Nothing lasts forever in this world,
Where one season changes into another.
Where one season changes into another.
Murasaki The Tale of Genji,
photograph by Richard Avedon
Life Support for Japan Auction at Elizabeth Avedon here
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Showing posts with label Avedon. Show all posts
Showing posts with label Avedon. Show all posts
VL CL YSL liVing art
.
by now this Lalanne torso has appeared somewhere in your sphere.
Yves Saint Laurent shocked, certainly a bit, when these sculptures serenely floated down the runway on his models in 1969.
Why?
It was the times-by then every Body part had been declared an erogenous zone-
Sex was IN-Rather it was OUT- everywhere.
Nothing could be bare without suggesting SEX
Oddly enough- Breasts have been with us-since well-pick a story, Creation-Eve, Evolution- Ape, and right down the line to the navel. Jan Massys Models for his paintings in the 1550' before-and -after of Flora, Judith, Venus and others would have been perfect for Lalanne to work from.
& who did sculptor Claude Lalanne look to for his Muse?
Irving Penn's photographs of the Claude Lalanne jewelry sculpture appeared in the December 1969 Vogue. The waxed moulds were cast in copper and then dipped in vermeil.
Veruschka was an Artist even when she was modeling in the 1960's-and Muse-pushing the envelope with photographers in her fashion shoots. Richard Avedon called her the most beautiful woman in the world. She began photographing and chronicling her own persona during this period and completed a series of 45 photographs in 1992 that can be seen here.
In the 1960s, there suddenly appeared on the scene a fashion model and actress of extravagant and exotic beauty known to the world as "Veruschka." She remained an enigma, even when she starred in Antonioni’s classic film Blow-Up. As we now discover, Veruschka was, and is Vera Lehndorff, who, twenty years later, emerges as an artist of extraordinary power and originality. The manikin she created of herself is an abstraction inspired by Egyptian art (from Ralph Pucci International)
see VERUSCHKA'S enigmatic self portraits HERE
by now this Lalanne torso has appeared somewhere in your sphere.
Yves Saint Laurent shocked, certainly a bit, when these sculptures serenely floated down the runway on his models in 1969.
Why?
It was the times-by then every Body part had been declared an erogenous zone-
Sex was IN-Rather it was OUT- everywhere.
Nothing could be bare without suggesting SEX
Oddly enough- Breasts have been with us-since well-pick a story, Creation-Eve, Evolution- Ape, and right down the line to the navel. Jan Massys Models for his paintings in the 1550' before-and -after of Flora, Judith, Venus and others would have been perfect for Lalanne to work from.
& who did sculptor Claude Lalanne look to for his Muse?
VERUSCHKA
Irving Penn's photographs of the Claude Lalanne jewelry sculpture appeared in the December 1969 Vogue. The waxed moulds were cast in copper and then dipped in vermeil.
Veruschka was an Artist even when she was modeling in the 1960's-and Muse-pushing the envelope with photographers in her fashion shoots. Richard Avedon called her the most beautiful woman in the world. She began photographing and chronicling her own persona during this period and completed a series of 45 photographs in 1992 that can be seen here.
In the 1960s, there suddenly appeared on the scene a fashion model and actress of extravagant and exotic beauty known to the world as "Veruschka." She remained an enigma, even when she starred in Antonioni’s classic film Blow-Up. As we now discover, Veruschka was, and is Vera Lehndorff, who, twenty years later, emerges as an artist of extraordinary power and originality. The manikin she created of herself is an abstraction inspired by Egyptian art (from Ralph Pucci International)
Mannequin
by Vera Lehndorff
from Ralph Pucci here
see VERUSCHKA'S enigmatic self portraits HERE
she wore Fortuny
.
La robe de Fortuny que portaitce soir~la Albertine me semblait comme l'ombre tentatrice de cette invisible Venise. Elle etait envahie d'ornementation arabe. Marcel Proust, 1923, La Prisonniere
Gloria Vanderbilt and Fortuny, photographed by Richard Avedon for VOGUE 1969. In the article Vanderbilt recalls her first glimpses of the innovative gowns made with a revolutionary patented process by Fortuny :
"I recalled first seeing the gowns at Miss McNeill's Madison Avenue shop before they stopped making them...There was a whole wall of floor to ceiling drawers each filled with different coloured dresses... each its own rainbow of shades from the deepest to the palest tones, of red, or green, or blue, or violet... It was beautiful...Just absolutely beautiful... And since you never hang them up they just lay there, tenderly tucked away in loose curls and twists like little embryonic fishes."
Vanderbilt wore the jewelry designer- Rita Delisi's artful body ornament creations with her Fortuny gowns. " It was Fortuny's idea that woman is always something more than woman.. a flower... an urn... a statue."- GV The Delisi pieces seem to enhance that idea.
&
Now-
get yours.
FORTUNY PEPLOS GOWN, c. 1920. Pink crinkled silk with attached short sleeve tunic, the bottom curving toward open side seams trimmed in silk cord and joined at intervals with blue Murano glass beads, matching trim on sleeves and tunic bottom, separate pink silk sash with metallic stenciled design. Sash and seam tape stamped "Fortuny Dep". Length 57, sash 2 5/8 x 45. (Silk drawstring frayed) otherwise excellent. $5,000-6,000. (HERE)
TRAINED FORTUNY DELPHOS GOWN with ORIGINAL BOX, c. 1920. Pale orange silk having draw- string neckline, side seams decorated with brown striped yellow beads, stenciled bodice bands (detached), tape label "Fortuny Depose Made in Italy", drum shaped box with Madison Avenue boutique label on lid, Fortuny store label with customer name and address on bottom. Bust 38, front length 55, back length 63. (Small spot on front, draw- string frayed, stitch marks from bands) good. $4,000-5,000.(HERE)
alas, likely it will be this- THE WORLD OF GLORIA VANDERBILT by Wendy Goodman.
