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Spring Summer 2011 Europe 13 € UK 12 £ USA 19 $

ADELE trends magazine

Nº 0


Editorial “ADELE” o is based on the belief that showing the entire creative process—from conception to completion—is beneficial for the artist, the audience and the art itself.” Established in November 2000, “ADELE”’s innovative and ground-breaking projects have defined the manner in which fashion is presented has pioneered fashion culture and is now recognised as a leading force behind this new medium. Working with the latest technology “ADELE” live from catwalk shows and fashion shoots, allowing an international audience instant and unparalleled access to the previously closed world of high fashion. Interacting with a global community of dedicated viewers, “ADELE” encourages its audience to respond and contribute creatively to its projects, documenting, communicating and evaluating the results. “ADELE” collaborates with some of the most influential and acclaimed figures of contemporary fashion, including John Galliano, Kate Moss, Maison Martin Margiela, Comme des Garçons and Alexander McQueen. Alongside these established names, “ADELE” has also supported and nurtured emerging talent, including Gareth Pugh, Louise Goldin, Marios Schwab and Rodarte, offering exciting new designers an important global platform for creative expression. SHOWstudio. com works with the world’s most sought-after filmmakers, writers and cultural figures to create visionary online content, exploring every facet of fashion through moving image, illustration, photography and the written word. Constantly changing, consistently innovating, “NOMBRE REVISTA” delivers fashion, live, as it happens.

“ADELE” offers a unique editorial context unavailable in biannual fashion magazines market, based on integrity, creativity and style. The most famous international fashion and luxury brands advertise in “Adele” in order to be associated with it is unique philosophy and strong creative identity, bringing an independent expression to an homogenous media landscape.


Edita: IPSUM PLANET Dirección: Javier Abio Dirección ad hoc: Pedro Pan Dirección de Arte: IPSUM PLANET Redacción: IPSUM PLANET Departamento de Publicidade: Lola Olazábal, Pedro Monzó Coordenación: Tere Vaquerizo Diseño Gráfico: Rita Hart Asistente Redacción: Beatriz León Asistente de Marketing: Anabela Graña Producción: Elena Azcárate


DVERTISING: Loewe - Dior - Vivienne Westwood Paule Ka

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Editor in chief: Jabier Moran “FIRMA” March, 2011 Creditos Publicación “ADELE” ISSUE N. 0 20 rue Thérèse 75001 Paris France tel. +33 (0)1 40 34 14 64 fax. +33 (0)1 40 34 27 55 email address:



ilvia Varela


osé Manuel Ferrater

Fashion, portrait and advertising photographer, his work is easily recognisable by the force of its image, full of sensuality. Through his lens top models such as Linda Evangelista, Cindy Crawford, Naomi Campbell, Lara Stone and Laetitia Casta have posed for him. Brazen and dynamic portraits with a very special human touch, impossible to achieve with any technological device. The secret according to him? His team, his most important work tool.

She left her native Galicia to study Fine Arts in Madrid, although after she would move again, this time to Berlin. Her photography, especially intimate and calm portraits, is the type that seems to have almost been taken by coincidence. On her return to Madrid, Silvia has published in El País, NEO2 and in the Spanish editions of Cosmopolitan, Rolling Stone, Vanity Fair and Marie Claire amongst others.


speranza Moya


She assures that the camera she received at nine years old was the best present she could have ever received. And since then until now, Esperanza has managed to make a living out of her biggest passion. She collaborates with publications such as Yo Dona (Spain), Vanidad, QVEST and Metal, amongst others. On her work she has said “that it is a game between the intensity of the feminine universe and the light that surrounds it”.

avier Morán

‘Photography is the way I use to represent what I see and with what I see what I imagine”. Javi defines with these words his passion for the career that has led him earn his living since he decided devoting himself to it some years ago. After his stay in London, where he worked as an assistant to different photographers, he returned to commit himself to what he knows best: fashion editorials and documental and portrait photography, a genre in which he feels especially comfortable. It’s easy to find his works published in publications such as Yo Dona (Spain), El País Semanal, Metal and Exit amongst others.


