wondered why these elements we are talking about arise?

THE FIRST ASCIDIONAS We can say that the accessories come from much older stages than we thought, because in prehistoric times they were already used by our ancestors, with very different functions than today, as they were seen as mostly protective, superstitious or religious elements.

Figura 48: Así eran las primeras joyas de la prehistoria reciente.

Nota: Adornos personales encontrado en yacimiento de Granada.

Tomado por: El independiente.2018 Recuperado por elindependiente.com Its first origins are due to minerals, such as rocks or animals, such as snails, or what is obtained from them, such as teeth, skin or bones. A breakthrough came with the discovery of metal or some precious stones.

These first jewels were reproduced in the area of Egypt, expanding to Mesopotamia, having copper as the main element, its use required a symbol of wealth and power. The most common accessories used at this time were bracelets, necklaces and amulets.

Figura 49: Las primeras joyas del Antiguo Egipto se fabricaron con Hierro de Meteoritos.

Tomado por: ABC (20/08/2013) Recuperado por ABC.es.

Meanwhile, if we make a comparison of eras; we see how in the Middle Ages there was a greater fondness for rings, brooches and fibulas. Unlike the Renaissance which has a tendency for tiaras, earrings and bracelets.

After the realization of these different pieces, we reach the industrial revolution, where the use of costume jewelry arises as more modest jewelry, used by a working middle class (Algarabia.2022).

BAG

Figura 50: El bolso durante la Edad Media

Origin. References to its use have been found in Egyptian culture, in the Bible, and even in the remains of a bag buried next to Otzi, a European mummy whose death dates back to between 3400 and 3100 a.C. During the Middle Ages they were common among men and women, who wore them as small bundles incorporated into belts to carry coins. However, in the 16th century, with the invention of trouser pockets, their use among men was reduced, becoming an almost exclusively feminine garment.

Tomado de Trinidad (2019) Recuperado por: trinidadvintage.com

During the Middle Ages they were common among men and women, who wore them as small bundles incorporated into belts to carry coins. However, in the 16th century, with the invention of trouser pockets, their use among men was reduced, becoming an almost exclusively feminine garment.

Figura 51: 1537. Hans Holbein. Enrique VIII. Detalle.

Galería Nacional de Arte Antiguo (Roma) Tomado por Diana Fernández (2014) Recuperado por vesturarioescenico.com

However, with the rediscovery of Pompeii in 1748, fashion trends shifted to stylized Greek silhouettes, and the thick inner bags were redesigned into small totes made of very fine fabrics such as silk, which were now loaded with straps tied at the sides (Patricia Dorra. 2022).

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BUTTONS Its use comes from very early times, such as prehistoric times.

But let's say that its mass production is produced since the twelfth century. Always present in the male wardrobe. During the Middle Ages they were made of horn or glass. In addition, they gained in aesthetics when haute couture feminized it and from 1930 (Diana Fernandez.2014).

SHOULDER PADS

Figura 52: Botones de la antigüedad. Cerámica y piedra.

Tomado por Diana Fernández (2014) Recuperado por vesturarioescenico. com

We can say that the beginning of this accessory is seen acquired mainly in the television media back in the 30s, by the hand of the designer Elsa Schiaparelli also known for other trends of groundbreaking character ("Jumpsuits", zippers and bright colors). A year later, we could see Joan Crawford in the movie "Letty Lynton" dressed with shoulder pads. Leaving behind the image of demure and delicate woman.

And it is in the Second World War, in the 40's, where women began to militarize their clothes influenced by the masculine style and eager to fight. Suits, short wide jackets and shoulder pads were used in order to achieve a wider effect of the woman's back and an image of strength.

Figura 53: Hombrera Flamenca

Designers Thierry Mugler and Claude Montana made on the backs of their mannequins almost a perfect triangle that today reminds us of the imposing shape of the trunks of rugby players (an effect that also simulates these shirts). Hollywood actresses of the time, including Joan Crawford and Ann Blyth wore these voluminous garments to stand out and feel empowered.

Tomado por Isabel Fernandez (2022) Recuperado por Isabelhernandez.es

Designers Thierry Mugler and Claude Montana made on the backs of their mannequins almost a perfect triangle that today reminds us of the imposing shape of the trunks of rugby players (an effect that also simulates these shirts). Hollywood actresses of the time, including Joan Crawford and Ann Blyth wore these voluminous garments to stand out and feel empowered.

But undoubtedly its golden age was in the 1980s. Women began to make themselves heard louder than ever, they began to grow in the labor market and to project authority, power and strength. Along with others (grunge style, sequins, neon...) it is the trend that became known as "power dressing" (Sara B.G. 2020).

MANILA SHAWL

Figura 54: Mantón de Manila

Undoubtedly as the most characteristic element of flamenco fashion, is the manila shawl, whose origins come from China (specifically in the city of Manila), during antiquity, around 4,000 years ago.

We can say that this complement has evolved a lot throughout its history, since at first they were represented with dark tones, accompanied by oriental embroidery such as dragons, pagodas or some typical floral motifs of the area, such as the lotus flower.

However, its aesthetics changed over time, acquiring a certain European taste, represented with roses, carnations and tulips, along with more vivid and cheerful colors.

Thus becoming a symbol in the Spanish regional clothing, especially in Andalusia.

Tomado por Borca 2020 Recuperado de Borca.es What we also have to take into account is that despite its evolution, its exclusivity has always been maintained, since it is a product elaborated with a certain delicacy due to its materials originated from natural silk (Álvaro Moliner. 2022).

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fter the elaboration of a collection specialized in Pret-a-Couture and the exclusivity that makes it up, an investigation has been carried out on some of the best known brands in this field. All of the brands subsequently exposed have been dedicated to the design of accessories, thus becoming iconic symbols of what fashion is today.

Some of these brands are:

VERSACE Figura 55: Anillo de oro con detalle de medusa y fondo negro esmaltado.

