Monica D. Murgia

Where art, creativity, and fashion meet
December 24th, 2012

A Thing for Stockings?

 

 

 

 

 

 

It has to be a really special occasion for me to wear stockings.  While I love the look and how sexy stockings can be, they definitely aren’t in my daily wardrobe rotation.  It seams that nearly every time I put a pair on, I somehow snag them and create a terrible hole or run.  Still, I will slip on a seamed pair of stockings every now and then.

Stockings weren’t always optional for women.  They were a necessity for any lady’s wardrobe.  And who better to recommend the perfect pair than Antonio Castillo?

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Yes, my collection extents into old magazine advertisements.  I recently acquired this 1947 ad, during which time Castillo was a designer for Elizabeth Arden’s Fashion Floor.  Illustrated by Rene Bouche, the beautiful ad issues Castillo’s fashion decree.  It reads:

‘Seam-free nylons belong to the new fashions’ says Castillo of Elizabeth Arden.  Elegance in Castillo’s after-dark suit, complemented by DANCING TWINS seam-free nylons.  Here is the stocking that enhances the leg, defining its loveliest lines! Now at better stores, under leading brand names.

Stockings were traditionally made of silk until 1940.  This was when nylon was introduced to the market.  Women demanded nylon stockings in droves, as they were less expensive than silk.  The demand for nylon stockings was so great that manufactures couldn’t keep up with the demand.  Then, America entered into World War II.  Nylon was rationed to make parachutes and other wartime supplies.  Women carefully mended and darned old stockings, or drew seams on the back with eyeliner or burnt cork.  These drawn lines mimicked the look of stockings.

After the war, stockings flooded the marketplace.  Designers, like Castillo, started to offer them as part of their merchandise in stores.

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Castillo started designing for the House of Lanvin in 1950.  He continued to offer stocking.  I have an original box for stockings Castillo offered while at Lanvin.  The box described the style as seamless, and size 8.5 medium.

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I’m not sure if the two pairs inside the box are really Lanvin-Castillo.  For starters, they are seamed.  They also read size 9.  But what is really interesting are the marking on the pair.  Fully fashioned refers to the cut of the stockings.  They were cut and constructed to fit the leg precisely – much in the way that a sweater is cut and constructed to fit the body.  Seamless stockings have no seam down the back, and have a reinforced toe and heel.  They aren’t shaped to fit the leg because they are made in circular knitting machines.  That’s why modern day tights and stockings have a tubular shape.

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These stockings also include more information.  Denier refers to the weight of the nylon fabric.  Denier describes the density of fibers, or thickness.

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August 2nd, 2012

Aging Gracefully

Lanvin’s Fall 2012 ad campaign has been causing quite a stir in the fashion community.  Designer Alber Elbaz choose real men and women, ranging in age from 18 to 80 to be photographed by Steven Meisel.  Personally, I loved seeing images of older women modeling for Lanvin’s print ads.  Tziporah Salamon (62) and Tajah Murdock (82) looked absolutely stunning.  Seeing women like this makes me feel great about getting older.  These images reminded me that it is possible to age gracefully.

 

Lanvin Fall 2012 Ad Campaign

 

Aging gracefully isn’t a matter much discussed in our society.  Mostly because aging is considered taboo.  In fact, altering the body through cosmetic procedures and surgeries has become so common place that the idea of natural beauty has been swept under the rug.  I’ve talked about plastic surgery being common place before.  But as Lizzie Bramlett, what about the question of age?

 

Lanvin Fall 2012 Ad Campaign

 

At 28, I supposed I don’t have much to worry about in terms of aging.  But the thought of getting older is always somewhere in the back of my mind.  Cosmetic procedures are not reserved to people of a certain age.  Injectables, lasers, and surgeries are marketed to women even before they turn 18.   The result is that many women look less like themselves and more like a plastic version of what a surgeon believes is beautiful.  And this version of beauty rejects the aging process so much that it can distort the person’s real image.

