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272 Consigned by Haras D'etreham 272
272 Consigned by Haras d'Etreham 272 Mr Prospector Gone West Secrettame (FR) ZAMINDAR N. The Minstrel Zaizafon Mofida chesnut filly 18/02/2009 Sadler's Wells Entrepreneur Qualified for Owners' MARIE VISON Exclusive Order Premiums in France 2001 (IRE) Metisse Kingmambo 1995 Maximova E.B.F. Nominated ZAMINDAR (1994), 2 wins, Prix de Cabourg (Gr.3), 2nd Prix Morny (Gr.1). Stud in 1998. Sire of ZARKAVA, Prix de l’Arc de Triomphe Gr.1, de Diane Gr.1, DARJINA, Prix d’Astarté Gr.1, COQUERELLE, Prix Saint-Alary Gr.1, ZENDA, MODERN LOOK, CROSSHARBOUR, JUBILATION, CINNAMON BAY, GRAN ZAMIR, SWEET WIND MUSIC, VICTORIAN ORDER, LIPSTICK, ISANOUS, TIMEPIECE, 1st dam Marie Vison, 1 win at 3 years, Prix de Tourmauville at Deauville, placed 5 times at 2 and at 3 years, 2nd Prix Solitude at Saint- Cloud (L.). Dam of : Dream Land (c.Oasis Dream), 3 wins, placed 5 times at 3 and 4 years Px de la Forêt de Bord at Deauville (10), de Belcodene at Marseille (10), 4th Prix de Beaubourg at Longchamp (10), 31 350 €. N., (above), her third foal. 2nd dam METISSE, 2 wins, placed 3 times at 3 years. Dam of 8 foals of racing age, 5 winners incl. : Steady As A Rock, (c., Rock of Gibraltar), 14 wins at 2 to 6 years (10) in GB, Hungary and Slovakia, 3rd Premio Natale di Roma (L.) (10). Marie Vison, (above). Mandragore, (c.2008, Invincible Spirit), in training. 3rd dam MAXIMOVA, 7 wins at 2 and 3 years, Prix de la Salamandre (Gr.1), du Calvados (Gr.3), de Meautry (Gr.3), de Seine-et-Oise (Gr.3), 2nd Irish 1000 Gns (Gr.1), 3rd Poule d'Essai des Pouliches (Gr.1), 4th Prix Marcel Boussac (Gr.1). -
The Creation of a Perfume Is Both a Science and an Art, and Choosing a Scent Is Deeply Personal
Perfume 80 I south africa deLuxe I bEAUTY & hEALTH perfume I 81 The creation of a perfume is both a science and an art, and choosing a scent is deeply personal. Aroma is evocative. In French, the word for “to smell” is sentir. It’s hardly surprising that the same word also means “to feel”. I always knew my mother was in the room by the scent of Elizabeth Arden’s Red Door or, later, Estée Lauder’s Beautiful. I spent many childhood afternoons playing dress-up in my grandmother’s scarves and gloves, which smelled faintly of 4711 Original Eau de Cologne by Maurer & Wirtz. I would fill her empty bottles with water and line them up proudly on my windowsill, feeling very sophisticated. Yet I never really used to think about perfume until I read Molly Birnbaum’s biography, ‘Season to Taste: How I lost my sense of smell and found my way’. Suddenly, a door was opened and I began to appreciate the history, art and allure of perfume. Birnbaum was about to begin studying towards becoming a chef when she was involved in a horrific accident and lost her sense of smell due to head injury. Her book chronicles her journey towards recovery as she begins to understand the critical role that smell – a generally underrated sense – plays. She embarked on a visit to Grasse, France, considered the historical centre of the modern fragrance industry and the setting for Patrick Süskind’s novel, ‘Perfume’. Grasse originally produced leather goods during the Middle Ages. The smell of its numerous tanneries permeated the air. -
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. -
Fragonard Magazine N°9 - 2021 a Year of PUBLICATION DIRECTOR and CHIEF EDITOR New Charlotte Urbain Assisted By, Beginnings Joséphine Pichard Et Ilona Dubois !
