#Jacques Paul

[fashionbooksmilano]

Caftani

Daniel Rey

Fotografie di Jacques Paul

Idea Books, Milano 2008, 257 pagine, 26 x 34,5 cm,   Testo Italiano, Francese e Inglese,   ISBN  9788888033617

euro 79,00

email if you want to buy :booksinprogressmilano@yahoo.it

Patrimonio, nel XVIII secolo, i caftani sono oggi il simbolo della cultura femminile marocchina, l'elemento che rivela lo stato sociale di chi li indossa, l'abito che testimonia l'arte di vivere di un popolo in piena evoluzione, legato alle sue tradizioni e nel contempo volto alle tendenze artistiche dell'Occidente. Il libro, vuole essere un viaggio attraverso l'arte della moda, ripercorrendo la storia dei caftani attraverso le collezioni di Tetouan, Fès, Rabat, Salé: caftani appartenuti alle famiglie reali e principesche, e a quelle dei ricchi commercianti del Marocco. "Caftani" si sofferma inoltre sulla sua evoluzione da quando, abbandonato all'inizio del XX secolo, è tornato di gran moda grazie alla grande creatrice Tamy Tazi e ai nuovi stilisti quali Barada, Mao, Fadyla El Cadi, Nourredine e molti altri, che realizzano veri e propri capolavori sartoriali dai quali prendono spunto anche grandi stilisti come Yves Saint Laurent e Jean Paul Gautier. 

Caftans opens the doors of the greatest collectors of caftans of the past, and of the most secret and prestigious ateliers; meets both innovative creators and those more tied to tradition; witnesses thrilling fashion shows; and places devoted entirely to paying homage to one of the most fascinating chapters of female fashion.

21/01/23

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[diioonysus]

who tends the orchards? who fixes up the gables? emotional torture from the head of your high table who fetches the water from the rocky mountain spring? and walk back down again to feel your words and their sharp sting and i'm getting fucking tired the capillaries in my eyes are bursting if our love died, would that be the worst thing? for somebody I thought was my saviour you sure make me do a whole lot of labour the calloused skin on my hands is cracking if our love ended, would that be a bad thing? and the silence haunts our bed chamber you make me do too much labour

[atomic-chronoscaph]

The King and the Mockingbird (1980)

[illustratus]

The Assassination of Tsar Paul I of Russia in 1801 by Jacques Kuyper

[adreciclarte4]

Jacques Brel, 1964 by Paul de Cordon

[pierppasolini]

L'Étrangleur (1970) // dir. Paul Vecchiali

[manderley]

jacques perrin in l'étrangleur (1970)

[the-evil-clergyman]

Penitent Magdalene by Paul-Jacques-Aimé Baudry (1858)

[godwantsit]

[aedesluminis]

Marat, Danton and Robespierre in a fragment of "Panorama de l'Histoire du siècle 1788-1889" (1889) by Alfred Stevens and Henri Gervex, Town Hall of Saint-Gilles, Belgium.

The woman on the stairs is Charlotte Corday, this particular fragment is indeed titled "Fragment du Panorama du Siècle (années 1790-1793)". Charlotte Corday et Jean-Paul Marat.

The two people behind the trio are François Barthélémy (left) and Jacques-Nicolas Billaud-Varenne (right).

References for the characters' names from Stevens, Gervex, Reinach "L'Histoire du Siècle", p. 36-37.

[pigeonrobespierre]

Marat pics from Louvre and Carnavalet :3

[miamaimania]

Cocteau's 'The Cartwheel', Genet's enigmatic 'Arrival of the Birds,' converge in L'Aurige: a visual symphony marrying surrealism and symbolism. ✨

[diioonysus]

"Gonna hold ya, gonna kiss ya in my arms, gonna take ya away from harm, gonna hold ya, gonna kiss ya in my arms, gonna take ya away from harm."

[enlitment]

favorite moments in the French revolution?

Thanks for the ask!

There's a lot of them! At the risk of being the sort of person Žižek calls out for wanting '1789 without 1793', a lot of my favourite moments come from the early days of the revolution.

Camille's passionate aux armes! speech at Palais Royal always makes the top of my list. I'm interested in the power of words, both from the literary/philosophical perspective and as a debater, so this moment feels right up my alley. There's just something about him being able to get over his stammer in the heat of the moment and inspire the crowd...

2. Second is probably the Women's March on Versailles! I think it really highlights just how important women (and mostly working-class women in this case!) were as a political force. This is something that people often forget, thinking that just because women didn't have political rights in the modern sense it meant that they had no influence on politics whatsoever. Events like this prove that this was hardly the case.

3. To move on from 1789, I am also fascinated by the merging of the revolution and religion. That's why I'm interested in the revolutionary festivals, like the Festival of the Supreme Being. (It gets such a bad reputation in a lot of historical sources, but if you look at the Catholic festivals which this was supposed to be an answer to... don't tell me they often didn't feel just as extra).

But what I find most interesting is how a lot of secular figures basically achieved the status of a saint in revolutionary France. Case in point: Marat (re: David's painting), Voltaire and - sigh - yes, Rousseau.

Just look at Rousseau's provisional mausoleum from 1794, in which he was buried before they moved his remains to the Panthéon:

fun fact - it's also currently my laptop lock screen. Don't ask why, I try not to over-analyse it.

[clove-pinks]

I solved a minor mystery adjacent to Paul Gavarni! I have previously complained about 19th century French engraver "Lavieille," whom I felt botched the work of superior artists, and now I finally know his full name.

The drawing above is by Gavarni, who also signed it, but credited to the engraver, Jacques Adrien Lavieille (1818 - 1862). This collection of his work is like a Who's Who of 19th century French illustrators and cartoonists (and sometimes mistakenly credited to Lavieille when it's really by Gavarni). He worked with Gustave Doré!

[amateurvoltaire]

When I'm having a crappy day at work, I sometimes visit "L'Ami du Peuple" during my lunch break. It tends to put all the petty day-to-day stuff into perspective…

During the quieter moments, like today, when room 55 is nearly empty, I can't help but notice a pattern. Every single visitor, upon entering, pauses before the painting.

They do a double-take at the painting's name and give him another look. Some snap a photo they'll probably never look at again.

Then they move on.

Most of them likely have no clue who he is. They don't know he's holding a note from his assassin. If they even notice "L'An Deux" written at the bottom, they're probably confused by it.

But still, for those 30 seconds, David's brushstrokes exquisitely forming the face of this stricken man make them pause. What makes them linger? Is it the vaguely familiar name? The face they've seen on numerous posters and leaflets? The unsettling quiet brutality of the piece?

It doesn’t really matter why. Because, for that half-minute, through their eyes, he exists. He is present. He is contemporary.