DOCSLIB.ORG

The Japanese Revolution in Paris Fashion Dress, Body, Culture Series Editor Joanne B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Japanese Revolution in Paris Fashion Dress, Body, Culture Series Editor Joanne B The Japanese Revolution in Paris Fashion Dress, Body, Culture Series Editor Joanne B. Eicher, Regents’ Professor, University of Minnesota Books in this provocative series seek to articulate the connections between culture and dress which is defined here in its broadest possible sense as any modification or supplement to the body. Interdisciplinary in approach, the series highlights the dialogue between identity and dress, cosmetics, coiffure, and body alterations as manifested in practices as varied as plastic surgery, tattooing, and ritual scarification. The series aims, in particular, to analyze the meaning of dress in relation to popular culture and gender issues and will include works grounded in anthropology, sociology, history, art history, literature, and folklore. ISSN: 1360-466X Previously published titles in the Series Helen Bradley Foster, “New Raiments of Self”: African American Clothing in the Antebellum South Claudine Griggs, S/he: Changing Sex and Changing Clothes Michaele Thurgood Haynes, Dressing Up Debutantes: Pageantry and Glitz in Texas Anne Brydon and Sandra Niessen, Consuming Fashion: Adorning the Transnational Body Dani Cavallaro and Alexandra Warwick, Fashioning the Frame: Boundaries, Dress and the Body Judith Perani and Norma H. Wolff, Cloth, Dress and Art Patronage in Africa Linda B. Arthur, Religion, Dress and the Body Paul Jobling, Fashion Spreads: Word and Image in Fashion Photography Fadwa El-Guindi, Veil: Modesty, Privacy and Resistance Thomas S. Abler, Hinterland Warriors and Military Dress: European Empires and Exotic Uniforms Linda Welters, Folk Dress in Europe and Anatolia: Beliefs about Protection and Fertility Kim K. P. Johnson and Sharron J. Lennon, Appearance and Power Barbara Burman, The Culture of Sewing Annette Lynch, Dress, Gender and Cultural Change Antonia Young, Women Who Become Men David Muggleton, Inside Subculture: The Postmodern Meaning of Style Nicola White, Reconstructing Italian Fashion: America and the Development of the Italian Fashion Industry Brian J. McVeigh, Wearing Ideology: The Uniformity of Self-Presentation in Japan Shaun Cole, Don We Now Our Gay Apparel: Gay Men’s Dress in the Twentieth Century Kate Ince, Orlan: Millennial Female Nicola White and Ian Griffiths, The Fashion Business: Theory, Practice, Image Ali Guy, Eileen Green and Maura Banim, Through the Wardrobe: Women’s Relationships with their Clothes Linda B. Arthur, Undressing Religion: Commitment and Conversion from a Cross-Cultural Perspective William J. F. Keenan, Dressed to Impress: Looking the Part Joanne Entwistle and Elizabeth Wilson, Body Dressing Leigh Summers, Bound to Please: A History of the Victorian Corset Paul Hodkinson, Goth: Identity, Style and Subculture Michael Carter, Fashion Classics from Carlyle to Barthes Sandra Niessen, Ann Marie Leshkowich and Carla Jones, Re-Orienting Fashion: The Globalization of Asian Dress Kim K. P. Johnson, Susan J. Torntore and Joanne B. Eicher, Fashion Foundations: Early Writings on Fashion and Dress Helen Bradley Foster and Donald Clay Johnson, Wedding Dress Across Cultures Eugenia Paulicelli, Fashion Under Fascism: Beyond the Black Shirt DRESS, BODY, CULTURE The Japanese Revolution in Paris Fashion Yuniya Kawamura Oxford • New York To My Family Yoya, Yoko and Maya Kawamura First published in 2004 by Berg Editorial offices: 1st Floor, Angel Court, 81 St Clements Street, Oxford, OX4 1AW, UK 175 Fifth Avenue, New York, NY 10010, USA © Yuniya Kawamura 2004 All rights reserved. No part of this publication may be reproduced in any form or by any means without the written permission of Berg. Berg is an imprint of Oxford International Publishers Ltd. Library of Congress Cataloging-in-Publication Data A catalogue record for this book is available from the Library of Congress. