Il vestito, il tempo, la forma

Clothes are something that belong intimately to the body, a ‘an extension of the skin’ leading the biological individual to sociality. The relationship between art and fashion has undergone a continuous change of views and Capucci’s creations underline this problem further. The research on the models of the Roman designer is based on pictures and drawings of these models. A drawing is in fact both a revealer of a hidden project in itself. The hypothesis that are subjected to the research tend to reveal the behaviour of young people, ‘experts’ and ‘non-experts’ towards the image presented. As in previous researches, the dimensions of modernity, elegance and comfort are important. Moreover, the variable ‘time’ are set against the other two dimensions since the creations of Haute couture should not be negatively influenced by the passing of time. These creations should not be considered out of fashion. The techniques that have used are the semantic differential and a list of emotions. Three dimension emerge from the results. The first is ‘modernity’, followed by ‘elegance’ and ‘conformity’. As for emotions, the factors that have emerged are in this order: happiness, sadness and tension. Cluster analysis indicates that a constant element is often present in both groups of males and females, experts and non-experts. The hypotheses concerning the timelessness of Capucci’s models are therefore confirmed. By the way, it is interesting to remember the shifting of two scales related to fashion itself and its classicism. The adjective ‘modern’ is correlative to the dimension of ‘modernity’ and the adjective ‘classic’ to the dimension that measures ‘conformity’. In conclusion, we can affirm that the way Capucci expresses himself is modern, elegant and nonconformist. He strive operates for an abjectivation that incorporates a specific language in a wide system of traditions, through fashion as an accessible abject.