livemint.com · Pooja Singh
If there’s one haute couture house that has mastered the attention economy, it is Schiaparelli. Whether it’s Natasha Poonawalla’s metal bustier at …
#lifestyle #schiaparelli #hautecouture
Sweater by Schiaparelli. Trompe l’oeil of a sailor collar and red ribbon tie.
Silver wings and black gown by Schiaparelli. Background are other gowns
Detail of a jacket by Schiaparelli. Appliqué of elephants and trapeze artists on pink threads.
Matador style jacket by Schiaparelli with appliqué, tassels, metal facial features.
We had a surreal old time. #Schiaparelli at the V&A is well worth a visit.
Fashion Becomes Art: a deliciously decadent journey through the surrealist world of Elsa Schiaparelli, by Dr Naomi Braithwaite for @uk.theconversation.com
#NTUResearch #Fashion #Schiaparelli theconversation.com/fashion-beco...
Collection in focus Evening dress Schiaparelli's Pagan collection celebrated nature and the classical past. This dress alludes to the ancient world. Fashioned like a doric column, its thick, padded folds create the illusion of carved fluting. A geometric collar, reminiscent of an abacus (column top), frames the wearer's head which becomes the column's capital. The dress transforms the wearer into an animate element of classical architecture. Elsa Schiaparelli Autumn 1938, Pagan collection Paris Silk satin V&A: T.335-1987 Bequeathed by Katherine Raine
A geometric collar, reminiscent of an abacus (column top), frames the wearer's head which becomes the column's capital. The dress transforms the wearer into an animate element of classical architecture. Elsa Schiaparelli
As you see the dress also have unusual dart shapes and types. The horizontal line at the neck creates two top horizontal darts for the shoulders and the neck. the triangular repited on the central panel, are functional and decorative at the same time
A view of the dress near the 3 more close to it
#schiaparelli #garmentsewing
Pagan collection celebrated nature and the classical past. This dress alludes to the ancient world. Fashioned like a doric column, its thick, padded folds create the illusion of carved fluting.
front chest view of the black, with the gorgeous embroidery design that tepresent lillae
A detail of the golden and pearl work
left view of the dress with the pearl an goldenwork embroidery and a priminent plastuck zipper on the side
Exhibition explainer: Evening dress Elsa Schiaparelli Autumn 1940 Paris Silk crêpe, pearls, sequins, metal strip V&A: T.48-1965 Given by Elsa Schiaparelli
#schiaparelli #garment sewing. The most precious pearl embroidered dress in this room, embroided using thread and golden thread
#Schiaparelli #garmentsewing
Detailed view of first dress. I do not havr the explainer but i red she took thr inspiration from a #sari and evoluted it to a evening occidental dress
Tho deresses, the first with head cover and demure, second elegan and simple but decorated with sewing pearl
the former two dresses plus the champagne velvet one in the vitrine
Collection in focus Evening dress Schiaparelli's Pagan collection celebrated nature and the classical past. This dress alludes to the ancient world. Fashioned like a doric column, its thick, padded folds create the illusion of carved fluting. A geometric collar, reminiscent of an abacus (column top), frames the wearer's head which becomes the column's capital. The dress transforms the wearer into an animate element of classical architecture. Elsa Schiaparelli Autumn 1938, Pagan collection Paris Silk satin V&A: T.335-1987 Bequeathed by Katherine Raine
a beautifull white dress with olbergine waist ribbon and 3 elegant ones in thr lower part of the skirt, the last one a jacket suit for wiman in impecable black & ehite
Collection in focus
Evening dress!
#Schiaparelli Pagan collection celebrated nature and the classical past. Here an overview if the dresses belinguing to ut #garmentsewing
Crinkled and colourful Schiaparelli was a daring colourist, relishing unexpected juxtapositions as seen in this dress's beetroot tone complemented by salmon pink. The trim traces a sensuous line from the shoulder to the daringly-deep back décolletage. The ribbon's puckered texture was a Schiaparelli favourite. One newspaper headline declared this collection to be, 'Alive with interest, stressing crinkly effects. Elsa Schiaparelli Summer 1932 Paris Silk crêpe (dress); silk (trim) Robert and Penny Fox Historic Costume Collection at Drexel University: 55.33.12 Gift of Mrs. Rodolphe Meyer de Schaunensee
interesting tripple dart and detail of the crikle bow
atention to the asimetric shaping of the bodice and skirt
The trim traces a sensuous line from the shoulder to the daringly-deep back décolletage. The ribbon's puckered texture was a Schiaparelli favourite. One newspaper headline declared this collection to be, 'Alive with interest, stressing crinkly effects. Attentio to the ways the dress is shaping itself with unusual seams around the ripps, belly and upperhipbone
#schiaparelli #garmentsewing
Crinkled and colourful!