na Melo

She left her native Galicia to study Fine Arts in Madrid, although after she would move again, this time to Berlin. Her photography, especially intimate and calm portraits, is the type that seems to have almost been taken by coincidence. On her return to Madrid, Silvia has published in El País, NEO2 and in the Spanish editions of Cosmopolitan, Rolling Stone, Vanity Fair and Marie Claire.


icente Ferrer

Born in the early Eighties, Vicente Ferrer dedicates his free time roaming betweenpas times and frustrations, dreams and emoluments. Journalist and habitual collaborator of design and trends magazines such as NEO2 and PASAJES DISEÑO. According to him, he has failed in almost everything he has tried and in that swamp has learned everything he knows. He says he is not free or happy - or probably sincere - but recognises the ultimate value of his certainty: transformation and development (trauma and revolution).


aría Díaz del Río

Born near the sea, in an evening in which a strong summer storm blew out. At 18 years old she landed in Madrid to study journalism. Fashion was always going round and round in her head: magazines, drawings with which she filled notebooks, dressmaking... Soon she started to contribute with several magazines and after a year in Architectural Digest, she continues as a freelance. Art in all its manifestations is what draws her most and to talk to unique people, passionate about their work, fighters. Now, in these changing times, she feels like a juggler trying to maintain the balance.


John Galliano Quoting Dior By Dal Chodha Photographer Paolo Roversi

The fashion industry is awash with contradictions. At one time we can be heard shrieking at the arrival of minimal dressing, burning anything with a flirtatious peplum or bohemian print, only months later to talk up the seminal revival of maximalist dres-sing and the renegade concept of wearing plaid from head-to-toe. A season will come when we will talk of languid dresses and long, lean silhouettes only to proffer a disparate vision six months down the line. It is long and then short! Camel then cerise! 1970’s disco then 1920’s art deco! Even the concept of ‘heritage’ is ironically one that is of the moment and not of every season.


nnovation has come in the way we report such contradictions and how (or if) we aim to understand and conceptualize them. Today contemporary fashion is digested very differently from fifteen years ago. As a school child, I remember anxiously scouring the shelves of my local convenience store for the lonely copies of British Vogue and The Face — these monthly magazines kept me informed, up-to-date and inspired. Today we aren’t any less curious, but thanks to the Internet there are more outlets to satisfy a generation’s constant need for the new. The Internet and its affect on fashion is enticing. With its unabashed maintenance of real-time accounts on what colors, shapes and fabrics a designer is pushing per season, quite often any unique point of view is lost in the pace required of such delivery. Without

doubt, the latest Balenciaga bag can be shown the world over with such immediacy, sure to inspire scores of devotees and countless purchases—but does little to require us to stop and contemplate its shape, pattern and material: its raison d’être. In 2011, this is where we find ourselves: in the middle of information overload (if there were an Editor-in-Chief of the Internet, they would have a very difficult job). And now to John Galliano, the romantic and charming designer who one could assume has never used the Internet or touched the modern day technologies that have the rest of us mumbling our worldly observations via Twitter. With fashi-on at its most egalitarian, the grandeur and skill of Dior’s full skirts during the 50’s, Vionnet’s bias cutting or Halston’s luxe sportswear is left (to some degree) to the history books—and John

Galliano is firmly a part of those history books. Right at this moment, countless young designers across the globe are avidly leafing through tomes written about the designer who arrived at Christian Dior in 1996 under the glaring spotlight of intrigue and adulation. He took the pressure of creating a newer look for the venerated fashion house in his interminable stride. With the Le Signe de Reconnaissance (the spiral bound book, which documents the components that make up the house of Dior) at his side, Galliano has helped preserve Dior’s heritage while curiously crafting his own. Inspiringly, Galliano is a designer with a clear vision and his point of view is far removed from many of his peers. “My job is to inspire and I want to create collections that make people dream,” he smiles.




