Monica D. Murgia

Where art, creativity, and fashion meet

Archive for the ‘Designers I love’ Category

April 17th, 2013 by Monica Murgia

Pauline Trigère & La Tortue

There is a special place in my heart for books.  Libraries and bookstores are some of my favorite places to hangout.  Time spent paging through books always leads to an interesting discovery.  Never once have I been disappointed by spending time in the stacks.  Today, I was setting aside some books for a course  that I’m teaching.  I wasn’t sure what I would find in the library, but wanted to have a few good resources on reserve for my students.  I pulled a lot of books I’m familiar with.  There was one I came cross that I’d never heard of before: The Fashion Makers by Barbara Walz and Bernadine Morris.  I started flipping through, and then there she was:

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Pauline Trigère at her home, La Tortue!  Last year, I was lucky enough to find a dress by Trigère.  It started my fascination with the designer.  (New to my site?  Please take a moment to read these previous posts)

Pauline Trigère (1908-2002) was born in Paris and became an iconic fashion designer in Post War America. Her mother was a dressmaker and her father a tailor who had made military uniforms for Russian aristocrats.  Trigère learned quickly from her parents, and designed her first dress as a teenager.  She never sketched her designes, but worked by draping right on the mannequin.

Trigère moved to New York in 1937 with her husband Lazar Radley, their two sons, her mother, her brother Robert.  Trigère first worked at Ben Gershel, and later assisted Travis Banton at Hattie Carnegie. After getting fired from Hattie Carnegie, Trigère and her brother Robert decided to start their own business.

Trigère builds quite a brand in America.  So what is all this turtle business?  The turtle becomes a a major element of the Trigère brand as time goes on.  Robert gave her a small turtle talisman when they first started the business.  Then, Trigère started to see them everywhere.   The turtle became a hallmark of her line.

 

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The Arizona Costume Institute explains:

She named her country estate in Westchester County, New York, La Tortue (The Turtle) because there were three turtles sunning themselves on a little rock when she first saw it. A collection of well over nine hundred turtles fashioned in gold, silver, needlepoint, crystal and other materials adorned the estate.  In each collection, Trigere designed a garment with a turtle print.

I actually have a scarf by Trigère that depicts a turtle.  The best part?  If you look closely at the photo of Trigère, she is wearing a shirt and scarf of the same design.  My scarf is black and red, although other colors were available.

 

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March 29th, 2013 by Monica Murgia

Calder Bicentennial Tapestries

 

 

 

 

Making discoveries in your own back yard are so fun.  Today, I was at the Zoellner Arts Center at Lehigh University.  I went to their gallery to see the Joan Mitchell show, which I will be writing a post about shortly!  However, I was really surprised to see these tapestries hanging up.  They are by none other than Alexander Calder  (1898-1976).

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The Bicentennial Tapestries: La Poire, le fromage, et le serpent (The Pear, the Cheese, and the Serpent) by Alexander Calder, 1975.  Wool.  Handwoven the Atelier of Pinton Freres.

Calder was a famous sculptor.  You’ve probably seen some of his mobiles, which he started producing in the 1930s.  Calder was born in Philadelphia.  His father was a sculpter and his mother was a painter.  After studying engineering, Calder studied at the Art Students’ League in New York

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Mobile by Alexander Calder. Image courtesy of the LA Times
Calder was not limited to sculpture.  He experimented with various media: jewlery, paiting, drawing, tapestries.  Calder tried it all.  He was also very close friends with Vera Neumann, a fantastic textile and scarf designer.  (I remember a particularly fantastic post on this topic by The Vintage Traveler!)

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The Bicentennial Tapestries: La Tache Bleue (The Blue Blob) by Alexander Calder, 1975.

In celebration of the bicentennial of the American Revolution, Calder designed a set of six tapestries.  His designs were then handwoven by the Pinton Freres atelier in Aubusson, France.  A limited edition of 200 were produced.

