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Altman on Jacobs on Dior: Fashion Through Fractals and Archives
Streetnotes (2012) 20: 90-110 90 ISSN: 2159-2926 Altman on Jacobs on Dior: Fashion Through Fractals and Archives J. Emmanuel Raymundo Abstract On February 25, 2011, the fashion luxury company Christian Dior suspended John Galliano, who had been its creative director since 1996, after his arrest over making anti-Semitic remarks at a Paris bar. Quickly following his suspension, a video from December 2010 was distributed showing Galliano hurling anti-Semitic invectives at several bar patrons. On March 1, 2011, Dior fired Galliano. At stake in the considerable interest and speculations regarding who takes over at Dior is control of a €24.6B business empire and access to a historic couturier’s archive. In this sense, its designer will influence the label’s “books” both financial and what will be stored in its physical repository as part of the brand’s creative and artistic repertoire. Despite fashion’s apparent ubiquity, the anticipation surrounding who takes over at Dior is proof that despite fashion’s professed democratization, there still exists a fashion hierarchy with Dior occupying its upper echelon. Since Galliano’s dismissal, fashion insiders have moved from breathlessly feverish in their speculations to desperately calling out for relief in the face of an unexpectedly drawn-out waiting game that is now over a year old and otherwise an eternity in fashion’s hyper accelerated production cycle. To purposely counter fashion’s accelerated internal clock, the purpose of this commentary is to keep fashion in a reflective state rather than a reflexive stance and uses fashion on film, and specifically Robert Altman’s Prêt-à-Porter (1994), to give cultural and historical context to all the online speculation and chatter. -
Coco Chanel's Comeback Fashions Reflect
CRITICS SCOFFED BUT WOMEN BOUGHT: COCO CHANEL’S COMEBACK FASHIONS REFLECT THE DESIRES OF THE 1950S AMERICAN WOMAN By Christina George The date was February 5, 1954. The time—l2:00 P.M.1 The place—Paris, France. The event—world renowned fashion designer Gabriel “Coco” Cha- nel’s comeback fashion show. Fashion editors, designers, and journalists from England, America and France waited anxiously to document the event.2 With such high anticipation, tickets to her show were hard to come by. Some mem- bers of the audience even sat on the floor.3 Life magazine reported, “Tickets were ripped off reserved seats, and overwhelmingly important fashion maga- zine editors were sent to sit on the stairs.”4 The first to walk out on the runway was a brunette model wearing “a plain navy suit with a box jacket and white blouse with a little bow tie.”5 This first design, and those that followed, disap- 1 Axel Madsen, Chanel: A Woman of her Own(New York: Henry Holt and Company, 1990), 287. 2 Madsen, Chanel: A Woman of her Own, 287; Edmonde Charles-Roux, Chanel: Her Life, her world-and the women behind the legend she herself created, trans. Nancy Amphoux, (New York: Alfred A. Knopf, Inc., 1975), 365. 3 “Chanel a La Page? ‘But No!’” Los Angeles Times, February 6, 1954. 4 “What Chanel Storm is About: She Takes a Chance on a Comeback,” Life, March 1, 1954, 49. 5 “Chanel a La Page? ‘But No!’” 79 the forum pointed onlookers. The next day, newspapers called her fashions outdated. -
The Evolution of Brassiere in the 20Th Century
Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 12-10-2012 The Evolution of Brassiere in the 20th Century Jolene Khor Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Journalism Studies Commons Recommended Citation Khor, Jolene, "The Evolution of Brassiere in the 20th Century" (2012). Honors Theses. 2342. https://scholarworks.wmich.edu/honors_theses/2342 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Running Head: The Evolution of Brassiere in the 20th Century 1 The Evolution of Brassiere in the 20th Century Jolene Khor Western Michigan University The Evolution of Brassiere in the 20th Century 2 Abstract It is common knowledge that a brassiere, more widely known as a bra, is an important if not a vital part of a modern woman’s wardrobe today. In the 21st century, a brassiere is no more worn for function as it is for fashion. In order to understand the evolution of function to fashion of a brassiere, it is necessary to account for its historical journey from the beginning to where it is today. This thesis paper, titled The Evolution of Brassiere in the 20th Century will explore the history of brassiere in the last 100 years. While the paper will briefly discuss the pre-birth of the brassiere during Minoan times, French Revolution and early feminist movements, it will largely focus on historical accounts after the 1900s. -
