When backstage at the Thierry Mugler show Suzy Menkes asked Nicola Formichetti and Lady Gaga if fashion is (and should be) about performance they answered no, but their body language said yes. In today’s fashion, if willing or not, styling is just as important as design, and the object of representation is not the subject, even if presented in the proper context, with the right details and backed up with visual elements making a statement, a concept or an identity stand out.
Several authoritative voices have gone as far as to say that the word fashion should be replaced by the word style. Without necessarily assuming this extreme vision as indubitable, one can say that styling is always present in fashion, starting from the presentation of a collection to its publication in the media. Moreover, in the convergent era, we assist in a thrilling divergence between extremely technological representations, like Gareth Pugh’s videos where styling makes the brand identity, and the re-flowering of independent printed magazines where styling is central to the editorial activity.
The Fashion Styling master course aims to create a figure able to set future trends, define the image of a collection or the positioning of a brand, and invent fashion icons by working in collaboration with designers, show directors, magazines, retailers, advertising agencies and celebrities. In this particular edition focus will be on editorial activity, including the realization of photo shoots, a look book, and creating relationships between photographers and editors.
Professionals in this field require not only specific competencies but also a highly developed aesthetic vision and talent, indispensable to understand, absorb and generate the most innovative concepts of a fast changing but everlasting fashion world. To accomplish this goal, students will follow the footsteps of famous stylists such as Carine Roitfeld, Joe McKenna and Olivier Rizzo, and photographers such as Mario Testino, Mario Sorrenti, Inez Van Lamsweerde & Vinoodh Matadin, Steven Meisel and Tim Walker.
The master course incorporates three aspects, forming the figure of the Fashion Stylist:
Cultural: the history and theory of fashion, its main players, actors and icons, the deep meaning of a garment or an accessory, the link between ethics and aesthetics, the inspirations of contemporary art, the bond between fashion and other moments in which style is present (e.g. cinema, theatre, music).
Creative: styling in the realization of a collection, an event, an interior space, a printed issue, the imaginary becoming image, practical skills producing and promoting fashion images in collaboration with designers, photographers, models, hair and make up artists, location hunters, art directors and editors.
Managerial: the fashion industry in its time and space from production to communication, the market made of person-clients, the archetypes, style as method for positioning a brand, brand building process, the retail environment, organization of an event, the principles of [visual] merchandising.