Karl Lagerfeld Agerfeld Was Born in Hamburg
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Classic Velvet Spec Sheet
Classic Velvet DESIGNED BY BASSAMFELLOWS APPLICATION Seating CONTENT 100% Polyester BACKING Polyester/Cotton WIDTH 55" REPEAT None ABRASION 70,000 Cycles, Martindale* FLAMMABILITY CA TB 117-2013 WEIGHT 24.9 Oz Per Linear Yard 16501 Opal 16502 Ice Blue 16503 Platinum ORIGIN Italy ENVIRONMENTAL SCS Indoor Advantage™ Gold FR Chemical Free Prop 65 Chemical Free Healthier Hospitals Compliant Living Future Red List Compliant WELL Building Standard Compliant MAINTENANCE W/S – Clean with Water-Based Cleanser, or Mild, Dry Cleaning Solvent 16504 Smoky Taupe 16505 Blaze 16506 Majestic Red CUSTOM FINISHES Alta™ Plush; PFOA-Free Stain Resistant PRICE GROUP 6 NET PRICE $80 Per Yard NOTE To ensure longevity of velvet textiles, a 100% cotton liner is recommended to prevent wear to the backside of the textile. Areas exposed to greatest wear should be padded with foam beneath this liner. 16507 Peridot 16508 Obsidian 16509 Truffle *Abrasion test results exceeding ACT Performance Guidelines are not an indicator of product lifespan. Multiple factors affect fabric durability and appearance retention. 16510 Sapphire 800.456.6452 geigertextiles.com © 2021 Geiger Geiger Textiles Maintenance Guideline - W/S MAINTENANCE CODE STAIN TREATMENT W/S – Clean with Water-Based Cleanser, or Mild, Soak up any excess moisture immediately. Dry Cleaning Solvent For water-based stains, use a clean, soft, white cloth, a natural REGULAR MAINTENANCE sponge, or a nylon soft-bristle brush with lukewarm, soapy water. Vacuum regularly using the proper attachment to avoid pilling. Brush the stain with light, quick strokes. Avoid a scrubbing motion and work from the edge of the stain toward the center. -
Books Keeping for Auction
Books Keeping for Auction - Sorted by Artist Box # Item within Box Title Artist/Author Quantity Location Notes 1478 D The Nude Ideal and Reality Photography 1 3410-F wrapped 1012 P ? ? 1 3410-E Postcard sized item with photo on both sides 1282 K ? Asian - Pictures of Bruce Lee ? 1 3410-A unsealed 1198 H Iran a Winter Journey ? 3 3410-C3 2 sealed and 1 wrapped Sealed collection of photographs in a sealed - unable to 1197 B MORE ? 2 3410-C3 determine artist or content 1197 C Untitled (Cover has dirty snowman) ? 38 3410-C3 no title or artist present - unsealed 1220 B Orchard Volume One / Crime Victims Chronicle ??? 1 3410-L wrapped and signed 1510 E Paris ??? 1 3410-F Boxed and wrapped - Asian language 1210 E Sputnick ??? 2 3410-B3 One Russian and One Asian - both are wrapped 1213 M Sputnick ??? 1 3410-L wrapped 1213 P The Banquet ??? 2 3410-L wrapped - in Asian language 1194 E ??? - Asian ??? - Asian 1 3410-C4 boxed wrapped and signed 1180 H Landscapes #1 Autumn 1997 298 Scapes Inc 1 3410-D3 wrapped 1271 I 29,000 Brains A J Wright 1 3410-A format is folded paper with staples - signed - wrapped 1175 A Some Photos Aaron Ruell 14 3410-D1 wrapped with blue dot 1350 A Some Photos Aaron Ruell 5 3410-A wrapped and signed 1386 A Ten Years Too Late Aaron Ruell 13 3410-L Ziploc 2 soft cover - one sealed and one wrapped, rest are 1210 B A Village Destroyed - May 14 1999 Abrahams Peress Stover 8 3410-B3 hardcovered and sealed 1055 N A Village Destroyed May 14, 1999 Abrahams Peress Stover 1 3410-G Sealed 1149 C So Blue So Blue - Edges of the Mediterranean -
Style.Com Reveals First-Ever Fashion Yearbook Awards
STYLE.COM REVEALS FIRST-EVER FASHION YEARBOOK AWARDS NEW YORK, December 27, 2005 – STYLE.COM, the online home of Vogue & W magazines, has issued its first-ever fashion yearbook awards. Some of the highlights include: • Most Theatrical: John Galliano. No contest here. Fashion’s favorite impresario turned July’s Dior couture presentation into one for the history books. • Together Forever: Domenico Dolce & Stefano Gabbana. Never known as low key hosts, Domenico Dolce and Stefano Gabbana pulled out all the stops for their brand’s 20th anniversary celebration during Milan fashion week. • Class Cut-Up: Karl Lagerfeld. Whether