WELCOME TO EDITION III OF / BENVENUTI ALLA III EDIZIONE DI Costume Colloquium m o c . s e l i t x e t - e m u t s o c . w w w PAST DRESS FUTURE FASHION Florence 8-11 November 2012 Firenze Life Beyond Tourism ®Auditorium al Duomo
Fondazione Romualdo Del Bianco ® Associazione Amici Life Beyond Tourism ® della Galleria del Costume Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012 PAST DRESS FUTURE FASHION PAST DRESS FUTURE FASHION Costume Colloquium is an international, The current edition – Past Dress - Future Il Costume Colloquium è un incontro L’attuale edizione, Past Dress - Future intercultural and interdisciplinary meeting Fashion – intends to develop a pertinent internazionale, interculturale e Fashion, intende sviluppare un tema where numerous aspects of a complex and timely topic: the use of used dress. multidisciplinare dove si discutono oggi molto sentito: quello issue are discussed, in particular the This subject will be broken down into i differenti e molteplici aspetti di un dell’utilizzazione dell’abito usato, analysis of dress and its role, in the past, numerous aspects and striving to answer tema complesso: l’abito e il suo ruolo, declinandolo sotto molteplici aspetti: in the present and its future potential. many questions among which are: How did nei tempi passati, in quelli attuali e come nel passato si riguardava al the past relate to its past? How are clothes nelle prospettive future. passato; come oggi viene recuperato The study of dress can, in fact, be carried used or reused today by designers and for dagli stilisti e nelle scuole di moda; out from different angles and points of study in fashion schools? What are the Lo studio dell’abito infatti può essere quali motivazioni creative e quali aspetti view. The comparison between the creative motivations and the social aspects condotto con differenti angolazioni e sociali generano questo fenomeno; quali meanings of dress that have evolved over which generate the reusing and recycling punti di vista: il confronto fra i significati suggerimenti offre per il futuro di time, and in different cultures, offers a phenomenon? and What does the future che ha assunto nel tempo e in quelli di questo importante settore economico. broad perspective which is essential for the hold for this important economic sector? diverse culture, ieri e oggi, fornisce una I relatori provengono da 14 Paesi diversi development of studies, not only for the The speakers are from 14 different prospettiva ampia, fondamentale sia per e affrontano il tema sotto le diverse practical applications of designs but also countries and will address the issues from lo sviluppo degli studi, sia per le angolazioni. Accompagnano i lavori le for teaching. various viewpoints. Our work will be applicazioni pratiche nella progettazione visite a Palazzo Davanzati, alla Galleria accompanied by visits to Palazzo e nella didattica. del Costume di Palazzo Pitti, al Museo The event is organized in sessions which Davanzati, to the Galleria del Costume at Gucci, al Museo del Tessuto di Prato; ma address correlated themes delivered by the Palazzo Pitti, to the Gucci Museum, to L’evento è organizzato in moduli in cui si per finire in un clima di partecipazione e speakers of diverse backgrounds and the Textile Museum of Prato. The Costume affrontano tematiche simili da parte di scoperta non manca una passeggiata cultures. The discussion among all Colloquium will begin and conclude in an relatori di differenti provenienze e ‘guidata’ fra i negozi dedicati al vintage participants is encouraged so that they can atmosphere of participation and discovery. culture; si stimola in tal modo il di Firenze e una visita all’incredibile divulge and share their experiences or their There will be a 'guided' walking tour to confronto fra tutti i partecipanti perché Archivio Vintage di Giovanni Masi. scientific knowledge in an atmosphere of Florentine stores dedicated to vintage and possano esporre le loro esperienze o le fruitful participation. The special visits to a visit to the incredible Vintage Archive of loro acquisizioni scientifiche in un clima Costume Colloquium è una esplicitazione textile and costume collections in Giovanni Masi in Prato. di feconda partecipazione. Visite speciali dell'orientamento Life Beyond Tourism ® museums, foundations, and/or industries, – a musei con collezioni tessili, che ha quale obiettivo favorire il dialogo allow for an informal atmosphere where Costume Colloquium is a concrete example fondazioni, industrie – permettono poi di fra culture e offrire opportunità di ideas, methods and results can be further of Life Beyond Tourism’s main objective, approfondire in modo informale idee, reciproca conoscenza e cooperazione discussed. All this contributes to a greater that is: promoting dialogue among cultures metodi e risultati, contribuendo alla attraverso la comunicazione e understanding among people with and providing opportunities for mutual crescita della conoscenza fra persone di l’interpretazione del patrimonio culturale different, yet similar interests, from a understanding and cooperation through differenti interessi e provenienze. materiale e immateriale dei diversi multitude of origins. communication and interpretation of territori del mondo. N N O O I I tangible and intangible cultural heritage of Il primo Costume Colloquium - Tributo a H H S S The first Costume Colloquium - A Tribute to diverse world territories. Janet Arnold si tenne nel 2008, e fu Con i risultati delle tre edizioni e quale A A F F Janet Arnold was held in 2008, and was
dedicato a questa maestra indiscussa modello di incontro internazionale, E E R R dedicated to this undisputed master of a Costume Colloquium has proven to be a della metodologia scientifica nello Costume Colloquium verrà presentato U U T T scientific methodology in the study of successful model of an international forum. studio dei costumi antichi. Il successo di durante il Forum Universale delle Culture U U F F historical dress. The success of this event Therefore all editions will be presented questo evento portò alla realizzazione di (Napoli 2013), evento che nasce su forte S S led to the creation of a second meeting in during the Universal Forum of Cultures un secondo incontro nel 2010, dedicato impulso dell’UNESCO per offrire uno S S E E 2010, dedicated to the clothing designed (Naples 2013), an event that was instigated agli abiti progettati per la danza, dal spazio di dialogo, confronto e dibattito R R D D
for dance, entitled Dress for Dance. The by UNESCO to provide a moment dedicated titolo di Dress for Dance. La scadenza sulle nuove sfide della globalizzazione. T T S S meetings have now become much to dialogue and debate for the new degli incontri divenne da allora biennale. A A P P anticipated bi-annual events. challenges of globalization.
2 3 4 PAST DRESS FUTURE FASHION f r b F I I A T t I T 8 7 C T S L C O d d
I I u e o l r h n
o n O o l e b i - e o e a e t l l e r C d
b f r 1 N e
l g l e r d u a a e e t l r c n n n
. n A o e 0 r a l g h y n
l l o r r r d r i A P V F D
“ i . o s f t e
t n l c 0 l
d
T m e
e i c n
B a e r e M l i v a l i p s i g l o s i w N 3 e a a o s e a
f f o n 5 p t g s a e n
e r t l e a i i o , y e r
e a a l d 3 A u e a
o e
c r t c e c q 5 t e l d o i s 8 y d m o p
a g a s a
r r z o i z r 4 a e a n c v d
o - u / s o o
g i d e i e i u p
t g z z i c 2 a u l a a t 1 e m t s / a b c o o a
i y i
n n r n o l r 5 e a e i a e i t m 1 u d n 3 u f t e m e t l a o
o e l n r n u t r d a
i l
t
m 9
c t m
n 8 t e n r c l m o ” N S S H r d n i n D D
t o z
b e V o o a 7 v /
C m h a 1 t f o p e m h T s e
i N e u e :
O
n S e n o m e a r i 0 7 o v b a b t o e e p n l i S o t i a o s o i c n f
r
a e n r G e
r 2 z l f 5 n c a a
g e u a p t e “
/ e l k e a f e d t m m v u . s i z e a N
t
6 è 2 e € d d E h r r
V
. r r p s r
h p e c s S a e b n
e e F s I i
s i o 3 F
o y
h N e g g s i
i s n o A o D i 2 e e m n e h n e ( n c e
t o d n o o
v i o
e e m r / e
s E s r 5 i o / o c s a t r o (
g S n
e n 1 u a o
c l b 2 s u a r t E t r e s S o R u 0 n n
n S ® 0
/ e r a a a m
0 i n
s
n g r r m
l D
i a a n e f , ( n m i A t : e c e ’ g c 1 o s A l s
k B o i e 0
€ 0 a o i
i c o b
d a r 2 o A a s : o u e e
i n s a
e a
( 0 L u e c 0 h t a
e n r r m
e C P c
u a c d r
2 l
s 1
t d c e e ) t
s -
/ n
g i d
t / o
r c h c i c 6
n 1 I
. a m i n 5 e D
o o t d
: g a a c d t e C a a N u o i 8 h S e
t : r
s o 0 o
u o
z w e e e n b r 8 0 d u n i n d : n
c s p
M s F C z a l , a o c r 0 n v
n d f l o c : 0 e t f t d u e 0 o t o a i e d ” O o t o f n 1 u m 0 o r u g u y a a
n l m -
i 0
c
f
e r 5 o i
l s e n s
w
n o D S r t R m t i y d
a t l u o m ) –
1 n ( o e e o - t l o r o i t . r a o . l
f a e i o 1 s . c 9 i m M
i p a c u
s
n i t
w i e n c P I 6
h r t s t / a p l l r a : t p c s t m e n l t e
s o n u
e h e t a n 0 h k . e A i e y l t
u r È d e r a t
3 n
s u s d e n n l
o o
0
u e l
c D a r T l
i n e a s “ a 0 b g
c / e l
e o t
r T
g p
a z
a s d I e M
i u o f o l i n u m e n -
y r
: s s n z o s r t o n O r h
e s i r l o u
x
m d a t o e o o n a c T e e f e
e o n e c l l o N o c r e m S m E i r
v
r e n
i l
l
o p s m r b i t i a p l o v S
o c r h i i c n a l S v u
a e
k a s s n n
m o y e d i r p u
r i C f o e g v i
s r s
a
i t
d p e n
d
r c 5 u i f t e o i a p i i n i a i l l f s n n – f ” n
/ s e
n e n b v i o o r o g z r i o
c p
s t
a
z i t ) e c s
r e
g l l i
s s o s E a i o V t
i h o e i a e o c
I l s F s
t o
n / l s c
s u x t e n N i c c n
s
e u e
v t n a a
i a
g g h ( d a I t a m o r g e o l e t r t d i z o n u F
e
r a t
i r r o s n e h t r d n p n i n a b V d i g e n é a r o O
e e
t o i
d n d e
S e n t t h d i o a i i e e r
f e s r t n n n o s i R i
e i c p
r g q e i l ) o
’ f u s
i
i a c I m
e
l t o o e
n s o i ( n d r v e t u M c
a t p c C z o . a P i s
n a
u n t
n o
i t i m n a o i u g a t e r a o i t i s n / s L e o l
A
a m g o
l
h z e i l
i O i r i p l
e o e r f t d I p a t n
b z l e r e r u v e g e e h D Z ’ a . s o
e
p e e z n p
e e u d i )
i r r o t c e e I n w . l a s d n e s t “ a m e r . u r
t i
u O
a
g e
e s s V n e t e H i a n L i u r H S a f r d b u n t s u i u N a n i i n i d f l e c n m e h n n n a f s l e i u i i i a e
e e t t e e g
l I
, a o
n g t d a t i r o e
d l u s n
a
t
i d h a e
t 5 G B d
s e v h
v v p u l t g i h a t n M e : v p t
4 t i c e e p i a e E r h e
r o a
n F r s e
t o h e T r i y n u n s
h a i
N u e e n u i n e
r d r C n o C s o t e u s e n z o - i y
g r s e g e E r n s d
o n n r e r n s i t e o
n e o à a a 5 o
v z o u R i
o d o l a e
e t e t
r e w
z l
1 0 i n t
/ a h
)
o u r
, z s a A i i s 0
s t l
T F e n 1 w
e l 8
i a e
t q o d a c ” : o
i e
5 2 L s - m h
n 0
c
l i
l c u
d r u 1 I
r t u 3 l
I S c m o c a i 0 t r o l ) i L 1 u i e r l a o a
s
l t e u n
r i i n
u a b F u s b s g i – C i l N f n g m
v z i e s p n i t m e i
i a a o b o r f r
e t e t i
1
e e e v
e m :
b e n a B l e
i 8
c
n e l s r n n C t
a t o i e / o e : h m o e e e n s a o c z a 0 c y
q
n a l i r l b c l e f
e 0 c l
M u o i l f r u r a c i l c a a e e è - l g u d n e o i
o
s u e 2 d s e c . f s n s i 0 e o m d d t n
1 r s i e a . 2 l t o F D M G e t G A P B k y M C F S r t l h o l n i
o a e p g y e a a e a o u u n e m p e r u r
t r e g l l s o v e r s d s g l l t i
r t e n
s e n a e e t i u s i e c i e e l r s c r c l c f e n y n r r s t o e s g e o s u i e a t i i i i c r
i p e c r z t a a n o , d l i
m n b a
o a m s a e e 8 a d i a
f n
i , t t f z r - e d d
t t l
i p t d f e e e a i 1 C e i i p o
r i e r a e e o . e r n o o S s l 1 i e
o
a r i s i
l l n
s
r z t w d a n n e l l n O N s n t o s ’ ’ e c e e n o A A d
g i c s o n o v r f a s
c d
e v
g
r
c
r o e l c n s r e M / a o p b t e
o
c a i
o f n u e a e r m v c n n a f y a T a n t a u t
e l l n a e e b
t i d r
d i i M i r f r i t n z t o r n t e t s z s c i e , t
h i e h r r z c
i z t o u c n s o a t
a m t n
e s a a 2 e a h i e o d e
, l n p
0
e t t
a B t d e i r
A a
e a e F c M a 1 i a a g
/ d
a v u t r e l
s 2
s c , t C
o o
n u a l e d
U r s i
p a l m M o o e z r c ’ p
a s l i o n r e A
e
p i a s a n e t , a u u F , c
a r
n a s t
u r n i
a l s
i s G s c u e
t s o / a
c C i
t s a d e
e c
d s a o m C e b t z r C
m e x u o i e s e l e i
c a f e
o e l i o e s o m C o s
n P i e l
u r
a r
d s
n e t d r o
i c r s a t C s C s a o s
z l e i
i e
n l a e t a , o f s o i t m F t a
l
h
o i v o
i
a u r c s r l C z s B P u e i l n e o e
i a t e z e o o e
d
a u a n e s l t o d s n m f q t d n o l i t r m
t o o e
a
d g A a u i e v
P p u o l g
t e e e u s d l e
m i a i i p a o u n u d
n
l t r n i
l l o r C
t w o m i a
e t e C o a t c t p i B r f o n n n
i e l , i i , o
o l a (
n u
l t
t ’ c t o I G G . d l C e r n s I i r h g r i o
I t e p e a , e a v i
e l M
e
q a q B c a l l F e a p t
c l l r u l a u a l u u C e u a n z p d i o p i r x s i r e
o
o r t u e i d o r i G e w o i e n a s e a s s l m . n a q l i . z a o t
t e n
, e
e
u i S u d l
S
b b t o
s l u I
d m
h i e e M t I s p t n y n ( I a i o r o l w i i ,
e u e
e e i t t
u t B w r a C e a
l ò d
w h e a G
S o o
l i m
i s e d i n
w ( c t e a b s
q w
e a g e F . t a s l O o u c l u l t i e
w s n e
o l e o r t a m , i C e g r d h w ) r
n l y r e o , G M e a i
e
e . v
s m n c s
n M a o , F u
e
d
o t t i r i l c f r o M n s u u i z l i à e n
a n e c e i r t m P s n
u n v r h r e i i u z d e
a d o i e s e g … e i a è m o i e l n
, e n
r
a
y
8
s i S d b o d s t s z / t d o - t i
e t t
i u
z e 1 o o T i
u a o h d c o
1 r g P r n
t
P
a e r e
a a
l a a w a N b e i a P s a g m l
l
o t u l
i l a u U i l s a a v l a b t i i r l z .
