23 August 2010
Beatrice Behlen, senior curator at the Museum of London, talks about early twentieth century revues and in particular one of their most famous performers -- Gertie Millar. Photographed here in costume for the 1915 Bric-à-Brac production, she stands (or reclines) in a variety of playful poses along with what is most likely her own dog. Bric-à-Brac was an extremely successful revue that opened at the Palace Theatre in London on 18th September 1915. Ms Millar's voice can be heard today through early gramophone recordings. Have a listen to the revue's most famous song, "Toy Town", here and have a look through the article to see more amusing images of Gertie in her stripped playsuit.
Click here or paste in this link.
http://blog.museumoflondon.org.uk/bric-a-brac
Above and below: Gertie Miller in costume for the musical comedy revue, Bric-à-Brac, 1915.
http://blog.museumoflondon.org.uk/bric-a-brac
23 September 2016 - 7 January 2017
Mentioned in an article linked in an earlier Books, Article, Memos post, this (unfortunately passed) exhibition looks at the lavish wardrobe of Countess Greffulhe -- the inspiration for the female protagonist in Marcel Proust's In Search of Lost Time. A patron of the arts and a setter of new trends in both fashion and forms of entertainment, the Countess was very much aware of her authoritative power. Through dress and photography she consciously influenced her public image in order to maintain her desirable persona. The text is an introduction and includes images of garments on display, a link to the official exhibition photographs as well as a video narrated by Valerie Steele -- do take a look.
Click here or paste in this link.
https://www.fitnyc.edu/museum/exhibitions/prousts-muse.php
Paul Nadar, Countess Greffulhe wearing the "Lily Dress" by Worth, 1896.
https://www.fitnyc.edu/museum/exhibitions/prousts-muse.php
The exhibition Proust's Muse, The Countess Greffulhe, The Museum at The Fashion Institute of Technology, New York.
https://www.flickr.com/photos/museumatfit/sets/72157674109185935
21 March 2018
Interested in horse riding apparel? Take a look at this 1920s ensemble, previously owned by wealthy socialite Gertrude Remey, now held in Cornell's Costume and Textile Collection. Why did her breeches feature lacing and buttons on the lower part of the leg and what hidden, practical use does the stock tie have? This short article addresses all this!
Click here or paste in this link.
http://blogs.cornell.edu/cornellcostume/2018/03/21/riding-apparel-then-and-now
3 October 2017
Susan Holloway Scott writes historical novels and is one of those unique authors who pay close attention to the clothing their characters wear. In this interview she reveals how she first got interested in fashion history, which books she recommends and why she believes fashion should also be considered a form of art.
Click here or paste in this link.
https://theartofdress.org/2017/10/03/fashion-history-talks-in-conversation-with-historical-novelist-susan-holloway-scott
16 January 2018
Unfortunately only for those who speak polish, this short introductory text talks about an exhibition at the Cinematography Museum in Łódź dedicated to the artistic achievements of production designer, Ewa Braun (no connection to the wife of Adolf Hitler), an immensely talented lady, who worked with some of the best film directors. She is probably best known for her Academy Award winning set designs in the 1993 film Schindler's List. It's such a shame that she was not given a second to express her gratitude for this undoubtedly monumental achievement.
Click here or paste in this link.
http://old.kinomuzeum.pl/ewa-braun-odtwarzanie-minionych-swiatow/
Allan Starski and Ewa Braun win the Academy Award for Best Art Direction (Starski) and Best Set Decoration (Braun) for Spielberg's Schindler's List, 1994.
Throughout history there have been many publications that experienced their "5 minutes of fame" and then disappeared among the crevices of tall bookshelves in old libraries, only to be found (often by chance) by the occasional print collector or magazine lover. These titles, though short-lived, were often ground-breaking for their time, ushering in new ways of formatting pages, presenting images, editing photos and featured innovative typography designs. They often represented a specific creative group or alternative art movement and served to promote the work of the artists and writers who created the publication in the first place. A few known examples could be Andy Warhol's Interview Magazine, Ver Sacrum from the early 1900s, Fleur Cowles' Flair Magazine, the Czech-language EVA publication, or even the German edition of early Vogue. But has anybody heard of VIZ?
I found out about the publication through a friend on instagram who was conducting research in a private collection. She posted a couple of photos online and it immediately caught my eye. I was lucky to find a listing of a complete run of the magazine on the internet auction site, Catawiki, otherwise it would not be possible for me to share the privately held images.
