DOCSLIB.ORG

Charles Frederick Worth, John Redfern, and the Dawn of Modern Fashion Daniel James Cole

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Charles Frederick Worth, John Redfern, and the Dawn of Modern Fashion Daniel James Cole Research report, Six-monthly publication – June 2011 n°16. Editorial This issue of Mode de recherche on the added value for luxury brands, the issues of subject of luxury follows on from the innovation and fashion are also very much international conference organised by the to the fore. Taking their lead from the social IFM in April 2011 ( Fashion between and management sciences, some of the Heritage and Innovation ), in addition to contributions deal with the symbolic spurs the recent publication by IFM-Regard of a behind luxury consumption. Others exa - collective social sciences book on the theme mine the economic perspectives and of luxury, Le luxe. Essais sur la fabrique de tensions that characterise the luxury market l’ostentation . as it is torn between a growing demand for While this issue essentially attempts to gain short-term profit and the more long-term perspective on the problems linked to outli - issues of tradition, skills, durability and ning and managing heritage, a source of sustainable development. The IFM Research Center is supported by the Cercle IFM that brings together the patrons of the Institut Français de la Mode: ARMAND THIERY CHANEL CHLOÉ INTERNATIONAL CHRISTIAN DIOR COUTURE DISNEYLAND PARIS FONDATION PIERRE BERGÉ -YVES SAINT LAURENT FONDATION D’ENTREPRISE HERMÈS GALERIES LAFAYETTE GROUPE ETAM KENZO L’O RÉAL DIVISION PRODUITS DE LUXE VIVARTE YVES SAINT LAURENT On Luxury Heritage and Innovation: .4 Charles Frederick Worth, John Redfern, and the Dawn of Modern Fashion Daniel James Cole Using a Professional Organization .14 to Enhance its Reputation. The Case of the Parisian Haute Couture. A Longitudinal Study (1973-2008) David Zajtmann Vertical Integration in the Luxury Sector: .21 Objectives, Methods, Effects Franck Delpal Luxury: An Industry Between .31 Heritage and Modernity Dominique Jacomet, Franck Delpal The Made-to-Measure Approach: .38 The Example of Rome Today Pascal Gautrand Luxury, the Accursed Share .43 and the Capital Gain Nicolas Liucci-Goutnikov Responsibility and Profits: What Temple of .47 Luxury has Taken on the Role of Guardian? Selvane Mohandas du Ménil Heritage and Innovation: but despite his efforts to simplify women’s daytime clothes the usual effect was heavily Charles Frederick Worth, draped and fringed, and as stuffily claustro - phobic as the gewgaw-cluttered interiors John Redfern, and the associated with Victorian English taste”. Dawn of Modern Fashion The Kyoto Costume Institutes 2002 publi - cation of fashions from the 18 th through the Daniel James Cole 20 th Centuries includes a short, partially accurate biography Redfern but with erro - neous life dates that would have him opening his business around the age of 5. Recent scholarship creates a different pic - ture of both Worth and Redfern. Pivotal to the history of clothing, Redfern’s story is only recently being rediscovered, and only in the past few years has a proper explo - ration and assessment begun (primarily by the work of Susan North). North (2008) puts forward the thesis that in the late 19 th century, Redfern and Sons was of equal importance to the House of Worth. It is even possible to assert that Redfern, and his legacy, were actually of greater importance as shapers of 20 th Century styles. An exam - ination of Redfern and Redfern Ltd., in Charles Frederick Worth’s story has been comparison to their contemporaries, calls told often and is familiar to fashion schol - into question not only the preeminence of ars. But while Worth has enjoyed a place of Worth, but also aspects of the careers of Paul significance in fashion history, the story of Poiret and Gabrielle Chanel. his contemporary, John Redfern has been The following explores how Worth and ignored, or at best reduced to mere footnote Redfern, in different ways, shaped the tastes status. Nearly all well-known fashion and fashion system of the 20 th Century – history survey texts give coverage of Worth, themselves, and through the businesses that but scant – if any – mention of Redfern. bore their names after their deaths. Their Contini, Payne, Laver, and Tortora and are intertwined with the major styles of the Eubank, all ignore Redfern. Millbank second half of the Nineteenth Century, and Rennolds, in Couture, the Great Designers their stories are interwoven with important omits Redfern while including some fashion icons of the time, and demonstrate markedly less important designers. Boucher the power of celebrity clientele to the suc - includes John Redfern, but distills his career cess of a design house. Both Englishmen, to a brief, mostly accurate, paragraph. In Worth and Redfern founded family busi - Fashion, The Mirror of History , the nesses; both men died in 1895 and both left Batterberrys interpret a Redfern plate as: there business in the control of sons and “Another Englishman, working in Paris, the junior partners. But in addition to their tailor Redfern, had devised a neat “tailor- similarities, their stories emphasize their made” suit with a short jacket for women, differences. 