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Charles James, Um Astro Sem Atmosfera No Mundo Da Moda
[por que ler...?] [ MARIA LUCIA BUENO ] Professora do Instituto de Artes e Design da Universidade Federal de Juiz de Fora (MG). Doutora em Sociologia (IFCH-UNICAMP), com pós-doutorado em Sociologia da Arte, da Cultura e da Moda (EHESS e Université Paris-Est ). É autora, entre outros, de Artes plásticas no século XX: modernidade e globalização (Imprensa Oficial, 2001) e organizadora de Sociologia das artes visuais no Brasil (Senac, 2012). E-mail: [email protected] Charles James, um astro sem atmosfera no mundo da moda [ 39 ] Charles James fotografado em 1952 por Michael Vaccaro. Foto reproduzida na catálogo (p. 52). [ por que ler...? | MARIA LUCIA BUENO ] Estilistas como Christian Dior e Chanel, ícones na cultura de moda do século XX, tiveram seus nomes ligados a marcas prestígio que permanecem ativas. Na história da moda, as referências mais longevas e legitimadas geralmente estão associadas a uma grife ou a um perfume, os principais artífices da construção da memória do trabalho dos profissionais do setor. A importância histórica tornou-se proporcional ao peso econômico e simbólico das marcas, pois são elas que financiam as publicações, as grandes exposições, a manutenção do acervo material, as pesquisas, os filmes, os documentários, uma vez que é na perenidade da influência do costureiro que reside a sua força simbólica. Charles James (Surrey, Reino Unido,1906 – Nova York, Estados Unidos, 1978), um dos mais inventivos costureiros do período da alta-costura, o único que atuou a partir dos Estados Unidos, foi referência incontestável no mundo da moda do anos 1940 e 1950. Mas, em razão do seu fracasso comercial e por não ter seu nome associado a uma marca ou a um perfume, ficou quase esquecido, mantendo-se como uma lem- brança vaga entre pesquisadores e profissionais da área – mesmo assim, a partir de referências muito restritas, como os vestidos de baile fotografados por Cecil Beaton. -
Calvin Klein
MARKET footwear, swimwear, jewelry, watches, outerwear, its confdently minimal "heroin chic" aesthetic. One of the most iconic names in the fashion handbags, small leather goods, and home Current creative directors Francisco Costa and industry is Calvin Klein. Born in the Bronx, furnishings (including furniture). Italo Zucchelli took over women and men's design New York, the designer became known for a duties in 2003 and 2004, and have continued to minimalistic approach that sparked a sharp shift ACHIEVEMENTS develop Calvin Klein's aesthetic of confdence, towards streamlined clothes for women in the Amongst the many accolades received by Calvin understatement, and perfected minimalist tailoring. 1970s. From his humble beginnings, Calvin Klein Klein over the years are: Still one of the highlights of Fashion Month, Calvin managed to create an award-winning brand with l Coty Award - 1973,1974,1975 Klein Collection is as directional and aspirational multiple sub-divisions -- womenswear, underwear, l Council of Fashion Designers of America Award as ever. perfumes, jeans and cosmetics, among them -- and - 1982,1983,1986 a reputation for provocative advertisements. l CDFA (Council for Fashion Designers of PRODUCTS Calvin Klein, Inc., a wholly owned subsidiary of America) award - 1993 The Calvin Klein Collection’s SS16 show was one PVH Corp., is one of the leading fashion design l America's Best Designer of 1993 Award. steeped in nostalgia. Their current obsession with and marketing studios in the world. It designs and the early ’90s is manifested in the red-hot slip markets women’s and men’s designer collection HISTORY dress trend of this season. -
Bare Witness
