Moscow's Best Restaurants
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Paul Iribe (1883–1935) Was Born in Angoulême, France
4/11/2019 Bloomsbury Fashion Central - BLOOMSBURY~ Sign In: University of North Texas Personal FASHION CENTRAL ~ No Account? Sign Up About Browse Timelines Store Search Databases Advanced search --------The Berg Companion to Fashion eBook Valerie Steele (ed) Berg Fashion Library IRIBE, PAUL Michelle Tolini Finamore Pages: 429–430 Paul Iribe (1883–1935) was born in Angoulême, France. He started his career in illustration and design as a newspaper typographer and magazine illustrator at numerous Parisian journals and daily papers, including Le temps and Le rire. In 1906 Iribe collaborated with a number of avantgarde artists to create the satirical journal Le témoin, and his illustrations in this journal attracted the attention of the fashion designer Paul Poiret. Poiret commissioned Iribe to illustrate his first major dress collection in a 1908 portfolio entitled Les robes de Paul Poiret racontées par Paul Iribe . This limited edition publication (250 copies) was innovative in its use of vivid fauvist colors and the simplified lines and flattened planes of Japanese prints. To create the plates, Iribe utilized a hand coloring process called pochoir, in which bronze or zinc stencils are used to build up layers of color gradually. This publication, and others that followed, anticipated a revival of the fashion plate in a modernist style to reflect a newer, more streamlined fashionable silhouette. In 1911 the couturier Jeanne Paquin also hired Iribe , along with the illustrators Georges Lepape and Georges Barbier, to create a similar portfolio of her designs, entitled L’Eventail et la fourrure chez Paquin. Throughout the 1910s Iribe became further involved in fashion and added design for theater, interiors, and jewelry to his repertoire. -
Jeanne Lanvin
JEANNE LANVIN A 01long history of success: the If one glances behind the imposing façade of Rue du Faubourg Saint-Honoré, 22, in Paris, Lanvin fashion house is the oldest one will see a world full of history. For this is the Lanvin headquarters, the oldest couture in the world. The first creations house in the world. Founded by Jeanne Lanvin, who at the outset of her career could not by the later haute couture salon even afford to buy fabric for her creations. were simple clothes for children. Lanvin’s first contact with fashion came early in life—admittedly less out of creative passion than economic hardship. In order to help support her six younger siblings, Lanvin, then only fifteen, took a job with a tailor in the suburbs of Paris. In 1890, at twenty-seven, Lanvin took the daring leap into independence, though on a modest scale. Not far from the splendid head office of today, she rented two rooms in which, for lack of fabric, she at first made only hats. Since the severe children’s fashions of the turn of the century did not appeal to her, she tailored the clothing for her young daughter Marguerite herself: tunic dresses designed for easy movement (without tight corsets or starched collars) in colorful patterned cotton fabrics, generally adorned with elaborate smocking. The gentle Marguerite, later known as Marie-Blanche, was to become the Salon Lanvin’s first model. When walking JEANNE LANVIN on the street, other mothers asked Lanvin and her daughter from where the colorful loose dresses came. -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
Gazette Du Bon Ton: Reconsidering the Materiality of the Fashion Publication
Gazette du Bon Ton: Reconsidering the Materiality of the Fashion Publication by Michele L. Hopkins BA in Government and Politics, May 1989, University of Maryland A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Master of Arts in Decorative Arts and Design History August 31, 2018 Thesis directed by Erin Kuykendall Assistant Professor of Decorative Arts & Design History ©2018 by Michele L. Hopkins All rights reserved ii Dedication To Mary D. Doering for graciously sharing her passion and extensive knowledge of costume history in developing the next generation of Smithsonian scholars. Thank you for your unwavering encouragement. This thesis is dedicated to you. iii Acknowledgments What strange phenomena we find in a great city, all we need do is stroll about with our eyes open. ~Charles Baudelaire The author wishes to gratefully acknowledge the guidance of Tanya Williams Wetenhall, Erin Kuykendall, and Kym Rice. To Elizabeth Deans Romariz, thank you for shaping my thesis topic and for inspiring me to strive for academic excellence beyond my comfort zone. The academic journey into the world of rare books changed my life. To April Calahan, thank you for your generosity in opening the vast resources of the Library Special Collections and College Archives (SPARC) at the Fashion Institute of Technology (FIT) to me. To Simon Kelly, my summer with you at the Saint Louis Art Museum introduced me to late nineteenth-century Paris, the center of art, fashion, commerce, and spectacle. Your rigorous research methods inform my work to this day, you are the voice in my head. -
