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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 brings together the digitised collections of more than 30 European public and private institutions.
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Introducing the new Tumblr Curations: Fashion at the Races I & II An article in the Times published in 1922 deemed Ascot to be “the best place in England to see beautiful women in beautiful clothes.” Since the very beginnings of modern horse racing, the tracks were used as a ‘catwalk-avant-la-lettre’ by ladies and fashion designers alike. Horse races were a golden opportunity for high society women to spot and to don fashionable outfits, while couturiers dispatched models to the tracks dressed in their latest creations. Especially in France - host to such legendary races as those in Auteuil, Longchamp and Chantilly - ladies and models ‘promenading’ in high-end fashion thoroughly influenced the development of the fashion industry and the growing reputation of Paris as the fashion capital of the world. But the 'trend' of races was soon taken up with enthusiasm all around Europe, making these sport events catalyst of new social behaviours characteristic of the modern age. Today, still, ‘Race day’ is as much about the clothes as it is about the sport, and dressing up in the finest garments and luxurious accessories is a self-evident requirement if you’re aiming at blending in with the in-crowd. Yet in this double guest-curated feature for our friends at the recently renamed ‘European Fashion Heritage Association’, managing also the sister-thematic collection ‘Europeana Fashion’ on Europeana.eu, we shift the focus to the early decades of the 20thcentury, when modern horse racing was reaching its heyday. Fashionable crowd at a racecourse in Copenhagen (Denmark), circa 1900. Léon & Lévy. Roger-Viollet / Parisienne de Photographie Public Domain The curations will be presented on EFHA Tumblr and will run for two months, and then they will be included as co-curated galleries on the Europeana Fashionthematic collection. Zooming in on French fashion of the 1900s and 1910s first, then jumping ahead to the 1920s and 1930s in the UK, we follow major trends and changes on the racecourse-runways and discover through early photographic images that paddocks and stables, muddy tracks and groomed greens were among the first ever outdoor backdrops shown in fashion photography. The curation will start tomorrow - stay tuned and visit the EFHA Tumblr. About the Guest Curator: Sofie Taes has been working as an online curator of early photographic collections for the Europeana Photography Thematic Collection for several years. She is affiliated both with Leuven university (KU Leuven, Belgium) and PHOTOCONSORTIUM: an expert hub on historical photography, uniting the experience and knowledge of photography professionals from all over Europe. 01 Aug 08:54 blog
Announcing the EFHA 5th International Conference 'Europe and Fashion: Questioning Identities and Cultures' In the prestigious set of the Musée des Arts Décoratifs in Paris, on the 8-9 November 2018, EFHA, in collaboration with The New School – Parsons Paris, IUAV University of Venice and the London College of Fashion – University of the Arts London, is organising its fifth international conference titled Europe and Fashion: Questioning Identities and Cultures. An impressive lineup of speakers, with keynotes as Valerie Steele, Giorgio Riello, Miren Arzalluz and Javier Gimeno Martinez, will explore and discuss the role of geography, borders, territories and identities for the definition and demarcation of varied artefacts and practices, analysing the link between fashion and European identity. The main aim of the conference is to reconsider assumptions about the place of fashion in the definition of European culture and offer new perspectives on the role of fashion in relation to critical issues, as individual and collective identities, European policy, colonialism and post-colonialism, cultural exchange and transmission, cultural displacement and appropriation, the fashion capitals and nations, center and periphery. We think that fashion and fashion heritage have the possibility to add something relevant and unique to the conversation and we believe this conference is a timely intervention on central topics concerning not only fashion heritage, but the realm of culture more broadly. The papers included in the conference will present cutting-edge researches by world-leading personalities from many fields – academia, museum research and practice and also professionals – defying borders across disciplines and institutions. Learn more about the programme and book your ticket at https://europeandfashion.eventbrite.co.uk/. Hurry-up, tickets are limited! View of the 2016 exhibition 'Down with the Boundaries! Live the Design and Arts' at MUDE Museu do Design e da Moda, photo by Alberto Mayer, all rights reserved 01 Aug 05:15 blog
EFHA News: A new name, a new website, the same mission! It’s official! From today the Europeana Fashion International Association changes its name in European Fashion Heritage Association. A new name, a new identity, but the same mission: “make it easier for fashion GLAMs and brands to get better value from their cultural heritage assets by opening them up and connecting with new audiences”. We still believe that sharing the vast wealth of fashion heritage assets stored in public and private museums and archives across Europe empowers these institutions, improves their visibility and prestige and connect them with new audiences; at the same time, it allows the full exploitation of our shared fashion heritage for work, for study and for fun. These are the main reasons that will continue to drive our activities and define our scope. The Association today launches also its new website: fashionheritage.eu. Our website wants to be a space where a thriving network of fashion heritage professionals, scholars, creatives and enthusiasts can meet, share experiences, learn from each other and have a specialised access to the largest and richest digital repository of fashion heritage online, daily curated by our editorial team. The curatorial work developed on our website and elsewhere - as the entries on our blog or what we share on our social media platforms - crosses our vast archive, selecting and showcasing together items from different institutions across Europe, and thus creating new narratives and connections that put in context and exploit the rich content of our network. All the ways in which we manage the archive aim at providing background information and guidance to both professionals but also to fashionistas or to people simply interested in discovering more about the topic; our goal has always been - and still is, indeed - to help shaping personal researches of our users and unveiling some of the most interesting gems contained in our repository, often hidden in the width of the archive itself. In all our activities, we will be supported by our Scientific Committee, which will outline the scientific program of the international events that we organises yearly, support us in the definition of project proposals in the framework of the different EC programmes, and advises also about the editorial and curatorial lines. The Association will also continue to operate the Europeana Fashion thematic aggregator, keeping on publishing and enriching high quality digital fashion content on the Europeana Collections portal, putting it in the broader framework of the European cultural heritage, engaging there a larger audience of culture lovers. But the news are not ending here. Soon, we’re going to announce our forthcoming international conference on “Europe and Fashion: Questioning Identities and Cultures” with an impressive lineup of speakers. To stay tuned and discover more about our activities, subscribe to our newsletter. 31 Jul 06:25 blog