VIZ had a 15-issue run, from 1978 to 1981. It appeared in print following the downfall of DELUXE -- a publication that lasted for a mere two issues and established a style that inspired the likes of i-D. DELUXE was edited by Caroline Baker of NOVA, a British magazine known for its provocative subject matter, which ran for a decade from 1965. It is incredibly rare and difficult to find. VIZ blossomed within this environment of the punk-rock scene of the late 1970s establishing itself as a radical, confident publication.
DELUXE Magazine, issue 2 of 2, artwork by Allen Jones, 1978, sold on Catawiki.
Established by Ferry Zayadi, VIZ covered a plethora of topics, from music, art and fashion, to architecture, set and shop design. Nonetheless, the focus of the publication was always people and many issues feature interviews with fashion designers, such as Kansai Yamamoto, Zandra Rhodes or Claude Montana.
A short, slightly bored figure in his early forties, publisher and editor Ferry Zayadi draws nonstop the smoke from a chain of menthol cigarettes from his neat, pursed Cupid-lips. VIZ is basically just a superior brand of this peculiar breed of magazine. It is concerned, says Zayadi, with advertising, graphics, fashion, photography, architecture, the visual side of the music business, jewellery design, stage design -- all the visuals that make up our environment [...] Even so, Zayadi comes close to summing up the genre when he confesses, "in the end I think it's people that matter more than what they're doing." The Italian-born Zayadi, a self-confessed "magazine freak" who changed course from the profession of architect that brought him to England and used his graphics-steeped background to enter this rarified end of publishing, has about him a hard-nosed, perceptive professionalism.
- The Face Magazine, 1980
VIZ was printed in London and is the same size as a record sleeve, a stylistic choice that is symbolic of the strong influence of music on the contemporary artist.
All images of VIZ from a complete set, sold on Catawiki.
While in the past illustrated magazine covers were the status quo, today it is rare for a fashion publication to forego the medium of photography in the name of subjective forms of representing the human form. Yet that is exactly what Italian Vogue did when it commissioned seven artists to illustrate their January covers. And, considering the current rules of social distancing, this kind of creative outburst may well happen again much sooner than anticipated!
Title photo (left to right): Cover illustrations by Cassi Namoda, Milo Manara and Yoshitaka Amano, Vogue Italia Instagram.
Aside from being a welcome change to the typical way of doing things (and a way of reducing the costs and plane pollution associated with shooting on-location editorials), Italian Vogue’s illustrated covers bring to the attention seven artists. Some firmly established in their craft, others just beginning their careers in the art world. Women and men, young and old – the group is definitely worth taking a closer look at. Who knows, you may find their work fits perfectly in to your unique collection (and, if money is an issue, prints and posters are always an option).
Paolo Ventura (b. 1968)
Paolo Ventura is an established artist. Born in Milan, Italy, he began his career as a photographer working for many well-known fashion publications. A graduate of the Brera Academy of Fine Arts Ventura decided to put aside his job as a professional photographer and relocated to New York to pursue his artistic calling. In 2005 the artist produced his first collection of works titled “War Souvenirs.” Calling to mind the settings of paintings by Edward Hopper, Ventura’s series was favourably received despite its difficult subject matter. The artist is currently based in Tuscany, France, and continues to work on a variety of projects including opera set design.
Paolo Ventura, War Souvenir #4, 2005
Edward Hopper, Automat, 1927
Yoshitaka Amano (b. 1952)
Yoshitaka Amano is a Japanese artist who made his first steps in the industry designing and drawing characters for anime productions in the late 1960s. Later, he expanded his creative focus and began illustrating for works of fantasy and science fiction. Amano’s recent commissions are influenced by modern surrealism, with an attention to detail that is associated with early Japanese woodcuts and the movement of the Vienna Secession.
Cassi Namoda (b. 1988)
Currently residing in Los Angeles, Cassi Namoda was born in Maputo, Mozambique. She belongs to the young generation of artists reinterpreting the way African women are portrayed in art. Though Namoda’s painterly representations may at times seem to not subvert the long-standing art historical cannon, it is in fact the style she works in that makes her canvases meaningful and modern. Citing German Expressionism as a one of her main sources of inspiration, Namoda values the way the movement emphasizes an artist’s most intimate emotions.