 

Lanvin Fall 2012 Ad Campaign

 

I made my mind up a long time ago to stay as natural as possible.  This means I try to take very good care of myself.  I eat lots of vegetables, workout, drink tons of water, avoid sugar and processed foods, use sunscreen – the whole bit.  As time goes on, I find that I like the way that I look more now than when I was 18 or 23.  Recognizing this makes me wish that our society stopped whitewashing the aging process.

 

Rolex's Spring 2009 Ad Campaign

 

Lanvin was not the first to feature older women in ad campaigns.  Looking at fashion history, you’ll see that couture was originally for mature women.  It wasn’t until the 1960s that fashion was so dominated by images of youth.  More recently, Rolex’s Spring 2009 campaign with Carmen Dell’Orfice is something I could never forget.  Dell’Orfice was 78 at the time of the photo shoot, and I thought she was the most beautiful woman in the world.

 

 

A new documentary, Advanced Style, will explore the idea of aging gracefully more.  It interviews some of the most fashionable women and celebrates that personal style is a lifelong journey.  As we get older, we get better.  I’ve included a link to the trailer below.  The closing statement was my favorite:

Young women, you are going to be old one day.  Don’t worry about it.  Don’t sweat it.  Don’t worry about getting older.  Every era builds character.  
I couldn’t have said it better myself!

Advanced Style Trailer

 

 

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July 4th, 2012

Built Environment

 

On Monday, I received a package in the mail.  The contents included this beautiful vintage Lanvin-Castillo scarf.  What a way to start the morning!

 

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I was really enamored with the geometric application of colors.  The design, executed under the direction of Antonio Castillo, really captures the Mid-Century aesthetic.  Since I’ve been researching Castillo for the past 5 years, I figured I was a bit bias in favor of his designs. After looking at thousands of images, I feel that his work is so beautiful it enters the realm of timelessness.  In fact, many of his former clients still retain his clothing.  They’ve stated that while they were willing to donate other outmoded couture pieces, Castillo’s clothing is wearable throughout the passage of time.

Still, my favorite works by Castillo are his scarves.  They are painterly and border the line of fine art.  My scarf depicts 3 boats at a dock, with a cityscape in the background.

On Tuesday, at a used bookstore, I found Three Hundred Years of American Painting by Alexander Eliot.  As I leafed through the pages, I was stunned to find this image.  It looks strikingly similar to my new Lanvin-Castillo scarf:

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Night City by Richard Florsheim

The image above is Night City by Richard Florsheim (1916-1979).  Born in Chicago, Florsheim studied art independently in France, Italy, cnetral Europe and the Near East.  His career as an artists was disrupted by WWII, but after the war, he exhibited widely.  He worked with a variety of media, including oil and lithography.

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Crowd by Richard Florsheim.  Image courtesy of the Polk Museum of Art.

Florsheim was mainly concerned with the urban landscape, and how man-made objects affect the environment.  Lisa Meyerowitz explains:

With its vibrant, almost acid-tinted colors and abstracted treatment of the landscape as patterns, shapes, and hues, Harbor Lights is typical of Florsheim’s modern paintings. Eliot Alexander could have been describing that work in particular when he wrote in Time magazine: “Florsheim points out that man-made lights are also a part of nature and adds new dimensions to the ordinary conception of what is beautiful.” Florsheim’s study of electrical light constitute what we might call today the “built environment”—emphasizing man’s influence on nature.

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Harbor Light by Richard Florsheim.  Image courtesy of chicagomodern.org
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Illumination by Richard Florsheim

Florsheim’s art really speaks to me.  While he was active primarily in the 1950s and 1960s, his cityscapes  seem contemporary.  Much in the way that Castillo’s designs still seem relevant today.   I also love the idea of the built environment influencing ideals of beauty.   Architecture influences art and fashion.  So it’s important to select your environment carefully.    Or even better, create your own.

