DOCSLIB.ORG

Chiara Ferragni

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chiara Ferragni il primo quotidiano della moda e del lusso Anno XXXII n. 037 Direttore ed editore Direttore MFmartedì fashion 23 febbraio 2021 MF fashion Paolo Panerai - Stefano RoncatoI 23.02.21 ONLINE SU MFFASHION.COM LE GALLERY FOTOGRAFICHE DELLE COLLEZIONI A-I 2021/22 , FAUSTO PUGLISI TRA DUE MODELLI CHE INDOSSANO LOOK CAVALLI F-W 2021/22 PUGLISI TRA DUE MODELLI CHE INDOSSANO LOOK CAVALLI , FAUSTO MFF IN UNO SCATTO ESCLUSIVO PER IN UNO SCATTO CCapasa:apasa: ««AlAl ggovernooverno DDraghiraghi cchiediamohiediamo uunn nnuovouovo ppattoatto pperer llaa mmodaoda» ««AlAl ttermineermine ddellaella ffashionashion wweekeek ppresenteremoresenteremo aall’esecutivoll’esecutivo uunn ppianoiano iinn qquattrouattro ppuntiunti cchehe ttraghettiraghetti iill ssettoreettore nnelel pprossimorossimo ddecennio»,ecennio», aanticipanticipa a MMFFFF iill ppresidenteresidente ddii CCnminmi MMentreentre ssii aaprepre llaa ssettimanaettimana ddeiei ddéfilééfilé cconon 6611 sshowhow vvirtualiirtuali pperer uunn ttotaleotale ddii 112424 eeventiventi inita la fashion week, presenteremo al lanciata da MFF del 10 febbraio. «Servono misu- 57 presentazioni, e presentazioni su appuntamento, governo un piano per la moda in quat- re ad hoc. Bisogna partire dal considerare la moda di cui 15 fisiche e 42 digitali e sei eventi per un tota- tro punti: sostenibilità, digitalizzare, come un’industria strategica, ricordando che è la se- le di 124 appuntamenti in calendario, che saranno «Fformazione ed export». Carlo Capasa conda industria italiana e che nel 2019 faceva più visibili sulla piattaforma milanofashionweek.came- anticipa a MFF la lettera aperta che Cnmi invierà al di 100 miliardi e ne esportava più di 75», sottolinea ramoda.it. Grandi nomi scandiranno la settimana, premier Mario Draghi al termine della fashion we- Capasa, in avvio di un’edizione al 100% digitale di a partire da Fendi, che domani vedrà il debutto di ek che si apre oggi, formalizzando così l’iniziativa Milano moda donna, che parte oggi con 61 sfilate, continua a pag. II BLACKSTAGE di Giampietro Baudo Il prezzo (alto) della moda La pandemia in corso ha calmierato i prezzi della mo- cifre da capogiro, tra i 2.500 e i 4 mila dollari, quando il realmente avvenuto. Tanto che oggi il marchio fa an- da? Un recente studio americano condotto da Jefferies prezzo di un abito oscillava tra i 10 e i 20 dollari. James cora capo alla Luvanis, private company fondata da indicherebbe esattamente il contrario e, in particolare, è entrato nel mito. Basti soltanto ricordare che Rick Guy e Arnaud de Lummen. Specializzata in «maison ha evidenziato come nel corso dell’ultimo anno i prezzi Owens, nella prefazione del libro Charles James: The addormentate» ha, negli anni, ridato lustro a Vionnet, di alcuni marchi, tra cui Chanel, Louis Vuitton e Dior, couture secrets of shape ha dichiarato che: «Quando ho venduta a Goga Ashkenazi, a Moyant, in portfolio a siano stati aumentati in mercati specifici. Ma guardan- iniziato la carriera nella moda, il mio sogno era quel- Bernard Arnault, Au Départ, oggi gestito da un polo do agli inizi della storia del costume moderno non si lo di diventare il nuovo Charles James». Ma che fine di investitori orientali, o Paul Poiret, passato ai coreani può che pensare a Charles James, stilista anglo-ame- ha fatto oggi il marchio? Prima è stato acquistato dalla di Shinsegae. E nel suo portfolio attuale vanta i gioielli ricano a cui il Met di New York ha dedicato nel 2014 The Weinstein company che voleva riportarlo in au- di Vever, gli accessori di Finnigans, Maquet o Herbert la mostra «Charles James: Beyond fashion». Nei primi ge grazie all’input creativo di Zac Posen (vedere MFF Levine, ma anche Mainbocher. E proprio quest’ultima 50 anni del secolo scorso è