MAGAZINE 2021 9 ENGLISH EDITORIAL STAFF directed by, 2021, Table of Contents Agnès Costa Fragonard magazine n°9 - 2021 a year of PUBLICATION DIRECTOR AND CHIEF EDITOR new Charlotte Urbain assisted by, beginnings Joséphine Pichard et Ilona Dubois ! ART DIRECTOR Claudie Dubost assisted by, Maria Zak BREATHE SHARE P04 Passion flower P82 Audrey’s little house in Picardy AUTHORS Louise Andrier P10 News P92 Passion on the plate recipes Jean Huèges P14 Laura Daniel, a 100%-connected by Jacques Chibois Joséphine Pichard new talent! P96 Jean Flores & Théâtre de Grasse P16 Les Fleurs du Parfumeur Charlotte Urbain 2020 will remain etched in our minds as the in which we all take more care of our planet, CELEBRATE CONTRIBUTORS year that upturned our lives. Yet, even though our behavior and our fellow men and women. MEET P98 Ten years of acquisitions at the Céline Principiano, Carole Blumenfeld we’ve all suffered from the pandemic, it has And especially, let’s pledge to turn those words P22 Musée Jean-Honoré Fragonard leading the way Eva Lorenzini taught us how to adapt and behave differently. into actions! P106 A-Z of a Centenary P24 Gérard-Noel Delansay, Clément Trouche As many of you know, Maison Fragonard is a Although uncertainty remains as to the Homage to Jean-François Costa a familly affair small, 100% family-owned French house. We reopening of social venues, and we continue P114 Provence lifestyle PHOTOGRAPHERS enjoy a very close relationship with our teams to feel the way in terms of what tomorrow will in the age of Fragonard ESCAPE Olivier Capp and customers alike, so we deeply appreciate bring, we are over the moon to bring you these P118 The art of wearing perfume P26 Viva România! Eva Lorenzini your loyalty. -
Press Release 2021 LVMH Prize for Young Fashion Designers: 8Th Edition Call for Applications
Press release 2021 LVMH Prize For Young Fashion Designers: 8th edition Call for applications Paris, 11th January 2021 The applications for the 8th edition of the LVMH Prize will open starting Monday 11th January 2021. They must be submitted exclusively on the Prize website: www.lvmhprize.com. Applications will close on Sunday 28th February 2021. It should be noted that, as a result of the health crisis that has imposed certain restrictions, the semi-final will this year, as an exception, take the form of a digital forum, to be held from Tuesday 6th April until Sunday 11th April 2021. This forum will enable each of our international Experts to discover and select on line the competing designers. Driven by a “passion for creativity”, LVMH launched the Prize in 2013. This patronage embodies the commitment of the Group and its Houses in favour of young designers. It is open to designers under 40 who have produced at least two collections of womenswear or menswear, or two genderless collections. Moreover, the Prize is international. It is open to designers from all over the world. The winner of the LVMH Prize for Young Fashion Designers enjoys a tailored mentorship and receives a 300,000-euro endowment. The LVMH teams mentor the winners in many fields, such as sustainable development, communication, copyright and corporate legal aspects, as well as marketing and the financial management of a brand. The winner of the Karl Lagerfeld / Special Jury Prize receives a 150,000-euro allocation and also enjoys a one-year mentorship. Furthermore, on the occasion of each edition, the Prize distinguishes three young fashion school graduates. -
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. -
• WEEK 5 • 1920S • 1930S • 1940S