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The The Bicentennial Tapestries: Le Sphere et les spirales (The Sphere and the Spirals) by Alexander Calder, 1975.      

Each of the tapestries are signed and have a number.  I wasn’t able to closely examine each of the tapestries, because they were hanging quite high on the wall.  Two of the tapestries were hung above benches.  So I stepped up to take a closer look (and a few photos).   Here is the signature and a mark that I can’t quite make out.  I suppose it is the number of the tapestry.

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I really loved the graphic quality of the tapestries.  The swirls and stripes are so interesting.  The Palms is a great example of what I’m talking about.

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The Bicentennial Tapestries: Les Palmiers (The Palms) by Alexander Calder, 1975.      

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Calder actually died the same year in which the tapestries were realized by the Pinton Freres atelier.  These tapestries were a gift from Philip and Muriel Burman in 1999.  The local newspaper, The Morning Call wrote more about the weaving technique when the gift was announced to the public:

 The panels were made in Aubusson, France, using a centuries old technique that takes the weaver a month to create a single square yard of tapestry. The Bicentennial Tapestries were woven at Pinton Freres, the same studio that converted the art of Picasso, Chagall and Miro into Aubusson tapestry.

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The Bicentennial Tapestries: Trois spirales (Three Spirals) by Alexander Calder, 1975.

 The sixth tapestry was in the permanent gallery downstairs, which I missed.  More reason to go back and take another look!

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February 28th, 2013 by Monica Murgia

Byzantine Express

Once in a great while, there is a collection that blows me away.  Dolce Gabbana’s Fall/Winter 2014 was one of those dreamy, art inspired collections that I can’t stop thinking about!  In my eyes, this label can do no wrong.  They always make beautiful garments, most of which reference Italian art and history.  This year, they looked to Byzantine art that is so prevalent in Italy.
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Look at how the dress above (image courtesy of Style.com) has a geometric printed textile that mimics the gold coated mosaic bits of stone and glass.  The crown on the figure looks to have hand-sewn embellishments.  Looks a lot like this this Byzantine mosaic, doesn’t it?  The way the head is gestured, the crown with three points, even the eyes and crook of the nose all looks the same . . .
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Image courtesy of Orthodox Northwest.

There were so many great looks!  I tried to pick a few that had a strong correlation to existing mosaics.  This dress certainly looks like it was inspired by the mosaic of Saint Michael, the Archangel.  Take a look:
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The red halo, the blue tunic with golden Maltese crosses, the geometric patterned stole.  It’s all the same!
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The general patterns are a really close match, too!  Take a look at this hemline . . .
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compared to this detail . .
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 The accessories are so amazing, too!  Look a this handbag.  It really resembles Justinian, don’t you think?
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It’s not an exact match, but pretty close.  The crown is a different color and shape, the jewelry is different – but the clothing is draped the same way and fastened with a similar brooch.
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The collection is pretty dreamy.  Be on the lookout for Byzantine inspired fashion.

 

 

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February 27th, 2013 by Monica Murgia

Find of the Week: Scarf by Jacques Fath

 

 

Ascots.  Foulards.  Scarves.  Whatever you call them, I’m fascinated by this accessory.  I have an enourmous collection of scarves.  In fact, I’ve started writing a book about my own personal collection.  Hopefully it will be out by the end of the year.  The only problem I have is just when I’m about to finish, I find another amazing scarf to add to the collection.  This week was no exception.  I found this lovely scarf by Jacques Fath! 

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I’ve written about Jacques Fath before in How to Speak Fashion, Part II.  Fath (1912-1954) was an eminent Parisian fashion designer that rose to fame during the WWII Occupation.  He became popular by designing dresses that could be worn while riding bicycles – which was the main mode of transportation.

After the war, he was considered to be one of the “Big Three” fashion designers – the other two were Christian Dior and Pierre Balmain.