4 Charles Frederick Worth, and Worth & France, in 1859. Worth set his sights on the Bobergh princess’s business; Mme. Worth paid a call to Princess Metternich, and extraordinarily, Charles Frederick Worth is acknowledged was received. Mme Worth presented the as the father of couture, rising from the princess a folio of designs and the Princess ranks of a notable fabric and dress business ordered two dresses, wearing one to court at in Paris, to leading his own house. As the the Tuileries Palace. “I wore my Worth story goes, Worth was catapulted to success dress, and can say… that I have never seen a by the court of the Second Empire. The more beautiful gown... it was made of white story of Worth’s rise to fame, and his associ - tulle strewn with tiny silver discs and ations with Princess Pauline Metternich trimmed with crimson-hearted daisies… and Empress Eugenie, is a familiar tale but Hardly had the Empress entered the one that has been embellished, even twisted throne-room…than she immediately over time, beginning with the rather mythic noticed my dress, recognizing at a glance memoirs of Metternich herself (1922), and that a master-hand had been at work.” of Worth’s son, Jean-Philippe (1928). (Metternich, 1922) Born in 1825, Charles Frederick Worth Eugenie’s admiration of the dress led to began his career at a London drapery house. her own commissions from Worth and Moving to Paris in 1846, he found employ at Bobergh, catapulting Charles Frederick Gagelin-Opigez & Cie, a retailer of fabrics Worth to success as other ladies of the court and accessories, and a dressmaker. While in patronized the business. their employ, Worth probably began design - This well-known story of Worth’s meteoric ing in the dressmaking department. Worth rise to stardom has recently provoked doubt. married a Gagelin-Opigez employee, Marie Worth scholar Sara Hume questions this Vernet, a model at the store. Leaving in account on the basis that it is derived from 1857, Worth began his own business in part - loving, but unreliable secondary accounts. nership with Otto Gustave Bobergh, with “The legend that has grown up around his “Worth et Bobergh” on the label, and Mme name was built up in large part by memoirs Marie Worth working at the business. by his son and famous clients written well Records indicate that Worth and Bobergh after his death. After Worth had achieved was an emporium, much in the model of fame, his clients such as the Princess Gagelin-Opigez, and sold fabrics, and a Metternich, nostalgically wrote of his variety of shawls and outerwear, with ready prominence under the Second Empire”. made garments as well as made-to-measure (2003, p.80) couture (Hume, 2003, p.7). Hume also questions that the custom of Eugénie de Montijo, the Spanish-born wife Eugenie and Princess Metternich came as of Emperor Napoleon III, was the most early in the decade as 1860, or that he held important female style setter of Europe dur - a place of significant importance in the ing the years of the Second Empire and is French fashion system prior to mid-decade. associated with many fashions of the time. She notes that he did not receive mention in She encouraged glamour at the French French fashion magazines until 1863, and court that contrasted with the reserve of press coverage for the remainder of the Queen Victoria’s Court of Saint James. decade was not plentiful. In addition, Worth According to some accounts, Worth began and Bobergh did not use the designation his association with Princess Metternich, “Breveté de S. M. l’Impératrice ” until 1865. the wife of the Austrian Ambassador to Moreover, the number of existing Worth and Bobergh pieces in museum collections John Redfern of Cowes from this time is less than what such success would indicate (Hume, 2003). Across the English Channel, in the resort Worth’s status during these years has been town of Cowes on the Isle of Wight, the inflated retrospectively, and many other young John Redfern was transforming his dressmaking establishments were successful drapery house into dressmaking business. at the time. In these years, several were well John Redfern began his drapery business established. Mlle Palmyre, Mme Vignon, during the 1850s. Although his business Mme Laferrière, and Mme Roger, all developed slower than Worth’s, he eventu - contributed to the trousseau or wardrobe ally acquired a no less auspicious clientele, of Empress Eugenie, as did Maison Felix, including Queen Victoria, Alexandra and it was at this time that La Chambre syn - Princess of Wales, and Lillie Langtry. dicale de la Couture parisienne began. Also Growing over the course of the decade, the emerging in these years, was the great cou - business was established for dressmaking by turier Emile Pingat, who came to rival the late 1860s, and its subsequent steady Worth’s importance in late 19 th century growth rivaled the importance of The French couture.
