The Fashion IssueN°9
In the new issue of ARCHIVIO, Guest Editor-in-Chief Stefano Tonchi, joined by Marco Pecorari, offers a mapping of the fashion archives international landscape at this moment in time and an overview of the many typologies and studies happening in the world we live in, divided in three—very porous—sections: ‘Public & Institutional’, ‘Brands & Strategies’, ‘Private & Personal’.
The first section, ‘Public & Institutional’, includes museums, galleries and other public institutions that collect, archive and show fashion, creating a public institutionalization of fashion in archives and collections. ‘Brands & Strategies’ documents the birth, the evolution and the marketing of the archive of Designers and Brands. The ‘Private & Personal’ section is a space where many new studies on fashion archives are happening, with private collections interacting with personal researches, many focused on the social and political themes of our times, diversity, gender and race.
The Fashion Issue also includes a special poster: an (in)complete mapping of the countless fashion archives in Italy. A research by Promemoria visually processed by Accurat. The result is a map that is also a small work of art.
ARCHIVIO Second series
ARCHIVIO N°5 inaugurates the second cycle of the magazine, this time directed by Valerio Millefoglie, and takes us back to 1991 when a very crowded Vlora ship coming from Durazzo docks at the port of Bari, bringing 20,000 refugees. It also touches on an interview with photojournalist Letizia Battaglia, and other archive stories of the time that can always speak to us about the present.
How to tell the story and the energy of the 1980s? We have chosen a long correspondence with Giorgio Armani; an interview with historian Carlo Ginzburg; writer Giorgio Vasta’s fiction from the world of records; and with Gao Xingjian, the first author of Chinese origin to win the Nobel Prize for Literature, we ideally returned to the places and the period of his escape along the Yangtze River.
The world of 1973 revolves and hovers around a city that is a bottomless pit of history—Naples and the cholera epidemic of 1973; Naples and the threat of bradyseism in 1970; Naples and its burning bowels in 1979; Naples and a woman in 1974 who set herself on fire in bed in a criminal lunatic asylum; Naples and the great photographer Mimmo Jodice. This issue of ARCHIVIO focuses on the 1970s, between desire for change and deep tensions, utopian impulses and oblique gazes.buy issue
Guido Crepax and Sabrina Ragucci, Folco Quilici, Dacia Maraini and Pino Tovaglia, amongst others, walk us through this issue of ARCHIVIO on our journey backwards through the XX century. A focus on the 1960s, between hope for a new world and lightheartedness promises, this is the last chapter of the second series of ARCHIVIO directed by Valerio Millefoglie.buy issue
A limited edition of 150 copies bringing together the last four issues of ARCHIVIO. A celebration of the second editorial series of the magazine published by Promemoria Group, directed by Valerio Millefoglie with the editorial consultancy of Daniela Hamaui.
ARCHIVIO First series
The first issue of ARCHIVIO ventures into those archives that fascinated us first and foremost as places: ancient palazzi, rooms crammed full of shelves, places brimming over with history. We met the archivists and this magazine was created to give voice to them and to their work. Archives are important because they tell stories – our stories.
This issue is about crime and power because archives can be considered a great laboratory of investigation. What scares us most: the silence of memory, the lack of information, or the power of those who choose what to keep in files and drawers?
Can you say why America is the greatest country in the world? This third issue of ARCHIVIO focuses on North America, a nation we have always dreamed of as the place of freedom. This issue explores the popular worldwide imagination marked by the USA culture throughout the archives.
The Unreal Issue focuses on the fluctuating relationship between real and unreal: the magazine you’ll keep in your hand is a real object, the paper is real, its weight is real, its consistency to the touch is real. The people who made it are real. Or maybe not?