c e t f t r
z e i e A f z i e i m o b t z
i a a e o ) r z
/ n o b e
g t u
l n i
r
a
t U , P e e . è a i i
n n t i 2 t n t ) a t 0 t : e i i 1 , i 2
5 PAST DRESS FUTURE FASHION Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012
TH Department of History & AIC, Dr. Babasaheb Ambedkar Marathwada University) THURSDAY, NOVEMBER 8 Costumes in ‘Deccani Paintings’: Inspiring Contemporary and Future Fashion MORNING / MATTINA 11:20 Licia Triolo - Florence, Italy (Collaborator, Textile Conservation Laboratory, Opificio delle Pietre Dure) with Susanna Conti - Florence, Italy (Head 9:00 Welcome and Opening Remarks / Saluti di apertura Conservator, Textile Conservation Laboratory, Opificio delle Pietre Dure) and Paolo Del Bianco (President, Fondazione Romauldo Del Bianco ® - Life Beyond Naomi Katò - Florence, Italy (Costume and Textile Historian) Tourism ®); Conservare ed innovare: Le tecniche storiche, la ricerca e la conservazione di Cristina Piacenti (President, Associazione Amici della Galleria del Costume un costume militare giapponese di Palazzo Pitti; Soprintendente Museo Stibbert); Conservation and Innovation: Traditional Techniques, Research and Conservation Cristina Acidini (Soprintendente Speciale per il Patrimonio Storico, Artistico of a Japanese Military Uniform e Etnoantropologico e per il Polo Museale della Città di Firenze)
11:40 Jonathan Faiers - Winchester, UK (Reader in Fashion Theory, Winchester School of 9:15 Introduction / Introduzione Art, University of Southampton) Roberta Orsi Landini - Florence, Italy (Costume and Textile Historian) Past Perfect? SESSION I 12:00 Ligaya Salazar - London, UK (Curator of Contemporary Programs, Victoria and Interpreting Fashion of the Past in the Past Albert Museum) Interpretare la moda del passato nel passato “With My Eyes Turned to the Past, I Walk Backwards into the Future”: Moderator / Moderatore: Roberta Orsi Landini Yohji Yamamoto’s Non-Fashions
9:30 Charlotte Nicklas - Brighton, UK (Lecturer, History of Art and Design School of 12:20 BRIEF COMMUNICATIONS / COMUNICAZIONI BREVI Humanities Faculty of Arts, University of Brighton) ‘There is a Great Deal of Searching into Former Times’: Fashion and The Past in Pascale Gorguet Ballesteros - Paris, France (Chief Curator, Galliera, Musée de la the Mid-19th Century Mode de la Ville de Paris) A Few Thoughts Inspired by the Exhibition “The 18th Century Back in Fashion” 9:50 Alexandra Bosc - Paris, France (Curator, Galliera, Musée de la Mode de la Ville Versailles 2011 de Paris) Hoshino Tsuji - Kyoto, Japan (Director, Kyokane Co. Ltd.) Costume Transformations as a Way of Legitimization for the French Bourgeoisie Traditional Techniques in Contemporary Fashion: the Kyokane Dress Collection in the Second Part of the 19th Century 12:40 Discussion / Discussione 10:10 Susie Ralph - Bath, UK (Lecturer, Fashion and Textiles, Dept. of Historical and 13:00 Lunch Break / Pausa pranzo N N Critical Studies, Bath School of Art and Design, Bath Spa University) O O I I Inspired by the Antique: Margaine-Lacroix and The Robe Tanagréenne H H S S AFTERNOON / POMERIGGIO A A F F
E E 10:30 Break / Pausa R R SESSION III U U T T Rediscovering Historical Techniques, Tastes and Trends U U F F SESSION II Riscoperta delle tecniche del passato S S S S Returning to the Future: Inspirations and Influences of Past Traditions in Fashion Today E E Moderator / Moderatore: Daniela Degl’Innocenti R R Tornare al futuro: ispirazioni dal passato per le creazioni di oggi D D
T T Moderator / Moderatore Alexandra Palmer S S 14:30 Susan Neill - Chicago, Illinois, USA (Independent Costume and Textiles Scholar) A A P P The Texture of Ideas: Dynamic Symmetry in Handwoven Textiles by Mary Crovatt 11:00 Bina Sengar - Aurangabad Maharashtra, India (Assistant Professor, History Hambidge
6 7 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012
14:50 Kimberly Alexander - Durham, New Hampshire, USA (Visiting Assistant Professor, 9:20 Christina Johnson - Los Angeles, California, USA (Associate Museum Curator, Department of History, University of New Hampshire) with Emma Hope – Fashion Institute of Design & Merchandising) London, UK (Shoe Designer and Producer) Doris Langley Moore: Ultimate “Woman in Fashion” Brocade and Paste Buckles: The London Work of Thomas Ridout, James Davis and Emma Hope 9:40 Sarah Pointon - Sydney, Australia (Assistant Registrar, Powerhouse Museum) The Australian Dress Register: Accessing the Past through Dress 15:10 Alla Myzelev - Guelph, Ontario, Canada (Assistant Professor, School of Fine Art and Music, University of Guelph) 10:00 Discussion / Discussione Have you Heard? Knitting is Cool Again: Reinventing the Handmade through Performance 10:15 Break / Pausa
15:30 Joy Spanabel Emery - West Kingston, Rhode Island, USA (Curator, Commercial SESSION V Pattern Archive, Robert L. Carothers Library, University of Rhode Island) Learning from Dress Collections and Fashion Documents Tissues of Dreams: Documents of Fashion Raccolte e documenti della moda come strumenti didattici Moderator / Moderatore: Rosalia Varoli-Piazza 15:50 Hannah Wroe - Nottingham, UK (Researcher, Lecturer, Dress Historian and Historical Pattern Cutter) 10:45 Caroline Marie Bellios - Chicago, Illinois, USA (Assistant Director, the Fashion Pattern Cutting Publications 1935-1955: A Pattern Cutters Perspective Resource Center, Instructor, Dept. of Fashion Design at The School of the Art Institute of Chicago) with Michal Lynn Shumate - Chicago, Illinois, USA 16:10 Claire Bonavia - Tarxien, Malta (Principal Textile Conservator, Lecturer, (Special Project Coordinator, the Fashion Resource Center at The School of the Conservation Division, Heritage Malta) Art Institute of Chicago) Maltese Country Folk Costumes A Study Collection: New Technologies and Functionalities
16:30 Discussion / Discussione 11:05 Marie McLoughlin - London, UK (Freelance Designer, Lecturer at the University of 16:45 Presentation of the Museo Gucci, Grazia Venneri (Historical Archives Manager, Brighton) Gucci International PR Dept.) Bricolage and Historicism: British Designers as Storytellers
17:30 Visit and aperitif at Museo Gucci / Visita e aperitivo al Museo Gucci 11:25 Dale Peers - Toronto, Ontario, Canada (Professor and Costume Coordinator, Seneca Fashion Resource Centre, Seneca College) FRIDAY, NOVEMBER 9 TH Making Fashion History Fashion Present
MORNING / MATTINA 11:45 Discussion / Discussione N N O O I I H H S S SESSION IV 12:00 BRIEF COMMUNICATIONS / COMUNICAZIONI BREVI A A F F
E E Collecting Fashion: Aims and Accessibility Alessandra Arezzi Boza - Florence, Italy (Fashion Curator, Communication R R U U Collezioni del passato: finalità e accessibilità Manager for Europeana Fashion, Fondazione Rinascimento Digitale) T T U U Moderator / Moderatore: Gillion Carrara F F Europeana Fashion: Disclosing European’s Fashion Heritage Online S S S S E E 9:00 Mary M. Brooks - York, UK (Museum and Textile Conservation Consultant and Stefania Ricci - Florence, Italy (Director, Museo Salvatore Ferragamo) R R D D Marilyn
Lecture, Culture Heritage, Durham University) T T S S A A ‘My Yellow Dress Seems to Have Attained Celebrity’: Acquiring and Displaying P P the Dress and Textile Collection at York Castle Museum, England 12:30 Lunch Break / Pausa pranzo
8 9 1 0 PAST DRESS FUTURE FASHION F 1 1 1 1 1 1 1 1 A S l 5 5 4 4 4 3 3 6 o F E r : : : : . : : : T e 1 3 1 5 3 5 3 3 S n E 0 0 0 0 0 0 0 0 S c R e I N ,
O w C A ( A ( M C P I B a o S D M C S A S G C D ‘ J T J C V O P 8 a o n O O D T - n h
o o o p o u l o f a i r r a l r i i m N i e o u n t a a s 1 T a
s s e t e l O i t d e w e l z r s n n n e d t r
a r 1 h s e i d v u n c z p s
n c a h e a t t e
N i
r s s s H
e c e u a n t V
e b i d n
e u l N N R a p g c n e d e e M e a a E t h u r s d i e n r a u m i o t W r I e e o g r s
n / r h o r r n a y n a e s o d m e v a o t B
v v v t t s w i
e ®
o P P a t e e i a r o H e o r o
t t a a t r i o o t a , P P o
m ) a e n C u o t
r h
O
o o
a r z t
C . C s f n A a i C a F r F t t r a g y a s b i r S e
o i r d s
M q o o a i o h i i g I c o o g e H a
d e s
/ o w a
n a h n A / e s u
l F
r e n e a G e n n
t t
E - i
A l l n n e M a
r h a i D l 2 l i s s A e M e
e a n
o e s m a o R e o t
n n g L 0 o c t , i c
e Z n n o A i d e a
o l ) u o f I n o s 1 u - C u n e w l t f - e i N
G t t r n d
r n e
n i c s 2
a r
n l x c n t o a r v D t S
o 2 B e i t e a D G e d u r h e y r
e c a c d
a u y y i n a s i & 0 F w
r i - u P i e s
a e I
l s t
l o n P d l a
C O a o D l r t S D s b o l
i m
p p i h
e
C
n i t t n i n c a o G l d T i a S i - r a a r a r o s o l o o C s u
C ,
e , ) g - e e s a y e a n o o g t
r R V
r p n u l , x e t s g y y i M U t l l e B c - t l
, g m a u i l o l , e m n s u t
n
i y i S h e t : a
C K o n i i : B u c S m , o A
t t l : t e
p r e y
e o s e e
M g y s i
u s p i F i r u R o n
( l z e a f a n
t
s e i
a r b F r a o t s a a a o e D G t n D i y t t a u s r - n a i o t f a g d - r u s , n u e s
n a u
r
h r m
G y o ) t F
t B a ’ e m e H a a , U e l
r
: i d o
a
a l m , i ( h o s l a i n
l t W l e i n M
n
l i e i r T s a o s s h t s S a n b a n
a C r a i s h e h
t t n e e a
f e a v y m p
d l
a d o t e t o
a a e o i s ( c b B
e s
i F o o a
i s i C o r n c M a T , t e g s z C
r i C i e i D
i t e n , h t i n o t d s n c P
a ) n i U
u m u t a i
r e C
e e i
S e
n
a c w T
o t m m C K s r D e D
C o s v ( e h
y p l l s h e e e o P A a o
r e o a
n e e e l u a ( e c
e a u e z o l h r s l n s C p
s r d l s i o t o l s t z n m n d e v f D t u s B u e
t i V
o s s p u
a c B s
. o t i ) t l , t
r o t ) S , e ( h
t t m
m s h t t a o
u u P F P i a U w o n s i q e U o o e t f m i m l a e e n i , e n r o n g
n n e t
n
l
F s n F u t t B g U i i e r a i a a s o i s
l v i i i
v t a a n
r n a i z S n s : f o i
e . A n e ( M
z s r u s
e o t e z A u f r T T i l
r o o o
q
s e t
f l u t
t e n h G T A a m A
i f r
h i
( u
e A s x
t e t i P e A F a r d r c e i t y e e t s t c x t a
l i r h s i i e
s
s
t u C r c t l c s C o 1 C e a t e l , y
i ì r m u l i l 8 o F a o f
n l o a s , i e B i
s l
B a : c , c n
d t u s t C 3
- t o c i y m a h
F ,
s o C
a n a 0 , M u s
i B s D e e
r t T o b t o t e t ) l i q e i r
r e a i t o n h n s a d l f y B v y u
b r n z f t n
e l T ) a a e
e i a
u e t a n ; n e
o , B h t r
s
m B o 8 e a i x e B f C e a q o
- , o q t
n e e o
l
t 1 u i n C e w u C h l S c
a 1 u e e , h a n e i o e p
e t n
n N i n s c r
n a a C a s t i o s U i d z
n i r r s o a v
n y M e n
e e f d g u S D
o l m i r u l a
- n v a v i r r
b
s e t
e n a r r t e r e s t
y h s
u i s 2 ) o e i , m
t 0
n y 1 ,
2
S F 1 1 1 1 1 9 9 9 M S S l 1 1 0 0 0 : : : o A E E O : : 4 2 0 : : : r 2 0 e T 3 2 0 S S 0 0 0 R n 0 0 U 0 0 0 S S c N e R I I I ,
N O O T S M R M V C o M R B C T S R B D o V J C A R A R T R 8 D e a G h u h - e e h a f i i e e f i g e l e e r r i N N o o e a A n c c
e s 1 e e i n n e r e c a c l f c c a
l S S r o t n d d 1 c t t x a r Y n a
o / r o y y s c t l o i t u a a a
t
u n a V V s e o l e e , 1 e k d a r c c N h s n e e M r
g r m n P t i 2 s n a i r r l l r r N i y I I o a a a n a r n s e , e i a a e
a / s
Z I I i t t d A v n u
i
l h c t n C m g D
I O g i , i t t , n n S C e b R P r n r T M g z o
c o o u d
R m i C u i a R g o r V o c p i a o n o T T g , e n r r F r o i i e a e c h b
e e l r c u E s
u a I s g l g a P R o R e t c n o r o N / / n D o i a c i / s s M t n
o i s i r c y a n e
n e i n w o e h I t
d A M M e e a r h D , k l 2 ; d c u P l p g i c
e a
g n r B
a m n a s a 0 l i , r o o i G e a o ; r T u s o i g
s i u k p h i 1 l
y n E e q n c a e d d p R s n
a r g c F n 2 a o t W g p i R a n r u t e e r u o r l f - I i
f i i l o n i
e o : c a o - a r r e d - t o z s o g y
- i
W
a a h e i s 1 d l
n e s s s R s a t F u l r e W T e t t p l e i R o i u 0 d r , i i l l e a o a s r o o n o l
t a o
C i r a e e l z A
T i r n h O m r N r g
r r i n - n n r R H i i r e p d a o e e o
r e c a e o i s n e
o t t e S s d c m
: : r n a e f U d n e a n
o t
L b
u h a V
n H
t a s C r R c C w n a i s u C d o C u s o n
p i d e r i b a t o o s d d , x o e t s u o , r i
l t r
,
i r o
s g u s u b e D e a t i
s P t c W s l O u
o I t i
o
a r r r e t t m i i t o a t n - u g M F g n y u a e n r u e a b
t r m b l
o y m , r e F t t g t g m t a a l m u l t
o F a a i
i y a u l e n h V o
n t o r o a a s e e u
e H r e i i n t e i , d D n e O n (
n s
i r P r o s
n
o I
i d s e
H g h u
C g d s n C e D a r P
d t ( , o n a o s i i t i m d
a l o
d s
P e n a s o
o
f V t c i C C f t l o e S
r e B t i s h s i n ) i e r i o u L i a H o a f l t u i p t n i c D i , o l g h c a l n l a : n , r
a i i b t e t
y a s
r
n I n e n a a ) u
U T l t n C n s c , t l m e d a
d c o g r
u o t S i a d o P T a C r o a l o i e a
r l o y n A ) n e h a S l t , l y r
q
o
u d d
n i l e i a ( m A
( i U c ( N t r i a i t o
T n M u n h n d h e
F S a e o
d S t e
a : a e a d r A x i r h M
c t s u t s a n t t i
D e r e h
i h h ( o
o a l L n r A m , o E e e i d
g e p e o
s .