Load more

Recommended publications
  • Paul Iribe (1883–1935) Was Born in Angoulême, France
    4/11/2019 Bloomsbury Fashion Central - BLOOMSBURY~ Sign In: University of North Texas Personal FASHION CENTRAL ~ No Account? Sign Up About Browse Timelines Store Search Databases Advanced search --------The Berg Companion to Fashion eBook Valerie Steele (ed) Berg Fashion Library IRIBE, PAUL Michelle Tolini Finamore Pages: 429–430 Paul Iribe (1883–1935) was born in Angoulême, France. He started his career in illustration and design as a newspaper typographer and magazine illustrator at numerous Parisian journals and daily papers, including Le temps and Le rire. In 1906 Iribe collaborated with a number of avant­garde artists to create the satirical journal Le témoin, and his illustrations in this journal attracted the attention of the fashion designer Paul Poiret. Poiret commissioned Iribe to illustrate his first major dress collection in a 1908 portfolio entitled Les robes de Paul Poiret racontées par Paul Iribe . This limited edition publication (250 copies) was innovative in its use of vivid fauvist colors and the simplified lines and flattened planes of Japanese prints. To create the plates, Iribe utilized a hand­ coloring process called pochoir, in which bronze or zinc stencils are used to build up layers of color gradually. This publication, and others that followed, anticipated a revival of the fashion plate in a modernist style to reflect a newer, more streamlined fashionable silhouette. In 1911 the couturier Jeanne Paquin also hired Iribe , along with the illustrators Georges Lepape and Georges Barbier, to create a similar portfolio of her designs, entitled L’Eventail et la fourrure chez Paquin. Throughout the 1910s Iribe became further involved in fashion and added design for theater, interiors, and jewelry to his repertoire.