stato considerato il coutu- del 3 marzo 2015). Ma il come-back, complice l’affai- couture house, fondata dal designer Main Rousseau rier più costoso a livello globale: basti pensare che le re Harvey Weinstein e una disputa legale tra proprietà Bocher nel 1929 e chiusa nel 1971, potrebbe ben presto sue ball gown e le sue creazioni vantavano costavano e famiglia legata alla titolarità degli archivi, non è mai ritornare sotto i riflettori. (riproduzione riservata) II Milano Moda Donna MF fashion martedì 23 febbraio 2021 Interviste Chiara Ferragni: «La Borsa? Prima voglio costruire un brand lifestyle» «Anche la finanza sta diventando un mondo più democratico», ha spiegato a MFF l’imprenditrice a capo dell’omonima label. Che si prepara a nuove licenze, a partire dal beauty. Chiara Bottoni e Stefano Roncato a brand mono prodotto a etichetta lifestyle. Con E l’8 marzo debutta l’eyewear insieme a Luxottica nuove licenze i cui frutti Dhanno già preso forma o Chiara Ferragni debutta nel mondo dell’eyewear insieme a si concretizzeranno a breve. Come Luxottica. Come anticipato a MFF, l’imprenditrice digitale quella con Luxottica per la prima lancerà la sua prima capsule di montature da sole l’8 marzo. capsule eyewear, il cui arrivo è sta- I due modelli di debutto, Cool eye e Bold eye declinati ri- to anticipato a MFF (vedere box). spettivamente in quattro e tre varianti cromatiche, saranno in Il mondo di Chiara Ferragni vendita in anteprima nei negozi Salmoiraghi & Viganò, par- Collection corre veloce verso te del gruppo Luxottica, e sul sito www.salmoiraghievigano. l’obiettivo di portare la control- it. «Avere Salmoiraghi & Viganò come retailer della collezio- lante Serendipity a fatturare 15,4 ne è un’esperienza favolosa», ha dichiarato Chiara Ferragni. milioni di euro entro il 2025 (ve- Per l’occasione sono state create trenta custodie autografa- dere MFF del 21 settembre 2020). te, destinate a i primi dieci che procederanno con l’acquisto. Un progetto ambizioso nell’ottica I negozi che aderiscono a questa iniziativa quelli di Piazza a lungo termine di quotarsi o di San Babila 3 a Milano di via del Corso 407/408 a Roma, oltre aprire le porte a un partner finan- Un look Chiara Ferragni all’online. (riproduzione riservata) ziario. Come ha spiegato a MFF Collection a-i 2021/22 la stessa Chiara Ferragni, ceo e creative director del marchio. Che drive», un inno alle donne deter- bag che si chiamerà Eyepocket. un percepito ancora più alto e una Sì, da molto tempo, anche quan- nei mesi scorsi, grazie alla licenza minate e indipendenti che guidano Chi compra la collezione collezione completa, un brand di do il brand era più piccolo. Però siglata per intimo e beachwear con la loro vita, senza mai togliere lo fa perché ama lei, per lifestyle. non ho fretta, è bello sapere che Velmar, ha fatto volare in Borsa gli occhi dai loro obiettivi finali. la linea, o per entrambe? Quando avete lanciato le c’è interesse intorno a te. il titolo della controllante Aeffe Volevamo anche che questa col- All’inizio il consumatore tipo era licenze con Aeffe e con Andrebbe in Borsa? (vedere MFF del 26 novembre). lezione fosse molto femminile e una persona che amava il mio sti- Monnalisa, in Borsa i ti- In Borsa sì, se lo si pensa come Un piccolo assaggio di un futuro «self-sexy». È una collezione to- le, adesso ci sono tante persone, toli si sono mossi bene. step successivo, quando tut- di successo che sembra già scrit- tal look. soprattutto all’estero, in Cina mi Lo chiamavano l’effetto to sarà sistemato e la label sarà to sul mercato. Un flash di quali sono i dicevano, a cui piace il brand. Chiara Ferragni, lo sa? forte con tutte le licenze che Come procede con la col- pezzi più forti? Spero che la label abbia sempre Mi ha fatto piacere leggere quei funzionano. Le due alternative lezione? I miei pezzi preferiti sono