Elsa Schiaparelli:Fashion and Surrealism the Cohen Library Atrium Exhibit, Telephone

Total Page:16

File Type:pdf, Size:1020Kb

Elsa Schiaparelli:Fashion and Surrealism the Cohen Library Atrium Exhibit, Telephone City College Library of The City University of New York no.64 (n.s.) Spring 2002 Elsa Schiaparelli:Fashion and Surrealism The Cohen Library Atrium exhibit, telephone. Her 1936 “desk suit,” with Elsa Schiaparelli: Fashion and pockets like desk drawers sporting drawer- Surrealism explores the relationship knob buttons and first photographed in a between this twentieth-century fashion setting reminiscent of a landscape in a Dali icon and Surrealism. The exhibit painting, continued to show her highlights photographs of her dresses incorporation of unexpected, incongruous and suits taken from volumes in the elements inspired by contemporary artistic Archives’ Costume Book Collection. themes. Cocteau’s line drawings became Schiaparelli fashion accessories — three embroidered decoration on her jackets or vintage hats and three scarves — are part evening coats. Vertès painted whimsical of the exhibit, which incorporates graphic designs to advertise Schiaparelli’s research conducted at the Fashion perfume, “Shocking.” These collaborations Institute of Technology Museum and showed how it was possible for fine art to Library, the Condé Nast Library, and enhance high fashion. The Metropolitan Museum of Art The exhibit also draws comparisons Costume Institute. with her contemporary, Gabrielle “Coco” Surrealism entails the principles, Chanel, and points out her influence upon ideals, or practice of producing fantastic contemporary designers such as Yves Saint or incongruous imagery in art or literature Laurent and Jean Paul Gaultier. Elsa by means of unnatural juxtapositions and Schiaparelli, curated by Sydney Van Nort Elsa Schiaparelli in Her Showroom. combinations. This movement flourished F. Kollar/Ministère de la Culture, France and Julio Rosario, is on view through in Europe between the world wars. It painting, sculpture, photography, poetry, July. Sydney Van Nort grew principally out of the earlier Dada prose, or clothing design. [email protected] ○○○○○○○○○○○○ movement, which before World War I Schiaparelli produced fashions ○○○○○○○○ produced works of anti-art that deliberately reflecting a change in women who felt defied reason. Surrealists intended to Diana Birchall speaks on the confident in wearing clothes expressing First Asian American Novelist express a radical change in how man, the authority with the incorporation of creator of society, thought and perceived shoulder pads in a suit jacket or with an On February 21 the City College reality. Explanations were seldom element of whimsy in a hat shaped like a Library and the Program in Asian Studies provided for works created by the shoe. She incorporated architectural sponsored a reading and talk in the movement’s practitioners, whether in concepts in her clothing, following the library’s Archives by Diana Birchall, structure of the human skeleton, not the granddaughter of Winnifred Eaton who, natural curves of the body. Schiaparelli under her pen name Onoto Watanna, is felt a “dress should never fit a body, but widely regarded as American’s first Asian NOV EB O train the body to fit the dress.” American novelist. Ms. Birchall read IS DSPICE R B A A Schiaparelli’s friends and R C excerpts from her book Onoto Watanna U collaborators, including such artists as (University of Illinois Press, 2001). S P I I R Salvador Dalí, Jean Cocteau, and Marcel I O G A Hollywood screenwriter as well, E S C I P G I P I Vertès, influenced her designs. ‘Schiap,’ L C S Winnifred was a fascinating, flamboyant E E E L R L as she was known by her friends, U personality. Her granddaughter’s talk L M O incorporated unusual elements into her was filled with anecdotes about her family C designs — jacket buttons in the shape of M including her great-grandmother, Grace D II cicada insects, a jacket collar shaped Eaton, born in Shanghai and kidnapped CC LV CX like a bird wing, a dress in the shape of by a circus at age three. She married a parachute, or a purse shaped like a (Continued on p.7) CircumSpice Spring 2002 2 From The Desk Of The Chief Librarian From the Desk of............. Nexis which get content from many These include Grove’s Dictionary different publishers. of Music, 2nd ed., Mental Measurements And the GOOD News is... Things have gotten so complicated Yearbook, Ullmann’s Encyclopedia of For years now, even decades in that we had to purchase a package called Industrial Chemistry, and WorldMark some cases, we have bemoaned the fact “Serials Solutions” to manage all the Yearbook 2001. that our library materials budget buys titles, and when we sent them our list of Also, CUNY has purchased less and less because it hasn’t gotten consortium purchases, they consolidated electronic access to a core collection of bigger and inflation has eroded it. them, sending us back our total title list more than 800 