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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 dealing with dress and fashion.
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
Traditions (almost) gone: the Bindmössa Green embroidered bindmössa in silk, 1700 ca. Courtesy Nordiska Museet, all rights reserved The bindmössa is a small round-stitched women's headpiece, most commonly present in national costumes. The name originally means 'closed on the neck by a band'. The bindmössa originated in France in the mid-sixteenth century, where it was then a widow's garment, to be worn together with a dock. It was introduced in England by Maria Stuart under the name of 'french hood'. During the seventeenth century, it became common also for men, especially among priest and well-known citizen. The binder was originally quite soft but became increasingly harder during the 1700s, and was usually stiffened with a filling of papier-maché, felt wool or tagel; it was usually worn over a thin white linen cap. Even in the nineteenth century it was used, but mostly older people and memmbers of the lower classes in general. Since the eighteenth century, the dark binder caps became lighter in colour, often decorated with a floral emboridery a real bouquet on the side. Even easier fabrics like printed cotton or linen fabrics were used. In Sweden, the binder is present in several costumes, including Bohuslän, parts of Västergötland, Häverödräkten with several places. In some parts of Uppland and Västmanland, the binder remained alive even after the costumes were totally removed. 05 Jul 07:06 blog
Dressed to Travel Since travelling became an accessible activity in the nineteenth century, travellers have been in search for a special attire designed to accompany them on their fares, eventually promoting new trends and customs. Today travelling is an ordinary action that occupies much of everyone’s daily routine. By private or public means, people travel short or longer fares not only for leisure, but for work or study resons. If nowadays travelling has become an ordinary practice not requiring much more effort than to make the luggage fit the size restrictions, not that long ago travellers had the need to wear particular clothes designed precisely for travels. 'Toilette de voyage et d'excursion', in Femina magazine, August 1902. Courtesy MoMu - ModeMuseum Provincie Antwerpen, all rights reserved. The ‘travelling dress’ made its appearance in the nineteenth century, when the Industrial Revolution cut the costs of textile and clothes production, and people could afford specialized dress conceived to be worn only in specific occasions. Before this time, to travel was an occupation affordable only by the few and both higher and lower classes used to wear, in many cases, their best and most protective outerwear; from this time onwards, the improvement in the means of transport and the renovation of travel fares democratized travelling, letting more people embark on longer journeys. The key-words were now modesty and practicality. The ‘travelling dress’, in fact, did not only serve to protect the wearer from dust and dirt, but, whether people were travelling by train, ship or steamboat, they also needed a dress which allowed comfortable movements in a public transport - especially because the space for toilette was usually restricted or shared. In addition, it was essential for the dress to be appropriate for appearing in public among strangers. Day outfit comprising a coat and skirt, embroidered silk and cotton canvas, designed by Jacques Doucet, Paris, 1895. Courtesy Victoria and Albert Museum, CC BY. The development of the travelling dress moved along with the development of the travelling system. As the public means of transportation evolved, becoming overall more comfortable, and new means, such as cars and later airplanes, appeared, the travelling dress gradually lost its functionality. Instead, a precise etiquette arose, indicating what dress to wear during a particular fare or while on a precise mean of transport. If the ‘travelling dress’ lost its popularity in recent times, the research for the ‘ideal dress for journeys’ led fashion creators to design the most diverse and peculiar clothes. 21 Jun 11:37 blog
Dare to impress: Rudi Gernreich 'Below the Nave swimsuit, produced by Harmon Knitwear and designed by Rudi Gernreich, 1968. Courtesy MUDE - Museu do Design e da Moda, Colecção Francisco Capelo, all rights reserved. Rudolf 'Rudi' Gernreich is considered among the first designers who openly used fashion to make social statement and to speak in favor of equality and sexual freedom. Active in the 1960, his creations featured materials such as vinyl, plastic and artificial fibers, using simple and daring patterns, often featuring cutouts and bold and daring constructions. The list of items for which he is said to be first designer is quite long: the thong bathing suit, the swimsuit without a built-in bra, the so-called No Bra, and the topless monokini. All of these creations made headlines, also thanks to the efforts and strategies put in place to communicate them. For four times he was the recipient of the Coty American Fashion Critics Award. He also experimented with media, producing what is regarded as the first fashion video in 1966: "Basic Black: William Claxton w/Peggy Moffit", featuring model Peggy Moffitt, who sort of became the face (and body!) associated with his creations. In 1968 Gernreich closed his company but continued his work as a designer. From the beginning of his career, Gernreich also designed costumes for various film productions: in 1960, he was in charge of Eva Marie Saint's wardrobe in Otto Preminger's film Exodus; in 1970 he designed "Dress Codes" of the new decade for the January issue of Life magazine. Interestingly, he also declared his idea of future fashion was linked not to a binary definition of gender, but instead to a non-diversity, and worked on the concept of "unisex." His activism did not stop at fashion design: Gernreich was in fact a founding member of and financially supported the activities of the Mattachine Society, one of the earliest LGBT organizations established in the United States. 19 Jun 04:26 blog
Europeana Fashion Focus: 'La Perse' Jacket by Cristóbal Balenciaga, 1956 The image shows a detail of 'La Perse', a jacket designed by couturier Cristóbal Balenciaga in 1956. The object is currently part of the Gemeentemuseum Den Haag Collection. Cristóbal Balenciaga was a Spanish couturier, who merged the atmospheres of his homeland with the precepts of French Couture. Son of a seamstress, at the age of twelve he began working as an apprentice in a tailor shop in Getaria, his hometown in the north of Spain. When Balenciaga was just a teenager, a noblewoman in his town became his customer and patron, sending him to Madrid to train as a tailor in one of the best schools of the capital. He opened a boutique in San Sebastián, in the north of Spain, in 1919, and the other two branches in Madrid and Barcelona. Amongst his clients, were the Spanish royal family and the aristocracy. However, at the end of the 1930s, the Spanish Civil War forced him to close his business and immigrate to Paris. He opened his first atelier on George V Avenue in 1937. Working in Paris, he established his fame as ‘The King of Fashion’ for the groundbreaking designs he presented, and especially for the iconic silhouettes, he developed during the 1950s and 1960s. An acute observer of the social scenario in front of him, considering the revolution that happened in France in front of his eyes, in 1968 he decided to close his maison, declaring that that moment was the end of what he considered fashion. *This text is taken from the exhibition 'Les Couturiers' - check it out here to discover more: https://bit.ly/2lcXnfj 17 Jun 13:45 blog