ike Monsieur Christian Dior, you come from a period when a designer was undestood through his collections alone and not by his Twitter fan base. Having spent so many years refer-ring to the legacy left by Dior, have you ever thought about the legacy you will leave behind? I like to live in the present—not the past or the future — the now. My job is to inspire and I want to create collections that make people dream. I hope I do inspire people. My legacy, I hope, will show that I was immersed in the ‘now’ and reflected this in the most beautiful, innovative and imaginative way possible. What did the heritage of Dior mean to you when you first arrived in Paris? I was in awe of Mr. Dior and his New Look and his revolution… I studied it when I was a student, when I arrived in Paris and when I got the job. And today? I still am learning and decoding his DNA. That constant discovery and reinvention is what keeps it exciting. Dior created a unique DNA and I make sure every element in the house reflects this spirit of creativity. Are you like him? I think Mr. Dior and I share a similar love of beauty and romance. He created the blueprint for modern fashion and I want to keep injecting that newness and spirit of discovery into the new looks I am creating. The house, the people, the archives — all the treasures and the energy are as inspiring and as important today as when I first came here. Gladys Perint Palmer depicts you on the cover of her book Fashion People as a strong, mysterious and dark character, surrounded by peacocks of fashion.

Is this an accurate description of where you find yourself today? I remember the book—I love Gladys’ work. I am always immersed in my collections, in my work, in what I am doing. I like to evolve with each collection, to become inspired and consumed by every aspect of it. There are a lot of characters in fashion and there are many faces you have to adopt along the way. There is as much talk about your own appearance on the catwalk as the girls! I prefer to let the focus be on my collections, my creations. I am merely a mirror to the muse and conductor, composer and painter that brings the print, cut and drape of all my ideas together. It has been written that your first show in 1984, Les Incroyables, was heavily influenced by a contemporary production of Danton at the National Theatre in London where, as a student, you worked as a dresser. The characterization of women and fashion in your collections to date still remains theatrical. Would you say you lead a dramatic life away from the studio? I think there is enough drama in my life as it is. I don’t need to invite any more. But what is at the core of this need for drama in your clothes and their presentation? I don’t think it’s a question of chasing drama and the theatrics of life—it’s about inspiring it. With a fashion show you have such a small time frame to present your vision, your mood, your collection for a whole season. You have just twenty minutes to cram all your ideas into.

ing a story so I can explain her character, her attitude, her style, her clothes and her story—and if that makes the presentation more dramatic, so be it. I don’t want to do things half measure—and neither would Mr. Dior. Do you think that such theatrical gestures still hold the same significance today? What is extravagance to you? As long as people want beauty, romance and new ideas, there is room to inspire. I don’t want to conform—I want to inspire. Extravagance is having courage of your own conviction and staying true to this. Extravagance is living the dream. You have talked in the past about ‘the heroine’ to your collection… Whether it is Dior or Galliano, the muse has and is always central to the collection. The muse is what motivates the search, inspires the shape, the cut, the line and the mood of the whole season. I have never deviated from this. The representation of your muse is perhaps best typified by your earlier shows that adopted the role of theatre production over fashion show. Is the heroine at the core of your work factual or fictitious? This season Galliano was inspired by Maria Lani while Dior was a mix of a tropical Bettie Page pin up with very masculine Marlon Brando style naval uniform. Muses are there to start the quest and push you to discover their story and let the collection unfold.

…an extremely dazzling twenty minutes.

You have transformed the Opéra Garnier into a party thrown by the Venetian socialite Marchesa Luisa Casati and turned a sports stadium into a forest. Which of all of your shows will you never forget?

Well, ultimately I am a romantic. I’m a storyteller and I love the theatrics of tell-

The set, the hair, the make-up and the music all must come together to capture


and enhance the muse. I like each and every detail to be perfect—and I think each for its occasion was. I can no sooner pick a favorite show, a favorite collection than I could a favorite child. Each has been nurtured and developed to say all I wanted to say and create at that time. It is for others to choose, not I.

cut dresses years after Madeline Vionnet in your early collections in Paris. Look at the best and then invent your own rules! Look to the icons of the past and create something to rival it. Of course it’s good to know, appreciate and understand the techniques of the mas-

These collections are a part of you. As a creator you feel very protective over each and every collection. These collections build up the jigsaw that defines my life, and all the memories are sacred. Designers are often probed about their research process but my interest is in when you research.

