EuropeanaFashion Explore fashion - historical clothing and accessories, contemporary designs, catwalk photographs, drawings, sketches, plates, catalogues and videos - from museums and archives across Europe.
Europeana Fashion - launched with a new look in May 2017 - brings together the digitised collections of more than 30 European public and private institutions.
Stolen Symbols / Original Identity: Franco Moschino Ownership - of ideas, of images, of codes - in fashion is always a complicated matter. Even though many designers have tried to patent their creations in order to avoid copies, Some other designers took the most well-established symbols of fashion and included into their own language, in order to generate new meanings. Franco Moschino was undoubtedly one of them. Franco Moschino was born in 1950 near Milan. He studied fine art at Accademia delle Belle Arti in Milan, and while he was a student there he worked as freelance illustrator in order to pay the school fees. In 1971, Moschino started working as illustrator for Gianni Versace, and in 1977 moved from illustration to design, and in 1977 became the designer for the Italian brand Cadette. His brand Moschino Couture! Was founded in 1983. The identity of the brand was based on the ironic and almost irreverent attitude of Franco Moschino himself. Coming from a working class background, the designer decided to challenge the establishment, using the staples of high fashion and turning them into their ironic copycats. Moschino Dress, 1993, Courtesy MUDE - Museu do Design e da Moda, Colecção Francisco Capelo, All Rights Reserved The most well-known creations following this philosophy are the jackets, modeled on the classic Chanel jacket, but embellished with slogans such as ‘Expensive Jacket’ or flashy and ‘un-classy’ trimmings and other details. The look of his creations was exaggerate, garish and opulent, almost exuding richness, but the materials used were definitely uncommon for the couture world. The very name of the brand declared the position of the designer: couture! With an exclamation point that set the brand apart from the ‘hauteur’ of the regular couture straight away. Leather handbag with shoulder strap, designed and made by Moschino, 1996, Italy, Courtesy Victoria and Albert Museum, CC BY Therefore, Moschino took the most well-known symbols of fashion and turned them in their cheap - but chic - versions. Cheap and Chic was in fact the name of his second line, created in 1989. "I copy and desecrated other designers, recount what happens by trying to understand the motivations of people” with these words, Moschino explained his approach to fashion, unveiling also his position towards the whole fashion system. 20 Jul blog
Europeana Fashion Focus: Ensemble designed by Christian Dior and photographed by Kerstin Benhard, 1947 Ensemble designed by Christian Dior and photographed by Kerstin Bernhard, Courtesy Stiftelsen Nordiska Museet, CC BY-NC-ND The image shows a model wearing an ensemble from the infamous 1947 collection of Christian Dior, where he present for the first time his 'corolle' line. The photograph was taken by Swedish photographer Kerstin Bernhard. On 12 February 1947, Christian Dior launched his first collection. The show was presented at 30 Avenue Montaigne, in the salons of the maison. The lines presented were named Corolle and Huit. However, soon after the presentation, the collection became known as the ‘New Look’ thanks to Carmel Snow, then-editor inches of Harper’s Bazaar, who exclaimed "It's such a New Look! It’s quite a revolution, dear Christian!’ The New Look represented the new spirit that was about to permeate fashion right after the restrictions imposed by World War II. The most known ensemble of the collection is the Bar suit, whose silhouette was characterised by a small waist and rounded shoulders, emphasizing the bust, and a full skirt falling below mid-calf length falling gently on the hips. The skirt took twenty yards of fabrics, and many detractors said it was inconsiderate to use so much material after years of rationing. The new look was quite controversial for many other reasons: feminists complained it was dragging women backwards, given that it reintroduced the corset, depriving women of the freedom of movement - and independence. However, the new style introduced by Christian Dior was extremely popular among women in Europe and America from its presentation, and its influence is still alive not only in the creations of the designers of the maison Dior - from Galliano to Simons and now Maria Grazia Chiuri - but represents a reference for fashion students and designers worldwide. Kerstin Bernhard was a Swedish photographer. She studied at the Royal Institute of Technology in Stockholm and, in the middle of the 1930s, she began studying at the architecture, design and photography school Contempora Lehrateliers in Berlin. She started working as a freelance photographer in 1938 and got her first own studio in the beginning of 1940. During the 1940s, Bernhard began to photograph fashion and in 1947, she traveled to Paris to photograph the Haute Couture, and got the chance to be present when Christian Dior launched his New Look. 16 Jul blog
