Harper's Bazaar/Bazaar 1940S
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ABC Distribution Kaasstraat 4 2000 Antwerpen T
ABC Distribution Kaasstraat 4 2000 Antwerpen t. 03 – 231 0931 www.abc‐distribution.be info@abc‐distribution.be presenteert / présente release: 14/11/2012 Persmappen en beeldmateriaal van al onze actuele titels kan u gedownloaden van onze site: Vous pouvez télécharger les dossiers de presse et les images de nos films sur: www.abc‐distribution.be Link door naar PERS om een wachtwoord aan te vragen. Visitez PRESSE pour obtenir un mot de passe. 2 DIANA VREELAND: THE EYE HAS TO TRAVEL – synopsis nl + fr Diana Vreeland – sprankelende persoonlijkheid, mode‐icoon en hoofdredacteur – schreef geschiedenis door mode te verheffen tot kunstvorm. Vreeland zwaaide de scepter als hoofdredacteur van Harper’s Bazaar en Vogue en creëerde een lifestyle vol glamour en excentriciteit die ongekend was in haar tijd. Vreeland werd bejubeld om haar humor en vlijmscherpe uitspraken als ‘the bikini is the biggest thing since the atom bomb.’ Twiggy, Lauren Bacall, Jackie O. en Coco Chanel behoorden tot haar meest intieme vrienden. In de documentaire DIANA VREELAND: THE EYE HAS TO TRAVEL blikt The Empress of Fashion zelf terug op haar bewogen leven. De fine fleur uit de internationale modewereld komen aan het woord over deze grande dame aller tijdschriften. Met o.a. Manolo Blahnik, Lauren Hutton, Diana von Furstenberg, David Bailey en Anjelica Huston. Lengte 88min. / Taal: Engels / Land: Verenigde Staten Diana Vreeland, personnalité hors norme, brillante, excentrique, aussi charmeuse qu’impérieuse, régna 55 ans durant sur la mode et éblouit le monde par sa vision unique du style. DIANA VREELAND : THE EYE HAS TO TRAVEL est à la fois un portrait intime et un vibrant hommage à l’une des femmes exceptionnelles du XXème siècle, véritable icône dont l’influence a changé le visage de la mode, de l’art, de l’édition et de la culture en général. -
WORKS by LEGENDARY PHOTOGRAPHER HORST at the Mccord MUSEUM
WORKS BY LEGENDARY PHOTOGRAPHER HORST AT THE McCORD MUSEUM A NORTH AMERICAN EXCLUSIVE Montreal, May 12, 2015 – Between May 14, and August 23, 2015, the McCord Museum is presenting, exclusive to North America, Horst: Photographer of Style, the first major retrospective of the works of Horst P. Horst (1906-1999). This touring exhibition is produced by London’s Victoria and Albert Museum. Legendary German-American artist Horst was one of the 20th century’s most influential fashion and portrait photographers. The exhibition features more than 250 vintage shots that transcend time. In addition to the photographs, the retrospective displays sketchbooks, a short film, archival footage, contact sheets and magazines, as well as eight haute couture dresses from celebrated designers that include Chanel, Muriel Maxwell Couverture du Vogue Molyneux, Lanvin, Schiaparelli, Maggy Rouff and Vionnet, all Muriel Maxwell américain, 1er juillet 1939 from the Victoria and Albert Museum collection. Cover of American Vogue, © Condé Nast /Succession July 1, 1939 Horst © Condé Nast / Horst Estate Also included in the exhibition are a number of less well-known aspects of Horst’s work: nude studies, travel shots from the Middle East, patterns created from natural forms, interiors and portraits. It chronicles his creative process and artistic influences, touching notably on his interest in ancient Classical art, particularly Greco-Roman sculpture, the Bauhaus ideals of modern design, and Surrealism in 1930s Paris. Visitors will discover in the exhibition the legacy of a master photographer. The four primary lenders are the Horst Estate; R. J. Horst; the Condé Nast Archive in New York; and the archive of Paris Vogue. -
Vogue Magazine the Glossy Has Spawned an Industry of Imitators, Two Documentaries, a Major Hollywood Film And, Perhaps Most Enduringly, a Modern Dance Craze
Lookout By the Numbers Vogue Magazine The glossy has spawned an industry of imitators, two documentaries, a major Hollywood film and, perhaps most enduringly, a modern dance craze. Itís also gone through some serious changes over the course of its 121 years in print. In recent years, the fashion bible has traded willowy models for celebrities of all kinds, a trend that reached its apex in April when the left-leaning, Chanel-shaded Brit Anna Wintour (the magazineís seventh editor in chief) decided to put ó gasp! ó a reality star on its cover. But even with young upstarts nipping at its Manolos, the periodical that popularized tights and the L.B.D. continues to thrive under its time-tested principle. That is, while other magazines 15 teach women whatís new in fashion, Vogue teaches them whatís in vogue. Approx. age at which Anna Wintour Here, a look at the facts and figures behind fashionís foremost franchise. — JEFF OLOIZIA established her signature bob $200,000 13% Wintour’s rumoredored annual clothing allowance of covers featuring