Little Bits of Paper...

A couple of years ago I became interested in making paper collages.  I enjoy the whole process of taking bits of paper and turning them into something pleasing to the eye.  No surprise that the subject of my collage work was PARIS and HAUTE COUTURE. I spent many happy hours cutting and pasting--it made me feel like I was back in elementary school! 

Here's some the results of my ACEO(*) endeavours: 

And last but not least, my favorite because of the RED coat:

*In case you aren't familiar with ACEO's, Art Cards Editions and Originals, they're 2.5 x 3.5 inch heavy cardstock which artists trade and collect.  Have a look on etsy.com and you'll find many talented artists selling ACEOs.  It's a great way to collect artwork!

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Resting in Peace...French Style...

I love taking photos of things other people don't usually pay much attention to.  Architectural details fascinate me, no matter where they are.  As strange as it may sound, I love visiting cemetaries, reading tombstones, and taking photos.

The photos of the vault doors in this post were taken at Cimetière du Père-Lachaise  in the 20th arrondisment of Paris, and cemetaries in Nice and Collioure.  Pere Lachaise is really one of the loveliest, quietest places in the city.  It's hard to believe that you are in the middle of Paris as the main sound you hear is wind rustling through the trees.  

While you're there, be sure to find Jim Morrison's grave--it'll be the only one with a guard keeping watch over visitors.  You can buy a map just outside the gates (you'll need one), because there are so many famous people buried there.  My favorites are Chopin, who is buried in a beautiful white vault, and Edith Piaf, whom you will need to look for under her family name, Gassion.  

You'll be amazed at some of the vaults in the cemetary.  They are the size of small homes.  There are graves there from the 1700s of families that have apparently completely died off and the vaults are disintegrating from neglect, but amazingly, it's still a working cemetary.  It's really impossible to see the whole of the cemetary in one day and if you do go, you need to wear sensible shoes as the sidewalks among the graves have been disturbed by tree roots from all the beautiful trees that provide the shade on a hot day.

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Christian Dior...

"The cardboard boxes were huge:  long, wide, thick and solid.  For photo sessions or exhibitions they would be brought up to Paris from the small town in the Touraine where the House of Dior stores more than fifteen hundred haute couture dress, and almost as many boxes of accessories.  Within these boxes are the gowns that are too fragile or too heavy to put on hangers.  Witnessing their opening is almost akin to taking part in a minor rite.  Two people are required to bring out each box; the heavy lid is then lifted to reveal the sleeping beauty within.  These fragile creatures must be woken with care, the tissue paper shaken gently away in order to restore them to life.  

And what a life it is:  The litany of dresses for all occasions from collections of the day -- “robes de jour, robes de fin d’aprés-midi, robes de cocktail, robes de restaurant, robes de cabaret, robes á danser, robes de petit diner, robes de grand diner, robes de gala, robes de grand gala” -- conjures up a whirl of images.  But already the dream is working its magic.  Age cannot wither their beauty, unique as it is to each of them and knowable only in their presence, like human beauty.  Few of them are now in pristine condition.  The great majority bear traces of their former days:  a worn patch, a faded color, a hidden mark, a tiny snag.  But above all this hovers an overwhelming sense of their presence, of the certainty that one day, one evening, a woman wearing this gown must have felt she was truly alive."

If you can only afford ONE vintage fashion book, then I can honestly say, this is IT. This oversize book contains 384 pages and is filled with the most beautifully photographed haute couture clothing you will ever find.

Christian Dior by Farid Chenoune

Published by Assouline Publishing 2007

ISBN: 9782759401628

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The Golden Age of Couture, Paris and London 1947-1957

Cocktail dress by Christian Dior, London. Organza 1957, Illustration created for the Victoria and Albert by David Downton.

Of all the books about vintage fashion that I own, this book is my ABSOLUTE favorite.  If you're interested in this subject, you will definitely want to add this to your collection!

"The Golden Age of Couture celebrates a momentous decade in fashion history that began with the launch of Christian Dior's famous New Look in 1947 and ended with his death in 1957.  It was Dior himself who christened this era fashion's 'golden age', a period when haute couture thrived and Paris enjoyed renown worldwide for the luxurious creations of designers such as Cristóbal Balenciaga, Pierre Balmain and Hubert de Givenchy.  While never competing with Paris in terms of glamour, London has proved itself a burgeoning fashion capital, boasting Savile Row, the undisputed home of bespoke tailoring, and prominent couturiers such as Charles Creed, Hardy Amies and Norman Hartnell, who dressed debutantes, aristocrats and the royal family." 

