ICOM Costume News 2013: 1
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Haute Couture
ARTS TALENTS ENCHÈRES Maison de vente aux enchères no 030-2012 LE BOUDOIR DES MUSES Audrey Hepburn, Coco Chanel, Gloria Swanson… & PASSION DE COLLECTIONS du comédien Pierre Stephen VENTE Dimanche 22 septembre 2013 ELEPHANT PANAME, 10, rue Volney, 75002 Paris ARTS TALENTS ENCHÈRES Maison de vente aux enchères no 030-2012 LE BOUDOIR DES MUSES Haute couture (Christian Dior, Balenciaga, Chanel…) L’univers de Coco Chanel Ensemble de 4 sculptures dadaïstes pouvant se rattacher au parfum Numéro 5, paravent de Misia Sert, mobilier de la chambre à coucher de Coco Chanel, vers 1920, du film Coco Chanel et Igor Stravinsky…) L’univers d’Audrey Hepburn Gouaches de Cecil Beaton pour My Fair Lady, déshabillé d’Audrey Hepburn, photographies… Bijoux, accessoires Collection de peignes, bijoux de Catherine Zeta-Jones dans Sheherazade, poudrier 1935 de Salvador Dali pour Schiaparelli, malles Vuitton…. Archives d’une brodeuse d’exception haute-couture : Madame Andrée Brossin de Méré Dessins d’Yves Saint Laurent, Christian Dior, Hubert de Givenchy, Paco Rabanne ; nombreuses archives photographiques notamment avec Christian Dior…, nombreux échantillons. Archives textiles haute-couture de la Maison Perrier press-books de 1948 à 1964, photographies des créations avec les tissus Perrier de 1947 à 1960 (Dior, Chanel, Lanvin, Balenciaga…). Objets de curiosité (documents XVIIIe sur la mode, pastel XVIIIe d’une élégante, cloisonnés et porcelaines de Chine), mobilier (table vers 1925 dans le goût de Poiret, rocking-chair du film Emmanuelle), photographies (William Klein, Paul Steinitz), jouets (collection de trains, de chevaux…). vvvvvvvvvvvvvvv PASSION DE COLLECTIONS Archives du comédien Pierre Stephen (1890-1980). Press-books, photographies cinéma du muet au parlant, érotiques vers 1900, lanternes de projection, perruques de Sacha Guitry, canotier de Maurice Chevalier, bijoux et strass de cinéma, théâtre et music-hall, correspondance (Marcel L’Herbier), actions de cinéma… Tableaux et gouaches (Eisenstein, Annenkov, Edel, Guitry, Gerbault, Soukoloff, Wittop, Delamare, Betout, Saradin…). -
Costume Institute Records, 1937-2008
Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................ -
In Her Own Words: Works by Exceptional Women
london Peter Harrington ININ HERHER OWN WORDS WORKS BY EXCEPTIONAL WOMEN ur first catalogue focussed on women spans the Others have been overlooked despite brilliant contributions Ocenturies from Sappho to Maya Angelou, showcasing the to their fields. Early works by Joan Robinson (122 and 123) and work of exceptional women in many different fields. Rosa Luxemburg (96) are well-known to economists, but less These were women who pushed legal, intellectual, and well-known are those by Helen Makower (97) and S. F. Porter physical boundaries. Millicent Fawcett Garrett signed our (118). Rosalind Franklin and Jocelyn Bell were both denied copy of Women’s Victory in July 1928, the same month the Equal Nobel prizes, despite playing crucial roles in the discovery of the Franchise Act gave British women electoral equality with men structure of DNA and radio pulsars respectively (70 and 22). In (item 66). Maria Gaetana Agnesi’s Analytical Institutions is the the suffrage movement, the works of Christabel (109) and Sylvia first advanced mathematics book by a woman (1). Trailblazers Pankhurst (110) sit alongside work by their exiled sister, Adela such as Fanny Parks, “characterized by remarkable physical (108), comparatively overlooked, yet no less fierce a Pankhurst stamina” (112), Amelia Edwards, who carried out the first for it. general archaeological survey of Egypt’s ruins (60), and Lady Within the catalogue, works on paper appear alongside items Hester Stanhope, “Queen of the Desert” (144), cleared the way in different media. Amelia Earhart’s Fun of It, inscribed (59), for later intrepid travellers such as Gertrude Bell (21) and Freya complements the pearl carried on the maiden voyage of the Stark (145). -