palling around with Lindsay Lohan or snipping off the tips of his gloves to show off a treasure trove of Chrome Hearts rings, Monsieur Lagerfield always finds new ways to have fun. • Most Entrepreneurial: Stella McCartney for H&M. Not since that other British invasion have masses of women swooned like they did when Stella McCartney’s collection for H&M arrived at the chain’s New York City stores. • Most “Overexposed”: Tom Ford. For a designer who quit the runway early last year, we saw a lot of Tom Ford in 2005, from the Nude perfume launch to that nude photo. • Most Popular: Gwen Stefani. Gwen applied the same technique in putting together the runway show for her spring 2006 L.A.M.B. ready-to- wear collection as she did on her smash solo album. It seems no one can resist Gwen’s charm. For the complete awards list log on http://www.style.com/trends/features/year2005/ STYLE.COM STYLE.COM, a CondéNet publication, is the definitive fashion website, extending the editorial authority of Vogue and W magazines to the Internet. -
A Combat for Couture Command of Luxury Labels
DePaul Journal of Art, Technology & Intellectual Property Law Volume 24 Issue 1 Fall 2013 Article 3 Human v. House: A Combat for Couture Command of Luxury Labels Carly Elizabeth Souther Follow this and additional works at: https://via.library.depaul.edu/jatip Recommended Citation Carly E. Souther, Human v. House: A Combat for Couture Command of Luxury Labels, 24 DePaul J. Art, Tech. & Intell. Prop. L. 49 (2013) Available at: https://via.library.depaul.edu/jatip/vol24/iss1/3 This Lead Article is brought to you for free and open access by the College of Law at Via Sapientiae. It has been accepted for inclusion in DePaul Journal of Art, Technology & Intellectual Property Law by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Souther: Human v. House: A Combat for Couture Command of Luxury Labels HUMAN V. HOUSE: A COMBAT FOR COUTURE COMMAND OF LUXURY LABELS Carly Elizabeth Souther* ABSTRACT As an industry that thrives on-rather than succumbs to- adversity, the couture corporate world demands innovation and encourages risks. When combined with successful marketing and savvy business practices, these risks can result in large payoffs, which exist, primarily, due to the nature of the global fashion market.' Endless consumption drives the market, rewarding fashion houses that cater to current trends with top-line growth and damning those whom fail to suffer decreased net earnings. In order to remain a viable player in the fashion industry, the house must have the resources to market and manufacture the product in a timely manner, as well as incur the costs if a collection is poorly received. -
The Origin and Historical Background of Ottoman and Italian Velvets
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2016 Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets Sumiyo Okumura Dr. [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Okumura, Sumiyo Dr., "Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets" (2016). Textile Society of America Symposium Proceedings. 1008. https://digitalcommons.unl.edu/tsaconf/1008 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets Dr. Sumiyo Okumura Velvets are one of the most luxurious textile materials and were frequently used in furnishings and costumes in the Middle East, Europe and Asia in the fifteenth to sixteenth centuries. Owing to many valuable studies on Ottoman and Italian velvets as well as Chinese and Byzantine velvets, we have learned the techniques and designs of velvet weaves, and how they were consumed. However, it is not well-known where and when velvets were started to be woven. The study will shed light on this question and focus on the origin, the historical background and development of velvet weaving, examining historical sources together with material evidence. -
One Speaks Softly, Like in a Sacred Place’: Collecting, Studying and Exhibiting Congolese Artefacts As African Art in Belgium