Spanish and British — has being in Paris changed your outlook on life and where you have come from? I’m very proud of my Spanish and British roots and living in Paris for these past 20 years has made me even prouder and even more inspired by my heritage. France is a very inspiring country with very strong national pride in its roots. What has Paris given you? Paris has helped me celebrate and appreciate the riches of heritage and I am also very proud to work and be accepted here and to live in the undisputed Fashion Capital of the world. To conclude, upon your arrival in Paris nearly 20 years ago, you told L’Officiel (in the December 1993 issue), that “women have hidden behind baggy shapeless clothes too, too long”—do you think they are they still hiding?

You have to always be looking, always on a quest. Beauty is everywhere... you have to always keep your eyes open and constantly be plugged into finding it. So the process of cataloguing and exploring your vision is a full-time one? I like to go on a research trip at the start of each new season, to immerse myself in a totally new culture, new muse and new way of seeing. Research, ideas and creativity never stops, never sleeps—and neither must you.

ters, but above all, fashion is about being individual. You have to give it your own spin and make your own unique creative mark on the world.

As this issue is all about heritage — how important do you feel it is to uphold certain dressmaking techniques from past eras? The beginning of Dior’s New Look can be seen in his work at Lucien Lelong, and you revived bias

You were awarded a CBE in the Queen’s Birthday Honours list in 2001 and in 2009 you were admitted to the French Legion of Honour with the rank of Chevalier. Thinking about your nationality as one that is defiantly

Women are creatures of so many beautiful contradictions, they certainly have no excuse to hide, but the different ‘masks’ they wear are what bewitch and what inspires. I think now they have so many more choices that it’s almost overwhelming, but they should not cut corners and wear lazy clothes—there is no excuse to make an effort! Dal Chodha



Rodarte’s Fall 2011 collection brought, yet again, the brilliant texture for which the Mulleavy sisters are renowned. Lush, slouchy sweaters were pulled over transparent flared skirts with baroque gold embroidery. High-collared, long-sleeved dresses featured crystal accents at the cinched waist. And prints, all delicate, were juxtaposed with geometrical, angled shapes. This season’s pieces are highly wearable: high-waisted pants evoked a crisp, Chloé cool, while the high praire-ready frocks are sure to look lovely on starlets like Kirsten Dunst (who sat front row) and Chloë Sevigny. Nicholas Kirkwood for Rodarte booties seemed to draw on an Americana theme, with beaded crystal patterns clearly inspired by Native American designs.





Manuel Albarran is probably one of the only Metal Fashion Designer in the market. He is dedicates to research a new artistic concept of metal: the METAL COUTURE, developing through the careful combination of metal and different materials and techniques for fashion, art and cinema. Not really easy to sport on a everyday life, but for photoshoot the result is pretty rad ! See by yourself.



Laurie Anderson, Trisha Brown, Gordon Matta-Clark Pioneers of the Downtown Scene, New York 1970s

Trisha Brown, Roof Piece, 1973. Foto © 1973 Babette Mangolte 7173-21A. Sammlung Gabi und Wilhelm Schürmann, Aachen.

Trisha Brown, Walking on Wall, 1971. Foto © Carol Godden.

M isa negra

This exciting new multi-disciplinary exhibition examines the work of three leading figures in the burgeoning arts scene in downtown Manhattan during the 1970s. Laurie Anderson, Trisha Brown and Gordon Matta-Clark were friends and active participants in shaping a vibrant art community during a time of economic crisis in New York City. Featuring live performances, sculptures, drawings, photographs, documentation and mixed media works, this exhibition focuses on the intersections between their practices and explores their mutual concerns – performance, the urban environment and found spaces. Several key works by Trisha Brown and Gordon Matta-Clark are animated during a daily programme of gallerybased performances.