are • THE METROPOLITAN MUSEUM OF ART "This is a backless age and there is no single smarter sunburn gesture than to hm'c every low-backed cos tume cut on exactly the same lines, so that each one makes a perfect frame for a smooth brown back." British Vogue, July 1929 "iVladame du V. , a French lady, appeared in public in a dress entirely a Ia guil lotine. That is to say ... covered with a slight transparent gauze; the breasts entirely bare, as well as the arms up as high as the shoulders.... " Gemleman's A·1agazine, 1801 "Silk stockings made short skirts wearable." Fortune, January 1932 "In Defence ofSh** ld*rs" Punch, 1920s "Sweet hem·ting matches arc very often made up at these parties. It's quite disgusting to a modest eye to see the way the young ladies dress to attract the notice of the gentlemen. They are nearly naked to the waist, only just a little bit of dress hanging on the shoulder, the breasts are quite exposed except a little bit coming up to hide the nipples." \ Villiam Taylor, 1837 "The greatest provocation oflust comes from our apparel." Robert Burton, Anatomy ofi\Jelancholy, 1651 "The fashionable woman has long legs and aristocratic ankles but no knees. She has thin, veiled arms and fluttering hands but no elbows." Kennedy Fraser, The Fashionahlc 1VIind, 1981 "A lady's leg is a dangerous sight, in whatever colour it appears; but, when it is enclosed in white, it makes an irresistible attack upon us." The Unil'ersol !:lpectator, 1737 "'Miladi' very handsome woman, but she and all the women were dccollctees in a beastly fashion-damn the aristocratic standard of fashion; nothing will ever make me think it right or decent that I should see a lady's armpit flesh-folds when I am speaking to her." Georges Du ~ - laurier, 1862 "I would need the pen of Carlyle to describe adequately the sensa tion caused by the young lady who first tr.od the streets of New York in a skirt .. -
Cecil Beaton (1904–80) Was One of the Great Creative Figures of the British Twentieth Century
Access Guide Please return at the end of your visit We hope this guide supports your visit. Please speak to any member of staff for more information. VERSION 2 Map Entrance Contents TBC Introduction Cecil Beaton (1904–80) was one of the great creative figures of the British twentieth century. Chiefly known as a photographer of portraits and fashion, through his work for Vogue magazine from 1924 to 1979, he was also recognised as a significant war photographer. An illustrator and caricaturist, a writer and commentator on taste and manners, Beaton was a theatre designer and art director of world renown and an influential stylist of his own homes. This exhibition focuses on Beaton’s early years. Born in Hampstead to a then prosperous timber merchant, Ernest Beaton and his wife Esther (‘Etty’), Cecil was first given a camera in 1914, aged ten. His first subjects were his mother and his willing sisters, Nancy and Barbara (‘Baba’). His transformation from middle-class suburban schoolboy to dazzling society figure against the backdrop of the Roaring Twenties and the Age of Jazz revealed a social mobility barely thinkable before the First World War. Here, then, are the Bright Young Things who brought an extraordinary era vividly to life and in so doing, nurtured and refined a remarkable photographic talent. The strength of his singular vision is such that, when we think of the Bright Young Things, we think of them in Beaton’s costumes, through Beaton’s lens and as Beaton’s friends. For full details of all events please see the What’s On guide or npg.org.uk/events Friday 20 March, 19.00 Lecture ‘When I die I want to go to Vogue’: Cecil Beaton’s Most Enduring Patron with Robin Muir Curator Robin Muir looks at the Cecil Beaton’s long working relationship with Vogue. -
Charles James Papers, 1704-1978 (Bulk 1960-1978)
Charles James papers, 1704-1978 (bulk 1960-1978) Finding aid prepared by Celia Hartmann and Caitlin McCarthy This finding aid was generated using Archivists' Toolkit on August 21, 2019 The Costume Institute's Irene Lewisohn Costume Reference Library The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Charles James papers, 1704-1978 (bulk 1960-1978) Table of Contents Summary Information .......................................................................................................3 Biographical note.................................................................................................................4 Scope and Contents note.....................................................................................................6 Arrangement note................................................................................................................ 7 Administrative Information .............................................................................................. 