His influence sky-rocked postwar, as he created very feminine silhouettes.  Fath’s garments were also fun, and allowed women mobility.  He died of leukemia in 1954.  His wife, Geneviève, took over the fashion house’s direction after his death until 1957.

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The scarf is cotton, and judging by the color way, I’d say it’s from the mid to late 1960s.  A little sleuthing around the internet indicated that Fath created a scarf and hosiery  line in 1954.  The early signatures are much different than the one on my scarf – probably because the business was sold in 1957.  The image below is from Polyvore and is dated to the 1950s.  It looks more like a real signature.
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After the company sold, the name would have become more of a brand identity than reference to the actual designer.  You can see that the label actually changed to reflect this.  My scarf has a more generic looking typeface on the bottom right corner.  But it’s still a gem!

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February 23rd, 2013 by Monica Murgia

Menswear: Saddle Up!

I’m always spotting amazing fashion during my travels. The New York subway system is a constant source of fashion inspiration for me. There is just a constant flux of people getting in and off the train, all with unique and individual ways of dressing themselves.  Last night, I spotted these awesome saddle shoes in contrasting leather and suede. They are by Cole Haan.  So beautiful!

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So here is why I love these: You can tell just by looking at the leather that it is a fantastic quality.  The brown leather looks very pliable, meaning it will mold to the shape of your foot the more you wear the shoes.  I’m also really partial to naturally dyed leathers in shades of brown.  Natural dyes and tanning processes in leather create variation in color.  I think these photos show exactly what I’m talking about.  The more you wear naturally dyed or tanned leather, it will scuff or change shades slightly in certain areas.  I love this effect!  It gives your shoes a bit if character.

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The green suede is also really beautiful.  I’m pretty partial to green, but this combination is just stellar!  It’s classic, could be worn with lots of different outfits, and mixing different textures on a shoe is almost always a good thing.  It’s just more interesting than a uniform solid color of leather.

I decided to check out Cole Haan’s site for the shoes.  The closest pair available for purchase is the Ellwood Saddle Oxford.  This version has a similar color way (British tan & khaki), but both colors are made of the same type of hand polished leather.  The Ellwood also has a cutout design on the toecap.

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Not as interesting as the pair I spotted on the train, but beautiful nonetheless.  The Ellsworth is currently available for purchase, for $428 on Cole Haan’s website.

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February 20th, 2013 by Monica Murgia

Vivienne Westwood: Do It Yourself

A few weeks ago, I got to watch the documentary Vivienne Westwood: Do It Yourself.   I’m a HUGE Vivienne Westwood fan.  If was only allowed to wear the designs of one person, I would definitely pick Vivienne Westwood.  Part of why I like her looks so much is that they are very feminine, very artistic, while still having an element of rebellion.  (New to my site?  You should also look at my post Philip Guston & Vivienne Westwood) Really, I didn’t know much about her personality before watching the documentary.  But now I really love her!  She is so intelligent, sassy, and kind.

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The film follows Westwood around for the period of 1 year.  It’s a really intimate look at her daily life.  She actually starts designing each collection the same way that Madeline Vionnet did – with half-sized mannequins (see the image below).  She explains this is a particularly helpful method to use when she doesn’t know where to start.  She will simple take muslin and start cutting and draping it over the tiny form.

 

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She talks about knowing the past and building cumulative knowledge.  No experience is a waste.  She explains:

“The more you know about what hasn’t been done, the more you know the story you can tell.  The art is that its trial and error, it is a building up. That’s what technique is, a building up to know what will work and develop.”  

 

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Next, Westwood rides her bicycle in heels to her afternoon signing lesson.  Aside from being amazingly charming, you start to get a sense of how intelligent she is.  Westwood is committed to lifelong learning. This is exemplified in her singing lessons, but she also starts to discuss serious subjects like history, literature, and art.  She has a clear philosophy designing and life in general.  I like that she doesn’t see life and work as separate things:

“You have to try to understand the world.  If you can, then you have an anchor.  You can make a story from it.  It inhabits a certain world of possibilities.”