U l
U s e e
a o g a n T s V n s r r r a p n l n i
, n a o
s
i I
i a d v o o n n t C u
g o n e a F
f f s t o g y r
C
a r n o e t F
t C ) h s s i o s i T t d h : r t t i o a
h o e u s t u e P 8 n n s y a t i t
m z o 0 r u t E
e P n e o u o F n x m
, e a d
Y a f m f o 8 t
e s
e e e s - D f W W t s e
1 h a n
e s D H , 1 r a i o d
o s o s
e F i r N
r i s
r n s a W s l g , o o t d
a
i s v n o g U f C e l w h e
y
r n n a m o i i
) a o
r i B s b v a ? n n t r e e e n u )
a r a d 2 m s u 0 n
i e t 1 t d y y
2 1 1 PAST DRESS FUTURE FASHION 1 2 PAST DRESS FUTURE FASHION F 1 1 1 1 1 1 1 1 A S l 4 4 4 3 2 2 2 1 o F E : : : : : : : : r T 4 e 4 2 0 0 4 2 0 S E n 0 0 0 0 0 0 0 0 S c R e I N ,
O d M G M V T U M D D “ H B V M I D L D ‘ D f R T “ D P C C 8 n O H n o A e e I u e - e e e h o n E o o o r i i e e e N u u
o i f e r 1 s i n c O r e r n s n c r
D l P a s i d s s n i i l e r s s d 1 l c h u f v r G â l i
h s t C c t u i i l N a r e o o y n d L d e e u s
i I g g a e e u n e s n l N e h o r o s y
X I o a r
u u n i e r s
i n n r e r n i C m i o P e l V
m / i e e n n s m q a
a ’ t l s n m
á
v B , , i c t A o e a C t d P i n g t
P i t i e , u e
s K i t e e M
r o o e
P U n o R e r n
T a D m
a
O ) e p e B T s i
o r m w F P n e d r
D n r : g ’ u s u O u o b r a s r
e D D r
M f i e r e a t i
o i e l n r e d a / ,
a k p g l f v / a s i t i V e
r p u i r s F
o
n s s E t z i h e e n
s M C e f o s D r
i i s 2 a r h / M t o i i r a R n i r n
r u B r i
E r g b l a 0
m c g y o i G y
H
s P r a t I e M s r u O 1 n F o - i , i ( m T : o G i a d e n r n a
o
e c i
P 2 i t l - o e l y n o
U S A n n t g T G s y e
u o u i u r e h o i r l L - g g ’ v a n i e h a
r r d e s s
I g r v - M
s D f t o o a A O i e
i s - : m i I e s a
i d e s n e t n A v r B
s t f , n d u o n i i
) v a l T o
a o f o e t
o c r C o S P d s ’ D u n S C o
i d
h t
- i A r r n r n e L e l r R s p o
- D s t a e s r r e e e o a n
e E o R a e o u
e
d
e i l l n : A l e
D g t n d i i S d i
r , l s m o u - C u s n f h , n
o
l s s A n
z a o p e
s t m e i C P t c o a B e , d U
, s
o l a h
d p r l
t a t
a e a s R r s
e H
o h n a I r , K B e y t P r p M l x u t
e e u n
o . s i i i c
u D
e I e a a , s f e M l s s t t E d ( d h i v
o a l m m t r r a , n s o s C t e W g x o e
e e o f a r t s l
d u a n o P I - p i n e a y n s
u t o r r a o u e
r r r , S r r e i v s
c e s i S , r f
s a c a a m o u m a (
o ”
r
i ã
M r h ã h P
H n n t A
C , S r j C i : l o
o P i e ) e S i o i
h o e , a n r o h i , U n a
c C a n l r c t
) D s : o g e F l P a
g u U S t n P h
l l l c s o a m o
n a
r a i t d d A a e i S l A o a
a i c f o v n t t u n c i u
e A c u r n h c e o l n ( d D i C r l
t C l h r n t
o A i l e
T o r s
o n e ( t o i G i o u u
U ) a s ( : s P y h n , r l a g
T a
s f m s p t l s
n q r e e w D
B e
e
o o e r o o ” l t i a 1 m f m ) c a e a r v i t r h o : f u f c 9 t t a t i t
e c s y e i e a h r , r i s V T e 0 z a
h i s o i i
r
, g c h n l i i 0 u Q s t s
T e e R n s l a e n e t U
i ´ o e r u u
t s i s ( m l s
e
t c y a S
r P , e a P
E o
a a
, r
r t U A D
h e l o r e s H x
f r n
S o s
M o n D c , A r a f i d ( F
t e e
f s e
z C r C , . a e t o
V d s d t
t
p i h u C r s s o T o s r L s i e
e t e a h e r s F i c , o r f n i l n
a a i o
i i t o R o x l i r u U i c s P o e o e e t t
t r r n e
o
i i n n , e i
r m n r o s R D p
l A a z S a i r i
e H
) e a n v o
l r l e a l c m
H
, ’ e o b o
e e s s w y t
C
C 8 i
A i f e d S a
u r a s - c o a i
i a s C n 1 d n t t g u t l F e r n i n
u h o o 1 a e f d d
g c
P s l d
d o s r C t s e u l N r a a e y i i t
a i h f o r n o o e d l e u
r
F
d a v i s a v C n g n a e s o o m e c t e a n o z , s
f m n u e
F e
t e d h s -
m o s b e
A
t i
r ) B o r u d e e , r
a n m t e 2
s l
r 0 l e , a s 1
l 2 1 1 1 1 1 F 1 1 1 1 9 9 S E l 5 1 6 5 5 5 3 1 0 x : : o U * a : : 1 0 : : : : : : : r c
4 3 e 3 3 1 0 0 0 0 5 p N 0 u n 5 5 0 p 0 0 0 0 0 0 r D c
s r
e o A i ,
o O W V M A B B F A A “ P D V P 8 x Y T A a V n i - r r i r r r i u u i p , e m e e s s r e s e 1 r r c r
i s s c s e i i e N e i i l n 1 h c t s s v v a t t c
h s o n w t
u t e e a
i d d O a a t o N i u v i a a
e s n n n
v e l l e e o m P v e V t g e n
s
t t v g e l p p o M G t i , r
a e a i l E d e e s i
A a o
a a m m i t : t D a M i a u
d o t n p i i t r r R f t b p o o o s a L e t t
i v r
e e
B e ’ u u t o e * n n
e n / P a i P o r r
s c r r r o
m r
E i i n i D r 2 e e r c
e e c i a o o e
a R t t n 0 h
i e
p l d z h f f i s s f f t a 1 t e f i
n
z r r t o e i h e c
2 t t 1
d o o i s M a / a h h u l D o
e
t 1 u
m m
M
A e e s T i
n a e S a l b T / e s e
p
u s g H
t l M i M F P i M s
S a i e l s l o C / M
e l ’ s r
z a u u r o e V I u n a o
u n i i l u o s s r t i f s o e o t u r t n n e a i e e s o e a o v n t o n d t s e o o s r
o o o
a e c i / c c e o d
g
i t e d e d i l d d R
n d / i n e
d
n i e u i T i o i i d I P /
t
i t n e l
P A F P
o i s
r i m P c s d c P T a i a r a a r l ( a a s o c e e a n l i t C l l e t p a h r u o u a s n l l o i u t a
z v p i s t z t e t
v
v r o z o / z i C u r z o i n a
i e o o n z o s t A
t z d o o
s G o o r / a i D b i D
u r n r u
D A d i , u a l P a t
d v
a o r i P a s v M v o r e
l r r a ”
v a i P a i i
l a d u v n o
t
a n a n r a o b z o s a i a n l z z z q n
e u
t ( a z a M / a P a o d D o s
a t t u
l r I , i
u
i i t
S n , a
r t d d i G
s t i e h t i t B a h e u z e a o i c e o
r i l e o z t o
u F m v o i i T G
i r
o n a e d r r
d i e n ) e n u o s e e n l e s n p v l l l
z u a l a i c T a
e
t o n e M
T o F m v s n e i
a r s i i d o e s i
s u n n d M i i i
t t z
g o e P a o V a
,
r
r
s i e 8 i a a n d i x -
l t ( t i 1
h V o
D a M 1 P i i ) g i b
n r r N u e e a i t o s t
a c t i v e o o g t e o o m n e
r : b ) d
r e e
l 2
0 1 2 1 3 PAST DRESS FUTURE FASHION 1 4 PAST DRESS FUTURE FASHION C T c c b h d g F L T I T U U E S F c a i f C “ F V F E T W W V V a c c n l a l o l o o u r b L a F a n h h h h
o X a i a i X e i o I I I B B h a C i o l i s c s g e s E n S S S o u d o n n r
l t u l n d e p d d e e e a C u o l e C m e e
o l a t l t h t d G u n M s L u u I I I r n i t u
e g l n t è i
h o u a r s v n u
i L r d d T T T
L e l l i s e s e C M r i l o n v C n a a c o s t b a c c d i o l o p s
U a d a s y e n l t A A e r c e
s
l v h s o U r c O e a e a d u e c r l t o e i y , v o
T o i t i l e s l c a i n e s r a n
u
l S f s
i e , i o a l e t o q C s t o c
s
s A e n c w a o O b u E s a o F S i t M
n
N g s n c 8
t a a i e i c I o r , n s , l
t a d a a c
u w r m a r t n y i p
V ,
L S l
u i n o -
o a I
o
t o z d V o i o i u
a f l , E i o M
h M n d v N 1 a s i V u h g a m G c T L a u u n E t C
n
h t n i
u r v c a
n i n l m
1 o
h i
i z o I h N y c i d A d
H
n
o n t e i E b p u u o e
L o i
d i e s R t l e f
m a o
z . , d i t e d i o s c V n i l e
u d o a e N a o i u w t P U
,
e a
m t E s c l a g o h o l a e m z E l v h d G s s V
i e a e H N n l o a
s I l t i
o t e r c v e s a
c s
a V o e S c e o c n ” i
e S C o i m u r I
m l g a a l v A G I i o l t C b r i a o o u e l a a o s l M I
l l
a e t n z
w i e
I s . n a
S e E i I n a r a a
I . e r v C o
n O L V i
a e e m v
i c t M a u u T m i
, a l .
e m ,
s
s i n u a P e T z o i d I
i s e
e
i L G
a L e A o n l r r p
P
l j s , s o S , i
n m
T d T P z l p b u
n s b s t d h s o A i f
T r u n a n E
e a l m c e
u e i s s e o i n p a e n 9 e e V i T t
h u i S o a o - n s a
E a e e I i u
N l s t o e n R
o
t c r a d a u r c b s c O
s
l a e
l t U s s i i e s s c b
v l
u m y i z
e r
h a r
a a a p l u I c n s s D 2 g d n i i s n h
A m y A , t l t x
c o t o l n A u d z e
t N M e m o
e i i l c
0 u
o e o , n i 8 u o
e / d a o t t i o a o
n
P a a F l e
e
u
N m n
i r e D o
1
n A i e c c ’ c l o P t r t
b
E ,
e f D s t
V e r
o n
n A
a i n “ h e d y E n 2 e a
i
p u h a t I n c n
t m e r c P 7 D e t S a s c
c b e
. t P w F t l n g i E z T d i t R e e o l e i h l / o
h r G e d e . s
o d s a o p
t n e h l E i
h q o n t
l i A
h u
s n d o L s a t
g
n s I c e h o i s i o
r A o n a l e G n i m p A C i o e R U h e T p u i c
v r , e
i s s c s
i z s t d a l n y / a
n e
a n s e a u C t r
a
i r r a , L P a I
I P e a B - c e r o i o z 1 f f p m z p n o u e e
s o i e T V c i r t t ù M C P n F v d
e u s O s e L z i
4 n a
i r n
P P i e n i
n e c m h h a r , c o v r a n u r I O n e e e e o
a n s a
i g E ì l a o /
l t c n e
F S e
u i o r o a ,
o l O d e d l h e
o a t r a i F t r
o x s o a l . 6 n a a R y y t n
l
a w d
A c
e r a a T
l u
c i s n
d u
i A e z u e 9 t
h c A
, c c I
a o i n z c l l , e Y C
N
e a s a m c d r o t z n U P
d z l
z r i 0 s i c o N d r l ì r
e a 6 T o i L i o n e y
o t
u i
t t e p
r i l z
z r b o o e o N
o g o E e l 0 M , h a P A s
r d e n a
n e d
. o 8 l
u i è r d t T
i o
a
a n s w 0 T e M n i n c
r l n t o n R o a y
0 M
T s t c a a F i t c i F t e
, d t l
P M a t E
s
a n g
u H d t e i 0
u e c a
i N r s a v a u
l I h e ”
o g t a P o
a l U m h o e e s p o a u T t i f d 1 l a a P r l i a
e ì
0 r c n e s
E r r t o e
l u è
I b a t
i n
m E a
r i 9
n p S M y l I h s
è i e r u l t N r o
A t d r h i e G o
s 7 m
s
n o Y
v
V
l
d u j è i t n l e n t
N v e 8
E r o
s , r e G u l o e
n
a y m M L a o i
e o d e i v u P e f
O o i t e i e , n e s o e s o b e y è ,
3 P O g r
m N
n c n A T a
n U c
. s r
e
m ! , a a c i s f d t i
v e a e d
a s l n
a
G
r
i , f t A g s a c ’ e
a n
o
d S a
a Z c s C
d C e l d
D e i e e a o s i C
r
a i
n c
c . G h
1 a b n n u e d L r n
t i s d
v Z l f b i
c 9
s o C i
a i s
e d
o l o r I v l 9 h p d r d S z i n a / a t L r A U c d c c c t e e O t o d a
s ’ i t
0 o t I n d o e a t s ’ e m n z 8 r a e r t i o l B a c c
d
h n
e d
u l m Z
t i t l C i i a e u
e - i m
Y
V o g l i d t t n M l i
g o
t
o l i 3 i v
a a e s P Z E y a c e r C s e , i p l h i C o n
n e d c s C d v i d
b i s I
g e e s
r e a a e O n . s c N
e f i I c U z C o e d I e l n a c m v S t e e o a l
e t l
t T t i t R s
r h e r h i
t a a a g i
d T s a o V I p n
n h u i S e g . e F s s ,
l
m o a s I
T L I t t i d
e o r p s P m
t e e h t e a l T t l
n
I z t a l n t e m E t a E
Q
n 1 a R G e l I h o h
l
h e i S a o i
I g u o p
n a i z a c E s a
6
e n N U u m n c T q u d s e s i n e a u r o o e
e o s 1 a o n s r m s z l c r s z
o d
e ° c
T s u h a
r U l M
a
l o 6 e e u s p
i M , i E i t h i z l a a l o i
u e l d l t e n n p s o n
I s i n f a l a r e n r e
T u l s t a j o c . o , S n e e t b a d
n h a
t y e i u s e a t c
a t n
r p c
t t i r c O l d i
s P u l
c o t m
e
C y u
i
i G t e
e a c i r n m i h u s 9 t e e e u t p t i o L a d a d t , e
2 a m c
o
n t
n ! r
h L u t
a d e i 0
s b , o a W D n i i i n
’ r a d s a n l p i . o 0 p m
s
d i n l o
e d l U a s
d t
i
o u a u
u n t
l
A i i a
r °
n . a i e H a a o i o t
n e z l a n n s i h s W e
e
c o r s
S
s z o
t i o s r
r c n T z f e t r c e i r t
s a , s t e l e o i U s
i t e
o k a d t r I t
r y c a
n , o G o o e o a h n
1 n e e r f g t u
a h o f n V C
B
m e f
d c a a t t e 6 r r i n
2
o a u n e i
c o t
s o t i d g e ,
e s o n t o E
q s i c r c , e s l t t
o t l a 0
t c
h c n o h r d h
z
e e ( m i y
l s h c e s P i o u
o u m
i n F
c o a a t l l V l t
c o
, i s
, E r i
l o e h t l a d o i t e c o o o
n r a d i g
t
o t r m o
e y v a s i u i
p u
t p s e P e r h b p f e i
a e c
i t C t
r A c o
a a c c n e l r n r i m n r a s e s
n t e G a n o r o c m m e p o e r
s
o a u a e e
t v z s s t r e t o e P o d b
i u m a f t t
e c i i n s u o r , r f e e m t n t c s e y p i i r o i s i i u
P u r e è , d a i e P o n m n e ,
e n
s n e c o t
c m
t P
t i e p
e 8 n f r d s m
i t
i o
è u d o i i , l c u e o c U e V o t a r n a y
a - e o r
e l c t
p o t
, p o e l
i m z e r C
f r n v g 1 n f h e ’ t . i
i z
i u i l , s
N
r o s
v e r i u y
o g i i c l a a o
m M V 1 z a o u g a z t
i n o e t t a o o
U d
i u a
s r o
n e i n p i l T
b h
C a r z t i s
n e n
N m n a o o i l n n e
e n p o z D a n i
s f A z e e e e n t r i o e l
o c o t
t o n e e u d n d l i i
o
h o
i n n d c i
r t b a d i y g i
o e
i v r t b s c n M v n . a d , b w e i s n e i o e g t e P i i a e n e a e e t
i t r
c n r t n e e e g e
. f s o h l e , i m 4 a e v
. e t u a i l t s e i t a
e E z r
a f n l
d s o
a e m o i n
a r
m
d a m t o b o p i n i b n
N - t m s ) a o i e
r , n o r r z k
e e n r r
e y d n e a u t h u u e o l f o i e n T C s d a . o l
l c l o e r o 2 s
a l f l t i a I l g i t b e 1 n l 0
o e u a p l p 6 e d 1 i a i o r l d . l u ° 2 e i i . e
c L c a i , a t l t m m l h f s e d i t l a g F T L T I T c f s i T h R S V B S R T t F o o n a n l r u e r h ’ l e e p h d L O r x r h h h
i e o e a u e o E I I e o E a i d l c o ’
d i i c c c c s r M S C e e i o s o n a r o e i s d a r e e e s t s n m s C s ’ u H d n m n U e e a a e h h v s r u d s i
u 6 s I E m r t
u s c i p t r
p u n - n t d n E n T i w c s i i l t e l g I R e i i u u s p e r P e M e s 1 r e V 0 a s i
i z l i l c r N t t e p s e r e ’ t e P a i a l e z d a n p t n t n 9 t r e a t e e
s x , h i o i o s r
e g e
y T I d e i h u i c o n
i D r y z o d y D l
, T
M a n t a l a o t e t l t
t c i
n i l d
r
e s y O w h e d i , o m e a a 8 g
i e s e n d t e t n n
a I t k
w d t y o g I a r
.
n i g i t
i u e O E -
d E o
T t e r i u
n
, N n t a
c a n g i m a b e
o a l l e s
o o 1 e d o a
T T d
6
p o i r o N r t i a H u T i
e r
s N s P r s v
o g N m n t i d e
1 l
a y d
, h T f H e
i c c 0 i r e i l f t a l n R r n
m i a t T
P o E
r u
o
e v e n
s d k a e
i o
v h h h i
b a e h N w f n ’ v 1 a A E r e P
d O n t O s a
i s r
s c e n a
u z s
e x e
t v
e m n 4
e
i u o e u e i a t t S c e
a t e T m
n h e a i i v i o m
t t n e 3
a l
e v o o P
o s n
d
t t c
e r l
i t l
A a i c l s C L c h a i s n i a i e c a
l c f
s o d a 2 y p i l m a o t . d T
a o e
c r t R m u b r t e
n E o
e d m m
E L o r n o i t è v p
e ’ e
c e z
,
r h P H
F t i
w
c 9 e s A m
e
t c 0 s b f e N b t e a
n i o b i
f e à m z s b c e r d a i M h e M
a a e Q s f t h E o d l
c t 0 r o T n e 0 h l s
e o o . y n v
d a s E u c r t r p i c r
l c h l b x i o r s b e
O r U e d
, i e r o ’ u e a U a 0
i v r u e 1 p i
m t t o a S d c M
t a i
i c a e
y 2 a b
t
s D p i t u n 1 o e d n t e I z s i i i
r
c i a i F S t n 1 h l h
9 e l 0 u m N d b l n n l i t t t r t t T e s l z e e e U o r l u T
t
d e a
h i o l 0
i E o 1 a e i e a e
0 r y z o t
c e i q o d o b E
t T d c
u
O s s
v a b 1 c t u S a n t 2 i a O
z d
/ n
R u z l
’ h d f r r t a f u n i i
X E y 9 s i t e o
m u a u d D b a r o
s i e a
U E
n a
e r t D o
i a o D
e o
o
a o t T / v a l ° G t a n o s m n t C r a i d l U l a t n D d c a
l i e R D o
o m t l a r
c
n r I o m i
i r i o n d z S
a l i
h a t o v i
i L t n s r t e
o .