Training the Eye, Fashion Design and Fashion History As an Argument For
Journal of Modern Education Review, ISSN 2155-7993, USA September 2018, Volume 8, No. 9, pp. 645–653 Doi: 10.15341/jmer(2155-7993)/09.08.2018/001 Academic Star Publishing Company, 2018 http://www.academicstar.us Training the Eye, Fashion Design and Fashion History as an Argument for Women’s Emancipation Lopes Maria Teresa Ypiranga (Núcleo de Design da UFPE – CAA) Abstract: This article consists in the discussion of the “training the eye” process of design students, taking the relationship between history and sociology as a crop for the examination of the female emancipation analysis based on the dressing relation. For that reason, the investigation works inside the fashion field and through the significance analysis of the works of four modern designers: Charles Frederick Worth, Paul Poiret, Christian Dior and Yves Saint Laurent. Key words: training the eye, female appearance, visual discourse 1. Introduction This article aims at introducing a discussion in the field of study that seeks tot identify the “eye training” (M. T. Lopes, 2014) of haute couture1 modern fashion designers — Worth, Poiret, Dior and Saint Laurent (YSL) — as a historical and social process of shifting the identity/image of the female figure through historical times, when woman remained as triggers of style2. This argumentation was possible by virtue of the concept ‘training the eye” (Lopes, 2014) and due to the fact that this concept is of great importance when studying fashion content, since still nowadays the aforementioned female aesthetic prevails. Subsequently, in order to substantially legitimize our study, the arguments of this article came from an exploration of the significance of the theoretical universe of the course “History and Aesthetics of Stylists”3 — (HEE in Portuguese), offered to undergraduate major students of Design at the Federal University of Pernambuco — Agreste Academic Center4 (UFPE — CAA). -
Novel of a Wardrobe Parisian Chic from the Belle Epoque
PRESS KIT NOVEL OF A SEPTEMBER 2013 WARDROBE PARISIAN CHIC FROM THE BELLE EPOQUE TO THE 1930S CARNAVALET EXHIBITION INFORMATIONS MUSEUM- 17 OCTOBER www.carnavalet.paris.fr HISTORY OF 2013 TO 16 PARIS MARCH 2014 Anonyme Femme à l’écharpe Huile sur bois 1900 © Musée Carnavalet / Roger-Viollet 0 CONTENTS Press release ......................................................................................................................... 2 Intention of the exhibition ....................................................................................................... 3 Exhibition path ....................................................................................................................... 4 The beginnings, family influences and the first steps of Alice in sewing ....................................................................................... 5 The Parisian fashion scene in the neighborhood of the Place Vendome and Rue de la Paix ....................................................... 6 At Chéruit, Alice Alleaume, first saleswoman ............................................................................................................................... 7 30 years, Alice Alleaume, Parisienne fashion .............................................................................................................................. 9 Timeline ............................................................................................................................... 10 Specifications of the exhibition ........................................................................................... -
Developing My Brand MINJI KIM BUF 4900 Internship Professor Alyssa
