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Standing Through the Tide of Time S
STANDING THROUGH THE TIDE OF TIME S Once a royal court master tailor for the Empress Eugénie, wife of Emperor Napoleon III, Alex was the reason why ESMOD PARIS WAS RENOWNED FOR 170 YEARS AROUND THE WORLD, flourished and Lavigne’s contribution to the became ESMOD International world of fashion education which still stands tall today. continues with the publication of his first cutting manual It was founded in 1841 as containing intricate tailoring the first fashion school in the methods, principles of pattern world. Now, it is enriched with drafting and illustrations igne a colorful fashion education for various body types and history of almost two centuries. postures, a required knowledge in fashion schools that era and still relevant to this day. v Thereafter, Lavigne invented the measuring tape and the draping mannequin, known as the ‘Lavigne Bust’. La Alexis Guerre- Alexis The One Academy & ESMOD Paris Lead A World-Class Fashion Education A MERGER OF PIONEERS Both institutions share a similar vision which is prioritising the pillars of success - outstanding results. With The One Academy’s “Masters Train Masters” teaching philosophy, ESMOD’s programmes are delivered with a practical teaching approach taught by industry experienced lecturers. These become the key elements to becoming the next generation of creative leaders in the fashion world. 1 9 2 3 4 6 5 15 10 7 12 14 13 8 17 16 18 11 20 19 1 ESMOD OSLO -Norway- 2-6 ESMOD ROUBAIX ESMOD RENNES ESMOD PARIS ESMOD BORDEAUX ESMOD LYON -France- 7-8 13-14 ESMOD TUNIS ESMOD KYOTO ESMOD SOUSSE ESMOD TOKYO -Tunisia- -Japan- 9 15 ESMOD MOSCOW ESMOD ISTANBUL -Russia- -Turkey- 10-11 16 ESMOD BEIJING ESMOD DAMASCUS ESMOD GUANGZHOU -Syria- -China- 17 12 ESMOD BEIRUT ESMOD SEOUL -Lebanon- International Network & -South Korea- 18 ESMOD DUBAI -United Arab Emirates- 19 ESMOD Jakarta -Indonesia- 20 ESMOD KUALA LUMPUR World Class -Malaysia- Recognition Education Highlights Vanessa Chua Yen May Esmod Kuala Lumpur 01 Student consulting our fashion design lecturer during class. -
Paris Region Facts & Figures 2021
Paris Region Facts & Figures 2021 Welcome to Paris Region Europe’s Leading Business and Innovation Powerhouse Paris Region Facts and Figures 2021 lays out a panorama of the Region’s economic dynamism and social life, positioning it among the leading regions in Europe and worldwide. Despite the global pandemic, the figures presented in this publication do not yet measure the impact of the health crisis, as the data reflects the reality of the previous months or year.* With its fundamental key indicators, the brochure, “Paris Region Facts and Figures 2021,” is a tool for decision and action for companies and economic stakeholders. It is useful to economic and political leaders of the Region and to all who wish to have a global vision of this dynamic regional economy. Paris Region Facts and Figures 2021 is a collaborative publication produced by Choose Paris Region, L’Institut Paris Region, and the Paris Île-de-France Regional Chamber of Commerce and Industry. *L’Institut Paris Region has produced a specific note on the effects of the pandemic on the Paris Region economy: How Covid-19 is forcing us to transform the economic model for The Paris Region, February 2021 Cover: © Yann Rabanier / Choose Paris Region 2nd cover: © Pierre-Yves Brunaud / L’Institut Paris Region © Yann Rabanier / Choose Paris Region Table of contents Welcome to Paris Region 5 Overview 6 Population 10 Economy and Business 12 Employment 18 Education 20 R&D and Innovation 24 Digital Infrastructure 27 Real Estate 28 Transport and Mobility 30 Logistics 32 Meetings and Exhibitions 34 Tourism and Quality of life 36 Welcome to Paris Region A Dynamic and A Thriving Business Paris Region, Fast-growing Region and Research Community A cultural and intellectual The highest GDP in the EU28 in A Vibrant, Innovative metropolis, a scientific and billions of euros. -
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. -
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. -
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. -
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. -
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 -
SAINT LAURENT Les Coulisses De La Haute Couture À Lyon
DOSSIER DE PRESSE 2 YVES SAINT LAURENT Les coulisses de la haute couture à Lyon Pendant toute sa carrière, Yves Saint Laurent s’est fourni dans les plus grandes maisons de YVES SAINT LAURENT, LES COULISSES DE LA HAUTE COUTURE À LYON LES COULISSES DE LA HAUTE LAURENT, YVES SAINT soieries lyonnaises. Hommage non seulement au talent d’un couturier mais également au sa- voir-faire historique d’un territoire, cet ouvrage déroule plus de quarante ans de création en étroite collaboration avec Lyon. Yves Saint Laurent, Les coulisses de la haute couture à Lyon Collectif 23 x 27 cm 168 pages Prix de vente public : 35,00 € 2 YVES SAINT LAURENT Les coulisses de la haute couture à Lyon YVES SAINT LAURENT, LES COULISSES DE LA HAUTE COUTURE À LYON LES COULISSES DE LA HAUTE LAURENT, YVES SAINT PRÉSENTATION À l’occasion de l’exposition présentée au Mu- sée des Tissus de Lyon en partenariat avec le Musée Yves Saint Laurent Paris, les éditions Li- bel publient Yves Saint Laurent, Les coulisses de la haute couture à Lyon. Riche de plus de cent soixante illustrations - photographies de textiles, croquis et images d’archives - cet ou- vrage plonge dans le processus créatif d’Yves Saint Laurent de manière inédite. En retraçant la trajectoire du couturier de son plus jeune âge à la fin de sa carrière, on découvre ses affinités avec l’industrie textile lyonnaise et les maisons emblématiques avec lesquelles il a collaboré pendant près de qua- rante ans telles que Ducharne, Bianchini-Férier ou encore Bucol. Mais également une véritable passion pour la matière que ce livre souligne en présentant mousselines, crêpes, taffetas et velours qui ont composé les créations d’Yves Saint Laurent. -
