Fashion Rio The model is stationary, as a doll-like, in the sense of “dollifyng” her body: an empty gaze directed towards nothing, both arms inert by her side, her legs in a hopelessly waiting. The trained eroptic (8) eye targets her without hesitation, not so much the bikini, but what is tattooed just above her pubis: a vida não é assim, nunca, para nem para sempre (‘life is not like this, never and even less for ever’). A philosophical statement presented by fashion as a reflective affirmation of itself. A meta-communication of the profound meaning of ‘what’ is actually fashion. Rio’s designer is a philosopher as much as Zaha Hadid. Philosopher in both, the show composition and the public / pubic text tattooed for the observer’s sexualized eyes. From this ‘eroptic’ dimension, I offer two reflections based on dialogues with two poets-essayists, Horace and Leopardi [1]. Horace The Roman poet known for his proposition on time that, in the unsurpassed simplicity of the Latin language, offers an oblique perspective through which time can be observed. Indeed, a time that is not only Kronos, as the Greek masters taught, but also Kairos: a nonlinear time, less mathematic and relentless time in its orderly flow, but also casual, random, sudden as his god. Indeed, Kairos’ hair is just in front, placed forward whilst his back is bald. When he presents himself, a unique, unrepeatable, irregular opportunity faces the subject and, if missed, taking it back will be impossible as his hair is just in front of his head. Carpe diem ... this famous ‘carpe’ refers to Kairos’ hair, passing quickly, before our undecided eyes. For this uncertain reason, life is not what the “usual” pubis seems to offer: Eros’ pleasure is ephemeral and it does not exist forever in this carnal temporality. So, the carioca designer is a kind of philosopher who addresses every glance from the model body to the bikini style and finally to her tattoo. My emotive reflection about the style is crossing through the three contiguous but not identical panoramas. And the last one, the tattoo, is offered as a novel (or a myth) that threatens the model’s beauty: in every moment, the doll-like body may become a skeleton, a pile of dismembered bones without any connection. In my fantasy, this reflexive fashion designer updates the famous sentence of Horace in an original composition: he reinvents and accentuates the seduction of the unrepeatable and unstoppable caducity [2]. Leopardi The poet of Recanati was also an essayist. In his “Operette Morali”, Leopardi plays a philosophical dialogue between Fashion and Death, with a capital D because both are living beings. Fashion is what defies Death: she says they are sisters, claiming a deep Curr Trends Fashion Technol Textile Eng 4(3): CTFTTE.MS.ID.555639 (2018) 0045 Short Communication Volume 4 - Issue 3 - October 2018 DOI: 10.19080/CTFTTE.2018.04.555639 Curr Trends Fashion Technol Textile Eng Copyright © All rights are reserved by Massimo Canevacci Fashion and Death Ethnographic Explorations on Ubiquitous Styles Massimo Canevacci* University of Rio de Janeiro UERJ, Brazil Submission: February 12, 2018; Published: October 03, 2018 *Corresponding author: Massimo Canevacci, University of Rio de Janeiro UERJ, Brazil, Email: Current Trends in Fashion Technology & Textile Engineering ISSN: 2577-2929 Abstract My anthropological glance will focus one a fashion shows in Rio de Janeiro and a “passista” carioca in the carnival 2011; a Karl Lagerfeld’s fetish design (body-corpse); a bizarre mannequin I met in Belem (Brazil). I’ll try to demonstrate the deep connection between living body and death corpse in a meta-fetishist perspective and - by the meta-morphic dialogue written by Giacomo Leopardi - on fashion and death (Figure 1). Figure 1: Coca Cola Clothing, Thais Rossiter fashion designer, Fashion Rio.