French and Fashionable Anne Beem Iowa State College
Volume 35 | Number 13 Article 6 1955 French and Fashionable Anne Beem Iowa State College Follow this and additional works at: http://lib.dr.iastate.edu/homemaker Part of the Home Economics Commons Recommended Citation Beem, Anne (1955) "French and Fashionable," The Iowa Homemaker: Vol. 35 : No. 13 , Article 6. Available at: http://lib.dr.iastate.edu/homemaker/vol35/iss13/6 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in The oI wa Homemaker by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. Toni Miley reports- FRENCH and FASHIONABLE Toni Miley, after spending 14 months in France, by Anne Beem saw her exaggerated ideas of French creations take a T echnical Journalism junior nosedive when she discovered the aver.age French woman's taste in clothes. Paris- horne of the world Shoe styles in Paris are very similar to ours. The famous fashion designers- has even felt a modified greatest difference is the slender heel. The base of the influence of the Davy Crockett coonskin cap! A typi heel is very narrow, tapering off to a pencil-like thin cal example was the old French woman who used the ness. familiar cap with its tail hanging down the back to R egardless of where Toni went, French women were dress up her raccoon coat. seen in suits. The practical suit was worn for dressy occasions, semi-dressy events and even for shopping. -
Christian Dior Why Would Bernard Arnault Invest
A work project, presented as part of the requirements for the Award of a Master Degree in International Finance from the NOVA – School of Business and Economics CHRISTIAN DIOR WHY WOULD BERNARD ARNAULT INVEST BILLIONS ON A NAME HE ALREADY HOLDS? CAROLINA MARQUES BARREIROS – 4134 / 24015 A Project carried out on the Master in Finance Program, under the supervision of: Paulo Pinho January 2019 Tuesday, April 25th 2017i. Bernard Arnault decided to go shopping. On the menu, a double operation that aims to simplify the ties that unite the group LVMH (Moët Hennessy Louis Vuitton), Christian Dior and its owner Bernard Arnault. The first transaction consists of an offer worth about €12.1 billion from the holding company controlled by Arnault Family Group to take over of the remaining 25.9% stake Christian Dior. The second one on the strengthening of LVMH group through the acquisition of the Christian Dior Couture for €6.5 billionii. However, a question remains: why would Bernard Arnault invest billions on a name he already holds? LVMH “The LVMH group is the world’s leading luxury goods company, the result of successive alliances among companies that, from generation to generation, have successfully combined traditions of excellence and creative passion with a cosmopolitan flair and a spirit of conquest.” - LVMH websiteiii Born out of the merger of Louis Vuitton and the Moët Hennessy group in 1987, the LVMH group led by Bernard Arnault is the world’s largest luxury conglomerate in terms of turnover (Exhibit 1). In 2016, the consolidated revenue of LVMH group was €37.6 billioniv, 5% more than in 2015 (Exhibit 2). -
FY 2020 Results Presentation Milan, March 10Th 2021 Agenda Patrizio Bertelli – CEO Business Update
FY 2020 Results Presentation Milan, March 10th 2021 Agenda Patrizio Bertelli – CEO Business update Alessandra Cozzani – CFO FY-2020 Financial Review Lorenzo Bertelli – Head of Marketing and Head of CSR Marketing and Communication update Carlo Mazzi – Chairman Outlook Q&A Session FY 2020 Results Presentation March 10th 2021 2 Agenda Patrizio Bertelli – CEO Business update Alessandra Cozzani – CFO FY 2020 Financial Review Lorenzo Bertelli – Head of Marketing and Head of CSR Marketing and Communication update Carlo Mazzi – Chairman Outlook Q&A Session FY 2020 Results Presentation March 10th 2021 3 Good execution in a challenging environment H2 performance returning to pre-Covid levels Prada Group proved to be very resilient in this unprecedented crisis Ensured safe environment for employees and customers in different phases of lockdown worldwide Sequential improvement in Retail trend throughout the year Efficient cost containment plan Active and flexible management of supply chain, avoiding excess inventory Capex restricted to strategic projects Sharp improvement in EBIT in H2, enough to fully offset the operating losses of H1 Strong operating Cash flow generation Significant improvement in the Net Financial Position FY 2020 Results Presentation March 10th 2021 4 Focus on retail and brands.com Effective retail distribution network and focus on local clientele Continued brand elevation supported by strategic decisions • Discount termination • Wholesale rationalisation continued Improvement in Retail trends seen across all geographies despite -
Designs of the Year 2015: Nominees Announced