but it's really quite alright- she has long been seen and admired here. As Town and Country writes-and rightly so-'There will never be another Gloria Vanderbilt.'
a great piece in T&C's November issue is devoted to photographs of Vanderbilt by Richard Avedon-who introduced her to third husband Sidney Lumet. Photographers Horst, Gianni Penati -a favorite GV photo of mine- and Toni Frissell's work are featured as well.
the long overdue book by Goodman provides intimate access to Vanderbilt archives- photographs, portraits, personal collections and her extraordinary homes and Anderson Cooper- Vanderbilt's son, writes the foreword.
get it-
if you can't get your Fortuny.
see my own Fortuny here
images from VOGUE Nov 1969, FORTUNY, Deschodt and Poli
and Whitaker Auctions
.
La robe de Fortuny que portaitce soir~la Albertine me semblait comme l'ombre tentatrice de cette invisible Venise. Elle etait envahie d'ornementation arabe. Marcel Proust, 1923, La Prisonniere
Gloria Vanderbilt and Fortuny, photographed by Richard Avedon for VOGUE 1969. In the article Vanderbilt recalls her first glimpses of the innovative gowns made with a revolutionary patented process by Fortuny :
"I recalled first seeing the gowns at Miss McNeill's Madison Avenue shop before they stopped making them...There was a whole wall of floor to ceiling drawers each filled with different coloured dresses... each its own rainbow of shades from the deepest to the palest tones, of red, or green, or blue, or violet... It was beautiful...Just absolutely beautiful... And since you never hang them up they just lay there, tenderly tucked away in loose curls and twists like little embryonic fishes."
"Each dress has an exclusivity, a nicety of details that is at the heart of its desirability, and the unique texture of the fabrics gives each one a remarkable simplicity and,at the same time, an extraordinary luxuriousness." -GV
Vanderbilt wore the jewelry designer- Rita Delisi's artful body ornament creations with her Fortuny gowns. " It was Fortuny's idea that woman is always something more than woman.. a flower... an urn... a statue."- GV The Delisi pieces seem to enhance that idea.
of all the outdoor and indoor gowns that Mme. de Guermantes, wore, those which seemed to respond to a definite intention, to be endowed with a special significance, were the garments made by Fortuny form old Venetian models. Is it their historical charterer, is it rather the fact that each one of them is unique that gives them so special significance that the pose of the woman who is wearing one while she waits for you to appear or while she talks to you assumes an exceptional importance as though the costume had been the fruit of a long deliberation... Proust
the Louvre's Nefertiti & below the Charioteer of Delphi- both inspiration for Fortuny.
Lillian Gish-1920 at left , Natasha Rambova,1924, (r)
the incredible TINA CHOW in Fortuny
Lauren Bacall in Fortuny, 1976
Isadora Duncan & her daughter in Delphos gowns,at left,Mme.Conde Nast, 1909, (r)
Natalia Vodianova in her Fortuny gowns
&
Now-
get yours.
FORTUNY PEPLOS GOWN, c. 1920. Pink crinkled silk with attached short sleeve tunic, the bottom curving toward open side seams trimmed in silk cord and joined at intervals with blue Murano glass beads, matching trim on sleeves and tunic bottom, separate pink silk sash with metallic stenciled design. Sash and seam tape stamped "Fortuny Dep". Length 57, sash 2 5/8 x 45. (Silk drawstring frayed) otherwise excellent. $5,000-6,000. (HERE)
TRAINED FORTUNY DELPHOS GOWN with ORIGINAL BOX, c. 1920. Pale orange silk having draw- string neckline, side seams decorated with brown striped yellow beads, stenciled bodice bands (detached), tape label "Fortuny Depose Made in Italy", drum shaped box with Madison Avenue boutique label on lid, Fortuny store label with customer name and address on bottom. Bust 38, front length 55, back length 63. (Small spot on front, draw- string frayed, stitch marks from bands) good. $4,000-5,000.(HERE)
alas, likely it will be this- THE WORLD OF GLORIA VANDERBILT by Wendy Goodman.
but it's really quite alright- she has long been seen and admired here. As Town and Country writes-and rightly so-'There will never be another Gloria Vanderbilt.'
a great piece in T&C's November issue is devoted to photographs of Vanderbilt by Richard Avedon-who introduced her to third husband Sidney Lumet. Photographers Horst, Gianni Penati -a favorite GV photo of mine- and Toni Frissell's work are featured as well.
the long overdue book by Goodman provides intimate access to Vanderbilt archives- photographs, portraits, personal collections and her extraordinary homes and Anderson Cooper- Vanderbilt's son, writes the foreword.
get it-
if you can't get your Fortuny.
see my own Fortuny here
images from VOGUE Nov 1969, FORTUNY, Deschodt and Poli
and Whitaker Auctions
.
DV: RE on Maudie
.
to MRS. MELLEN from MRS. VREELAND
copy to date September 23, 1970
to MRS. MELLEN from MRS. VREELAND
copy to date September 23, 1970
I got Dick's enthusiastic note about Maudie James.
We have photographed her several times
for covers from London.She has no eyes
at all in a picture but a beautiful mouth.
However, why doesn't Dick use her a bit before
he uses her for us as perhaps by adding something
else to her we can do something for the eyes.
She is one of the few English girls who has no eyes at all.
UK cover of Maudie James with eyes and brows. See other covers here on Vogue Archives.
don't you just love Diana Vreeland, I never tire of reading her memos.
.
don't you just love Diana Vreeland, I never tire of reading her memos.
.
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