• WEEK 5 • 1920s • 1930s • 1940s 1 • As we entered the C20th, womens’ fashion began to change significantly • The rage for the “hobble” skirt begun by Poiret lasted until 1914/15 when skirts became softer and more bell shaped. • The body was still very much covered, although the degree of fabric was much less. There was more mobility in the garments • The outbreak of the first world war in 1914 coincided with the Parisian couture collections • By late 1914 disruption to money and shipping caused problems for the couture industries. Image: Mendes V et all (2010) Fashion Since 1900, Thames and Hudson, Day suits ss 1914 Image: Mendes V et all (2010) Fashion Since 1900, Thames and Hudson, a member of the Women’s Royal Air Force • WW1 did have a significant impact on women’s lives as from 1916 onwards women were encouraged to enter the labour force to take the place of men. • Numbers of women wore trousers, boilersuits and dungarees for the first time to undertake arduous but highly skilled roles. • Clothing factories that were redeployed to make uniforms discovered the ease of larger, simpler runs of production, and took on more labour to meet demand. PESTEL FACTORS FOR THE 1920s POLITICAL ECONOMIC TECHNOLOGY British Empire old monarchies Wall Street Crash 1929 The Car boosted Europe was changing Dustbowl years in the USA employment in the USA - and gas, rubber, Russia’s New Communism industries benefitted. China’s revolution Cinema boosted fashion FASHION A time representing a new awareness of the Salvatore Ferragamo became known for the cage heel and Began to reveal the body self. -
Fragrance List Print
Quality Fragrances . Unbeatable Prices Fragrance List Top Sellers - Women Love Spell Type* (W) Gucci Guilty Type* (W) Romance Type* (W) Ed Hardy Type*RAJOHN (W) Heat by Beyonce Type* (W)AROMASBlack by Kenneth Cole Type* (W) Moon Sparkle Type* (W) Jimmy Choo Type* (W) Beautiful Type* (W) Love Struck Type* (W) Pleasures Type* (W) Bombshell by VS Type* (W) Pink Sugar by Aquolina Type* (W) Reb'l Fleur Type* (W) Black Woman Type* (W) Be Delicious Type* (W) White Diamonds Type* (W) Versace Bright Crystsal Type* (W) Light Blue by Dolce & Gabbana Type* (W) Cashmere Mist Type* (W) Candy by Prada Type* (W) Issey Miyake Type* (W) Butt Naked Type* (W) Michael Kors Type* (W) Angel by VS Type* (W) Can Can by Paris Hilton Type* (W) Cucumber Melon by B&BW Type* (W) Modern Muse by Estee Lauder Type* (W) Daisy by Marc Jacobs Type* (W) Miss Dior Cherie Type* (W) Angel Type* (W) Euphoria by CK Type* (W) Lick Me All Over Chanel #5 Type* (W) Amber Blush Type* (W) Viva La Juicy Type* (W) Coco Chanel Type* (W) Halle by Halle Berry Type* (W) Pink Friday by Nicki Minaj Type* (W) Dolce & Gabbana Type* (W) Happy Type* (W) Dot by Marc Jacobs Type* (W) Flower Bomb Type* (W) Japanese Cherry Blossom Type* (W) Burberry Weekend Type* (W) Glow by J. Lo Type* (W) Juicy Couture Type* (W) Coach Type* (W) Acqua Di Gio Type* (W) Poppy by Coach Type* (W) Top Sellers - Men Polo Red Type* (M) Polo Blue Type* (M) Grey Vetiver by Tom Ford Type* (M) Jay-Z Gold Type* (M) Unforgivable Type* (M) Usher Type* (M) Gucci Guilty Type* (M) Chrome Legend Type* (M) Cucumber Melon by B&BW Type* -
Paris–New York 1925
127 6 PARIS–NEW YORK 1925 JEAN PATOU’S “ADVERTISING” Caroline Evans Introduction Through the lens of a single dress, this chapter looks at fashion and modernism in the mid-1920s. A close reading of its design motif, an embroidered Eiffel Tower, leads to a consideration of its wider cultural, commercial and ideological meanings, in both America and France. In looking at what Paris signifi ed to Americans, and America to the French, the chapter identifi es some of the contradictions and complexities of modernist identities across the fi elds of fashion, commerce and visual culture in the period. The modernism it identifi es, however, is not that of the artistic avant-garde but of work, business and popular culture, in particular new forms of advertising and promotion. It links fashion to the streamlined, organizational structures of modern commerce rather than to the seamless, mechanical forms of modernist visual culture. In this, it follows a number of other writers who have elaborated on the relationship of fashion to modernism beyond the realms of art and art history. The