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rurik-dmitrienko · 4 months

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Madame Grés - Collection Azzedine Alaïa By Rurik Dmitrienko

#black and white photography #original photographers #photographer on tumblr #rurik dmitrienko #photographie noir et blanc #rurik #paris #black and white #french photography #french photographer #fashion #azzedine alaia #Musée galliera

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ruedesimmeublesindustriels · 2 years

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Alber Elbaz a habillé les belles plantes. Que le végétal soit une source d’inspiration pour les couturiers ne présente rien d’exceptionnel en soi mais la vision organique que déploie Elbaz dans ses créations frappe dès le premier regard. Dans la construction des silhouettes autant que dans le façonnage des ornements, aucune régularité immédiatement décelable. Ainsi les chenilles de soie mousse remontent sans dessein sur le corsage en gaze et s’y enchevêtrent - par contraste les fleurettes de velours rose sur les hanches ressemblent à une mignardise un peu vaine. Autre exemple de caprice végétal à l’œuvre : la robe d’automne où une feuille immense s’enroule autour du buste, irrégulièrement nervurée, aléatoirement déchiquetée sur les bords. Le tissu chatoyant ajoute à l’habit des réflexions dorées et mobiles — imprévisibles. La désaffection du couturier pour les formes régulières se retrouve paradoxalement dans sa robe papillon. L’architecture des délinéaments colorés, encore symétrique sur le corsage de tulle, s’évade ensuite en une confusion de lignes labiles, effet encore amplifié par le mouvement. Enfin, l’œil est en joie devant une des illustrations les plus extravagantes de l’exaltation des circonvolutions : la cape en compression de pétales rose vif qui vient transcender une mini-robe grège. Je ne peux pas ne pas associer au désintérêt d’Elbaz pour les lignes droites et les formes régulières la polysémie de l’adjectif « straight » : sont qualifiées ainsi les lignes droites mais également ceux qui vivent leurs amours dans les bornes de la norme. Tel n’était pas le cas du couturier comme le rappelle sa robe aux couleurs de l’arc-en-ciel.

#love brings love #musée Galliera #alber elbaz

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coulisses-onirisme · 6 days

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#Robe Delphos Musée Galliera Paris. La robe devait passer dans la bague ou l'alliance de la Dame

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fripperiesandfobs · 7 months

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Court train, 1815-25

From the Palais Galliera, Musée de la Mode de la Ville de Paris

#19th century #1810's #1820's #train #court train #court dress

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digitalfashionmuseum · 5 months

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Peach pink silk dress, 1910-1912, French.

Designed by Paul Poiret.

Palais Galliera.

#paul poiret #poiret #womenswear #extant garments #dress #silk #19th century #palais galliera #france #1910 #1910s #1910s dress #1910s France #1910s extant garment

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omgthatdress · 1 year

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The fashion nerd in me is utterly thrilled by Felicity’s summer dress. This style of lightweight white cotton dress was eventually referred to as a chemise à la reine, after Marie Antoinette was painted (and immediately hated for) wearing one.

This style only really became popular for adults in the 1780s, but in the 1770s, it was popular summer-time wear for girls.

There’s not a whole lot to say about Elizabeth’s dress, it’s again pretty accurate and appropriate for her social status.

The straw hats are not simply straw hats. The proper name for that style is bergère, or shepherdess. They were pretty essential outdoor wear for proper ladies who wanted to protect their fine pale complexions.

(Kerry Taylor Auctions)

(The Victoria & Albert Museum)

(Musée Galliera de la Mode de la Ville de Paris)

Finally, I kind of feel the need to address what’s the elephant in the room when it comes to Felicity:

Everyone was acting all horrified and outraged by this, but, well.... have I got news for you about middle-class white families in Virginia in 1774. It would be very inaccurate for them to not have slaves.

If we want to get technical, Felicity herself never actually owned slaves. Her father owned a couple of slaves, and her grandfather owned a plantation. When her grandfather died, the plantation would have gone to her father, and then down to her little brother, William. Felicity likely would have grown up to marry a man who owned slaves, but she still wouldn’t own them outright herself. All that being said, there were special no-male-heir circumstances in which women could inherit property, and there absolutely were woman slave-owners out there.