Chapter 1 1850-1890: the Dawn of Modern Clothing
Chapter 1 1850-1890: The Dawn of Modern Clothing This Teacher’s Guide, compiled with the assistance of Stephanie Kramer, is designed to provide you with a summary of the key points in the development of fashion during the period/decade covered in this chapter. It also provides a concise survey of the significant designers of the time, essay and discussion questions, and further reading and research suggestions. Objective The main objective of this chapter is to study the development of fashion during the second half of the 19th century, particularly the establishment of those aspects of the fashion system that are still in place today. Fashion in this period reflected the latest developments in engineering, chemistry, and communication and witnessed development of the role of the “fashion designer.” Key Teaching Points The following teaching points have been arranged thematically and highlight the important topics that need to be covered in order to meet the main objective of the chapter. Social and Economic Background • Britain o reign of Queen Victoria (1837-1901); stress on propriety and etiquette o rapid industrialization o expanding overseas empire • United States o impact of Civil War (1861-1865) on global trade o emergence as industrial power • France o reestablishment of court during Second Empire (begins 1852, ends with Franco-Prussian war 1870) o transformation of Paris into fashionable modern city • Japan o opens borders (1853-1854) o goods enter the Western market and impact Western tastes The Arts • Orientalism and Academic -
VA14 Couture
Couture Dresses for princesses Christian Dior’s New Look seemed to symbolise the arrival of a brave new fashion world when it hit the catwalk in 1947. But as the V&A’s new blockbuster reveals, couture’s post-war golden age marked the last blast of an old aristocratic order before the fashion revolution of the 1960s. Suzy Menkes reports Left: Pierre Balmain, early 1950s, white silk organza, feathers and rhinestones. Right: Cristobal Balenciaga, c.1955, scarlet silk and silk taffeta. Both © V&A Images 38 V&A Magazine Winter 2007 www.vam.ac.uk V&A Magazine Winter 2007 39 Right: Christian Dior Couture with his house model Renee, c.1957, photographed by Henry Clarke © Condé Nast Archive/Corbis, all rights reserved. Below: Zémire modelled by Renee, Paris, 1954, photographed by Regina Relang © V&A Images. Facing page: coats by Molyneux and Hardy Amies, worn by Barbara Goalen and Wenda Parkinson (née Rogerson), 1948 © Norman Parkinson Archive, London The dress is Red Riding Hood scarlet, its gleaming satin skirt spreading under an elongated jacket. It speaks of glamour and dash, of history and haute elegance. And who could have believed that this Christian Dior gown was made while Paris was still licking the wounds of war? Or that the magisterial ensemble had been fished out of a damp cellar seeping with water from the River Seine? Zémire, the V&A’s historic Dior find from 1954, is the star of ‘The Golden Age of Couture’. But the new exhibition has a subtext: ‘Paris and London 1947-1957’. In its sober tweed suits, its twirling, wasp-waist dresses and its substantial, sculpted undergarments, it is designed to get under the skin of those clothes whose firm silhouettes identified the post-war period – on both sides of the channel. -
Master Cases
