{"id":64108,"date":"2024-08-01T13:39:27","date_gmt":"2024-08-01T18:39:27","guid":{"rendered":"https:\/\/universomola.com\/?p=64108"},"modified":"2024-08-06T07:35:13","modified_gmt":"2024-08-06T12:35:13","slug":"vistiendo-la-nacion-la-interseccion-de-identidad-y-moda-en-los-uniformes-olimpicos","status":"publish","type":"post","link":"https:\/\/universomola.com\/en\/vistiendo-la-nacion-la-interseccion-de-identidad-y-moda-en-los-uniformes-olimpicos\/","title":{"rendered":"Wearing the Nation: Crossroads of Identity and Fashion in the Olympic Uniforms"},"content":{"rendered":"

By Ileana Gonzalez<\/span><\/p>\n

A few days ago one of the most important sporting events in the world began: the Olympic Games. This year, they are taking place in Paris, France.<\/span><\/p>\n

For Roel Puijk, the Olympic Games differ from other sporting events by being a meeting of many countries and sports disciplines gathered in one place, as well as their elaborate ceremonial aspects. Both the opening and closing ceremonies have become public and artistic events, watched simultaneously by millions of viewers around the world. The opening ceremony is not only important for representing the city's national culture or the hosting nation of the event, but also as a showcase for the countries involved through their flag and, above all, their uniforms at the time of execution of the disciplines and the parade of the athletes.<\/span><\/p>\n

What is the origin of the uniform at the Olympics?<\/b><\/p>\n

According to Patricia Reymond, at the first Olympic Games, participants wore their own sportswear or suits, even during events and protocol ceremonies. Distinctive signs such as badges, bracelets or bibs, and color-coded clothing were used to identify each participating country.\u00a0<\/span><\/p>\n

In 1908, the first parade of athletes was held in London, where they paraded in groups divided by country and organized in alphabetical order, ending the parade with the host of the games. However, it was at the 1924 Paris Games where it gained singular prominence by allowing delegations from participating countries to parade without wearing sportswear. This led the different National Olympic Committees to start giving assess the uniformity of their athletes in terms of image. Thus, the Athletes' Parade, together with the arrival of the Olympic torch, became one of the most anticipated moments of the opening ceremony of the Games.<\/span><\/p>\n

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Athletes' Parade. 1924 Olympic Games, Paris, France.<\/span><\/h6>\n
Credits: Keystone\/Hulton Archive\/Getty Images.<\/span><\/h6>\n

In this way, the uniform takes two forms: uniforms worn by delegation members outside the competition and sportswear that follow the rules of the International Sports Federations.\u00a0<\/span><\/p>\n

The Power of the Uniform: Representation and Pride on the Olympic Stage<\/b><\/p>\n

A few days ago, before the ceremony, images of the uniforms of each country began to circulate on social media. Some of the highlights were: the Mongolian uniform, designed by the local brand Michel & Amazonka, inspired by the traditional Deel tunic, which contains numerous references to the event and local culture in its embroidery. In addition, the Haitian uniform, created by Haitian-Italian designer Stella Jean, uses chambray, a sustainable material made in Haiti and includes artwork of Haitian painter Philippe Dodard. The Canadian uniform, made by the Lululemon brand and designed by the indigenous artist Mason Mashon, which is inspired by the Northern Lights, was also highlighted.<\/span><\/p>\n

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Mongolian uniform by the Michel & Amazonka brand.<\/span><\/h6>\n
Credits: Michel & Amazonka<\/span><\/h6>\n

However, some uniforms received strong criticism in their home countries. This was because some of the colors, silhouettes and prints did not represent the country at all. Others criticized the choice of foreign brands and designers instead of local ones, and finally, there was criticism for the lack of creativity caused by simple designs that did not convey anything.\u00a0\u00a0\u00a0<\/span><\/p>\n

This disenchantment is because athletes do not embody the image of their nation. In this sense, Stuart Hall understands national identity as the narrative of the nation that provides a series of elements such as stories, images, historical events, national symbols and rituals, which symbolize and represent the shared experiences that give meaning to the nation. Therefore, uniforms raise questions about sense of belonging, individuality, and conformity.<\/span><\/p>\n

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Uniform of Lithuania for the 1992 Olympic Games, Barcelona, Spain. It was designed by Issey Miyake, who used the colors of the country's flag to represent the recent independence of the Soviet Union.<\/span><\/h6>\n

For Henri Tai, a good design of Olympic uniforms must include: a good knowledge of the national culture, the ability to determine the country's identity codes, the use of quality materials that make sense, the creation of strong and emblematic designs or pieces, a close collaboration with athletes and the selection of a manufacturer capable of producing uniforms that fit all athletes.<\/span><\/p>\n

As Reymond points out, garments \u201cspeaks\u201d to the individuals who make up the multicultural nations that most countries have become in the 21st century. Therefore, the design must capture the essence of the national narrative through the reinterpretation of national symbols and colors, being able to generate pride in their country and attract the eyes of other participant countries. Fashion thus becomes a powerful tool to project the image of a country and strengthen the sense of national identity.<\/span><\/p>\n

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References<\/b><\/h6>\n
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  • \n
    da Silva, B. D. O., Tric\u00e1rico, L. T., & Pereira, Y. C. C. (2020). A espetaculariza\u00e7\u00e3o de identidades nacionais em cerim\u00f4nias de abertura dos Jogos Ol\u00edmpicos. Comunica\u00e7\u00e3o & Informa\u00e7\u00e3o, 23.<\/span><\/h6>\n<\/li>\n
  • \n
    PUIJK, R. Producing norwegian culture for domestic and foreign gazes: the Lillehammer olympic opening ceremony. In: KLAUSEN, A. M. (ed.). Olympic games as performance and public event. New York: Berghahn Books, 1994. p. 97-136.<\/span><\/h6>\n<\/li>\n
  • \n
    Reymond, P. (2021). Get Dressed for the World\u2019s Largest Party: Olympic Uniforms through the Ages. Tratto il giorno Giugno, vol. 17, p. 2023.<\/span><\/h6>\n<\/li>\n
  • \n
    Vacas, C. (2024). Par\u00eds 2024: la historia detr\u00e1s del traje ol\u00edmpico de mongolia (y otros destacados). En: Historia National Geographic. Taken from: https: \/\/historia.nationalgeographic.com.es\/a\/paris-2024-historia-detras-traje-olimpico-mongolia-otros-destacados_21955<\/span><\/h6>\n<\/li>\n<\/ul>\n



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    <\/p>","protected":false},"excerpt":{"rendered":"

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