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Industrial Towers by Richard Florsheim

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Neon City by Richard Florsheim

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March 7th, 2012

Lost in Fashion

Angela Missoni painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

Keeping up with all my fashion magazines can be challenging.  So I was happy to finally sit down and look through the March edition of Harper’s Bazaar.  You can imagine my delight when I found this editorial called Lost in Fashion, a collaboration between photographer Liu Bolin and some of my favorite fashion designers.

Alber Elbaz of Lanvin painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

Bolin, a Chinese artist, lived and worked in an artists’ village in Beijing.  In 2005, the village was demolished by the Chinese government.  This prompted Bolin to create the portrait series Hiding the City, where he painted himself to melt into the wreckage of the artist’ studios.  Bolin sought to blend into the background as a way to comment on the invisible sense of humanity in every environment, especially in times of destruction.

Jean Paul Gaultier painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

This collaboration reminds me of my previous posts on Veruschka, Graffiti Fashion, and Feeling Blue.

Even Pierpaolo Piccioli of Valentino said:

We felt like Veruschka in a Franco Rubartelli picture.  But you don’t really know what’s happening, and all the people around you are saying, ‘It’s amazing.’

Pierpaolo Piccioli & Maria Grazia Chiuri of Valentino painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

 

Each of the designers talk about what it would be like if they were invisible:

“I am Missoni myself, so I wanted to totally disappear into my fabric.  But if I could be invisible, I would forget about clothes for a day.  I’d be invisible but naked.” - Angela Missoni

“If I were invisible, I would look at myself as a designer, I’m not an exhibitionist; I’m move of a voyeur.  All I try to do is be invisible.  I’m working day after day in front of a mirror and trying to disappear in front of the mirror.  I don’t want to see myself.  But I think it’s a choice: to make clothes to make women visible or to be a star and to always be visible.  I always preferred to be on the other side of the street and disappear.”Alber Elbaz, Lanvin

“If I were invisible, I don’t know what I would do.  I would have no people to interact with.  It would have to be a very short moment, not for life!  I would never use it to spy, to find out if people truly loved me, because maybe I would feel depressed.  So [laughs] I think maybe I should die.” – Jean Paul Gaultier

If I were invisible? I would stay by myself.  Just me.” -Pierpaolo Piccioli, Valentino

I would wear pieces by other designers [laughs]!  That would be very nice for me.” – Maria Grazia Chiuri

 

Harper’s Bazaar, March 2012.  Pages 408-417

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October 10th, 2011

Vuillard and His Love of Textiles

Vuillard. Image courtesy of philipkockpainting.blogspot.com

 

Last week, I wrote a quick post dedicated to Pierre Bonnard in celebration of his birthday.  It’s difficult to mention Bonnard without talking about his fellow artist and member of Les Nabis, Edouard Vuillard.  His paintings are beautifully composed, using interesting color combinations and staccato brush strokes.  But what really makes Vuillard one of my favorite painters is his love of painting textiles!

Madame Bonnard by Vuillard, c. 1895/1900. Image courtesy of nga.org

Looking at Vuillard’s work, you’ll quickly see he was fascinated by fabrics and their relation to the body.  A woman wearing a floral pattern dress catches your eye in the first composition.  She’s in a room of workers.  Who is she?  What is she doing?  Or maybe you prefer Madame Bonnard.  Did she just purchased a new hat?  Look at how the fabric is starched and piled high on the hat, and the way her hair looks a bit loose on the sides.

 

Edouard Vuillard, Self-Portrait, Aged 21, c. 1889. Image courtesy of nga.org

Most of this attention to textiles was innate to Vuillard.  He was the son of a dressmaker, and grew up around sumptuous fabrics and vivid patterns required to make fashionable dresses.