 

'Bar' suit by Christian Dior, modelled by Renee.  Photograph by Willy Maywald, 1955.

 

'Bar', suit by Christian Dior, Vogue French Edition, May/June 1947.  Illustration by Christian Bérard.

"The New Look required a complete change of accessories.  Neat hairstyles replaced the flowing hair and complex millinery of the war years.  Shoes changed from clumpy wedges to slim, elegant courts with narrow toes and high heels supported by steel rods."

 

Shoe by Roger Vivier for Christian Dior, 1954.

"Although Dior went on to design many other important collections, the New Look caught the public imagination, and the long, full-skirted ballerina look continued to be a part of the vocabulary for popular fashions right up to the 1960s." 

 

Evening dress by Hardy Amies, satin, c. 1950.

Evening dress by Victor Stiebel at Jacqmar, embroidered silk satin, 1950s.

Evening gown by Cristóbal Balenciaga modelled by Dovima. Harper's Bazaar (British edition), December 1950. Photograph by Richard Avedon.

"Superb examples of evening gowns, cocktail dresses and tailored suits from the V&A's collection are shown alongside fashion illustration and evocative photographs by the likes of Richard Avedon, Cecil Beaton and Irving Penn."

 

'Ecarlate' cocktail dress by Christian Dior. Red silk grosgrain, Autumn/Winter 1955-6.

Coat by Cristóbal Balenciaga, modelled by Lisa Fonssagrives. Vogue French edition, 1950. Photograph by Irving Penn.

 

Evening dress by Madame Grés, modelled by Sunny Hartnett, Le Touquet, France, 1954. Harper's Bazaar American Edition, September 1954. Photograph by Richard Avedon.

This book was "published to accompany a major Victoria and Albert exhibition" and "pays tribute to the impeccable workmanship and creative flair behind some of the most famous couture styles of all time."

 

'Zemire' modelled by Dior house model Renee. Paris, 1954. Photograph by Regina Relang.

Evening dress by Cristobal Balenciaga (detail). Silk, 1955.

"97 colour plates, 80 black and white illustrations."

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Chanel...the Couturière at Work

“Fashion is not something that exists in dresses only; fashion is something in the air.  It’s the wind that blows in the new fashion, you feel it coming, you smell it.  Fashion is in the sky, in the street,  fashion has to do with ideas, the way we live, what is happening.” ...Chanel

 I am a huge fan of Coco Chanel's little black dresses and her trademark suits, but it wasn't until I read Chanel, The Couturière at Work, that I realized just how far back in "fashion time" she actually began her career.  I was surprised to discover that she first started out by trimming and designing hats in the early 1900's.

This fascinating book written by Amy De La Haye and Shelley Tobin, published by the Victoria and Albert Museum in London, describes Chanel's work, saying, “In the years around World War I Gabrielle Chanel challenged the world of fashion head on.  Jersey fabrics, easy to wear garments often based on mens’ sportwear, showy paste jewellery and the little black dress are just a few of her innovations that have become fashion staples.  Other books have dwelt on Chanel’s tempestuous private life.  Here, for the first time, the focus is on Chanel the couturière, her innovations and the immense influence she has had on the way women choose to look in the modern world.  The story is brought up to 1994 in the final chapter based on an interview with Karl Lagerfeld."

Costumes de Jersey, by Chanel, from Les Elegances Parisiennes, March 1917

Chanel's beaded and embroidered silk evening dress, 1922

Red silk evening dress, early 1920's and matching silk shoes

 

Chanel wearing her signature costume jewellery in 1928

 Chanel photographed in 1929 wearing a straw cloche hat

 Portrait of Chanel at work in her studio, 1937-1938

 Chanel beach outfit, 1930's

Portrait of Chanel by Lipnitzki, 1936

Portrait of Chanel by Roger Schall, 1938

Portrait of Chanel by Francois Kollar, 1937

 Cocktail dress, 1958

 

 'This Year's suit', 1959

 

Chanel Brooch in Renaissance style made of gilt metal set with faux gemstones

 The timeless appeal of Chanel

Karl Lagerfeld, 1991

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