‘One speaks softly, like in a sacred place’: collecting, studying and exhibiting Congolese artefacts as African art in Belgium Maarten Couttenier Many publications have dated the European ‘discovery’ of ‘primitive art’ in the beginning of the twentieth century or even after the 1914–18 war. Overall, they argue that African objects, collected between the fifteenth and the eighteenth century, ended up as curiosities in European ‘Cabinets of Wonders’. During an ethnographic phase in the nineteenth century, travellers and museum staff were believed to be mostly interested in the functional aspects of these objects, as they ‘failed to see the beauty; curiosity was great, but is was mixed with pity.’1 Finally, these publications state that the true art value of these objects was discovered during an aesthetic phase in the beginning of the twentieth century by artists such as Henri Matisse, André Derain, Georges Braque, and Pablo Picasso.2 Despite the fact that Africans were of course the first to appreciate the beauty of their own objects (something that was not always recognized in the West), the Western interest in African art was supposedly linked to the need among European artists for ‘new sources of inspiration outside the continent to rejuvenate its old civilisation. Disgusted by the modern world, its steel machines and its pitiless brutality, the period after the 1914–1918 war turned passionately towards the primitive, and especially the “Negro” ’.3 The widely publicised exhibition ‘Primitivism’ in the 20th Century Art: Affinity of the Tribal and the Modern in the Museum of Modern Art in New York (1984–85), and the introduction by William Rubin in the catalogue, confirmed this ‘modernist myth’.4 ‘Primitivism’ or ‘the interest of modern artists in tribal art and culture, as 1 J. -
While We Never Made It Our Sole Mission to Expose
de sig ners all those mystifying names behind staged a grand swan-song the labels, it’s the fashion designers retrospective of his work, I attended who’ve been the mainstays of YSL’s last full couture collection at While Fashion Television, and at the heart the Intercontinental Hotel in Paris. and soul of it all. And while some “I’m afraid Yves Saint Laurent is the may beg to differ, in our eyes, the last one to think about elegant cream of the crop were always true women,” Pierre Bergé, the designer’s artists. Their crystal-clear vision, long-time business partner and inspired aesthetic, passion for former lover, told me. “Now things perfection, desire to communicate are different… Life has changed. and downright tenacity all made Maybe in a way, it’s more modern, the world a more beautiful place, and easier… I don’t want to argue we never and provided fascinating fodder for with that. Everybody has a right to us to explore. design clothes the way they feel. But for Saint Laurent, who loves Sometimes, these designers would and respects women and their be unlikely characters. Who could bodies, it’s very difficult to have guessed, the first time we understand the feel of today.” met Marc Jacobs, in 1986 at a Toronto garment factory—an Bergé went on to explain that adorable, personable kid with hair creativity, not marketing, always made it down to his elbows, eager to show came first for Saint Laurent. And us his small collection of knitwear— because of that, he was at odds that this bright designer would be with the way the fashion world heralded by Vogue 14 years later now functioned. -
Exclusively for Everybody
º SPECIAL REPORT LUXURY DECEMBER 13TH 2014 Exclusively for everybody 20141213_SRluxury.indd 1 02/12/2014 17:18 SPECIAL REPORT LUXURY Exclusively for everybody The modern luxury industry rests on a paradox—but is thriving nonetheless, says Brooke Unger AT THE TRANG TIEN PLAZA shopping mall in Hanoi, Vietnam’s capital, on some evenings a curious spectacle unfolds. Couples in wedding fin- erypose forphotographsin frontofilluminated shop windows, with Sal- vatore Ferragamo, Louis Vuitton and Gucci offering the sort of backdrop for romance more usually provided by the sea or the mountains. The women are not wearing Ferragamo’s ara pumps, with their distinctive