DESIGNS OF THE YEAR 2015: NOMINEES ANNOUNCED 76 NOMINATED PROJECTS INCLUDE AN OFF-GRID ECO TOILET, MICROCHIPS THAT MIMIC HUMAN ORGANS, A CAMPAIGN PROMOTING UGLY VEGETABLES AND A BOOK PRINTED WITHOUT INK 2015’s Designs of the Year nominees, announced today by London’s Design Museum, represent the global breadth of design talent, featuring some of the industry’s biggest names alongside rising stars and little-known practices. Google’s self-driving car, Frank Gehry’s Fondation Louis Vuitton and Asif Kahn’s Sochi Olympic Megafaces are just some of the high-profile projects to be represented in the exhibition of nominees which opens at the Design Museum on 25 March. Now in its eighth year, Designs of the Year celebrates design that promotes or delivers change, enables access, extends design practice or captures the spirit of the year. The international awards and exhibition showcase projects from the previous year, across six categories: Architecture, Digital, Fashion, Product, Graphics, and Transport. Design experts, practitioners and academics from across the world are asked by the Design Museum to suggest potential projects, from which the museum has selected 76 for nomination and display in the exhibition. A specially selected jury chooses a winner for each category and an overall winner. Designs of the Year’s wide-ranging scope provides a snapshot of the contemporary concerns of the design world, with nominees coming from over thirty countries across five continents. A strong theme for 2015 is the desire to harness new technologies to solve long-standing problems, as seen in projects as diverse as the world’s first lab for 3D printing prosthetic limbs, and the Moocall sensor which is connected to a cow’s tail and texts the farmer when calving is imminent. -
2020 ANNUAL REPORT Passionate About Creativity
2020 ANNUAL REPORT Passionate about creativity Passionate about creativity THE LVMH SPIRIT Louis Vuitton and Moët Hennessy merged in 1987, creating the LVMH Group. From the outset, Bernard Arnault gave the Group a clear vision: to become the world leader in luxury, with a philosophy summed up in its motto, “Passionate about creativity”. Today, the LVMH Group comprises 75 exceptional Maisons, each of which creates products that embody unique craftsmanship, carefully preserved heritage and resolute modernity. Through their creations, the Maisons are the ambassadors of a refined, contemporary art de vivre. LVMH nurtures a family spirit underpinned by an unwavering long-term corporate vision. The Group’s vocation is to ensure the development of each of its Maisons while respecting their identity and their autonomy, by providing all the resources they need to design, produce and distribute their creations through carefully selected channels. Our Group and Maisons put heart and soul into everything they do. Our core identity is based on the fundamental values that run through our entire Group and are shared by all of us. These values drive our Maisons’ performance and ensure their longevity, while keeping them attuned to the spirit of the times and connected to society. Since its inception, the Group has made sustainable development one of its strategic priorities. Today, this policy provides a powerful response to the issues of corporate ethical responsibility in general, as well as the role a group like LVMH should play within French society and internationally. Our philosophy: Passionate about creativity THE VALUES OF A DEEPLY COMMITTED GROUP Being creative and innovative Creativity and innovation are part of LVMH’s DNA; throughout the years, they have been the keys to our Maisons’ success and the basis of their solid reputations. -
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. -
HIGHSNOBIETY ISSUE 16 the “AWAKENING" ISSUE ISSUE 15 / FALL/WINTER 2017 Print Run: 50,000 Copies Pass on Readership: 3.2 ABOUT
HIGHSNOBIETY ISSUE 16 THE “AWAKENING" ISSUE ISSUE 15 / FALL/WINTER 2017 Print Run: 50,000 copies Pass on Readership: 3.2 ABOUT Highsnobiety has steadily built a strong brand in the online fashion and lifestyle world. Today the blog/magazine sits among the most visited global sources for inspiration in the fields of fashion, sneakers, music, art and lifestyle in general. Innovation, progression and always being several steps ahead of everybody else are only some of the core values of Highsnobiety. In Summer 2010 the first print issue was born, after having been online for over 5 years. The drive that has made the online magazine to what it is today, is the very same that also makes the print issue stand out. Highsnobiety shares all these values with it‘s readers, which are young influencers and trendsetters from around the globe. The success of the first print issue, which