Schiaparelli was a daring colourist, relishing unexpected juxtapositions as seen in this dress's beetroot tone complemented by salmon pink
Zendaya closes ‘something blue’ chapter with Schiaparelli look at 'The Drama' premiere
#Zendaya #Schiaparelli #TheDrama #RedCarpet #FashionIcon
www.easterneye.biz/zendaya-schi...
#Zendaya in #Schiaparelli, #RobertPattinson, #PaulDano, #JemimaKirke, #MattRogers @ the premiere of #A24’s “The Drama” at Regal Union Square on 2/4/26 in #NYC. #HollywoodCiak
#TheDrama
#premiere #redcarpet #photocall #fashion #Schiaparelli #NewYork
👇👇👇👇👇👇👇👇👇👇👇👇
www.instagram.com/p/DWtRCckDBe...
godets in the skirt are placed at two different highs alternativelly. Zoom the image and look. #schiaparelli #garmentsewing
godets in the skirt are placed at two different highs alternativelly. Zoom the image and look.
#schiaparelli #garmentsewing
Emblematlc elegance When Schiaparelli began designing evening dresses, her early examples were simply constructed and sometimes finished with a jacket. Here, a dress of silk crêpe de chine is paired with a luxurious silk velvet cape accented with silk chiffon. It was worn by Australian-born Molly Fink, later Rani of Pudukkottai, a prominent socialite and early Schiaparelli client.
take a look at tge godets to give fullness to the skirt too
How to adapt the different measures of bust and waist? Darts! but what about being creative and doing double triangle ones using the inverted apliquee technique
Emblematlc elegance
you get the official exhibitiontext on the alt of first image. But here is mines: How to adapt the different measures of bust and waist? Darts! but what about being creative and doing double triangle ones using the inverted apliquee technique? (pic 3) #schiaparelli #garmentsewing
wool coat with huge sequins
A detail of how the sequins react to the light
black cat and harlequin together
Pour le soir!
Evening coat
Elsa #Schiaparelli
Winter 1936
Paris
Wool tweed, cellophane
Philadelphia Museum of Art: 1969-232-2
Gift of Elsa Schiaparelli. #garmentsewing
Pour le Soir Perhaps more than any fashion designer of the era, Schiaparelli urged textile manufacturers to bring her their newest and best materials. In her hands, innovations such as crinkly tree-bark textures, cellophane and even woven glass were transformed into startling and flattering eveningwear. Bold, dramatic, occasionally subversive, Elsa Schiaparelli's gowns and evening suits made people look twice. From her beginnings as a designer of sportswear, she swiftly mastered the principles of formal attire. Clients adored the Schiaparelli look which could be seen at balls, theatres and restaurants in the world's most cosmopolitan cities.
Comedy of colours From 1935, Elsa Schiaparelli designed around recognisable themes. She took inspiration from a range of unconventional sources and titled her collections accordingly. A central motif of her Spring 1939 collection, A Modern Comedy, was the diamond pattern of the Harlequin costume, seen in this multicoloured patchwork coat. Elsa Schiaparelli Spring 1939, A Modern Comedy collection Paris Wool felt, fulled wool, silk thread embroidery Philadelphia Museum of Art: 1969-232-3 Gift of Else Schiaparelli
the colours seem to be painted on the fabrica and double line of cordon embroidered to reinforce boundaries. Black and red colurs
A detail of the neck for this wonderful coat
Pour le soir!