Cassi Namoda (b. 1988)
Currently residing in Los Angeles, Cassi Namoda was born in Maputo, Mozambique. She belongs to the young generation of artists reinterpreting the way African women are portrayed in art. Though Namoda’s painterly representations may at times seem to not subvert the long-standing art historical cannon, it is in fact the style she works in that makes her canvases meaningful and modern. Citing German Expressionism as a one of her main sources of inspiration, Namoda values the way the movement emphasizes an artist’s most intimate emotions.
Cassi Namoda, Sasha and Zamani's Fruitful Earth, 2019
Delphine Desane (b. 1988)
Having worked for ten years as a fashion stylist, Delphine Desane began to paint during her maternity leave. She soon discovered a new passion and her career switched paths. Desane’s works are bold and clear, typically painted using acrylic paints. She touches on the notions of femininity and race, identity and heritage. Despite the challenging subject matter, Desane’s portraits exude a serene gallantry, which is not easy to pass by blindly. She’s a name to watch for sure.
Vanessa Beecroft (b. 1969)
Beecroft began her career in New York, in the 1990s. Today, she is one of the most famous performance artists of her generation and her work has been exhibited in leading art institutions. Beecroft is known for her still and silent, tableau vivant-like portrayals of female figures. Recently, however, she has branched out to collaborate with the likes of Kanye West, whom she helped present his Yeezy collection at New York Fashion Week.
Having worked for ten years as a fashion stylist, Delphine Desane began to paint during her maternity leave. She soon discovered a new passion and her career switched paths. Desane’s works are bold and clear, typically painted using acrylic paints. She touches on the notions of femininity and race, identity and heritage. Despite the challenging subject matter, Desane’s portraits exude a serene gallantry, which is not easy to pass by blindly. She’s a name to watch for sure.
Vanessa Beecroft (b. 1969)
Beecroft began her career in New York, in the 1990s. Today, she is one of the most famous performance artists of her generation and her work has been exhibited in leading art institutions. Beecroft is known for her still and silent, tableau vivant-like portrayals of female figures. Recently, however, she has branched out to collaborate with the likes of Kanye West, whom she helped present his Yeezy collection at New York Fashion Week.
Vanessa Beecroft, Installation view, 2017
David Salle (b. 1952)
Some critics argue that Salle’s work lacks coherence and that the images he combines are unrelated. Yet, this is what makes the artist’s works unique. Salle often begins with a photograph of a particular person, or an image representative of popular culture, onto this he layers paint and draws abstract shapes. What results is a concoction of colourful references, pulled together to create vibrant, eye-catching works.
Milo Manara (b. 1945)
“Milo Manara is an Italian comic book writer and artist. He’s one of the most important international erotic authors,” – reads the artist’s instagram header. With a following of over eighty three thousand on his account Manara is undoubtedly a veteran of his genre. Beginning his career in the late 1960s this multitalented artist has illustrated and co-created over 50 publications. While at times his drawing style calls to mind Mucha’s depictions of Sarah Bernhardt Manara’s motives are undoubtedly quite different.
Some critics argue that Salle’s work lacks coherence and that the images he combines are unrelated. Yet, this is what makes the artist’s works unique. Salle often begins with a photograph of a particular person, or an image representative of popular culture, onto this he layers paint and draws abstract shapes. What results is a concoction of colourful references, pulled together to create vibrant, eye-catching works.
Milo Manara (b. 1945)
“Milo Manara is an Italian comic book writer and artist. He’s one of the most important international erotic authors,” – reads the artist’s instagram header. With a following of over eighty three thousand on his account Manara is undoubtedly a veteran of his genre. Beginning his career in the late 1960s this multitalented artist has illustrated and co-created over 50 publications. While at times his drawing style calls to mind Mucha’s depictions of Sarah Bernhardt Manara’s motives are undoubtedly quite different.
Jodorowsky & Manara, Borgia III: Les flames du bûcher, 2008, p. 4
Follow all the mentioned artists on Instagram:
Paolo Ventura @Paolo.Ventura
Yoshitaka Amano @Yoshitaka_Amano
Cassi Namoda @Cas_Amandaa
Delphine Desane @DelphineDesane
Vanessa Beecroft @VBuntitled
David Salle @David_Salle
Milo Manara @MiloManara_official
Historical makeup is one of my biggest passions. As you will discover if you continue to read my blog, I love everyday objects and artefacts. Cosmetics, magazines, accessories -- all of it. It fascinates me how something as small as a cigarette case can "hold" a lifetime of stories and memories. Powder compacts are also one of those objects. You might think they exist in a more or less similar style today. However, I would like to show you just how remarkable they once were and maybe encourage you to continue your own research. This is just a brief taste of the history of powder compacts; there are many books and publications that approach the topic in a greater and more professional manner. I am just an amateur collector and lover of the subject -- so here we go!
