Inspiring Fashion since over 50 years: Alfred Hitchcock`s Blondes

Left: Tippi Hedren in 'The Birds' (1963), right: Alexander McQueen F/W 2005





Left: Tippid Hedren in 'The Birds' (1963), right: Jean Paul Gaultier F/W 2011





Left: Tippi Hedren promotional photo for 'The Birds' (1963), right: Dolce & Gabbana S/S 2009





Left: Tippi Hedren in 'The Birds' (1963), right: Alexander McQueen F/W 2005





Left: Grace Kelly in 'Rear Window' (1954), right: Alexander McQueen F/W 2005





Left: Grace Kelly in 'Rear Window' (1954), right: Alexander McQueen F/W 2005





Left: Grace Kelly and "her" bag, right: Hermes Kelly Bag (launched in 1935 as 'Sac à dépêches', renamed to 'Kelly bag' after 1956)





Left: Kim Novak, right: Alexander McQueen F/W 2005





Left: Kim Novak, right: Alexander McQueen F/W 2005





Left: Kim Novak in 'Vertigo' (1958), right: Jil Sander F/W 2011





Left: Kim Novak, right: Alexander McQueen Novak Bag (launched in F/W 2005)



Pictures sources: 1 2 3 4 5 6 7 8 9 10, Runway pictures: style.com



Who is your favourite Hitchcock blonde?

Retrospective: Christian Dior Haute Couture S/S 2009 by John Galliano and it`s inspiration, the Flemish Painters

The distinctive Flemish style emerged in the early 15th century based on manuscript illumination and the work of early Christian artists of the Carolingian period. Artists of the era embraced the church and their art was strongly influenced by Christian parables, stories and Biblical sermons.

Flemish painting is characterized by extraordinary subtlety, attention to detail, vivid colours, and inspired technique. The medium oil painting on panel was invented by Flemish master Jan van Eyck. He is credited with developing illusionist effects, and luminosity with the newly invented oil glazes. This new medium allowed the smooth blending of colors, the use of transparent glazes, and ability to go back in and change the same section over and over again.



John Galliano revived the elements of the Flemish Painter`s style and the fashion of their time into his spring/summer 2009 Haute Couture for Christian Dior. Here is a retrospective look at this wonderful collection, it`s details and the original paintings that inspired it.







Madonna`s were typically depicted in red dresses so queens adopted the colour to add the association of holiness and nobility to their -already royal- image. Galliano perfectly immitates the shape of Queen Elisabeth`s dress.





Left: 'The Lucca Madonna', Jan Van Eyck 1436, right: Queen Elisabeth I, Steven Van der Meulen 1563



The decorative flower bordure of the runway dress derives from the typical Flemish flower still life.





'Vase with Flowers', Jan Brueghel the Elder 1609-1615







The strong yellow colour can also be found in Pieter Bruegel`s 'Procession to Calvary' and the collar- and sleeve ruffles are a perfect re-work of the time`s typical Ruff Collar.





Left: 'The Procession to Calvary' (detail), Pieter Bruegel the Elder 1564, right: 'Portrait of a Flemish Lady', Anthony Van Dyck 1618







The inside of the dress is decorated with the famous Delft porcelain print, which is still around in the Netherlands and Belgium today.





Antique Delft Porcelain







Here Galliano combines still life flower details with a precise re-work of the drapery of Saint Barbara`s dress.





Left: 'Bouquet', Jan Brueghel the Elder 1606, right: 'Saint Barbara', Jan Van Eyck 1437







The Dior dresses satin almost has the same colour and texture as the dress of the Marchesa (you can see it in the falling of the light).





Marchesa Brigida Spinola Doria, Peter Paul Rubens 1606







Royal-blue flower print only embroidered on the upper part of the dress and the absence of jewellery or accessories create a tasteful, noble simplicity and stays true to the look of the original Delft template.





Delft Ceramic Design







The distinctive 15th century black & white and white lace V-neck collar receive a "french glamour update" through the pearl choker.





Left: 'A young lady', Petrus Christus ca. 1470, right: Wife of Tommaso Portinari (part of diptychon), Hans Memling ca. 1470







The runway-hairstyle`s inspiration shows in both paintings below. The pointed V-shape and the downward flower print can be found on the right side of the right painting.