    [Show full text]
  • © 2018 Weronika Gaudyn ALL RIGHTS RESERVED
    © 2018 Weronika Gaudyn ALL RIGHTS RESERVED STUDY OF HAUTE COUTURE FASHION SHOWS AS PERFORMANCE ART A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Weronika Gaudyn December 2018 STUDY OF HAUTE COUTURE FASHION SHOWS AS PERFORMANCE ART Weronika Gaudyn Thesis Approved: Accepted: _________________________________ _________________________________ Advisor School Director Mr. James Slowiak Mr. Neil Sapienza _________________________________ _________________________________ Committee Member Dean of the College Ms. Lisa Lazar Linda Subich, Ph.D. _________________________________ _________________________________ Committee Member Dean of the Graduate School Sandra Stansbery-Buckland, Ph.D. Chand Midha, Ph.D. _________________________________ Date ii ABSTRACT Due to a change in purpose and structure of haute couture shows in the 1970s, the vision of couture shows as performance art was born. Through investigation of the elements of performance art, as well as its functions and characteristics, this study intends to determine how modern haute couture fashion shows relate to performance art and can operate under the definition of performance art. iii ACKNOWLEDGEMENTS I would like to thank my committee––James Slowiak, Sandra Stansbery Buckland and Lisa Lazar for their time during the completion of this thesis. It is something that could not have been accomplished without your help. A special thank you to my loving family and friends for their constant support
    [Show full text]
  • Jeanne Lanvin
    JEANNE LANVIN A 01long history of success: the If one glances behind the imposing façade of Rue du Faubourg Saint-Honoré, 22, in Paris, Lanvin fashion house is the oldest one will see a world full of history. For this is the Lanvin headquarters, the oldest couture in the world. The first creations house in the world. Founded by Jeanne Lanvin, who at the outset of her career could not by the later haute couture salon even afford to buy fabric for her creations. were simple clothes for children. Lanvin’s first contact with fashion came early in life—admittedly less out of creative passion than economic hardship. In order to help support her six younger siblings, Lanvin, then only fifteen, took a job with a tailor in the suburbs of Paris. In 1890, at twenty-seven, Lanvin took the daring leap into independence, though on a modest scale. Not far from the splendid head office of today, she rented two rooms in which, for lack of fabric, she at first made only hats. Since the severe children’s fashions of the turn of the century did not appeal to her, she tailored the clothing for her young daughter Marguerite herself: tunic dresses designed for easy movement (without tight corsets or starched collars) in colorful patterned cotton fabrics, generally adorned with elaborate smocking. The gentle Marguerite, later known as Marie-Blanche, was to become the Salon Lanvin’s first model. When walking JEANNE LANVIN on the street, other mothers asked Lanvin and her daughter from where the colorful loose dresses came.
    [Show full text]
  • Gazette Du Bon Ton: Reconsidering the Materiality of the Fashion Publication
    Gazette du Bon Ton: Reconsidering the Materiality of the Fashion Publication by Michele L. Hopkins BA in Government and Politics, May 1989, University of Maryland A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Master of Arts in Decorative Arts and Design History August 31, 2018 Thesis directed by Erin Kuykendall Assistant Professor of Decorative Arts & Design History ©2018 by Michele L. Hopkins All rights reserved ii Dedication To Mary D. Doering for graciously sharing her passion and extensive knowledge of costume history in developing the next generation of Smithsonian scholars. Thank you for your unwavering encouragement. This thesis is dedicated to you. iii Acknowledgments What strange phenomena we find in a great city, all we need do is stroll about with our eyes open. ~Charles Baudelaire The author wishes to gratefully acknowledge the guidance of Tanya Williams Wetenhall, Erin Kuykendall, and Kym Rice. To Elizabeth Deans Romariz, thank you for shaping my thesis topic and for inspiring me to strive for academic excellence beyond my comfort zone. The academic journey into the world of rare books changed my life. To April Calahan, thank you for your generosity in opening the vast resources of the Library Special Collections and College Archives (SPARC) at the Fashion Institute of Technology (FIT) to me. To Simon Kelly, my summer with you at the Saint Louis Art Museum introduced me to late nineteenth-century Paris, the center of art, fashion, commerce, and spectacle. Your rigorous research methods inform my work to this day, you are the voice in my head.
    [Show full text]
  • Heritage and Innovation: Charles Frederick Worth, John Redfern, And
    Heritage and Innovation: but despite his efforts to simplify women’s daytime clothes the usual effect was heavily Charles Frederick Worth, draped and fringed, and as stuffily claustro - phobic as the gewgaw-cluttered interiors John Redfern, and the associated with Victorian English taste”. Dawn of Modern Fashion The Kyoto Costume Institutes 2002 publi - cation of fashions from the 18 th through the Daniel James Cole 20 th Centuries includes a short, partially accurate biography Redfern but with erro - neous life dates that would have him opening his business around the age of 5. Recent scholarship creates a different pic - ture of both Worth and Redfern. Pivotal to the history of clothing, Redfern’s story is only recently being rediscovered, and only in the past few years has a proper explo - ration and assessment begun (primarily by the work of Susan North). North (2008) puts forward the thesis that in the late 19 th century, Redfern and Sons was of equal importance to the House of Worth. It is even possible to assert that Redfern, and his legacy, were actually of greater importance as shapers of 20 th Century styles. An exam - ination of Redfern and Redfern Ltd., in Charles Frederick Worth’s story has been comparison to their contemporaries, calls told often and is familiar to fashion schol - into question not only the preeminence of ars. But while Worth has enjoyed a place of Worth, but also aspects of the careers of Paul significance in fashion history, the story of Poiret and Gabrielle Chanel. his contemporary, John Redfern has been The following explores how Worth and ignored, or at best reduced to mere footnote Redfern, in different ways, shaped the tastes status.