bows, or toting uitton’s subtly monogrammed handbags. They cannot ¢ afford them. Tr¡an Cuon, who assembles mobile phones at a Sam- sung factory, posed with his fiancée in a brown suit and bow tie that cost him the equivalent of $150. Some day he hopes to become a customer in the mall. Until then, he will proudly display the photos in his home. To stumble across an out- post of European luxury in a rela- tively poor and nominally social- ist country is not all that sur- prising. Luxuries such as silk have travelled long distances for many centuries, and even modern lux- CONTENTS ury-goods makers have been pur- suing wealth in new places for 3 Definitions more than a century. Georges A rose by many names uitton, son of Louis, the inven- tor of the world’s most famous 3 History Saintly or sinful? luggage, showed off the com- pany’s flat-topped trunks (better 4 The business case for stacking than traditional Beauty and the beasts round-topped ones) at the Chica- go World’s Fair in 1893. -
Nena Ivon Collection, 1964-2009
Nena Ivon Collection, 1964-2009 By FBE Collection Overview Title: Nena Ivon Collection, 1964-2009 ID: 1000/06/RG1000.06 Creator: Ivon, Nena Extent: 15.0 Cubic Feet Arrangement: The portion of the collection in printed form has been divided into three series arranged chronologically. Series 1: Papers, 1964-2009 Series 2: Photographs, 1990-2002 Series 3: Objects/Realia, 1984-2008 The photographs and realia have not yet been put into their final arrangement. Date Acquired: 00/00/2008 Genres/Forms of Material: Correspondence; Interviews; Magazines (periodicals); Newsletters; Newspaper Clippings; Photographs; T-shirts Languages: English Scope and Contents of the Materials The collection consists of published newspaper and magazine articles detailing the professional and charitable activities of Nena Ivon and Saks Fifth Avenue including event programs and brochures, color and black & white photographs of fashion shows and other events, signed or personalized portraits of many designers, and a realia including posters, perfume bottles, trophies, plaques, clothing, and promotional items. The strength of the collection lies in the chronicling of activity for a Director of Fashion and Special Events that offers a snapshot of the history of fashion marketing, local designers, and the fashion business in Chicago. Biographical Note Nena Ivon grew up in Chicago's Rogers Park neighborhood and in Evanston, Illinois. When she was 16 she took a summer job with Saks Fifth Avenue in downtown Chicago selling sportswear. The unexpected death of her father the following year changed her plans to attend college and she continued to work for Saks. At age 17 was promoted to assistant fashion director and eight years later became the director of fashion and special events, the job she held for the next forty years. -
CFP: GSA 2020: Panel: Fashion & Self-Fashioning
H-Germanistik CFP: GSA 2020: Panel: Fashion & Self-Fashioning: Exploring Karl Lagerfeld’s Hybrid Genius, Washington, D. C. (12.02.2020) Discussion published by Marie Müller on Tuesday, February 4, 2020 Karl Lagerfeld (1933-2019), aka “Kaiser Karl,” was a major creative force to be reckoned with: as a successful fashion designer, a prolific photographer, a voracious reader, and a world famous celebrity, he reigned unchallenged over the world of fashion for more than fifty years. Admired for his visionary flair, respected for his work ethics, feared for his biting witticism, and mocked for his vanity and arrogance, Lagerfeld was a true pop culture icon, whose unmistakable signature look were the high collar, the ponytail, and the sunglasses. While designing up to 17 collections a year for multiple fashion houses (Chanel, Fendi, Chloé, Karl Lagerfeld) for 54 years, his greatest creation though was himself: like Coco Chanel before him, he spent his life refashioning his biography. By appearing to the world as a marionette and a caricature of his own design, Lagerfeld captured the zeitgeist and embraced post-modernity better than anyone. He invented a public persona, which he carefully curated through stories about his social origins or his castrating Prussian mother, and astutely cultivated through wits, aphorisms aka “Karlisms,” and caricatures aka “Karlicatures.” For example, in his numerous magazine interviews and TV appearances, the media-savvy designer, who captivated with his wit and erudition, often caused controversies with his insensitive remarks on women’s body (British singer Adele’s corpulence) and offensive comments on German politics (German chancellor Angela Merkel’s immigration politics). -