 

British designer Vivienne Westwood arrives at the end of her Spring/Summer 2010 collection in Paris

 

 

She goes on to explain how a lot of her designs are influenced by Aldous Huxley.  This British author said that the world suffers from three evils: Nationalistic Idolatry, Non-Stop Distraction, Organized Lying.  These three evils are the root of propaganda.  Westwood really takes these to heart, and agrees that the worst evil is non-stop-distraction.  She uses these ideas to form her collection.  She tries to design clothing that is an active resistance against propaganda.  

 

 

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Her clothing is really fun.  It mixes and matches classic tartans and argyle patterns with street style elements.  Some fabrics have graffiti like scribbles.  The shoes have impossible buckles and straps.  Pretty much everything I love all rolled into one outfit.

 

 

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But she really had me when she explained how she felt about art: “If art is alive, the world will change.  No art?  No progress. ” I couldn’t agree more.

 

 

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February 13th, 2013 by Monica Murgia

Behind the Scenes at Remedy

It’s so much fun when your best friend is a fashion designer!  You get to see the entire evolution of the design process.  And it’s even more fun when one of her models can’t be in the show and you have to fill in!  Ashley McAleavy of Remedy Designs is who I’m referring to, and this post is all about my experience backstage at her F/W 2013 show.

 

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Remedy is a line that focuses on sustainability.  Ashley is really committed to creating fashion that is environmentally friendly, beautiful, and completely sourced and finished right here in America.  I’ve been lucky enough to attend a collection preview before.  (New to my site?  Please take a look at Remedy: Collection Preview)  I was really blown away by her latest collection.  It was so sophisticated.  When I arrived for hair and makeup, I wanted to wear every look!

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Tawni Michelle Landford, left, applying makeup before the show.

There was a full hair and makeup team.  I was so lucky to have the lead makeup artist, Tawni Michelle Landford of Dramatizon Makeup Design and Kristine Murillo style me.  By the time they were finished with me, I felt like I could be a fairy princess on the set of Lord of the Rings!  Ladies, if you have an important event and need hair and makeup, DEFINITELY contact these two talented ladies!  Their artistry and vision is beyond words.

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Kristine Murillo styling a model before the show.

I can’t tell you how pleasant both Kristine and Tawni were to work with.  I had my hair done first by Kristine.  She was so kind!  She was careful to ask what I was comfortable doing with my hair, which way I like to part it, and so on.  If you know me at all, I have just about given up on my hair.  It has a mind of it’s own.  I told her that she was the professional, so she could have her way with my unruly mane.  She definitely worked her magic, creating a beautiful coil of braids around the top part of my hair.  Then she curled the ends.

Next, I was off to Tawni who was beyond stellar.  She was really gentle in applying the makeup.  She made me feel so comfortable, telling me stories and making up laugh.  We had a blast talking about everything from the makeup, fashion week, to the movie Desperately Seeking Susan.  Tawni is so creative, and designed the beautiful metallic foil look.  She made sure that each of model had a slightly different variation to enhance our individual features.

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I think the most difficult adjustment was being the in front of the camera!  Van Truong was both photographing and shooting video footage.  He took the photos of Tawni working on my makeup, which made me giggle even more.  I was determined to Instagram photos live from the show, so I snapped one of Van, too.  The photos that Van showed me were absolutely gorgeous.  Please visit his website to see more of his work!

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Then, Ashley pulled my look and helped me get dressed.  I absolutely ADORED this outfit!  It was a black sequin skirt with a grosgrain ribbon waistband.  She had transformed really lackluster dress from the 1980s into the beautiful skirt below.  The corset top was made from white ultra suede from pillows, and trimmed in black ribbon along the boning.  The level of skill and detail in each of these pieces was definitely couture.  And I felt so beautiful!  I was so happy to be wearing Ashley’s design.

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Then, all of the models lined up backstage.