Misia Sert by Vuillard. Image courtesy of ricci-art.net

Valloton chez les Natanson by Vuillard, c. 1897. Image courtesy of wikimedia.org

His interest in textiles spilled over into depicting interiors.  As Vuillard’s career matured, he became increasingly interested in the patterns and textures of fabrics, wallpapers and carpets.  By looking at his works, we can have a small insight into life at the time.  Look at Jane Redouart: a silk dress adorned with flowers drapes over her lap onto a leopard skin pillow.  Sheer curtains diffuse the ambient light while framing the doorway cloaked in red velvet.  And the real icing on the cake?  There is a mirror along the back wall, showing Redouart’s puppy staring at her adoringly.

Jane Redouart by Vuillard. c. 1927. Image courtesy of thebluelantern.blogspot.com

Jeanne Lanvin (!!!!) by Vuillard, c. 1935. Image courtesy of terminartors.com

If there wasn’t enough fashion present in Vuillard’s paintings, he was commissioned to paint the portraits of couturiere Jeanne Lanvin and her daughter the Comtesse de Polignac.  What a treat to see Mme. Lanvin working at her desk!  Sketching and reviewing concepts for a collection, you can see a drawer full of fabric and embroideries behind her, tucked away on metal shelves.  To her right is another work area with pencils and pens.  She looks a bit tired, giving us a little smirk as she looks up from her work.  Her head tilts slightly to the left, while her dog watches you from beneath the desk and tilts his head in the opposite direction.

 

La Comtesse Jean de Polignac., née Marie Blanche di Pietro by Vuillard, c. 1932. Image courtesy of flickr.com/photos/menesje

 

Madame Hessel en Robe Rouge Lisant by Vuillard. Image courtesy of mutualart.com

Madame Hess in a Hat by Vuillard, c. 1902. Image courtesy of thebluelantern.blogspot.com

 

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June 13th, 2011

How to Speak Fashion, Part II

Beautiful fashions can leave you salivating.  You decide to save your lunch money to make a big purchase on an ultra-chic, must-have French import.  (Who needs lunch when you could have new Louboutins??)  Whether it’s a handbag, shoes, or a great dress, your impending shopping spree is all you can think about.

 

Shopping bliss can turn into embarassment

The day arrives, and your excitement is through the roof.  But the inevitable moment happens.  Your elation turns to panic.  How do you pronounce the designer????  Fumbling, your confidence goes down. 

“Do I sound like a complete idiot???”; you think to yourself.

You’re not alone in your frustration.  French fashion labels are tricky to pronounce, and one mispronunciation can leave you crimson with embarrassment.

How to Speak Fashion is a series dedicated on how to pronounce those beautiful, and tricky, French designer names.  Also included are brief snippets about the designers/design houses to help you feel polished and confident when talking about your latest fashion obsession.  (New to my blog?  Please read How to Speak Fashion, Part I)

 

Jacques Fath (zhahk FAHT)

Jacques 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.

 

Jacques Fath gown illustrated by Charles Kiffer, 1945.

 

 

Jacques Fath garments illustrated by René Gruau, 1945.

Jacques Fath gowns illustrated by Pierre Mourgue, 1945.

Jacques Fath and Pierre Balmain gowns illustrated by Tom Keogh, 1950.

Jacques Fath design photographed by Philippe Pottier, 1950.

 

Today, Jacques Fath Heritage is a line of 50s inspired handbags that are available for purchase.  Sumptuous materials, like lizard skin, are used to make the beautiful clutches and purses.  To purchase online, please visit Jacques Fath Heritage.

 

Airelle Clutch by Jacques Fath Heritage.

Imperatrice by Jacques Fath Heritage

 

 

Grès (GRAY)

Germaine Krebs (1903–1993) was known by many names – first as Alix and later as Madame Grès or simply Grès.  She is best known for creating Grecian gowns that employed extravagant use of fabric, creating allusions to classical sculptures.   Grès said during her career: “I wanted to be a sculptor — for me it is just the same to work with fabric or stone.”