A DORA GARCIA / SPANISH PAVILION LA BIENNALE DI VENEZIA The 54th Art Exhibition - La Biennale di Venezia will be opened to the public on June 4 and will last until November 27, 2011. The artist Dora García has been selected by Katya García-Antón, curator for the Spanish Pavilion, to represent Spain in the 54th edition of the Venice Biennale in 2011. Katya García-Antón, who was appointed in April 2010 curator of the Spanish Pavilion by AECID, the Spanish Agency for International Development Cooperation (AECID), has selected the artist Dora García to represent Spain at the next edition of the Venice Biennale, which will run from the 4th of June to the 27th of November 2011. After several months of research, Katya García-Antón has chosen the artist Dora García to develop the project that will represent Spain at the Venice Biennale, one of the most prestigious events in the international arts calendar, which will be celebrating its 54th edition from the 4th of June to the 27th of November 2011.

D ora Garcia

In the words of the curator: “The Venice Biennale, and in particular the national pavilions in the Giardini, represent a very unique exhibition context. Given its geopolitical architecture, its history and present, as well as the waves of professional and non-professional consumerism which convene there, the Giardini (and, by extension, the Biennale) represent a complex scenario in which to present and receive works of art. Dora Garcia is an artist who is interested in analyzing the paradigms and conventions of art, and who has frequently challenged notions of power and the way in which it operates. Her work is also directed at demystifying the relationship between artist and audience, and using fiction to question the ethical and moral elements of this relationship. Each work allows the artist to experiment, interfere, distort and play with the visitor’s expectations, forcing each and every one to question the objective of the project, the role that s/he plays in it, and consequently reconsider the world of art and the rules of the game. These factors, and many others, point to why Dora Garcia is an artist who will know how to navigate the special context of the Biennale, combining in the work she will present her intellectual acuity with a characteristic dose of black humour.”

MISA NEGRA. Joan Morey, 2007–2009. This pièce de résistance concludes the project OBEY, HUMILLADOS & OFENDIDOS. Inside is a compilation of essays, photographic documentation, scripts, author’s annottions... together constituting the only instrument that makes visible in its entirety the performative act without an audience Three Dead End Adjacent Tunnels, Not Connected. 24 h. The content of MISA NEGRA, in accordance with the golden ratio or Proporzione Divina, combines different languages without translation to embody an expanded concept of art that consists in the transformation of the spectator’s consciousness as a means of activating reality and thought. MISA NEGRA has been nominated for awards LAUS 2011, Barcelona (Awards Graphic Design and Visual Communication)

a obra de arte ha sido siempre fundamentalmente susceptible de reproducción. Lo que los hombres habían hecho, podía ser imitado por los hombres. Los alumnos han hecho copias como ejercicio artístico, los maestros las hacen para difundir las obras, y finalmente copian también terceros ansiosos de ganancias. Frente a todo ello, la reproducción técnica de la obra de arte es algo nuevo que se impone en la historia intermitentemente, a empellones muy distantes unos de otros, pero con intensidad creciente. Los griegos sólo conocían dos procedimientos de reproducción técnica: fundir y acuñar. Bronces, terracotas y monedas eran las únicas obras artísticas que pudieron reproducir en masa. Todas las restantes eran irrepetibles y no se prestaban a reproducción técnica alguna. La xilografía hizo que por primera vez se reprodujese técnicamente el dibujo, mucho tiempo antes de que por medio de la imprenta se hiciese lo mismo con la escritura. Son conocidas las modificaciones enormes que en la literatura provocó la imprenta, esto es, la reproductibilidad técnica de la escritura. Pero a pesar de su importancia, no representan más que un caso especial del fenómeno que aquí consideramos a escala de historia universal. En el curso de la Edad Media se añaden a la xilografía el grabado en cobre y el aguafuerte, así como la litografía a comienzos del siglo diecinueve. Con la litografía, la técnica de la reproducción alcanza un grado fundamentalmente nuevo. E1 procedimiento, mucho más preciso, que distingue la transposición del dibujo sobre una piedra de su incisión en taco de madera o de su grabado al aguafuerte en una plancha de cobre, dio por primera vez al arte gráfico no sólo la posibilidad de poner masivamente (como antes) sus productos en el mercado, sino además la de ponerlos en figuraciones cada día nuevas. La litografía capacitó al dibujo para acompañar, ilustrándola, la vida diaria. Comenzó entonces a ir al paso con la imprenta. Pero en estos comienzos fue aventajado por la fotografía pocos decenios después de que se inventara la impresión litográfica. En el proceso de la reproducción plástica, la mano se descarga por primera vez de las incumbencias artísticas más importantes que en adelante