s M c I d
h b u l o v
E r
1 a e e a m c s i t
e i
c i a
a m e i o e E O n d s h
a t s C n f t n 9 a i i i s l v P i z L m
s
l a t o
x f t a
b s
t
i r n i c a u u
v c a i e d d i e h z F n o a O L c ° o h s l t p A f e q D s m t t M , s t g o e a c e ’ e c e a h d s i
n o l
i e e i u o n s z
o e n c A o L t u
F u l u e
T s p o r l a l
t
e r r m i p e i U i a u e
f t l t t o n i p m
i t
o A n i
v R l t a e e n c d l
H f s a n f l e s t s u
i n M m
o t l
’ P i m y g S a i e
p a u i i c v d g , Z c e C g i t P u s m i
e m z
c e r n E g . t d v
n f A t , a o m s l E a o , e M i Z i r
e i p l r z e e
H h 1
i s c r
u r
n g l i t
i e a I t t
s
i L t a a n
r a U O d i n i l l u . 0
h
l r a G 1 a l t e l r y e t I d d h a
a o e l a g w
l
a A y n R n e t l 1 V o a i e t i
l c g M
c T
f l R d I m r s
s o t , o i g e i e
a m a n N e a a r O x D u e c Z o t h i n e a
I D t e h p e o i N e i o c ’ a
v
s t O
g C w u t o . n i s ’ z Z s n n u f o
t n e g V A
s s
e e c
/ e a a
i l a a t a m o e r c i
e O
a n f
i n l
s
T e a a s v k
e
d o e
r o A V
n a r . n R v e a t
V l c o 1 V v
v v m m i i a
e M o h
i e
s
n e a
r
c r e A n m c l N i i 4
c t b i s a I e r n i C t I I a i D n t i m z
t c o
m i o s u m l x l o
a n S r o i N . o p s e a u N ° h i s o v r N
t d m n z t i c c i
f b c A t
n l r i l w
h b m a t t I n a m l e
u o s a L T e i b l u a i i Z è c
l o i i n i I T e s a a o , b g t V e l l b ’ i
n n u y c A e e i
n
s l
s l
n e l m r A
e A l A h e e o n G . g b
M m l n A
z , e
1 o
r r e c d g t l u t l
G t o
d
c n T a c e n r l D i m e
s e i o 6 a e i I w o u a e i N A m s a a i
c m e c o o o A l d i o
E t l I e n
s t
t r t u
, u t
. o c h
s d d i d h L e R i a Z A o n v l
r c s S a
s l
M l c u d s a
t f
- o h l f
o t l v a u i I D e a m
A o i i i a
e o e h i , e f m 2 l y a o I n v t i m
c n M n m v
i
u e o i . d
n f l t . h n T 3 n h c l I
m c
0 q c i
M a u l u V
b a a t e l
a e s d o m f n ’ m i
e t I s I U r e e T n . a o a o e G t t
t i f l l I s t
i i e e 0 e h t r e e t i
e n s u
l o i a t
n o h z i s N i i r s e
S i u e
a t y r I o M r s M o
d h
0 M
d . c e w p i d c c t
O
t a t e n x s M E
m t T M r
o t s n i e a e
e c a u
0 e s e t i T r a e a u r e u
a c
u A u
V O a d o c u n o a s s n e v s
l r o m a m n
u o b m h c l s s r m s s
s l G A n e f e a
m s . r e a o
s l i
o s i m f
t p s i a f t r e e
e E l a i i o D u s i c
u c
l N z a E u
a t
t r i e p T i n l l e t
s
a
o e i a u v
o
l t v i d l s
i e z
s t t h E n n
E T r c M i h N
o g a l o d h e è 1 t t o e
A
e i a e o , m i e
r e i a e t u s
c r L r
e 6 w e
p
t
x
e i e I p
r n d
i a R
i i d u i c l o s m ,
i h l m n d r o s s t
i m m ° a
r d l o o n u
e T o M s t o h
a s C m i a l o P q n e v i a
. i E e n l e l ’ i a
f g d n r d o i E
u o e l e p
o p e t A H n i s r f
t u
u l p i A s è
F
R n n a g
g A u a l e d S o o a d t 1
l s e e n r t o e r i ’ I , i a r t a
S
o s t r e t i 9 i s i o A
t
V t
s S n r
a d
o
h n i e g i e s f f
n d i a l o w e a u i c
d I d
o i s t a t
r
a n d n E U
s e p v e
t l h u e d d a g A h r r
n A d e
a s s
t a z
a a A t - a z
t y o
i m
d T e T
i e r 2 s e t i e c t u i i m s
c
f a m I i A t e l l
. z
s l
o v e v e , u c l a O a m d c N l e d e
i
a , 0 h d t a P a P l o p u n a
n 8 n e
e / x v a s a e i
r i e n l n i . v b n
° e
l
i m i R r t - t
l i 5 o i t
c t
g
s a
l c u r n P I D r a o
e a h o o t i 1 t e
s c y T o i h c C l i i A i ° i d a s s c
n u l r p r e c
c e
1 R r t c l
h f p I r r
o e h f
r a a a a
o e e M T t L a
o u e d o l a r t i f f
n r a n e n s A e a a
u e l
N e s P o d i y a s t o c O
a s r l
l n i
e M n n t c z t u
o
T e z l d
e o s n a
o è i R d u t i n o m
f y r s z
c u n a o z i v i s u O i d
c r F
u
e l n f o n A i a
i
t o e i è o
o n e m t
d a
t
m l
r e m u o s a d m . d d o o T a s i l t u
e a o m . i s a o e o
n t n h q u e o O u
a
e r b n e f l h r i
y u n o t
e l n l e e
n
r n i u g l d s s m e i e i e a e f t s i m n
c n o
i t t
l e t l e
h c n x i o u e f i r 2 a i o b t l n
i
l t i e t
y g i 0 f t f n a a
d r i i n s t t 1 l s s i d l n e h e i e 2 o n l i o 1 5 PAST DRESS FUTURE FASHION 1 6 PAST DRESS FUTURE FASHION t o t - o h h d e m t a - v s F a r w p t a f c c c 1 I M o m F T A A g m s a s h t e c B M C A C K n a - - e h h r h e l 7 e h o a o h u t i n n n n s m h
a
a i i f n n e a l a s r i o - - a i e a y a e s o o a s s c a c
m r a e e o S - - e t 3 t c a l l o b
r r v a d d d i v s r ,
n e r - - l l t l h w p o a h l h e l r s n b i r s m o a
t s
e c t c t r a e 0 e a t t e - - e e t r j b o
a b p v s
i n c u
” l i t a e n g i e
- - y
e a o a e e
r l c t i e n b c
r o s
i o
l r p l r
c r - - o f e o t e i e n m
t h h d t o
c c e
n o i s e r d d s e a d n t n o c - - y r f - h t e a i o g n c
g a n c k r r n l B t t t - - a i o s 1 s e e e e
y p s i h d t f e ; , e i e t u e r u o a e a l i - - e e s
o u r z a p s a
e t 7 s a
t
s e y n
m
O 8 r l - -
y m a v
s
t s b s
l s e a n a e r r o n u C b e N
a p s r - - C r d h e p a
6 b
- m M i
t w e
i i e t
e
- - v N e m A d
n m o o
t e e o g
z c g r 1 o w h l o e l r a n a i
i u - - 0 i k y s d l u i e e e s v t u o n
n o e - - a p t u d d A L
d l 1 n y w o n s n e n d u l t e
h n l s t p w e h - - i e a
a i a r m l m n g E t i d r
r p E
o V
o
i - - v e p
e t d ) C y n
n o N e o
m
i o i t a c k n a t s a i - - l i f g
i
. X P
m e c o a r a n r i n h I c a
n e e a r - -
l o t t i
o e n w o o i c r
n r t b l
A a
l a i r - - h o A n s a r t c n e B l v s n c s y s o v
d e b a
a m o
i l - - a
m s n f y d i B r y
r u n
s s s o i
m d s o h n a e N o
g e
- - i
o o
o i r f f , y a n
l m l o
n g
- - w r w
t E
a a t f m
a
y p r
l
n i n e t e
w a
m F n b
- - D s ( t t s
a t i e m e t l a
a c t u a C g s c d r
L
i - - n f h ’ h o a o e o o r i s i e o a b h a o e : s n j e
y t c v d - - h a s m E t a t
h r t
e s o L e i
c i e b u i
n o - - B w r r b l
o
h o m o
t
i t m l
i t s s i l e N R
k a - - w n I e t s r p r n c p w a a t e e i a o h c - w l t i l y r u O l t r - -
e f h a
o i n h t s s e
e l t
t
e s c l e 2 i e
b - - o g h
r e w
b d a g
e e p f l p i o c C a u s s n w w i e i s - - S d n e
I a a . l
r e w 0 - s w n n
o s g
r a
e r d k - -
a
r h t
t a l e t f r i o m t
s t “
s
1 a a y
c n e - - g T i a o o
s i o i a t f o h k s n r n
l
i t b
a r
g t p
- - r w m n c e s s o
o e s 2 n t t r m
t g i t u r h T m e r i j h c a - -
n s e ,
e b e
t e h v e u e a t t t h o o e r o n
- - n
s r e m a a l i e e i s o r e e l e
r u e u
e r a s - - I e e t e
l
n d r
r
c l : e e u n
t c
n a m C E s t c ’ i
- - t d h
a o o
p
t m
t r e e c d s m d
p p s
n e t u - - o
c
e
h v i n s o r
T – e h i m d o i r c i
.
- - c w
n t v x r c s c m n y e i d v t o r t a t n s d
a o e n - - w
h M n d t h e e l e c o a
l h e p o s
e h
l N c
d C - - l e p e a e m e r l r n s t l a n : i
l o i l u e e s s t u
e w - - i e a . s e i e u e a r n l a i n e
i n
d i n c
s e c o . - - w t t l o l e t
c a c o n s l
s t e c s i a ”
u a s - - l
t e
r a
h t o e o h
o
o L a
t U r h u h t r - - f t l a r d t r t a r t e i o
n r t s
a i n e
a s
t c
i i o - - n v d n r n i i g r
i e
n T v a H e r a n l i n o c
o
m e n n N - - r o c r k e n e t l x b t d c s o s e i e t n i t d t i - - e h h e y
k k
l t e i
n r O i s n q f c g c e
c i r n e
o o - - h
e r t
a d o e g s d t e p
t
p u e e i
f s d - - i i t t
e a e L g e d
s
u m h n . t i c t
r e
n o P h r d o r - - u
p b a i o o
r
t c
e r t y w
h l
t a s
e e d
- - v i i o a e e g u
t
o s e t E h S i l r d f y t e s h h e u p r - - a t n n p r s s n e n o h s d e e c u
s i . l e - -
t o
o s a t
e i
i d , e n
n n 1 o l i a
S
n o - - o t y C n n p g n
i m
t
i i f
A n a A n c e r
W B
- -
a 8 s c t r i i a i
f d s i r i g m r t l d
a r n o t
y y - - c a l t s n n n o b q i n a o
n e m t y t s t a S b a e a t e
- - B c c e v m
o e e
a e h o i s o r l u e f
- - d m
p n
e o t
u o t a t F g t h r f l c H a L l
e d d o - - h e
t m n h r a a o o
c
e
i S o e r n i y t u
o e r v e
- - o n r t k s r o v o , w
t y w U
i e r r r i h t d a a
t a - - f f s r
u h
c r i C l T a n
a
g h s i o m i
s i i e n a
- - o i
e t n r y e n s , n n o
c t m M h a o f
h a c o c - - e t M y t o s e t c
R h
n e n
i p i d c
e
a l
- - a t h i t e v d s a t d l
p i c o o n f i s g
t y s t i o f d - - v s d
A o u e a s n e i b a s a o b
a n t A i t
e e a
s r - - t e l s s o
o
n a e u T o e
t s o t t c r . k r e - - i r T a i e r r l i n y a a
h
s s n a t
n
r o l h e r - - d y n t s C n
l u c t h
c o n o m e a
E
r y n
W h a i - - t e
t n s - e a b i c s o
, h g r h n o i t g e ’
r t - - o i T i b c g s a v d l l s
s t d e L a
e s d y c v g r c c c - - e y e v u
a s r e
a t u d t i u m L h e a l
a e - - S
o e e h v u e
h a e e
n a d p h t a o
t u i e u
s - - C b
r i o l
f r r o t r e s l h w r L e d
n - -
o f n n
l a a t m g w t b i a r e o a e e m f
i e m o e l a
- - c e f n s w r o i f e o e a o
q e a
d r l d t l s m
- - e u o t
s v o s r
o s o l r l s
a d e b
d i - - t s r e y l a o e n r
l h l e a h o a l
e
f s m r l e z n - - h u
i e i u
r u i f p n y R
u e y
o e
o n
f t d - - n n n i n o t n e n o i s n e a s p s c a e g c r
t s - -
n d l p
t a i u
x
n t r e o h g e t d v t
- - c f n d t i
h
r . r o a
a p t e c
r i e ’
t e a r n e
- - p r d m
s m m c c - d a
l o i o e s i n u e
r r o o o t n n - - l f i T s u . t o f v p s i m d h o
e l l y i y g - -
i r n t
s a o v r n , l t i i e u c e
l h h s u a c e - - i b l e s r . D s
i
.
r g k r m l u h , g h d b l i b - -
s h i e c u e
c
t e t t c d f e i u t
d s
y e s e d n - - e h s A a s i e h d o , n . i p o
e o a r t n i a o - -
l c e h
n d
r w
s
e t n c a i i
i t a v e t - - t l e l
s e
e J n i
h t r f S c t g c o u u u t o t t
- - g
k . o i a . r t i c a o g r i i f
s a t
o s o - - c o , h
i a
d b s a t e t s o i n m e l d
s
r m
o u d
c s s - - T
T
r o i d u h
i t ’
t r i o
2 a c v d
e - - c l n e n h m s g o t e
t h i c d l e h i e r h i p e - - h
n d
o e m u l e s l u c m 1 u
c
l a e s n - - n a n c o a o o e a d e i i e
r i s p a e . b s a t e s - -
s
i F m s g s . r n r u l t e
e t t s l p c - - t
s e f n p n e o b v
,
k r
i e t p n h y i h
R
- -
o h N r
t W s s t r r s D , c n
d u s e a
e l e t t l s - - b e e t e . ,
J
t e o t a e e p y a e
h
u e p
y e - -
e a
h a e D c m n a a t s r
i s e r j o i - - i c r t d T E
t w v t a r p e u n e , o n e s k e w m t z t t
e , - -
e v t o o t g n a h
a e f h e
m h a
- - e l r a l a e a x d c t e a t r e e t
i
s e i y a r - - a v a r
g n
n , - e e
u i s e t h r
s
a e t n s h c ,
- -
k s a y E s , t r p o m 8 t a ) s i i n n
e
r r
i - - s
o a .
