#elsa schiparelli

[mote-historie]

1940 Christian (Bébé) Bérard, Illustration “Schiaparelli’s Lavender and Blue Crepe.“ Vogue, July 15, 1940. 

[lamarchesacasati]

Tall and gaunt with heavily made-up eyes, Marchesa Luisa Casati represented a past age of splendour when a few beautiful and wealthy women adopted an almost brutally individualistic way of living and presenting themselfes to the public.

Elsa Schiaparell

[emmafiber]

| artist research - fabric design |

SECOND PICK : Sarah Cain

“Self Portrait,” 2020

Acrylic, gouache, latex, prism beads, plastic thread

90" x 90" x 3" [HxWxD] (228.6 x 228.6 x 7.62 cm)

I became extremely intrigued by Sarah Cain's art almost immediately after looking her up. Her abstract design and use of color caught my eye with the way they work together. I love the vibrant colors used and her range of different mediums to express herself within art. I love the dominance of pink within her pieces as well and how there's no subject within her pieces. I could stare at her art for hours. 

THIRD PICK : Elsa Schiparelli 

Tear Dress, 1938

This artist caught my eyes for obvious reasons. Her fashion instincts and the way her pieces are timeless. While Elsa is not from today’s time period, the way in which she expressed her pieces onto the models, and the movement within each of her pieces is extraordinary. The patterns and detailing allowed for these to be more than a garment, but a piece of art. 

TOP PICK: Susan Cianciolo

Shabbat Shalom, 2021, mixed media, textiles, 58 1⁄2 × 50"

Susan’s pieces are nothing but ordinary. I have never been so intrigued by an artist who uses mixed media. I love the way she pieces light and airy colors together, along with patterns, and drawings, and fabrics. Her pieces create a sense of harmony and unity amongst chaos and I think that’s why I love her work so much. There's so much to know about her art and why she expresses art in the way she does and the choices she decides to make within the process of creating a finished piece. 

[luthienfashiondesign]

✒️El sistema de producción de la moda francesa se creó a partir del nacimiento del Haute Couture, sobre el año 1850, de la mano del modisto inglés Charles Frederick Worth, quien configuró los desfiles de moda que conocemos actualmente. En esta oportunidad no escribiré acerca de este personaje, es un contexto para hablar de la semana de la moda en París, con la colección de la casa de modas de la magnífica Elsa Schiaparelli, mujer italiana, irreverente y extravagante en su manera de ver la vida y el entorno artístico. A mi modo ver, la pasarela presentada por el director creativo de la Maison no representa el legado de Elsa, considero que el surrealismo como expresión artística es y debe ser abstracta, no es tan básica, cómo lo ví en esta pasarela, es un afán por sacar moda sin pensar en las consecuencias que esta lleva, me recuerda la década del 80, los discursos de la supremacía, de las monarquías, discursos viejos y antiguos, donde el humano se superpone ante la belleza animal. Considero peligroso seguir con estos discursos, a pesar que los animales son sintéticos, agregados a las prendas, este acto es algo que ya no se debería presentar. El nuevo lenguaje de la indumentaria de la moda en sí, debe estar ligado a la Pacha Mama, a la madre tierra. Por tanto, sí el director creativo quería mostrar y plasmar en sus prendas el universo de Dante Alighieri, hay elementos más potentes, para no caer en el mismo discurso griego y romano traído de las fábulas, los bestiarios medievales, las leyendas e historias occidentales, que siempre han ido en contra del universo animal. Esta pasarela me deja un sinsabor, pues soy admiradora de Elsa Schiparelli y su legado, pero creo que EL AHORA, con marcas como Balenciaga, Dior, ya deberían morir y cerrar el círculo. Las narrativas no pueden seguir siendo relatada para incentivar la cacería, la dominación y la sumisión. La nueva moda debe ser contada desde una sostenibilidad, ligada a conectarnos con nuestro entorno y con la creación divina. Todo se conecta siempre. By: @angieluthien Photo by: https://www.schiaparelli.com/ #modasostenible #historiadelamoda #consciencia #espiritualidad #luthienfashiondesignuniverse https://www.instagram.com/p/Cn4ogaZOYKy/?igshid=NGJjMDIxMWI=

[alwaysalwaysalwaysthesea]

Silk evening ensemble by Elsa Schiaparelli, 1933-35.