quel- di più una sua identità e che non dati. È molto importante l’idea appunto sono quotarsi in borsa Bene, il brand ora è molto più com- li un po’ più d’immagine: come debba contare solo su di me per la che il mio nome e il mio brand o avere un partner. O fare en- pleto. L’autunno-inverno 2021/22 la tuta in pelle over-all con inserti promozione. riescano a far crescere altri grup- trambe le cose. è stato il primo con Swinger, li- glitter colorati, poi abbiamo fatto Quali sono le prossime pi, soprattutto in questo momento La finanza e le banche sa- cenziatario di donna e accessori. anche una versione chiodo di pel- licenze in arrivo.? Una storico. Quando abbiamo letto il ranno il prossimo step di Abbiamo anche in cantiere tante le e una versione di jeans di pelle. volta parlava di beauty... primo risultato, abbiamo iniziato a un contatto con i giovani capsule e concordato altre licenze, Invece per capi un po’ più sempli- Abbiamo fatto la seconda colle- lanciare una licenza dopo l’altra. attraverso i social? tra cui quella kids da maggio. ci penserei alla maxi logo mania. zione con Lancôme, che è andata Se arrivasse un colosso Penso che per il mondo finan- Con Monnalisa? Abbiamo anche tanti accessori. molto bene. In futuro ci piacereb- come Lvmh sarebbe con- ziario, prima molto più elitario, Esatto. Poi abbiamo siglato un’al- Sta avendo grandi ri- be esplorare il segmento beauty tenta? grazie al web ci sia un interes- tra licenza con Velmar per quanto scontri anche in questo con il brand. Certo! Sarebbe un step successivo se molto diverso. Ci saranno dei riguarda intimo, pigiami e costu- segmento... E poi l’eyewear … e sarebbe bellissimo affiancarmi a cambiamenti importanti, sta di- mi, che sarà anch’essa disponibile Abbiamo iniziato con questa Avremo delle sorprese in futuro un partner con una credibilità del ventando un mondo molto più dal prossimo autunno-inverno. È categoria di prodotto da poco, so- (vedere box). genere. Il brand ne gioverebbe sot- democratico.
Load more

Recommended publications
  • 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 ..
    [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]
  • The Metropolitan Museum of Art 50 YEARS of METROPOLITAN
    The Metropolitan Museum of Art For Release: Immediate Contact: Harold Holzer Bernice Kwok-Gabel 50 YEARS OF METROPOLITAN MUSEUM'S COSTUME INSTITUTE GALA With this year's "Party of the Year" to benefit The Costume Institute — to be held on December 7 at The Metropolitan Museum of Art ~ the gala event celebrates its 50th anniversary with Miuccia Prada, Paula Cussi, and Pia Getty as Co-Chairs . For five decades, the Party of the Year has defined fashion's role in New York City, philanthropy, the arts, and society. The theme of the 50th anniversary celebration will be Cubism and Fashion, which is the subject of the exhibition to be held in The Costume Institute from December 10, 1998, through March 14, 1999. The exhibition examines the properties of Cubism in art and its influence in fashion from 1908 to the present day. The Cubism and Fashion exhibition and Benefit for The Costume Institute are made possible by Prada. In 1948, the fashion industry, seeking to provide an annual supplement to the endowment of The Costume Institute ~ which was newly located at The Metropolitan Museum of Art ~ launched a benefit ball called the "Party of the Year." In a history now approaching the half century mark, the Party of the Year has been the grandest social event of the Manhattan calendar. Beginning with a midnight supper party at the Rainbow Room at Rockefeller Center on November 18, 1948, for $50 per person, to its present format as a gala dinner at The Metropolitan Museum of Art, the Party of the Year has been the high-style barometer for New York fashion, art, and social life, now a $2,000- per-person dinner.