Developing My Brand MINJI KIM BUF 4900 Internship Professor Alyssa Adomaitis October 17, 2019 Who Am I in Today’s Society My Brand Minji Kim’s brand Kim and Bantle seeks to a challenge and innovation in a tedious society. Modern society has been changed many times with customers’ frequent whim caprice. However, the change in a society has been repeated which led to customers to feel bored. This situation has impacted to fashion market too. Most customers today desire something new in a fast-paced environment than something new but repeated items. So, in accordance with customers’ need today, Kim and Bantle aims a challenge and innovation, but classic. However, Kim and Bantle’s goal and brand identity are not only based on customers’ need today, but significantly based on Kim and Bantle’s founder Minji Kim’s identification. Identify Myself Minji Kim is an adventurer, who enjoys and suffers a challenge in abroad than stays in a safe and comfortable condition like her home country. For her living abroad is not easy like other foreigners because she feels sick and exhausted from time to time. However, despite difficulties of living in other countries, she never gives up and be scared of travelling and living in other countries for her goals. Instead of being scared of facing to a challenge, she has enjoyed the challenge because she has learned about life from the challenge as well. Describe Myself Minji Kim has gone on trips many countries her alone, with her friends, family, and boyfriend. While travelling, she has faced to many challenges. -
HSE Guide Book 2019
HSE Guide Book 2019 1 Contents Immigration regulations .................................................................................................................................... 3 Before your arrival ........................................................................................................................................................... 3 Border and passport control ............................................................................................................................................ 3 Registration ...................................................................................................................................................................... 3 Insurance Policy ............................................................................................................................................................... 3 Safety tips ........................................................................................................................................................................ 3 Contacts ........................................................................................................................................................................... 3 Getting to Moscow .............................................................................................................................................. 4 Airports ........................................................................................................................................................................... -
The Dressmakers of France
The Dressmakers of France Editor’s Note: The following article appeared in the August 1932 issue of Fortune magazine (published by Time, Inc.). The author of the article was not named. The article is reprinted here in its entirety. The skirt and coat shown here are by Paul Poiret. The ensemble is owned by the Beverley Birks Couture Collection. When Mrs. Adrian Koburg pays $35 for an afternoon frock marked “Copy of Chanel” instead of paying Macy’s regular $22.70 for an afternoon frock marked “Macy”, she is paying tribute to an art. Which she realizes. And she is also paying tribute to an industry. Which she may not realize. The art is obvious. Any woman recognizes it. Any woman knows that there is genius in such and such a hang of the silk and mere doltishness in such and such another. But the industry is obscure. Indeed the industry exists by virtue of obscurity. For the industry is an industry of ideas. If paintings sold --- and really sold --- and sold to the great world instead of to the dealers, there would be an industry of painting. And it would be run like the industry of haute couture which produces the frocks sold in original and in copy to Mrs. Koburg and her likes. That is to say, there would be great maisons of painting. And each maison would have --- as its priceless goods, as its chief stock in trade and its sole and only capital --- a famous painter. Who would be treated (or who, if he owned the establishment, would treat himself) in some such way as this: he would be paid an enormous salary, he would be lodged in a chic hotel on the edge of the Bois, he would be surrounded with adulation and flattery, he would be permitted the whims of Caligula and the vices of Nero. -
Neglinnaya Street and Central Children's Store