r h e
e m x e n s d h
e e
e c n b n a s a
- - m -
a
d r t y o s l d d
i w n p
f , d - - i t
a S i w g n m h e 1 l e
u
s g p n D g u s
u
n
p - - w o b h e e
p t d o o
1 g “ d
i d
- -
e o i c s . l d p h u t e h f g a n c u l d H
i l a j - - w c s f
a l o
R r
f r h a e
e n l e e a r f - - r N a
l
t W t l e v
i e o w c
n y t a s u a n o i
l - - a o r i c a e n e E , o
d s o c t b
n c
o i e i - - t l n s
n l m
u c a a d p i c s m e r o t a i m i n g d m - - t s o r
e v q u o p r i e t
z g e a
- - s
e
k t
o s
. e i o s e e r a d m
p
i - - t i u i n e n p u h a (
a n m n s
t h
l
h n
s l n m b - - t
n , m l
a F d i t a i e d i l i l t i s - - r l o
r r h i g t e a a o i s , f c h y n s s e a l
a -
- a c k o b a I o t
- l
l , i r r a
v n t t - - k f l n
o u s c e s c t r m
n a o
e c f
s w - - i o o
e t i e n a f H l y l i n a h a - - f e n n k g v t f h . y a o l
r e - - i
e d 2 e u g l o o n
l e e t d - - e s o r l i t 0 - - h s s
p t e c a w s - - h f t 1 - e e e - - r e o e - - 2 N c o a u f r e a c r t t E a x r i h r n t o n t a t a h
m h i u s m g Y d a s n f e s m o r u u l i l i g a a i m e
s
t ‘ r s n l b c
i t l e e o n l c g k o s e h a y e a p o y r o x d
i h s o n u
n o Y e s d t - l b n c n h t ’ i e e m
h g o a t m s
d u s e , h e e f s h i e n
g
o i
c l r c e t r s
p e
t a
s a t t
i k r e o e o o o d o n h t a
o o r n c T C B b s R a t e t t d U a t w t - t l F T - T ‘ M S C A w t s t
k n
r a i p
M u - - r o h h h e h r r m o i s i o l a e t e h e f d g n
h t n c h l
e o e e o C n l e i a o - - s i o d i t a i k u
a o c r e x s t e n g e e e e c s u e r - - x o s u
l o h e d r y i t i e c
c p n a n E c l s i e u n
y - - l t y e t t r C s e r s a r i t ’ x i i
s s
t e g v a s t n
n l o t - -
w s p i h t
s e y a s i n k q l o d
a h
m
n b 1 i a
n
a h a o l b a Y e e - - h
l o a t a u a
l 1 l t o t t o t o n t
d
l s e r e e 9 c e - - g s r o u i
h e e l ‘
r e
o e o n 9 s r
e h n e e t l e y c i f M m t a t - - e
y e t
m f e y m i
n o d s e e
y m t k c l e
s i f e
- - t o l n o v u d
n i c t h r
h i
r
a , a a
c t
l E h o C - - ,
i
l n l
n l
d
M i
. c
e p e r m o t t i i y t 8 e n n
e p o s - - r i t c i e t r l o n n f e n M
P t a k d w s t
n u o u o e g g i c
o g - - e c o e x
a o a
B - t w e
h
e
t c n e t a d d d p - - t d i r e a T d i a g o o e u x
h r
p b t l 1 M m u e t h n b t
i h o
t l - - h n i e n m e R o l l
e w t t r t
’
k h p s e h r
t c B t t l - - l n o n 1 m f t e t s o l e s e c y a e n a o h h
i t
u a D t t y
P - - e s u O p
o
b
a e o
n e s e t
s t o i r e e a e e c O u - - o a
i t s o i n . o :
i c N n n
t r n
e s u l e
l r d s r - -
o r n V n
e l
s
t O s
o
t t u s r a
e n u a
r e i c o e - - e d y s S n r o f
o d 1 e P t n s i
D a e h i n r w p
, x y c s f t i - - n e
o n c
m m f r
h o s t t K l v 9
s d y s f
c r u . w
e u i C - e - , e
o s t
i o g i e c
a w r i r h ’ o t
a s a d . i , t a
e - - n d s t s d e a n t r f t 3 p S t ’
F
e r ’ n m c o r T
h o a
i - - e w h d s u u h e u s o m e r s a h n
t s
a e i J h T , r
r n s
r e l s - - h 0 a s h o n d n m n
e i n e s S
o e o i a l
i C m e i
f - -
l n r e d n
r t i n h
b o r d f o e d e Y c c l r
s a g - - p e u t t i g i h u r s e s i b t e r o n n a a t y a
s e t c d
e - - r a g t e h
o o h
r a
s
r e n c 1
s ’ e
, t
n r d n
f - - d
e y
c r t m s r f s g f o c w v a i a b n
t s
c 9
t h r o a t
s
- - l r
h o s a o
d b
e i o h d
t b m i h
2 l d e i o u e w h e - - a n k o a s l e o t d
e e
c o . i e t c n M l L s i n i f e g l - - r e u g h i 0 o e l
S l
u i r e o e l e r e
e d
n t s - - e m
n r l h c t a i s n n f y T l t i o p
f t e C r s t s 1 h t u - -
r g e t i i
a s
t u o e c o t n C a .
i t s e a
a g i m h - -
o s n
i h
s h t p d M f
G 2 b
u u q a e o a e r i c t s h n t r - - m c d r s t n t r
e o x u i p s t t , I o
e i
i e o d - - e e i r m l m b j h s l h
s r u m n t t
n o p r h s t
o a u i t n w
i a s - - e e l p d i h n
a a
i a
a s e f i o
t s e c o
k h - - r e P b
l t e o
u l s a a c i n s r p u l d t c a l e a H e i a y n - - f e i t
n r p u o i o n n s t
s l f
e u
u c e
r c e u
e i - - t a n n . l t o i , o l t r o s n
.
d c g a a
f d e i n d ) g d a a
m r - - e s t r
, s
a
e ) i r d d u g s t u l d a s
o C ; f T - -
i e r s t
f d o c a t
n T M l , b y f
v h a
s
t
v l
w
- - s e s s i d h t
a
m
. o t t l o e T ,
h i W o
l w
. t
m r z n - - d h
i t
e
s t o h
d i o u n a
e i l t
w
u h o t i o n r s - - e
t i
n a i n T r l u e e i K l o o a n o t
e
c r h , q - - h l m e r s e a u e r n a t
o w l m t a e s r u
y A h
l f r e h a e
c
- - r e v e o t e f i l s
i e
o s i g t x u e y a r e e - - n o p k e r
d
i e t r g s s a t e h t a c i t e e a w b c h
h e g e r s - - l k ,
a t a m n
i e
u h ’ e i s u t e . l r a a s m e h - -
y i
v t o n o
t E i n t t e
i o o d e c i
a
n d r n e - - t
l a d l
i q n e i s v , s
u m p
n a s
t i M ( . a e e a - - i t n p o
o g e D o
f q f
i t e n a h l e
b n h
w t t
a 1
- - d t u s t m n n d e t
a u l o s h c
s ( s x e y
o n I n s - - 1 i s ,
n u y l h r
8 g r e a L d e e r
t n
f e s
r a d - - c e e y
e t f .
n a a
e 9 - e d o i s
r n
e r h i t e a
o - - n 6 v E
t
h o
m
o K c e t
t s n d , n r y o
o a
m - - s
w A b l 4 n
o I l i
c f
s e o
e i g l e a n e
9 r e o e y - - t t r a n c t d w w
i r d t c i
w i
f m o i o a a 0 s f o
- - r
i
y w
t
i m o o i
h
s g
o l - b C p o a c t v e a r o i - - t k l b
t t y s p t e s u n l l c s 1 t i e u s
h c h f s i l - - u m f h a
l i h l e m o d o o l f l l e h l . o ’ f n c a
i 9 o c
e e - - , a m
.
n i e a l
s e y l g
o
e e e g n t a e x
e - -
i e s i l l t
a d c e t i o n C
t s I d 4 g c
n
e c d s e
t s d v h - - t I n b n r h r b o r n p
l h b
i a l i t
i p )
n m t e
r - - h i m d
h i s e
a n 0 .
a e d b z s s l g
y e l o . v
e
e s h e - - e u o u
e r r e l e t o y r r
o
m e a o
p n n p t - - s d g ) u e o
e r r r e a o a t n
s i a s p i i r E
t f
- -
i s f h
n o o i s v
s s t t y s
c r
e
i n s a
s t l r - - s f f m s u , d d t w l u
e a o a t u i , s a e e w t t t l o
w
o a
- - a , l w e f
t s y t w o t c
s . d r p
y a o h e h - - s s s t a t t
n r u w u s t ’ s r
i h s e t k ’ e e n m , i
o - - i h
e l n t i l g i i
e a l
t e n :
e e o f c d
e e e i t y - - d h i r t T v n o a h o i e
s a
u s h u y e f x i r w n e
h - - a c t d h t u u d i
s A n
n a n o r i e h i
t
g
r - - , e s f e e r r
t d d e s m a e
n d
a o t e
o
m
m
i
t g e - - o (
i o
t t d t i c
i e t
s i
g d r a i t d a r h t - - o
y s l f
t p i e m o d s u h f t o d m e v a n q c q 1 a r e u h u - - e h n a o e l
b h
e n n ,
h
r e e
l
d e - - p a u a 8 o
e c n 1 n i
g t o s w c u d o
w e n k s r e g e m p - - e y n t
s
i h e
w r u 9 h t u l , e t
n r v 5 l - - i
f h h
e o e l
e i
f d
h
a
c
t a l t z
o o w i
i - - e o d a r r l 3 n
s v e e t e i c s c
i 0 i e l t i i c e e u x f u - -
l u s n a o e i
p t n t l r l i m v r a r o n h t d f a
o e - - o
o n 0 a i j c a h l c
t r
’ d
h e a m u k e s
t x
i u c e - - p f s c
e e k c h
b t d f n e t F r e n e u s u g s i n t c m a - - a p n s d b
e a u s
w - o a w d i o y h
r
e h r - - e
t e
i
c t r p g c o x 1 m r t
m c e t ,
m s d l u s - - i e e r a s o i u
g o c
r y n e
a
a t h e
y r
t
8 o e w - -
n e i
t n s e t e e o t e n
l o r l o i t i i c a
o - - m n a r s i
s i a i
n
e h a s l
h n 9 t o m
d a c
h n - -
o l l o
i i i s o n d f s c f
l
s r t u e a t a y n P e c - - l d n
t a d o e o i v a 0 l
w n e i r t l e
r m e f l n , h h - - e r b e a i r e p h
s
y s c t s
d e
o t e
i
e v
e
o - - g f t a n ’ s
e
n c e c e a
e b i s a s r
M r f c c o g r
- -
D
a e f a e e s x s
n s
t n n B a i a s i e l e k - - f t t e t
d q e
l . t u
n e f e c a u s u o s r p e s o n s t r - - i n
h h
h t g a i i s v k a u i
r s e o l e s r - - o a
s i u o a n m h t n
I F l o
f t n m s t
e t e d c t
g e e e l a e s - - ,
t t e
n r o i p o ( i d s u i h t i i t l m a s
e
i n w e - - c
i i o t h r w c m g i ,
s m n n a
r y
e n a e
e y a o c - - p t e c n r l M r r
e l a d a r i t o D
t o e e a o a - - h s t
c o
y g e
g n t s s w w n o a d r o d l a
w n o l e g - - s e n c i Y g
v
i n a e t l e a e y i i l l
m z e e o e d - - o o n r
u l o
u d . i s s d n
s s , c f s e
i h o e f c i - - o o
n i c
w n e r
t
t ’ o c m o w s
n r s e t
s - - i n
n l p ,
t s t t o
L e h t i Y r h s y
w g
s i e s d
- - i o w w i b c t s h o
l
i 8 i
l k s s
g . . n a o u - - , o t t h e r e e a s
t k
h V i n v o b
h
o
u
- - - s o h y e n e i o , t i h a h m 1
c b T f c i T e r
c c ( n m
- - e e l 1 i i f e e o
t e f
l f
9 e k r s l v s l - - n t o f
f o i l
e h h d n l
a h i t g t
r 1
g s c - - r m a i
i a a
r i , t n u
s e t e p d h h f y l b c o n , - - o c e i s h
m
i
i h , h e r t e d o i n
h - - s N e r n t c a
a e o b a w . e o e
e m s t e d n m c e - -
e y e t
r e d h i s u i o n
n t - - r
n D m c i e w e
r
t t l h
r t - - s c t s
v
y R l d e h ( a i o p c c
e e e - - n i h r w t e f t o . n
a e t h s
e c a - - . e o e o l ) n i h h p a x n , s h t a e m - - ) l e s e
g u e
i s
u s t - - . r d t i a r e u i o l
r i t
w e d c o f - -
a l b c l
t n s o e r h s t
a g u - - s w a m
a r
n
y f
1 - - a
i f e o e r e D e w l n h l a - - l a 6 t
y e k - - d f r 2 d e n f . i - -
s o l
0 - - r t d l
t - - t e o r 1 h o - - o . - - 2 f 1 7 PAST DRESS FUTURE FASHION Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012
------the patrician orders. Referencing designers such as Madame Grès, Halston and Christopher Suzanne CHEE Kane, and films such as Things to Come, Logan’s Run and Rollerball, the paper will Speedo® Swimwear – Race against Time investigate how drawing inspiration from the past always results in clothing that reflects the Speedo ® has become an international brand well known for their swimming attire; the name present and influences the future. Ironically, whilst the Classical past is regularly plundered itself evokes speed and winning Olympic races. The Speedo ® label was born in 1928 from a for visions of the future, increasingly today we are witnessing fashion houses such as staff competition at the MacRae Knitting Mill in Sydney Australia with the winning slogan Halston reviving its classically-inspired designs from the 1970s as a means of re-invigorating ‘Speed on in your Speedo’. The Powerhouse Museum in Sydney holds the only Speedo ® their contemporary relevance. As we move deeper into a period of economic instability, and archives in the world and the most comprehensive costume collection in the country. During more and more design houses engage in a process or revival and reinterpretation of past a recent survey of the Speedo ® LYCRA ® costume collection in the museum’s climate successes, will we witness a minimal, restrained and ultimately ‘timeless’ Classical aesthetic controlled storage, it was discovered all the swimwear made in the 1980s were showing dominating the world’s fashion runways? significant signs of deterioration. All these costumes have a composition of 80% Nylon and ------20% LYCRA ®, a registered trademark for DUPONT’s elastane fibres. Our swimwear collection Jeannie Marie GALIOTO fabricated in this era felt damp to touch, left stains and residue on tissue paper and showed Victorian Fashion as an Underground Subculture: the Tainted and Worldly Beauty of major loss of elasticity. This paper will investigate the reasons why this has occurred. The Steampunk findings from Fourier Transform Infrared Spectroscopy (FTIR) with UATR accessory, Nuclear The Steampunk subculture has found its way into mainstream culture. What began as an Magnetic Resonance Spectroscopy (NMR), Scanning Electron Microscope (SEM) analysis and underground subculture of a generation raised on technology, has flourished with a RH testing will be discussed. Determining ways to slow down their deterioration will not only worldwide following. Steampunk is seen not only in fashion, literature, and music, but its assist in preserving this important collection but also to apply the results to the Powerhouse influence is seen in films, television, and conventions. This style melds inventiveness with Museum’s large collection of plastics. New collection storage conditions will also be aesthetics. Every detail is well thought out. Modern technology is embraced, except modified proposed. As new technologies are developed to improve performance, new challenges are to fit the aesthetic. This aesthetic is based on the Victorian silhouette. Bustles, corsets, top thrown to museum conservators. hats with frock coats and waistcoats are worn in displays of patterns and textures and ------accessorized with metallic belts, boots decorated with metal elements, goggles, and even Joy Spanabel EMERY weaponry. It has a tough look that is blended with the gentleperson look of Victorian times. Tissues of Dreams: Documents of Fashion This dark beauty is pervasive in our culture. No longer do we embrace sweet innocent “There is nothing so unappreciated and yet so beneficial as the paper dress pattern, truly beauty, now there is a new ideal in town. The beauty that is dangerous is admired because one of the great elemental inventions in the world’s history – the tissue of dreams.” An of its opposite of innocence, its tainted and worldly beauty. This is a logical progression exaggeration? Certainly, but it is great promotion for Standard Fashion patterns in 1917. since we no longer live in an innocent world. This generation has grown up with 9/11, wars However, there is some accuracy in the observation. Dress-making patterns are gradually in the middle east, access to all information 24 hours a day, high unemployment rates, as being recognized as valuable documents of 19 th and 20 th century fashions and, perhaps most well as the ugly truths of real life that reality television has shown. This is a fantasy Victorian importantly, everyday fashions for the main stream. But the patterns are only tools. They are world that is visually interesting, intelligent, but also carries weapons to protect themselves. fragile and generally considered disposable. They are, after all, used to create rapidly ------changing fashions. Fortunately, many have survived, and the Commercial Pattern Archive is a Joanna HASHAGEN repository for over 50,000 patterns plus related materials. The Archive holdings provide a The New Fashion & Textile Gallery at The Bowes Museum history of patterns for making garments from the 16 th century onward. Early documents are A new permanent gallery has been created for a world class collection of textiles and dress intended for professional tailors and dressmakers. However, in the mid-19 th century, emphasis which is spectacular in design and offers access on many different levels. The cutting edge shifted to include non-professional seamstresses. The shift was made possible by a number design has raised the stakes within the museum world, receiving international acclaim and of factors involving changing technology and entrepreneurial spirit of the 19 th century. regional and national museum awards. This paper will illustrate methods used in this gallery, Fashions changed rapidly in the 20 th century. Patterns document those changes. By the end which attempts to re-define the way costume is displayed, studied and interpreted. It will of the century, pattern companies were merged and realigned under large corporate show how new ways of presentation and access to collections can not only be visually umbrellas. At the same time numerous small, independent companies were formed. The stunning but also highly functional for the display, study and storage of textiles and dress. It vitality of new companies and the survival of 100 plus year old companies speaks to the will be argued that it is the combination of the three new interpretive elements, the discreet N N O O synergy of the pat-tern industry. This paper offers an overview of the industry and a digital acrylic mounts, the setting in context and, the addition of paintings and the use of film, I I H H guide of every day dress. which together give the visitor both a sense of wonder and understanding. The presentation S S A A ------will illustrate all the various elements within the spacious gallery: large, purpose built glass F F
E E Jonathan FAIERS structures for chronological displays; The Glass Cube in centre of the Gallery, a unique space R R Past Perfect? U U for visible storage and a workspace which provides access to study collections; and, two T T The subject of this paper will be how a specific vision of Classical dress has, ever since the flexible spaces for temporary exhibitions. The first two temporary shows were ‘Vionnet’ U U F F French Revolution been incorporated into contemporary dress to express socio-political (2010) and ‘Vivienne Westwood Shoes’ (2011). Evaluation of the impact of The Glass Cube S S S S ideologies. The original democratic model represented by fashionable translations of Ancient will be discussed. It appears to be dispelling the traditional barrier between the visitor and E E R R Greek and Roman dress has, however, from the outset been unstable, as Walter Benjamin museum staff. The results of two museum visitor surveys on the whole gallery will also be D D
suggested in his concept of the Tigersprung. This instability is most clearly seen as we move included. T T S S into the twentieth and twenty first centuries and note how a Classical model has regularly ------A A P P been adopted in both fashion and popular culture, especially science fiction film, to clothe
18 PAST DRESS FUTURE FASHION 19 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012