ncluso en la reproducción mejor acabada falta algo: el aquí y ahora de la obra de arte, su existencia irrepetible en el lugar en que se encuentra. En dicha existencia singular, y en ninguna otra cosa, se realizó la historia a la que ha estado sometida en el curso de su perduración. También cuentan las alteraciones que haya padecido en su estructura física a lo largo del tiempo, así como sus eventuales cambios de propietario2. No podemos seguir el rastro de las primeras más que por medio de análisis físicos o químicos impracticables sobre una reproducción; el de los segundos es tema de una tradición cuya búsqueda ha de partir del lugar de origen de la obra. El aquí y ahora del original constituye el concepto de su autenticidad. Los análisis químicos de la pátina de un bronce favorecerán que se fije si es auténtico; correspondientemente, la comprobación de que un determinado manuscrito medieval procede de un archivo del siglo XV favorecerá la fijación de su autenticidad. El ámbito entero de la autenticidad se sustrae a la reproductibilidad técnica —y desde luego que no sólo a la técnica—3. Cara a la reproducción manual, que normalmente es catalogada como falsificación,



«Igual que el agua, el gas y la corriente eléctrica vienen a nuestras casas, para servirnos, desde lejos y por medio de una manipulación casi imperceptible, así estamos también provistos de imágenes y de series de sonidos que acuden a un pequeño toque, casi a un signo, y que del mismo modo nos abandonan»1. Hacia 1900 la reproducción técnica había alcanzado un standard en el que no sólo comenzaba a convertir en tema propio la totalidad de las obras de arte heredadas (sometiendo además su función a modificaciones hondísimas), sino que también conquistaba un puesto específico entre los procedimientos artísticos. Nada resulta más instructivo para el estudio de ese standard que referir dos manifestaciones distintas, la reproducción de la obra artística y el cine, al arte en su figura tradicional.

en situaciones inasequibles para éste. Sobre todo le posibilita salir al encuentro de su destinatario, ya sea en forna de fotografía o en la de disco gramofónico. La catedral deja su emplazamiento para encontrar acogida en el estudio de un aficionado al arte; la obra coral, que fue ejecutada en una sala o al aire libre, puede escucharse en una habitación. Las circunstancias en que se ponga al producto de la reproducción de una obra de arte, quizás dejen intacta la consiste ncia de ésta, pero en cualquier caso deprecian su aquí y ahora. Aunque en modo alguno valga esto sólo para una obra artística, sino que parejamente vale también, por ejemplo, para un paisaje que en el cine transcurre ante el espectador. Sin embargo, el proceso aqueja en el objeto de arte una médula sensibilísima que ningún objeto natural posee en grado tan vulnerable. Se trata de su autenticidad. La autenticidad de una cosa es la cifra de todo lo que desde el origen puede transmitirse en ella desde su duración material hasta su testificación histórica. Como esta última se funda en la primera, que a su vez se le escapa al hombre en la reproducción, por eso se tambalea en ésta la testificación histórica de la cosa. Claro que sólo ella; pero lo que se tambalea de tal suerte es su propia autoridad 4. Resumiendo todas estas deficiencias en el concepto de aura, podremos decir: en la época de la reproducción técnica de la obra de arte lo que se atrofia es el aura de ésta. E1 proceso es sintomático; su significación señala por encima del ámbito artístico. Conforme a una formulación general: la técnica reproductiva desvincula lo reproducido del ámbito de la tradición. Al multiplicar las reproducciones pone su presencia masiva en el lugar de una presencia irrepetible. Y confiere actualidad a lo reproducido al permitirle salir, desde su situación respectiva, al encuetro de cada destinatario. Ambos procesos conducen a u fuerte conmoción de lo transmitido, a una conmoción de la tradición, que es el reverso de la actual crisis y de la renovación de la humanidad. Están además en estrecha relación con los movimientos de masas de nuestros días. Su agente más poderoso es el cine. La importancia social de éste no es imaginable incluso en su forma más positiva, y precisamente