#Schiaparelli
Winter 1936. A central motif of her Spring 1939 collection, A Modern Comedy, was the diamond pattern of the Harlequin costume, seen in this multicoloured patchwork coat. #garmentsewing
Suit Schiaparelli continued designing seasonal collections for a short time after the start of the Second World War. Her Spring 1940 season was described as, 'a very small war collection essentially created for Parisians. Ever the promoter of novel solutions, Schiaparelli offered suits with large 'cash and carry' pockets to replace the need for a handbag, practical during wartime. (Third step, right) Elsa Schiaparelli Winter 1939, Cash and Careellection Paris Wool tw eca Lent by The Museum at the Fashion Institute of Technology: 68151.4 Gift of Mr. Rodman A. Heeren
3 of the "for the city" suits the obe near the screen with prominent emailled buttons
detail of the emailled buttons and inusual slant pockets creating something like the "dior" shape
#Schiaparelli offered suits with large 'cash and carry' pockets to replace the need for a handbag, practical during wartime. #garmentsewing
This two-tone example, made in her Parisian salon but sold by Lord & Taylor in New York, combines contrasting textures of leather buttons, tweed and velveteen. Prominent pockets, as seen on the jacket, became a frequent feature of Schiaparelli's daywear -- Suit This vibrant day suit highlights two typical Schiaparelli design devices - unusual fabrics and unexpected fastenings. The trompe l'oeil textile in a kaleidoscope of jewel tones is made to look like woven material but is actually printed rayon crêpe. The blue plastic beetles on the buttons echo the Pagan collection themes that draw on imagery of flora and fauna. (Third step, left) Elsa Schiaparelli Autumn 1938, Pagan collection Paris Rayon (suit); plastic (buttons) Metropolitan Museum of Art: 1974.338.5a, b Gift of Mrs. J.R. Keagy, 1974
(Second step, left) Elsa Schiaparelli, sold by Lord & Taylor Winter 1936 Paris Tweed, velveteen (jacket, skirt); leather (buttons) Lent by The Museum at the Fashion Institute of Technology: 78.125.1 Gift of Mrs. Steward McDonald
Suit This vibrant day suit highlights two typical Schiaparelli design devices - unusual fabrics and unexpected fastenings. The trompe l'oeil textile in a kaleidoscope of jewel tones is made to look like woven material but is actually printed rayon crêpe. The blue plastic beetles on the buttons echo the Pagan collection themes that draw on imagery of flora and fauna. (Third step, left) Elsa Schiaparelli Autumn 1938, Pagan collection Paris Rayon (suit); plastic (buttons) Metropolitan Museum of Art: 1974.338.5a, b Gift of Mrs. J.R. Keagy, 1974
Pamela Carme Pamela Carme, 1928 otograph by Yvonne Gregory Centre stage This coat was worn by Pamela Carme, a British socialite turned star of the stage. As the wife of Henry Sherek, a leading director and producer in London's West End, she spent much of her married life in theatres. This was reflected in her wardrobe choices, such as this elegant garment with buttons shaped like comedy and tragedy masks. (First step, left) Elsa Schiaparelli Spring 1939, A Modern Comedy collection Paris Wool, velvet, silver fox fur (coat); painted metal (buttons) V&A: T.233-1964 Given by the Honourable Pamela Sherok
Suits!
#Schiaparelli emphasised the importance of day suits for her Winter 1936 collection, proclaiming
'Simple suits, mandated apparel! . #garmentsewing
garment in full view
Elsa Schiaparelli Winter 1939 Paris Wool (suit); leather (buttons) Metropolitan Museum of Art: 2009.300.1870a, b Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Arturo and Paul Peralta-Ramos, 1955
Throusers. Elsa Schiaparelli (right) with client and entrepreneur Dilkusha de Rohan in London, 1931 Unknown photographer Getty Images Suit Trousers became a Schiaparelli signature at a time when most women wore them for sport or for informal home wear. With typical daring, Schiaparelli embraced this garment as stylish attire for day and evening, even donning a pair of wide-legged culottes on a work trip to London in 1931.
Her stylish day suits stood out from city crowds, identifiable by Schiaparelli staples such as intriguing textiles, bold buttons and unusually placed pockets. #garmentsewing #schiaparelli
under view of the suit and trousers tweed piece.
A detail of the enormous leather buttons and tge inusual abd charming pockets, Slevecaps are sightly gathered
Detail of the pocket with a slant welt opening
Garment on full view woth exhibition background
Pour la Ville!
Elsa Schiaparelli's chic and functional daywear was the talk of the town. In an interview she advised on the crucial components of modern daywear :the ideal wardrobe > one fur coat, one tweed suit, a dark tailored suit, a silk dress for afternoon wear. #schiaparelli #garmentsewing
The pattern was part of her Stop, Look and Listen collection and was seen across her day dresses, parasols, hats and even on men's ties.
Manufactured for Elsa Schiaparelli by Colcombet
1935 Paris
Printed cotton
Allentown Art Museum: 1978.026.352
#schiaparelli #garmentsewing #textiledesign
newsprint textile with news about her
a hand to kiss textile design . Printed textiles In 1936, Schiaparelli created novelty prints for the American market, selling them to manufacturers and the fabric sections of department stores. Fourteen of these were made exclusive to American textile manufacturer Drucker-Wolf, Inc. Among the designs were disembodied hands with floating red hearts and a skyline of famous Parisian landmarks including the Eiffel Tower and the Arc de Triomphe. The latter celebrated the upcoming 1937 Exposition Internationale in Paris.
a detsil of "a hand to kiss" where flowers seem to grow from the hand the flowers are represented in linear form and sonehow seems to be forming from veins. A very chic and slicht design --- A Hand to Kiss Manufactured for Elsa Schiaparelli by Drucker-Wolf, Inc. 1936 Paris Printed silk crêpe Allentown Art Museum: 1978.026.354
another part of the newspaper design
Newsprint textile!
Breaking news
Schiaparelli made fashion headlines with this textile. She capitalised on the press attention her garments and personal life received, designing a print with news cuttings about herself. #schiaparelli #textiledesign #garmentsewing
Its window displays, innovatively staged by long-standing American staff member Bettina Bergery (born Jones), became a visitor attraction.