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Ashley talked about each of the pieces in the collection.  She explained what each garment had been before, and how she transformed it to what we saw on the models.  It was so interesting to hear the process.  She talked about spray dyeing silk, to altering beaded dresses, to transforming the ultra suede pillows into a corset.  Now that is creativity and innovation!  I’m in awe of her talent and vision.

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And isn’t she pretty, too?  I loved her black dress.  Of course, it’s one of her own designs.

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There were so many fabulous dresses.  One of my other favorites was a black jersey dress that had hand applied Swarovski crystals down the sleeves, and  closed with a metal and crystal tie back.  See below:

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Still, I loved the outfit Ashley had me wear.  I hope no one bought it yet, because I totally want to add it to my wardrobe!  Be sure to visit Remedy on the web to place your orders.  And remember that Ashley can custom make pieces just for you.

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January 30th, 2013 by Monica Murgia

Inspiration to Shop My Closet

Yesterday was my birthday. I celebrated by catching up on all my magazines. There was an unnerving stack piling up, and I’ve just been too busy to comb through them.

Honestly, I’ve been disappointed with the fashion industry in the past few months.  Everything that I see in stores recently is lackluster. The quality is poor. The cut is worse.  Retailers have cut corners in ways I never imagined would become acceptable.

I recently bought a pair of pants at Zara only to get them home and find a hole in the seam and the rivet fell off almost immediately. I had no desire to shop on my birthday.  Instead, I hoped the endless stack of magazines would give me inspiration to style things I already own.  These were my major inspirations:

  • Scarves

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 The image above is from Raf Simon’s collection for Dior.  Models sashayed down the runways with beautiful scarves tied about their necks.  If you know me, I’ve got a small (insane) obsession with scarves.  So shopping my closet for this look won’t be a problem.  I have an entire suitcase of drool-worthy scarves.  The only problem is many of them are so beautiful and artistic I’m afraid of ruining them.  (Yes, the suitcase is full.)

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  • Leopard & Cheeta Prints

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This was in just about every magazine I opened!  This is a print that I only do in small doses.  It’s easy for it to look overdone or just tacky.  I always stick to animal prints in my accessories.  Happily, I can bring out some of my old favorites: d’orsay heels, a Marc Jacobs cuff, and a Dolce & Gabbana scarf!

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  • Touches of Red

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So classic!  I love red.  Red dresses.  Red skirts.  Red accessories!  Bright red never goes out of style.  It’s just nice to be reminded to wear it again.  Sometimes, I get so caught up with daily life it’s easy to wear the same few outfits and accessories as a routine.  It’s especially easy to forget when you have the kind of schedule I do.  I barely even know if I’m coming or going I’m so busy.  I’m definitely making an effort to wear some (maybe all) of my red accessories this week.

In my collection? Clockwise from center back: Narciso Rodriguze cutout peep toe heels, Giuseppe Zanotti tri-color pumps, Louis Vuitton epi leather purse, Foley & Corrina leather belt, vintage leather gloves.

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  • Plaid

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Jessica Alba was interviewed in InStyle.  This picture of her was super adorable!  I loved her plaid skirt paired with a black leather jacket.  It reminded me of a skirt I bought a few months ago and still haven’t worn.  And on the topic of leather and plaid together, I played around with my skirt.  I usually wear my red leather skirt by Luca Luca with a black bustier top.  But isn’t it really fun with this vintage plaid shirt?

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  • Black & Blue
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Hurray for this trend!  Blue is my favorite color.  I don’t think anyone can go wrong with pairing an icy blue with black.  It’s just so beautiful!  I love that these two dresses have a sort of painterly textile print.  There’s a lot of visual movement and color variation.  It adds a lot of interest, and the black details give it an extra pop.  This gave me an idea to layer my Brian Reyes sheath dress with a black long sleeved shirt.