Slavery is a part of American history and honestly it does us more of a disservice if we try to cover it up. The fact that Felicity’s family owns slaves is a great chance to teach kids about the big, messy questions of history. Kids are smart and capable of understanding complex historical issues. They deserve to know this kind of shit.

#1700s #Felicity #American Girl

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resplendentoutfit · 14 days

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Robe à la Française, Part II

Fig. 1: Robe à la française • 1730-1740 • © Stanislas Wolff / Paris Musées, Palais Galliera

When I was researching the Rococo fashion era, I collected so many images and I have to share some of my favorites. It's not so much the style of the Robe à la Française that I like (though I do very much like the box pleats and drape of the back) but the fabrics, colors, and patterns. Fig. 1 shows a gorgeous print in a beautiful color combination. Such a print for a dress today wouldn't work very well, as contemporary dresses don't have the volume of the 18th century styles, nor the lovely draping in the back of the Robe à la Française.

The Robe à la Française was derived from the loose negligee sacque dress of the earlier part of the century, which was pleated from the shoulders at the front at the back.

Metropolitan Museum of Art • 1760-70 • Silk, cotton

The silhouette was achieved with a funnel-shaped bust joining wide rectangular skirts. The wide skirts were supported by panniers and hoops constructed from cane, metal, and baleen. Fig. 2 shows a portrait sitter wearing a Robe à la Française with a contrasting underskirt.

Fig. 2: Artist unknown (British). Mrs. Cadoux, ca. 1770

#art #portrait #fashion history #georgian fashion #rococo era fashion #robe à la française #1700s fashion #women's fashion history #18th century dresses #the resplendent outfit blog #sacque dress #metropolitan museum of art fashion Institute #textile patterns #fashion blogs on tumblr

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look-at-my-dresses · 4 months

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Tunique huipil avant 1954, Huautla de Jimenez

Palais Galliera, musée de la mode de Paris, Exposition Frida Khalo

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georges-dufrenoy · 14 days

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"Cytises dans un intérieur"

1929, 75 x 105 cm, Huile sur carton. Collection privée.

1930 - Reproduit dans "Les artistes nouveaux" - Gabriel Mourey

Expositions : 1930 - Galerie Druet 1931 - Galerie Georges Aubry, Cat n° 60 1934 - Biennale de Venise 1948 - Rétrospective Musée Galliera 1960 - Galerie André Maurice, Cat n°53 1983 - MBA de Lyon, Cat n°88 1992 - Mairie du 3e, Cat n° 35

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gogmstuff · 1 year

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Early 1730s dresses (from top to bottom) -

1730 Tea Party at Lord Harrington's by C. Phillips detail (Yale Center for British Art, Yale University - New Haven, Connecticut, USA). Probably from Wikimedia; fixed spots with Pshop 1247X1623. There are many caps and veils, square necklines, and laced bodices with revers. But full-blown panniers are not to be seen.

1730 Marquise de Gueydan as Flora by Nicolas de Largillière (Musée Granee - Aix-en-Provence, Bouches-du-Rhône, Provence-Alpes-Côte d'Azur, France). From cutlermiles.com/portrait-of-marquise-de-gueydan-as-flora-nicolas-de-largilliere/ 1908X2484. She wears a stout Swiss belt and cleft coiffure that harken back to the late Louis XIV era.

ca. 1730 Empress Elisabeth Christine by Johann Gottfried Auerbach (auctioned, probably by Lempertz). From Wikimedia trimmed 1715X2352. She wears a round skirt and a scoop neckline.

ca. 1730 Polyxena of Hesse-Rotenburg, Queen of Sardinia by Maria Giovanna Clementi (location ?). From tumblr.com/blog/view/jeannepompadour; enlarged by half 1053X1385. Her dress has a deep V neckline filled in by a modesty piece.

