#jacques heim

[chicinsilk]

Spring/Summer 1954 Haute Couture Collection On the left, Anne Campion wears "Noisette" afternoon ensemble by Maggy Rouff, hat by Gilbert Orcel. In the center, Marie-José Darène in the afternoon ensemble by Jacques Heim; "Casablanca" and on the right, "Rose" afternoon ensemble by Jacques Fath worn by Sylvie.

Collection Haute Couture Printemps/Été 1954 À gauche, Anne Campion porte "Noisette" ensemble d'après-midi de Maggy Rouff, chapeau, Gilbert Orcel. Au centre, Marie-José Darène dans l'ensemble d'après-midi de Jacques Heim; "Casablanca" et à droite, "Rose" ensemble d'après-midi de Jacques Fath porté par Sylvie.

Photo Jean-Pierre Grabet

[history-of-fashion]

ab. 1935 Silk evening dress by Jacques Heim (Paris)

regenerated cellulose, champagne-colored, satin weave, crêpe marocain, metal clasp, rhinestones

(Kunstgewerbemuseum Berlin)

[chic-a-gigot]

L'Art et la mode, no. 2639, vol. 59, février 1939, Paris. Photo: Studio Dax. Bibliothèque nationale de France

"Beaumont". — Ce manteau est en lainage mauve gris et tout le devant est en "Djersamat" de Rodier bleu marine. La robe que l'on aperçoit dans le devant du décolleté est en même jersey et la ceinture est fermée par trois agrafes bleu marine.

Grey mauve woollen coat with front in navy blue "Djersamat" from Rodier. Same jersey gown, belt with navy blue hooks.

Jacques Heim

[lookingbackatfashionhistory]

• Dress.

Date: 1955

Designer/Maker: Jacques Heim

Medium: White, pink and green synthetic fiber jersey.

[shewhoworshipscarlin]

Evening gown by Jacques Heim, mid 1950s.

[justseventeen]

April 1958. 'Here, Jacques Heim's evening ideas -- très élégant élégant, très gai!'

[alwaysalwaysalwaysthesea]

Islande/Iceland, Jacques Heim, summer 1963.

(source: Palais Galliera - Fashion Museum of the City of Paris via Europeana Collections)

[themidcenturyscene]

Femme Chic editorial by Louis R. Astre 1957

Jacky Mazel in Jacques Heim

[thecatalogueofroyalfashion]

Princess Marie Françoise of Bourbon-Parma || Jacques Heim

[chicinsilk]

US Vogue September 1, 1959

"Perfide"

Jacques Heim Haute Couture Collection Fall/Winter 1959-60. Isabella Albonico wears "Perfide" black crepe sheath shaded by a gray organdy shadow.

Jacques Heim Collection Haute Couture Automne/Hiver 1959-60. Isabella Albonico porte "Perfide" gaine de crêpe noire ombragée par une ombre d'organdi gris.

Photo Irving Penn vogue archive

[la-cocotte-de-paris]

Et voilà. The look was legit called 'MONOCLE', which was a reference to how some French sapphics dressed in the first few decades of the 20th century. There was also a famous lesbian nightclub in Paris called 'Le Monocle' at the time. This look was designed by Jacques Heim.

i think one of the funniest and most iconic things Edwige Feuillère ever did (other than her saying in an interview she preferred theatre when she was attending the Cannes Film Festival) was dress in very loud sapphic-coded style for a photoshoot after her divorce from her ex-husband

[shewhoworshipscarlin]

Day suit by Jacques Heim, 1950.

[dandyads]

Jacques Heim, 1965 (France)

[alwaysalwaysalwaysthesea]

Sketch by Jacques Heim for Tampico, a hooded striped poncho, summer 1963.

(source: Palais Galliera - Fashion Museum of the City of Paris via Europeana Collections)

[probablyasocialecologist]

While home interiors depicted a blissful atomic future, their occupants lived in an age of revanchist conservatism. American society had become increasingly atomized and patriarchal during this time. Women were important contributors to wartime atomic science: Maria Goeppert-Mayer worked on the Manhattan project, and was awarded a Nobel Prize for her contributions to science by 1963; Leona Woods Marshall Libby worked in Enrico Fermi’s lab at the University of Chicago, where she demonstrated the first self-sustaining nuclear chain reaction. When men returned from war, many women were discouraged from continuing their careers as scientists, technologists, and academics. As mainly white working women became wives in picket-fenced suburbia, they turned to the domestic affairs of the home to regain some control. As such, the demand for Atomic Age style was created by these women’s purchasing decisions. Atomic aesthetics in the home eventually served to “feminize” the atom, further domesticating its image.

[...]

Beauty queens and pin-up girls proliferated after World War II. The new vogue for radioactivity reached pageantry, with new beauty contests celebrating all things nuclear. From Miss Atomic Blast to Miss Atomic Bomb, this cheerful embodiment of lethal nukes has been described variously as commercializing, feminizing, and disarming the atom. By 1955, atomic pageantry had diversified to celebrate and normalize uranium mining and nuclear energy, as Colorado and Utah became home to expansive uranium mining programs. In a contest sponsored by the Uranium Ore Producers Association and the Grand Junction Chamber of Commerce to celebrate Colorado’s uranium mining boom, the winning Miss Atomic Energy was rewarded with a truckload of uranium ore worth approximately $5000 in today’s money — and a trophy in the shape of Rutherford’s iconic atomic model. The bikini bathing suit debuted in 1946, taking its name from Bikini Atoll, where the U.S. undertook its first nuclear weapon detonations since Hiroshima. Louis Réard’sdesignwas itself derived from a less revealing French design created by Jacques Heim, known as “L’atome.” Both garments played with the semiotics of nuclear warfare. Models were initially scandalized by the bikini’s skimpiness and refused to wear it. By 1951, however, a bikini round had been integrated into the annual Miss World competition, further linking the atom with ideals of feminine beauty. 

[kitsunetsuki]

Bob Richardson - Agneta Darin Wearing a Dress by Jacques Heim (Vogue Paris 1968)