Fashion plates everywhere are already donning the style, with muted, semi-translucent hues dominating their pairs.
|
|
Fashion plates even shaded in the space between the shoulder blades to give them a desirably bony look.
|
|
It followed the trends of Louis XIV with some fashion plates and text; already there was an elongated ideal image.
|
|
What was remarkable about his photos is that they were not mere hagiographic portraits of society figures and fashion plates.
|
|
FASHION PLATES I take a quick shower and throw on jeans, motorcycle boots, some sort of sweater and a large scarf.
|
|
As excited as fashion plates are to see more of their favorite models du jour, viewers should expect plenty of life lessons from momager Yolanda, too.
|
|
Such contemporary fashion plates as Penélope Cruz, Jennifer Lopez, Kim Kardashian and the singers Beyoncé and Adele have appeared beneath the carefully constructed descendants of Ms. Heldt's original invention.
|
|
The V&A Fashion Gallery currently features more than 200 examples of undergarments designed for men and women, including advertising material, fashion plates, photographs, and films, all bringing new insights to our intimates.
|
|
Understanding the boost to their careers that could come from clothes, fashion plates such as Anna Kournikova used style to keep their names in lights even when their strokes were not nearly as winning.
|
|
Google is also going to make some modules, though all we know of for sure right now is that it'll be making some "fashion" plates that simply customize the look and feel of your phone.
|
|
From Creative Growth Art Center in Oakland, California, watercolor-and-ink portraits by Latefa Noorzai, who was born in Afghanistan in 22006, are charming and forthright in their boldly colored images of bearded faces or stippled-paint fashion plates.
|
|
DecadesWhen a starlet is in the market for a show-stopping red carpet moment, she heads to this trove of designer vintage, which gets its supply from both museum-level designer auctions and the closets of some of the world's wealthiest fashion plates.
|
|
In the subsequent pages of her slim book, illustrated with fashion plates and examples of corsets and dresses that emphasized emaciated collar bones and encouraged a stooped posture, Day explores the evolution of the scientific understanding of tuberculosis, along with its influence on beauty.
|
|
And while the Olsen sisters may not have the excuse of NYFW to explain their bundled up outfits on one of the hottest days of the year, being the consummate fashion plates that they are, their off-weather dressing also isn't all that surprising.
|
|
In 20133, he executive-produced the splashy N.B.A. All-Star All-Style fashion show during All-Star weekend that featured six-foot-something fashion plates like DeMarcus Cousins, Klay Thompson and James Harden treading the runway in designer duds for a TNT television audience.
|
|
Once upon a time, great fashion plates — Nan Kempner, Jacqueline de Ribes — collected clothes the way they collected jewelry and porcelain and then left them to a museum like the Met's Costume Institute or the Palais Galliera in Paris, understanding that they would become cultural relics.
|
|
Trace the penetration of the blazing, boring sun, the patterning on every architectural surface, the varied clothing, and privileged interior view to the Matisse of the Nice pictures, who appears intent upon de-mythologizing Delacroix's tableau over and over, dismantling its mechanisms with a changing cast of curvy and blatantly erotic nudes, along with partially covered models and prim, fully dressed fashion plates, posing among fabrics, shawls, drapes, and costumes covered in Moroccan patterns, stripes of all kinds and on and on, as well as a host of secondary props that includes flowers, brass trays, birdcages, and various bric-a-brac.
|
|
Fashion plate, Godey's Lady's Book, January 1837 By the 1830s, U.S. magazines began to include their own fashion plates, although these were often derived from imported French originals. The most popular magazines of the antebellum period, including Godey's Lady's Book and its competitors, particularly Graham's Magazine and Peterson's Magazine, boasted about the quality of their fashion plates. Publisher Louis Antoine Godey claimed in January 1857 that his fashion plates - hand-colored by a corps of 150 women colorists - "surpass all others." Godey also made sure his readers were aware of the considerable cost of his fashion plates, and indeed, some readers removed them from the magazine and displayed them as art.
|
|
Dolls were also popular prior to fashion plates. In fact, Marie Antoinette's dressmaker, Rose Bertin, was known to tour the continent every year with berlines containing dolls outfitted with the latest fashionable styles. Fashion plates were first circulated at the end of the 18th century in England, rather than in France, as would be expected. "The Lady's Magazine", one of the first distributors of fashion plates in magazines, began publishing in 1770, spreading the trend across Europe.
