1960s
Rhodoia: the 1965 registration that separated Paco Rabanne's accessories
The 1965 registration of the Rhodoia brand by Francisco Rabaneda Cuervo marks a strategic distinction between clothing and accessories in avant-garde fashion.
Fashion and the ways we expressed who we were
Latest additions
Contemporary
Wardrobe as Score in Lady Gaga's Career
Analyzes how Lady Gaga's aesthetic functioned as a narrative tool from her debut, using academic and journalistic sources to trace her impact on contemporary fashion.
Contemporary
Recycled Silhouettes: The 2000s Fashion Debt to the 60s
An analysis of how the mid-2000s retro aesthetic was not pure nostalgia, but a functional adaptation of 1960s visual codes, mediated by British indie pop and mass consumer culture.
Before 1950
The Buenos Aires peinetón: a hair ornament and its documentary limits
A review of available evidence on the peinetón in Buenos Aires between 1820 and 1837. The article distinguishes verifiable data on its use and chronology from social interpretations that require further sources.
1960s
Paco Rabanne and the garment built from components
In 1966, Paco Rabanne presented garments made from metal and plastic discs linked by rings. The collection shifted attention from cutting and sewing to structure, raising questions about the material limits of clothing.
1990s
The Thread of Memory: Lorenzo Caprile and Haute Couture as Document
Beyond aesthetics, Lorenzo Caprile's atelier operates as a living archive. His trajectory allows examining fashion not as a static object, but as a social practice that records recent Spanish identity through technical precision and tailoring history.
1970s
Clothing as a social document in 1970s Spain
Analyzes how museum and academic sources allow the study of 1970s fashion in Spain not as a uniform trend, but as a complex social practice linked to identity and urban context.
Contemporary
Preserved clothes can illuminate an era, but cannot dress it in its entirety
Photographs, documents and garments make it possible to study fashion as a social practice, provided we do not mistake a collection for a representative sample of what everyone wore. The Lorenzo Caprile archive and collection offer a starting point for considering what is preserved and what it can prove.
1960s
Everyday clothing cannot fit in a single display case
An exhibition on Madrid fashion from 1940 to 1970 and several sources on the history of dress raise a central question: what can preserved garments demonstrate, and what remains outside the display case?
2000s
Clothes Don’t Speak for Themselves: Reading Their Traces in Archives and Museums
A preserved garment, a photograph and a publication offer different kinds of evidence about clothing. Fashion collections and exhibitions in Spain help us explore what can—and cannot—be said about its social uses.
Contemporary
A Preserved Garment Cannot Tell Us on Its Own Who Wore It
The history of dress is built by reading garments, images and documents together. The available sources raise questions about design, circulation and representation, but do not justify generalising about what everyone wore.
Contemporary
One Garment Is Not Enough: Reading Fashion Through Its Archives
Exhibitions, catalogues and studies of clothing offer ways to investigate fashion, but each source answers different questions. An image of a garment alone does not prove how it was worn or who could access it.