    [Show full text]
  • I UNIVERSITY of CALIFORNIA RIVERSIDE the “Stylish Battle
    UNIVERSITY OF CALIFORNIA RIVERSIDE The “Stylish Battle" World War II and Clothing Design Restrictions in Los Angeles A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Laura Bellew Hannon December 2012 Dissertation Committee: Dr. Catherine Gudis, Chairperson Dr. Molly McGarry Dr. Susan Carter i Copyright by Laura Bellew Hannon 2012 ii The Dissertation of Laura Bellew Hannon is approved: __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Committee Chairperson University of California, Riverside iv ACKNOWLEDGEMENTS This Dissertation, as written, would not have been possible without the support of many. Research funding was partially supported by the Graduate Division of the University of California, Riverside in the form of the Dissertation Year Fellowship. I am also, without question, indebted to the Costume Society of American for their exceptional support. As the recipient of the Stella Blum Student Research Award, I received funding which allowed me to research my dissertation at the Costume Institute of the Metropolitan Museum of Art, the Archives of the Fashion Institute of Technology, the Manuscript and Archives Division of the New York Public Library, and the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences. I also received funding to attend the National Symposium of the CSA in Boston in May 2011, and there received many suggestions and much needed encouragement. Additionally, through the Western Regional Branch of the Costume Society, I received the Jack Hanford Summer Internship Award. I received the funding to support a summer-long internship at the Los Angeles County Museum of Art during which I learned much about the history of western fashion and had the ability to research my own project.
    [Show full text]
  • A Century of Fashion Photography, 1911-2011 June 26 to October 21, 2018 the J
    Icons of Style: A Century of Fashion Photography, 1911-2011 June 26 to October 21, 2018 The J. Paul Getty Museum at the Getty Center 4 4 1. Louise Dahl-Wolfe 2. Louise Dahl-Wolfe American, 1895 - 1989 American, 1895 - 1989 ICONS _FASH ICONS ION _FASH Keep the Home Fires Burning, 1941 ION Andrea, Chinese Screen, 1941 Gelatin silver print Gelatin silver print Image: 13.7 × 13.1 cm (5 3/8 × 5 3/16 in.) Image: 32.6 × 27.8 cm (12 13/16 × 10 15/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © 2018 Center for Creative Photography, © 1989 Center for Creative Photography, Arizona Board Arizona Board of Regents / Artists Rights Society (ARS), of Regents / Artists Rights Society (ARS), New York New York 84.XM.195.12 84.XM.195.7 4 4 3. George Hoyningen-Huene 4. Cecil Beaton American, born Russia, 1900 - 1968 British, 1904 - 1980 ICONS ICONS _FASH _FASH ION ION Model Posed with a Statue, New York, 1939 Debutantes—Baba Beaton, Wanda Baillie Hamilton & Gelatin silver print Lady Bridget Poulet, 1928 Image: 27.9 × 21.6 cm (11 × 8 1/2 in.) Gelatin silver print The J. Paul Getty Museum, Los Angeles Image: 48.7 × 35.1 cm (19 3/16 × 13 13/16 in.) © Horst The J. Paul Getty Museum, Los Angeles 84.XM.196.4 © The Cecil Beaton Studio Archive at Sotheby's 84.XP.457.16 June 21, 2018 Page 1 of 3 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J.
    [Show full text]
  • Charles Kleibacker, Master of the Bias Cut; Designs, Construction and Techniques
    CHARLES KLEIBACKER, MASTER OF THE BIAS CUT; DESIGNS, CONSTRUCTION AND TECHNIQUES DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Joycelyn Falsken, M.A. ***** The Ohio State University 2008 Dissertation Committee: Professor Patricia A. Cunningham, Adviser Professor Kathryn A. Jakes Professor Alice L. Conklin Curator Gayle M. Strege Copyright by Joycelyn Falsken 2008 ABSTRACT Charles Kleibacker was a fashion designer in New York City from 1960 to 1986, a time when fashion styles reflected the turmoil that occurred in society throughout those years. However, through it all Charles maintained an individual design aesthetic – soft figure-flattering bias dresses with a classic look that could be worn for years. This earned him a devoted clientele of women who purchased his designer ready-to-wear garments at top stores in New York, or were custom fit in his workshop. Because of his preference for and skill with bias, he became known as the Master of the Bias Cut. Trained in French couturier methods of construction, Kleibacker’s garments were all produced with the highest standards in fabric, construction and fit. Bias is known to be the most difficult ‘cut’ to work with when constructing garments. Charles experimented until he figured out how to solve the challenges, and then trained his workers in the exacting techniques required. Having first a career in journalism, Charles’ path to fashion was in “no way normal” and his approach to his business and the industry was not the norm either. Starting small, through much determination and sacrifice, he overcame many obstacles to produce garments engineered for an enduring and graceful artistry.