    [Show full text]
  • Unravelling the Thread: Checking the Attribution of a Velvet Train to Charles Frederick Worth
    36 OPEN SOURCE LANGUAGE VERSION > CATALÀ Unravelling the thread: checking the attribution of a velvet train to Charles Frederick Worth by Marc Plata Puig, Textil Museum and Documentation Centre (CDMT) The collections of the Terrassa Textile Museum and Documentation Centre comprise a great variety of pieces from all over the world, from all strata of society, and from cultures dating back to the first century CE. Among this diversity, one feature common to most of the pieces is that they are anonymous; we have no means of knowing who made them. In the case of dress and costume we tend to have more information about their creators, as most of them date from the 1880s onwards. One example is the piece that I made the subject of my final degree project: a splendid burgundy-coloured velvet train attributed to Charles Frederick Worth (rec. no. 15396). In my project, I tried to justify this attribution on the basis of evidence from two different sources: the fabrics used to make the piece, and the historical documentation consulted. I first came into contact with this velvet train during the time I spent with the Museum’s restoration service, as part of my degree course. In July 2015 the train was taken out of storage and was sent directly to the restoration workshops to be prepared for display at the exhibition entitled Xavier Gosé (1876-1915) held at the National Art Museum of Catalonia. I was immediately struck by this piece, not just because of its majestic beauty but because of its attribution to Charles Frederick Worth, the first great exponent of haute couture.
    [Show full text]
  • The Demise and Transfiguration of Haute Couture
    008-021_INDUMENTA_01 29/1/09 14:19 Página 8 The demise Pablo Pena González Doctor of Art History. Professor of Design History and transfiguration for the Region of Madrid [email protected] of Haute Couture ABSTRACT: Contrary to the prediction prêt-à-porter is an industry. This article of Yves Saint-Laurent, Haute Couture does not address the necessary, eternal has not died. After two decades of death and universal profession of tailoring, throes, breathing tubes still pump life but rather the Parisian institution that, through its veins to ensure that it contin- one day in its youth, looked in the mir- ues to lead luxury market advertising. ror and said, “I am haute.” And since Of course, this is not the state we fash- this article may be of interest to people ion professionals, whether designers or outside the industry, I will begin by ex- writers, would wish for, nor do we ap- plaining what “haute” means as applied prove of the postmodern direction that to couture. recent Haute Couture has taken, which a. “Haute” means “expensive.” Haute is progressively sullying rather than glo- literally means “high” and, if we analyse rifying the profession of fashion design- it semantically, couture cannot be high ers. This article offers numbers, state- any more than it could be fat. The epi- 1 As quoted by the journalist Corinne Jeammet. ments and reflections made by the thet “high” was appended in a Unless otherwise indicated, all quotes protagonists of Parisian couture, enough metaphorical sense, and I think this was appearing in the article are taken from the to certify the debacle of the last aristo- done to mask its gory significance: high cratic art in history.