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN 1 85973 810 9 (Cloth) 1 85973 815 X (Paper) Typeset by JS Typesetting Ltd, Wellingborough, Northants. Printed in the United Kingdom by Biddles Ltd, King’s Lynn. www.bergpublishers.com Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Contents Figures vii Tables viii Acknowledgments ix Introduction: Clothing and Fashion 1 Part 1: Fashion Culture in France 111 Fashion Dominance in France: History and Institutions 21 222 The Modern Fashion System in France 35 333 The Global Diffusion Mechanism of Fashion: Past and Present 57 444 Social and Technical Differences among Haute Couture, Demi-Couture and Prêt-à-Porter 73 Part 2: Interdependence between Japanese Designers and the French Fashion System 555 The Japanese Fashion Phenomenon in Paris since 1970 91 666 Type 1: Kenzo. Complete Assimilation into the French Fashion System 113 777 Type 2: Rei Kawakubo, Issey Miyake and Yohji Yamamoto. Construction of the Avant-Garde Japanese Fashion 125 v Contents 888 Type 3: Hanae Mori. Attainment of the Ultimate Designer Status in Paris 151 Conclusion: Paris as the Battlefield of Fashion 163 Appendix A: Research Design 165 Appendix B: Interview Schedule 173 Appendix C: Supplementary Tables 175 Bibliography 181 Index 195 vi Figures 2.1 Institutional network in the modern fashion system in France 37 2.2 Organizational structure of the Federation 53 4.1 Sales composition of couture houses by sectors in 1995 81 5.1 Professional and school network among Japanese designers in Paris 101 6.1 Kenzo from Spring/Summer 1996 collection 116 6.2 Kenzo from Spring/Summer 2000 collection 117 7.1 Yohji Yamamoto from Fall/Winter 1984 collection 132 7.2 Issey Miyake: A Piece of Cloth 1976 135 7.3 Issey Miyake: A-POC 1999 136 7.4 Comme des Garçons by Rei Kawakubo from Fall/Winter 2002 collection 139 7.5 Comme des Garçons by Rei Kawakubo from Spring/Summer 1997 collection 142 7.6 Yohji Yamamoto from Spring/Summer 1999 collection 143 8.1 Hanae Mori from Spring/Summer 1989 Haute Couture collection 155 8.2 Hanae Mori from Fall/Winter 1993 Haute Couture collection 156 vii Tables 2.1 Chronology of the Federation 38 2.2 Ranks and monthly wages of seamstresses at Nina Ricci Haute Couture 43 2.3 Total number of Haute Couture houses 1872–2003 44 2.4 The Golden Thimble Award winners 1976–1991 45 2.5 Members in the fashion/couture and fragrance sectors of Le Comité Colbert 49 4.1 Members of La Chambre Syndicale de la Couture Parisienne (as of January 2003) 79 4.2 Members of La Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode and La Chambre Syndicale de la Mode Masculine (as of March 2003) 80 5.1 Japanese designers’ first collection dates in Paris 105 A.1 Occupational breakdown of interviewees 168 A.2 Fashion shows observed 169 A.3 Fashion-related events and trade fairs in Paris, 1998–9 170 C.1 Members of Le Comité Colbert, 2002 (excluding fashion/couture and fragrance sectors) 175 C.2 The Presidents of La Chambre Syndicale de la Parisienne and the Federation 1868–present 177 C.3 Awards received by Kenzo, Kawakubo, Miyake, Yamamoto and Mori 178 viii Acknowledgments I owe a very special debt of gratitude to my mentor and advisor, Priscilla Parkhurst Ferguson of Columbia University, who has supported me since the beginning of my research and devoted precious time to reading and com- menting on the manuscript at different stages of the writing process. I am grateful for her wisdom, friendship and patience. I thank Harrison White, Valerie Steele, Mary Ruggie, Vera Zolberg and Kelly Moore for their super- vision of the PhD dissertation which forms the basis of this book. My appreciation also goes to Carol Poll, Chair of the Social Sciences Department at the Fashion Institute of Technology (FIT), State University of New York, who read parts of the manuscript and gave me very important suggestions. Words cannot describe the amount of support she has given me both personally and professionally. I thank all my other colleagues in the Department, Yasemin Celik, Jean-Ellen Giblin, Kevin MacDonald, Joseph Maiorca, Meg Miele, Roberta Paley, Ernest Poole and Spencer Schein, who always expressed their interest in my work, and Lou Zaera who helped me edit some of the images for this book. My inspirational and creative students at FIT with whom I engage in a lively and interesting discussion on fashion and clothing provided a valuable sounding board for the development of my ideas. My research in Paris from 1998 to 1999 was constructive thanks to Bozena and Goran Blix, Veronika Dürpisch, Takuji Ikeda, Anne-Marie and Mathieu Romagnani and Geoffrey Turnovsky, who made my stay very