book titles from Net However, during the past two years, of more than 13,000 serials! You can Library, which are available through the the library has dramatically increased its view that title list at: link above. purchasing power without additional www.ccny.cuny.edu/library/Serials/ I urge you to use these resources dollars in one major area: Serials. jnlsIndex.html. and let us know what you think of them. With no additional funding, how 13,000 is a 500% increase in access As always, comments, suggestions, and can that be? to full-text journals and periodicals— feedback regarding the Library’s services Well, we have succeeded in providing articles that can be read online, are welcome and should be addressed to forming consortia with other libraries to emailed, saved to a disk, or printed out as me by calling x7271, sending email to increase our purchasing power just like needed. [email protected], or by you do when you join something like a Taking two concrete examples dropping by NAC 5/333 (Cohen Library). warehouse club. Sometimes the [from: www.ccny.cuny.edu/library/ Pamela Gillespie consortium is four or five libraries, Menu.html] just to add clarity, let’s look at Wiley InterScience and ScienceDirect. sometimes it’s all of CUNY, and in some Architecture Library Gift cases it’s even all of SUNY. 1. Wiley InterScience—Two years Five years ago we received 2600 ago, we received twelve titles from this The Landscape Architecture serials in paper, microform, or CD ROM publisher in paper. When CUNY first Program of the CCNY School of format. Now, our purchasing patterns put together a group subscription, we Architecture, Urban Design, and have changed so that we get one-third swapped the 12 for 70 titles in digital Landscape Architecture, has donated fewer physical pieces. Instead, we get content. This year, when we renewed the $3,000 for the purchase of library books digital content from more than 20 subscription, further fine tuning of the to support the program. The library is “aggregators.” An aggregator is a agreement got us 102 digital titles. Our delighted to receive this gift during a collecting unit—sometimes that is a per title cost went from $1500 two years year of truly anemic budgets and one in journal publisher like the American ago to $147.50 with the latest renewal. which the program will undergo an April Chemical Society or Elsevier; sometimes 2. Science Direct —Elsevier publishes accreditation visit by the national it is a licensor like EBSCO or Lexis- 1100 titles in many, many subject areas, including humanities and social sciences. Landscape Architecture Accreditation Two years ago we received 41 of them in Board. LIBRARY paper. The first year SUNY put together Architecture Librarian Judy PHONE a group subscription we swapped the 41 Connorton worked with Elizabeth ✆ NUMBERS Grajales, the president of the school’s for 750 titles in digital content. This Chief Librarian 650-7271 year, when we renewed, that number American Society of Landscape Archives 650-7609 went up to 965. Just as with Wiley, our Architecture Students, to select books Circulation 650-7155 per title cost went way down, from $3531 needed by students in the program’s Reference 650-7611-12 to $150. classes. Approximately 70 titles were Architecture 650-8768 ordered including the just published Music 650-7174 Online Access to Books too! Science/Engineering 650-8246 Certain complete reference works three-volume reference work The iMedia 650-6708 are available digitally on our Web site at: Encyclopedia of Gardens: History and Slide Library/Architecture 650-8754 www.ccny.cuny.edu/library/Menu.html Design (Fitzroy Dearborn, 2001). Slide Library/Art 650-7175 CircumSpice Spring 2002 3 2 CCNY Masterpiece Exhibited in Venice CCNY-owned quality. In this case, the masterpiece by museum paid to have the A Pierre Puvis de frame reinforced and the Chavannes, Children in an plain glass replaced with Orchard, is presently on laminated, non- reflective display in an exhibit at the glass. Second, exhibition Palazzo Grassi in Venice, credit brings excellent name Italy. The Palazzo Grassi recognition and distinction is one of Venice’s premier to the college.” museums specializing in Children in an the ancient, Renaissance, Orchard will be returning and modern arts. to the CCNY campus in The exhibit, Toward late June 2002, having Modern Art: from Puvis de served once again as City Chavannes to Matisse and College’s ambassador to Picasso, runs from February Children in an Orchard by Pierre Puvis de Chavannes the international art 10 to June 16, 2002. Taking community. January 2002 when the painting was re- a unique approach in examining the roots glazed and crated for the journey overseas. of modern art, the curator, Professor Rob Laurich In late January Assistant Dean Pamela Serge Lemonine of the Sorbonne and [email protected] Gillespie, CCNY’s Curator of Artistic Musee de Orsay, looks not to Properties, accompanied the painting to Impressionism and Manet but to the Venice.