    [Show full text]
  • Training the Eye, Fashion Design and Fashion History As an Argument For
    Journal of Modern Education Review, ISSN 2155-7993, USA September 2018, Volume 8, No. 9, pp. 645–653 Doi: 10.15341/jmer(2155-7993)/09.08.2018/001 Academic Star Publishing Company, 2018 http://www.academicstar.us Training the Eye, Fashion Design and Fashion History as an Argument for Women’s Emancipation Lopes Maria Teresa Ypiranga (Núcleo de Design da UFPE – CAA) Abstract: This article consists in the discussion of the “training the eye” process of design students, taking the relationship between history and sociology as a crop for the examination of the female emancipation analysis based on the dressing relation. For that reason, the investigation works inside the fashion field and through the significance analysis of the works of four modern designers: Charles Frederick Worth, Paul Poiret, Christian Dior and Yves Saint Laurent. Key words: training the eye, female appearance, visual discourse 1. Introduction This article aims at introducing a discussion in the field of study that seeks tot identify the “eye training” (M. T. Lopes, 2014) of haute couture1 modern fashion designers — Worth, Poiret, Dior and Saint Laurent (YSL) — as a historical and social process of shifting the identity/image of the female figure through historical times, when woman remained as triggers of style2. This argumentation was possible by virtue of the concept ‘training the eye” (Lopes, 2014) and due to the fact that this concept is of great importance when studying fashion content, since still nowadays the aforementioned female aesthetic prevails. Subsequently, in order to substantially legitimize our study, the arguments of this article came from an exploration of the significance of the theoretical universe of the course “History and Aesthetics of Stylists”3 — (HEE in Portuguese), offered to undergraduate major students of Design at the Federal University of Pernambuco — Agreste Academic Center4 (UFPE — CAA).
    [Show full text]
  • Elegance CARTIER
    EDITO ART AND CULTURE Cultural Committee Chairman RIALDistinctness or imitation? Understatement or extravagance? Playing Valéry Giscard d’Estaing with one’s appearance or remaining authentic? Elegance is at once movement, style and spirit, and the essence it seeks to express Cultural Committee transcends the trends of the moment. As Hubert de Givenchy once said, Franco Cologni “Jeanne Toussaint was not fashionable, she was elegant.” Arielle Dombasle Elegance clearly has an aesthetic quality but also a moral and intellectual one. However, it can become dangerous when it defies Hugues Gall conventions. Too much distinctiveness arouses anger. Daniela Giussani They say it is universal and timeless yet is it not a touch cultural Guillaume Pictet and changeable? Time blurs certain references, certain frontiers. Franceline Prat Perceptions shif, appreciation changes. A garment, a type of behavior Agatha Ruiz de la Prada or certain gestures are judged diferently in diferent times and contexts. Oliva Salviati We should relativize. Elegance is everywhere. It’s in the tiniest detail created by nature Patrizia Sandretto Re Rebaudengo and man; it’s in the heart of a landscape, in a feather or a leaf, in a piece Cyrille Vigneron of haute couture, fine jewelry or an exceptional timepiece. Yet at the The Duke of Wellington same time it remains, for some of us, out of reach like some inaccessible Xiaozhou Taillandier Xing grail. We endlessly admire the innate poise of a large feline, the naturally graceful way a woman holds her head; we envy the break of the dandy’s trousers and his impeccable mustache unfazed by rain or shine.