celebrities during Wintour’s first five years 916 PagesP in the Favorite cover model by editor: SeptemberSepte 2012 issue, Anna Wintour: Vogue’sVogue largest to date 93% AMBER VALLETTA Vogue’sVoVogue’gue’ longest tenuredd editors:editors: of covers featuringg celebritiesc 17x over the last five years (still on the masthead)d) Diana Vreeland: Anna Wintour – 29 years A samplingsampling BRIGITTE BAUER Phyllis Posnick – 27 years of the 19 exotic exotic & animalsanimalsimals in fashionfashi on JEAN SHRIMPTON Grace Coddington – 26 years 19x each spreadsspreads Hamish Bowles – 22 years alongsideala ongside famous famous Reigning cover queen ladies:ladies:dies: 37 CheetahC (Kim Basinger, April ‘88) Number of years the longest ElephantEle (Keira Knightley, June ‘07) 26 reigning editor in chief served (Edna Woolman Chase, 1914-1951) SkunkSk (Reese Witherspoon, June ‘03) Number of times Lauren Hutton has fronted the magazine GibbonGi (Marisa Berenson, March ‘65) 8 (Nastassja Kinski, Oct. -
Valeska Soares B
National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work. -
Eclectic Ease
TAKE A MEMO JEAN PAUL GAULTIER TALKS ABOUT HIS NEW A NEW BOOK COLLECTS BROOKLYN- EXHIBITION IN THE THE MEMOS FROM THE BOROUGH, AS WELL AS MADONNA, FILM AND LEGENDARY DIANA BOUND MORE. PAGE 3 VREELAND. PAGE 10 $500,000 CONTRIBUTION Ralph Boosts Initiative For NYC Manufacturing By MARC KARIMZADEH NEW YORK — Ralph Lauren has given a signifi cant boost to New York garment manufacturing. Lauren will serve as the “premier underwriter” of the new Fashion Manufacturing Initiative with WEDNESDAY, OCTOBER 23, 2013 ■ $3.00 ■ WOMEN’S WEAR DAILY a $500,000 contribution from Ralph Lauren Corp. to the program, which was launched last month by WWD the Council of Fashion Designers of America and Andrew Rosen in partnership with the New York City Economic Development Corp. “I was born in New York and started my business in the Garment District here,” Lauren said. “FMI serves an important role in supporting our city, our industry and gives designers the access and oppor- tunities needed to help advance their careers while Eclectic boosting manufacturing in New York. This is some- thing I’m very proud to be a part of.” The initiative’s aim is to raise funds and create grants to help existing factories in the fi ve boroughs to update equipment, acquire new machinery and train workers, for example. Ease With the contribution, Don Baum, Ralph Lauren’s Contemporary designers are striking an senior vice president, global manufacturing and sourcing, will join FMI’s selection committee, which easy-breezy vibe for spring with loose, includes Rosen, chief executive offi cer of Theory; carefree shapes worked in a mix of cheerful CFDA ceo Steven Kolb; designer Prabal Gurung; Nanette Lepore ceo Bob Savage, and Rag & Bone de- patterns. -
Heritage and Innovation: Charles Frederick Worth, John Redfern, And
Heritage and Innovation: but despite his efforts to simplify women’s daytime clothes the usual effect was heavily Charles Frederick Worth, draped and fringed, and as stuffily claustro - phobic as the gewgaw-cluttered interiors John Redfern, and the associated with Victorian English taste”. Dawn of Modern Fashion The Kyoto Costume Institutes 2002 publi - cation of fashions from the 18 th through the Daniel James Cole 20 th Centuries includes a short, partially accurate biography Redfern but with erro - neous life dates that would have him opening his business around the age of 5. Recent scholarship creates a different pic - ture of both Worth and Redfern. Pivotal to the history of clothing, Redfern’s story is only recently being rediscovered, and only in the past few years has a proper explo - ration and assessment begun (primarily by the work of Susan North). North (2008) puts forward the thesis that in the late 19 th century, Redfern and Sons was of equal importance to the House of Worth. It is even possible to assert that Redfern, and his legacy, were actually of greater importance as shapers of 20 th Century styles. An exam - ination of Redfern and Redfern Ltd., in Charles Frederick Worth’s story has been comparison to their contemporaries, calls told often and is familiar to fashion schol - into question not only the preeminence of ars. But while Worth has enjoyed a place of Worth, but also aspects of the careers of Paul significance in fashion history, the story of Poiret and Gabrielle Chanel. his contemporary, John Redfern has been The following explores how Worth and ignored, or at best reduced to mere footnote Redfern, in different ways, shaped the tastes status. -
Penelope Rowlands