NEGLINNAYA STREET AND CENTRAL CHILDREN’S STORE PRIZE CODE (CCCB): J275 THE FIRST EXPIRIENCE OF SHARED SPACE THE NEXT STEP (2016–2017) The developed concept offers improvement that is commensurate IN RUSSIA with the scale of the existing historical built environment. It is inno- 1. The Central vative and at the same time delicate, it does not conflict with the Childern`s store architectural particularity of the area and its historical and cultural- Rozhdestvenka 2. Lubyanskaya – The basic layout features after the intervention: two-way significance. Bolshaya Lubyanka traffic organisation preserved; space for parallel parking square 3. Polytechnic provided; dedicated bicycle lane introduced (In the future Pushechnaya museum it will be prolongued to the Boulevard Ring creating a full Dr. Boris Pasternak, Deputy Chairman of the Sci- 1 Myasnitskaya route, which will connect the City Center and the Ring). entific Council of the Moscow City Department of Cultural Heritage 2 – The street is paved with granite. Paving pattern in the form Teatralny proezd Novaya square of wave is meant to symbolize Neglinka river that is flowing Maroseyka in tubes under the street. The pixel image is simultaneously 3 a work of public art and a navigation tool: dark paving indicates the roadway and light paving signalizes pedestrian zone. The project reflects such contemporay ideas as “street for life”, “re- 4 duction in traffic”, “shared street use”. It uses the understanding of – A small discovered part of historical pavement from 1880s the fact that road and pedestrian traffic can be successfully com- is preserved as a fragment. It serves as a “window to bined within one street and that exclusively pedestrian streets are to be seen as exceptions rather than as the general rule of public historical Moscow” which lets pedestrians feel the cultural spaces arrangement in a contemporary urban center. -
Body Images and Fashion in the 20Th Century Akiko Fukai
Visions of the Body——Body Images and Fashion in the 20th Century Akiko Fukai Chief Curator, The Kyoto Costume Institute Dialogue between Clothes and the Body Our bodies wear clothes. to meet the demands of the times and society, clothes have become fashion. Fashion can be regarded as the story of the fictitious body as a visible surface. Until the 19th century, in the history of European fashion, clothes, working in concert with the body, created new forms through the interposition between them of "foundation," a sub-structure which functions creatively. It created extravagant forms and proliferated intricate decorations on the surface. However, in the 20th century the relationship between clothes and the body showed a different development from that of the previous centuries where it was ensconced in a uniform, visual space. Clothes and the body-fashion-changed, became the subject, and was no longer an object simply to be seen. As the art of the 20th century was devoted to an expression of the self, the body itself became a powerful medium of expression in fashion. Although in general we must concede to Lemoine-Luccioni's statement that "women had no bodies of their own until the beginning of the 1980s. Courrège's line, Dior s line, Saint-Laurent's line….. They were as different as their handwriting,"1 the multifaceted relationship between the body and fashion blossomed around us at the end of the 20th century. How did it happen and where does it intend to go? How did the 20th century culture actualize body images in fashion? Before the Corset The history of European fashion follows the effort to reconstruct proportions of the body. -
MOSCOW CITY GUIDE Welcome to Moscow!
MOSCOW CITY GUIDE Welcome to Moscow! You’ve arrived at Sheremetyevo – You did just right now, when you picked the largest airport in Russia. up this guide. First, it is indeed short. Put it in your pocket and it will be all along Sheremetyevo has repeatedly been with you while you stay in Moscow. recognised as the best airport in Europe Second, it is helpful. Here you will for client service and was named find all the information you need for the “travellers’ favourite airport” by a comfortable trip. TripAdvisor. Third, it is free and is available in three The very first steps in a new city are languages. the ones that matter most. Even if you Moscow is an amazing city. You must have read several travel guides, marked have already suspected this and now we with your own hand the most interesting will show this to you. places on the map and scheduled every hour of your trip, you will still be agitated in an unfamiliar city. You are always welcome here! Getting to Moscow 2 Transport in Moscow 4 Money, safety and conduct 5 10 must-see places 6 If you have just a weekend 8 Restaurants 10 Moscow with kids 12 Riviera Shopping Mall for children 13 Best viewing points in Moscow 14 Map of the city centre 16 Museums 18 Shopping 21 Historic Moscow 24 Hotels 25 Moscow event calendar 26 Moscow night life (24/7) 28 Sheremetyevo international airport 30 Moscow's most beautiful metro stations 32 For advertising, contact: +7 (495) 789 46 98 www.exms.ru Don’t wave down By taxi By Aeroexpress By bus a taxi Getting to any place get in time to the to the nearest in the city centre metro stations Use the official taxi service to Moscow — this will save you time and from 25 min.