Brand founded in Milan (1976), by the Italian couturier Gianni Versace, who at the age of twenty was already designing clothes for his sister Donatella. And that today has managed to found one of the most recognizable brands in the world, because it has always remained true to its own identity.

Not only that, but the birth of Google Images was also the brand's responsibility. When Jennifer Lopez made her appearance at the Grammy Awards wearing a green printed dress with a v-neckline from the brand.

Search engine users went crazy with that look and downloaded it from the Grammy website a total of 642,917 times. That's when Google decided there was a need for a tool that could provide images to users.

Figura 57: Los accesorios de Versace en Vogue Colecciones.

Combinación de cuero rojo vino con apliques redondos en color oro.

Recuperado de: Versace.com 2022.

Well, we can say that there has always been a combination of understanding the post-pop culture with a sexy and daring design. In addition to a clear inspiration to some artistic styles such as cubism and Art Deco, hence the origin of a symbol of identity for the brand as is the characteristic jellyfish.

Figura 56: Bolso tote mediano fendace sunshine con asas en cuero rosa.

Something that we also owe to this brand is the beginning of the red carpets, as we can say that this was inaugurated when Cindy Crawford accompanied Richard Gere -at that time her partner- to the 1991 Oscar gala with a red dress with a sweetheart neckline of the firm.

Recuperado de: Versace.com 2022

Tomado de: Vogue.es por Elena Olay, Valentin Roman.2022.

Marca que ha día de hoy sigue aportando colecciones inigualables en el mundo de la moda ya que este mismo año, durante la Semana de la Moda de Milán primavera-verano, se presentó una colaboración especial bajo el nombre de Fendance, una colección con Fendi en la que la medusa se fusionaba con el logo de la firma italiana.

(Vogue.2022)

In 2017, when it was 20 years since the designer's death, his sister Donatella gathered some of her favorite models from the nineties, dressed in gold and shiny outfits as a tribute for the designer. Something that made him go down in today's fashion history.

And after a year later in 2018, the Michael Kors group takes control of the firm. Keeping Donatella at the head of the creative direction.

Figura 58: Bolso Tote Mediano Fendace con logotipo central.

Recuperado de: Versace.com 2022

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Figuro 60: Bolso de hombro de piel de becerro y detalles en color oro.

VALENTINO Founded in 1959 Undoubtedly when it comes to mention: bows, feathers, organza, pleated and draped or ruffles, together with the color red comes to mind the brand that everyone knows, as is Valentino.

Designs inspired by the cinema and the women of his family, as the Italian designer himself says that they are the ones who have marked him in all the designs acquired in the firm.

At a very young age he moved to Paris to achieve his goal of becoming a couturier, he worked in the ateliers of Jean Dessey and Guy Laroche.

Shortly after he returned to Italy and together with his partner Giancarlo Giammetti founded his own brand: Valentino.

He himself confessed his loyalty to the brand's characteristic color: "I have always loved red, as long as I can remember, but I discovered it and it took hold of me after my first trip to Spain. At that time I was living in Paris and I was less than twenty years old. I was invited to the theater, and there I saw a series of very elegant Spanish women dressed in red. Splendid and fierce, very sensual and elegant."

Until 2012, when a company based in Qatar reached an agreement to take full control of the company while maintaining the ultra-feminine character of its creations.

It was 2016 when Maria Grazia Chiuri left the creative co-direction of the brand. Leaving Pierpaolo in charge of the brand.

Figura 61: Bolso de mano pequeño roman stud the handle baf de napa con apliques de tachuelas color oro.

Recuperado de: Valentino.com.2022

Undoubtedly, the brand has managed to conquer Generation Z based on creative freedom and inclusion.

Its creations have become the favorite of celebrities like Jennifer Lopez and Dakota Johnson. In addition to becoming one of the leading brands on the red carpet, in general, and at the Oscars.( Vogue, 2022)

Figura 59: Pulsera Vlogo signature de piel de becerro con doble vuelta.

Recuperado de: Valentino.com 2022

FENDI

Recuperado de: Valentino. com.2022

It was in 2008, when Valentino announced his retirement. And Maria Grazia Chiuri and Pierpaolo Piccioli, responsible for accessories for the last ten years, were entrusted to take the reins of the creative direction.

Founded in Rome (1925) Brand created by Adele and Edorado Fendi, a married couple with five daughters. Together they opened their first business in the sixties, at that time it was a small establishment in which they sold handbags and worked the leather by hand. But with time and the union of the five daughters they managed to transform what was the old workshop into a global company and make the logo, the double F. What is now a classic of luxury worldwide.

Figura 62: Pulsera FF color oro.

Recueperado de Fendi.com 2022

Over the course of time, some of the greats have passed through the brand we are talking about, as is the case with Karl Lagerfeld, who was the creative director of the leather and ready-to-wear collections from 1965 until 2019, the year of his death.

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For it was Karl who called Silvia Venturini -daughter of Anna Fendi and only representative of the family currently in the company-, and asked her to take care of the accessories. Thus creating one of the most emblematic pieces of the brand: the Baguette, the first it bag in history with more than 600 versions and still one of the most sought after pieces in 2020.

(Vogue.2022)

Figura 63: Baguette de Fendi con tejido colorido y terciopelo.

BOTTEGA VENETA Figura 65: Arco Tote en negro.

Fashion brand, founded in Italy (1966).

The name of the brand is due to the fact that Bottega means workshop in Italian and Veneta comes from the Veneto region, the place where the creation of the brand began.

Undoubtedly its character is differentiated by its braided leather and classic tone, timeless and far from ostentation.

We can say that some of the fundamental requirements of the brand is environmental awareness and craftsmanship.