|
|
Dressmakers would show the fashion-plates to their customers, so that customers could catch up to the latest styles.
|
|
Prior to the French Revolution, fashion plates were few and far between. This method of disseminating fashionable styles was mostly popular during the 19th and early 20th centuries. Their origins, however, date back to the 16th century, even if the history may not be continuous. Portraits, especially royal portraits, served as the base for the future of fashion plates, as they offered a visual cue as to the popular styles, fabrics and embellishments of the time.
|
|
The figures being depicted in fashion plates were often very stiff and placed in positions that displayed the fashions best. One of the downsides to fashion plates are that they did not show three- dimensional perspectives. Anaïs ended up having a slightly more successful career than her sister Héloïse due to the fact she lived longer and had a larger collection of work. Museums like The Metropolitan Museum of Art carry a collection of her prints while others are still around for sale.
|
|
A more accurate way to use fashion plates for study is to treat them like a modern high-end fashion magazine or designer's shop window with only a few people wearing such luxury items.
|
|
She created "one of the most comprehensive collections of quilts, costumes, and fashion plates ever assembled and donated to public institutions." Her collection was eventually divided among a number of Iowa institutions, donated for use in research and teaching as well as exhibition.
|
|
Henrietta Marchant Liston. A straw hat closely resembling the chapeau à-la-Pamela as depicted in fashion plates. By Gilbert Stuart, 1800. In 1793, the French actress Mademoiselle Lange, appeared in a stage adaptation of Pamela; or, Virtue Rewarded, written by François de Neufchâteau.
|
|
She was known as one of the most daring fashion plates of the 20th century, arguably the most important patron of the surrealist couturier Elsa Schiaparelli. She was also a friend of the jeweller Suzanne Belperron, and she was a longtime customer of jeweller Cartier.
|
|
By the mid-1820s, men's fashion plates show a shapely ideal silhouette with broad shoulders emphasized with puffs at the sleevehead, a narrow waist, and very curvy hips. A corset was required to achieve the tiny waistline shown in fashion plates. Already de rigueur in the wardrobes of military officers, men of all middle and upper classes began wearing them, out of the necessity to fit in with the fashionable gentry. Usually referred to as "girdles", "belts" or "vests" (as "corsets" and "stays" were considered feminine terms) they were used to cinch the waist to sometimes tiny proportions, although sometimes they were simply whalebone-stiffened waistcoats with lacing in the back.
|
|
Vincent van Gogh wrote that "Eugène Feyen is one of the few painters who pictures intimate modern life as it is really, and does not turn it into fashion plates". John Singer Sargent featured Cancale in his work: Fishing for Oysters at Cancale.Fishing for Oysters at Cancale , Googleartproject.
|
|
Robert Christgau gave the album a B- and said "...they look like 2-Tone fashion plates and sound like big-time new-wave satirists, which suggests their stock in trade is haircuts". The album also received three-out- of-five stars from The New Rolling Stone Album Guide, published in 2004.
|
|
He also worked for the publisher Jean Mariette, who commissioned fashion plates, pastoral scenes and religious images from him.Barbara Brejon de Lavergnée, Pascale Cugy, "The “Album Elye” in the Louvre : Claude Simpol, Matthieu Elye, Bernard Picart, and Jean Mariette", Master Drawings, vol. 51, n° 4, 2013, p. 451-470. He died in Paris.
|
|
Invariably, the ideal image of feminine attractiveness that a Victorian woman saw around her (in fashion plates, advertisements, etc.) was of a wasp-waisted, firmly-corseted lady. In the 19th century, poor women were known to wear corsets "boned" with rope, rather than steel or bone, to facilitate work in the field.
|
|
Talented illustrators - among them Paul Iribe, Georges Lepape, Erté, and George Barbier - drew attractive fashion plates for these publications, which covered the most recent developments in fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton which was founded in 1912 by Lucien Vogel and regularly published until 1925.
|
|
Maquet printed the volume Les Choses de Paul Poiret vues par George Lepape in 1911, whose enduring success mirrors its great influence on the renewal of fashion illustration. Poiret collaborated with drawing artists, including Paul Iribe and Georges Lepape. This 1911 volume broke away from traditional fashion plates and gives both a graphic and a stylized representation of fashion.