Claudia P. IANNUCCILLI blending actual vintage garments with new creation; nostalgia, an emotional or fantastic Grecian Pageantry Costume at the Museum of Fine Arts, Boston view of the past emphasizing the good, quaint or familiar; and political/psychological, or re- At the turn of the century, a movement of historical pageantry swept the United States and framing social issues through an artistic point-of-view. We will document the costume made it popular for women to dress in costumes based loosely on clothing worn in ancient designer’s contribution to period films such as 1930’s romance in The English Patient, or the Greece. In 2000, the Museum of Fine Arts, Boston was fortunate to acquire a pageantry dress post apocalyptic future in World War Z. We will discuss Roth’s unique techniques using once worn by Aimee Rotch Sargent along with a photograph of her wearing the ensemble period patterns and fabric manipulation to re-create historic fashions in The Village and Cold during a Grecian inspired tableau. The ensemble consists of two pieces, the undergarment Mountain, and blending vintage clothing with new items for Mildred Pierce and The Talented and a pleated over tunic. It is believed that the costume was conceived and worn in Mr. Ripley. We will also touch upon the influence her period designs have had on fashion’s Massachusetts during the year 1900. The costume is constructed of plain-woven wool interest in period revivals. stenciled with metallic paint. It came into the collection with insect damage from a previous ------infestation that resulted in countless holes and a general weakening of the wool. The Marie McLOUGHLIN integrity of the costume was compromised by the insect damage and it was no longer Bricolage and Historicism: British Designers as Storytellers possible to dress the garment without causing additional harm. At this point, the costume British Designers are storytellers fairytale tellers, dreamers. Galliano on Bill Gibb. John was requested to be installed in the American Renaissance gallery of the new American Wing Galliano’s fascination with the clothes of the French Revolution began at his graduation show and it became apparent that an extensive conservation treatment was necessary. The in 1984; Alexander McQueen was working on a collection based on Byzantine Art when he treatment discussed includes the ethical choices and considerations costume conservators died in 2010; Bill Gibb, less well known but equally talented, designed romantic mediaeval- face when wet cleaning, stabilizing and dressing a costume like this for display. The paper inspired dresses in the 1970s. All were graduates of St Martin’s School of Art, (now called will also include a technical description of the conservation treatment and an ethical Central St Martin’s). This paper seeks to demonstrate that this referencing of times past has discussion of how far conservators are willing to take their treatments to make costumes its roots in the way fashion design is taught in British art schools. The recent exhibitable and when extensive intervention is acceptable and when it should be avoided. Postmodernism exhibition at London’s Victoria and Albert Museum (Postmodernism: Style ------and Subversion 1970-1990. September 2011-January 2012) hailed ‘bricolage’, as articulated by Christina JOHNSON Levi-Strauss, as a characteristic of postmodern design. Whilst Gibb, Galliano and McQueen Doris Langley Moore: Ultimate Woman in Fashion can be seen as postmodern designers who used bricolage in their work this paper argues The field of historic fashion scholarship surged after World War II. Garments and accessories that their historicism is the direct result of the teaching at St Martin’s School of Art where rarely appeared in museum collections prior to this period. The few objects accessioned into students spent prolonged periods in the V&A. The links between fashion and the museum, collections were valued more for luxury textile components than historical or cultural as enshrined in British fashion education, is the focus of this paper. significance. This thinking began to transform during the interwar period, led in Great Britain ------by Doris Langley Moore (1902-1989). She amassed a private historic fashion collection –a Deirdre MURPHY large portion of which formed the The Fashion Museum, (formerly the Museum of Costume, “Arrayed with Gorgeous Splendour”: Clothing for Queen Victoria’s Costume Balls Bath). Moore’s collecting centered on Western fashion worn by upper class women and Victoria Revealed, a new permanent display about Queen Victoria, will open on 26 March children – a focus perpetuated by many fashion museums today. She authored two 2012 as part of a major re-presentation project at Kensington Palace. This large-scale, new, massmarketed books on her collection – The Woman in Fashion (1949) and The Child in narrative-led display will explore Queen Victoria’s life, including her early relationship with Fashion (1953). Both books are chronological histories of fashion dating from circa 1800 to c. Prince Albert. The display will include, amongst many other items, a selection of objects 1925, illustrated with photographs of her famous friends wearing pieces from her collection. relating to three costumed balls which Victoria and Albert held during the 1840s. These ‘bals The FIDM Museum, Los Angeles, recently acquired a number of pieces first shown in these costumés’ were themed around three periods: the medieval period, the Stuarts, and the publications, and will be used as a case study in this paper, which will also discuss how Georgian era. This paper will explore the broader story behind these glamorous costumed objects’ cultural and monetary values are transformed during circuitous routes from private balls: the preparation by Queen Victoria, Prince Albert and their guests, the wider social and to public collections. Doris Langley Moore immersed herself in the study of fashion history political context in which they were held and the variety of ways in which the balls’ attendees and devoted herself to publicizing its vital role in understanding the past. The paper will interpreted the past through their costume as well as how these costumes were recorded. In investigate her aims, consider her methodology, and discuss the implications her life has March 2012, Kensington Palace will open a new series of permanent and temporary displays had for today’s fashion scholars and institutions. which will spearhead a fresh approach to presenting costume to the public. These new N N O O ------displays form part of a £ 12M representation project which will comprise an entirely new I I H H Bonnie KRUGER with Holly POE DURBIN visitor experience, from new permanent displays about Queen Victoria to temporary displays S S A A “I Don’t Dress Movie Stars, I Dress Characters”: The Exceptional Career of Costume Designer in the State Apartments and a new exhibition of dresses worn by Diana, Princess of Wales. F F
E E Ann Roth ------R R Alla MYZELEV U U We propose to examine how entertainment costume design presents the past through the T T work of costume designer Ann Roth, whose career spans 50 years and more than 150 films, Have you Heard? Knitting is Cool Again: Reinventing the Handmade through Performance U U F F television and theatre events. Roth’s work has been celebrated with numerous Academy Knitting, crocheting, embroidery and other needle work had become popular again in the S S S S Award, Drama Desk, BAFTRA & Tony Award nominations. This research will be published as early twenty first century. Previously associated with conventional and conservative E E R R the most recent addition to a monograph series in March, 2013 by the United States Institute grandmothers’ socks and sweaters that no one would wear, knitting became popular in large D D
of Theater Technology; we propose to present this material for the first time at the Costume measure due to its association with hip, young, and artistically inclined groups of women T T S S Colloquium. The general public experiences historic dress mostly through film or television such as Stitch’n’Bitch that started their gathering together to knit in the public spaces. This A A P P shows set in the past, and costume design plays a major role in this illusion. Roth’s work paper looks at the performing and communal aspects of knitting to understand how this demonstrates several methods used to satisfy the intent of the work of art: realism or craft had been reinvented to serve the needs of the young neo-feminists. Using theoretical
20 21 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012
framework of impression management and gender construction I will analyze how knitting is historical progress and the perception of fashion as a phenomenon of modernity. Authors also being presented as cool and hip and how contemporary female knitters attempt to rid this used historic fashions to criticize contemporary modes and manners, highlighting particularly craft of its previous gendered connotations. By analyzing fashion knitting revival and fashion ‘absurd’ styles as instances of human folly mirrored by present examples. Attitudes towards designers such as Sonia Rykiel I will look at the development of the knitwear and feminism fashion, past and present, however, were often complicated. As one writer in 1872 archly from the 1960s and show how while knitwear became more and more popular among first observed, ‘In the middle of the fourteenth century we find the degenerate desire to be and second wave feminists knitting as a past time became associated with patriarchal costumed in the latest mode quite as fully developed as in these so-called degenerate days.’ domination. I will then try to explain why knitting does not represent the same threat for ------neo feminism and how political actions such as knitted graffiti became possible. The Charlotte OSSICINI performance aspect of knitting either as political action or as a favourite pastime became Performing Vintage: The Costumes Archive of the Teatro delle Albe one of the means of women’s presumed empowerments precisely because third-waive In an attempt to reduce the cost of production many troupes have always reused clothes feminists now embrace domesticity as choice that merits respect. Yet, as knitting and other and accessories, in a continuous osmosis between everyday life and show. The creation of crafts are promoted among 30-somethings the deeper analysis of the performance pieces the theatrical costume then passes through the recovery of vintage pieces, physically that involve knitting show that gender relation remains problematic in the world of Do-it- brought to the scene, modified or not, or simply used as a source of inspiration, as yourself movement. The gender norms only rarely challenged in spite of presumed new indicators of styles and materials to rework aesthetically. Paradigmatic is the experience of ability to choose careers and pastimes, of which knitting popularity is a manifestation. the Teatro delle Albe, and its collaboration with the A.N.G.E.L.O Vintage – which was founded ------in 1978 by Angelo Caroli, in Lugo in the province of Ravenna – a three-storey building where Susan NEILL they are cataloged and stored thousands of vintage clothing and accessories, available to The Texture of Ideas: Dynamic Symmetry in Handwoven Textiles by Mary Crovatt Hambidge hire but also to sale. In the Costumes Archive of the Teatro delle Albe , under the Hand spinning and weaving were at the core of a handicrafts revival in the United States supervision of Roberto Magnani, it is possible, therefore, meet costumes created ex novo in during the late nineteenth and early-twentieth centuries. Among the products of the Arts and materials and in styles, costumes that are the result of patchwork of dresses and vintage Crafts Movement and the centers for weaving that emerged in the Southern Highlands, the fabrics, or archaeological dresses brought to the scene without modification, becoming a work of Mary Crovatt Hambidge (1885-1973) stood apart. Though generally recognized for tangible sign of the performative metamorphosis of the vintage clothing wich assumes a their beauty and quality, what truly distinguished Hambidge textiles was their design in new life in the here and now. accordance with the principles of Dynamic Symmetry. In 1920, Hambidge accompanied her ------husband, Jay, on a Yale University Press-sponsored trip to Athens, Greece. Jay Hambidge Alexandra PALMER (1867-1924) himself had been causing a sensation in the American art world with lectures on Reframing Reconfigured Luxury Fashion a proportioning system which, he asserted, was not only the basis of design in nature, but Today, the high end recuperation of old and worn luxury dress is generally thought of as a guided ancient Greeks in their art making and architecture. Many artists and designers of the new aspect of the modern fashion system by consumers of expensive vintage and avant era eagerly adopted the system he dubbed “Dynamic Symmetry” as a tool for composition. garde designer clothing, however this practice has been well established for centuries. Yet While he studied the Parthenon in preparation for his third book on Dynamic Symmetry, she while re-worked 18 th – 20 th century historical fashions are scattered across international chanced upon women weaving and discovered her calling. The Hambidges were adamant museum collections, they are traditionally orphaned objects that languish in storage because that good design was a balance of technique and imagination. Therefore, the seeming they are altered, updated or reconfigured and no longer clear cut iconic fashions from one simplicity of her garments and textiles was actually highly developed. This presentation will period or place. Unraveling meaning in these complex surviving pieces requires a rethinking illustrate how Mary Crovatt Hambidge formulated each aspect of her handwoven textiles of the canon of fashion history and a moving away from an exclusive linear chronology of according to Dynamic Symmetry, from their basis in Greek techniques and garment styles, to textile design or fashion silhouette. To insert these artifacts back into history necessitates the integrity of the raw materials, to their overall proportions, inlaid motifs, color harmonies, creating a new inclusive and broader fashion history that allows for multiple contexts for and organic movement. such hybrid garments that are re-framed as valuable and successful examples of historical, ------“slow” luxury fashions because they have retained economic, cultural and social values over Charlotte NICKLAS years, decades and even centuries. This paper will salvage examples of modified costumes ‘There is a Great Deal of Searching into Former Times’: Fashion and The Past in the Mid-19th and contextualize them in terms of their own fashionable time/s and as documents of Century sustainable re/design, re/production and re/consumption. In doing this they become N N O O Fashion news and illustrations comprised significant and popular parts of mid-nineteenth significant in redirecting and reaffirming scholarship and create a new, nuanced and I I H H century middleclass women’s magazines. Periodicals in the United States and Britain also alternative expression of design and consumption that expands our conception and S S A A included references to past fashions, which provided opportunities for education, design knowledge of the fashion system. F F
E E inspiration, and moral pronouncements. This paper will examine uses of historical dress in ------R R Dale PEERS U U texts, images, and surviving objects, exploring the complex attitudes towards the historical T T past that emerge from these sources. Magazines frequently included essays about dress of Making Fashion History Fashion Present U U F F the past, providing a kind of historical education for their readers and reflecting The reaction of young fashion students to the news that a history subject (even one closely S S S S contemporary historiographical efforts on the part of female historians such as Agnes and related to their field of study) is a required subject is rarely met with suppressed joy. Rather, E E R R Elizabeth Strickland. These articles reflected the period’s enthusiasm, often tinged by it is generally received with barely suppressed groans and only by those polite enough to D D
nostalgia, for history: one author wrote in 1868 that ‘There is a great deal of searching into realize this will not be well received by their professor. Perhaps it is their youth and the fact T T S S former times.’ Many authors levied moral judgments, through dress, upon earlier eras. Some that they live so much “in the moment” that makes them believe that their ideas are so A A P P writers, however, such as a Godey’s Lady’s Book editor in 1843, suggested that ‘the changes unique, innovative and in no way related to anything that has come before that they have of fashions in dress seems a civilizing process,’ underscoring the contemporary belief in no need to look to the past. Just one of the challenges for educators of these new fashion
22 23 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012
designers is to help them appreciate the work of their predecessors and avoid the pitfalls of ------fashion failures. To do that we need to find ways to transform their opinion of the past, in Alazne PORCEL ZIARSOLO with Enara ARTETXE SANCHEZ, Beatriz SAN SALVADOR AGEO and effect to make fashion history, fashion present. This has been one of the driving forces Carlos VENEGAS GARCÍA behind the creation of the Seneca College Fashion Resource Centre. With over 15,000 fashion Conservation of 20th Century Fashion Collections: The Cristobal Balenciaga Museum Collection items that span 3 centuries we have created not a museum but a valuable learning tool that The following proposal exhibits the results of the study of the costume collection belonging is used in our classrooms and in a number of subject areas. For example: examining a to the Cristobal Balenciaga Foundation in Getaria, Gipuzkoa (Basque Country, Spain). The Victorian corset results in lively discussions regarding the social, physical and technological project focuses on the characterization of the different materials and constructive aspects impact of such garments on the lives of 19 th century women. The purpose of the collection is that can be found in the 20 th century fashion collections and the deterioration and to provide our students, faculty and community with access to the collection in a way that conservation condition of the works, in order to establish an adequate conservation and makes the history of fashion come alive. restoration methodology directed to it. Balenciaga collection’s accessories can be ------distinguished for their original shapes and for the wide variety of materials used in the Sara PICCOLO PACI fashion creations such as plastics, feathers or hair. Besides this material complexity, we have The 12th Century Inspired Costumes of the Palio di Legnano: 80 Years of Challenging to add the problems resulting from the typical improvisation and fastness factors within a Identities fashion context. Despite the progress made in the field during the past years, there is still a In 1932 the city of Legnano, which was becoming a relevant industrial center, decided to big ignorance about the behavior of many of the materials and textiles used in fashion celebrate officially the date of the ancient victory against the Barbarossa (29 th of May 1176) creations from the XX th century, maybe because until now, they have only been studied in with a historical procession and a horse race. More ancient commemorations occured during historical, cultural or design contexts (ethnographical collections with feathers, hair or the centuries, and in particular during the Renaissance. Yet it was the first time that it was plastics in design collections…). To this ignorance, we have to add the lack of knowledge of meant to start a yearly fixed randevous/appointment. All events of this kind - historical a concept of conservation towards this kind of works. In many occasions, the deterioration games, Palios, roundabouts, etc.. - are still an important reality of the local cultures and started in the very moment of creation or, it was produced by their owners later, during its identities, and induce a significant economic revenue. Since the beginning, the production of useful life, having caused irreversible damages. It is noticeable the need for conservation pseudo-medieval costumes acquired great importance - especially for textiles and and restoration researches adapted to the new problems emerging from these collections. embroidery - also because the Legnano industrial reality has