Above: A 1950s Max Factor "Creme Puff" Powder advert, the powder is in production to this day.
https://powdercompacts.files.wordpress.com/2011/06/1950sadvertcremepuff.png
The history of powder compacts begins with the commercialisation of makeup in the late 19th century. In essence the compact is simply a container in which to store solutions that are not liquid. Anything from creams, pastes, gels and powders can be kept within it. One of the aspects that repeatedly draws my attention is the variety of shapes and forms that this seemingly mundane object has the potential to take on.
Below are examples of two powder compacts from the 1920s. The first is a finely ornamented silver-toned loose powder compact. It contains compartments for powder, rouge and even a small mirror. Its original feature is the finger ring at the end of an attached chain. This unique element combined with the detailed guilloche pattern and rose motif adorning the lid suggest that the compact was created with two roles in mind - to serve a functional purpose while also being a fashionable accessory. It calls to mind a Renaissance pomander, albeit without the diffusing scent, and exemplifies the unique practicality and innovation often seen in vintage accessories.
Below are examples of two powder compacts from the 1920s. The first is a finely ornamented silver-toned loose powder compact. It contains compartments for powder, rouge and even a small mirror. Its original feature is the finger ring at the end of an attached chain. This unique element combined with the detailed guilloche pattern and rose motif adorning the lid suggest that the compact was created with two roles in mind - to serve a functional purpose while also being a fashionable accessory. It calls to mind a Renaissance pomander, albeit without the diffusing scent, and exemplifies the unique practicality and innovation often seen in vintage accessories.
The second example is a late 1920s cardboard powder refill box. It would have been bought to refill an empty powder compact (perhaps something similar to the one described above), hence the less durable cardboard material. Nonetheless it has held up quite well! The illustration on the lid, probably hand-coloured, depicts a woman with a slightly Asian physique surrounded by a border of floral motifs. The name of the product, the Three Flowers Boudoir Compact Powder Refiller, is fitting to the portrayed scene. This "oriental" feel, a style in vogue in the early 1930s, was of course a Western appropriation of the culture. The product is by Richard Hudnut of New York, a company I have never heard of before, but which is described on the sellers Etsy website as follows:
Richard Hudnut began his career by making perfumes for his father's pharmacy in Brooklyn. He established his own pharmacy in New York City in 1892 and by 1900 his products were sold across the United States. One of his lines was Three Flowers and by 1930 Three Flowers powder, rouge, lipstick, face cream and even eyebrow pencils could be purchased.The attention to detail on this disposable object is exemplary and I would like to subsequently focus on the powder puff, held by the seated figure, in the illustration.
https://powerofonedesigns.zibbet.com/vintage-compact-dance-purse-guilloche-compact-1920s-powder-compact-purse-rouge-compact-finger-ring-compact-purse
https://www.etsy.com/uk/listing/507950651/vintage-cosmetic-packaging-three-flowers?ref=market
The powder puff, an object rarely used in the same way today, was de rigueur in the 1920s and 30s. The most luxurious of styles were made of swan or ostrich down. The video below shows the process of its manufacture. Much like the dual functionality of the finger-ring compact, this puff includes its own pouch, so it can be easily turned inside-out and stored safely in a lady's handbag. Today, the closest we have to this form of powder application is through the use of a typical make-up sponge, yet that cannot compete with the grande size and glamorous connotation of the original powder puff!
https://www.youtube.com/watch?v=_UFxjD9ZiMY
Film ID: 760.02
Let us now move forward a couple of decades to the 1950s. Below is an advertisment for Kigu powder compacts. The Hungarian-founded company, Kigu of London, became one of most well respected powder compact manufacturers in the world. Ultimately acquired by Laughton & Sons., it merged into its rival brand -- Stratton. At the height of its popularity, Kigu's product inventory contained extraordinarily unique and creative designs and catered to a variety of budgets.