Left: 'Virgin and child with Saints and Donor' (detail), Jan Van Eyck 1441, right: 'Maria Baroncelli with daugthers', Hugo van der Goes 1476-1478







The runway feather-hat is an interpretation of the hat in the Rubens portrait below and, of course, worn edgewise as the past`s fashion requires it.





Portrait of Susanna Lunden, Peter Paul Rubens ca. 1622-5



Sources: 1 , Picture sources: 1 2 3



John Galliano captured the look, the colours in particular, brilliantly and paid great attention to detail like the brocade seams or blue flowers.

I love how Galliano picked up inspiration from this particular school of painting and think it`s legitimate how precise he went into detail. It is as if the artists would communicate with each other through time in their art and in this case it is particularly interesting and creative because different forms of art (fashion and tailoring meet painting) are enriching each other.



I find this kind of "revival" or inspiration of old masterpieces / styles much more stimulating than most designer`s attempts of "originality". Instead of "trying to invent the world in a new way over and over again" designers may also focus on perfectioning the masterpieces of the past, which also ensures the preservation of our unique culture in a globalized world ruled by capitalism, that tries to make us all the same, to lure all of us into desiring and therefore consuming the same things.

Cultural identity and religion is what is within us, it is the essence that makes us who we are. Please fashion, stay true to that!



How do you like Galliano`s interpretation of the Flemish Painters?

Would you like to see more fashion that is obviously inspired by art, religion and history?

'The 18th Century Back In Fashion' Exhibition in Versailles

The Palace of Versailles and the Musée Galliera present an exhibition dedicated to the influence of the 18th Century on modern fashion. From haute couture to ready-to-wear, fifty looks all reflecting 18th Century dress are exhibited, each created by a great designer from the 20th century. The collection was drawn from the archives of couture houses and from the Galliera’s own private collections.



French culture of the 18th century was embodied by Madame de Pompadour and influenced all the European Courts of the time. Madame Du Barry and even more so Marie-Antoinette were also paragons of this frivolity that has continued to fascinate and influence cinema, literature and fashion throughout the ages.



During the nineties renowned designer Vivienne Westwood, known for her provocative designs and punk creations, produced a stunning col­lection inspired by the eighteenth century. Boucher paintings printed onto corsets and ample pannier dresses decorated with mischievous cherubs were all part of her Autumn-Winter 1990/1991 collection, Portrait. Through Vivienne Westwood, the Age of Enlightenment became a huge influence on fashion at the time. A fervent advocate of the art of tailoring, the British designer continued using ribbons instead of safety pins and masterfully assembled her subversive historical models. Vivienne Westwood had set the trend for the future, with Karl Lagerfeld at Chanel and Christian Lacroix all following suit.



The following pieces are exhibited;





Left: Balenciaga - Ready-to-wear dress, Spring/Summer 2006. Flesh-coloured satin organza, embroidered medallion, undergarments in ecru lace.

Right: Yves Saint Laurent - Haute couture, Autumn/Winter 1995/1996. Black velvet evening dress.





Christian Dior - Left : Haute couture, Autumn/Winter 2004/2005. Red moire and velours dress decorated with blue and white embroidery.

Right : Haute couture, Autumn/Winter 2007/2008. Pink shot silk taffeta dress, veiled with candy pink tulle. “Doutzen Kroes” dress inspired by Fragonard.





Jean Paul Gaultier - Left : Collection: “Les Marquis touaregs” Haute couture, Spring/Summer 1998. Leather jacket with faded organza leaves. Leather trousers.

Right : Collection; “Les Marquis touaregs” Haute couture, Spring/Summer 1998. Hooped jacket with lamé, tulle, frills, ruches, bows.





Thierry Mugler - Left : Haute couture, Autumn/Winter 1997/1998. Black loop stitch wool military greatcoat trimmed with fake Mongolian monkey fur over pink and black shot tulle “Constellation” dress.

Droite : Ready-to-wear, Autumn/Winter 1992/1993. “Infante” ball dress. Black barathea and pleated tulle.





Vivienne Westwood - Left : Ready-to-wear evening dress, Autumn/Winter 1995/96. Pink and pale blue duchesse satin. Model inspired by the portrait of Madame de Pompadour by Boucher. Collection: “Vive la Cocotte”.