Recommended publications
  • Women Surrealists: Sexuality, Fetish, Femininity and Female Surrealism
    WOMEN SURREALISTS: SEXUALITY, FETISH, FEMININITY AND FEMALE SURREALISM BY SABINA DANIELA STENT A Thesis Submitted to THE UNIVERSITY OF BIRMINGHAM for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them.
    [Show full text]
  • 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.
    [Show full text]
  • April 2018 Book List: Re-Make It
    KNOCK KNOCK RE-MAKE IT READING LIST Knock Knock Children’s Museum (KKCM) is a community spark for engaging, playful learning experiences that inspire and support lifelong learning. We strive to be inclusive by making every aspect of our museum relevant and accessible to all. We recognize that responsive interactions are critical for children and adults to achieve their fullest potential in the context of relationships that are built on trust and respect. We believe in the development of the whole child with the goal of increasing early literacy skills while expanding knowledge and raising interest in STEAM subjects and careers. Books are an important ​ ​ part to our museum, with the Story Tree Learning Zones, featuring a library of over 400 books. These books organized around the themes of each Learning Zone are used daily in our programs, to introduce field trips, to guide art and maker shop activities, for story times and for visitors to enjoy. KKCM is excited to work with The Conscious Kid Library, an organization that promotes multicultural literacy, anti-bias and empowerment through creating access to diverse children’s books. Our goal is to make sure all visitors to our museum can see themselves and learn about the people, places, history and ideas that make up our diverse and wonderful world. Knock Knock’s theme for April is “Re-Make It” so all of the books featured on this list involve re-making, whether it’s weaving with used plastic bags, making musical instruments from trash, or transforming spaces, fashions, inventions or art. Knock Knock Children’s Museum • knockknockmuseum.org • The Conscious Kid • theconsciouskid.org RAINBOW WEAVER/TEJEDORA DEL ARCOÍRIS Linda Elovitz Marshall, Illustrated by Elisa Chavarri Ixchel wants to follow in the long tradition of weaving on backstrap looms, just as her mother, grandmother, and most Mayan women have done for more than two thousand years.