    [Show full text]
  • Coco Chanel Lived in Slouchy Sweaters, Which She Wore with Jewels, As If She Were Going to a Ball
    01b_ch1_rev_knitwear.qxd 1/29/08 1:21 PM Page 22 C O C O C H A N E L Gabrielle “Coco” Chanel b. 1883 Saumur, France d. 1971 Paris, France “Luxury could have no other purpose than to offset simplicity.” —Chanel “Chanel ennobled ‘poor’ materials.” —Valerie Steele The model as well as creator of her eponymous designs, Coco Chanel lived in slouchy sweaters, which she wore with jewels, as if she were going to a ball. Her innova- tions in materials and silhouettes, although they influenced haute couture for generations, have remained identified with her distinctive style. Chanel was the first designer to repurpose the use of jersey fab- ric, which was previously used for men’s under garments. By taking the inventoried knit fabric from the renowned French textile company Rodier and designing it into a styl- ish oversized cardigan, Chanel rev- olutionized knitwear forever. 22 1928 01b_ch1_rev_knitwear.qxd 1/29/08 1:21 PM Page 23 1971 1927 23 1928 1927 01b_ch1_rev_knitwear.qxd 1/29/08 1:21 PM Page 24 J E A N P A T O U 24 1928 1925 01b_ch1_rev_knitwear.qxd 1/29/08 1:21 PM Page 25 b. 1880 Normandy, France d. 1936 Paris, France “Inventor of Sweater Dressing,” “Father of Knitwear Design” Jean Patou’s firsts in knitwear design are numer- ous. He introduced the straight, white, cabled, sleeveless tennis cardigan and made a V-neck tennis sweater as a dress for Suzanne Lenglen, a tennis pro of the early 1920s. Patou was the first designer to put his initials on clothes.
    [Show full text]
  • Harper's Bazaar/Bazaar 1940S
    THE As America went to war, Harper’s Bazaar discovered talent—from Lauren Bacall and Toni Frissell to Saul Bellow—closer to home. By Stephen Mooallem S The model Lisa Fonssagrives, wearing a Molyneux dress on the Eiel Tower, reportedly untethered, photographed by Erwin Blumenfeld for the September 15, 1939, issue 228 IN 1939, HARPER’S BAZAAR marked its 72nd year as America’s rst fashion magazine. But over the span of that near three-quarters of a century, Bazaar had devoted compar- atively little attention to exploring American fashion—or, at the very least, what made fashion American. From Bazaar’s nascent days syndicating illustrations from Der Bazar in Berlin, the magazine remained rmly xed on Europe and what was occurring in places like Paris, London, and Vienna, where “real” fashion—the kind borne in ateliers by great arti- sans and grand artistic minds—was thought to be happening. The arrival of Carmel Snow as Bazaar’s editor in the 1930s “It was all so different only served the magazine’s European obsession. For Snow, Paris, in particular, held a special allure. Snow’s years there during World War I had been formative for her. She volunteered for the Red Cross and during the last war,” developed what would become a lifelong connection to the city—one that, in many ways, fueled her Carmel Snow wrote vision for Bazaar. In America at the time, the pall of the Great Depression was slow to lift; in Paris, though, designers, artists, and writers seemed to be reacting to the widespread cultural change and of Paris in 1939.
    [Show full text]
  • The Rise of the Costume Designer: a Critical History of Costume on the New York Stage from 1934 to 1950
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Rise of the Costume Designer: a Critical History of Costume on the New York Stage From 1934 to 1950. Eelin Stewart Harrison Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Harrison, Eelin Stewart, "The Rise of the Costume Designer: a Critical History of Costume on the New York Stage From 1934 to 1950." (1968). LSU Historical Dissertations and Theses. 1444. https://digitalcommons.lsu.edu/gradschool_disstheses/1444 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 68-16,312 HARRISON, Eelin Stewart, 1915- THE RISE OF THE COSTUME DESIGNER: A CRITICAL HISTORY OF COSTUME ON THE NEW YORK STAGE F R O M 1934 TO 1950. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan Co) EELIN STEWART HARRISON 1968 ALL RIGHTS RESERVED THE RISE OF THE COSTUME DESIGNER: A CRITICAL HISTORY OF COSTUME ON THE NEW YORK STAGE FROM 1934 TO 1950 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by Eelin Stewart Harrison B.A., Brooklyn College, 1945 M.A., Louisiana State University, 1946 May, 1968 , ACKNOWLEDGMENTS The author wishes to express gratitude to all those who have so graciously given of their time and skill in the accomplishment of this task: To my esteemed professor, Claude L.