|
|
These experiences and newfound sympathies are reflected in her artwork from the period. In time she was able to find work as a commercial artist, producing fashion plates, movie posters, and caricatures for satirical journals such as Simplicissimus, Ulk, and Jugend. In the mid-1920s she became known for her illustrations evoking the urban atmosphere of Berlin. Much of her artwork depicted women.
|
|
Winter curtains and other furnishings were often changed for summer ones in the spring and vice-versa. The un-used sets being cleaned and store in cupboards such as these. Lavender and other perfumed sachets were employed to give the linens a sweet smell and to keep away moths. Along the bedroom corridors are hung various engravings including fashion plates and portraits.
|
|
Le Follet, Paris, 1839 Le Follet was a Parisian fashion magazine, published weekly from November 1829 to 1892. It was at one point merged with Le Courrier de la Mode. It was richly illustrated with fashion plates. Le Follet belonged to the numerous fashion magazines which from the 1820s onward replaced the previous dominance of Journal des dames et des modes.
|
|
Until spring 1822, the fashion plates were labeled a month ahead, e.g., the plates published in May 1810 were marked June 1810. Mary Ann Bell was a well known contributor to the fashion content in the publication.Adburgham, Alison: Women in Print: Writing Women and Women's Magazines from the Restoration The changes in the early 1820s may have resulted from John Bell's retirement some time in 1821.
|
|
He was attracted to Parisian theater and music, and early in his career often portrayed actors, singers, and musicians, using pastels and chalk. He also worked in oil, watercolor, and porcelain. In the late 1770s or early 1780s, he may have sketched for fashion plates. In 1783, Lemoine married the artist Agathe-Françoise Bonvallet. He began his work as a miniaturist in the mid-1780s.
|
|
The magazine is best known for the hand-tinted fashion plate that appeared at the start of each issue, which provide a record of the progression of women's dress. Publisher Louis Godey boasted that in 1859, it cost $105,200 to produce the Lady's Book, with the coloring of the fashion-plates costing $8,000.Oberholtzer, Ellis Paxson. The Literary History of Philadelphia. Philadelphia: George W. Jacobs & Co., 1906: 232.
|
|
Looped up overskirts revealed matching or contrasting underskirts, a look that would reach its ultimate expression the next two decades with the rise of the bustle. Waistlines rose briefly at the end of the decade. Fashions were adopted more slowly in America than in Europe. It was not uncommon for fashion plates to appear in American women's magazines a year or more after they appeared in Paris or London.
|
|
He was a pioneer in introducing contemporary backgrounds in his plates. In 1860 Samuel Orchart Beeton, husband of Mrs Beeton and publisher of the Englishwoman's Domestic Magazine, began to include hand-colored fashion plates by David. These let his readers see the latest styles and colors from Paris, the world fashion center at the time. Beeton included paper patterns, which let owners of the newly introduced domestic sewing machines make their own dresses.
|
|
All of the prints for the magazine were hand-colored and inserted with text descriptions explaining the fashions being showcased. Anaïs did not only illustrate for French fashion publications, she also illustrated for British fashion journals such as La Belle Assemblee, The Queen (which was equivalent to today’s Vogue), and Englishwoman’s Domestic Magazine. Additionally, she illustrated books, depicting leisure and historical romantic scenes. Her main competitor who also did fashion plates was Jules David.
|
|
While mules have been worn since the 15th century to the present day, their popularity has not always been constant. They were typical indoor shoes for both men and women in the early 1700s. By the 1720s to the end of the century, mules were the most popular indoor slipper. Fashion plates that exist from the end of the 1790s describe women wearing mules but are not seen due to the long lengths of the contemporary petticoats.
|
|
Communication was also improved in this era. New ideas about fashion were conveyed by little dolls dressed in the latest style, newspapers, and illustrated magazines; for example, La Belle Assemblée, founded by John Bell, was a British women's magazine published from 1806 to 1837. It was best known for its fashion plates of Regency era styles, showing how women should dress and behave. When fashion became available for everybody, people were expected to dress according to the latest fashion.
|
|
Traphagen School of Fashion was founded in 1923 by Ethel Traphagen Leigh (1883–1963) with a focus on the foundational concepts of the American design movement. Traphagen School encouraged student experimentation with materials and construction techniques. One of the educational tenants of the Traphagen School of Fashion was a "design-by-adaptation" method, which included historical research. The school had a large collection of books and historic fashion plates, which was a source of inspiration for student work.