    [Show full text]
  • Haute Couture
    NEXT EXHIBITION AT THE CITY HALL PARIS HAUTE COUTURE FREE EXHIBITION AT THE CITY HALL FROM 2 MARCH TO 6 JULY 2013 With the support of Swarovski OPEN EVERY DAY EXCEPT SUNDAYS AND BANK HOLIDAYS, FROM 10 AM TO 7 PM PRESS RELEASE PARIS HAUTE COUTURE Paris City Hall celebrates haute couture from 2 March to 6 July 2013, with an exhi- bition in the Saint-Jean room, in collaboration with the Galliera Museum and the exceptional support of Swarovski. For the first time ever in Paris, fashion capital of the world, an exhibition is bringing together a hundred haute couture dresses and outfits by designers such as Worth, Doucet, Poiret, Lanvin, Vionnet, Patou, Chanel, Molyneux, Rochas, Maggy Rouff, Jacques Heim, Nina Ricci, Schiaparelli, Jacques Fath, Balenciaga, Grès, Balmain, Carven, Christian Dior, Givenchy, Cardin, Yves Saint Laurent, Courrèges, Jean Paul Gaultier, Lacroix, Alaïa… Organised in collaboration with the Galliera Museum – under the artistic direction of Oliver Saillard – the Paris haute couture exhibition invites you to admire these exceptional garments, chosen from the most beautiful pieces in the museum’s collections. A unique opportunity to discover a number of masterpieces, many of which have never been seen before. This group also includes a set of drawings and photographs, enabling the visitor to step behind the scenes of these world-famous fashion houses and observe the creative processes. Haute couture was born in Paris in the mid-19th century and since then, generations of designers have transformed this supposedly frivolous discipline into high art, drawing on the skill of thousands of little hands, like those of the embroiderers and plumassiers (feather workers), whose work in the shadows has kept alive the traditions that help maintain Paris’ influence on fashion all over the world.
    [Show full text]
  • ELSA SCHIAPARELLI Nationality – Italian Style – Surrealist / Art Deco Born : 1890 Died: 1973
    ELSA SCHIAPARELLI Nationality – Italian Style – Surrealist / Art Deco Born : 1890 Died: 1973. HISTORY. Elsa Schiaparelli was one of Europe’s most well known fashion designers. She was most popular in the 1930’s and 1940’s but her witty and stylish clothes are still an inspiration to other designers to this day. Elsa Schiaparelli was born in Rome in 1890. She had a very colourful childhood and did many things to shock her parents, once she attended a high class ball wearing only a piece of material wrapped around her body. Aged 18 she married and travelled around Europe until she gave birth to a daughter, Marisa. Unfortunately her husband then abandoned her and she was forced to find work to support herself and her child. She was interested in fashion and tried to get jobs in Paris fashion houses, eventually she had some luck, she designed a black jumper with a knitted white bow motif at the neck. It was much admired and shown in Vogue magazine. It proved so popular that she had to employ a group of women to make some more, this led to her starting her own fashion business and from then on she stared producing sportswear, day and evening wear and printed scarves. ‘Bow’ jumper Butterfly buttons Surrealist coat. TECHNIQUES Schiaparelli was very experimental and often used unusual fabrics and materials, like glass like plastics and cellophane, metallic threads and beads. On one occasion she even used human hair on a jacket. She often used oddly shaped buttons and fastenings such as insects, butterfly, fruit and vegetable shapes- anything in fact that did not look like a button.
    [Show full text]
  • Recorded PSW Lecture Series 10 Fashion Designers You Need to Know
