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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.
#costumethursday : Corsets A corset is a garment that has its roots in the history of fashion, but still tickles the imaginations of contemporary designers. It was originally developed and worn to shape the torso and create a silhouette that was smaller at the waist and larger bottom. It was used both for aesthetic or medical purposes - and this is true for women and men alike, even if it is mostly associated with womenswear. Corsets were usually made by a corsetmaker and fitted to the individual wearer. They are typically constructed of cloth, particularly coutil, or leather and stiffened with what is called 'boning' (also ribs or stays). In the eighteenth and early nineteenth century these 'bones' - the most famous are the strips of baleen - were inserted into channels in the cloth or leather, shaping the corset and giving it structure. Corset in light blue silk satin with embroidery and stitching in dark red silk. Courtesy Gemeentemuseum Den Haag 19 Apr 07:49 blog
#designertuesday : Popy Moreni (...) potentially, I love everything: the real and the false, the authentic and the copied, the straight line and the curve, elegance and vulgarity, the good and the bad, the law-abiding and the outlaw. I would like to do everything! Popy Moreni is the pseudonym of Annalisa Moreni, is a Italian fashion designer who worked in Paris throughout the 1960s, 70s and 80s. Fashion show of Popy Moreni, autumn-winter 1985/1986 women's ready-to-wear collection. Courtesy Paul Van Riel, all rights reserved After studying at the Istituto Statale d'Arte, Moda e Costume, in Turin, the city where she was born, in 1964 she moved to Paris where she began her career as design assistant to Maïmé Arnaudin. She then went on to be the head designer in Arnaudin's Mafia design studio, Paris and subsequently in Promostyl and Timmi. In 1973 she established own design and consulting office, opening her first boutique in Paris in 1976. Her first collecction was shown in 1980, and encapsulated the codes of her recognizable style in design: reference to baroque art and Italian commedia dell’arte, with costumes such as those of Arlequin and Pierrot transformed into everyday wear and casual attires. Fashion show of Popy Moreni, autumn-winter 1983/1984 women's ready-to-wear collection. Courtesy Paul Van Riel, all rights reserved Apart from concentrating on clothes and accessories, Moreni also designed housewear and childrenswear collections. She is remembered for her fragrances, such as Cirque, released in 2000. Her work in fashion is considered so important for French culture that in 1986 she was named Chevalier de l'Ordre des Arts et des Lettres. 17 Apr 05:40 blog
#costumethursday : Embroidered stomacher, 1740s. Stomachers are panel of fabric that were worn to fill the front edges of an open gown. Usually triangular in shape, they are sucred to the dress with fastenings or pins. Although they became fashionable in women’s dress between the 1680s and 1780s, the stomacher was used since the 16th century in both men and women’s costume. Even though differing in style, stomachers were usually highly decorative and richly embroidered with designs and materials sometimes matching or contrasting with the gown. The one in the picture below is in light silk taffeta, embroidered in silk and metal threads. The embroidery depicts a multitude of coloured summer flowers and fruits alongside the curved shapes made of the metal threads. Embroidered stomacher, 1740s. Courtesy Les Arts Décoratifs, all rights reserved. 11 Apr 21:22 blog
#designertuesday : Jean-Louis Scherrer Jean-Louis Scherrer was a Parisian fashion designer and couturier active between the 1960s and the early 1990s. Scherrer was born in Paris. He first trained as a dancer at the Conservatoire de Paris, but after an injury he decided to turn to fashion design. In 1956 he became one of the assistant designer to Christian Dior. He then worked with Saint Laurent at the maison Dior, and afterwards moved to Louis Feraud. Finally in 1962 he opened the doors of his own maison on Rue du Fauburg Saint-Honoré. From 1971, his fashion house moved to the number 51 of Avenue Montaigne, where some of the most well-known women - Farah Diba, Sophia Loren, Raquel Welch, Isabelle Adjani and Françoise Sagan - used to go shopping for Scherrer's sumptuous 'idea' of fashion that he turned into clothes. In 1992 he was sacked from his own label by former business partner: this fact was openly criticised by designers on the press, since it was the first time something like this happened. When he died in 2013, French Culture Minister Aurélie Filippetti said: “an important chapter of the history of French haute couture has closed (...) his famous leopard-print cocktail dresses and polka-dot skirts were emblems of a new feminine silhouette." Dress by Jean-Louis Scherrer, 1980s. Courtesy Modemuseum Hasselt, all rights reserved 09 Apr 21:29 blog
#costumethursday : Woman's riding coat, 1750s. During the 18th century, and much later on, tailoring for men and women were a quite distinct practice and were pursued by different professional figures. In the english language, even the words that defined 'making clothes' for men and women were different: tailors were the ones (usually men) producing men's attires, while women making clothes for women were usually called dressmakers. Still today, menswear tailoring is still looked as the epitome of distinction and mens’ tailors keep their patterns and knowledge to pass it on only to their worthy successors. However, there were occasions in the 18th century already, in which women had their clothes designed and made by menswear tailors. The riding jacket was one of these occasions. The ‘riding habits’ therefore included also elements of men’s costume. This jacket in particular is styled after a man’s coat, but it was added a waist seam to fit over stays and a wide petticoat. Another masculine element is the mariner’s cuff, with a scalloped flap with three buttons running parallel to the length of the sleeve. It was a style first seen on the coats of naval officers, although their uniform was not officially defined until 1748. The mariner’s cuff became a fashionable feature of civilian coats in the 1750s and soon began to appear on women’s riding habits. Women’s riding coat of worsted and lined with linen and silk, England, 1750s. 04 Apr 22:12 blog
#designertuesday : Christian Lacroix Cristian Lacroix is a French fashion designer and couturier. He was born in Arles, in southern France. Lacroix studied Art History in Montpellier, following his utter interest in historical clothing, which he used to sketch from a very young age. He then moved to Paris to enroll at the prestigious Sorbonne; while working on a dissertation on dress in French 18th-century painting, Lacroix also pursued a program in museum studies at the École du Louvre. Even though interested in matters such as museum and curatorial studies, fashion turned out to be the driving force of his life: in 1975, he opened his own haute couture house. His background in historical costume, as well as his interest in folklore and regional traditions, influenced Lacroix’s style, characterized by rich embellishments, prints, and wide volumes, of which the short puffball skirt, called "le pouf”, often worn with a corset to emphasize its form, is a symbol. Christian Lacroix Spring/Summer 1999 collection. Photo Etienne Tordoir. Courtesy Catwalkpictures, all rights reserved 03 Apr 09:03 blog