Kigu's rival -- Stratton -- was a British brand of compacts which gained popularity through the introduction of the "convertible compact". Pictured below, convertible compacts could be used for both loose or pressed powder. In the photograph you can notice the thin, round, gauze-like shield. This was placed over the compartment, once it had been filled with loose powder, to act as a sieve. Alternatively, one could buy a solid refill (a bit like buying a single eyeshadow to put into your customisable eyeshadow palette) and place it within the compact to use without the sieve.
https://powdercompacts.files.wordpress.com/2011/06/1950s-kigu-compact-magazine-ad-james-walker.jpg
https://powdercompacts.files.wordpress.com/2011/10/imgp7542.jpg
http://www.bagthejewels.co.uk/ekmps/shops/bag_the_jewels/images/vintage-stratton-powder-compact-with-lipstick-holder-within.-rare-item-1950s-sold--[4]-1701-p.jpg
The compacts were often lavishly, or eccentrically, decorated and adapted. The square Stratton compact seen above, for example, features an additional lipstick holder. Below the Stratton is another example that resembles a telephone dial! "Annie", the name on its lid, actually belongs to the actress Ann Miller (the compact was auctioned by Julien's in their summer 2009 sale). It was not uncommon to have one's initials or name embossed onto personal objects. From cigarette cases, lighters, pens, stationary and small leather goods, people would often place their initials onto the personal items they owned. This practice attests to the longevity of these items and the intimate bonds they held with their owners. Perhaps this is why owning a vintage powder compact or personal hand-written letter is a privilege that cannot be felt when dealing with items from the disposable culture of today.
The final example of a 1950s powder compacts is another Stratton product. Here I wanted to show the frequently reoccurring idea of a series. This compact features an image of a photograph by British photographer, Baron. Known for photographing performances of the ballet, Baron's images are frequently featured as the magical and feminine embellishments atop powder compact lids. Collecting one's favourite editions now becomes a buyer's desire and this practice is seen to this day. Just take a look at how often MAC collaborates with artists and celebritites to launch new limited edition lines of makeup products.
http://www.julienslive.com/view-auctions/catalog/id/66/lot/24452/ANN-MILLER-PERSONALIZED-POWDER-COMPACT
http://www.antiquepeek.com/images/Compacts/Vintage_Stratton_Powder_Compact_Ballet_Dancers1%20-%20Copy.JPG
https://www.youtube.com/watch?v=NH35f0CrlvI
Film ID: 75.08
The video above portrays the production of pressed powder makeup in a London factory in 1958. You can see the awe expressed at the innovative pressing machine as well as at the peculiar method of mixing multiple colours to create a universally matching shade. It seems very close to the colour correcting powders and concealers often advertised today!
With the advent of the 1960s many industries experienced changes in approach, due mostly to the emergence of the teenager, an independent potential customer, who is no longer interested in the seriousness of pre-war style, nor bound by the financial restrictions of the depression. Experimentation with colour and formula begins and heavier materials such as brass and silver are replaced by the modern feel of plastic. The rusty, tarnished powder compacts belonging to a girl's grandmother are no longer a desired object of inheritance but an obsolete symbol of elitism, age and limited female potential.
https://powdercompacts.files.wordpress.com/2011/06/max-factor-advert-womans-realm.jpg
In the above 1960s Max Factor advert one can see the "modern" approach in use. It portrays a group of women (female camaraderie -- thumbs up!) wearing clothes of a more practical nature (unlike the ball gowns and red lips frequently seen in adverts from previous decades) and emphasizes their busy lifestyles.
The third video I chose to add to this post is a 1972 documentation of working class women in a cosmetics factory near Surrey, England. It depicts women from the lower echelons of society performing monotonous tasks of filling bottles and packaging products. A misogynistic interviewer circles around asking questions about the tasks they perform. An at times humorous piece, the video is ultimately a testament to the difficulty experienced by many working in the seemingly glamorous cosmetics industry.
https://www.youtube.com/watch?v=R2ID2-ojiig
Film ID: 3049.01
http://i.dailymail.co.uk/i/pix/2015/03/08/2674099700000578-2985469-image-a-8_1425854057029.jpg
Perhaps this is why there are constant attempts to bring back the glamour of earlier decades. Charlotte Tilbury, among many, has designed her products with a palpable connection to glamorous makeup of the past. Lancome has also released their new "Cushion Foundation" (above photo). The product is sold in a simple plastic white compact, which can then be refilled with a new foundation-soaked-cushion-refill, once the original one gets used up. Although the new versions may not be as beautifully decorated as a vintage Stratton they are at least a nod to compacts of the past. And I did notice that last Christmas Boots offered a personalised engraving service -- we might in fact be closer to repeating history than one might think!