A Conversation with Penelope Rowlands enelope Rowlands’s biography of Carmel Snow, A Dash of Daring: Carmel Snow and P Her Life in Fashion, Art, and Letters was one of the books that was most valuable to the curatorial team that put together The Women of Harper’s Bazaar, 1936-1958. In became the heavily Post- it noted Bible for all things Bazaar. In a fitting twist, Rowlands used FIT’s copies of Harper’s Bazaar that date from Snow’s tenure for her research, just as the curators did. Because Rowlands, a journalist, was working on a project in Paris, she wasn’t able to attend the exhibition. However, she made time to speak on the phone with one of the curators, Nancy MacDonell, also a journalist, to talk about Carmel Snow, the importance of a good editor in chief, and the current state of fashion journalism. The following is an edited, condensed version of their conversation. Nancy MacDonell: Thank you so much for agreeing to speak with me. Penelope Rowlands: Oh, you're welcome. I was thrilled to hear about the show. As you can imagine, I have a bias towards Carmel and I'm always happy to hear her getting some attention. NM: If someone has heard of any of these three women they've probably heard of Diana Vreeland. I think Carmel Snow was a more gifted editor, but she didn't get the recognition that Vreeland got. PR: Well, that's exactly true, and when I met with Richard Avedon that was one of my Questions, and he’s quoted in the book—that Carmel came along before fashion editors were stars. -
Bare Witness
are • THE METROPOLITAN MUSEUM OF ART "This is a backless age and there is no single smarter sunburn gesture than to hm'c every low-backed cos tume cut on exactly the same lines, so that each one makes a perfect frame for a smooth brown back." British Vogue, July 1929 "iVladame du V. , a French lady, appeared in public in a dress entirely a Ia guil lotine. That is to say ... covered with a slight transparent gauze; the breasts entirely bare, as well as the arms up as high as the shoulders.... " Gemleman's A·1agazine, 1801 "Silk stockings made short skirts wearable." Fortune, January 1932 "In Defence ofSh** ld*rs" Punch, 1920s "Sweet hem·ting matches arc very often made up at these parties. It's quite disgusting to a modest eye to see the way the young ladies dress to attract the notice of the gentlemen. They are nearly naked to the waist, only just a little bit of dress hanging on the shoulder, the breasts are quite exposed except a little bit coming up to hide the nipples." \ Villiam Taylor, 1837 "The greatest provocation oflust comes from our apparel." Robert Burton, Anatomy ofi\Jelancholy, 1651 "The fashionable woman has long legs and aristocratic ankles but no knees. She has thin, veiled arms and fluttering hands but no elbows." Kennedy Fraser, The Fashionahlc 1VIind, 1981 "A lady's leg is a dangerous sight, in whatever colour it appears; but, when it is enclosed in white, it makes an irresistible attack upon us." The Unil'ersol !:lpectator, 1737 "'Miladi' very handsome woman, but she and all the women were dccollctees in a beastly fashion-damn the aristocratic standard of fashion; nothing will ever make me think it right or decent that I should see a lady's armpit flesh-folds when I am speaking to her." Georges Du ~ - laurier, 1862 "I would need the pen of Carlyle to describe adequately the sensa tion caused by the young lady who first tr.od the streets of New York in a skirt .. -
Christie's to Offer Exquisite Photographic Masterworks
For Immediate Release March 10, 2009 Contact: Milena Sales 212.636.2680 [email protected] CHRISTIE’S TO OFFER EXQUISITE PHOTOGRAPHIC MASTERWORKS FROM PRIVATE COLLECTIONS THIS MARCH IN NEW YORK Photographs at Christie’s New York New York – On March 31, Christie’s New York will showcase a broad range of photographs from the early 20th century through to the present day. As the market for the medium flourishes, Christie’s is committed to offering a carefully choreographed group of desirable images. Highlights include important photographs, all from private collections worldwide, by artists such as Helmut Newton, Irving Penn, Robert Mapplethorpe, Henri Cartier-Bresson, Richard Avedon, Baron Adolph de Meyer, Ansel Adams, Bernd and Hilla Becher, William Eggleston and Shirin Neshat. Overall, the sale comprises 116 lots with a projected sale total of $3 million. Helmut Newton: Photographs from the Collection of Leon Constantiner: Third and Final Part The final selection from the extraordinary Constantiner collection underscores Helmut Newton’s ascension to the position of one of the most sought-after photographers in the current market. In December 2008, Christie’s New York held Part I of this Newton- led collection, which totaled over $7.7 million and established the world auction record for a work by the artist. The March 31st sale will open with twenty classic works by Newton. His diverse, often mischievous fashion nude and landscape studies are all represented in the selection, a highlight of which is the Big Nude I: Lisa, Paris, (estimate: $25,000-35,000) – pictured right. Estimates for the group range from $4,000-$60,000. -
Alexey Brodovitch and His Influence