Fashion for Art: Jacques Doucet The link between the fashion world and that of the arts was quite strong at the beginning of the twentieth century, especially thanks to couturiers who also were avid art collectors central in the cultural life of Paris. Jacques Doucet is surely one of the most famous designers who not only collected art, but also supported artists and architects in their activity, asking them to shape the spaces in which he lived and worked. Robe à transformation embroidered with a motif of clouds and bees, 1900-1905 ca. Courtesy les Arts Decoratifs, all rights reserved. Doucet was born in Paris in 1853. His family owned a very profitable lingerie and linens business, Doucet Lingerie. Raised in a refined and rich environment, from a very young age Doucet begun collecting eighteenth-century furniture, paintings and sculptures. In 1871, he opened his fashion house, and in his creations can be seen a heavy influence from the style of the objects he collected. His penchant for this opulent era made him the go-to designers for the divas of the time, as Cécile Sorel, Rejane and Sarah Bernhardt, for whom he created outfits that were both refined and recognisable, enriched with embroideries, frills, rouches and volants. Black velvet jaquette, 1898-1900 ca. Courtesy les Arts Decoratifs, all rights reserved. His style was too grand for the modern look in vogue in the 1920, so his popularity faded in that period. However, he kept working and in 1927 he asked cubist artists and sculptors to decorate his Studio House in rue Saint-James, Neuilly-sur-Seine. Its name was 'hôtel particulier': it was designed by the architect Paul Ruaud and included works and projects by Laurens, Csaky, Lipchitz and Marcoussis. Apart from being interested in the eighteenth century, throughout his life he accumulated contemporary works of art, especially Post-Impressionist and Cubist paintings; the most know piece in his collection was surely Les Demoiselles d'Avignon, which he bought direct from Picasso's studio. His collection of books included both art publications and manuscripts from contemporary writers: the first was donated to the University of Paris in 1917 and then transferred to the Institut National d'Histoire de l'Art in 2003; the second formed the Bibliothèque littéraire Jacques-Doucet, dedicated to the designer in 1929, year of his death. 24 Jul 08:00 blog
Runway Archive: kolor spring/summer 2014 collection kolor spring/summer 2014 collection, photo by Vanni Bassetti, Courtesy Pitti Immagine, all rights reserved The photo depicts two models participating in the kolor spring/summer 2014 collection shown in Florence, during the 84 edition of Pitti Uomo. The brand kolor debuted in 2004, designed by japanese designer Junichi Abe. Since the beginning, the label mixes various influences, from sportswear to military wear, to tailoring and traditional menswear. Junichi Abe is considered one of the most interesting contemporary designers. Abe studied at Tokyo’s prestigious Bunka Fashion College and went on working under Junya Watanabe at COMME des GARÇONS fashion house. Out from the ‘common grounds’ of fashion, Abe's interests move between materials and construction, which are the strongest directions shaping his research and design process. In 2013 he was invited as Guest Designer by Pitti to present his 2014 spring/summer collection - the one celebrating the first ten years of the label - during Pitti Uomo 84. About the choice, Lapo Cianchi, Pitti Immagine Director of Communications and Events declared: 'Over the past few seasons kolor’s classic, distinctive fluidity and lightness had developed into a mature project and become the heart and soul of men’s collections that are more structured and look at the men’s wardrobe with intelligence, precision and a touch of humor. We are fascinated by Junichi Abe’s determination in developing his brand, and in building a solid commercial venture on the basis of a very precise personal inspiration that has little interest in chasing mainstream fashion trends.' 20 Jul 07:22 blog
Le Bon Marché The image shows a tinted sketch of a Turkish dancer probably coming from the store Le Bon Marché. it features the inscriptions "Turquie" and "Testu & Massin, Paris". Courtesy Peloponnesian Folklore Foundation, all rights reserved Le Bon Marché - meaning 'the good market' or "the good deal" in French - is a department store in Paris, considered the first ever modern department store. It was founded in 1838 and revamped in 1852. Originally set up to sell lace, ribbons, sheets, mattresses, buttons, umbrellas and other varied goods, it had four departments, twelve employees, and a floor space of three hundred square meters. In 1852, Aristide Boucicaut became a partner and changed the marketing plan, instituting fixed prices and guarantees that allowed exchanges and refunds, advertising, and a much wider variety of merchandise. The annual income of the store increased, and this led to the building of another marche on the Left Bank, and a. further renovation of the existing store to which participated Gustave Eiffel, the engineer in charge of the building of the infamous Tour Eiffel. Apart form the good it sold - coming not only from Paris or France, but from many parts of the world - the Marché's peculiarities are linked to its being a 'modern' building. In fact, it was developed for the new inhabitants of the modern city: not only it was selling a wide array of goods, from clothes to homeware and other different objects, but it also provided different experiences, changing completely the definition of marketing. Amongst the spaces it articulated in its inside, there were a reading room for husbands while their wives shopped and many possibilities of the entertainment of children. It also employed many women - in 1880 half the employees were in fact women - and the employees who needed it could live in dormitories on the upper floors. 11 Jul 06:08 blog