She was revered by clleauges and referred to as a “designer’s designer”.  She always designed without assistance by draping fabric on a live mannequin.  Prior to having her own label, Grès was an active sculptor.

 

Evening Gown and Portrait of Madame Grès, 1946.

Robe du Soir by Grès, 1945.

Evening Dress by Grès. Photo by Phillipe Pottier, 1950.

Evening Dress by Grès. Photo by Phillipe Pottier, 1957.

Madame Alix Grès (1903 – 1993), France, 1965 “Grecian” evening dress (front detail), off-white silk jersey The Museum at FIT, Museum Purchase Photograph: Irving Solero, Courtesy of the Museum at the Fashion Institute of Technology, New York

Madame Alix Grès, evening dress, ivory and blue matte silk jersey, 1950-1951, France, 2005.88.1, Gift of Solange Landau, Photograph by Irving Solero

If you happen to be in Pairs, the Musée Bourdelle has an exhibition featuring Madame Grès work.  The Bourdelle is a sculpture museum.  The Museum at FIT held an exhibition of of her work in 2008.  You can see the exhibition, Madame Gres: Sphinx of Fashion, online.


Madame Grès – La couture à l'œuvre by paris_musees
 

Jacques Griffe ( zhahk GREEF)

Jacques Griffe (1917) was one of very few designers capable sketching, draping, cutting, and sewing.  He trained early on with a local tailor, and later with Madeleine Vionnet.  Vionnet exposed him to unique ways of cutting, and how techniques in draping that enhanced the female body.

Griffe opened his own house at the end of WWII, and his career spanned until 1968.

 

Evening Dress by Jacques Griffe. Photograph by Pierre Mourgue, 1948.

 

Day Ensemble by Jacques Griffe. Illustrated by André Delfau, 1948.

 

Jacques Griffe. Illustrated by Pierre Mourgue, 1956.

 

Evening Gown by Jacques Griffe

 

 

Hermès (er-MESS)

Established in 1837, Hermès started crafting fine leather harnesses and bridles for horse-drawn carriages and equestrians.  By the 1880s, the company began expanding to other retail products made of fine leather.  By the 1920s,  Hermès was known for creating luxurious handbags.  The most well-known today are the Birkin and the Kelly.  By the 1930s, Hermès expanded to women’s clothing.  The company focused on clothing for sports like horseback riding, skiing, and skating.

Skijump Ensemble by Hermès. Illustrated by Pierre Pagès, 1938.

Ice Skating Dress and Jumpsuit by Hermès, 1938.

Iphigénie by Hermès. Illustrated by Christian Bérard, 1944.

 

 

Hermes Birkin Bag

Hermes Kelly Bag

 

 

Lanvin (lawn-VAN)

Lanvin is Paris’s oldest couture house, founded by Jeanne Lanvin (1867-1946) in 1889.  Lanvin started as a milliner, and then expanded into making mother and daughter matching ensembles.   Lanvin was known for her elegant use of applique, embroidery, and beautiful trims.  The robe de style was a Lanvin signature.  A robe de style is characterized by its full skirts.  The bodice is fitted, with a dropped waist.  The full skirts were usually supported by hoops or petticoats.

After her death in 1946, her daughter, the Comtesse Jean de Polignac, ran the business.  She hired couturier Antonio Canovas del Castillo in 1950 to continue designing.  Her namesake label continues to deliver elegant clothing and is now under the artistic direction of Alber Elbaz.

Portrait of Jeanne Lanvin

Hat and Ensemble by Jeanne Lanvin, 1913.

 

Designs by Lanvin in "La Gazette du Bon Ton", 1922.

 

 

Evening Gown by Lanvin. Illustration by Christian Berard, 1936.