|
|
It was not until the 1940s, that she made her breakthrough in the art community. This also coincided with her new political engagement in the peace movement and feministic issues. Siri Derkert designed fashion plates, fashion collections and designed costumes during the 1910s and early 1920s. Cubism and modernism was reflected in her designs with geometric shapes and patterns made from the layering of fabric and stringing of beads and pearls to create square and rectangular shapes.
|
|
Translated by Lynne Richards. Amsterdam: Rijksmuseum, 2015, pp.70-72 Beginning in the 1770s (the decade during which Antoinette both married future king Louis-Auguste and assumed the title Queen of France and Navarre), women's dress came to exhibit greater variation than ever before; the fashion plate emerged under these conditions, as if to disseminate each budding trend. Despite the prominence of eighteenth-century French style, the first true fashion plates were produced for The Lady's Magazine, a British publication established in 1770.
|
|
The band recorded an EP Fashion Plates in 1977, becoming the first Toronto band to record and release a self-created 45. In 1978 they released a second 45 "Hot Property". In 1977, The Dishes also filmed a televised concert for TV Ontario becoming the second Canadian new wave band to appear on television after FM had previously done a TV Ontario show in 1976. Though thought of as an art-school band, none of the members had ever attended an art school.
|
|
French magazines were attentive to her dress styles and reinterpreted in fashion plates, giving the shawl widespread influence. Through her enthusiastic example, the Kashmir shawl gained status as a fashion icon in Paris. The cashmere shawls suited the French well, providing the needed warmth, while adding visual interest to white French gowns through the traditional teardrop buta pattern and discreet floral motifs. It became a symbol of French bourgeois status from the Bourbon Restoration (1815-48) through the Second French Empire (1852-70).
|
|
Two Women in an Art Gallery (1868) Achille Devéria introduced David to the Journal des demoiselles and the Journal des jeunes personnes, for which he produced lithographs from 1839 to 1842. David's albums were often published as a supplement to women's magazines. He drew all the plates for the Le Moniteur de la Mode for fifty years. About 2,600 of David's fashion plates were first published in the Moniteur de la Mode, and then republished in other magazines in France, Germany, Britain, Spain and America.
|
|
David was a painter and lithographer that worked with Adolphe Goubaud, a publisher. When fashion plates became a popular form of illustration this provided a way for Anaïs's work to be mass produced. Instead of making the illustrator redraw the same exact image over and over, the artist would either etch, engrave, or lithograph the image and then color it in by hand. This form of production was much more efficient and realistic to produce fashion magazines at the weekly rate they were being printed.
|
|
It was a common assumption in the antebellum United States that "Character is displayed, yes! moral taste and goodness, or their perversion, are indicated in dress." Some influential Americans, including Godey's editor Sarah Josepha Hale, expressed concern about the effect of luxurious European fashions on the republican virtues of their countrywomen, and sought to promote simplicity and refinement as the defining trait of American style. However, the subscriber-driven and increasingly competitive market for periodicals meant that fashion plates would become increasingly common throughout the 1840s.
|
|
In this period, men's fashion plates show the lowered waistline taking on a decided point at the front waist, which was accompanied by a full rounded chest. Prince Albert (husband of Queen Victoria) had a high influence on male fashion, primarily because of his young age at the time of his wife's coronation, and his great attention to his appearance. Therefore, the clothing, particularly of upper class gentleman, continued to follow the trend of earlier decades with full shoulders and chest, and a tightly-cinched waist.
|
|
La Fin du jour is a one-act ballet created by Kenneth MacMillan in 1979 for the Royal Ballet, London. The music is Maurice Ravel's Piano Concerto in G (1931). In MacMillan's words, "La Fin du jour draws its inspiration from the style of the 'thirties'; the designs and choreography are inspired by the fashion plates of an era and a way of life shattered forever by the Second World War." The first performance was at the Royal Opera House, Covent Garden on 15 March 1979.
|
|
In cities throughout the world these magazines were greatly sought after and had a profound effect on public taste in clothing. Talented illustrators drew exquisite fashion plates for the publications which covered the most recent developments in fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton, which was founded in 1912 by Lucien Vogel and regularly published until 1925 (with the exception of the war years). see- through top worn along with pasties by a model at a fashion show in USA, 2017.