de su Reproductibilidad Técnica

La Obra de Arte en la Época Essay ARCHITECTURE

van a concernir únicamente al ojo que mira por el objetivo. El ojo es más rápido captando que la mano dibujando; por eso se ha apresurado tantísimo el proceso de la reproducción plástica que ya puede ir a paso con la palabra hablada. A1 rodar en el estudio, el operador de cine fija las imágenes con la misma velocidad con la que el actor habla. En la litografía se escondía virtualmente el periódico ilustrado y en la fotografía el cine sonoro. La reproducción técnica del sonido fue empresa acometida a finales del siglo pasado. Todos estos esfuerzos convergentes hicieron previsible una situación que Paul Valéry caracteriza con la frase siguiente:

lo auténtico conserva su autoridad plena, mientras que no ocurre lo mismo cara a la reproducción técnica. La razón es doble. En primer lugar, la reproducción técnica se acredita como más independiente que la manual respecto del original. En la fotografía, por ejemplo, pueden resaltar aspectos del original accesibles únicamente a una lente manejada a propio antojo con el fin de seleccionar diversos puntos de vista, inaccesibles en cambio para el ojo humano. O con ayuda de ciertos procedimientos, como la ampliación o el retardador, retendrá imágenes que se le escapan sin más a la óptica humana. Además, puede poner la copia del original en ella, sin este otro lado suyo destructivo, catártico: la liquidación del valor de la tradición en la herencia cultural. Este fenómeno es sobre todo perceptible en las grandes películas históricas. Es éste un terreno en el que constantemente toma posiciones. Y cuando Abel Gance proclamó con entusiasmo en 1927: «Shakespeare, Rembrandt, Beethoven, harán cine... Todas las leyendas, toda la mitología y todos los mitos, todos los fundadores de religiones y todas las religiones incluso... esperan su resurrección luminosa, y los héroes se apelotonan, para entrar, ante nuestras puertas»5 , nos estaba invitando, sin saberlo, a una liquidación general.


