01 mai 2008
"Dandysmes 1808-2008, de Barbey d'Aurevilly à Christian Dior" au Musée Christian Dior
Oscar Wilde
Le musée Christian Dior à Granville célèbre le dandysme avec une exposition, "Dandysmes 1808-2008, de Barbey d'Aurevilly à Christian Dior". Dès le 1er mai, les visiteurs pourront découvrir ce mouvement bicentenaire au travers d'objets, de vêtements et accessoires appartenants aux dandies au fil des siècles, d'Oscar Wilde à Honoré de Balzac, de Sacha Guitry à David Bowie. Un portrait de celui qui s'est fait le théoricien du dandysme, Barbey D'Aurevilly de 1881 provenant du Château de Versailles y est présenté. Autres découvertes : une des dernières chemises portée par l'écrivain Oscar Wilde, une malle de Sacha Guitry ou une canne en bois d'Honoré de Balzac. Julie De Los Rios www.vogue.fr
Du 1er mai au 21 septembre 2008 Musée Christian Dior, rue d'Estouteville 50400 Granville
29 avril 2008
"Resisting Color: Textiles Tied and Dyed" au Dallas Museum of Art
Coat (chapan) Uzbekistan Early 20th century, Silk and cotton; coat: warp-faced plain weave with warp ikat (silk); lining: cotton fabric. Overall L 51 in. x W (at sleeves) 56 3/4 in. (129.54 x 144.145 cm)Dallas Museum of Art, gift of Sally R. and William C. Estes
DALLAS, TX.- The Dallas Museum of Art presents an exhibition featuring international textiles ranging in date from the late 19th to the middle of the 20th century, half of which are recent additions to the DMA’s permanent collection and will be shown for the first time.
Resisting Color: Textiles Tied and Dyed, organized by Carol Robbins, The Ellen and Harry S. Parker III Curator of the Arts of the Americas and the Pacific, and on view beginning April 27 in the Museum’s Focus Gallery I, features 18 textiles. They are international in origin, representing Argentina, Chile, Ecuador, and Guatemala in the Americas; Côte d’Ivoire, Cameroon, and Algeria in Africa; and Indonesia (the islands of Bali, Sulawesi, Sumba, and Flores), Laos, China’s Hainan Island, and Uzbekistan in Island Southeast Asia and mainland Asia. Most of the textiles in the exhibition were originally used as ceremonial clothing, but several examples functioned on their own in ritual events.
The exhibition’s title, Resisting Color: Textiles Tied and Dyed, refers to the techniques by which the designs on these textiles were created. The patterning on each textile in the show resulted from a process that resisted the coloring agent or dye. For some, such as the Hausa man’s robe from Cameroon in West Africa and the Mapuche poncho from Southern Chile, the yarns were tied and dyed before they were put on the loom and woven (ikat). For others, including the Ranquel chief’s poncho from Argentina, woven cloth was tied before it was dyed (plangi). These two ponchos representing both the ikat and plangi techniques have never before been presented together in the United States.
Resisting color does not mean an absence of color. Even when the process is restricted to two colors—dark blue and white are common—the variation in the blue can be remarkably nuanced. Additional colors can be added by repeating the tying and dyeing process.
“The exhibition began as a way to showcase recent additions to the Museum’s textile collection and attest to the cultural diversity of the collection overall,” said Robbins. “However, it quickly transformed into a tribute to the dyers’ art, which is itself rich in aesthetic and cultural significance.”
Man’s robe, Cameroon : Hausa people, 20th century Cotton; warp-faced plain weave with warp stripes, warp ikat, and embroidery. L 50 x W107 in. (127 x 2 m 71.781 cm) Dallas Museum of Art, Textile Purchase Fund
27 avril 2008
"Fashioning Kimono: Art Deco and Modernism in Japan" au Philadelphia Museum of Art
Woman’s Kimono, 1920s–30s (late Taishō–early Shōwa periods). Machine-spun silk plain weave with stencil-printed warp and weft threads (meisen). 61.25 x 43.25 inches (155.5 x 110 cm). The Montgomery Collection, Lugano, Switzerland
PHILADELPHIA.- The Japanese kimono is celebrated worldwide for its elegant, distinctive silhouette. Though quintessentially Japanese, the kimono form has influenced fashion designers around the globe.