8 Related Materials .............................................................................................................. 9 Controlled Access Headings............................................................................................... 9 Collection Inventory..........................................................................................................11 Series I. Business Ventures.........................................................................................11 -
Large Print Guide
Large Print Guide You can download this document from www.manchesterartgallery.org Sponsored by While principally a fashion magazine, Vogue has never been just that. Since its first issue in 1916, it has assumed a central role on the cultural stage with a history spanning the most inventive decades in fashion and taste, and in the arts and society. It has reflected events shaping the nation and Vogue 100: A Century of Style has been organised by the world, while setting the agenda for style and fashion. the National Portrait Gallery, London in collaboration with Tracing the work of era-defining photographers, models, British Vogue as part of the magazine’s centenary celebrations. writers and designers, this exhibition moves through time from the most recent versions of Vogue back to the beginning of it all... 24 June – 30 October Free entrance A free audio guide is available at: bit.ly/vogue100audio Entrance wall: The publication Vogue 100: A Century of Style and a selection ‘Mighty Aphrodite’ Kate Moss of Vogue inspired merchandise is available in the Gallery Shop by Mert Alas and Marcus Piggott, June 2012 on the ground floor. For Vogue’s Olympics issue, Versace’s body-sculpting superwoman suit demanded ‘an epic pose and a spotlight’. Archival C-type print Photography is not permitted in this exhibition Courtesy of Mert Alas and Marcus Piggott Introduction — 3 FILM ROOM THE FUTURE OF FASHION Alexa Chung Drawn from the following films: dir. Jim Demuth, September 2015 OUCH! THAT’S BIG Anna Ewers HEAT WAVE Damaris Goddrie and Frederikke Sofie dir. -
One of a Kind
Thursday, November 29 6:30 – 8:00 p.m. Receptions and viewings Presenters Robert Lee Morris, ONE OF A KIND 400 West Broadway Lisa Koenigsberg, conference director and president and founder, Hewitt National Design Awards, Cornejo was the award’s recipient in Nicolas Luchsinger, vice president, Retail Operations for the Robert Lee Morris, designer and acknowledged leader of the art 6:00 – 8:00 p.m. Reception and Selima Optique exclusive viewing of the Initiatives in Art and Culture; formerly, she served as advisor to the dean 2006. In May 2006 Zero + Maria Cornejo opened its second store in New Americas, Van Cleef & Arpels, Luchsinger has been with the Maison for jewelry movement; a design visionary who redefined fashion jewelry by INDIVIDUALITY, INTEGRITY, 59 Wooster Street for arts initiatives, and director, programs in the arts and adjunct York’s far-West Village neighborhood and in February 2009 moved to its nearly seven years, beginning as Director of the New York flagship and creating wearable art in sensuous, fluid, and organic forms. Having led his Maison's latest Mary McFadden: A Lifetime of flagship store/showroom/atelier at 33 Bleecker Street, New York. In Fall in professor of arts, NYU School of Continuing and Professional Studies. She the Heritage collection, which he established and now curates. He niche industry for the past 40 years, Morris still inspires and bridges the AND INNOVATION IN FASHION collections established the series of fashion conferences which explores fashion, 2010 Zero + Maria Cornejo opened its first store outside the New York currently oversees and coordinates the Maison’s eight internal boutiques worlds of fashion and art. -
The Metropolitan Museum of Art 50 YEARS of METROPOLITAN