|
|
In common with other fashion designers, the House of Worth was affected by the financial downturn of the 1880s. Charles Frederick Worth found alternative sources of revenue in British and American customers and also turned his attention to encouraging the struggling French silk industry. By the late 1880s, Worth had established characteristics of a modern couture house – twice annual seasonal collections and brand extensions through the franchising of patterns and fashion plates. One of his biographers notes that he had also successfully fostered the myth of the "male 'style dicator'".
|
|
The Brocks built the studio. All four brothers worked together in this studio, with Charles and Henry returning to it by day even after they had married and moved out of the main house. The studio was heated by a big 'jumbo' stove which impressed Katharine's daughter Barbara. One feature of the studio, was the collection of period costumes and furniture that Charles and Henry maintained there, these, together with the costume prints and fashion plates of the Regency period helped to ensure the accuracy of their illustrations of authors such as Jane Austen.
|
|
Although no private or public collection possesses a complete edition of the Galerie, the series is widely recognized for its high aesthetic value as well as its innovation within the overarching field of the fashion plate. René Colas, who compiled the major reference work Bibliographie générale du costume et de la mode (1933), calls it "the most beautiful collection in existence on the fashions of the eighteenth century."Blum, Stella, Eighteenth-Century French Fashion Plates: 64 Engravings from the "Galerie des Modes," 1778-1787. Mineola: Dover Publications, Inc.
|
|
Chapeau à la Paméla - Costume Parisien, 1801-2 Journal des dames et des modes, was a French fashion magazine, published between 1797 and 1839.Kate Nelson Best, The History of Fashion Journalism It was the second oldest fashion magazine published in France, replacing its predecessor the Cabinet des Modes (1785-1793) after the fall of Robespierre. During most of its existence, it had near monopoly in the fashion world as the channel of French fashion in France as well as internationally, particularly during the Napoleonic age. It was illustrated with fashion plates.
|
|
His early studies were probably with James Hopwood and Lecouturier; but his chief master was Leon Cogniet, with whom he began engraving in 1850. In this year, he entered the École des Beaux-Arts. At first he had to engrave fashion-plates to make money enough to live, but his application to his art brought him the Prix de Rome for engraving, in 1856. At his first public showing in 1860, his prints were called laboured, soft, and flaccid, more like Drypoint etchings than burin work, and he was advised to adhere to the established rules of his art.
|
|
La Belle Assemblée is now best known for its fashion plates of Regency era styles, but until the 1820s it also published original poetry and fiction, non-fiction articles on politics and science, book and theatre reviews, and serialized novels, including Oakwood Hall by Catherine Hutton. Other notable contributors to La Belle Assemblée include Mary Shelley. Contributions from readers were also encouraged and published. In the 1820s, changing expectations of the role of women in British society coincided with a marked decrease in the intellectual scope of La Belle Assemblée and its competitors, which increasingly focused on fashion and domestic pursuits.
|
|
Thompson's dress for her character Elinor Dashwood According to Austen scholar Linda Troost, the costumes used in Sense and Sensibility helped emphasise the class and status of the various characters, particularly among the Dashwoods. They were created by Jenny Beavan and John Bright, a team of designers best known for Merchant Ivory films who began working together in 1984. The two attempted to create accurate period dress, and featured the "fuller, classical look and colours of the late 18th century." They found inspiration in the works of the English artists Thomas Rowlandson, John Hopper, and George Romney, and also reviewed fashion plates stored in the Victoria and Albert Museum.
|
|
All four dresses are examples of the bustle style, which was a way of exaggerating the size and shape of the bottom through the use of specialised underwear. A purple silk dress highlights the fact that new technologies were being developed in the Victorian era. In the 1850s aniline dyes, the first synthetic dyes were invented and one of the first to be developed was aniline purple. This dress would have been worn by the most fashionable woman in the room as its shape and ruched, or gathered, detailing is typical of styles that can be seen in fashion plates and journals of the early 1880s.