Right : Ready-to-wear evening dress, Spring/Summer 1996. Duchesse satin with black, blue, pink and yellow print, trimmed with lace, silk tulle apron. Collection “Les Femmes”.





Yohji Yamamoto - Left : Ready-to-wear, Spring/Summer 2011. Waistcoat, shirt, breeches.

Right : Ready-to-wear, Spring/Summer 2011. Black and blue outfit: shirt, jacket, breeches.



The exhibition can be seen from July 8th to October 9th 2011 at Grand Trianon, Versailles, France.

Sources: Vivienne Westwood Press & Chateau Versailles

Retrospective & History of Thierry Mugler (1970s - 1990s)

1979



Thierry Mugler was born on 21 December 1948 in Strasbourg, France. He is a French author, fashion designer, photographer.

He made his first outfit for a girl friend at the age of 14. He joined a ballet company, the Opera du Rhin, as a dancer. Then he moved to Paris at 19 and studied at the Ecole Arts Decoratifs, which developed his knowledge of design. In 1968 he started working as a window dresser in a Parisian store "Gudule", while simultaneously freelancing for couturiers in Paris, Milan and London.





Ad 1986



He showed his first collection for women called "Café de Paris". Azzedine Alaia joined him and helped to design his creations, until the late 70's. In 1972 the design firm "Moonlighting" employed him as a designer for their Italian ready-to-wear. In 1973 Mugler started designing under his own label in partnership with Alain Cardeuc. In 1976 Mugler showed a collection of Atric gold gathered boots. The "Punk" look was in, so Mugler applied this street look to his collection for 1977.





George Michael`s iconic "Too funky" Video 1992



In 1979 he launched his line for men. During the 80's, Thierry Mugler was part of a trend. Along with Montana and Alaia, Mugler depicted women as wicked Hollywood murderers, bondage retailers of illicit sex, or Mae West clones.

In 1984 Mugler celebrates 10 years of the existence of his house by organizing a "Super Paying Show". This was a resounding success, 6,000 people assisted in the celebrations.

Furthermore he presented his first haute couture collection at the Hotel Ritz in July 1992.





Editorial in Elle 1995



In 1994 he launched his "scratched" line with uneven hemlines and necklines. Thierry Mugler is one of the few French designers to own their own factory, where dresses are made from prototypes perfected in the workshops. A good many of his designs are made to order, for the celebrities who make up his clientele list.





Haute Couture S/S 1997



In 1995/96 there was the acceleration of exclusive boutique openings worldwide and a third Parisian boutique at 45, Rue du Bac, 75007 Paris, France. This is the first shop to congregate all lines and accessories designed by Thierry Mugler under the same roof.

In 1998, he was the first designer to create a virtual fashion show on the internet.





1998



Runway Highlights





F/W 1984/85



His style is instantly recognizable: structured elegance, accentuated shoulders. Mugler went on from this point to create a very identifiable style. He designed a new feminine silhouette where shapes and curves are accentuated by the strictness of the cut. "The prophet of Futurism", as he has been referred to, Thierry Mugler is an instinctive designer who never looks for inspiration.





F/W 1984/85



According to Thierry Mugler, "intellect is the servant of the spirit." He strongly feels that his clothing is modernistic and not futuristic. Clothes of today should have nothing to do with the past. They should create elegance with simple form and structure and add defined shape to the body, volume, form and simplicity. When one has found a method of self-expression, one evolves with it. His clothing attracts a woman of strength and élan.





F/W 1995/96



Mugler usually designs 2-piece outfits with a jacket feature, full sleeves, masculine cuts, emphasizing the waist and hips to create a perfect body. He often uses solid colours as a sculptor would.





F/W 1995/96



He often uses pointed angles on collars, hems, sleeves, waist and hips. He does use a lot of prints but at times uses patches of leather and few accessories and headgear.





Haute Couture S/S 1997



His favourite fabrics are Jersey, vinyl, Lycra, Gingham and Leather.





S/S 1997 / F/W 1997/98

Sources: 1 2



What is your favourite aspect of Thierry Mugler`s design? Would you like to see more Futurism and Fantasy in fashion again?