Tomado por: Getty Images.2022 Recuperado de Vogue.es

Thus gaining the admiration of some of the celebrities loyal to Fendi handbags such as: Madonna, Sharon Stone, Jennifer Lopez, Sarah Jessica Parker, or more recently Gwyneth Paltrow, who attended the 2020 Golden Globes with a Fendi dress.

In one of Silvia's statements she lets us know how the aim of the designed accessories is to be passed from generation to generation "I like to think that our bag is something you keep to give to your daughter, that it is an object more than just a bag".

Figura 64: Bolso Fendi first It is in 2020, when after a time in which en rosa.

Silvia took over the creative direction of all Fendi lines, the brand enters a new era by appointing Kim Jones who was at the helm - at the head of Dior Men - as creative director of the women's line.

For it was he who made his debut at the brand with a Haute Couture collection dedicated to pioneering women, which was presented at the Paris Haute Couture Week with a fashion show attended Recuperado por Fendi. by major celebrities. com.2022 And as we already know during Milan Fashion Week, Jones joined Donatella Versace to launch a special collaboration under the name Fendance. Which we have named above where both representative logos of each brand are merged.(Vogue, 2022).

Recuperado por: Bottegaveneta.com.2022 And after a lot of hard work Bottega Veneta became the ambassador of the Italian quality fur industry in the U.S. and one of the favorite brands of Studio 54 attendees, including Andy Warhol and Jackie Kennedy.

After going through some ups and downs and different hands as creative designers, including Giles Deacon or Tomas Maier, with the Gucci group. In 2005, Bottega Veneta opened its first boutique in Spain, a space designed by Maier himself. Until 2018, and against all odds, Maier announces that he is stepping down as creative director. Replaced by Daniel Lee. Who is in charge of the famous braided mules, zebra pumps or XL- bandoliers, heavily influenced by Phoebe Philo's Celine , became the most desired of the spring-summer 2020 season. Thus becoming a firm with a fresh perspective and a new sense of modernity.

Leaving Matthieu Blazy in charge of the brand (Vogue.2022).

Figura 66:Mini Jodie verde

Recuperado

por: Bottegaveneta. com.2022

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fter an exhaustive research process on sustainability in the fashion industry, we proceed to tell you briefly about the impact it is currently experiencing and with it some of the fashion brands that have decided to follow a more sustainable path. (A. Odriozola, 2021, page wed.)

We can say that the term; sustainable fashion encompasses a set of practices carried out throughout the design, either clothing, consumption or even in the accumulation of textile waste, among many others, but all of them with the aim of raising some of the consumption habits, especially in fashion. (E.Chan, 2021,

Some of the brands that have this concept very present are:

THE OUT PROJECT

Tomado por The Cut Project.(2022) https://thecutproject.com

Figura 67: Zapatillas con plataforma de The Cut Project.

NEUTRALE

is a company that defends luxury not only in quality and aesthetics, but also as a way of working: designing collections with dedication and time, taking care of the tailoring and raw materials. Luxury is also knowing that our artisans work in optimal conditions and that they share with us the same values of respect, honesty and sustainability.

One of its purposes is to break this uniformity and provide exclusivity and distinction. In the face of fast fashion, a new aesthetic classicism. In the face of vulgarity, femininity and style. In the face of the scarce validity and ephemeral trends, durability in quality and lasting identity.

In addition, some of its means to be part of this sustainable fashion are; the use of fabrics made in Spain and Italian vegetable tanned leather, assures us a high quality and a more natural and environmentally friendly way of making. Vegetable tannins from plants such as acacia, oak or chestnut give our leathers a natural look that improves over time and also eliminates the use of polluting chemicals in the manufacturing process. (Taken by The cut Project.

(2022).The cut Project.Org.)

Figura 68: Tuscan black The Cut Project.

On the other hand, another sustainable brand that we found very interesting corresponds to Neutrale being this, a sustainable brand based in Madrid, created in 2018 by Jaime Gil, Nacho Aragón and Rodrigo Fernández.

Figura 69: Our Story Neutrale Tomado por Neutrale.(s.f). https:// neutrale.co Tomado por The Cut Project.

(2022) https://thecutproject. com

Its designs are a union between classicism, innovation and exclusive qualities, created from a small studio with time and passion, focused on a global world that needs to evolve to new ways of conceiving fashion.

Its aesthetics is shaped by the use of refined lines, architectural inspiration and chromatic games, which connect with the trend, but with a timeless vocation and a defined identity that bases its roots in the concept of contemporary classic.

With the main objective of designing timeless products such as garments, accessories and basic objects for the day to day, that live outside the destructive wheel of fashion, always valuing what we have, when and what surrounds us.

The materials they work with are organic, natural and recycled, besides believing in a conscious consumption, In addition to creating a production with organic offering durable quality products. Having cotton, as they reduce their water consumption as a motto: "Less, but better". by 91%, also eliminating the use of chemicals during the production process. Their production stays in Spain and Portugal, thus reducing the impact on transportation. The packaging is made from recycled paper and the shipping bags are biodegradable. (Taken by Neutrale.(n.d.)Neutrale.Org.)

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is a brand founded by Nico Yllera and Pepe Otaola, whose main objective is to become an effective tool in the fight against climate change. Betting heavily on the reduction, reuse and recycling of raw materials.

Thus obtaining the three R's of its name.

Rrroad does not make clothes by seasons, nor trendy. What they do are perfect basics (sweaters, T-shirts, shirts and some jackets) that last over time, do not go out of fashion Figura 70: MURRAY- Darling and can be used for many years.

RRROAD

Trusting in this way to create a transversal closet in which everyone is the one who brings the style they want to the clothes.

One of its most iconic pieces is the Sahel sweater being unisex, 100% recycled and with a design inspired by the maritime tradition, made in thick English knit and long sleeve ranglan, being this a sweater that fits everyone, having the possibility to take advantage of most of the year. (Taken by Rrroad.(s.f.) Rrroad.Org)

These measures are; from the point of view of pattern making, all these patterns will be made digitally, thus forming a much more intelligent and advanced methodology.

