Fundación Proa: desfile Saltzman

La nueva generación de Diseño de Indumentaria de la UBA desplegó el nuevo futurismo y el futuro de la moda en Fundación Proa. Escribe Andrea Saltzman, titular de la cátedra y organizadora del evento.

TEXTO: Andrea Saltzman
FOTOS: Jorge Miño

El proyecto del desfile surgió de Adriana Rosenberg, la directora de Fundación Proa. Y nuestro vínculo con la Fundación es muy fuerte porque el área educativa es muy importante y el museo es un verdadero referente del arte y la cultura. Yo había curado una muestra aquí en el año 2003 que se llamó Moda, sobre el desarrollo del diseño de indumentaria en la Argentina desde la postdictadura hasta la contemporaneidad. De hecho en aquel entonces el que me contactó fue Sergio Avello, que me conocía de la época floreciente de los movimientos de arte-moda en la Argentina con Grippo, DeLoof, Bunader, Lacroix, Baño, Kelo Romero y tantos otros, toda una generación maravillosa que significó el alma de lo que después configuró el mundo del diseño. Por eso, íntimamente, este era un homenaje a esta gran persona y artista que fue Sergio Avello.
Creo que es imposible pensar en el diseño sin anclar en el arte. El arte es indudablemente la expresión mas descarnada de una época. No sólo un referente estético sino una manera de leer e interpretar el mundo. Y el universo futurista es un referente para todas las áreas del diseño. Pensó en el arte como manifestación de lo cotidiano. Su desarrollo en el diseño gráfico, la vestimenta, la comida, la danza y la música contemporánea, la poesía, incluso en la arquitectura, plantea una verdadera ruptura en la visión del mundo. Este movimiento es un símbolo de la modernidad. Surge con la luz eléctrica y la transformación de las ciudades que se desprendieron del ritmo del sol adquiriendo una nueva dinámica con la velocidad del automóvil. Un movimiento contradictorio y netamente italiano, belicoso y fascista. El desafío de la cátedra, del equipo docente y de los alumnos, fue reinterpretar este movimiento desde la contemporaneidad. No adherimos a los ideales futuristas, a su agresividad, al racismo, a la noción del hombre por encima de la naturaleza. Trabajamos a partir de la muestra que era sumamente didáctica y desde el manifiesto de la moda futurista, pero desde una mirada comprometida con nuestra realidad.
En el desfile hubo cuatro pasadas que correspondieron con cuatro ejercicios que trabajamos en los tres niveles de la cátedra. En primer año los chicos retomaron el universo estético con estampas a modo de tatuaje revalorizando la anatomía a través de una silueta adherente, pero resignificando el discurso. En segundo año el tema fue la deconstrucción del traje, que es uno de los temas fundamentales del manifiesto. Los parámetros: la ruptura con la severidad del órden establecido a partir del traje como paradigma del hombre de negocios, la revalorización de un aspecto más dinámico, deportivo y sensible, el confort. En Tercer Año tomamos los aspectos inherentes a la transformación y la flexibilidad. Era una propuesta de nomadismo urbano. Conjuntos compuestos por prendas superpuestas incluidos impermeables. Cada prenda se podía intervenir y accionar por el usuario, acortar alargar, transformar la silueta. Pero también exploramos en el aspecto lúdico y la percepción todas propuestas planteadas en el manifiesto. Los trajes danzantes fue la única parte del proyecto que teníamos desarrollada del año pasado. Es un ejercicio de segundo año en el que articulamos la capacidad de transformación del textil con los movimientos del cuerpo. La dinámica del movimiento y la transformación son temas fundamentales del espíritu futurista. Con respecto a la música, el arquitecto Carlos Campos, profesor de la Fadu, armó una composición con los sonidos del museo, que fue la introducción al evento.
La música del desfile la compuso el DJ Felipe Zamorano Graffigna, que trabajó desde el manifiesto de la música, las producciones musicales y la noción del futurismo hoy a partir de los sonidos y la tecnología contemporánea. Un auténtico investigador. La participación de Martín Churba como modelo fue simplemente un gesto de cariño. Con Martín nos une una gran amistad y un profundo afecto. A una alumna le faltó el modelo y Martín se propuso de una.
En un principio el desfile se pensó en el interior del museo como un recorrido continuo pero luego nos dimos cuenta que la cantidad de gente desbordaría el museo. De allí surgió la mejor idea. Adriana Rosenberg decidió sacar el desfile a la calle y se armó la fiesta. El evento se entramó en la ciudad: Proa, la cátedra, es decir la facultad, la Boca, la gente y un día casi veraniego en pleno invierno. No existe nada mejor que el espacio público. Ese es el lugar de la cultura. El espacio fundamental del encuentro. Desde acá todo fue alegría. La posibilidad de compartir.
Sólo me queda agradecer a Proa que nos brindó todo su apoyo y capacidad, a Adri, Victoria, Aimé, Andrés, Juan Pablo. A mi maravilloso equipo docente con los que nos une el entusiasmo de generar proyectos y aprender, A los alumnos por sus ganas y su entrega. A la cátedra de Imagen y Sonido de Eduardo Feller que desarrolló el video. A los chicos que desfilaron, a los bailarines, A Andre, a Felipe. Trabajar con ganas y en equipo es increíble pero compartirlo con la ciudad, es maravilloso ¿Qué más se puede pedir?


Andrea Saltzman junto a sus alumnas


TRAJES DANZANTES QUE SE TRANSEFORMAN CON EL MOVIMIENTO DEL CUERPO
Segundo Año
Boloque Lucrecia – Tausk Cármen


FOTO 1: Ortiz Florencia – Pampin Giselle / FOTO 2: Lombard Julieta – Carrasco


FOTO 1: Verdinelli Camila – Flores Loana / FOTO 2: Salvatore Camila – Negretti Juliana


REMIX SASTRERIA – DECONSTRUCCION DEL TRAJE / Barreras Mercedes – Costa Milena

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