    LECTURE SERIES PARIS STYLE WEEK ONLINE “10 FASHION DESIGNERS YOU NEED TO KNOW” ABOUT LECTURE SERIES - ONLINE The Cycle of Lectures «10 designers you need know» is aimed at all people who want to deepen their knowledge of the history of fashion through the legacy of 10 leading French Haute Couture ! ELSA SCHIAPARELLI ! GABRIELLE CHANEL Designers. ! HUBERT DE GIVENCHY ! CHRISTIAN DIOR ! PIERRE CARDIN Valeria Doustaly chronologically presents the ! KARL LAGERFELD motivations and creations of the different designers, ! YVES SAINT LAURENT brings relevant content from the latest fashion ! AZZEDINE ALAÏA ! THIERRY MUGLER exhibitions in Paris as well as the current panorama ! JEAN PAUL GAULTIER of the brands. SCHEDULE LECTURE SERIES DAY Elsa Schiaparelli & Gabrielle 1 Chanel DAY You will receive by email the link ZOOM of 2 Christian Dior & Hubert de each recording session. The link is valid 7 Givenchy days, when you finish one lesson you DAY receive the following, and at the end you get an exclusive LIVE lesson with Valeria 3 Pierre Cardin & Karl Lagerfeld Doustaly. DAY Yves Saint Laurent & Azzedine 4 Alaïa DAY Thierry Mugler & Jean Paul 5 Gaultier LECTURE SERIES PARIS STYLE WEEK ONLINE “10 FASHION DESIGNERS YOU NEED TO KNOW” “It is not a matter of memorising names and dates, this can be found in any text. The important thing is to understand the processes and transformations that led to the facts; the creations of these designers tell us about the values, aesthetic considerations, individual and social identities of an era. It is a matter of
    [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]
  • Designers Inspire Clothes-Conscious Coed Betty Hatcher Iowa State College
    Volume 19 Article 5 Number 7 The Iowa Homemaker vol.19, no.7 1939 Designers Inspire Clothes-Conscious Coed Betty Hatcher Iowa State College Follow this and additional works at: http://lib.dr.iastate.edu/homemaker Part of the Home Economics Commons Recommended Citation Hatcher, Betty (1939) "Designers Inspire Clothes-Conscious Coed," The Iowa Homemaker: Vol. 19 : No. 7 , Article 5. Available at: http://lib.dr.iastate.edu/homemaker/vol19/iss7/5 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in The oI wa Homemaker by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. ::J)e:Ji!uetJ Inspire the Clothes-Conscious Coed Betty Hatcher finds food for fashion thought in the world of famous style creators LOTHES may not make the woman, .but a new Saisonniers. Today she is the greatest of the traditional C dress does give us new spirit, self confidence and dressmakers, using simple fabrics that drape and cling poise. In an outfit we know is smoothly good looking, and marvelous, subtle colors that are dyed especially we feel ready to meet the world. for her. In answer to women's desire to be attractive, the Gabrielle Chanel's shop on the Rue Cambou, op­ fashion industry came into existence. When the ca­ posite the Ritz in Paris, appeals to her feminine clien­ reer of fashion designing opened, it brought fame to tele with clothes that are essentially young.
    [Show full text]
  • Design for the Cover of the Magazine Voici La Mode / Art Goût Beauté Gouache and Black Ink, Over an Underdrawing in Pencil, on Paper Laid Down on Board
    Léon BENIGNI (1892 - 1948) An Elegant Couple: Design for the Cover of the Magazine Voici La Mode / Art Goût Beauté Gouache and black ink, over an underdrawing in pencil, on paper laid down on board. Signed lbénigni at the lower left. Inscribed VOICI LA MODE and ART GOUT BEAUTE at the top. Further inscribed chanel and Brun Rouge / soulin on the reverse. 326 x 225 mm. (12 7/8 x 8 7/8 in.) The monthly magazine Voici La Mode / Art Goût Beauté was launched in 1920 under the title 'Les succès d’Art Goût Bon Ton.' By October 1921, however, the title had been changed to Art Goût Beauté, taking the initials of its founders, the Lyonnais textile manufactory Albert Godde Bedin et Cie. Aimed at an affluent clientele, the magazine sought to promote luxurious fabrics and fashions to a readership who could afford to dress in the French haute couture fashions of the time. Presenting the designs of the most sought-after Parisian couturiers – including Jeanne Lanvin, Lucien Lelong, Jean Patou, Paul Poiret and the House of Worth - Art Goût Beauté’s artistic director Henri Rouit commissioned drawings from the leading illustrators of the day, notably George Barbier, Paul Iribe and Georges Lepape. Each issue was rich in both advertisements and colour illustrations, some of which were tipped-in. The magazine began incorporating photography in the 1930s, and in 1933 the title was changed again, to Voici La Mode / Art Goût Beauté, with each issue illustrated only with black and white illustrations. The woman in this gouache drawing is wearing a dress designed by Coco Chanel (1883-1971).