The Metropolitan Museum of Art For Release: Immediate Contact: Harold Holzer Bernice Kwok-Gabel 50 YEARS OF METROPOLITAN MUSEUM'S COSTUME INSTITUTE GALA With this year's "Party of the Year" to benefit The Costume Institute — to be held on December 7 at The Metropolitan Museum of Art ~ the gala event celebrates its 50th anniversary with Miuccia Prada, Paula Cussi, and Pia Getty as Co-Chairs . For five decades, the Party of the Year has defined fashion's role in New York City, philanthropy, the arts, and society. The theme of the 50th anniversary celebration will be Cubism and Fashion, which is the subject of the exhibition to be held in The Costume Institute from December 10, 1998, through March 14, 1999. The exhibition examines the properties of Cubism in art and its influence in fashion from 1908 to the present day. The Cubism and Fashion exhibition and Benefit for The Costume Institute are made possible by Prada. In 1948, the fashion industry, seeking to provide an annual supplement to the endowment of The Costume Institute ~ which was newly located at The Metropolitan Museum of Art ~ launched a benefit ball called the "Party of the Year." In a history now approaching the half century mark, the Party of the Year has been the grandest social event of the Manhattan calendar. Beginning with a midnight supper party at the Rainbow Room at Rockefeller Center on November 18, 1948, for $50 per person, to its present format as a gala dinner at The Metropolitan Museum of Art, the Party of the Year has been the high-style barometer for New York fashion, art, and social life, now a $2,000- per-person dinner. -
Obiko Art Wear Archive Project
TEXTILE ARTS COUNCIL FINE ARTS MUSEUMS OF SAN FRANCISCO OBIKO ART WEAR ARCHIVE PROJECT Feather collar by K.Lee Manuel “Electra” 1988. Photo: David Reese The Obiko ArtWear Archive documents and celebrates the work of Bay Area clothing and jewelry designers whose work was showcased at Sandra Sakata’s renowned boutique, Obiko. In the 1970s- through the 1990s, one-of-a-kind Art Wear blossomed in a culture that embraced global design. The influence of Asian and African ethnic costume and textile techniques is particularly evident in the aesthetic of this remarkable era. The archive includes a collection of designers’ work, four fashion shows, oral histories, photos and memories. The Textile Art Council hopes that the archive will be a great discovery and resource for future generations. © 2014 Textile Arts Council Fine Arts Museums of San Francisco, all rights reserved | Design: Nancy Rosenblum, Frisco Graphics OBIKO ART WEAR ARCHIVE PROJECT TABLE OF CONTENTS 1. Acknowledgements 2. History 3. Designers 4. Audio Interviews 5. Videos OBIKO ART WEAR ARCHIVE PROJECT ACKNOWLEDGEMENTS Jean Cacicedo Ana Lisa Hedstrom Thank Yous OBIKO ART WEAR ARCHIVE PROJECT | ACKNOWLEDGE- MENTS JEAN CACICEDO The hand-crafted garments and accessories that emerged in late 1960s and 1970s America played a significant role in our cultural identity. One-of-a-kind wearables emerged on both the east and west coasts, drawing on an anti-fashion street style approach. Two seminal galleries, Julie:Artisans in New York City and Obiko in San Francisco, provided a showcase for this work. I began my career on the east coast in the late 60s during an extraordinary time consumed by nationwide political protests and self expression. -
I UNIVERSITY of CALIFORNIA RIVERSIDE the “Stylish Battle
UNIVERSITY OF CALIFORNIA RIVERSIDE The “Stylish Battle" World War II and Clothing Design Restrictions in Los Angeles A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Laura Bellew Hannon December 2012 Dissertation Committee: Dr. Catherine Gudis, Chairperson Dr. Molly McGarry Dr. Susan Carter i Copyright by Laura Bellew Hannon 2012 ii The Dissertation of Laura Bellew Hannon is approved: __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Committee Chairperson University of California, Riverside iv ACKNOWLEDGEMENTS This Dissertation, as written, would not have been possible without the support of many. Research funding was partially supported by the Graduate Division of the University of