enjoyable and memorable. Pierre-Michel Menger of the Centre de Sociologie des Arts in Paris allowed me to attend his seminar at the Ecole des Haute Etudes en Sciences Sociales. Kei Mori introduced me new insights on Haute Couture and gave me the tour of his mother’s couture atelier in Paris. Suzy Menkes of the International Herald Tribune gave me a great deal of information about fashion journalism, and Katell Le Bourhis of Christian Dior Couture shared with me interesting perspectives on the fashion industry and showed me the famous staircase of the Dior salon. Diana Crane of the University of Pennsylvania supplied me with pragmatic advice at the initial stage of my research when I first arrived in Paris. Kenryu Hashikawa of Chiba University with whom I often exchanged ideas about this project gave me intellectual suggestions and comments. My heartfelt appreciation goes to all of them. ix Acknowledgments I also thank the patient and gracious assistance provided by the library staff at the Bibliothèque Forney, Bibliothèque Nationale de Paris, Columbia Uni- versity, Institut Français de la Mode, Fashion Institute of Technology and Bunka School of Fashion. Yasuko Suita and Momoko Fukai of Hanae Mori Haute Couture, Kara Wachtveitl and Mari Fujiuchi of Yohji Yamamoto, Comme des Garçons, Miyake Design Studio and the staff at FirstVIEW.com generously provided me with the photographs.
Load more

Recommended publications
  • Percy Savage Interviewed by Linda Sandino: Full Transcript of the Interview
    IN PARTNERSHIP WITH AN ORAL HISTORY OF BRITISH FASHION Percy Savage Interviewed by Linda Sandino C1046/09 IMPORTANT Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB United Kingdom +44 [0]20 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators. THE NATIONAL LIFE STORY COLLECTION INTERVIEW SUMMARY SHEET Ref. No.: C1046/09 Playback No.: F15198-99; F15388-90; F15531-35; F15591-92 Collection title: An Oral History of British Fashion Interviewee’s surname: Savage Title: Mr Interviewee’s forenames: Percy Sex: Occupation: Date of birth: 12.10.1926 Mother’s occupation: Father’s occupation: Date(s) of recording: 04.06.2004; 11.06.2004; 02.07.2004; 09.07.2004; 16.07.2004 Location of interview: Name of interviewer: Linda Sandino Type of recorder: Marantz Total no. of tapes: 12 Type of tape: C60 Mono or stereo: stereo Speed: Noise reduction: Original or copy: original Additional material: Copyright/Clearance: Interview is open. Copyright of BL Interviewer’s comments: Percy Savage Page 1 C1046/09 Tape 1 Side A (part 1) Tape 1 Side A [part 1] .....to plug it in? No we don’t. Not unless something goes wrong. [inaudible] see well enough, because I can put the [inaudible] light on, if you like? Yes, no, lovely, lovely, thank you.
    [Show full text]
  • AN EXAMINATION of VANCOUVER FASHION WEEK by Vana Babic
    AN EXAMINATION OF VANCOUVER FASHION WEEK by Vana Babic Bachelor of Arts in Political Science, European Studies, University of British Columbia, 2005 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF BUSINESS ADMINISTRATION In the Faculty of Business Administration © Vana Babic 2009 SIMON FRASER UNIVERSITY Summer 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Vana Babic Degree: Master of Business Administration Title of Project: An Examination of Vancouver Fashion Week Supervisory Committee: ________________________________________ Dr. Michael Parent Senior Supervisor Associate Professor Faculty of Business Administration ________________________________________ Dr. Neil Abramson Second Reader Associate Professor of International Strategy Faculty of Business Administration Date Approved: ________________________________________ ii Abstract This study proposes a close examination of Vancouver Fashion Week, a biannual event held in Vancouver, showcasing local and international talent. It is one of the many Fashion Weeks held globally. Vancouver Fashion Week can be classified in the tertiary market in terms of coverage and designers showcased. The goal of these fashion shows is to connect buyers, including but not limited to boutiques, department stores and retail shops, with designers. Another goal is to bring media awareness to future trends in fashion. The paper will begin with an introduction to Fashion Weeks around the world and will be followed by an industry analysis.