Evening Gown by Lanvin. Illustrated by Willaumez, 1939

 

Robe de style, 1924–25 Jeanne Lanvin (French, 1867–1946) Ivory and black silk taffeta trimmed with pink and black silk velvet rosettes Gift of Mrs. William B. Given Jr., 1979 (1979.122.1) Source: Jeanne Lanvin: Robes de style (C.I.56.49.9) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

 

 

 

Elber Albaz of Lanvin.

 

If you are a fan of Lanvin, I highly recommend Dean Merceron’s book, Lanvin.  What a beauty!  Also, if you enjoyed the vintage fashion illustrations, please visit HPrints.com to see more.

 

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April 25th, 2011

How to Speak Fashion: Part I

Looking through fashion periodicals and books is exhilarating.  Finding that perfect accessory or dress is a magic moment.  You see it, you read the text.  You have to have it.  Now, you are on a mission to make it yours.  After a little internet research, you make a phone call.  Maybe you call a friend to tell them about your newly coveted item.  Perhaps you are researching something for a major presentation.  Or you could just be calling Neiman Marcus to place an order.  But the inevitable moment happens.  Your elation turns to panic.  How do you pronounce the designer????  Fumbling, your confidence goes down. 

“Do I sound like a complete idiot???”; you think to yourself.

Guess what!  You are not alone.  I came across a book that had a pronunciation guide and wondered:

“WHERE HAVE YOU BEEN ALL MY LIFE???  YOU COULD HAVE SAVED ME FROM A MILLION EMBARRASSING MOMENTS!!!!

The next few posts will be dedicated on how to pronounce those beautiful, and tricky, French designer names.  Also included are brief snippets about the designers/design houses to help you feel polished and confident when talking about your latest fashion obsession.

Albouy (al-boo-EE):

Gerard Albouy (1912 1985) often known by the name Ouy, was a French milliner . Between 1938 and 1964 he operated a Parisian hat shop called Albouy that was known for its decorative baroque-style hats.

 

Albouy design by Pierre Simon, 1945
Albouy sketch by Pierre Simon, 1945

 

Albouy, 1949.

 

 

Balenciaga (bal-len-see-AH-ga):

Fashion house, established by Cristobal Balenciaga (1895-1972).  Balenciaga was Spanish, and opened up several ateliers in Madrid, San Sebastian, and the Basque  region (c.1919) before moving on to Paris in 1937.  The move was prompted by the Spanish Civil War.   Balenciaga created immaculately constructed clothing that was as feminine as it was avant-guard.

 

Cristobal Balenciaga

 

Balenciaga, 1941.

Balenciaga. Illustration by Guy Demachy, 1948.

 

 

Balenciaga flamenco inspired evening dress, 1951.

Currently, there is a Balenciaga retrospective at the de Young Museum in San Francisco.  A must see!  Click here for details: Balenciaga and Spain

Nicolas Ghesquière (guess-key-AIR) is the current designer for Balenciaga.  He has been the lead designer since 1997.  Ghesquière enjoys referencing the legacy of the house by visiting the archives frequently.

Nicholas Ghesquiere

Original 1967 Balenciaga Design (left) and Ghesquiere’s Contemporary Rendition (right)

 

Balmain (bahl-MAN):

Fashion house created by Pierre Balmain (1914-1982).  Balmain trained with couturiers (coo-tour-e-yay) Molyneux and Lelong before going solo in 1945.  During WWII, Balmain was noted for his long, bell-shaped skirts.  He continued to make elegant evening clothes.

 

Balmain at WorkEvening Dress, detail, by Pierre Balmain. 1946.
Evening Dress by Pierre Balmain. 1957

 

Dress Detail, 1957

 

Christophe Decarnin (1964) was the chief designer for Balmain until this this month.  Decarnin announced his departure from Balmain on April 6, 2011.  Stay tuned to hear who is next . . .

 

Christophe Decarnin

 

 

Balmain illustration by Rene Gruau, 1946.