#, Philadelphia College ofArt expresses its gratitude to those foundations ivithout ivhose major, sponsoring grants this exhibition and catalogue could not have been achieved: The American Metal Climax Foundation; The Catherwood Foundation; The Samuel S. Fels Fund. In addition, generous supporting gifts from the following are gratefully acknou'ledged: Mr. and Mrs. George R. Bunker; The William Randolph Hearst Foundation; Mr. Morton Jenks; Saks Fifth Avenue. The exhibition and catalogue have been produced hv the Philadelphia College ofArt in collaboration with, the Smithsonian Inslilulion, Washington, D.C. April 7, 1972 Philadelphia. Pennsylvania ALEXEY BRODOVITCH ANDmS INFLIIENGE firing the winter of 1969 I had an opportunity to visit Alexey Brodovitch in le Thor, a small, quiet town in the south of France. I had gone there to tell him that the College had wanted to give him a degree and an exhibition, and that we hoped this still might be possible. That first meeting was strange and compelling. Outside that day, there was a clear winter light, and inside his back-lit room, all was shadowed and Brodovitch himself scarcely more than a silhouette, indistinct but also somehow very much a presence. Strained courte- sies in French and English began the visit, but soon gave way to another level of intensity, alwavs just below the surface of what we said. In that simple, lean room, this gaunt and ravaged man. ill and half-paralyzed, anguished by a recent and terrible accident to his son, was by turns gallant and passionate, courteous, friendly and desperately alone. It was impossible to remain aloof from him; he had a way of compelling involvement. -
INTERWOVEN: Dress That Crosses Borders and Challenges Boundaries
INTERWOVEN: Dress that Crosses Borders and Challenges Boundaries International Conference of Dress Historians Friday, 27 October 2017 and Saturday, 28 October 2017 Conference Venue: The Art Workers’ Guild, 6 Queen Square London, WC1N 3AT, England Presented By: The Association of Dress Historians www.dresshistorians.org The border has emerged as a key conceptual device in recent political and social history. Join us as we consider the role of dress in transcending historical boundaries that operated to denote traditional divisions of gender, class, and nationality, among others. The Association of Dress Historians (ADH) is delighted to present its upcoming international conference, which features 62 separate paper presentations delivered over two exciting days of scholarship in dress history. Conference tickets are £30 for one day or £50 for two days. All conference tickets include tea and networking sessions, lunch, and a wine reception each day. Conference tickets can be purchased online at: https://tinyurl.com/ADHCONF. This conference programme includes the entire two–day presentation schedule, all 62 conference speakers’ paper abstracts and biographies, with an image that represents their conference presentation. Additionally, this programme includes the biographies of the 20 panel chairs and the five conference interns. In the interest of the environment, this conference programme will not be printed on paper. We advise reading it digitally. Also in the interest of the environment, at the end of the conference, please return your plastic name badge to the name badge table, so we can use them again. Thank you. The Association of Dress Historians is Registered Charity #1014876 of The Charity Commission for England and Wales. -
Bonnie Cashin Collection, 1943-2000 (Bulk 1950-1976)
Bonnie Cashin collection, 1943-2000 (bulk 1950-1976) Finding aid prepared by Celia Hartmann This finding aid was generated using Archivists' Toolkit on March 26, 2018 The Costume Institute's Irene Lewisohn Costume Reference Library The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Bonnie Cashin collection, 1943-2000 (bulk 1950-1976) Table of Contents Summary Information .......................................................................................................3 Biographical note.................................................................................................................4 Scope and Contents note.....................................................................................................4 Arrangement note................................................................................................................ 5 Administrative Information .............................................................................................. 5 Related Materials .............................................................................................................. 5 Controlled Access Headings............................................................................................... 6 Collection Inventory............................................................................................................7 Series I. Correspondence...............................................................................................7 Series