On the other hand, at the cutting level, a totally zero waste technique will be used, in which a previous study will be carried out, to incorporate the pattern to the fabric in a way that does not waste any type of fabric.

ECOALF

Tomado por Ecoalf.(2021) https://ecoalf.com

A

Tomado por Ecoalf.(2021) https://ecoalf.com.

fter this research from a sustainable and ecological point of view within the fashion world. Certain measures have been incorporated in our own collection, since we have found very promising and favorable ideas in the future fashion sector.

Tomado por Rrroad(s.f) https://rrroad.com

Figura 71: Mar de Aral 19892008 Ecoalf.

Figura 72: Nueva colección Ecoalf

In addition to being characterized by its contemporary design, without stridency and very durable. Constantly striving to share valuable information for their commitment: for example, in their collection of sweatshirts for the coming fall they have saved 663 million liters of water (Taken by Escoalf.(2021) Escoalf.Org).

Founded in 2009, by Javier Goyeneche, with the aim of creating a truly sustainable fashion brand, and this has been achieved as it is considered one of the most important Spanish brands in sustainability in half the world. The brand's famous slogan ("Because there is no planet B") sums up perfectly its sustainable vocation: all its garments are based on the circular economy and produced from polyester, nylon, cotton, wool and tires, all recycled, including post-consumer coffee grounds.

In addition to the use in fabrics, as well as in the yarn itself, totally sustainable and committed to the environment. Some of these fabrics are: Cotton and recycled wool for some of the fabrics and tassels that accompany some of the looks, in addition to fishing ropes, used as such as a decorative element or pineapple shell, transformed into skin for some of the complements of the looks.

Recycled pineapple skin shoulder pads

Without finishing this here, because we have not only looked Net fishing for what would be the raw material of our final product, but we are also fully aware Recycled of providing a fully dignified cotton tasks to our workers, always fabric complying with the objective of obtaining garments with delicacy and uniqueness in each of them. Thus offering a unique and progressive treatment in the environment and sustainability.

Recycled wool

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A

Figura 75: Incorporación de pintura a la cascara de huvo.2022

fter a research process regarding some of the best known brands in the world of sustainability, we can say that we have found some of the mechanisms that are carried out with the main objective of making a more sustainable world very interesting.

And so we have put our hands to the will, thus developing our own experiments in which there is the possibility of giving a second life to those materials that we might think that they had already fulfilled their function. Later we will show you how we have transformed some materials, giving them a very different use to the one they were originally intended for.

The first creative process has as its main element the eggshells, which are first washed and divided into small pieces, making their arrangement easier since they proceed to be strategically placed on a plate.

Figura 77: Superposición de platico en el proceso creativo. 2022 Figura 76: Cascara de huevo fragmentada.2022

For all of them we can see that in addition to considering eco-design and sustainability as the main basis, we have also taken into account the concept of the collection for the manufacture of the same.

Figura 73: Cascaras de huevo iniciales en el proceso de experimentación.2022

Figura: 78: planificación mediante calor. 2022

Finally, we have superimposed another plastic on top, sealing both plastics with eggshells and paint on the inside. The sealing was possible thanks to the heat transmitted by the iron.

Another of the creative processes is made solely and exclusively with the leftover acrylic, as its procedure has been very simple, as it has simply consisted of tearing off the canvas, the remaining acrylic once dry and superimpose some colors with others, then has been given a coat of glue, to achieve greater fixation and a better finish.

Figura 74: Cascara de huevo expusta a un proceso de lavado. 2022

Figura 79: Pintura arancandose del lienzo.

2022 Later we have added paint (being this one of the most used elements in the creative processes, since it is very present in the collection).

Figura 79: Pintura inicial en el proceso creativo.2022 With this process we have achieved a much more colorful and artistic kind of plastic.

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On the other hand, we have taken advantage of the leftover strips generated by the overlocking machine to weave them together and use them to generate a new fabric with greater volume, in line with the purpose of the collection.

Figura 80 : Unión de tiras mediante trenzas.

2022

Figura 82: Unión de trenzas. 2022

Subsequently, the braids are joined to each other (this whole process is done with the sewing machine).

Figura81 : Fijación con maquina de coser. 2022 Figura 85: Obra de Domino Público

First, some of the strips have been braided, reinforcing them with the sewing machine (thus preventing some of the strips from slipping out of the braid).

Figura 83 : Proceso crativo.2022

Figura 86: Bolsa trenzada mediante otras.2022

Finally, another experimentation that we have done has been through a garbage bag, which has gone through a process of fragmentation into strips, which in turn have been transposed with each other.

Thus creating a felling with the same. 2022.

Figura 84: Corte obcional de tela sobrante.2022

Finally, the excess strips are cut (this last step is optional).

Figura 87: Obra de Domino Público

57

S L O P E C O N S T R U C T I O N P R O C E 58 S

W

e proceed to show you a brief explanation of the creative process that we have carried out for the realization of these recyclable earrings, starting from a cap and acrylic scraps.

1

Figure 90: Glue application on the base. 2022

Figure 88 : Cutting of plastic plug.2022

We start from a recycled cap, which we will use as the base of the earring, providing greater firmness and resistance to the acrylic that will be positioned in an overlapping manner.

2

Figure 89: Figure of paint next to plastic figure. 2022

Cortamos el tapón del que hablamos exactamente con el mismo contorno que el acrílico.

3

We glue both surfaces, one on top of the other.

4

Figure 91: Recycled nut glued to the base of the pendant. 2022.

Finally we glue the nut in the center of what is now the plastic base.

59

T E C H I C A L 64

D A T A

The realization of this complement consists mainly in the recycling of dry acrylic, because with this new material obtained, sustainable and very funny earrings will be manufactured.