    [Show full text]
  • Charles Frederick Worth: Fragmentos De Uma Trajetória
    artigo ] PAULO DEBOM [ 146 ] Charles Frederick Worth: fragmentos de uma trajetória Charles Frederick Worth: fragments of a trajectory | VOLUME 11 | NÚMERO 24 | NOVEMBRO 2018 https://dobras.emnuvens.com.br/dobras | e-ISSN 2358-0003 artigo ] PAULO DEBOM [PAULO DEBOM] Doutor em História. Docente do Centro Universitário Celso Lisboa. E-mail: [email protected] [resumo] Este artigo tem por objetivo apresentar e refletir sobre o percurso do criador de moda Charles Frederick Worth. Serão apontadas algumas das principais etapas de sua carreira profissional e sua importância para o estudo da História da Moda. Esta pesquisa destaca as décadas de 1850 e 1860, momento de ascensão do costureiro dentro da época que ficou conhecida como Segundo Império Francês. [ 147 ] [palavras-chave] Charles Frederick Worth, moda, Segundo Império, alta costura. [abstract] This article aims to present and reflect on the course of the fashion designer Charles Frederick Worth. Some of the major moments of his professional career and his relevance for the study of the Fashion History will be pointed out. The study highlights the years 1850’s and 1860’s, the period of the ascension of Worth, in an age known as the Second French Empire. [keywords] Charles Frederick Worth, fashion, Second French Empire, haute couture. | VOLUME 11 | NÚMERO 24 | NOVEMBRO 2018 https://dobras.emnuvens.com.br/dobras | e-ISSN 2358-0003 artigo ] PAULO DEBOM Palavras iniciais Em dezembro de 2008, o autor deste texto visitou a exposição Sous l’Empire des Crinolines, sediada no museu Galliera, em Paris. Nela, era exi- bida uma série de elementos que compunham a moda francesa ao longo do Segundo Império (1852-1870).
    [Show full text]
  • Novel of a Wardrobe Parisian Chic from the Belle Epoque
    PRESS KIT NOVEL OF A SEPTEMBER 2013 WARDROBE PARISIAN CHIC FROM THE BELLE EPOQUE TO THE 1930S CARNAVALET EXHIBITION INFORMATIONS MUSEUM- 17 OCTOBER www.carnavalet.paris.fr HISTORY OF 2013 TO 16 PARIS MARCH 2014 Anonyme Femme à l’écharpe Huile sur bois 1900 © Musée Carnavalet / Roger-Viollet 0 CONTENTS Press release ......................................................................................................................... 2 Intention of the exhibition ....................................................................................................... 3 Exhibition path ....................................................................................................................... 4 The beginnings, family influences and the first steps of Alice in sewing ....................................................................................... 5 The Parisian fashion scene in the neighborhood of the Place Vendome and Rue de la Paix ....................................................... 6 At Chéruit, Alice Alleaume, first saleswoman ............................................................................................................................... 7 30 years, Alice Alleaume, Parisienne fashion .............................................................................................................................. 9 Timeline ............................................................................................................................... 10 Specifications of the exhibition ...........................................................................................
    [Show full text]
  • Sorelle Fontana and Hollywood on the Tiber: the Birth of the Modern Italian Fashion Industry 1949-1959
    Sorelle Fontana and Hollywood on the Tiber: The Birth of the Modern Italian Fashion Industry 1949-1959 Courtney Lyons Undergraduate Senior Thesis Department of History Barnard College, Columbia University Professor Joel Kaye April 7, 2021 Lyons 1 Table of Contents Acknowledgments……………………………………………………………………………..…..2 Introduction……………………………………………………………………………..…………3 Chapter One: The Beginnings of Italian Fashion……………………………………………...….9 Chapter Two: The Growth of Cinecittà Studios and Hollywood on the Tiber……………….….20 Chapter Three: Sorelle Fontana and Hollywood……………….………..…………………..…..31 Chapter Four: The Rise of the Modern Italian Fashion Industry………………………………..46 Conclusion ……………………………………………………………………………………....63 Images……………………………………………………………………………………………65 Bibliography……………………………………………………………………………………..68 Lyons 2 Acknowledgments First, I would like to thank Professor Joel Kaye, who I have been lucky enough to call my thesis advisor this past year. Through your detailed feedback and many informative sessions, you have pushed me to become a better writer and historian, and I will be forever grateful for that. Thank you for always embracing my love of scandalous pop culture history and making our research seminar the best part of my week. Thank you to Professor Lisa Tiersten, my academic advisor, for taking me on as a last-minute advisee and admitting me into your seminar, even though it was full. It was under your guidance that I have been able to foster my love of fashion history. I would also like to thank Professor Barbara Faedda, whose “Culture of Italian Fashion” course inspired me to write my thesis on the topic. Finally, to both the Barnard and Columbia History Departments, thank you. Every history course that I have taken during my time here has been a pleasure.
    [Show full text]