(source: Metropolitan Museum of Art)

[thelovingarchive]

Elsa Schiparelli on her quilted couch.

[itgirlspectacle]

Daisy Fellows

In the early days of prominent “it” girls, one must keep in mind that the state of gossip, fashion, and high society functioned very differently in the early 20th century than they do now, 100 years later. For instance, if a modern-day influencer went out to breakfast with her friends, she might post a reel, or an Instagram highlight, or a Snapchat story. However, in the days of our first “it” girl Daisy Fellowes, newspapers and magazines reigned supreme in highlighting the most notable members of society and their comings and goings. For instance, in the French print of The New York Herald, the “Mondanites” section highlights “l’honneur de la reine Marie de Roumanie, M. et Mme. Paul Morand ont donné, avant-hier, un déjeuner en leur hôtel de l’avenue Charles-Floquet. Ce déjeuner réunissait l’Hon. Daisy Fellowes” (7). In this short clip, Fellowes is noted as joining the queen of Romania for a casual lunch; for readers, the lack of details can be very intriguing. How did Ms. Fellowes secure an invite to this dinner? What did she wear, and what did she talk about? To those very familiar with high society, these questions are easily answerable. However, what makes Fellowes stand out among more middle-class society is her intrigue and relationships with royalty. Especially since, according to “The Burlington Magazine,” Fellowes was a fashion risk-taker. Discussing designs by Elsa Schiparelli, the magazine notes that “Shiaparelli favoured what had only been dubbed ‘hard-chic’, a seemingly unappealing mode that only the most glamorous and assured of women can wear: among them was Daisy Fellows who, with enviable aplomb, debuted a hat designed by Schiparelli in 1937 in the form of an inverted high heel shoe” (734). In a world where most women felt that the best way to fit in with high society was to be on-trend and modest, women like Daisy Fellowes made their mark as an “it” girl by remaining delightfully intriguing with her social engagements and public appearance.

[mon-portrait-culturel]

Toutes mes inspirations

Webtoon :

(Tradition d’Olympus ou bien Lore olympus en Anglais)

Designer Jessica Walsh :

Typographie Helvetica et Lemon Milk :

Photographe Alexandre Rotchenko et ses plans originaux :

Styliste elsa schiparelli :

Les estampes japonaises :

(La grande vague de Kanagawa de Hokusai)

Art informel, Soulage :

Street Art avec Kobra :

(Reprise d’une photo iconique qui est la plus connu dans le monde)

Séries :

(Le jeux de la dame)

(Stranger Things)

Le biomorphisme :

[onehundrenandtwelve]

This wedding gown designed by Elsa Schiaparelli is the definition of a showstopper. You can see it in all of its Apollo-esk glory at @dalimuseum. Im dying to go back to take another look 😍😍😍 Their show Dali & Schiparelli runs until January 12. #thedali #salvadordali #elsaschiaparelli #fashionfriday (at The Dali Museum)

[toddrogersfl]

Splurge vs Save: fragrance bloggers choose

Could you ever splurge on an all-time lust list fragrance, or save the cash by buying more pocket-friendly (but still utterly fabulous) ‘fumes? We all have fantasties of winning the lottery and suddenly having access to the rarest scents in the world… But when reality hits and more attainable scents are the name of the game, what, I wondered, would some of our favourite social media fragrance commentators choose…?

  Persolaise Splurge: If money were no object, I’d love a full bottle of vintage Diorissimo extrait (price… priceless?) in the famous, gold-topped Baccarat flacon. Actually, I’d be happy with some vintage Diorissimo in ANY bottle, but if we’re dreaming, let’s throw in the Baccarat. I could probably write a whole dissertation on why I love the perfume so much, but if I had to sum up my feelings, I suppose I’d say that, for me, it is THE most perfect example of a perfumer both reflecting nature and putting his own personality on it. Roudnitska’s nose was being guided by the scented gods when he made it. It is an absolute masterpiece.

NB: You can see this very Baccarat bottle at the Dior: Designer of Dreams exhibition in the V&A.