has been widely picked up as a collectors item during Berlin fashion week, has lead to the on-going creation of a Highsnobiety magazine. The power of the online magazine (6 Million monthly visitors, 42 Million page views) allows the Highsnobiety team to spread the word about the magazine, as well as share the content of the magazine across physical borders of stores, galleries and events, creating the perfect fusion of the two. The next print issue will be released in April 2018. AUDIENCE GENDER 78% male 22% female LOCATION 42% USA 25% UK 23% EU 10% ASIA TARGET GROUP Fashion Impresarios / Brand owners & PR specialists / Influencers & Early Adopters / Trendsetters & Forecasters / Collectors / Individuals reluctant to mainstream / HS15_Mag_Final.indd 106-107 20/8/17 5:34 pm SYNOPSIS Highsnobiety Issue 16 will explore the theme of "awakening" with an aim to "wake" the culture from a state of stagnation and answer the question: does culture exist without context? To do so we'll look back in history and highlight key creatives who laid the groundwork upon which today's trends, movements and cultures thrive. -
Haute Couture
NEXT EXHIBITION AT THE CITY HALL PARIS HAUTE COUTURE FREE EXHIBITION AT THE CITY HALL FROM 2 MARCH TO 6 JULY 2013 With the support of Swarovski OPEN EVERY DAY EXCEPT SUNDAYS AND BANK HOLIDAYS, FROM 10 AM TO 7 PM PRESS RELEASE PARIS HAUTE COUTURE Paris City Hall celebrates haute couture from 2 March to 6 July 2013, with an exhi- bition in the Saint-Jean room, in collaboration with the Galliera Museum and the exceptional support of Swarovski. For the first time ever in Paris, fashion capital of the world, an exhibition is bringing together a hundred haute couture dresses and outfits by designers such as Worth, Doucet, Poiret, Lanvin, Vionnet, Patou, Chanel, Molyneux, Rochas, Maggy Rouff, Jacques Heim, Nina Ricci, Schiaparelli, Jacques Fath, Balenciaga, Grès, Balmain, Carven, Christian Dior, Givenchy, Cardin, Yves Saint Laurent, Courrèges, Jean Paul Gaultier, Lacroix, Alaïa… Organised in collaboration with the Galliera Museum – under the artistic direction of Oliver Saillard – the Paris haute couture exhibition invites you to admire these exceptional garments, chosen from the most beautiful pieces in the museum’s collections. A unique opportunity to discover a number of masterpieces, many of which have never been seen before. This group also includes a set of drawings and photographs, enabling the visitor to step behind the scenes of these world-famous fashion houses and observe the creative processes. Haute couture was born in Paris in the mid-19th century and since then, generations of designers have transformed this supposedly frivolous discipline into high art, drawing on the skill of thousands of little hands, like those of the embroiderers and plumassiers (feather workers), whose work in the shadows has kept alive the traditions that help maintain Paris’ influence on fashion all over the world. -
Annual Report 2019
Annual Report 2019 PRADA spa (Hong Kong Stock code: 1913) Annual Report 2019_14apr_2020.indd 1 14/04/20 16:03 ANNUAL REPORT 2019 Annual Report 2019_14apr_2020.indd 2 14/04/20 16:03 Annual Report 2019_14apr_2020.indd 3 14/04/20 16:03 TABLE OF CONTENTS The PRADA Group 3 Financial Review 57 Directors and Senior Management 83 Directors’ Report 99 Corporate Governance 121 Consolidated Financial Statements 141 PRADA spa Separate Financial Statements 147 Notes to the Consolidated Financial Statements 153 Independent Auditors’ Reports 237 Annual Report 2019_14apr_2020.indd 1 14/04/20 16:03 The first Prada store Galleria Vittorio Emanuele II, Milan THE PRADA GROUP PRADA Group Annual Report 2019 - The PRADA Group 3 Annual Report 2019_14apr_2020.indd 3 14/04/20 16:04 Miuccia Prada and Patrizio Bertelli PRESENTATION Pioneer of a vision that transcends fashion, the Prada Group inquisitively observes contemporary society and its interactions with very diverse and apparently distant cultural spheres. A fluid perspective that becomes the Group’s manifesto, suggesting a unique approach to doing business by placing at the core of ethical and action principles essential values such as freedom of creative expression, reinterpretation of what already exists, preservation of know-how and enhancement of people’s work. The Prada Group is a contemporary interpreter of changing scenarios. In a three- dimensional temporal dialogue that combines the identity heritage of the past with demands and dynamics of the present and future perspectives, creativity molds ideas that transcend the boundaries of the ordinary and create an innovative vision of tomorrow. “Keen observation and curiosity for the world around us have always been at the heart of the creativity and modernity of the Prada Group.