|
|
George Barbier illustration of a Jeanne Paquin gown, published in the March 1914 Gazette The centerpiece of the Gazette was its fashion illustrations.Davis, 56. Each issue featured ten full-page fashion plates (seven depicting couture designs and three inspired by couture but designed solely by the illustrators) printed with the color pochoir technique. It employed many of the most famous Art Deco artists and illustrators of the day, including Etienne Drian, Georges Barbier, Erté (Romain de Tirtoff), Paul Iribe, Pierre Brissaud, André Edouard Marty, Thayaht (Ernesto Michahelles), Georges Lepape, Edouard Garcia Benito, Soeurs David (David Sisters), Pierre Mourgue, Robert Bonfils, Bernard Boutet de Monvel, Maurice Leroy, and Zyg Brunner.
|
|
Fashion photography began with engravings reproduced from photographs of Leopold-Emile Reutlinger, Nadar and others in the 1890s. After high-quality half-tone reproduction of photographs became possible, most credit as pioneers of the genre goes to the French Baron Adolph de Meyer and the Luxembourgian Edward Steichen who, borrowing his friend’s hand-camera in 1907, candidly photographed dazzlingly-dressed ladies at the Longchamp Racecourse and who by 1911 had been assigned by the French magazine Art et Décoration to produce pictures of dresses by the Parisian designer Paul Poiret, competing with the drawings and pochoir prints earlier, and contemporaneously, used for fashion plates.
|
|
While the gang dominated the West Side, it constantly battled smaller rival gangs including the Fashion Plates, the Pearl Buttons, and the Marginals for control of the Hudson River docks throughout the 1900s. Eventually, it drove the rival gangs out through sheer force of numbers, with over 200 members, not including the Gophers, who numbered several hundred more, controlling the waterfront by 1910. The gang, now a dominant force in New York, included the likes of Charles "Red" Farrell, Mike Costello, "Rubber" Shaw, Rickey Harrison, and "Honey" Stewart. The gang became involved in election fraud as they were hired out by Tammany Hall politicians in exchange for political protection.
|
|
In the 1840s Hall organised balls at which her friends wore costumes based on the set of fashion plates which she may have commissioned, but they were made of satins, not wool Roberts, Huw, Welsh costumes at Llanover, Newsletter, Cymdeithas Gwenynen Gwent, December 2004, p. 2-3. The adoption of the costume coincided with the growth of Welsh Nationalism, where the industrialisation of much of south Glamorgan was seen as a threat to a traditional agricultural way of life. The national costume made from Welsh wool was therefore seen as a visual declaration of a Welsh identity. During an 1881 visit by the Prince of Wales to Swansea, the Welsh costume was worn by a number of young women including members of a choir.
|
|
Instead they take the form of generalized portraits, which simply dictate the style of clothes that a tailor, dressmaker, or store could make or sell, or demonstrate how different materials could be made up into clothes. The majority can be found in ladies' fashion magazines which began to appear during the last decades of the eighteenth century. Used figuratively, as is often the case, the term refers to a person whose dress conforms to the latest fashions. Fashion plates are frequently used as primary source material for the study of historical fashions, although commentators warn that as they were high-end aspirational catalogues it should not be assumed that the majority of people dressed in the same way expressed by a plate.
|
|
Langley Moore, Doris, The Woman in Fashion, (Introduction) (London, 1949) Her collection began with fashion plates in the early 1920s, and in 1928 she was given her first period dress.Cumming, Valerie, Understanding Fashion History, chapter 3 (London, 2004) A 1963 Guardian article about the Fashion Museum, Bath, by Alison Adburgham described how this came about: "It was Christmas 1928 and her mother-in-law produced some old dresses out of a trunk for charades. Lady Moore was so surprised that the seemingly shapeless figure of a young woman of the nineteen-twenties could fit into an elegantly waisted Parisian gown of 1877, that she told Doris she might keep it". Some while later, she found a period dress in a shop in Harrogate which she planned to adapt to wear herself.
|
|
Their modernist style, informed by both the vitality of the revolutionary art movements of the era, and by the flat planes and minimalism identified with Japanese painting served to revitalize the popularity of the fashion plate. These fashion plates were hand colored using the pochoir process, whereby stencils and metal plates are used allowing for colors to be built up and gradually nuanced according to the artist’s vision. The fashion plate, in use for some time, was in essence an advertising tool—a piece of artwork used to create desire for the newest clothing looks aimed at an audience of the fashionable and moneyed. Iribe’s work is primarily distinguished by the illustrations he executed for style journals such as La Gazette du Bon Ton where his charming vignettes of the latest modes helped promote the designs of couturiers such as Paul Poiret.
|
|