CORPORATE BRAND MANAGEMENT AND REPUTATION MASTER CASES The Russian Roulette of The Fashion Industry The Case of Balmain By: Sarah Jane Featherstone Soh-Pih Mariette Nikolai Anna Zonina First Edition Student Case Papers 2018 Corporate Brand Management and Reputation: Master’s Cases The “Corporate Brand Management and Reputation: Master’s cases” is a case series for applying the case method of teaching and learning in higher education. The cases are relevant to brand strategists in private and public sector organizations, as well as academics and students at universities, business schools, and executive education. The cases are written by groups of master’s students as a course project. The specially developed case format is defined as: “A management decision case describes a real business situation leading up to a question(s) that requires assessment, analysis, and a decision reached by discussion in class. The alternative approaches and recommendations from the class discussion are followed by a description of the choices made by the case company. This description is then discussed by the class.” The student groups select the topics of their case providing updated and relevant insights into the corporate brand management. The cases can be used as “written cases” (handed out and read in advance, later to be discussed in class) and/or as “live case” (presented by the teacher following a discussion in class). Each case includes teaching notes, visuals with speaker’s notes, learning objectives, board plans, and references. The mission of the series is “to develop cases for discussion providing insights into the theory and practice of corporate brand management and reputation, with the intent of bridging the gap between academic teaching and managerial practice.” The series is a result of co-creation between students and teachers at the elective course Corporate Brand Management (BUSN35 – five-credit course/eight-week half-time studies), part of the master’s program International Marketing and Brand Management at Lund School of Economics and Management, Sweden. -
François-Henri Pinault US $9.99 JAPAN ¥1500 CANADA $13 CHINA ¥80 UK £ 8 HONG KONG HK100 EUROPE € 11 INDIA 800
Fashion. Beauty. Business. The DEC 2015 TOP No. 3 STORIES of the YEAR Designer Drama Tragedy in Paris Givenchy’s N.Y. The Three Giants Outlet Boom Androgyny Rises HBC’s Whirlwind Coty’s Empire The Model Is Back Yoox’s New Net Condé’ Shake-up TPP Gets Real NEWSMAKER of the YEAR François-Henri Pinault US $9.99 JAPAN ¥1500 CANADA $13 CHINA ¥80 UK £ 8 HONG KONG HK100 EUROPE € 11 INDIA 800 KENDALL JENNER © 2015 Estée Lauder Inc. © 2015 esteelauder.com DRIVEN BY DESIRE NEW Kendall’s shade: Lethal Red PURE COLOR ENVY LIQUID LIP POTION Fluid lipcolor with lipstick’s potent effect. Oil Elixir Infused Edward Nardoza STORIES EDITOR IN CHIEF Pete Born of the YEAR EXECUTIVE EDITOR, BEAUTY Bridget Foley EXECUTIVE EDITOR James Fallon 14 No. 1 Designers: EDITOR Deities No Longer Robb Rice For the designer set, 2015 was GROUP DESIGN DIRECTOR the year of living strangely. 18 No. 2 Tragedy in Paris The shock of the terrorist attacks reverberates in the City of Light and beyond. 20 No. 3 Moving the Needle John B. Fairchild Riccardo Tisci’s stunning Givenchy 1927 — 2015 show in New York was a creative tour de force, to which he also welcomed MANAGING EDITOR Peter Sadera the public — which will impact MANAGING EDITOR, Dianne M. Pogoda FASHION/SPECIAL REPORTS fashion for years to come. EXECUTIVE EDITOR, EUROPE Miles Socha DEPUTY MANAGING EDITOR Evan Clark 22 No. 4 Giant Steps NEWS DIRECTOR Lisa Lockwood DEPUTY EDITOR, DATA AND ANALYSIS Arthur Zaczkiewicz Amazon is flexing its online SITTINGS DIRECTOR Alex Badia muscle, giving Wal-Mart and SENIOR EDITOR, RETAIL David Moin SENIOR EDITOR, SPECIAL PROJECTS, Arthur Friedman Target a wake-up call. -
A Relação Da Imagem Do Estilista Com a Marca No Instagram