Runway Archive: Emmanuelle Khanh S/S 1976 collection Fashion show of Emmanuelle Khanh, spring-summer 1976 women's ready-to-wear collection. Photo Courtesy Paul Van Riel, All Rights Reserved The image shows a model wearing a coordinated swimsuit and dressing gown walking the spring-summer 1976 women's ready-to-wear runway of Emmanuelle Khanh. Emmanuelle Khanh was a French fashion designer. After a career as mannequin - she modeled for the likes of Cristobal Balenciaga and Hubert de Givenchy - Khanh decided to pursue a career as designer. She opened her first boutique in Paris in 1962, and was considered one of the leading names designing for the French New Wave movement. With her ‘easy’ designs, directed to a young audience, in 1964 Life Magazine said she was bringing "class and status" to the French ready-to-wear scene. In 1964, she signed an exclusive contract with the New York City department store Henri Bendel, and also sold clothing through Macy's "Little Shop" boutiques. She collaborated with the New York City department stores Henri Bendel and Macy’s, contributed to hairstylist Vidal Sassoon’s success in France and designed collections for Italian brands as Missoni, Krizia and Cacharel. Emmanuelle Khanh Paris, the company owned by the designer, was founded in 1971. The company closed in the late 1990s. 14 Jul blog
Schiaparelli to the utmost: sculpture buttons Fashion designers constantly draw their inspiration from art, and collaboration between artists and designers have been frequent since the early days of Paris Couture, when avant-garde movements started to establish themselves. One of the most consolidate relationship between art and fashion is the liason couturiere Elsa Schiaparelli established with Surrealism. The couturiere not only took inspiration from the movement to create some of her most remarkable pieces, like the shoe-hat. She also invited surrealist artists to contribute to the creation of her fashion objects, like for the famous lobster-print and the torn trompe-l’oeil dresses, both made with fabric designed by Salvador Dalì. Button designed by Jean Schlumberger for Elsa Schiaparelli, ca. 1935-40. Courtesy Les Arts Décoratifs, all rights reserved. Although this collaboration found its greatest and most celebrated results in this prints and embroideries, the surrealist influence in Schiaparelli's creations could be found even in the smallest and apparently discrete details – the buttons. Button, Elsa Schiaparelli, 1930s. Courtesy Les Arts Décoratifs, all rights reserved. Of various and different shapes and forms, the buttons took the form of the Maison’s obsessions. These included the renowned circus horses, but also trapeze artists, bugs, nuts and lumps of sugar. As Schiaparelli was allegedly said to find buttons ‘boring’, she did her best to transform them in a different sculpture. for every collection. Button designed by Jean Cocteau for Elsa Schiaparelli, 1930s. Courtesy Les Arts Décoratifs, all rights reserved. To do so, she was helped by her artists friends like Jean Schlumberger, Jean Cocteau or Hans Arp, who came up with the most extravagant design, that Schiaparelli was willing to accomplish. Made of different materials, from wood to gold and gems or terracotta, Schiaparelli’s extravagant buttons even became one of the symbols of her Maison. More than a decoration, they could be defined the embodiment of Schiaparelli codes and spirit. 14 Jul blog
'Christian Dior, Designer of Dreams' at Les Arts Décoratifs On July 5, the museum of Les Arts Decoratifs in Paris opened a major retrospective on the Maison Christian Dior, celebrating the 70th anniversary from its foundation, staging the dresses that contributed to turn the maison into a myth. The selection implied in the development of an exhibition entails a thought, a choice - and the results of this choice have the power to become symbols. Mexique ensemble, Christian Dior, 1951, Courtesy Les Arts Décoratifs, Paris, All Rights Reserved The Exhibition "Christian Dior, Designer of Dreams” was curated by Florence Muller and Oliveir Gabet showcases 300 Haute Couture creations of the maison Dior, telling the story of the brand through its most iconic creations. It is organized according to themes, in order to point out the influences and other links that have informed the work produced by the designers working for the maison throughout the years. This is why not only dresses, but also objects are part of the selection the curators made, to give the audience also the context that inspired the dresses. Adélaïde ensemble, Christian Dior, 1948, Courtesy Les Arts Décoratifs, Paris, All Rights Reserved The exhibition not only focuses on Christian Dior, the founder of the maison, who kept his position in the years between 1947 and 1957, when he suddenly died and his young assistant Yves Saint Laurent was appointed his successor. In those ten years, Christian Dior layed out some codes which became the core elements of the language of the maison, and each designer that followed had to get in con versions with. In the exhibition, it is possible to see designs also from Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and Maria Grazia Chiuri, giving the chance to the audience to understand the path each of these designers followed while confronting with the heritage of the maison. Stour Head ensemble, Christian Dior by John Galliano, 1998, Courtesy Les Arts Décoratifs, Paris, All Rights Reserved The exhibition is a unique occasion to really understand the work of Christian Dior and appreciate his legacy; it allows to grasp how the identity of the maison adapted to social and cultural changes throughout the years, while always being able to translate the ‘spirit of the times’ into stunning creations, whose sublime manufacture also talks about an attention to craftsmanship and a will to establish a timeless elegance. 11 Jul blog
Otto Magnus von Stackelberg “Femme de l’Isle de Cassos” (Woman... Otto Magnus von Stackelberg “Femme de l’Isle de Cassos” (Woman from Cassos, Dodecanese, Greece). Engraving 36 x 24 cm.Peloponnesian Folklore Foundation Collection, Nafplion.Otto Magnus von Stackelberg “Femme de l’Isle de Cassos” (Woman from Cassos, Dodecanese, Greece). Hand coloured copper engraving from his book “Costumes et usages des peuples de la Grèce modern”), Rome 1825. 02 Jul 08:37 tumblr