California, Riverside in the form of the Dissertation Year Fellowship. I am also, without question, indebted to the Costume Society of American for their exceptional support. As the recipient of the Stella Blum Student Research Award, I received funding which allowed me to research my dissertation at the Costume Institute of the Metropolitan Museum of Art, the Archives of the Fashion Institute of Technology, the Manuscript and Archives Division of the New York Public Library, and the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences. I also received funding to attend the National Symposium of the CSA in Boston in May 2011, and there received many suggestions and much needed encouragement. Additionally, through the Western Regional Branch of the Costume Society, I received the Jack Hanford Summer Internship Award. I received the funding to support a summer-long internship at the Los Angeles County Museum of Art during which I learned much about the history of western fashion and had the ability to research my own project. -
A Century of Fashion Photography, 1911-2011 June 26 to October 21, 2018 the J
Icons of Style: A Century of Fashion Photography, 1911-2011 June 26 to October 21, 2018 The J. Paul Getty Museum at the Getty Center 4 4 1. Louise Dahl-Wolfe 2. Louise Dahl-Wolfe American, 1895 - 1989 American, 1895 - 1989 ICONS _FASH ICONS ION _FASH Keep the Home Fires Burning, 1941 ION Andrea, Chinese Screen, 1941 Gelatin silver print Gelatin silver print Image: 13.7 × 13.1 cm (5 3/8 × 5 3/16 in.) Image: 32.6 × 27.8 cm (12 13/16 × 10 15/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © 2018 Center for Creative Photography, © 1989 Center for Creative Photography, Arizona Board Arizona Board of Regents / Artists Rights Society (ARS), of Regents / Artists Rights Society (ARS), New York New York 84.XM.195.12 84.XM.195.7 4 4 3. George Hoyningen-Huene 4. Cecil Beaton American, born Russia, 1900 - 1968 British, 1904 - 1980 ICONS ICONS _FASH _FASH ION ION Model Posed with a Statue, New York, 1939 Debutantes—Baba Beaton, Wanda Baillie Hamilton & Gelatin silver print Lady Bridget Poulet, 1928 Image: 27.9 × 21.6 cm (11 × 8 1/2 in.) Gelatin silver print The J. Paul Getty Museum, Los Angeles Image: 48.7 × 35.1 cm (19 3/16 × 13 13/16 in.) © Horst The J. Paul Getty Museum, Los Angeles 84.XM.196.4 © The Cecil Beaton Studio Archive at Sotheby's 84.XP.457.16 June 21, 2018 Page 1 of 3 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J. -
Dear Viewer• in Answer to Your Request, We Are Pleased, to Send
2020 M STREET, N.VV.,WAS H IN GTO N, D.C. 20036 Dear Viewer• In answer to your request, we are pleased, to send you the enclosed transcript. This is being sent to you for your reference and review use only and no part of it may be published without the written permission of the CBS Law Department in New York. Thank you for your interest in our broadcast. Sincerely, CBS News/Washington WHO'S WHO EDITION I, SHOW 10 as broadcast over the CBS TELEVISION NETWORK Tuesday, March 15, 1977 With CBS News Correspondents Dan Rather and Charles Kuralt THE PRESS AS HOSTAGE Produced by Ellen B Colyer L.L. BEAN Produced by David Buksbaum JAMES EARL RAY Produced by Esther Kartiganer KING TUTANKHAMEN Produced by Charles Kuralt Associate Producer - Jonnet Steinbaum PRODUCED BY CBS NEWS ©MCMLXXVII CBS Inc. ALL RIGHTS RESERVED 1 DAN RATHER: Good evening. I'm Dan Rather. Barbara Howar is away on assignment. Charles Kuralt reports from On The Road. And this is WHO'S WHO - these people and their stories. James Earl Ray - after eight years of silence in prison, as the assassin of Martin Luther King, for the first time on television he tells his story. Did you fire the shot that killed Dr. Martin Luther King? JAMES EARL RAY: No, and I think now, based on investigations of those who have represented me, that we could prove it through some type of judicial proceedings. RATHER: Max Robinson - a Washington newsman caught in the middle of the Hanafi Moslem story. Is the press an unwitting ally of the terrorists, or only a hostage itself? [Phone rings; background noises] MAX ROBINSON: They're going to kidnap me.