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL FACULDADE DE BIBLIOTECONOMIA E COMUNICAÇÃO DEPARTAMENTO DE COMUNICAÇÃO CURSO DE PUBLICIDADE E PROPAGANDA CAROLINE BAYER PEDRA OLIVIER ROUSTEING E BALMAIN: A relação da imagem do estilista com a marca no Instagram PORTO ALEGRE 2019 CAROLINE BAYER PEDRA OLIVIER ROUSTEING E BALMAIN: A relação da imagem do estilista com a marca no Instagram Trabalho de Conclusão de Curso apresentado à Faculdade de Biblioteconomia e Comunicação da Universidade Federal do Rio Grande do Sul como requisito à obtenção do grau de bacharel em Publicidade e Propaganda. Orientadora: Prof. Dra. Adriana Coelho Borges Kowarick PORTO ALEGRE 2019 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL FACULDADE DE BIBLIOTECONOMIA E COMUNICAÇÃO AUTORIZAÇÃO Autorizo o encaminhamento para avaliação e defesa pública do TCC (Trabalho de Conclusão de Cursos) intitulado Olivier Rousteing e Balmain: A relação da imagem do estilista com a marca no Instagram, de autoria de Caroline Bayer Pedra, estudante do curso de Publicidade e Propaganda desenvolvida sob minha orientação. Porto Alegre, .............. de .............................. de 20...... Assinatura: Nome completo do orientador: Adriana Coelho Borges Kowarick CAROLINE BAYER PEDRA OLIVIER ROUSTEING E BALMAIN: A relação da imagem do estilista com a marca no Instagram Trabalho de Conclusão de Curso apresentado à Faculdade de Biblioteconomia e Comunicação da Universidade Federal do Rio Grande do Sul como requisito à obtenção do grau de bacharel em Publicidade e Propaganda. Orientadora: Prof. Dra. -
Balmain and I the COLLECTION
balmain and i THE COLLECTION CATARINA DE ROQUE BOUÇOS´ PIERRE!BALMAIN 1914 - 1982 Pierre Balmain (born 1914 in St Jean de Maurienne, a small alpine village in the Savoie region of France) is a member of the elite group of visionary designers that guided French fashion to its renaissance after World War II. After briefly studying architecture (to appease his mother) Balmain began his career in fashion as an assistant to master Parisian couturier Lucien Lelong, working alongside fellow greats Christian Dior and Hubert de Givenchy. He left Lelong to establish his own house in the autumn of 1945. Balmain’s signature “Jolie Madame” style offered a startling contrast to the relaxed and utilitarian looks of the day – and its immediate popularity made clear that French women were eager to free themselves from the remaining vestiges of wartime hardship and embrace Balmain’s boldly feminine and opulent offering. “Jolie Madame” quickly became a favorite style of both European and Hollywood royalty. The world’s greatest actresses turned to Pierre Balmain to design their cocktail dresses, evening gowns and wedding dresses. Audrey Hepburn, Ava Gardner, Brigitte Bardot, Josephine Baker, Katherine Hepburn, Marlene Dietrich and Sophia Loren were some of the many stars drawn to Balmain’s richly embroidered fabrics, nipped-in waists and longer, fuller skirts. THE HOUSE 1982 - TODAY Unlike some couture houses that have turned their back on what they once were, Balmain has always proudly remained true to the vision and trailblazing spirit of its founder. Since Pierre Balmain’s death in 1982, the house has been guided by a series of strong designers, each balancing modern offerings with the need to respect the foundations and traditions of the house. -
Exhibition Checklist the Metropolitan Museum Of
Exhibition Checklist ufanee The Metropolitan Museum of Art ufanee This exhibition has been made possible by Shiseido Cosmetics A checklist for the exhibition at the Costume Institute December 17, 1986, through September 6, 1987 Copyright ' 1987 by The Metropolitan Museum ol Art Published b\ The Metropolitan Museum ol Art John P. O'Neill, Editoi in Chiel Barbara Burn. Project Superviso) Michael Shroyer, Designei J o' r rc <rJ C oil t wit s Introduction 5 Entrance Galler} 6 Spanish Callen 7 1910s, 20s, 30s Gallerj 8 Waltz Galler) 11 Mimici Callen 13 Debutante Callen 15 Masquerade Callen 17 Vitrine 20 1960s Gallery 24 Credits 26 Introduction ance, the 1986-87 exhibition in the Costume Throughout the history of social dance, the DInstitute, is the fifteenth project guided by the imaginative masquerade has given participants the opportunity to vision of Diana Vreeland, Spedai Consultant for the diop their true identities—il only for a moment—and to Costume