This exhibition features approximately 90 kimono created in the early to mid-twentieth centuries, one of the most dynamic periods in the history of Japan's national costume. It includes formal, semi-formal, and casual kimono, haori jackets, and under-kimono (juban) worn by men, women, and children. Some of these garments reflect historical continuity in designs and techniques, while many others illustrate a dramatic break with aspects of kimono tradition, as themes and designs from Western art began to predominate over historical Japanese references.
The exhibition begins by focusing on the early twentieth century, the final era of the "living" kimono, that is, when kimono still remained the dress of choice, worn daily by the majority of people in Japan; it continues through the 1940s, when Western clothes had replaced the kimono for everyday wear and the kimono assumed a largely formal and ceremonial meaning.
The outstanding garments in the exhibition, drawn from the internationally renowned Montgomery Collection of Lugano, Switzerland, have never before been exhibited in North America.
25 avril 2008
BABANI, circa 1920 - Robe d'intérieur en satin noir rebrodé de fils or, argent figurant un motif asiatique
BABANI, circa 1920 - Robe d'intérieur en satin noir rebrodé de fils or, argent figurant un motif asiatique
col châle, boutonnage pressions asymétrique, manches courtes, ceinture, intérieur doublé de crêpe vert. Griffe noire, graphisme blanc. Estimé : 700 / 800 €
Cornette de Saint Cyr Paris. Haute Couture. Vente du 25 avril 2008
Mariano FORTUNY, circa 1910 - Robe tunique en mousseline beige imprimée de frises Art Déco dans le goût afghan
Mariano FORTUNY, circa 1910 - Robe tunique en mousseline beige imprimée de frises Art Déco dans le goût afghan
encolure bateau, manches trois-quarts raglan chacune retenue par un petit bouillonné, finitions du bas des manches par un fil de soie et perles, ourlet à l'identique, cordelière de chaque côté de la robe finissant également par des perles (en l'état). Sans griffe. Estimé : 300 / 600 €
Cornette de Saint Cyr Paris. Haute Couture. Vente du 25 avril 2008
WORTH, haute couture, n illisible, circa 1935 - Manteau en crêpe noir
WORTH, haute couture, n illisible, circa 1935 - Manteau en crêpe noir
encolure ronde, sans boutonnage, manches larges agrémentées de rubans à la couleur à finition laches. Griffe beige, graphisme or. Estimé : 300 / 400 €
Cornette de Saint Cyr Paris. Haute Couture. Vente du 25 avril 2008
24 avril 2008
BALENCIAGA, haute couture, circa 1960 - Manteau du soir long en soie brochée or sur fond jaune à motif persan
BALENCIAGA, haute couture, circa 1960 - Manteau du soir long en soie brochée or sur fond jaune à motif persan
petit col décollé, cranté, boutonnage à deux boutons bijoux, effet de taille haute par une découpe arrondie se prolongeant au dos dans laquelle sont les poches, manches 3/4. Sans griffe. Estimé : 500 / 600 €
Cornette de Saint Cyr Paris. Haute Couture. Vente du 25 avril 2008
BALENCIAGA, haute couture, n 69607, circa 1958 - Robe de cocktail en dentelle rouge
BALENCIAGA, haute couture, n 69607, circa 1958 - Robe de cocktail en dentelle rouge
haut à décolleté bateau, petites manches, jupe légèrement tonneau par des fronces (trou). Griffe blanche, graphisme noir. Estimé : 500 / 700 €
Cornette de Saint Cyr Paris. Haute Couture. Vente du 25 avril 2008
BALENCIAGA, haute couture, n 82552, circa 1960 - Robe du soir longue
BALENCIAGA, haute couture, n 82552, circa 1960 - Robe du soir longue
haut à encolure bateau sur dos nu rebrodé de paillettes gris argent réhaussé de pampilles, sans manches, jupe en taffetas bleu ciel à taille froncée de forme ample (taches). Griffe blanche, graphisme noir. Estimé : 600 / 800 €
Cornette de Saint Cyr Paris. Haute Couture. Vente du 25 avril 2008
BALENCIAGA, haute couture, n 86897, circa 1960 - Manteau du soir transformé en robe d'hôtesse en broché rose, or
BALENCIAGA, haute couture, n 86897, circa 1960 - Manteau du soir transformé en robe d'hôtesse en broché rose, or
à motif floral et de boteh sur gazar buvard, encolure ronde, manches trois-quarts, deux poches en biais (trou, longueur non d'origine). Griffe blanche, graphisme noir. Estimé : 600 / 800 €
Cornette de Saint Cyr Paris. Haute Couture. Vente du 25 avril 2008