    [Show full text]
  • The Demise and Transfiguration of Haute Couture
    008-021_INDUMENTA_01 29/1/09 14:19 Página 8 The demise Pablo Pena González Doctor of Art History. Professor of Design History and transfiguration for the Region of Madrid [email protected] of Haute Couture ABSTRACT: Contrary to the prediction prêt-à-porter is an industry. This article of Yves Saint-Laurent, Haute Couture does not address the necessary, eternal has not died. After two decades of death and universal profession of tailoring, throes, breathing tubes still pump life but rather the Parisian institution that, through its veins to ensure that it contin- one day in its youth, looked in the mir- ues to lead luxury market advertising. ror and said, “I am haute.” And since Of course, this is not the state we fash- this article may be of interest to people ion professionals, whether designers or outside the industry, I will begin by ex- writers, would wish for, nor do we ap- plaining what “haute” means as applied prove of the postmodern direction that to couture. recent Haute Couture has taken, which a. “Haute” means “expensive.” Haute is progressively sullying rather than glo- literally means “high” and, if we analyse rifying the profession of fashion design- it semantically, couture cannot be high ers. This article offers numbers, state- any more than it could be fat. The epi- 1 As quoted by the journalist Corinne Jeammet. ments and reflections made by the thet “high” was appended in a Unless otherwise indicated, all quotes protagonists of Parisian couture, enough metaphorical sense, and I think this was appearing in the article are taken from the to certify the debacle of the last aristo- done to mask its gory significance: high cratic art in history.
    [Show full text]
  • CP Résultats
    LLeess FFrriiimmoouusssseess ddee CCrrééaatteeuurrss oonntt ccoolllllleeccttéé ppllluuss ddee 227700 000000 eeuurrooss ppoouurr llleess pprrooggrraammmmeess ddee lll’’’UUNNIIICCEEFF eenn ffaavveeuurr ddeess eennffaannttss dduu DDaarrffoouurr Paris, le 20 novembre 2009 - Les enchères Frimousses de Créateurs , qui se sont tenues hier à Drouot-Montaigne, sous le marteau de Maître Georges Delletrez, Président de Drouot Holding et de Maître Pierre Cornette de Saint-Cyr, en présence de nombreuses personnalités, dont Laeticia Hallyday, marraine de l’opération, Delphine Arnault-Gancia, Présidente du Comité d’honneur, Natalie Dessay qui a confectionné une poupée ou encore Alain Delon, ont permis de récolter plus de 270 000 euros. La totalité des fonds collectés ira directement soutenir les programmes de vaccination de l’UNICEF au Darfour. Pour cette 7 ème édition, l’UNICEF France a mobilisé près d’une centaine de créateurs, d’artistes et pour la première fois cette année des personnalités, qui ont mis leur imagination et leur savoir-faire au service des enfants du Darfour, en réalisant des poupées et des œuvres, toutes uniques. Parmi celles surenchéries qui ont remporté un grand succès, citons celles de Jeff Koons (26 000 euros), Damien Hirst (25 000 euros), Christian Dior (16 000 euros), Louis Vuitton (12 000 euros), Jean-Michel Othoniel (11 000 euros) ou encore celle de Cartier (10 000 euros). Pour mémoire, l’édition 2008 avait permis de collecter 219 130 euros. L’UNICEF tient à remercier chaleureusement les créateurs, les artistes et les personnalités, ayant participé à cette édition(*), ainsi que l’ensemble de ses partenaires (**) qui ont largement contribué au succès de cet événement et bien sûr ses généreux donateurs pour leur soutien.