always been strictly linked to ------the textile sector. The commemorative festivals of the Palio di Legnano has experienced Susie RALPH different phases linked to the development of a civic and patriotic consciousness, therefore Inspired by the Antique: Margaine-Lacroix and The Robe Tanagréenne the clothes of the Palio have dealt in different ways over the decades with the concepts of Perceptions of what constitutes neo-classical dress tend to be dominated by images from “past” and “Middle Age” and, since 1995 a Permanent Committee of Costumes was the period generally termed Directoire, epitomised by Gérard’s portrait of Madame Récamier, established to assure great attention to historical plausibility. Through the analysis of the her apparently uncorseted body revealingly draped in white muslin. This was the first costumes of the Palio di Legnano - both the older ones, and the present ones – it will be manifestation of the neo-classical style in female dress, but in the latter half of the 19 th taken into consideration how the concept of “representation of the Middle Ages” has century, a variety of dress reform and art movements all advocated a return to the “antique changed over time, in relation to the development of a city and of a national identity of the waist” or natural uncorseted waistline of the classical Greek statue. The taste for the Legnano territory and of its inhabitants. “antique” was augmented by the discovery of thousands of terracotta statuettes, unearthed ------near Tanagra north of Athens, which subsequently went on display in 1878 at the Exposition Sarah POINTON Universale in Paris. The Tanagra figurine became a source of inspiration for artists and The Australian Dress Register: Accessing the Past through Dress designers and had a profound influence on the work of couturière Jeanne Margaine-Lacroix. The Australian Dress Register (www.australiandressregister.org) is a collaborative, online The robe tanagréenne became her trademark and caused a sensation at Longchamp database project documenting dress in New South Wales, Australia pre 1945. The website racecourse in 1908, modelled by three professional mannequins. The press dubbed these was launched in August 2011 and includes men’s, women’s and children’s clothing ranging young women Les Nouvelles Merveilleuses, and Margaine-Lacroix’s tanagréenne styles from the special occasion to the everyday. Museums, historical societies and private subsequently formed the major catalyst for the dramatic change in fashion which took place collectors are encouraged to research the garments in their collections and share the in the following years. This paper examines how Margaine-Lacroix interpreted the design associated stories and photographs while the information is still available and within living aesthetic of classical dress for the fashionable Parisienne of the Belle Époque, and considers N N O O memory. The Register encourages people to consider their collections very broadly and to the importance of the contribution made by her robes tanagréennes, to the radical changes I I H H share what they know about members of their community, what they wore and life in the that affected the female silhouette in the years immediately preceding the First World War. S S A A past. The Register provides a worldwide audience access to these garments and their stories ------F F
E E while keeping the objects in the location in which they are most relevant, their own Brenda ROSSEAU R R Recreating Dress for the Visitable Past U U communities. The project is underpinned by training, support and extensive resources T T designed to assist the contributing organizations and private collectors with their entries on Among the challenges inherent in the reproduction of historic dress is the availability of U U F F the website as well as providing practical knowledge of collection care and documentation appropriate contemporary textiles. This presentation will outline a variety methods used to S S S S for museum workers and volunteers. This comes in the form of information sheets, procure eighteenth century style printed, painted and embroidered reproduction textiles for E E R R workshops and regional volunteer coordinators. The Register provides a valuable forum for recreated garments and accessories used by Colonial Williamsburg’s historic area programs. D D
discussion within the museum community, and will also be a great resource for schools and These garments worn by actor-interpreters are not strictly reproductions but rather T T S S universities, designers of fashion, film and television along with researchers in many adaptations of antique items, constructed using both period and modern techniques for A A P P disciplines. It is still in the first phase of the project, however in 2012 the scope of the both textile production and garment construction. This paper will focus on recent Colonial Register will expand beyond 1945 and will include the whole of Australia. Williamsburg Costume Design Center projects as case studies including the digital
24 25 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012
reproduction of two eighteenth century painted silks of Chinese manufacture used to formed the region known as Deccan in Southern parts of the South Asia. Besides a distinct recreate two separate items and a copy of a simple printed baste fiber textile fragment used geographical identity, Deccan had its own distinction in art, culture, dramatics, linguistics, to recreate a simple round gown of the 1770s. All original textile documents used are held in social values, costumes, religious beliefs, thoughts and ideas. The style and themes in American collections. Recreating both the painted silks and the baste textile required that Deccani miniatures, are an amalgamation of various art elements and influences, especially the antiques be analyzed and photographed. The resulting images were corrected and the elements of early indigenous art traditions of the Deccan and the Islamic idiom of Iran, enhanced to replicate a “brand new” textile, then printed on a paper backed silk or baste Persia and Turkey. The miniature paintings in Medieval Deccan (India) in specific were well textile. The silks were constructed into a reproduction gown originally worn by a member of known for the costumes depicted in these paintings, their color combinations, and attires the Middleton family of Charleston, South Carolina and an adaptation of a caraco and connoted by the royal houses marked the significant assemble of Western, Central and South petticoat from a plate in Gallerie des Modes et Costume Français. The printed baste was Asian culture. The acculturations of attires were well marked in the costumes of persons made-up into an item informed by the shape of textile remnant – a simple round gown. depicted in the paintings. The present research paper seeks to understand the interrelations ------between the present patterns of fashion in costumes like Sherwanis, Anarkali, Lehnaga, Ligaya SALAZAR Dhotara, Nawarri and Sarara which continue to formally worn by the people of South Asia at “With My Eyes Turned to the Past, I Walk Backwards into the Future”: Yohji Yamamoto’s Non- large and the costumes well portrayed in the miniature paintings of Deccan. The bright and Fashions royal ensemble of gold, silver, minakari and zari colors richly endured the costumes of This quote was the starting point of my essay in the book I edited on Yamamoto and indeed miniatures. Those reflections continue to inspire the designers of today and will formally my overall research on the subject. For this paper, I will investigate more closely what this inspire future creative talents too. means in the context of his design approach and process. Yamamoto’s work is characterized ------by a deep interest in textiles: from deciding the exact balance between the warp and the Teresa Cristina TOLEDO DE PAULA with Rita MORAIS DE ANDRADE weft of the fabric to establishing the number of washings required to achieve the perfect REPLICAR: a Multidisciplinary Experience in a 1900´s Dress Reproduction for Contemporary balance between new and old, every fabric Yamamoto uses is especially created for him. Museum Research and Display Yamamoto’s creations often speak of a substantial knowledge of fashion’s past: his This paper presents the goals and drawbacks of Replicar, a research project developed at Spring/Summer 1997 collection, for example, paid homage to many of the most revered the Textile Conservation Department at Museu Paulista/USP, Brazil, from October 2009 to names in haute couture, such as Coco Chanel and Cristobal Balenciaga. By examining these December 2010. The project aimed to reproduce a black dress dated from c.1900´s, which nods to past style epochs, I would like to show that they are more than just a pastiche. had belonged to Countess of Pinhal and which had been donated to the museum in the Whether it is adding a different way of draping, folding or cutting the fabric, it speaks of his second half of the 20 th century. The dress replica was commissioned by the Countess family desire to refresh, renew and possibly redraw design boundaries step by step. This and his to be exhibited in a farmhouse open to the public visitation. A multidisciplinary team formed pronounced interest in work and military uniforms, especially those of decades gone by, play by a textile conservator, a dress historian, seamstresses, pattern makers, textile designers an important part in this apparent equation between past and future. Indeed, the traces of and a group of four trainees worked together to develop the replica so that the whole wear and tear on something worn over and over again and the changes in a textile’s experience could bring light into the study of dress within a historical museum context. It character over time seem to embody what Yamamoto tries to achieve in his creations: a also raised questions on conservation practices, historical dress research and the impact timeless balance between the new and the old. both have in studying and displaying historical dress. Assumptions on what choices had to ------be made in the process of investigation will be discussed in this paper, especially: how can Thessy SCHOENHOLZER NICHOLS we address the matter of fabric production through visual display if we could no longer Recycle, Readapt and Reuse in the Past: To Smarten Up or To Extend Wear? replicate its intricate pattern? How should the dress cutting pattern be taken from the At the first colloquium for Janet Arnold, I spoke amongst other things of the preliminary original dress without degrading its conservation conditions even further? Which elements studies of the funeral robes of the mummies of Monsampolo del Tronto. Since early this year should and/or could be replicated: the fabric; the exact shape and measurements? These and I officially work on the project and have analyzed already 5 garments of the 40 mummies, other debates occurred within the process of replicating a historical dress will be presented which roughly date from the late 16 th to the very early 19 th century. By 2012 there should be in the light of current conservation and dress history research practices. many more costume studied. The findings are all surprising and are totally untouched ------material, which would fit very well with your theme. Many of the robes consist of two sides, Michelle TOLINI FINAMORE different front from back, often from different periods, of which the latter ones are very often Venus in Finery: The Seductress of Silent Cinema N N O O in good use whereas the fronts are patched up from different garments. Some of the patches The figure of the demi-mondaine has been a compelling image in Western visual culture for I I H H origin can be retraced. Some of the undergarments and shirts instead are exceptionally centuries and was a pervasive screen presence in the nascent days of cinema. Both Eduard S S A A beautiful, with laces and embroideries from earlier periods and rich owners in origin. They Manet’s Olympia (1863) and its predecessor, Titian’s Venus of Urbino (1538), provided the F F
E E have been readapted in later times, to fit the new owners life. The wearers of these visual trope for the fallen woman that was repeatedly used as inspiration in silent film. The R R U U garments where poor farmers and had to adapt their dress to their own fancy and their Olympian pose, with the courtesan lounging in a state of semi-dress with her richly T T capabilities to adjust. The solutions at any rate are very enlightening: a look at fashion from embroidered silk shawl and her satin mules prominently displayed, is used as both a U U F F a different side. The presentation will include case histories, trying to answer questions reference to the amorality of the enchantress, as well as the femme fatale’s role as an avid S S S S around these garments from a historical, analytical and anthropological point of view. consumer. The cinematic examples are numerous, but I will briefly address three films: A Fool E E R R ------There Was (1915) with Theda Bara; The Forbidden Woman (1920) with Clara Kimball Young; D D
Bina SENGAR and Natacha Rambova’s uniquely designed Camille (1921) with Alla Nazimova. In keeping T T S S Costumes in ‘Deccani Paintings’: Inspiring Contemporary and Future Fashion with the conference theme, the paper will explore how an image from the art historical past A A th th P P Deccani painting denotes broadly the miniature paintings rendered from the 16 to the 19 became an iconic mise-en-scene in the silent era, asserting its presence in the popular century at regions of Bijapur, Ahmadnagar, Golkonda and Hyderabad, the former states that imagination via film. Drawing upon research undertaken for the author’s dissertation on
26 27 2 8 PAST DRESS FUTURE FASHION f - - t r c J a b s d J d c o F T B m T f t i p d t S a b o m t f c t s p p b s s a - t d H ‘ J ‘ D m C L C a a s a O H o a u - - - e o h h e e h l o o o o m o u i n f n h h t f f e e r a e e r a e e o o e o - - - i i
c p p n f a e s i i c n s r
i e e e e p i s i n - - - l m u n f l c r p d o e e
m p v t t
d e n l s n n b v d
d i d t - - - u h u f h t e e i n t a a t
c
s w t n m i a i i s h - - - r t i e t r e c a n
t a a e u o s s b e o c n d r ‘ c e
r p g i d t t n t n n s - - - c t a a e t a T
e o t m h t e o e l e r M e e e r
t i s c b r i - - - y o c e
a r o r e l T h h e . o g e e a i e e e i n o
o r t r - - - e
W o
V e i i i n
s . n r r e q e m n s o m d i f e r u - - - R
d p p n c n i e i A l l d x
a n p s s s p d , n n v v
s r s A s g - - - t r o i
o s n d
a . u T
l O e i g t e e
t I 8 o d r i n t - - -
y a
o s
a e a
a
s s e a p
i
n D g i c N O i T n e n f
e w w - - - e . h e A M b a z
- d
g c t
l f g m e
O r d t
s u - - - a t l
r e i d p e t s c r h 1 o r r g
i a d s e i
e i n i p T a L a - - - n y r a l o e o u e n
t n u i p r s
e i o s s i l a - - - r D D i p a s 1 i
u o
e
e O
r n
g ’ a
l s
l l r a
p n a a - - - v e r f r
g u s a s a
t r
‘ y e i n a n
t
1 e i d i i - - -
r b r E
i g k l a g t a l a n H f N e a e r s p i c n g a d r G h s e n
- - - s n n e 7
t
s i n d n r
t d d v i i N w i i e r l n v
- - - l t u g t n h c x a o
e t o c i n e o t e u e , n e t g i f a d
t i m o - - - d i t c
h
d a u
i b t h e c i v i , o e
t r
o p
r u d i a - - - i r h
a g i f v d m n w o g l
n o N h
t i s t e e t
t e e , e H b - - - a n d
s l c e c n r t e l a s u n p
e
e
a i h - - - e
e n e
t a m e n e x a e e h m s e i
h l o a n a a
e t a o o - - - E c t u w b n n h c s t
d s r
r s s m a
’
r w i - - -
t s w
s n e o a b c l h n n a o o n n c U s y n o f - S n r l t , J y - - -
a d e c i e
t t s e i m i
y
a e
k e n
- - - s t o n w h b m
e o f
t t v o
d
p
n a
l u o n
n V t o
t a
s d - - - c u r o
y a h T h a o p . g S s 1 F u o a a d h g e o / t - - -
i r ,
p
g r s t t n
e i d
o
E ’ r
2 f l
r ’ 7
- - - t
l h e
r l r t r i f i o a r h E i r r n e a d R
e c i e r e o a l
y C s o - - l -
r t a n J s o
c e o
h u n 0 L i t e r o t o d e t e a n - - - d o v h t l a o s n b
t
s h i e a a
e n y r e i o o t r f 1
c p - - - u
u r g n : h h w
1 v w
f S p
t e
e e e o
c e n e p - - - u d c d
y s u s s m n r o 2 n
n o a a
t 9 o
b n o n - - - e a e d h L . v d a s a . n m e
u e t e r d e i g i r a t t c u - - - a n
t b s
w f 0 n l d o r
h p l m f o u i e e e a
i - - - m u
n n
c a T
e h
a r T o n
h u r
o
c B e o s - - - i i a o n 0 g e o t e
n s
a v s t o e a
e C r e s l r h t m - - r - h a e g d t c a t r u h h n u o t M o i n t i c r e - - - u e e s e
a s - p f s . y
f x r v s t O e r n t l d e r t i - - - i 1
t
g i i
’ h r i s r w u d p e l ’ y n r u o g t s r c g
a p C e - - e - i a s
i s t T i h n c e : 9 a g t i
N s i y o a l i h - - - t
r a
h s c
o t l m
u h i
d d t
t o r t b r n e i n h - - - e
n i s
P 6
t e e g h
n f a t f t n h p o t
a t
e T i l
- - - e t r t g e o p e i r s n c o e y i
h a o r i
w
g t s c 0 - - - s a r
i t a h t a h c e
e o s I r a r m
o c i t r
b h s
- - - h
v o
h d
i
i r t e e n e t e
y n r
t l h r s a h e - - - M o s E
e o i o f r c m f i y , t a s u h
e o e y m
j i y y l y o - - - a
i n t
n . t o u
f i o t e f
r e n u e g l
n c
n n n - - - D n
o o
g i l a o
a a p w u s
t h
e r p c
1
e - - - s U r t c o W
r o W i c e
a
p r
f s a e . c s d i n e - - h - a t f n s
n e r s 7 u e s a i e c e o u E r a
e o n c t n p
- - - n
m r n h c e t m o l r u
o x T
e
d
i
v t
r e
t t m - - - t e m u s
d u s h d l p y f
a t t h i m f t o N r a t
o e o a - - - t e i h t a a h u e c
f s
t o , h h
e h a a a s c v m a r ’ - - - w e h
e e l m c o n
t a e I n r
n r f e r a e a i n - - - o l t e
m t . , n e s c
n
e i t a c s h
b
a i e d a n
o e - - - e r
t n r o o
a n d o s n
i e a c d
t l h p c a - - - n t h y
t e T i m n m o d o e n n
i t G o a r
p r e p h h s s - - - t
n
v t v i n i m
d i t
p J
e e i t i n s e h - - - o n
o s n v n t p w i s
r p a i
n
a m a e t n a s e a e e
o a - - - t t r o u
c s e i p
o
t ,
i h , e
i v n a
o d - - - r p i l m
s o e g r i r
C c
a r ,
s i
h s l
d s h s c o
a - - - r a n o r e r c m t f t a r p y e
2 t i .
o f K e t s a -
s - - - n k y u
t
o r n u h l i v
i r i i r o b
c u n n v
u t z - - - t i
a o c
0 r t v e d b m n s s r T n e
A c n a d c s d o e e - - - i i a t s a
c o o o e i n g , o
t a u t e
e o i i - - - a w 0 h g h e s e u d m c e
T
o n
r r
t e g c b o r r - - - p
c f r g t l u l t t w s r A e t s m e b h o n 8 e
e r
l i e s i - - - Ò e
l t h a a w n i t s n h e o l
a i c l r o v l y p a - - -
t , n h t a s s e e m f f e p : n e -
d i
i
o i t r
- - -
o
s e e n h e
l
u
i n
l 1 n n s g r r “ s
u o i e t
- - - f
m
h g o g e l A e d i c c T v s e o o r r 0 r
U o - - - o g e e p t c y a m l s n n f g n d
o o f r c u r s i
a - - - w l
N d u
i
c i u s o n j
m a r c o e s r m s r y i e a - - - n s g o
i t e o
n a , e u r r n e i i w i t e r
g n s - - - a l l g h t
s c
n
n e
p u a c l m d q y r
g v r l h
o m - - -
f o c s
o c
t o i
i o a o e m y
o y
u a s i - - -
a h d e a a s t t l n t l a c h i t
t i e l t d s e a t - - - i J r r a
m u
b e t a f
n h r e o y m s t e p u ,
s i g
u h a c a - - - t
y c e b
s i p w
f n
m u s e y l f
r - - - n
e s
e i o c
r p d a i o .