entro de grandes espacios históricos de tiempo se modifican, junto con toda la existencia de las colectividades humanas, el modo y manera de su percepción sensorial. Dichos modo y manera en que esa percepción se organiza, el medio en el que acontecen, están condicionados no solo natural, sino también históricamente. El tiempo de la Invasión de los Bárbaros, en el cual surgieron la industria artística del Bajo Imperio y el Génesis de Viena,* trajo consigo además de un arte distinto del antiguo una percepci6n también distinta. Los eruditos de la escuela vienesa, Riegel y Wickhoff, hostiles al peso de la tradición clásica que sepultó aquel arte, son los primeros en dar con la ocurrencia de sacar de él conclusiones acerca de la organización de la percepción en el tiempo en que tuvo vigencia. Por sobresalientes que fueran sus conocimientos, su limitación estuvo en que nuestros investigadores se contentaron con indicar la signatura formal propia de la percepción en la época del Bajo Imperio. No intentaron (quizás ni siquiera podían esperarlo) poner de manifiesto las transformaciones sociales que hallaron expresión en esos cambios de la sensibilidad. En la actualidad son más favorables las condiciones para un atisbo correspondiente. Y si las modificaciones en el medio de la percepción son susceptibles de que nosotros, sus coetáneos, las entendamos como desmoronamiento del aura, sí que podremos poner de bulto sus condicionamientos sociales. Conviene ilustrar el concepto de aura, que más arriba hemos propuesto para temas históricos, en el concepto de un aura de objetos naturales. Definiremos esta última como la manifestación irrepetible de una lejanía (por cercana que pueda estar). Descansar en un atardecer de verano y seguir con la mirada una cordillera en el horizonte o una rama que arroja su sombra sobre el que reposa, eso es aspirar el aura de esas montañas, de esa rama. De la mano de esta descripción es fácil hacer una cala en los condicionamientos sociales del actual desmoronamiento del aura. Estriba éste en dos circunstancias que a su vez dependen de la importancia creciente de las masas en la vida de hoy. A saber: acercar espacial y humanamente las cosas es una aspiración de las masas actuales6 tan apasionada como su tendencia a superar la singularidad de cada dato acogiendo su reproducción. Cada día cobra una vigencia más irrecusable la necesidad de adueñarse de los objetos en la más próxima de las cercanías, en la imagen, más bien en la copia, en la reproducción. Y la reproducción, tal y como la aprestan los periódicos ilustrados y los noticiarios, se distingue inequívocamente de la imagen. En ésta, la singularidad y la perduración están imbricadas una en otra de manera tan estrecha como lo están en aquélla la fugacidad y la posible repetición. Quitarle su envoltura a cada objeto, triturar su aura, es la signatura de una percepción cuyo sentido para lo igual en el mundo ha crecido tanto que incluso, por medio de la reproducción, le gana terreno a lo irrepetible. Se denota así en el ámbito plástico lo que en el ámbito de la teoría advertimos como un aumento de la importancia de la estadística. La orientación de la realidad a las masas y de éstas a la realidad es un proceso de alcance ilimitado tanto para el pensamiento como para la contemplación.





Creative Direction The fashionvision by Julian Monge @ Eric Hennebert Stylist Siwha Lee @ Thefashionvision Hair Vincent de Moro @ Aurelien Make up Topolino @ Callistre Production The Fashion Vision Production Christophe Kutner @ 2b Management Location Grand Hotel Opera Paris Models Bianca O’Brien @ Just Wm, Sarah @ Nathalie, Annika @ Ford, Kristine


Photography Christophe Kutner




Beach roap and underwear Eres


Sarah wears panties Eres, ring Dior by Vitoire de Castellane. Kristin wears blouse Aberta Ferretti,pants Emporio Armani, necklace and ring Repossi.


Jacket Maison Martin Margiela, pants Giorgio Armani, ring Dior by Victoire de Castellane, shoes Christian Louboutin, hat Maison Michel.

F Bianca wears dress Valentino, shoes Chloé, accesories Dary’s Paris. Annika wears necklace Swarovski FW 2011/12


F Annika wears scarf Andrea Crews by Leslie David, pants Haider Ackermann, bracelet Swarovski, ring Repossi, hat Philip Treacy, Sarah wears top Haider Ackermann, short Yigal AzrouĂŤl, ring Dior by Victoire de Castellane.

Imilio Tini


Photography Emilio Tini Stylist Emil Rebek Grooming Anna Maria Negri @ Victoria's Stylist Assistant Mauro Ballette Model Jozef Exner @ d'men


Shirt and tie: Dior Homme trousers: Burberry Prorsum belt: Gucci shoes: Kenzo Home hat: Borsalino

F Jacket: Calvin Klein Collection shirt: Paul Smith tie: Bottega Veneta


Jacket: emporio Armani, pullover and shoes: Marni trousers: Dior Homme socks: Falkne

F Coat: Calvin Klein Collection



Fumanal A Perfect Guide, Five Perfect Girls


A Perfect Guide, Five Perfect Girls TOP MODELS – SPRING/SUMMER 2010 IRIS STUBEGGER @ Women NY, EDITA VILKEVICIUTE @ DNA NY, HEIDI MOUNT @ IMG NY, ENIKO MIHALIK @ Marilyn NY Casting: Vanessa Coyle Illustration: Ricardo Fumanal Autumn/Winter 2009/10

dior homme

www.dio r

ADELE Magazine  
ADELE Magazine  

Magazine done in workshop with Albert Folch - Folch studio Barcelona - in Elisava