Archivi tag: ELSA SCHIAPARELLI

THAT OUTRAGEOUS EYE | Schiap & Dalì

Fashion always referred to Art as source of inspiration: hommages to artists and painters are a long leit-motiv during history of fashion…and, in some fortunate cases, this fascination for arts gave  us such memorable creative marriages like the one of Elsa “Schiap” Schiaparelli and Salvador Dalì.

Elsa "Schiap" Schiaparelli and Salvador Dalì

Elsa “Schiap” Schiaparelli and Salvador Dalì

Their collaboration, starting from the early 1937, reached its maximum with the fall-winter collection 1938-1939 with some greatest pieces as The Lobster Dress, The Tears Dress, The Skeleton Dress and The Shoe Hat.

Lobster Dress, 1938 and Tears Dress

Lobster Dress      and       Tears Dress

Skeleton Dress, 1939

Skeleton Dress, 1939

Shoe hat, courtesy of Palais Galliera

Shoe hat, courtesy of Palais Galliera

That unconventional eye on fashion was really a shock, not only because Schiap  was convinced that “in difficult times, fashions is always outrageous”, but also because that surrealist twist launched the idea of the concept of “wereable art”.   Schiaparelli’s collaborations included Jean Cocteau, Leonor Fini and Alberto Giacometti and no wonder that Coco, at that time, called Schiap as “the artist that makes clothes”.    By the way, both Schiap and Coco were the only two who ruled Paris fashion stage at that time, but that outrageous eye gave such a twist …and a breath of surrealism broke the air.

Nowadays, when the House of Schiaparelli is finally on stage providing us memorable haute couture runways, it’s nice to see how that fil-rouge, created and wanted by the founder, still emerges from the fabrics and creations just to take place on mesmerizing sequined shoulders or in elegant details that recall the memory of things.

Salvador Dal', Eye of Tie, brooch- 1959, courtesy of AD and House of Schiaparelli, haute couture coll. 2015

Salvador Dal’, Eye of Time, brooch, 1949 [courtesy of AD] and House of Schiaparelli, Haute Couture coll. 2015.

 This métissage, of course, is a clear tribute to Dalì: directly derived from his “Eye of time” brooch, created in 1949: the House of Schiaparelli wants to give a direct homage to the great surrealist painter and artist who created a fabulous jewels collection (now shown at Figueres Museum) and collaborated with Elsa: a sort of memory thread never cut.

To me, of course,  this subterranean river made of details wisely sprinkled all over creations is a feast for my eyes and a delight for my memory’s drawers: how pleasing is when you can easily detect all those interconnected inputs you have in your mind that are waiting for you, as a long path made of tiny little pebbles?

But, far from this enchantment, one thing is noticeable: more often (as my wise friend P. says) fashion is becoming reinterpretation, without any room for creativity itself. So, I ask myself: when fashion imitates Art, or borrows some specific peculiarities from it…is still “creation” or a lack of it? Moreover: do you think that nowadays, such imaginative collaborations as the one of Schiap and Dalì are still possibile….? is there yet an absolute outrageous eye?

A dress [a jewel too!] has no life of its own unless it is worn, and soon as it happens another personality takes over from you and animates it, or tries to, glorifies or destroys it, or makes it into a song of beauty Elsa Schiap

BIBLIO LENS

  • Elsa Schiaparelli, Shocking Life: The Autobiography of Elsa Schiaparelli, V&A ed.;
  • Emma Baxter-Wright, The Little book of Schiaparelli, Carlton ed. 2012;
  • Judith Watt, Vogue on: Elsa Schiaparelli, Quadrille ed. 2012;
  • Andrew Bolton- Harold Koda, Schiaparelli and Prada. Impossible conversations; Exhbition catalogue, Met Museum, 2012;
  • Marisa Schiaparelli Berenson, Schiaparelli’s Album, Thames & Hudson, 2014.
  • Meryle Secrest, Elsa Schiaparelli: A biography, Fig Tree ed. 2014;

WEB LENS

A presto,

nichka

A love supreme | La femminilità secondo Vionnet

Mi piace pensare che uno straordinario genius historiae sia l’artefice di felici congiunture nel solco dei secoli: momenti salienti e seminali nei quali si sono forgiate le idee per il divenire; momenti che hanno dato all’umanità qualcosa che non avrebbe mai potuto perdere. E’ stato così per la Atene  di Pericle, per la Roma augustea, per la Firenze di Cosimo e Lorenzo de’ Medici, per la Roma papalina e, giacché progrediamo in tutte le forme del sapere e del fare,  così è stato nell’ambito della moda quando, a cavallo del secolo, tre stiliste giganti come Coco Chanel, Madeleine Vionnet e Elsa Schiaparelli apparvero sulla scena, ciascuna con un proprio linguaggio; ciascuna con la propria opera;  ciascuna con la propria eredità che lasciò ai posteri.

Di Madeleine Vionnet il segno distintivo furono il taglio in sbieco e l’uso sapiente di tessuti che potessero accompagnare le movenze muliebri rendendole aggraziate e quasi fluttuanti di una beltà ultraterrena, resa, appunto, iperfemminile dal taglio in sbieco che si adattava al corpo molto più di quanto non lo facesse la corsetteria punitiva dei tempi precedenti.

Di Madeleine Vionnet oggi, come allora, si è voluto perseguire con slancio rinnovato, molto studio e raffinata ricerca del bello, la riproposizione di quei modelli che diedero alla donna una raffinatezza ed una eleganza tali da renderla indimenticabile: sogni di abiti per abiti da sogno.

Eccone alcuni in vetrina AL DUCA D’AOSTA in Padova (grazie!)

            Drappeggi e farfalle: l’assenza di peso e l’essenza della femminlità.

Ci sono abiti che, come le madeleines di Proust, rimandano ad un mondo di sogno, ad un passato glorioso di Dive eleganti ed irraggiungibili, di dee fluttuanti in drappeggi leggeri.

E non fa mistero che un grande stilista come Yohji Yamamoto [intervistato da Ligaya Salazar nel corso della mostra che lo ha visto protagonista al Victoria & Albert Museum lo scorso anno abbia confessato alla giornalista che gli domandava contro quali personalità della moda egli si confrontasse] abbia detto: “It’s funny, but I’m always fighting with female designers: Coco Chanel, Vionnet and Schiaparelli. Three geniuses I can’t beat / E’ divertente, ma mi ritrovo sempre a “lottare” con tre stiliste : Coco Chanel, Vionnet e Schiparelli. Tre geni che non posso battere” .        

            Anche i grandi stilisti stanno a guardare.….

A presto,
Nichka

BIBLIO LENS:

  • BETTY KIRKE, Madeleine Vionnet, foreword by Issey Miyake,  2012, Chronicle Books;
  • SYLVIE AUBENAS, VIRGINE CHARDIN, XAVIE DAMANGE, Elegance. The Seberger Brothers and the Birth of Fashion Photography, 2007, Chronicle Books;
  • PAMELA GOLBIN, PATRICK GRIES, Madeleine Vionnet, Rizzoli New York
  • LIGAYA SALAZAR, Yohji Yamamoto, exhibition catalogue, London, Victoria and Albert Museum, 13 march-12 july 2011, V&A 2011; http://www.vam.ac.uk/content/exhibitions/yohji-yamamoto/about/

RINGRAZIO LO STORE “AL DUCA D’AOSTA” PER IL PERMESSO ACCORDATOMI NEL FOTOGRAFARE LE VETRINE ELEGANTI E CURATE CHE MI HANNO REGALATO UN FREMITO DI FELICITA’.