e p i r i h b t a e e o
t - - - y a t a w p r i n 2 d a c v
n s M n i a e h r i h
t r - - - B n n c s o d e i o e r
a
d l o r t
u e
r n h s t t n a n f - - - l e 0
g n r y
n r c h c e s
h u
a c p e n r a y e h l v r - - -
n l e u f
v n n y n t f
c
u 0
o o S
n - - - e
y e t
i o
e
o n l
x n m i i l t c i r e b e i e c x c - - - i c l e e t e o g .
i c d n g t o e a 9 m d n o n
i t n n i n
- - - r o q
l i f n T u i a a s e z h d a c o , x t i w o
- - - y f c p i a r
n t e I n . s n
d d s
e
e s e u i u o - - - m l e n s d
e
r t
u t s e , o
s i t w n e a l d e
o c - - -
o m
b e c F u u t l i n r t
l
m e f m h r q f
m b - - - g t s a c t w m a e u n l e g r s f o i e
o r p h o m n v - - - e w c u c a
h
s n e v u e s o g a b n a a - - - n s
a m c
t - x u o m t n t a c
a h r
s r
m b - - - o . r
a a c b i h a i l u
t n c
g e o y a m d w c d i
f u - - - g n e f t i t y i i f a e c a t a o i e u z t k o T - - - e v s n q e
a
e n n h d i i F u
u e n i
s s c g s i o - - - s l i v s d i t n a n w n
f
i g e g h s r a
o s s g l m l u d - - - e
o a
n
r i e h a
e ( l m
e l l l
c t - - - ’ d n e s h t h g h
r e o t h e
e e f h
a n l q e e g w ” a m i n t t - - - i e , h o o
c o e n o r s ) s v g o
e
d a - - - a
d e i
t m n u n
a a
s w e u e n . e
o z o t e
- - - o h c n u b h f s
e r s i a
r s n v r
e , s
c u - - - s l
h t
u p i s d d
t T l
o t m n e a i
v e t o p t n o d o g - - -
n a t o , o e t e l
e d t i n i f
t
R e l h e - - - l i t h e h e e
y u o n . n 8 h t c i d w l o a l t r
e i a s
s
- - -
f u
i u
g
c n u y h m c e
t h r f c
s i
e b - - - r - p
i d n
e i
t T p
o
a o g r h i m i n
- - - g t
l a
d s u e 1 t t g s a c
t f c i
m
s a e o o r
y - - - h h o u f p r l d i i o s e h d f
a
o
g a e r 1 r r e n o - - - t a D o a a o t o t l e s
m o t t e u i o
e n y - - - o
r s r a s i l r
i e i a l n s o i s r
y o s u h f , n a a - - - n c i N n i s d . n m e
a m a k s s
w
c m
r
c n g s - - - a e r
c
t f
t
e t l d i s
t o
a
t a
- - - e c s
c t o e o m h t
t p h s t m h u c r i u n i
e o
- - - f h g p m t i v
i e h t h d a n c
h r s
s
d v o o o - - - n t h s r i l e h t t r n t s e e y t f c a e a t o s - - - a n
h e n
o e e a
r o e e e t
, a h f u g i ,
o m t - - - e a r w c f e r t a d h u y r
r
t r
e
t v F - - - i , r d
a i k m r o n o
a t t n s w v n p i e - - - s a s b n e
e t a m o e o
e t n a h s
i - - - d
r o h v e r s t l d g r d u n h d
s - - - e t l h m w e u h i u a w n g i i t l
e - - - e t s f h e
c , c s h g b g . e
n
i i - - - t g t i o s t t 2
c r l h e s s a e o - - - h t e i o l t e t e t h 0 - - - l o i e e n s s i h o n e i - - - c d c 1 s n r - - - t e , , h - - - 2 l - - C h c e m a t a i f w e i t M t n f t - o m t r b b c s ( f o A n c p c t c F I T H C A P e t d n a r o - - - e 1 h r h e h h l o o u l h a x i s n h u r i a a n n a o e r s m g e o - - - a a o i 9 c m a s a a s
e l c l e i r e e e - - -
l m a t a n n
r v t t i t
e l
l
q d n a t n n o t l - - - t t h h r 4 e h s k r t t a o a p e i i u
t s a t t
h m l u - - - t s i
h o g v k v r i t g u u y n e s n f l u
p h h r i b e n 8 s e - - i - i t r n o w d r a
a u e a e o a r s p i o e n i r e c - - -
l s i i r r e e a p , g h e e l
n e i e ) n e a g s v f - - - y c
d f n e s
a m t
n e n n s q
t
e u t n . n
. h - - - o h Z
l i f l o : r t i t a g t
e , . c
. h t h
l r g
- - - t s e s
a c . s . a t o r u
i m a
e A i t
B h p 8 r R
e - - - o t
h C
r
n r i i n C e
t T e f T e s
l W , R s m - - - i n e h t o s d i I o i C e - s u y a s o t
t O e a n i n u - - - g t e c s s
i h
a
h . h 1 p h s e i s S e e
- - - d u n o
s n
t a n m a r u R
a s o
- e t t n
R n i - - - i a i i 1
c T h .
c e y e
e
p l d t n e t d s n p s
n n o n - - -
c
l s O p
w n o t o h O t
y i t h ” o s s
a - - -
a c d B
x g r e o N t a
n e i
e t t d p n i - - - r r , w p c p a . p n h t o E e i i s e o W o f n d v a o h t - - -
e a y p e l o
t
c o f g u
l r o
- - -
a n
t a c n o a c e
a
i F o i t
u g f e v e
i a v f r s h t - - - a
c c o n d d n S m t
n r t e a e e t c u a n m d p r e e w i - - - h P
r f s e a l c a o
n c e a n t l i s - - -
g o d e K u
n d n m s ( r s n d c a
r e e t o
e n l u e o - - - e n m l s a o i n e 2 e d
e u a n s . i u h a r
- - - d t
l u A c c b r s
b r – d
t c t b
n s y t
r - - - n n n e s f 0 f
c n
o e t n n a b i o h a R e p
a
s - - - a e p e
a l
t o p
o w a l
i d l c e t 1 S e t - - -
r r l e n
a t u t i d v l o
a o a e m n t a
s i s - - - e
f b l e e c 0 f i n e r c v i
w
t e
2 i b v l - - - a e
d m
a t o i h e i o d n f ? t y l x w a f e y u w
s
- - - e l ) m
n t l f
o 0 c l e
o a c r n e a r e f
- - - i r n o
n d
t d e h
s k t e a f t a r e i e o t 1 o a - - i - u
a i r i i s w s i l r
a v n d o i t
i a t r o
e n
l e - - - e a e t d y c o o n
2
n
t s t n
r i
e l b n h s i - - - t
e s g l
t i o a r n
o t s y r h
k i g t
h s p y - - - o n d
h i o g n
. d o s u t
e h c h p b o h
d - - - s
i
a s
g i f
n
e a a
i t s k e o
g
c - - - g
h n t
t
r
n t i r e
W e t e i t
e t h n - - - d
t
t t v h o
e e n r c i a o e
h w n h f i f o
g - - - s
h t c u
r e h e 1 s e c a e d c
u e l o t
- - e - x s n i t g e d
i m e e e . e o
9
p i n r e m C n s a - - - e h s o – c t
a a
t r s
e g f i
c i - - - m i r r
g e t T 3 e h p r t s
t u l t
o s p t a s m a t c d - - - n o s
h s o n t
p h e h s o i n i t i - - -
e
h a
h 5
p b a r t h o r f d a o t
a e
o c e - - - n w
f
o c i t o e s a l p i e
i h s r t e - - - a n -
n l l m s e w i d c h e t l s n n n I o n i i c o h 1 - - - a f i r a c r t c w y e r e s a
s q n p
c g
i
- - -
e e a u h
9
e n i t i l i y a u e t g s a i b t - - - e
a n v t d a t t a t d o n o u
e i
s r
e r - - - r e
5 t w a
o s e c t
c h n r t h e v w e c e
R t t y - - - e
e s p c i e t
o f e d 1 c e n t t n a
a 5 i i - - -
t r n i
o
r x h
i
u
u t v
r a a o i 9 e s r - - - h r n f n i r y s r H o
p t c l u m d
n o
: h o u a e - - - o e l
i e i e
e
w c l
4 n
o l – i
u
o n - - - a u h r
s m i d u e n d i i A l w c c h f o c c f j e t l b - - - s e s a b l c
0 s l b
t e g i m l e o l g i h - - - h t s y s e o
y
o
o a f ,
t
e t d i s a y
c
- - - i s i e c c j P
d
o i p h h c o e w o
i e
a i o w - - - t n o n c e m t c t e
g n t h e c s
n t a s h x - - - l i a
o
n
i
e H r r r u o t c n n
c r i o
e o
- - -
n c c i r a t a c a n
c t
n y a n
t e d t o - - - n d u r
u p t m i g C a A a , h e c o a e n u l o e l t s h s - - - s
t i
o
s i
g
u e a g p p
t e c e - - - r r e r n i c t r
b n e n
o
s t r
t d n i
e
n f - - - f e t
r e
r s e
d a s h a s s r u t a r p
t a g o o
- - - k o e . e t f i o r
a a n n a e i w h s
n , - - -
d
a e e t
e e n i r e o t o l
e r
d
M f - - - n f F a p s h n v b i m t d t r
e h e t
y t w f
u a x d l m - - -
i s c s d
e i e C o
e
n p e d t t e d a - - -
o c e
e n r e o t L s a s c p
d i K P a h h - - - h a d c ? u w
l r r u r l d o s t p r
d c s t
- - - g
o m a l d
o w
y a t u u e i e d
e e t i m
h - - -
e t w p a l
t
H e o f s i c e u o t
c a e e - - - w o
t t t p p d t r n
t i o a s y a
i
i t l h - - - o h r e s a h h v r n e t c i o o h
d a t o r i p a h t t - - - e
i s o s
n f k i i i s s h h q n e r
m a a i n h - - -
e u l
t r a f
w
d i n i n r h u i e l r s l c e , m a - - - g t n r a s t h a t
n o n o t t
t s
i
d l
- - - g e r e . o s a i
b h e t
n i e F r p
t . u
l d ( c v b
i - - -
o , o a g r r o P h
i l e m
i a r e
n c m 1 - - n - w a
s t S e d l o t g i n e e l o e B a u n t a t m n - - - i s h e 9 n n y a n e
n
t i
s
c e o - - - o .
n n s a u s a n s y l y t n n
t u t u c
r b
i y v 4
g a - - - t h b d i a e g t
y d h c n m n n s
s h
r - - - R c
d f , l s e d d
a l i
r e 2 i o i t y e d
- -
- e p t r l n y p i h
g e g r m o t
o o a n a e e w - - - e i i n
d l h e i
e
) t e d l P w . u
s o o . o u - - - b e s a
t f t r u f n y c s g
a o s e o n o i e - - -
s
s r f
o a e u h t e a n D s e n s c t e y - - -
i i o
s e
o a a m o c .
t r n s f k t g e - - - l b
t u c a e t
n
o
c s d
e o s
e o h s a f - - - d d r
p l g i p t d i - a s n o a r a l
n
r y n - - - a
d v
f
i l s
t c a e f c u i i e i d r
t - - - b
r n l
t s o w e h t
h
n a f n n t d e t d l
- - - e a h t e r x t c o i a
r c w t i c i e i o
p s - - - d H s o s o t h o e d g
n t
r t o o t
h l
d s e y M - - - d r s . F t r u o t e
i i t s w r i w o o t
r
- - - n i
i e e c m n e o d o i
u i p m n d ‘ h i l a i b o - - - t i
c p i N r a t u o q v
m l c l a n
n - - - i n
e h
a a n d e a h
i
h r y h i y e u t l e i - - - a s c o
o b r i t u n n 2 l e f t
i t n l e n h a t - - - s n ? a e o a o
e a h
d r s g u e n
t e f z e d - - - t e j e s g 0
t a
o s
d i a t h y s e g e t n n - - - m h i u u
u h C r d
e n r t o s
t e e s s
i 1 - - - . s ’ , , t s m r
t a t
p o
d
h C s o i
s
- - - w m
x a
t 2
e o r n r 8 o
c
e n a h h - - - U a n b i
a e t i r
c n e n e
t n t M a n
- - - o - n n . o e
l h g d h g e i t i s n
a r
a d s s
- - - u t e
r 1 m
i t n s o
h G o
n t
s - - - n T l a i t
s
h a i a t v v c
o i h n t
m 1 t , o c t
o - - - s d a f n h n i e e v u t s h h a n
s u a i c y e
e e h - - - f f o i t
h
s b f t t a a - - - g n e
r
i a i N
r
v e l
b e e l d d t
p
e g i d c h r - - - i
i o r l u a c b T a s t l r U t o
l g s o e s é - - - n e
y i a e a
e s e u a e i e o o s n - - - f s e h h p l v y p y M b s r n n s ’
r K t n o t t - - -
r s e a t
r
e e
n
i
b m s i i
a - - -
a e
f i
g o
s i s e
b t g h s o
M o m a l o b - - - a “ m o - n
s o h e t u a p
e o
e - - - t
s e a o b a n h n f t s d i l i f - - - t b h f
i a n a c r e r n e d f . a e - - -
h s s v h f o
a u s r e v t d
r - - - d o r
e . k h r e
e e f e e i - - - v t a l s
e t n a
o i i f
- - - i i r a T d
h 2 i d e i e t c n t s n - - - i e r n t n s n h o 0 - - - e f l o g d - - - d g u 1 e i - - - r l - - - 2 2 9 PAST DRESS FUTURE FASHION PAST DRESS FUTURE FASHION Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012 Florence, 8-11 November 2012 Costume Colloquium Firenze, 8-11 Novembre 2012
PATRONAGES PATROCINI COLLABORATORS COLLABORAZIONI - ICCROM - Life Beyond Tourism®Auditorium al Duomo, - Ministero per i Beni e le Attività Culturali Florence - ICOMOS Italia - Damask, Ahmedabad, India - Provincia di Firenze - Fondazione Rinascimento Digitale, Florence - Comune di Firenze - Fondazione Cerratelli, Pisa - Galleria del Costume, Palazzo Pitti, HONORARY COMMITTEE COMITATO ONORARIO Florence Paolo Del Bianco, President, Fondazione - Giovanni Masi Vintage Archive, Prato Romualdo Del Bianco ® - Life Beyond Tou - - Museo Palazzo Davanzati, Florence rism ®, Florence - Museo del Tessuto di Prato Cristina Piacenti, President, Association - Museo Gucci, Florence Amici della Galleria del Costume and - Museo Salvatore Ferragamo, Florence Soprintendente Museo Stibbert, Firenze - Maney Publishing, Leeds, UK Cristina Acidini, Soprintendente Speciale - Nardini Editore, Florence per il Patrimonio Storico, Artistico - Soprintendenza Speciale per il Patrimonio e Etnoantropologico e per il Polo Museale Storico, Artistico ed Etnoantropologico e della Città di Firenze per il Polo Museale della Città di Firenze - Tecnoconference, Florence ADVISORY COMMITTEE COMITATO SCIENTIFICO - UB, Florence Gillion Carrara, Director, Fashion Resource - Vivid Arts Network, New York Center, The School of the Art Institute of For the Florentine “Vintage Crawl”: Chicago Albrici & Paderni, A.N.G.E.L.O., Daniela Degl’Innocenti, Curator, Museo del Ceri Vintage, Il Cancello, Tessuto, Prato La Corte di Franca Montesi Carlotta Del Bianco, Vice President, Fonda - zione Romualdo Del Bianco ® - Life Beyond SPECIAL THANKS RINGRAZIAMENTI Tourism ®, Florence Special thanks go to all directors and person - Susan North, Dress Historian, Vixtoria & Al - nel of museums, foundations and companies bert Museum, London who have enthusiastically participated in the Roberta Orsi Landini, Costume and Textile Costume Colloquium project. Historian, Florence Un ringraziamento particolare va a tutti i Alexandra Palmer, Nora E. Vaughan Senior
direttori ed al personale di musei, fondazioni N
Curator of Textile & Costume, Royal On - O e aziende che hanno aderito con entusiasmo I H
tario Museum, Toronto S
al progetto del Costume Colloquium. A F
Carlo Sisi, Art Historian, Florence E
Rosalia Varoli-Piazza, Special Advisor to R U the Director General of ICCROM and Art T U Historian, Rome F S
Mary Westerman Bulgarella S
, Costume & E R
Textile Conservator, Researcher and Con - D
T
sultant, Florence S A P
30 31 The design and layout of this program have been offered by Nardini Editore and Nardini Bookstore www.nardinieditore.it
Conservation and Restoration of Cultural Heritage
Florence 8-11 November 2012 Costume Colloquium Life Beyond Tourism ®Auditorium al Duomo
PAST DRESS FUTURE FASHION ORGANIZING SECRETARIAT / SEGRETERIA ORGANIZZATIVA
Promo Florence Events Via del Giglio 10, 50123 Firenze - Tel +39 055 285588 - Fax +39 055 283260 [email protected] www.costume-textiles.com
This initiative is part of the “90 Days of Cultural Dialogue” program which is within UNESCO’s 2010 Calender dedicated to Rap - prochment of Cultures / L'iniziativa si colloca nel programma '90 giorni per il Dialogo fra Culture' e inserito nelle inziative del - l'UNESCO per il 2010 anno del Rapprochment of Cultures.