For this we will use the previously mentioned paint (for the most visible part of the whole) and recycled aluminum sheets (to give more stability to it).

Once both materials are joined, a nut is added to the aluminum sheet.

65

66

67

COLECCIÓN: La Maja Flamenca

TEMPORADA: SP/SU 22-23

REFERENCIA : 03-SP-SU-22-23 Blanco-06

ARTÍCULO: Vestido de luces

DESCRIPCIÓN: Vestido chaqueta blanco con apliques y hombras

FABRICANTE: Ana Belén Santos.

DISEÑADOR: Ana Belén Santos

TALLA: 38

Nº PAG: 1/1 Cuello Mao

Hombrera decorativa

Alamares TEJIDOS+ COLOR PANTONE Sarga Blanca

Ref: 40170 Forro viscosa Volante de capa en el puño

Bajo de flecos Ref: 60837-199

DETALLES A DESTACAR DEL PLANO COSTURA SENCILLA

68

DETALLES DE CONFECCIÓN Aguja de un grosor de 90/100

FORNITURAS:

69

COLECCIÓN: La Maja Flamenca

TEMPORADA: SP/SU 22-23

REFERENCIA : 01-SP-SU-22-23-Verde-08

ARTÍCULO: Top de volantes

DESCRIPCIÓN: Top verde con volantes en los extremos

FABRICANTE: Ana Belén Santos.

DISEÑADOR: Ana Belén Santos

TALLA: 38

Nº PAG: 1/2 DELANTERO

COLECCIÓN: La Maja Flamenca

TEMPORADA: SP/SU -22/23

REFERENCIA : 01-SP/SU/22-23-Negro-12

ARTÍCULO: Falda Pantaón

DESCRIPCIÓN: Falda pantaón con godets

FABRICANTE: Ana Belén Santos.

DISEÑADOR: Ana Belén Santos

Nº PAG: 2/2

TALLA: 38

DELANTERO

Escote corazón

Cinturilla

Bolsillo francés

TEJIDOS+ COLOR PANTONE

Portañuela

TEJIDOS+ COLOR PANTONE Popelín Flamenca Verde

Costadillo Italiano

Bajo de cordoncillo

Sarga Elástica 50016-004 Ref: 40000 Forro viscosa verde

ESPALDA

ESPALDA

Popelín Flamenca 80177-614 Ref: 60837-074 Volante redondo fruncido

DETALLES A DESTACAR DEL PLANO COSTURA SENCILLA

70

Godets

Tapeta superior

DETALLES DE CONFECCIÓN

FORNITURAS:

Aguja de un grosor de 70/80

DETALLES A DESTACAR DEL PLANO COSTURA SENCILLA

Botón Automatico

DETALLES DE CONFECCIÓN

Aguja de grosor 80/90

FORNITURAS:

71

T E X T I L L E E T T E R

72

Bordado Lunares

Crepe Marrón

Flamenca Encaje Vintage

Composición: Algodón 100%

Composición: Poliéster 100%

Composición: Poliéster 100%

Organdí Poliéster

Tela Fama Stretch

Composición: Poliéster 100%

Popelín Lunares Flamenca

Variflex

Satén Algodón

Composición: Poliéster 80% Algodón 20%

Composición: Poliéster 100%

Composición: Algodón 97% . Elastano 3%

Jacquard Dos Caras Lunar

Cinta Plisada Piquillo

Flecos Cuquillo

Encaje Elástico Geométrico

Composición: Poliéster 97% . Spandex 3%

Composición: Poliéster 100%

Composición: Poliéster 70% . Algodón 30%

Composición : Poliéster 100%

Composición : Poliéster 100%

Tul Tieso

Gasa de Seda Natural

Tela Gasa Tornasol

Entretela Adhesiva Algodón

Tul Bordado

Composición: Poliamida 100%

Composición: Seda 100%

Composición: Poliéster 100%

Composición: Algodón 100%

Composición: Poliéster 100 %

Cremallera continua malla

Composición: Nailon 100%

73

S H O O T I N G 74

75

76

77

78

79

Fotógrafo: Nacho del Monte.

Maquilladora: Nani Torres Carrillo.

Modelos: Celia Rodríguez y Carmen Porcellini.

Diseñadora: Ana Belén Santos – Orejón.

Directora Creativa: Ana Belén Santos -Orejón.

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B I B L I O G R A P H Y 82

A

Albendea Estrella.(2022). Ronda inspira a la moda: la Goyesca y la historia de un traje único. Recuperdo de: https://okdiario.com/ look/estilo/goyesca-ronda-moda-traje-tipico-487323#:~:text=Inspirada%20por%20los%20ropajes%20que,y%20Fiestas%20de%20 Pedro%20Romero.

Anónimo. (2022). Bolso de mano pequeño roman stud the handle baf de napa. Recuperado de: https:// www.valentino.com/es-es/single-handle-bags_cod16114163150703944.html#dept=

Alfonso Sánchez, A. (2020). Evolución de la moda flamenca: estudio del Salón Internacional de la Moda Flamenca (SIMOF) y su cartelería. https://idus.us.es/handle/11441/101560

Anónimo.(2022) Bolso fendi first. Recuperado de: https://www.fendi.com/es-es/mujer/bolsos/fendi-first-tamano-mediano-bolso-de-cocodrilo-morado-8bp127agxtf022q?gclid=Cj0KCQjwm6KUBhC3ARIsACIwxBiDW9BmIp6-No0zpQ3utkScEmlPcjf2bfqWFW3iXVSFUXPGRPwFJ4EaArbMEALw_wcB&gclsrc=aw.ds

Alonso Felipe, J. V. (2021). Manual control de calidad en productos textiles y afines. https://oa.upm.es/38763/

Anónimo (2022).. Bolso Tote Mediano Fendace con logotipo. Recuperado de: https://www.versace.com/eu/es/mujer/bolso-tote-mediano-fendace-con-logotipo-1b00f/1006688-1A04582_1B00F.html?cgid=100000#start=1