architect and art historian Mario Lupano and Alessandra Vaccari have argued that early twentieth-century fashion was an engine of modernism, not merely a refl ex of modernity; furthermore, they assert, the success of fashion in this respect eclipses other attempts to emancipate the relationship of fashion and modernism from narrow histories of art. 1 Similarly, the literary scholar Michael Levenson has argued that modernism is not just what he terms “soft culture” but also consists of “hard, causal powers of modern action” that include habits and routines: “the pace of walking, a style of gazing, a tensing of the muscles. -
ESQ Junjul20
Portfolio Portfolio Feature Feature NOTES FROM THE PERFUME INDUSTRY Olivier Pescheux Givaudan perfumer A Creations: 34 boulevard Saint Germain Diptyque, Amber Sky Ex Nihilo, Arpege Pour Homme Lanvin, 1 Million Paco Rabanne, Balmain Homme Pierre Balmain, Higher Christan Dior ESQ: In hindsight, do you find that trends, current events or cultural movements have an impact on your creations? OLIVIER PESCHEUX: It’s hard to answer with certainty. Nevertheless, perfumers are like sponges absorbing the air of time (Nina Ricci’s L’Air du Temps is one of the most accurate names you can find). Hence every societal movement leaves its mark on creations, in a more or less obvious way. It’s still too early to know in IN what ways the current health crisis will leave its mark in perfume, but it will leave its mark, that’s for sure. ESQ: Do you attribute gender to certain notes and raw materials? OLIVIER PESCHEUX : Not really, but it’s true that I perceive rose as rather feminine simply because it has been used a lot THE and in significant quantities in women’s fragrances in the West. That’s less true in the Middle East, where the rose also perfumes men. Lavender is rather masculine as it’s used a lot in fougère, the favourite family of men’s fragrances. It’s interesting to note that in Brazil, lavender is also feminine. So it’s more of a cultural affair. Yann Vasnier I’m trying to fight against this natural and cultural leaning, and on Givaudan perfumer the contrary, I use this challenge to fuel my creativity. -
Global Mba with Major in Luxury Brand Management
GLOBAL MBA WITH MAJOR IN LUXURY BRAND MANAGEMENT CV BOOK 2019 24TH ANNIVERSARY YEAR INTERNATIONAL RANKINGS BUSINESS #8 #4 #5 #8 EDUCATION 2018 European Master in Master in Executive Business School Management Finance Education ESSEC Programs BUSINESS SCHOOL, THE PIONEERING SPIRIT Key fi gures CREATED IN 19O7, ESSEC expertise about business in those regions. They allow our school to build BUSINESS SCHOOL TODAY deeper alliances with academic, private IS A WORLD-SCHOOL WITH and public partners in those regions that are growing at an accelerated FRENCH ROOTS. ITS PURPOSE pace and will be leaders of economic growth in tomorrow’s world. ESSEC 55,OOO 6,O97 IS TO GIVE MEANING TO THE has built a network of alliances with graduates worldwide students in full-time undergraduate LEADERSHIP OF TOMORROW academic partners worldwide so and graduate programs that its students’ learning journey AND HAVE A GLOBAL IMPACT. is a true international one. ESSEC is a graduate school with ESSEC is a school with French Roots 4 +1 34% 98 programs ranging from Bachelor that trains responsible leaders. campuses in augmented international nationalities to PhD, a wide range of Masters Being a responsible leader means Cergy, Paris-La Défense, digital students represented programs including our fl agship Master being able to see beyond business Singapore and Rabat campus in Management and Global MBA as usual. Responsible leaders are programs. ESSEC also o ers executive able to value long-term benefi ts education and custom training over short-term profi ts; they are able partner universities designed and developed on-demand to blend corporate performance in 45 countries +1oo for our partners from the private with employees’ well-being.