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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 - now with a new look - brings together the digitised collections of more than 30 European public and private institutions dealing with dress and fashion.
Europeana Fashion Focus: Femme à la Marguerite, 1899 Femme à la marguerite, Textile produced by Scheurer Lauth from a design by Alphonse Mucha, Courtesy Les Arts Décoratifs, All Rights Reserved. The picture shows a sample of silk embroidered with a design by Alphonse Mucha and made by the manufacturer Scheurer Lauth in 1899. The object represents the encounter of a manufacturing house and the genius of an Artist. Scheurer Lauth and Cie was a textile produces active in Thann, in France, since the end of nineteenth century. The maison reproduced on the textile a famous design by Alphonse Mucha, who was very popular in the French art scene at the end of nineteenth century. Alphonse Mucha was a Czech painter and decorative artist. He was a very prolific artist: not only did he produced paintings, but also posters and illustrations for advertising campaigns. Even though it is not clear if the artist was directly involved in the production of the textile, it is documented that Mucha was used to designing decorative patterns for textiles, carpets and wallpapers. Many of his works featured young women dressed in neoclassical clothes and surrounded by flowers. Femme à la marguerite is a clear example of Mucha’s recognisable style, which aligns to the canons of Art Nouveau, an international style in the decorative arts that became popular between nineteenth and twentieth century. It was characterised by smooth lines and curves, and natural motifs as plants and flowers. 23 Apr other
Maison Martin Margiela, A/W 1997-1998, fur wig, gilet in linen,... Maison Martin Margiela, A/W 1997-1998, fur wig, gilet in linen, blouse in cotton, skirt in wool and shoes in leather, Photo: Stany Dederen. ‘Margiela, The Hermès Years’, 31st March - 27th August 2017. Image courtesy MoMu - Fashion Museum Antwerp. 22 Apr 18:56 tumblr
Runway Archive: Sonia Rykiel spring-summer 1982 RTW Sonia Rykiel spring-summer 1982 women's ready-to-wear Fashion Show. Photo courtesy Paul Van Riel, All Rights Reserved The picture shows one of the last moments of Sonia Rykiel spring-summer 1982 women's ready-to-wear Fashion Show, held at Jardin d'Acclimatation, Porte des Sablons, Bois de Boulogne in Paris, on October 18, 1981. The designer herself is walking down the runway at end of show together with the models, waving at the audience and collecting applause. Sonia Rykiel was a french fashion designer, especially renowed for her knitwear, which led the press to nominate her 'Queen of Knits'. Her most famous creation is the 'Poor Boy Sweater', a design she developed in the 1960s, with high cut arm holes and a shrunken fit to cling to the body. Apart from her style as designer, Rykiel was he was known for her signature personal style: red hair cut into a bob, a long fringe and eyes marked by heavy black make up. 20 Apr other
Clues of Authorship: Madeleine Vionnet's Fingerprint It is a complicate matter to state the authorship of a dress, as in its creation concurs the hands of many. Conventionally, however, labels provide the information needed to retrace its creator; sometimes summarising the complete cast of interventions or highlighting the designer as the only inventor, the label eventually is the very last clue leading to the author. Dress, designed by Maison Martin Margiela, s/s 1998. Courtesy Modemuseum Hasselt, all rights reserved. That’s maybe why the label has functioned as a vehicle for many designers to esablish their idenity and the identity of their work, as did most famously Martin Margiela, that initially substituted with a white strip of cloth, attached to the garment with the iconic four with stitch at each extremity. Seventy years earlier, instead, Madeleine Vionnet used it as her bastion to preserve her authenticity. To do so, she phisically imprinted her fingerprint on each of her labels. Dress, designed by Madeleine Vionnet, 1930-35. Courtesy Les Arts Décoratifs, all rights reserved. By doing so, the couturier Madeleine Vionnet, who established her Maison in Paris in 1912, was trying to defend her work - and set a primate for fellow couturiers to follow - to prevent copyists from plagiarising her work. Plagiarism, was, in fact, a practice that had long affected high fashion. Copyists were appointed by manufacturers and department stores to visit couture fashion shows to sketch the garments in order to had the instruction to remake them, as the American copyist-turned-fashion designer and writer Elizabeth Hawes explained in her book 'Fashion is Spinach'. Ensemble, designed by Madeleine Vionnet, 1935. Courtesy Les Arts Décoratifs, all rights reserved. In her quest against plagiarism, Maideleine Vionnet had previosuly set in 1921 the Association for the Defence of Fine and Applied Arts. However, she eventually started to document her creations photographing them from the front, back and sides, and then decided to stamp on each label her irreproducible and unique fingerprint. As well as protecting her creativity, by marking the clothes in this way she put her own identity as a guarantee of their authenticity. At last, her labels served as a clue in a crime scene, they reconducted her mindful creations to her hands. 17 Apr other
Hermès S/S 1999 Cardigan in doube-faced crêpe, collarless shirt... Hermès S/S 1999 Cardigan in doube-faced crêpe, collarless shirt in Oxford, pants in crêpe and belt ‘Étrivière’ in bridle leather, Le Monde d’Hermès, Photo: Serge Guerand. ‘Margiela, The Hermès Years’, 31st March - 27th August 2017. Image courtesy MoMu - Fashion Museum Antwerp. 13 Apr 00:04 tumblr