Institute. It has been our goal to evoke those vanish under somt disguise. In the seventh gallery we feelings of excitement and romance, of elegance and have sought to illustrate the most popular themes and femininity, associated with the grand occasions for images loi fancy chess halls: the oriental, the characters of social dancing that have spanned the centuries. Each eia Italian commedia dell'aite, the folk dress of various represented in the exhibition was replete with its own cultures, the impersonation ol historic characters, the etiquette, standard of feminine beauty, and music loi purely fantastic. This gal 1er) also contains in the vitrine dancing. -
In 1947, Normandy-Born Christian Dior Opened His Own Fashion Company After Working for Top Designers Robert Piguet and Lucien Lelong
House of Dior In 1947, Normandy-born CHRISTIAN DIOR opened his own fashion company after working for top designers Robert Piguet and Lucien Lelong. Dior’s talent and creativity changed the direction of mid-twentieth century fashion. His “New Look” (named by then Editor-in-Chief of Harper’s Bazaar Carmel Snow) elevated Dior to the status of one of the most famous designers in fashion history. The “New Look” presented a full bosom atop a narrow waistline from which flared full skirts with hemlines at the wearer’s calves. Dior’s “New Look” silhouette, even today, remains popular. Dior’s designers attracted a wide range of clients from Hollywood stars to European royalty. With Dior’s death in 1957, his assistant Yves Saint Laurent was named principal designer. In 1960, Saint Laurent was replaced by Marc Bohan who was principal designer until 1989. From 1989 through 1997, Gianfranco Ferré was chief designer. John Galliano took over in 1997, with his first collection shown on the 50th anniversary of the label. Galliano established the look of the “Anything Goes” era with his extreme makeover of the house. Bill Gaytten, Galliano’s right-hand man, was named Artistic Director of Haute Couture for the House of Dior in 2011. House of Balmain The Balmain name evokes a unique concept of elegance, a clientele of royalty and film stars, and a fashion hallmark recognized throughout the world. PIERRE BALMAIN was renowned for his philosophy that fashion brought forth the architecture of movement. Born in 1914, Balmain studied to be an architect, though he never finished his studies. -
Iconic Fashion Entrepreneurs
ICONIC FASHION ENTREPRENEURS Neri Karra COPYRIGHT All rights reserved. No part of this book can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Neri Karra has asserted her right under the Copyright, Designs, and Patent Act as the author of this book. Parts of this book are published in Neri Karra’s Fashion Entrepreneurship: Creation of the Global Fashion Business BOOK DESIGN Katharine Mugridge IMAGES Creative Commons AUTHOR Neri Karra CONTENTS CHARLES FREDERICK WORTH 6 YVES SAINT LAURENT 57 LOUIS VUITTON 9 MARY QUANT 60 JEANNE PAQUIN 12 ANDRÉ COURRÈGES 63 PAUL POIRET 14 OSCAR DE LA RENTA 65 THOMAS BURBERRY 17 HALSTON 67 GUCCIO GUCCI 19 EMANUEL UNGARO 69 GABRIELLE COCO CHANEL 22 KARL LAGERFELD 71 ELSA SCHIAPARELLI 25 PAUL SMITH 74 JEANNE LANVIN 27 VALENTINO GARAVANI 77 MADELEINE VIONNET 29 GIORGIO ARMANI 79 MAINBOCHER 32 KENZO TAKADA 82 SALVATORE FERRAGAMO 34 ISSEY MIYAKE 84 CHRISTIAN DIOR 37 RALPH LAUREN 87 HATTIE CARNEGIE 40 AZZEDINE Alaïa 89 CLAIRE MCCARDELL 43 VIVIENNE WESTWOOD 91 CHRISTOBAL BALENCIAGA 45 CALVIN KLEIN 93 JACQUES FATH 47 GIANNI VERSACE 95 PIERRE BALMAIN 49 DONNA KARAN 97 EMILIO PUCCI 51 MIUCCIA PRADA 99 PIERRE CARDIN 53 FRANCO MOSCHINO 101 HUBERT DE GIVENCHY 55 IMAGE CREDITS 103 – 3 – INTRODUCTION Fashion is a business worth over a trillion dollars and a source of fascination. Its impact on other industries and influence on society as a whole is incalculable. In my book, published with Routledge, I have studied fashion entrepreneurs who created this fascinating industry.