    [Show full text]
  • The Art & Fashion of Elsa Schiaparelli
    SHOCKING! THE ART & FASHION OF ELSA SCHIAPARELLI Philadelphia Museum of Art September 28 - January 4, 2003 Sponsors Supported by Carefree and by an endowment from The Annenberg Foundation for major exhibitions at the Philadelphia Museum of Art, The Pew Charitable Trusts, the National Endowment for the Arts, the Robert Montgomery Scott Endowment for Exhibitions, The Women’s Committee of the Philadelphia Museum of Art, and the generous donors to Schiaparelli’s List. Promotional support was provided by NBC 10 WCAU and the Greater Philadelphia Tourism Marketing Corporation. Curator Dilys E. Blum, Curator of Costume and Textiles This packet of teacher materials was developed by the staff of the Division of Education at the Philadelphia Museum of Art. Shocking! THE ART & FASHION OF ELSA SCHIAPARELLI A Note to Teachers on the Use of these Materials: This teacher packet is meant to be used in your classroom before, after or instead of visiting the exhibition. These materials were prepared for use with grades 5 through 12. Therefore, you may need to adapt the information to the particular level of your students. THIS PACKET INCLUDES: 1. OBJECT INFORMATION 2. SCHIAPARELLI IN THE CONTEXT OF FASHION HISTORY 3. BIOGRAPHY OF ELSA SCHIAPARELLI 4. SCHIAPARELLI AND SURREALISM 5. CLASSROOM ACTIVITIES 6. RESOURCES Object Information Hand Knit Sweater with Bowknot, November 1927. Black & White Wool. Philadelphia Museum of Art. Gift of Mme Elsa Schiaparelli. Discussion Questions • How has Schiparelli decorated this sweater? • Why do you think Schiaparelli decided to knit a bow right into the sweater instead of making a scarf to go with it? • This sweater was unique at the time.
    [Show full text]
  • Salvador Dalí, Surrealism, and the Luxury Fashion Industry
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2016 Salvador Dalí, Surrealism, and the Luxury Fashion Industry Chantal Houglan College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Contemporary Art Commons, Modern Languages Commons, and the Theory and Criticism Commons Recommended Citation Houglan, Chantal, "Salvador Dalí, Surrealism, and the Luxury Fashion Industry" (2016). Undergraduate Honors Theses. Paper 902. https://scholarworks.wm.edu/honorstheses/902 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Houglan 2 For both my mother, Nicole Houglan, who introduced me to the Surrealist’s work at a young age and for the Great Dalí, the artist who continues to captivate and spur my imagination, providing me with a creative outlet during my most trying times. Houglan 3 Table of Contents Introduction…................................................................................................................................. 4 Chapter 1. Dalí’s Self-Fashioning into a Surrealist Spectacle.........................................................8 Chapter 2. Dressing the Self and the Female Figure.....................................................................28 Chapter 3. Dalí’s
    [Show full text]
  • International Journal of Science Commerce and Humanities Volume No 2 No 3 April 2014
    International journal of Science Commerce and Humanities Volume No 2 No 3 April 2014 Conceptualizing of women's classic fashion style of the XX - century: Method of studying of French couturiers heritage in the World museum collections Tатyana Krotova Phd, associated professor of fine art and design department at Kyiv University named after Borys Grinchenko Address: 01103 City Kiev Ukrain Pidvysots`kogo street, 6а, ap.54 Кrotova Т.F. +38097-338-33-18 [email protected] Annotation Classic costume actually is the foundation of businessman 's stock of clothes . Due to the significant role of the classic suit in the social and communicative space of global cultural society there is a need to expand the boundaries of classic style and enriching aesthetic preferences of consumers. Art experience of costume design gained in the practice of the famous French couturier of the XX- th century are of great interest to practitioners of modern design in terms of methods and techniques of the art of costume choices of author’s compositions and using of expressive means. This study presented the method of structural analysis of the classic suit forms in the process of evolution, which allows you to perceive the nature of costume design as a kind of tectonic arts, explore creative methods of artist-designer on a scientific basis. Generalized basic models are presented in analytical scheme that allows you to see the characteristics of silhouettes, lengths, volumes, shaping techniques, varying zones detail. The materials can be used to capture historical material and formulation of project tasks for students, costume designers and stylists as the source material and analog during the creation of clothing collections.
    [Show full text]