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I can’t wait to wear all of these new looks!  And they were already in my closet.  :)

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January 29th, 2013 by Monica Murgia

Menswear: Canali & Delaunay

I can’t stop thinking about Canali’s Fall 2013 collection. It practically haunts me in my sleep at night. Bold colors, sumptuous fabrics, crisp silhouettes – I’d love to be standing next to a man in Canali! The collection uses a lot of rich velvets in dark, earthy tones. I loved this look – such a romantic take on tsarist fashions.
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Tsarist fashions refer to the clothing worn by the Imperial Russian court before the revolution. It’s hallmarks are velvet fabrics, rich embroideries, cording, fur trim, and any silhouette that gives a nod to military fashion, like double-breasted jackets.
For example, take a look at some of the garments worn by Alexander I:
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Canali references these tsarist garments without being too complicated or overdone. The beautiful velvets are paired with slim tweed pants and an interesting scarf with a geometric motif.
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Or what about this amazing black velvet overcoat with a fur trimmed lapel? If that’s not perfection, I’m not sure what is . . .
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But this jacket really caught my attention. The pattern was such a nod to Russian textile designer and artist Sonia Delaunay!  This piece seems a bit out of place with the rest of the line, but it’s fantastic nonetheless.
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Sonia Delaunay (1885-1979) along with her husband Robert, developed a color theory called simultaneity – the sensation of movement when contrasting colors are placed side by side. She painted, and later designed textiles and garments. The Delaunay’s were two of the greatest pioneers of modernism during the 1910s and 1920s. Their art was more geometric and abstract than representational and Sonia’s fashions allowed people relax and enjoy art in everyday life. The Canali coat (above) bears an uncanny likeness to a coat designed by Delaunay c.1923 for Gloria Swanson (below).
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Did I mention that Delaunay was Russian? Maybe that’s why the jacket made the final cut. Can you believe how similar they are? While I’m not sure about recommending the Canali jacket for a man (the right man could rock it for sure, but it takes some attitude), I definitely love it for me!! And I’m sure all my fashion historian friends will be lining up to buy one.
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You can look at the entire Canali Fall 2013 Menswear Collection at GQ

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January 18th, 2013 by Monica Murgia

Fortuny: An Artist That Paints Textiles

One of my New Year’s Resolutions was to visit a new place every month this year.  I love traveling, and have a few distant and exotic destinations on the list.  But adventure doesn’t  always have to be reserved to foreign locales.  In fact, I always make it a point to live each day as if I was charting undiscovered territory.  

That’s one of the many reasons I love New York so much.  Every step I take in this city is filled with discovery, beauty, and adventure.  Yesterday, I ventured over to the Queen Sofia Spanish Institute to see the exhibition on Fortuny.

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Mariano Fortuny y Madrazo (1871 – 1949) was a Spanish artist and designer.  He was one of the leaders in liberating women from the corset during the 1910s.  Fortuny was a real Renaissance man and loved to learn.  He collected and read ancient manuscripts and rediscovered an ancient way of pleating fabrics.  He started to use this pleating to make gowns inspired by ancient Greek sculptures.

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I’d learned a bit about this famous designer in school, and was thrilled to have the opportunity to attend this exhibit.  Curated by Oscar de la Renta, I knew the show would be a real treat.  I was not disappointed.  A majority of the collection was on loan from private collectors, including Vintage Luxury.  I really encourage everyone to see this before it closes on March 30th, because the pictures do not even begin to do the actual garments justice.

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There was so much about Fortuny that I didn’t know.  He was a descendent of the Madrazo family, which consisted of artists, curators, and  collectors.  Art was an intregral part of life for the Madrazo clan, and it deeply influenced Fortuny’s creativity.

Fortuny himself declared, “I have always had many interests, but I have always considered painting to be my profession.

He painted beautiful portraits, experimented heavily with photography, and collected art and objects himself.  This paved the way for him to design textiles and design garments.