Save: I might go for Gorilla Perfume Kerbside Violet £29 for 30ml eau de parfum from Lush: a modern, uniquely urban take on florals, mixing that strange, green, lung-filling ‘openness’ of violet leaf with smoke, concrete and exhaust fumes. Genius.

Viola Levy, Scents & the City Splurge: If money were no object, I would go for a dazzling bottle as much as the fragrance itself – and for stunning perfume bottles, you can’t go wrong with Lalique (they pretty much invented the concept!) Their limited edition Crystal Collectible Bottle in Naïade €1,200.00 is a miniature work of art, featuring a mermaid-like Art Deco figurine as the stopper, while the fragrance inside: ‘Lalique de Lalique‘ ticks all the boxes when it comes to my favourite perfume notes (jasmine, rose, blackcurrant and sandalwood). I like to think of this scent as the equivalent of an off-the-shoulder cashmere cardi – old-school elegance with subtle sex appeal. Plus you can never go wrong with a mermaid, can you?

Save: Coty‘s L’Aimant,£14.49 at Boots for 50ml eau de toilette, would be a no-brainer. Created by François Coty (dubbed ‘the father of the modern perfume industry’) it was launched in 1927 at the Galleries Lafayette in Paris and is an incredibly romantic concoction. The backdrop was the Roaring Twenties – of girls emboldened by their contribution to the war efforts and the greater freedoms this had allowed them – which lead to the perfume being promoted as ‘the pure essence of Modernism – vivacious, warm and magnetic – the passionate woman’s perfume.’ Certainly it’s similar to No.5 in its composition: sparkly aldehydes, rose and jasmine (always a winning combination for classic scents), but it’s got a lighter spring in its step and a certain sparkle all of its own.

Sarah Gallogly Splurge: If money were not an issue I would blind-buy Mendittorosa Osang. It has a lot of my favourite notes in it such as honey, frankincense, myrhh, labdanum and sandalwood and Mendittorosa is a perfume house I would really love to explore further. I recently tried a sample of Le Mat and it’s straight up beautiful! I can only imagine how spectacular Osang is…

Save: For a fragrance under £40 I believe you can’t beat Lush and I would reach for I’m Home £25 for 30ml eau de parfum, or Cardamom Coffee £39 for 30ml eau de parfum– both wonderful and with sweet, resinous depth. Lush make excellent and creative perfumes for such an affordable price, and I’m a big fan.

Sam Scriven, I Scent You a Day Splurge: My fantasy bottle would be Aedes de Venustas Pelargonium £210 for 100ml eau de parfum, without a doubt. The first time I smelled it, I got emotional. That’s happened about twice in my life, and as a blogger, I’ve smelled thousands of scents. Pelargonium is a woody floral, but so seamlessly blended it’s like a cloak of iridescent fairy wings merging into each other. It’s mainly geranium, but it’s also musk, oakmoss, spices and smooth orris. Just perfection.

Save: There’s a huge choice of great value fragrances at the other end of the spectrum, but if I had to narrow it down, I’d go for Lanvin Arpège £29.99 for 100ml eau de parfum.  It’s a classic aldehydic chypre created in Paris in 1927 and it makes me feel like a grown-up sophisticated lady even when I’m in pyjamas. Trust me, that’s powerful. Because my pyjamas don’t even match.

  Viola Von Cydonia Splurge: If money wouldn’t matter, I’d possibly get a lot of raw materials and make something, or rather experiment with my favourite notes: say, a kilo of Iris butter? I’d be pretty over the moon if I could go into Fortnum & Mason and buy a super fancy Caron bottle and get it filled with Farnesiana from one of those glass samovars (price on request!)

Save: I’m a big fan of discovering affordable scents in unexpected places. I love &Other Stories’s Sardonyx Fire £28 for 50ml eau de toilette, it’s very on-trend with a lot of iso-e super and ambroxan, metallic and musky with sweet florals in the background.