    [Show full text]
  • Machine Learning (Ml) for Tracking the Geo-Temporality of a Trend: Documenting the Frequency of the Baseball-Trucker Hat on Social Media and the Runway
    MACHINE LEARNING (ML) FOR TRACKING THE GEO-TEMPORALITY OF A TREND: DOCUMENTING THE FREQUENCY OF THE BASEBALL-TRUCKER HAT ON SOCIAL MEDIA AND THE RUNWAY A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Rachel Rose Getman May 2019 © 2019 Rachel Rose Getman ABSTRACT This study applied fine-grained Machine Learning (ML) to document the frequency of baseball-trucker hats on social media with images populated from the Matzen et al. (2017) StreetStyle-27k Instagram dataset (2013-2016) and as produced in runway shows for the luxury market with images populated from the Vogue Runway database (2000-2018). The results show a low frequency of baseball-trucker hats on social media from 2013-2016 with little annual fluctuation. The Vogue Runway plots showed that baseball-hats appeared on the runway before 2008 with a slow but steady annual increase from 2008 through 2018 with a spike in 2016 to 2017. The trend is discussed within the context of social, cultural, and economic factors. Although ML requires refinement, its use as a tool to document and analyze increasingly complex trends is promising for scholars. The study shows one implementation of high-level concept recognition to map the geo-temporality of a fashion trend. BIOGRAPHICAL SKETCH Rachel R. Getman holds a bachelor’s degree in Anthropology from the University of California at Los Angeles (UCLA). Her interests lie in the intersection of arts and sciences through interdisciplinary collaboration. The diversification of her professional experience from the service industry, education, wardrobe styling, apparel production, commercial vocals, and organic agriculture influence her advocacy for holistic thinking and non-linear problem solving.
    [Show full text]
  • Luxury Fashion Branding
    Luxury Fashion Branding Trends, Tactics, Techniques Uche Okonkwo luxury fashion branding luxury fashion branding trends, tactics, techniques Uche Okonkwo © Uche Okonkwo 2007 Foreword © James Ogilvy 2007 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2007 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN-13: 978–0–230–52167–4 ISBN 10: 0–230–52167–3 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin.
    [Show full text]
  • Dior Już W Łodzi. Projekty Światowego Wizjonera Mody Zobaczysz W CMW
    Dior już w Łodzi. Projekty światowego 02-10-21 1/3 wizjonera mody zobaczysz w CMW Dior już w Łodzi. Projekty światowego wizjonera mody zobaczysz w CMW 20.04.2018 13:50 Marlena Kamińska / BPKSiT kategoria: Aktualności kulturalne Kreacje, biżuteria, buty, kapelusze marek: Dior, Coco Chanel, Yves Saint Laurent, Givenchy dotarły do Centralnego Muzeum Włókiennictwa w Łodzi. Wernisaż wystawy w czwartek, 26 kwietnia. Część wystawy poświęcona jest kreacjom spod znaku domu mody Dior , fot. Radosław Żydowicz / UMŁ Polska premiera ponad 300 eksponatów zaprojektowanych przez znanych na całym świecie projektantów mody odbędzie się 26 kwietnia o godz. 18. Jednak już dziś w łódzkim muzeum zaprezentowano osiem sylwetek z wystawy "Christian Dior i ikony paryskiej mody z kolekcji Adama Leja". Były oryginalne stroje, kapelusze, torebka z latarką oraz perfumy z 1947 roku w słynnym flakonie przypominającym amforę. - Dlaczego akurat osiem manekinów? Otóż Christian Dior uwielbiał symbolikę i "8" jest taką jego szczęśliwą liczbą. Ósemka jest nieskończonością oraz przypomina sylwetkę kobiecą i do niej też nawiązuje styl "New Look"oraz prezentowane perfumy Miss Dior - podkreślał właściciel kolekcji Adam Leja, dzięki któremu Centralne Muzeum Włókiennictwa w Łodzi ma niezwykłą okazję przypomnieć dokonania Christiana Diora, a także powojennych paryskich mistrzów haute couture. Wystawa składa się z dwóch części. Pierwsza ma być poświęcona wyłącznie kreacjom spod znaku domu mody Dior. Prezentowane będą oryginalne stroje, ale także uzupełniające je akcesoria - kapelusze, buty, jak również biżuteria. Będzie to swoista podróż przez całą historię tego domu mody, ukazująca, jak interpretował on w swoich strojach tendencje pojawiające się w nieustannie zmieniającej się rzeczywistości kolejnych dziesięcioleci. Ciekawostką będzie oryginalny autograf Christiana Diora i pierwsze perfumy oraz projekty Diora.