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In 1906, Fortuny designed costumes for the Ballet for the Countess Bearn’s theater opening .  The dancers wore his Knossos dresses, which were seen publicly for the first time.  He then began producing dresses that referenced classical Greek sculptures, like the Delphos dress, in 1907.   Fortuny kept his masterful pleating a trade secret, and was able to obtain a patent for the design in 1909.  These dresses were stored by coiling them in a small box.  When the pleates disappeared from wear, the dress would get sent back to Fortuny’s atelier for re-pleating.

 

 

 

 

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The influence of Greek sculpture is pretty obvious.  Yet Fortuny loved to travel and incoporated influences from various cultures into single ensembles or dresses.  Exotic, orientalist themes are present, like kimono sleeves.  His North African travels were always focused around documenting customs related to dress and photography. Fortuny also painted designs onto voided velvet scarves, which were then draped over his dresses to look like Indian saris.

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Fortuny was originaly from Granada, Spain.  He moved to Venice, where he operated his business.  The Plazzo Orfei the location of the main workshops.  He also had smaller textile printing locations on the nearby island of Giudecca.  Italian influences are also scene in his garments, like the beautiful drawstring closures and embelishments trimmed with Venetian glass beads.

 

 

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He also created textile patterns based on traditional Italian paintings.  These prints included were on cotton and velvets.  Many of the designs, like the melagrana design, are still available from the Fortuny company.

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The operations soon expanded to paper and paints under the name Societa Anonima Fortuny.  The gorgeous logo (below) was taken from sketchbook for Jacopo Bellini a 15th century Venetian painter that also designed textiles.

 

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The clothes really speak for themselves, but gained a lot of attention in their heyday as well.  Vogue stated in 1912 that Fortuny was  ”an artist who paints fabrics” and in 1923  ”a great artist, with exquisite textiles as his medium”.  I couldn’t agree more!

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All images are courtesy of The Queen Sofia Spanish Institute.  The exhibit Fortuny Y Madrazo: An Artistic Legacy runs until March 30th, 2013.

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December 29th, 2012 by Monica Murgia

Boy Meets Girl Meets Socks

Socks.  Finding a cool pair always seems like a chore.  Now that winter has set in, I’ve needed warm, tall socks to wear with boots.  These often overlooked accessories are essential to staying warm.  Plus, a really great pair can really spruce up your winter wardrobe.  I’m really loving these socks by Boy Meets Girl.
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I’ve written about Boy Meets Girl before.  The brand is so fun and functional.  Designer Stacy Igel really knows how to design products that are fashionable, comfortable, and wear well.  These gray and black stripped knee socks were just what I was looking for.  I just adore the stencil logo on the side!
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I also bought this solid black pair, too.  Right now, Lockerz is having a great sale and free shipping.  Be sure to get your own pair before they’re gone!
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December 17th, 2012 by Monica Murgia

Fabric Labels from The Stieg Collection

Labels provide a wealth of information about a garment.  They are the signature of a brand or designer.  They provide fiber content, instructions on how to care for the garment, the company of manufacture, and more.  These small little tags on the inside of garments also record information about the era in which they were made.  The Stieg Collection has some really interesting labels.

Aside from the beautiful “Custom Original – Utah Tailoring Mills” label in each of the garments, there are so many others.  Many of these labels tell the story of fabric.  Textile mills also used to produce their own labels, and provided them to designers and manufacturers to include in the finished garment.  Today, I wanted to take a closer look at a few from The Stieg Collection.

 

Alaskine by Staron.  Labels from The Stieg Collection.  Image courtesy of The Baum School of Art.
  • Staron – Alaskine: This was a new discovery for me.  There are several garments with this small, narrow label.  It’s a caramel color with black, bold capital letters  Each of the garments has a beautiful, reflective surface similar to shantung.  Shantung usually refers to silk fabric and has a shiny surface with uneven horizontal slubs in the yarns.  This fabric has a more regular surface than shantung, and kept it’s shape quite well.
Staron was a silk manufacturer in Saint Etienne, France.  It was started in 1867 by Pierre Staron, and started producing ribbons and trim.  In the 1920s, Staron produced a specialty jersey for Elsa Schiaparelli called Jerserelli.  Pierre Staron’s son, Henri, used ribbon manufacturing techniques to make beautiful silk fabrics.  Staron became a favorite of major couture houses including Dior, Balmain, and Balenciaga.