Blueberry Chicks Splurge: The first perfume I’d choose is unavailable today, but if somebody had a sealed version I would have spent my (imaginary) thousands on La Rose Jacqueminot by Coty. I love rose and it is a legendary perfume. It was used by one of the last Romanoff princesses! For a modern perfume, it would be Puredistance White £455 for 100ml eau de parfum – because it smells like diamonds! I have never met a fragrance that’s so deliciously ‘posh’ and yet fresh. The first thing that comes to my mind when I smell it is a sumptuous ballroom full of finely dressed ladies.

Save: Jennifer Lopez Deseo £10.95 for 50ml eau de parfum, on the contrary,  is a recollection of a tropical holidays on the beach. A sweet memory doing nothing all day, with a pina colada in one hand and a book in the other.

Having salivated at the thought of the luscious lottery-win type fragrances mentioned above, and added many of the budget-friendly options to my own shopping basket, of course I couldn’t resist throwing my own scented suggestions into the ring…

Splurge: Oh go on, then, I’ll have a bottle of the original Guerlain Mitsouko, from when it was first released in 1919. Can you imagine? The thing is, I’d want to time-travel back and buy it myself, dressed to the nines in a velvet Opera coat by Elsa Schiparelli, with an ebony cigarette holder and scarlet lips, being shockingly daring yet romantic – presaging the turn of the century and those Bright Young Things to come. One spritz of this (well actually, as money is no object, several lavish applications) and I could snuggle in the cinnamon infused, milk-lapped plump peach skin and oakmoss for hours. In reality, the current reformulation by Thierry Wasser is as close as we’ll get, thanks to oakmoss restrictions, and it still smells *expletive* wonderful.

Save: If you’re looking for something with a sassy swagger, which smells about ten times more expensive than it is, consider unleashing your inner Diva with Emanuel Ungaro‘s much-overlooked masterpiece. First released in 1983, it’s a pleasingly buxom affair of softly powdered rose and iris with a purr of ylang ylang and sandalwood. And the perfumer? None other than Jacques Polge, darlings. Yes, he of the many, many Chanel fragrances. But this can be snapped up at £29.95 for 100ml eau de parfum. I know. You’re welcome.

By Suzy Nightingale

The post Splurge vs Save: fragrance bloggers choose appeared first on The Perfume Society.

from The Perfume Society https://perfumesociety.org/splurge-vs-save-fragrance-bloggers-choose/

[gotickaumjetnost-blog]