ca. 1730 Rhoda Apreece, Mrs Francis Blake Delaval attributed to Enoch Seeman the Younger (Seaton Delaval - Seaton Sluice, Northumberland, UK). From artuk.org; enlarged by half 994X1200. The ruff makes this a Van Dyck revival dress. The laced vest and jaunty hat lend a casual air to the portrait.

ca. 1730 Robe volante (Musée de la Mode - Paris, France). From fripperiesandfobs.tumblr.com-post-139802377452-robe-volante-ca-1730-from-the-palais-galliera 1140X1620. Dresses before the 1750s often had cuffs that could be substantial like these.

1731 Die Liebeserklärung by Jean François de Troy (Sanssouci, Stiftung Preußische Schlösser und Gärten Berlin - Brandenburg, Germany). From artsandculture.google.com/asset/die-liebeserklärung-jean-françois-de-troy/XAFpCyLiWrxHZw?h 3074X24.12. Known in the Anglophone world as “The Declaration of Love. The large patterns mark this as early century. The robe à la française is firmly established in the form it would take until the late Louis XVI period.

1731 Infanta Maria Teresa Antonia de Borbón by Jean Ranc (Museo del Prado - Madrid, Spain). From their Web site; removed spots and streaks with Photoshop 2621X3051. Spain was ruled by Borbóns after the last Habsburg was cleared out in the early 1700s.

1731 Julia Calverley, Lady Trevelyan, by Enoch Seeman the Younger (Wallington Hall - Wallington, Northumberland, UK). From nationaltrustcollections.org.uk/object/584399; erased navigation marks in corners & fixed spots w Pshop 1616X1992. Clasps replace lacing to close this bodice.

1731 Lady by John Vanderbank (location ?). From the Philip Mould Historical Portraits Image Library 920X1214. The dress is Van Dyck revival similar to the one worn by Rhoda Apreece.

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fashionbooksmilano · 21 days

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Luxe de poche

Petits Objets Précieux au Siècle des Lumières

Musée Cognacq-Jay Paris-Musées

Paris-Musées, Paris 2024, 96 pages, 22x28cm, ISBN 978-2-7596-0579-8

euro 28,00

email if you want to buy [email protected]

L’exposition Luxe de poche au musée Cognacq-Jay présente une collection exceptionnelle de petits objets précieux et sophistiqués, en or, enrichis de pierres dures ou de pierres précieuses, couverts de nacre, de porcelaine ou d’émaux translucides, parfois ornés de miniatures. Les usages de ces objets varient, mais ils ressortent tous des us et coutumes d’un quotidien raffiné, signe de richesse, souvenir intime. Au siècle des Lumières comme aux suivants, ils suscitent un véritable engouement en France d’abord puis dans toute l’Europe.

Luxe de poche a pour ambition de renouveler le regard que l’on porte sur ces objets, en adoptant une approche plurielle, qui convoque à la fois l’histoire de l’art et l’histoire de la mode, l’histoire des techniques, l’histoire culturelle et l’anthropologie en faisant résonner ces objets avec d’autres œuvres : des accessoires de mode, mais aussi les vêtements qu’ils viennent compléter, le mobilier où ils sont rangés ou présentés et enfin des tableaux, dessins et gravures où ces objets sont mis en scène. Ce dialogue permet d’envisager ces objets dans le contexte plus large du luxe et de la mode au XVIIIe et au début du XIXe siècle.

Point de départ de cette nouvelle exposition, la remarquable collection d’Ernest Cognacq est enrichie de prêts importants – d’institutions prestigieuses comme le musée du Louvre, le musée des Arts décoratifs de Paris, le Château de Versailles, le Palais Galliera, les Collections royales anglaises ou le Victoria and Albert Museum à Londres - afin d’offrir une nouvelle lecture de ces accessoires indispensables du luxe.

03/05/24

#luxe de poche #musée Cognacq-Jay #exhibition catalogue #petits objects precieux #histoire mode #fashion books #fashionbooksmilano

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gentlyepigrams · 7 months

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