    [Show full text]
  • Exaggerated Proportions Kick Off Shows
    Lifestyle FRIDAY, JANUARY 22, 2016 Exaggerated proportions kick off Paris menswear shows Models present creations by Valentino during men’s Fashion Week for the Fall/Winter 2016/2017 collection in Paris. —AP/AFP photos cy winds and empty seats defined the first day of the divert traffic to accommodate the Imenswear shows at Paris Fashion traveling circus of fashionistas that Week - with heightened security fol- try to see over 70 official shows. lowing November’s deadly attacks in the French capital. Some front- Raf Simons goes back to school row celebrities were no-shows but And then the designers really let It was a back to school with a they ended up missing out on top- VALENTINO their hair down in a tribal-bohemian dash of the 1980’s for Raf Simons, notch creativity for the fall-winter Designers Pierpaolo Piccioli and finale - which showcased perhaps who’s been making ripples since 2016-17 season - with exaggerated Maria Grazia Chiuri did away with too many looks. Ponchos rubbed October last year for resigning as proportions featuring in Valentino the military styles that have pep- shoulders with embroidered feather Christian Dior’s creative director. At and Raf Simons.Here are the high- pered the nascent menswear aes- motifs, and bold tectonic patterns his Wednesday night menswear lights of Wednesday’s catwalk col- thetic. Wednesday’s show - in the on coats had fashionistas pulling show, the Belgian designer showed lections. magnificent 18th-century Hotel out their smartphone cameras. that he has retained a sense of Salomon de Rothschild town house humor - at least for his eponymous - was all the better for moving French federation tightens label.
    [Show full text]
  • Vintage, Antique Textiles & Passion for Fashion, Tue, 15 June 2021 10:00
    Vintage, Antique Textiles & Passion for Fashion, Tue, 15 June 2021 10:00 1 Dorset buttons, late 18th-early 19th century, 5 Eight silk bodices, mainly 1860s, four examples comprising: blue haberdashery card of 36 'high with padded breast cups to the interior, including top' buttons, of conical shape worked in fine a matching day and evening bodice of green silk linen thread; together with a card applied with 72 woven with black diamond motif; and an 1810s 'Singleton' buttons (2) example of changeant silk in shades of red and These buttons were made in Dorset somewhere green, busts approx 76-86cm, 30-34in (8) between the early 18th century and early 19th (Dimensions: busts approx 76-86cm, 30-34in) century. High Tops were first made in (Qty: 8) £400-600 Shaftsbury, Dorset between 1680 and 1700. 6 A Japonisme printed cotton undress robe, late They were made from a disc of horn from the 1870s-early 1880s, with Chinese chang-fu Dorset Horn sheep. It was covered by a small inspired wrap-over front neckline, concealing piece of linen and worked with a needle and buttons beneath, two slit pockets to rear hips, thread to make a conical shaped button. These the bodice lined in striped cotton, chest approx were used on fashionable clothing from the late 92cm, 36in (Dimensions: chest approx 92cm, 17th to early 18th century. They were 36in ) £200-300 superseded by “Singleton” buttons, which have wire rings covered with linen and tiny 7 A group of Victorian clothing, 1850s-1880s, (microscopic!) stitching with French knots at the comprising: four dresses, including one of merlot centre which were commonly used on shirts, silk and cut-velvet, 1880s, and an altered mid- underwear and fine gowns.
    [Show full text]
  • Large Print Guide
    Large Print Guide You can download this document from www.manchesterartgallery.org Sponsored by While principally a fashion magazine, Vogue has never been just that. Since its first issue in 1916, it has assumed a central role on the cultural stage with a history spanning the most inventive decades in fashion and taste, and in the arts and society. It has reflected events shaping the nation and Vogue 100: A Century of Style has been organised by the world, while setting the agenda for style and fashion. the National Portrait Gallery, London in collaboration with Tracing the work of era-defining photographers, models, British Vogue as part of the magazine’s centenary celebrations. writers and designers, this exhibition moves through time from the most recent versions of Vogue back to the beginning of it all... 24 June – 30 October Free entrance A free audio guide is available at: bit.ly/vogue100audio Entrance wall: The publication Vogue 100: A Century of Style and a selection ‘Mighty Aphrodite’ Kate Moss of Vogue inspired merchandise is available in the Gallery Shop by Mert Alas and Marcus Piggott, June 2012 on the ground floor. For Vogue’s Olympics issue, Versace’s body-sculpting superwoman suit demanded ‘an epic pose and a spotlight’. Archival C-type print Photography is not permitted in this exhibition Courtesy of Mert Alas and Marcus Piggott Introduction — 3 FILM ROOM THE FUTURE OF FASHION Alexa Chung Drawn from the following films: dir. Jim Demuth, September 2015 OUCH! THAT’S BIG Anna Ewers HEAT WAVE Damaris Goddrie and Frederikke Sofie dir.