TIJELO I IDENTITET  Elsa Schiaparelli – “decentralizirani subjekt“ Maske i ogledala su polazišne točke analiziranja dizajna Else Schiaparelli. Uključuje pregled njenog rada i osobnih okolnosti u širem kontekstu 1930. – ih, naročito povijest ideja u odnosu sa politikom i društvom. Ta problematika se propituje u odnosu na esej Joan Rivière masquerade (1929.), te Jacques Lacanovo predavanje Mirror Stage (1936.) i kasnijih pisanja o maskenbalu. Kružna logika povezivanja ovih tema je kulturalna konstrukcija roda, čije operacije nigdje nisu bolje razrađene kao u području reprezentacije, kao u Schiaparellinom modnom dizajnu. U početku se maskenbal i ogledala koriste kao kritičke strategije interpretacije dizajna; ali ove metafore su kasnije izložene i drugim promatranjima, povijesti Schiaparellinog vremena i života. Lacan je radio u Parizu u isto vrijeme kad i Schiaparelli. Iako njihove karijere, zanimanja i društveni životi nisu imali ništa zajedničko, oboje su bili povezani s nadrealistima 1930. – ih, a posebno sa Salvadorom Dalijem. Problemom identiteta bavili su se i nadrealisti. Brze izmjene identiteta, slično današnjoj situaciji u postindustrijskom društvu, događale su se i u međuratnom razdoblju. Još od devetnaestog stoljeća ideja sebe kao suverenog, transcendentnog, jedinstvenog i razumnog subjekta, je postepeno ustupila mjesto ideji decentraliziranog subjekta, oprečnog i konstruiranog od kulture. Osjećaj nestabilnosti modernog vremena u periodu nakon Prvog svjetskog rata porastao je 1920.-ih i 1930.-ih, u smislu modernosti kao pomicanja, nesigurnosti, bez korijenja, vrijeme bez dubine, kad se značenje moglo iščitati s površine. „Funkcija odjeće je ovdje metafora za nestabilnosti i kontingenciju modernog života, koja je premještena na površinu stvari (Evans, 1999: 4).“ U tom periodu mnogo se proučavala stabilnost identiteta kroz umjetnost, filozofiju, psihoanalize, kriminologiju. Brza promjena identiteta se manifestirala kroz rad Else Schiaparelli. S jedne strane je bila povezana sa pariškim visokim društvom, a s druge povezivana i uključena u pokret nadrealista. Carolyn Dean objašnjava u knjizi The self and Its Pleasures: Bataille, Lacan, and the History of the Decentred Subject istražuje način na koji je stabilnost identiteta 1920.-ih i 1930.-ih bila primijećena kao opasnost u mnogim konzervativnim i progresivnim diskursima. Promišljanja o sebstvu događala su se u mnogim sferama spoznaja. Dean tvrdi da je Batailleova i Lacanova formulacija decentrirane subjektivnosti bila dio kulturalne krize u međuratnoj Francuskoj, u kojoj su se raspali svi kriteriji definiranja onog što čini sebe i onog što mu daje legitimitet. Nove formulirane ideje o “sebi“ viđene su u kontekstu bezbroj promijenjenih diskursa o identitetu. Schiaparellin dizajn je dio umjetničke avangarde koji je bio uključen u rad nadrealista. Avangarda je također bila zainteresirana u disolucijama sebe, te reformuliranje pitanja identiteta. Schiaparellina avangarda smještena je u područje mode, društveno i ekonomski, osobito jer se odnosi na međuratne rasprave i tjeskobe o “novoj ženi“, od kojih su mnoge bile usmjerene na problematično pitanje ženskog odijevanja i izgleda. Analize nekoliko ključnih komada Schiaparellinog rada od 1937. – 38., razdoblje u kojem je bila u uskoj suradnji s raznim umjetnicama, dovode u fokus ideju maskenbala u odnos sa njenim radom, prvenstveno “Shoe Hat“, te “Ensemble“, koji su dizajnirani u suradnji sa Salvadorom Dalijem. Šešir odnosno izokrenutu cipelu sačinjava visoka peta od crnog baršuna sa palcem - prstima projektiranim iznad lica (slika 9.). Zatim, crno odijelo imalo je gumbe u obliku usana, te vezene i aplicirane usne na džepovima. Kada nositelj provuče ruku u džep, paradoksalno stavlja ruku u nečija usta… ali čija? Intimnost usta suprotstavlja se elegantnoj ukrojenoj jakni; iznutra i izvan postaju zbunjujući, dok se Schiaparelli poigrava sa različitim razinama značenja površine tijela, premještanjem i repozicioniranjem pojedinih dijelova, kroz prepoznatljive nadrealističke taktike (Evans, 1999: 5). 

[mote-historie]

1948 Carl (Eric) Erickson, Schiaparelli design illustration, Vogue. 

Conde Nast Archives.

Follow: I Pinterest I Tumblr I  

[baminoldblog-blog]

THE MIX | Happy 100th Birthday to the Zipper!

The modern zipper we use today was first implemented in 1913, replacing tedious eyelet hooks, and immediately revolutionizing the way we get dressed. Besides the obvious practical reasons, the zipper is also used as a bold embellishment in fashion.

In the 30s, Elsa Schiaparelli was one of the first designers to use zippers as decorative objects, and by the 90s they had become edgy staples, from showing up in the designer Helmut Lang's collections to fantastical editorials like the man above in the August 1993 issue of The Face.

Fast forward 100 years and BAMIN relies on the sturdy hardware to transform the look, feel, and shape of a handbag.

Request an invite here to see how versatile a zipper can be. 

[Photo sources: clockwise from top: 1, 2, 3]

[omgthatdress]

Evening Dress

Elsa Schiaparelli, 1948

The Metropolitan Museum of Art

[alwaysalwaysalwaysthesea]

Metal and synthetic insect necklace from Elsa Schiaparelli’s fall 1938 pagan collection.

(source: Metropolitan Museum of Art)

[rhiannajayde-blog]

Very Elsa Schiaparelli-esque, surrealist necklace by Lanvin, new to Net-A-Porter today.