Related websites (leave a comment if you have any other interesting suggestions):
The British Compact Collectors' Society http://www.compactcollectors.co.uk
Compact Mirrors & Powder Compacts by Jane Vanroe https://powdercompacts.wordpress.com
Compactstory - a blog all about powder compacts http://collectingvintagecompacts.blogspot.co.uk
The Summer before last I interned at one of the most recognisable specialist auction houses in London -- Kerry Taylor Auctions. Established in 2003, Kerry Taylor Auctions focuses on the sale of historical dress, vintage accessories and antique textiles. The female-led auction house is regularly frequented by private collectors and representatives of international museums looking to expand their costume collections. The auction house holds two types of sales multiple times each year: the more approachable in price and more wearable in style "Vintage Fashion, Antique Costume and Textiles" auction, and the bi-annual "Passion for Fashion" sale, which features the finest examples of 17th century dress, clothing from the wardrobes of British royalty, items worn by instantly recognisable names and much more.
One of my goals for this academic year is to reach out and talk to more people, especially those working within fields that I find particularly interesting. Completing a work placement or month-long internship is a great starting point, but unless you return to the people you met there and keep in touch, it will not be an experience that you can benefit from in the long-run. Talking to people who are undeniably far more knowledgable and experienced (and usually far more busy) is never easy, but I think it's important to try. As long as you're kind and genuinely interested it should be ok!
Since historical dress is the subject I would like my future career to revolve around -- granted I'm not yet sure in exactly what way -- I knew that getting back in touch with the auction house I interned in would be a very good next step. And considering that it is no longer a train journey away, now that I am studying and based in London, it also seemed like the logical thing to do.
So I came up with the idea to represent a Polish collector of vintage clothing at a Kerry Taylor Auctions sale.
Garments from this private collector's collection have been exhibited at the Central Museum of Textiles in Łódź, Poland and in numerous other cultural and art institutions around the country. Last summer I went to see an exhibition composed entirely of garments from his collection. A blog post about it with LOTS of pictures is still in the works. After seeing the exhibition I was intrigued to find out more about this undoubtedly very passionate collector, however, it was not until November that the idea of getting in touch with him occurred to me. I knew that Kerry Taylor Auctions was preparing for an upcoming sale and I decided to mention this. It seemed to me the perfect opportunity for the purchase of one-of-a-kind vintage couture to add to his collection and I proposed to help him select pieces to bid on, inspect them and then bid on his behalf on auction day. To my delight, when I presented my idea, he was intrigued and interested in the auction house as well as that particular sale itself, especially the section dedicated to royalty. Not that I was surprised, since there were some truly fantastic pieces -- black mourning bodices belonging to Queen Victoria, childhood dresses worn by Queen Elizabeth and Princess Margaret in the 1930s, letter correspondence between Princess Diana and British couturier Victor Edelstein and a stunning Elizabeth Emanuel gown worn by Diana during her 1986 visit to Bahrain which ultimately sold for £130,000 (not to mention the gown's corresponding design sketch which also sold for a record of £5,500 in the previous lot).
This was the first time I attended a live auction. It was an experience that I will not forget and hope to repeat in the near future. The fact that I had interned at Kerry Taylor Auctions and considering that it is a relatively small auction house compared to the likes of Sotheby's or Bonhams made the event all the more pleasant and intimate, though nonetheless exciting. On this occasion the lot I was bidding on quickly surpassed the upper limit I had agreed with my client. Nevertheless, the earlier condition report I gave him and the original suggestions I made taught me about how such collaborations work. I know I still have much to learn but taking the evening bus home from Bermondsey on that cold Monday evening after sitting for almost five hours through the auction of 252 lots left me feeling the happiest I had been in a long time -- tired, but happy. Here's to hoping that next time I lift my paddle up a bit higher!
Click here to view the final results of the 10th December 2018 auction I attended.
When I look at early 1950s fashion photography I notice a couple of things very clearly. Most obvious are the black and white tonality, the highly stylised set-up and the immediately distinguishable dress silhouette. But one additional aspect also rarely escapes my attention -- the refined and mannequin-like poses of the models photographed. A perfect example is visible in the photograph above by Irving Penn. The models do not interact; each is in her own world yet simultaneously fully aware of the photographer, holding her previously-planned pose for a few seconds longer. Look at the model in the centre, turned in profile towards the viewer. How could her intention be anything other than to look as noble and elegant as possible? It is the structured poses of the models, combined with the often restrictive clothing, that gave fashion photography of the early 50s an unattainable, idealistic feel, which served to showcase the perfectionist craftsmanship of haute couture.
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