SABONET Report No 18
ii Quick Guide This book is divided into two sections: the first part provides descriptions of some common trees and shrubs of Botswana, and the second is the complete checklist. The scientific names of the families, genera, and species are arranged alphabetically. Vernacular names are also arranged alphabetically, starting with Setswana and followed by English. Setswana names are separated by a semi-colon from English names. A glossary at the end of the book defines botanical terms used in the text. Species that are listed in the Red Data List for Botswana are indicated by an ® preceding the name. The letters N, SW, and SE indicate the distribution of the species within Botswana according to the Flora zambesiaca geographical regions. Flora zambesiaca regions used in the checklist. Administrative District FZ geographical region Central District SE & N Chobe District N Ghanzi District SW Kgalagadi District SW Kgatleng District SE Kweneng District SW & SE Ngamiland District N North East District N South East District SE Southern District SW & SE N CHOBE DISTRICT NGAMILAND DISTRICT ZIMBABWE NAMIBIA NORTH EAST DISTRICT CENTRAL DISTRICT GHANZI DISTRICT KWENENG DISTRICT KGATLENG KGALAGADI DISTRICT DISTRICT SOUTHERN SOUTH EAST DISTRICT DISTRICT SOUTH AFRICA 0 Kilometres 400 i ii Trees of Botswana: names and distribution Moffat P. Setshogo & Fanie Venter iii Recommended citation format SETSHOGO, M.P. & VENTER, F. 2003. Trees of Botswana: names and distribution. Southern African Botanical Diversity Network Report No. 18. Pretoria. Produced by University of Botswana Herbarium Private Bag UB00704 Gaborone Tel: (267) 355 2602 Fax: (267) 318 5097 E-mail: [email protected] Published by Southern African Botanical Diversity Network (SABONET), c/o National Botanical Institute, Private Bag X101, 0001 Pretoria and University of Botswana Herbarium, Private Bag UB00704, Gaborone. -
Salford Museum and Art Gallery
GB 0425 Pattern Books Salford Museum and Art Gallery This catalogue was digitised by The National Archives as part of the National Register of Archives digitisation project NRA 30500 The National Archives in i - * l H.M.C . - OCT 1987 3(? 5"o o NATIONAL REGISTER OF ARCHJVES Pattern Books in the Collection of Salford Museums & Art Galleries 31-1857/1-5 5 sample books (originally a roll of calico prints in a mahogany cabinet) 1769-1851 1. 1769-1819; 2. 1820-30; 3. 1831-39; 4. 1840-47; 5. 1848-51 Presented to the Museum by the Hon. Board of Commissioners of the Great Exhibition. J . and J . SrJ^ncer, Manchester, 1790s - 1846 (The firm closed in 1861 when 6 weavers worked in one building, 8 in another and the rest were local handloom weavers for whom John Spencer provided a market. The handloom weavers formed a co-operative shortly afterwards). 52-1956, 53-1956 and 54-1956 3 pattern books of fine cotton quiltings and dimities, c.1820 (one may be 1846) 55- 1956 Sample card of cords, printed velvet, dimity and quilting, possibly 1790. 56- 1956 Price list and address card dated 1817 with a coded price list and references to muslinettes, diminties and other fine fancy cloths. N.B . There are notes on file about the origin of the specimens. 6-1954 Cotton print pattern book c. 1820-24 43 pages of mounted samples, mostly cotton but with a few examples of materials with lustre threads. (N.B. dated by Peter Floud of V & A who noted that "it seems clearly to have been put together from scraps of material produced by various, different printers (though all English)") tf.