 

Bruyere (bru-YEHR):

Established by Marie-Louise Bruyere in 1928.  Bruyere worked at Callot Soeurs (Kah-low SOOR) and Lanvin (Lawn- VAN) before opening her own salon on the Place Vendome (plas van-DOM).

Bruyere created haute couture (oat koo-toor) collections until the 1950s, after which the label switched to ready-to-wear.

 

Bruyere, 1939.

Bruyere, 1945.

Bruyere. Illustration by Rene Gruau, 1945.

Bruyere. Illustration by André Delfau, 1947.

 

 

Callot Soeurs (Kah-low SOOR)

Couture house from 1895-1937, launched by 4 sisters.  Hallmarks of garments produced by Callot Soeurs are lace, embroideries, and delicate handwork.  The sisters were Japanese enthusiasts, and often incorporated oriental motifs and themes into their collections.

 

Callot Soeurs. Wedding Dress, 1916.

 

 

Comtess de Zogheb in Callot Soeurs, 1923.

 

 

 

Callot Soeurs, 1938.

 

 

Jean Desses (zhawn dess-SEZ)

Jean Desses (1906-1970) was Greek (real name was Jean Dimitre Verginie).  He studied law before turning to fashion design in the 1930s.  In 1936, he founded his own salon.  Desses created gowns for European royalty and wealthy clients.  He was fascinated with draping, and often made gowns that referenced classical Greek sculptures.  He also favored an architectural silhouette for his garments.

Jean Dessès Evening Gown. Illustration by Pierre Mourgue, 1949.

 

 

Jean Desses Evening Gown, 1953.

 

Evening Dress. Jean Desses, 1948.

 

 

 

 

Evening Gown, Jean Desses. 1953.

Enjoy the illustrations from this post?  Please visit HPrints.com to see more and order some for yourself!

 

 

 

 

 

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October 18th, 2010

Antonio Castillo

It’s been a while since my last post.  Sorry to keep you all in suspense!  But it has been worth the wait!  I thought I’d share what I’ve been up to . . .

Many of you know I teach fashion design.  But you may not know my past.  I completed my M.A. in Fashion & Textile Studies: History, Theory, Museum Practice at the Fashion Institute of Technology (FIT).   This program prepares students to curate museum exhibitions on fashion and textiles.  In other words: lots of fashion history, lots of research, lots of writing, lots of time at museums.  My focus was on twentieth century fashion designers.  My thesis is entitled The Career of Antonio Canovas del Castillo. (The link takes you to the worldcat listing of my publication!)  What I’ve been working on these past few months is a book proposal, based on my thesis.  I’ve sent out a few proposals, but figured I should give my information to the masses.  Here is the introduction to my thesis.  If you want more, please help me find a publisher!  Post your comments so I have your support!

Introduction:

Fashion is an area of material culture that documents change throughout society. Paris has always been an epicenter of artistic, intellectual, and social interaction.  Paris fashion became renowned under the reign of Louis XIV (1643-1715).

Louis XIV by Hyacinthe Rigaud

One of the richest and most important times in the history of Paris fashion occurs just before and after World War II.  Before the war, the world looked to Paris for new fashions, accessories, and textiles.  America was only a consumer in the fashion world, sending buyers to fashion shows to place orders.

During World War II, fashion production was extremely limited due to the rationing of textiles and trim and, in France, the German occupation.  The Germans tried to re-establish haute couture in Berlin in 1940, but Lucien Lelong, the president of the couturiers’ association, ensured that the institution remained in Paris.[1] America had little contact with Paris fashion during the war; so many American ready-to-wear manufacturers and the heads of American couture houses took to hiring American designers.  These designers like Gilbert Adrian, gained considerable fame through their creations and helped to establish America as a new fashion leader.[2] It is at this point that the fashion world becomes fragmented, and Paris was no longer the fashion capital of the world.  It is against this background that the career of Antonio Canovas del Castillo (1908-1984) unfolded.

Castillo at work. Taken from Milbank: The Great Designers.