Arandes, J. M., Bilbao, J., & López, D. (2004). Reciclado de residuos plásticos. Revista Iberoamericana de polímeros, 5(1), 28-45. https://juventudargentinasolidaria.webnode.com.ar/_files/200000182-a7dd5a8d64/RECICLADO%20DE%20RESIDUOS%20PL%C3%81STICOSpdf.pdf

Anónimo (2022). Bolso tote mediano fendace sunshine. Recuperado de: https://www.versace.com/eu/es/mujer/bolsos/bolso-tote-mediano-fendace-sunshine-2n43f/1006666-1A04635_2N43F.html?cgid=142000#start=1

Arcoiris.(2022). Lamina de Aluminio 20×30 cm. Recuperado por: https://arcoirislibreria.cl/product/lamina-de-aluminio-20x30-cm/ Anónimo (2022). Anillo medallón de medusa esmaltado. Recuperado de: https://www.versace.com/eu/es/anillo-medallon-de-medusa-esmaltado-k41t/DG5G550-DJMS_DG5_9_K41T__.html?lgw_code=15160-DG5G550-DJMS_DG5_9_K41T__&&wt_mc=es. shopping.google.link.shopping&gclid=Cj0KCQjwm6KUBhC3ARIsACIwxBhT2b1hblcnKhc1gJ9e0FHNSl2f_bvA0qoDZEevyKS-u6_rxutt5p0aAiqIEALw_wcB&gclsrc=aw.ds Anónimo.(2022). Arco tote. Recuperado de: https://www.bottegaveneta.com/en-es/arco-tote-black652867VCP118425.html Anónimo, (2019). Así eran las primeras joyas de la prehistoria reciente. Recuperado por: https://www.elindependiente.com/futuro/2018/10/29/asi-eran-las-primeras-joyas-de-la-prehistoria-reciente/ Anónimo (2022).. Bolso Tote Mediano Fendace con logotipo. Recuperado de: https://www.versace.com/eu/es/mujer/bolso-tote-mediano-fendace-con-logotipo-1b00f/1006688-1A04582_1B00F.html?cgid=100000#start=1

Anónimo. (2022). Bolso de hombro de piel de becerro. Recuperado de: https://www.valentino.com/eses/bolsos-de-hombro_cod45666037504886972.html#dept=DI_BAGS_Valentino_Garavani_LOCO_W

Anónimo,(s.f) Detalle de una hombrera de uno de los vestidos de luces. Recuperado por https://sevilla. abc.es/fotos-toros/20150129/pasado-presente-futuro-traje-162184899202.html#imagen4 Anónimo, (2022). Dragón Chino. Recuperado por: https://www.viaje-a-china.com/cultura/dragon-chino.htm Anónimo(2022) El origen y la historia del traje de luces. Recuperado de https://mastoro.es/blog/origen-historia-traje-luces/ Anónimo. (2022).Fendi. Recuperado de : https://www.vogue.es/moda/modapedia/marcas/fendi/129 Anónimo,(2022). Juego delantal y pico huertana amarillo. Recuperado por:https://danzaymas.com/ tienda/trajes-regionales/huertana/delantal-de-huertana/juego-delantal-y-pico-huertana-amarillo-469/ Anónimo, (2013). Las primeras joyas del Antiguo Egipto se fabricaron con Hierro de Meteoritos. Recuperado por https://www.abc.es/ciencia/20130820/abci-primeros-objetos-hierro-espacio-201308191648.html Anónimo, (2020). Mantón de Manila. Recuperado por https://www.borca.es/en/blog/manton-de-manila-b25.html Anónimo, (2022). Orígenes y ciclo de vida de los accesorios. Recuperado por https://algarabia. com/origenes-y-ciclo-de-vida-de-los-accesorios/

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B I B L I O G R A P H Y 84

Anónimo, (2020). Pendiente flamenca. Recuperado por https://twojune.com/pendientes-flamenca/ Anónimo.(2022).Pulsera FF. Recuperado de: https://www.fendi.com/eses/fendace/mujer/pulsera-ff-pulsera-fendace-dorada-8ah588b08f0cfk Getty Images.(2022). Baguette de Fendi. Recuperado de : https://www. vogue.es/moda/modapedia/hitos/baguette-de-fendi/352 Anónimo, (2022) Ramillete flor flamenca. Recuperado por :https://www. anfermoda.com/tienda-de-complementos-de-flamenca/detalle/41372/0/ FLOR-FLAMENCA-RAMILLETE-54775/ Elena Olay, Valentin Roman (2022). Los accesorios de Versace en Vogue Colecciones. Recuperado de: https://www.vogue.es/moda/tendencias/galerias/los-accesorios-de-versace-en-vogue-colecciones/7188 Anónimo.(2022). Valentino. Recuperado de: https://www.vogue.es/ moda/modapedia/marcas/valentino/169 Anónimo,(2022). Versace. Recuperado de: https://www.vogue.es/moda/modapedia/marcas/versace/170

B

errocal.V.M (2022) Vicky Martín Berrocal, 10 años en el mundo de la moda. Recuperado por https://woman.elperiodico.com/moda/pasarelas/vicky-martin-berrocal-10-anos-en-el-mundo-de-la-moda?foto=9#galeria-6015-73143

Beruete y Moret, A. D. (2021). Goya: pintor de retratos. file:///C:/Users/Propietario/Downloads/file_1.pdf B.G.Sara, (2020). Historia de moda: Hombreras. Recuperado por: https://www.mekkdes.com/blogs/mekkdes-blogosphere/las-historia-de-las-hombreras

