French term (edited): perspectives mussoliniennes: Sorry, URGENT again

The following links may help you find what you're looking for
laboiteaimages.hautetfort.com/architecture/ - 23k

Part of Mussolini's legacy to Italy is the style of architecture referred to here. Bombastic, exaggeratedly heroic, it mocks the humanity it purports to glorify. It is overpowering, cold and makes you think of the baby sacrificing scenes in biblical movies. Sometimes we build structures like this in our own minds..."
The image 'fascist architecture' came from Italy. It was stuff that was built during Mussolini's period that was a particular style where the buildings are really larger that life and what is supposed to celebrate the greatness of humanity actually dwarfs humanity. And it makes you fell tiny and helpless next to it.
cockburnproject.net/songs&music/fa.html - 6k

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Note added at 20 mins (2005-08-11 13:15:16 GMT)
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laboiteaimages.hautetfort.com/architecture/ - 23k
cockburnproject.net/songs&music/fa.html

Why not use Jim Carroll's description of the Lincoln center in NYC? This solves the problem of using perspectives (which- as was mentioned- is not as concrete as the other descriptors used in the sentence)

I've seen this one before, it's all about the vision of femininity decided upon by Mussolini. A bit too much frills perhaps ;-)
I find it ironic to put it beside "gratte-ciel new-yorkais", as Mussolini style fashion was more on the horizontal and buxom and a skyscraper would suggest thin women, close-fitting, "épuré" dresses. A Laurel and Hardy of fashion?

I'd say you can choose to either drop the Mussolini part and go for bombastic or something, or else simply say Mussolini lines of fashion?

Here is a link and an excerpt about the style involved.
Good luck with your work Anna Maria!





The Fascists took up the fashion industry cause as part of their agenda of managing cultural expressions of nation, class and gender in the construction of a New Italy and New Italians. They sought to tie the ruling order to the timeless values of antiquity and the land. The first was embodied in the Golden Age of the Italian Renaissance, the second in the provincial domain of the peasant. The Ideal Woman of Fascism rejected the gender-bending ways of la maschietta (the tomboy), the Italian version of the Roaring '20s flapper. Instead, the New Italian Woman would be the model of femininity as represented by the body-emphasizing cuts of knitted sportswear, and she would accept her place in the patriarchal family, bound up in the hand-tatted lace and embroidered aprons of traditional matronly attire. In 1939, Mussolini himself organized "The Great Parade of the Female Forces," a spectacle of feminine Fascist solidarity that was filmed and then screened around the nation as an Italian version of Leni Reifenstahl's 1934 documentary on Hitler, Triumph of the Will.





My favorite "power meeting" outfit was a Valentino Uomo three-button suit tailored in lustrous black end-on-end-woven silk and wool fabric, which I wore with a charcoal gray shirt and tone-on-tone silver tie, Il Duce style. Mussolini's attempt to use fashion as an ideological and economic weapon is the subject of Eugenia Paulicelli's Fashion under Fascism: Beyond the Black Shirt. In this first-ever study of its kind in English, Paulicelli traces the origins of the modern Italian fashion industry in the ideals of the nation's unification movement and their subsequent cooptation by the Fascist Party in the years leading up to the Second World War.

The role of the Garibaldi of Italian fashion was played by Rosa Genoni. Through her writings and classes, she taught in Milan on fashion theory and history during the first quarter of the 20th century. Genoni proselytized on the need for Italian designers and consumers to declare independence from the domination of French couturiers. The unofficial house organ of the movement to develop a specifically Italian sense of fashion was the magazine Lidel, founded in 1919 with the goal of propagating the ideals of Italian identity and nationhood.

The Fascists took up the fashion industry cause as part of their agenda of managing cultural expressions of nation, class and gender in the construction of a New Italy and New Italians. They sought to tie the ruling order to the timeless values of antiquity and the land. The first was embodied in the Golden Age of the Italian Renaissance, the second in the provincial domain of the peasant. The Ideal Woman of Fascism rejected the gender-bending ways of la maschietta (the tomboy), the Italian version of the Roaring '20s flapper. Instead, the New Italian Woman would be the model of femininity as represented by the body-emphasizing cuts of knitted sportswear, and she would accept her place in the patriarchal family, bound up in the hand-tatted lace and embroidered aprons of traditional matronly attire. In 1939, Mussolini himself organized "The Great Parade of the Female Forces," a spectacle of feminine Fascist solidarity that was filmed and then screened around the nation as an Italian version of Leni Reifenstahl's 1934 documentary on Hitler, Triumph of the Will.

'I am quite horrified to learn of this link between fashion and dictators/extremists'

I think the author just refers to what he's seen on his travels, and it is true that (whether one likes it or not!) 'Mussolinian style' is striking in its own way (well, that's if you like megalomaniac architecture ;-)