    [Show full text]
  • Designer​​Brand​​List
    THREDUP LUXE DESIGNER​ ​BRAND​ ​LIST # 10 Crosby Derek Lam 3.1 Phillip Lim 6397 A A Détacher Alessandra Rich Anna-Karin Karlsson A.F.Vandevorst Alexa Wagner Anthony Vaccarello A.P.C. Alexander McQueen Antonio Berardi A.W.A.K.E. by Natalia Alaverdian Alexander Wang Anya Hindmarch Acne Alexandre Birman Apiece Apart Acne Studios Alexandre Vauthier Aquascutum Adam Lippes Alexis Aquazzura Adam Selman Alexis Mabille Aquilano Rimondi ADEAM Alice McCall Armani Collezioni Adrienne Landau Alix of Bohemia Armani Prive Aether Altuzarra Arthur Arbesser Agnona Alumnae Ashish AKRIS Amelia Toro Atea Oceanie Akris punto Andrew Gn Atlantique Ascoli Alaïa André Courrèges Atlein Alanui Ann Demeulemeester Attico Alberta Ferretti Collection Anna October Au Jour Le Jour Albus Lumen Anna Sui Azzaro Alessandra Chamonix B Baja East Bibhu Mohapatra Brioni Baldinini Bionda Castana Brock Collection Balenciaga Biyan Brother Vellies Balmain Black Fleece Brunello Cucinelli Banjanan Blaze Milano Building Block Banjo & Matilda Bliss and Mischief Burberry Bao Bao Issey Miyake Blumarine Burberry Brit Barbara Bui Bodkin Burberry Prorsum Barbara Casasola Bogner Buscemi Barrie Borgo De Nor BUwood Barton Perreira Bottega Veneta Bvlgari Beaufille Bouchra Jarrar by FAR Belstaff Boyy By Malene Birger Benedetta Bruzziches Brandon Maxwell BY. Bonnie Young Bernhard Willhelm Brian Atwood Byredo Bertoni 1949 C Calvin Klein 205W39NYC Chanel Identification Cinq à Sept Calvin Klein Collection Charles Youssef Clare V. Camilla and Marc Charlotte Olympia Class Roberto Cavalli Camilla Elphick
    [Show full text]
  • Haute Couture Spring-Summer 2021
    Haute Couture Spring-Summer 2021 The Haute Couture Week starts today and will run until January 28th. 28 houses registered on the Official Calendar are participating in the week in the form of online events. 10 Haute Couture members are participating: Alexandre Vauthier, Alexis Mabille, Chanel, Christian Dior, Giambattista Valli, Julien Fournié, Franck Sorbier, Maison Margiela, Schiaparelli, Stéphane Rolland. 5 corresponding members are participating: Fendi Couture, Giorgio Armani Privé, Iris Van Herpen, Valentino, Viktor & Rolf. 13 invited members are participating: Aelis, AZ Factory, Aganovich, Azzaro Couture, Charles de Vilmorin, Christophe Josse, Imane Ayissi, Julie De Libran, Rahul Mishra, Rvdk Ronald Van Der Kemp, S.R. Studio. LA.CA., Yuima Nakazato, Ulyana Sergeenko. 4 Haute Joaillerie Houses join the Event calendar this week: Anna Hu, Boucheron, Chanel Joaillerie, De Beers. These recordings and filming, as well as the professional events that will take place, comply with the decisions taken by the public authorities and the health protocol that the Federation de la Haute Couture et de la Mode (FHCM) has established based on the recommendations of the Ile-de-France Regional Health Agency. Marie Schneier Responsable Communication 100-102, rue du Faubourg Saint-Honoré – 75008 PARIS Portable: +33 (0)6 60 87 71 78 / [email protected] Digital set up The Fédération de la Haute Couture et de la Mode is renewing its global digital system, which it is further expanding with new broadcast partnerships. Access the platform The Haute
    [Show full text]