Borsani, M. S. (2011). Materiales ecológicos: estrategias, alcance y aplicación de los materiales ecológicos como generadores de hábitats urbanos sostenibles. https://upcommons.upc.edu/handle/2099.1/13759 Bozal, V. (2015). Goya. Antonio Machado Libros. https://books.google.es/books?hl=es&lr=&id=JO54DwAAQBAJ&oi=fnd&pg=PT21&dq=pintor+goya&ots=LKj0wiYJG1&sig=QXTNZkR_h4vfsAsyBbacw-LCU3E#v=onepage&q=pintor%20goya&f=false Bozal, V. (2015). Pinturas negras de Goya (Vol. 170). Antonio Machado Libros. https://books.google.es/books?hl=es&lr=&id=uO94DwAAQBAJ&oi=fnd&pg=PT4&dq=pintor+goya&ots=fzYYPDAGxN&sig=AKvlxSYpcROkNU4jct-9HFo3MsY#v=onepage&q=pintor%20goya&f=false

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B I B L I O G R A P H 86 Y

C

arlos. E (2017). El Goyesco: el traje regional de la Comunidad de Madrid. Recuperado de https://www.madridesnoticia.es/2017/04/goyesco-traje-regional-comunidad-madrid/a Castillo, D. E. G., & Arcos, A. C. M. Aprovechamiento de residuos textiles para la creación de nuevos tejidos para la industria de la moda.

Sostenibilidad, cultura y sociedad, 9. https://pascualbravo.edu.co/wp-content/uploads/2020/03/libro-sostenibilidad-cultura-sociedad.pdf#page=9 Chan. E.(28. Abr.2021) La guía definitiva para no perderte en el mundo de la moda sostenible. Recuperado por.https://www.vogue.es/moda/articulos/moda-sostenible-que-significa-guia-consejos-marcas Chias Navarro, P. (2014). Fincas y cazaderos reales en el entorno del Monasterio de San Lorenzo de El Escorial: tradición medieval e influencia flamenca. EGA. Revista de expresión gráfica arquitectónica, 19(23), 46-53. https://riunet.upv.es/handle/10251/75868 Coolican, H., Sierra, G. P., Bari, S. M. O., Herrejón, J. L. N., & Tejada, M. M. R. (2005). Métodos de investigación y estadística en psicología. https://d1wqtxts1xzle7.cloudfront.net/55823316/Metodos_de_investigacion_y_estadistica_e-with-cover-page-v2. pdf?Expires=1645606478&Signature=IUOov3tVDfx9xGgUeyvwP-nL9fBUI-7AiEIPqRQI2gxEq-z6bc1DM5b2W6pI4AGdLSem4yZhuk5qmax82WdDIQkNWTRMrD7xKmQymlSE9jIMiJ32bDHqX65mO6UGeT-c2uGrin~nNSKPpiIvNJRmbMigAdmkXgqnfP~~ui9cFzpklpq80wDwcR6ei0eRxW50UcSM98pqxRr4qq-SoiFgh5WDYEiFNsaBV3OIf9fo-qkdDKzgtChtUO9c-

D

a Costa, C. E., López, F. V., & Castelló, J. M. T. (2000). Materiales compuestos de matriz metálica. I parte. Tipos, propiedades, aplicaciones. Revista de metalurgia, 36(3), 179192. https://revistademetalurgia.revistas.csic.es/index.php/revistademetalurgia/article/ view/570 Deulofeu, J. (1991). El lenguaje de las gráficas cartesianas y su interpretación en la representación de situaciones discretas. Comunicación, Lenguaje y Educación, 3(11-12), 77-86. https://www.tandfonline.com/doi/abs/10.1080/02147033.1991.10820982 De Méxica, L. (2013). DE LA ESTADÍSTICA. Toluca: IGECEM. https://d1wqtxts1xzle7.cloudfront.net/55585506/Unidad1.Fundamentosdelaestadistica-with-cover-page-v2.pdf?Expires=1648550251&Signature=bFFw~qltx-rMYd3QYbTFwcJ3qVv0jpYtpuKPyEm~PqkjYD56gvRkx-yj-WO-9b04LvEZWbNkHbKYYEvyikzkFENkvH3hbUrKNI3TkelJGfRv5HoGaCQCA3Yq0riNsrXPTriVpiTO73HTjWovnm9514tEAxOF6Uyjss-FZp-iGTvcYP8DXUGL1KVhJ8AlcMWweV~kN30VVzOGiR~qRe2r2AgXUeYCYKv0daAzsOaSqkGqTOHHxV8pNINYsJ-V0tsUVze2zieIYnxAJHddCQWoyyvxMI6oVrr0GTz1-AWqAnRAVRkoC99zqsmOBy6vhEyIDcEZ-P87SOMgPTqQasA9-w__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA Dorra Patricia, (2022).Los accesorios en indumentaria y su enlace sígnico a través de cortes diacrónicos en la historia. Recuperado por https://dialnet.unirioja.es/servlet/articulo?codigo=7370618

Conchy & Richard. (05 Sep.2021). Diccionario de la moda: Prêt-à-Couture. Recuperado por. https://nosolodemoda.es/diccionario-de-moda-pret-a-couture

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E

l Palacio Andaluz (2020).Traje de Flamenca: Historia y origen de este vestido andaluz . Recuperado de: https://elflamencoensevilla.com/historia-traje-de-flamenca/ Escoalf.(2021) Escoalf. Recuperado por https://ecoalf.com/es/p/materiales-80

F

ESCRIBANO, P. (2002). R. de la,“Comercio de importación y exportación de tejidos y complementos de moda en la Valencia moderna” en. Archivo de arte valenciano, 83, 53-64. file:///C:/Users/Propietario/Downloads/LXXXIII%20-%20 53%20(3).pdf

airen, B. R. (2014). Colores del toreo. Descripción y guía de los colores de los trajes de torear. Revista de Estudios Taurinos, (34), 273-276. file:///C:/Users/Propietario/Downloads/ Dialnet-ColoresDelToreoDescripcionYGuiaDeLosColoresDeLosTr-6792271.pdf Fernández Diana, (2014) Botones de la antiguedad. Cerámica y piedra. Recuperado por: https://vestuarioescenico.wordpress. com/2014/01/31/historia-del-boton/ Fernández Diana, (2014). Historia del Botón. Recuperado por: https://vestuarioescenico.wordpress.com/2014/01/31/historia-del-boton/ Fernandez Isabel, (2022). Hombrera Flamenca. Recuperado por: https://www.isabelhernandez.es/producto/hombreras-flamencas-ref-hf324/