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Staron advertisement illustrated by Claude Bonin, 1947.  Image courtesy of HPrints

In 1956, Staron started to produce Alaskine.  It was formally trademarked in 1960.  Alaskine is a blend of (35%) silk and (65%) worsted wool.  It keeps it’s form and reflects light so elegantly.  Dior used Alaskin for it’s first trapeze dress, and the fabric became a staple for evening wear in the 1960s.

(To read more about Staron, please visit this link.)

 

 

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  • Onondaga: An old favorite silk manufacturer of mine!  The Onondaga Silk Company was founded in 1918, and began expanding almost immediately.  By 1933, it had acquired smaller mills in New Bedford, Syracuse, New York, and Easton, PA.  (To read more about the mill in Easton, please read my previous post)

The Onondaga Silk Company created stunning prints that were used by many fashionable couturiers and designers.  They produced a wide range of fabrics, including velvets, plain weave silks, jacquard, and eventually produced printed rayon.  They are most noted for the American Artist Series in the 1940s.

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Onondaga Silk Company advertisement, 1948.  Image courtesy of HPrints.

 

Ultimately, the mill had difficulty competing with the quality and price of synthetic fabrics, like rayon.  It operated throughout the 1970s with difficulty.  The mill was closed in 1981.

As you can see from the image above, Onondaga produced beautiful, complexly woven fabrics.  (To read more about the American Artist Series, please visit this link)

 

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  • Lesur:  The Pittsburgh Post Gazette declared Jacques Lesure the “world’s number 1 arbiter of woolen textile fashions” in 1953.  It was difficult for me to find much about the history of the mill, but Lesur produced sumptuous woolens.  In the same article, he was praised for “city tweeds” which were described as follows:
“We call them tweed because of their nubby texture, but the fascinating abstract patterns, the intricate cross weaves, and the subtle color mixtures are typically French.”
The image above is a great illustration of the quote.  You can see the texture in the fabric, and interesting color combinations.  Lesur made wool chiffon and other innovations with such a coarse fiber.  He later Introduced Orlon Sayelle, a combination of acrylic and wool that produced a lightweight fabric.
Lesur advertisement, 1949.  Image courtesy of HPrints
The labels for Lesur textiles are pretty swanky, too.  They have a small rendering of the firm and a serial number.
(To read more on Lesur, please visit this link and this link, too)
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  • Pomezia Textiles was incorporated in the US in 1952 and dissolved in 1997.  The US branch operated out of New York City, and imported the woven cotton from Italy.  Again, this was a bit tricky to locate, but an article from a 1961 edition of the New York Herald Statesman describes the masterful weaving by the company:

“And the greatest joy of these costumes is in their absolutely wonderful summer fabrics: fabulous woven figured cottons, some in calico-like mosaic patterns; textures Pomezia cotton in shadow checks and overchecks that could pass for tweed.  Italian Pomezia in sharkskin weave, lushest in a black raspberry hue called rosee; even cotton jersey.”

The article is actually describing the designs of Sara Ripault for Herbert Sondheim.   A few of her designs are featured, but so much attention is paid to the fabric.  Her garments are praised as cosmopolitan in bright colored “tweed” that is actually cotton by Pomezia.

 

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I have to agree, these cottons are nubby and wonderful.  It’s difficult to believe they are cotton – but they are.  Does anyone out there know more about Pomezia Cottons?  If so, please comment below!

To read more about Pomezia cotton, please visit this link.

All images of labels are courtesy of The Baum School of Art.

 

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