    [Show full text]
  • Vogue on Christian Dior
    Dior’s monochromatic Mexique dress from 1951. Photograph Henry Clarke. A René Bouché sketch of Dior’s 1949 cocktail dress with sweeping floor sash. Dior photographed by Henry Clarke for Vogue with his favorite model, Renée, in 1957. Contents FORTUNE’S FAVOR NEW LOOK CHANGING SEASONS COMPLETELY DIOR DIOR’S LEGACY Index of Searchable Terms References Picture credits Acknowledgments “OF COURSE FASHION IS A TRANSIENT, EGOTISTICAL INDULGENCE, YET IN AN ERA AS SOMBRE AS OURS, LUXURY MUST BE DEFENDED CENTIMETRE BY CENTIMETRE.” CHRISTIAN DIOR FORTUNE’S FAVOR F YOU CONJURED AN IMAGE of a fashion designer in your mind, you mIight not settle on one who looked like Christian Dior. A man “with an air of baby plumpness still about him and an almost desperate shyness augmented by a receding chin” as American Vogue’s Bettina Ballard recalled in 1946. Or the “plump, balding bachelor of fifty-two whose pink cheeks might have been sculpted from marzipan,” as described by Time reporter Stanley Karnow in 1957. The same sugary confection found its way into the great photographer Cecil Beaton’s account of Dior: “a bland country curate made out of pink marzipan.” Not that Christian Dior was unaware of the shortfall in his appearance. He wrote, “I could not help thinking that I cut a sorry figure – a well-fed gentleman in the Parisian’s favourite neutral-coloured suit – compared with the glamour, not to say dandified or effeminate couturier of popular imagination.” Dior was a man who knew what a legend should look like. Photographed for Vogue on February 12, 1947—the day his New Look was launched upon the world—Dior is pictured dressed in sepulchral black, markedly glum, giving credence to his description in Life magazine as “a French Undertaker.” In the photograph the designer looks anything but legendary, anxiety writ large in the downturn of his mouth, in his distracted, sidelong gaze.
    [Show full text]
  • "It Is a Profession That Is New, Unlimited and Rich!": the Promotion of the American Fashion Designer in the 1930S Sheryl Ann Farnan Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2005 "It is a profession that is new, unlimited and rich!": the promotion of the American fashion designer in the 1930s Sheryl Ann Farnan Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the American Studies Commons, Art and Design Commons, Film and Media Studies Commons, Mass Communication Commons, and the United States History Commons Recommended Citation Farnan, Sheryl Ann, ""It is a profession that is new, unlimited and rich!": the promotion of the American fashion designer in the 1930s " (2005). Retrospective Theses and Dissertations. 1235. https://lib.dr.iastate.edu/rtd/1235 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. NOTE TO USERS This reproduction is the best copy available. ® UMI "It is a profession that is new, unlimited and rich!" The promotion of the American fashion designer in the 1930s by Sheryl Ann Faman A dissertation submitted to the graduate Acuity in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Textiles and Clothing Program of Study Committee: Jane Farrell Beck, Major Professor Jean Parsons, Major Professor Ann Marie Fiore AmyBix Leland Poague Tanya Zanish-Belcher Iowa State University Ames, Iowa 2005 Copyright © Sheryl Ann Faman, 2005. AH rights reserved.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustratioDS and photographs, print bleedthrough, substandard margins, and in^roper aligmnent can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlq>s. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photogr^hs mchided in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Beil & Howell Inlormation Company 300 North 2eeb Road. Ann Arbor. Ml48106-1346 USA 313,'761-4700 800,'521-0600 PROMOTING AMERICAN FASHION 1940 THROUGH 1945: FROM UNDERSTUDY TO STAR DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sandra Stansbery Buckland, B.A., M.A.
    [Show full text]