G

arcía-Guel, Y. Y., Múzquiz-Ramos, E. M., & Ríos-Hurtado, J. C. (2019). Telas de carbón activado: generalidades y aplicaciones. TIP Revista Especializada en Ciencias Químico-Biológicas, 22(1), 1-16. https://www.medigraphic.com/cgi-bin/new/resumen.cgi?IDARTICULO=91088 Getty Images.(2022). Baguette de Fendi. Recuperado de : https://www.vogue.es/moda/modapedia/hitos/baguette-de-fendi/352 Gómez-Gómez, M., Danglot-Banck, C., Huerta Alvarado, S. G., & García de la Torre, G. (2003).

El estudio de casos y controles: su diseño, análisis e interpretación, en investigación clínica. Rev Mex Pediatr, 70(5), 257-263. https://d1wqtxts1xzle7.cloudfront.net/58424310/casos_y_controles-with-cover-page-v2.pdf?Expires=1648550123&Signature=cCRC6-CbLjhYoCdWEvxfVAH1yHJAXUpog4~DmuWIbJsmIiyxYwX40Ehca4xwoL5Gqs3UFSSxJPZuj3jUAg33TD7Ku37aegJ~hFH3EscpPUh6iEv~WoB-b5aPkyIVHd3JMNUlQnKORsIZkOQHwU2mIMKgIHMC6n~ZdwxgTNj9nH~kmuf38VrhcqGuo1gwZDPbTjqsQJj1B5toQFD6u-Tm9yyaffV~DBtHDKOafctyMjffXHZHkHlx0C2sp4Y95xsRGgrYXtcvuLXF6EXgKIGihD7ZOCadwcCYjLT~yifBuh7u7OKUDE4ZMKTssdSeqLhgtepkNblbupJnVtd-fqakLA__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA 4. Goya.Francisco José. (1815) Autorretrato(oleo sobre lienzo) Recuperado de https://www.museodelprado.es/coleccion/obra-de-arte/autorretrato/ a3bf3226-62ba-44f2-9b94-aa7155c3c488?searchMeta=autorr 2.Goya. Francisco José (1776 – 1777) Baile a orillas del Manzanares. (Óleo sobre lienzo). Recuperado por https://www.museodelprado.es/coleccion/obra-de-arte/baile-a-orillas-del-manzanares/9a7fd0ca-37d4-40d5-8b1c-8d86394dd729 5.Goya. Francisco José. (1820 – 1823). Dos viejos comiendo. (Técnica mixta sobre revestimiento mural trasladado a lienzo). Recuperado por https://www.museodelprado.es/coleccion/obra-de-arte/dos-viejos-comiendo/67eecb35-18d34377-9482-739713680b42 7.Goya. Francisco José(1819-1823) El aquelarre o el gran Cabrón. (Óleo sobre revestimiento mural trasladado a lienzo) https://www.museodelprado.es/coleccion/obra-de-arte/el-aquelarre-oel-gran-cabron/09559184-cfeb-48fe-8acc-89b070b64d92?searchMeta=el%20aquelarre

6.Goya. Francisco José. (1777). El quitasol. (Óleo sobre lienzo). Recuperado por https://www. museodelprado.es/coleccion/obra-de-arte/el-quitasol/a230a80f-a899-4535-9e90-ad883bd096c5

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3.Goya. Francisco José. (1800 – 1807) La maja vestida. (Óleo sobre lienzo). Recuperado por https://www.museodelprado.es/coleccion/obra-de-arte/la-maja-vestida/a3121efc-6924-454c-8a9f-e4320f26d3d0

L

1.Goya. Francisco José. (1820-1823) Saturno. (Técnica mixta sobre revestimiento mural trasladado a lienzo). Recuperado por https://www.museodelprado.es/coleccion/obra-de-arte/ saturno/18110a75-b0e7-430c-bc73-2a4d55893bd6

M

Gutiérrez de López, L. (2003). El concreto y otros materiales para la construcción. Departamento de Ingeniería Civil. https://repositorio.unal.edu.co/handle/unal/9302 Gutiérrez, D. Y. M., Guerra, M. V. T., & Pinzón, M. E. T. (2015). Propiedades físicas, químicas y mecánicas de la piña Golden y Mayanés utilizada para la indumentaria en Bogotá.

Teoría y praxis investigativa, 8(2), 32-43. https://revia.areandina.edu.co/index.php/pp/article/view/390

H I

ugo Victor, (2017). Detalle de dos de los trajes regionales españoles expuestos. Recuperado por:https://elpais.com/elpais/2017/06/27/estilo/1498574873_532535.html

Ignacio-Martínez, M. L., Vázquez-Flores, S. L., & Cruz-Castellanos, D. (2021). Tipos de materiales. TEPEXI Boletín Científico de la Escuela Superior Tepeji del Río, 8(15), 35-39. https://repository.uaeh.edu.mx/revistas/index.php/tepexi/article/ view/6395 Isabel Fernandez (2022). Hombrera Flamenca. Recuperado por: https://www.isabelhernandez.es/producto/hombreras-flamencas-ref-hf324/

os mercado de la moda. (19 Nov.2021). Elena Funes. 2º Historia de la indumentaria. (pp13-14). Esada. file:///C:/Users/Propietario/Downloads/1428aa5fb42f18bb28dee31ce563c404.pdf

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