The 'Mains' of Couture Within the environment of the atelier, hands are so important, they traditionally are used, as a term, to indicate those professionals who take care of the materialisation of the couturier’s ideas to reality. Gown from the Maison Worth, 1895-1900 ca., Courtesy Modemuseum Hasselt, All Rights Reserved The première main, often referred to as just première, is the head of the atelier, the person in charge of supervise the work of all the people involved in the the process of production of dreamy couture gowns and precious ensembles. The other workers, each specialised in one passage of the process, are called petites mains. The hierarchy within the atelier is quite strict, and usually petite mains end up being so loyal to the fashion house they are in, to grow there professionally, from the apprenticeship onwards. Dress by Hubert de Givenchy, 1950 ca., Courtesy MUDE - Museu Do Design E Da Moda, Colecção Francisco Capelo, All Rights Reserved It is very important that both premieres and petites mains are able to understand the designer they work with, and above all that they share a language in order for the creations to be successful. Premières are always present during fittings, and have to be able to understand what is wrong with the toiles - the first step of the process, usually made of cheaper fabric - so they can go back to the tier and fix it according to the couturier’s vision. It is probably their attention to all the visible and invisible aspects of couture that made them gain this name. Petites Mains are in fact the ones who embroider and complete all the details of a gown, tirelessly putting effort and technique into their work through their hands. 11 Apr other
Runway Archive: Valentino, Ready-to-Wear Winter 1979-1980 Valentino autumn-winter 1979/1980 women's ready-to-wear collection, shown at Forum des Halles. Courtesy Paul Van Riel, All Rights Reserved The image captures a moment of fun on the runway of the Valentino winter 1979-1980 collection. The models are wearing two total-black outfits, composed by an two different ‘little black dresses’, one made of velvet and the other probably of sheer silk, and pointed heels. The two outfit are completed by flamboyant hats and accessories. The picture shows the two models dancing together: an interesting way to interpret the usual walk down the runway. The freedom and joy the image evokes might seem in contrast with the rather repetitive and rigorous parades at fashion shows. This has probably to do with the fact that the image comes from the show of a ready to wear collection: a different, more accessible line designed by Valentino, quite different from the couture. Through this line, the designer updated his definition of fashion, speaking to a wider audience and proposing another side of his personality to his public. 06 Apr other
Hermès A/W 2001-2002 Collarless jacket and pants in cashmere and... Hermès A/W 2001-2002 Collarless jacket and pants in cashmere and silk, high-neck pullover in cashmere and silk, scarf ‘Losange’ in silk crêpe, Le Monde d’Hermès, Photo: Ralph Mecke. ‘Margiela, The Hermès Years’, 31st March - 27th August 2017. Image courtesy MoMu - Fashion Museum Antwerp. 05 Apr 21:18 tumblr
Hermès S/S 2003 Trenchcoat in cotton gabardine, sleeveless... Hermès S/S 2003 Trenchcoat in cotton gabardine, sleeveless pullover in cashmere and silk, pants in wool, ankle boots in leather, headscarf ‘Losange’ in silk crêpe, Photo: Stany Dederen. ‘Margiela, The Hermès Years’, 31st March - 27th August 2017. Image courtesy MoMu - Fashion Museum Antwerp. 04 Apr 21:14 tumblr
Hermès A/W 1998-1999. Vareuse in double-faced cashmere,... Hermès A/W 1998-1999. Vareuse in double-faced cashmere, sleeveless high-neck pullover in cashmere, mid-length skirt in Shetland wool and boots in calfskin, ‘Le vêtement comme manière de vivre’ Le Monde d’Hermès, Photo: John Midgley.‘Margiela, The Hermès Years’, 31st March - 27th August 2017. Image courtesy MoMu - Fashion Museum Antwerp. 03 Apr 20:02 tumblr
Givenchy by Riccardo Tisci. Spring 2011 Couture. Photo: Willy... Givenchy by Riccardo Tisci. Spring 2011 Couture. Photo: Willy Vanderperre for Givenchy.The last part of the exhibition explores the concept of Ma; the space between two structural parts. In a fashion context; the space between the garment and the body. The versatile beauty of the kimono and its liberating dimensions in contrast with the close-fitting western clothing is an important source of inspiration for Western designers. The 2011 Spring Couture collection of Givenchy demonstrated Ricardo Tisci’s (b. 1974) obsession for Japan and paid tribute to the butah dancer Kazuo Ohno. The back, neck and shoulders are accentuated and the waist has a three layered obi that refers to the traditional kimono. 31 Mar 06:54 tumblr
Comme des Garçons by Rei Kawakubo. Spring/Summer 2014. Photo:... Comme des Garçons by Rei Kawakubo. Spring/Summer 2014. Photo: Etienne Tordoir for Catwalkpictures.com.Rei Kawakubo (b.1942) consciously undermined the Western ideal of beauty, offering her own, alternative idea of femininity, with her intellectual, deconstructivist designs. She focuses on creating collections that challenge preconceptions about how man and women dress. This concept is obvious in the 2014 Spring/Summer collection. A series of looks expand in unusual places with bumps and/or atrocious shapes stuffed with goose down. It was her way of questioning the sexualisation and commercialisation of the human body by the fashion industry. This design is displayed in the Wabi-Sabi part of the exhibition. 31 Mar 06:49 tumblr
Junya Watanabe, Techno couture collection. Autumn/Winter... Junya Watanabe, Techno couture collection. Autumn/Winter 2000-01. Photo: Etienne Tordoir for Catwalkpictures.com.Gi-jutsu means technology or technique. Japanese clothing has traditionally excelled at technical ingenuity, the unique use of materials and special paint techniques. In this part of the exhibition, we show contemporary examples of technological virtuosity, a love of materials and fabrics, colourful prints, exceptional paint techniques like tie-dyeing, revolutionary construction techniques like origami, etc. These are all elements that are inseparable from the final shape of the garment. Very representative for this part are the techno couture looks by Watanabe, Iris van Herpen, Hishinuma as well as those by Riccardo Tisci for Givenchy. 09 Mar 20:13 tumblr