Antonio Castillo was a well-known couturier from the 1930s through the 1970s in Paris and New York.  There is significant coverage of his work in the international fashion press, and during the World War II era he was regarded as one of the most promising members of the new generation to emerge in Paris fashion.  He even publicly dueled over the fashion press with Chanel:  “As usual, Chanel and Castillo presented their collections at the same time, forcing the press to choose between them.  At a quick counting of heads, it would seem that Castillo got more of the press.”[3]

Born in Madrid in 1908, Castillo left Spain in 1936 at the onset of the Spanish Civil War.  He fled to Paris, where he soon started working for various couture houses.  By 1937, Castillo was employed by Paquin and was designing haute couture collections with head designer Ana de Pombo.  De Pombo left Paquin in 1942, making Castillo her successor, a position he held until 1945.    During his time at Paquin, Castillo successfully designed collections and executed costumes for the film La Belle et La Bete (1946) by Jean Cocteau. [4]

Castillo's costume for Belle. Taken from Beauty and the Beast: Diary of a Film.

In October of 1945, Castillo left Paris for New York.[5] Here, he was the designer for the Elizabeth Arden Fashion Floor, the couture branch of the cosmetics and fragrance house.  At Elizabeth Arden, he created made-to-order designs for five years.  Then, in 1950, Castillo received an invitation from Jeanne Lanvin’s daughter, the Comtesse Jean de Polignac, to revitalize the house of Lanvin.

Jeanne Lanvin had died in 1946 and it was the Comtesse de Polignac’s wish to revive the couture house.  Castillo was appointed chief couturier of the house, which then became known as Lanvin-Castillo.[6] Castillo continued to design for Lanvin until circa 1962, when he opened his own couture house in Paris.  Through this period he trained assistant designers, who included Oscar de la Renta and Dominic Toubeix.[7] In addition to this impressive body of work, Castillo received an Academy Award for costume design for the film Nicholas and Alexandra in 1971. Sources conflict on the exact dates of Castillo’s retirement.  He died circa 1984.[8]


Castillo's New Line for Lanvin-Castillo.

Clearly, Antonio Canovas del Castillo was a respected and influential presence in the fashion world.  His creations are present and documented in the fashion press in both Europe and America.  Yet no fashion historian has studied his career.  Castillo’s career is valuable to examine because he was a key couturier in both Paris, the fashion capital par

excellence, and he was also present in New York at the birth of American design in the 1940s.

While Castillo is casually mentioned in works and indices of twentieth-century fashion, no author has attempted to critically evaluate and document his career in full.  It was my intention to fully chronicle Castillo’s career as a couturier in both Paris and America and his role as a fashion arbiter and to investigate the style and techniques that were unique to Castillo.  This is significant as there is no scholarly research on Antonio Canovas del Castillo or his contribution to fashion history.


[1] “Lelong Speaks for the Paris Couture”, Vogue, November 15, 1944, 74.

[2] Francine du Plessix Gray.  Them: A Memoir of Parents. (New York: Penguin Press, 2005), 321.

[3]Carrie Donovan.  Spring Fashion Trends Abroad, Paris: Glittering Audience Attends

Chanel Showing. New York Times.   (Jan 30, 1960), 24.

[4] Dominique Sirop.  Paquin: Une  Retrospective de 60 Ans de Haute Couture. (Lyon,

France: Le Musee Historic des Tissus de Lyon, 1989), 89.

[5] New York Times  (Oct. 18, 1945) 16.

[6] Jerome Picon.  Jeanne Lanvin.  (Paris: Flammarion, 2002), 331-2.

[7]Sarah Mower.  Oscar: The Style, Inspiration and Life of Oscar de la Renta.  New York:

Assouline, 2002, 44.

[8] Remaury, Bruno.  Dictionnaire de la Mode au XXe Siecle. (Paris: Editions de Regard, 1994), 106.


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