These theatrical scenes often featured two articulated, wooden figures, known as Pascal and Pascaline.
#schiaparelli #garmentsewing
staged example of the window of her studio from the inside, a child visiting the exibitions looks at it with interest
the dusting power tin
the original photo of the window, explanations of the exhibition and some of her parfums
A better view of her window with exhibition text
Place Vendôme!
In 1935, Schiaparelli moved her couture salon to 21 Place Vendôme, 1 of the grandest squares in Paris, which she termed, 'the world's centre of elegance.
Schiaparelli now had space for a capacious ground-floor boutique :accessories, perfumes and cosmetics. #schiaparelli #garmentsewing
Padlocks This embroidery sample by Maison Lesage shows the decadent gold thread passementerie (decorative trimmings) that would have adorned Schiaparelli eveningwear. The padlock motif first appeared in Elsa Schiaparelli's 1935 Stop, Look and Listen collection as a striking suit fastener. A design feature across her garments and accessories, it remains an inspiration for Daniel Roseberry today. Maison Lesage for Elsa Schiaparelli 1938 Paris Satin appliqué, thread, metal strip, wire, cabochons Lasage Heritage: Ref.26914
detail of the padlock. Golden embroidery on a bed of salmon satin
detail of the padlock. Golden embroidery on a bed of salmon satin
complete view of the padlock with the original etiquette
Maison Lesage is a dream. Being able to be close to their works and take this detailed pics made me incredible happy. #embroidery #schiaparelli #garmentsewing My parisian granny taught me to embroider she always told me she had work as profesional embroiderer in paris. i like to dream it was there
first part of her timeline
second part of her timeline
third part of her timeline -i hope you can zoom it-
#garmentsewing #schiaparelli timeline!
A smiling female Met officer in the 1967 Norman Hartnell-designed uniform, topped off by Mirman's cap, a pillbox cap with a stiff peak.
A smiling female Met officer in the 1978 soft-topped cap, also designed by Mirman. It proved too easy to pull down over the officer's eyes, gaining the nickname of the 'Butcher's boy' or 'Smurf' cap.
Simone Mirman began her millinery career collaborating with #Schiaparelli (the subject of a new V&A exhibition) before moving on to royalty. She also designed two hats for Met WPCs, though the second proved so impractical that it was replaced in less than a year. #Archive30 #ArchiveFashion
Part of Schlaparelll's November 1927 collection, the sweater became an instant and much-copied hit. The press remarked on its amusing trompe l'oell pattern and the complex two-tone knitting technique which gave a tweed-like appearance.
#SCHIAPARELLI #garmentsewing
The stranded work black and white work and red bow a garment feautiring a garment
the knitt with romboid shapes
the famous bow knitt
Schiaparelli wearing the bow knitt
Zig-Zags and bow-knote
It started with a sweater. Schiaparelli first solo collection, designed in January 1927, featured geometrie patterned, black and white knitwear.
Later she commisioned, Arooslag Mikalian, to knit a sweater with a jaunty bow-knot motif. #SCHIAPARELLI #garmentsewing
By playing a game of concealing and revealing a low-cut neckline, the piece creates a surrealist statement. #garment #SCHIAPARELLI
The human body as a jewel. Our bodies are pieces of creations art per se... just being a body having a body you are wearing the most beautiful jewels of creation.
Front view of Deep Breath dress. Executed in bkack silk crêpe has a wide chest opening as an overgrown shape of nevk opening that will go over the floating ripds section of a body leaving the breast section uncovered. Over it a golden neck piece exhibits the lungs breathing brochae and alveols as a beautiful piece of art jewerly. The human body as a jewel. While this garment is most for drama than for wearing brings a beautiful concept to the table. Our bodies are pieces of creations art per se... just being a body having a body you are wearing the most beautiful jewels of creation.
The front view of the piece, is easier to see the beautiful line of chest opening and how it lays perfectly on the manequin. The human body as a jewel. While this garment is most for drama than for wearing brings a beautiful concept to the table. Our bodies are pieces of creations art per se... just being a body having a body you are wearing the most beautiful jewels of creation.
A pic of one of the changing projections on the walls, in thi case we see an mature schiaparelli wearing a turban a jacket and chemisse. She is exhibiting one of her eye brooches and underneath the news press says: Schiaparelli stresses novelties for wintersports and southern resort wear. Beach custumes adopt tweed, ppigskin trimmings, tricot stocks and crochetet berets. Skiing suits worn with jumpers and constasting colors
Deep breath!
Disembodied fragments of anatomy bring a deeper psychological dimension to Roseberry's garments, accentuating and reversing form. internal organs appear to rise to the surface with a rhinestone encrusted brass necklace in the shape of lungs. #garment #SCHIAPARELLI