1. Frédéric Godart, Sociologie De La Mode (Paris: La Décou- Verte, 2010)
NOTES PREFACE 1. Frédéric Godart, Sociologie de la mode (Paris: La Décou- verte, 2010). The book has also been translated into Portuguese (Brazil): Frédéric Godart, Sociologia da moda (São Paulo: Editora Senac São Paulo, 2010). A Spanish (Argentina) translation is under way. 2. I am closely associated with the INSEAD MBA students’ “Retail, Consumer and Luxury Club” which provides me with countless opportunities to observe and interact with key actors of the fashion and luxury industries. 3. Frédéric Godart, “Status and Style in Creative Indus- tries: The Case of the Fashion System” (Columbia University, 2009). For my PhD thesis, as well as for follow-up work, I conducted more than 30 interviews and gathered countless data on the fashion and luxury industries. I did not explicitly use them for this book as I wanted to keep it short, but they certainly influenced my thinking. INTRODUCTION 1. Dazed and Confused is the name of a famous Brit- ish style magazine: http://www.dazeddigital.com/ [Accessed September 19, 2011]. 2. Catherine Maliszewski, “ Azzedine Alaïa, mutin de la mode,” Le Monde Magazine, July 2, 2011. The interview is in French and was translated by myself 148 NOTES into English, like all the texts used in this book for which I could not find a readily available English translation. 3. And more precisely, the focus of the documentary is on four fashion houses: Sonia Rykiel, Proenza Schouler, Fendi, and Jean-Paul Gaultier. 4. Among all the journalistic accounts of the worlds of fashion and luxury published over the last ten years, two are particularly enjoyable and informative: Mark Tungate, Fashion Brands: Branding Style from Armani to Zara (London: KoganPage, 2005); Dana Thomas, Deluxe: How Luxury Lost its Luster (London: Penguin Books, 2007). -
ICOM Costume News 2009: 1 6 May, 2009
ICOM Costume News 2009:1 ICOM Costume News 2009: 1 6 May, 2009 INTERNATIONAL COSTUME COMMITTEE COMITÉ INTERNATIONAL DU COSTUME Letter from the Chair How would you like to see the Committee use its funds? This year, a certain amount of Committee Dear colleagues! money is being spent directly towards simultaneous translation of the meeting in Lyon. Just as some of us were beginning to digest the There are no set rules from ICOM about how wonderful sights and museums of Santiago from the Committee uses the subvention, a small last fall, the details of planning our 2009 meeting amount per member per year, but the Board begin to emerge. Bernard and his colleagues agrees that it should be spent in the members’ have arranged an exciting program for the week interest. Please give us your thoughts – would of October 5-9 for us in Lyon, and a post- you like to see the money spent on publications, conference tour to the Haute Loire is also in the on travel grants for needy members, reducing making. You will find more details here and on the price of the annual meetings, survey of the website. When updates are available, e-mails members’ interests and working conditions, or will be sent out. Please note that the deadline for snazzy members’ T-shirts and keyrings? There early-bird registration is July 15, and the deadline are rumblings from ICOM that the annual for submitting a paper is June 1. subvention may be reduced in future, to be replaced by grants for special activities, such as Have you visited the Costume Committee’s seminars, publications, databases and the like. -
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. -
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10 Celebrity sells ‘Our customers appreciate the association with stardom.’ In 1975, Giorgio Armani sold his Volkswagen. The money went into a pool of US$10,000 that Armani and his partner Sergio Galleoti had got together to open their Milanese fashion house. Having left medical school to enter the fashion business in 1957, Armani had worked as a buyer for the department store La Rinascente. But it was as a designer at Cerruti, which he joined in the early 1960s, that he learned the techniques that were to make his career. The charismatic Nino Cerruti was a master of marketing: he once convinced Lancia to paint a fleet of cars in the same shade as his new range of suits, and then enlisted the curvaceous actress Anita Ekberg to break a bottle of champagne over one of them for the cameras. The effectiveness of such publicity coups was not lost on Armani, who would use relationships with celebrities as the cornerstone of his marketing strategy. Armani’s clothes alone were impressive enough – although the casual deconstructed look of his suits is familiar today, it was revolutionary at the time – but it took a movie star to transfer the designs from the fashion press to the public eye. The star was Richard Gere, and the vehicle was a film called American Gigolo (1980). Designers had been dressing stars for years – Hubert de Givenchy was famous for outfitting Audrey 122 Fashion Brands Hepburn – but this was arguably the first time a set of clothes had played such a prominent role in a film, almost becoming an extension of the main character.