Podcasts about Elsa Schiaparelli

Welcome to Luxe Stories, a new original series on SiriusXM that delves into the untold stories behind the world's most iconic luxury brands.In our premiere episode, we focus on the enigmatic Coco Chanel—the woman who revolutionized modern fashion and whose aesthetic style became a symbol of cultural transformation."Joining host Pauline is renowned fashion historian and New York Times columnist Rhonda Garelick. Together, they explore Coco's difficult early years -- how they shaped her tastes and fueled her rise.They also confront her wartime affiliations with the Nazi party, affairs with powerful men, conflicts with her longtime business partners, and bitter rivalries with other designers like Elsa Schiaparelli and Paul Poiret.Finally, they reflect on how her successor, Karl Lagerfeld, rescued the brand from near obscurity, how he transformed it with his own bold vision and unapologetic flair, and how Coco herself might react to her brand today as well as the fashion industry that she once ruled. 

I veckans program ska vi glänta på dörren till några konstnärsgarderober och titta närmare på hur deras kläder inspirerat inte minst modeskapare. Lyssna på alla avsnitt i Sveriges Radio Play. Det är inte bara själva konsten som satt fart på fantasin hos designers. Som Piet Mondrian hos Yves Saint Laurent, Salvador Dali hos Elsa Schiaparelli eller Andy Warhol hos Gianni Versace, bland många, många andra. Inspirerat har också deras kläder och personliga stil gjort.I programmet träffar vi galleristen och vernissageveteranen Björn Wetterling. Han har arbetat med några av de största namnen i konstvärlden och har en hel del att säga om hur det står till med kläder och stil bland konstnärer. Och så pratar vi med den brittiska modejournalisten Charlie Porter som skrivit boken What Artists Wear. I den undersöker han vad vi kan lära oss om konstnärernas liv och verk om vi rotar runt i deras garderober.

Alessandra Avagliano"elsa avant elsa"Elsa Schiaparelli. Roma, New York, ParigiGallerie Nazionali Barberini CorsiniElectawww.electa.it"Elsa avant Elsa" a cura di Francesco Pastore, Alessandra AvaglianoE' un libro-mondo, ideato dalle Gallerie Nazionali di Arte Antica insieme all'Accademia dei Lincei e alla Maison Schiaparelli, in cui per la prima volta è ricostruito l'ambiente di formazione e di successiva ispirazione della rivoluzionaria creatrice di arte e di moda Elsa Schiaparelli: la Roma classica, i suoi monumenti, i suoi giardini, la biblioteca “di casa” a Palazzo Corsini. Per la prima volta vengono così rintracciati e restituiti al lettore echi e rimandi antichi, vere e proprie citazioni della Roma classica e rinascimentale nella sua produzione di stilista, che si mescoleranno e in parte mitigheranno l'esuberanza e la vitalità del surrealismo. In una parola, il libro disegna la sua costellazione formativa: in copertina è raffigurata l'Orsa Maggiore che l'amato zio Giovanni, celebre astronomo, sosteneva fosse disegnata nei suoi nei del viso e che divenne una immagine talismano per Elsa. Inoltre, nelle pagine spicca il contrappunto cromatico del colore rosa, il “marchio di fabbrica” della sua produzione artistica.La prima sezione del volume analizza l'ambiente familiare e culturale della prima giovinezza di Elsa, nella Roma nei primi del Novecento. Le persone e i libri che la circondano nutrono la sua attrazione per i mondi lontani, in particolare per l'Oriente, suggestioni continue che riemergeranno nei suoi processi creativi.La seconda sezione, dedicata a New York, rappresenta il capitolo successivo del viaggio della stilista e segna il passaggio dalla tradizione europea alla modernità e al dinamismo americano. L'intreccio tra avanguardia e humor, il gusto per il travestimento e il radicalismo glamour di questo periodo rimarranno sempre con lei.La terza parte del libro riguarda il soggiorno a Parigi, dove Elsa raggiunge la sua consacrazione fondando la Maison Schiaparelli. Grazie anche alle collaborazioni con artisti del calibro di Salvador Dalì e Jean Cocteau, Schiaparelli trasforma la moda in un'esperienza unica e creativa, definendo un linguaggio estetico che continua a ispirare stilisti e designer.Testi di Alessandra Avagliano, Ebe Antetomaso, Flaminia Gennari Santori, Francesco Pastore e Luca Scarlini.Progetto grafico di Irene Bacchi e Leonardo Sonnoli, Studio Sonnoli.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Med hjälp av en stickad tröja med trompe l'il-rosett i halsen lade Elsa Schiaparelli grunden för sin karriär som surrealistisk modeskapare. Lyssna på alla avsnitt i Sveriges Radio Play. I veckans Samtal med Stil pratar Susanne Ljung och Samanda Ekman om modeskaparen Elsa Schiaparelli som var först med trompe l'œil i modet – en trend som är extra aktuell just nu när många modemärken tycker om att skapa optiska illusioner.

We are back with another episode of the Fully Booked podcast, and as February drags on, we find ourselves waiting for the winter snow to melt, just like everyone else in Eastern Canada. To shake off the seasonal gloom, we decided to treat ourselves to a movie!Luckily, our timing was perfect because February 21, 2025, marked the release of The Monkey, a film adaptation of a Stephen King short story, directed by Osgood Perkins. Given our love for horror, and with Perkins' track record of unsettling films, we were eager to dive into this adaptation. So, we grabbed our tickets, watched the film, and now we're here to break it down for you.The Story Behind The MonkeyThe movie is based on Stephen King's short story, The Monkey, originally published in Gallery magazine in 1980 and later included in Skeleton Crew (1985), a collection that also contains The Mist - another King classic with multiple adaptations.The story follows Hal Shelburne, a man who, since childhood, has been haunted by a cursed wind-up monkey toy. Someone dies every time the monkey claps its cymbals (or, in the movie's case, beats a drum). As an adult, Hal's past comes back to haunt him when the monkey is rediscovered, dragging his family into a cycle of death and destruction.Though the adaptation stays true to the core concept, the film takes some liberties, including changes to the monkey's mechanics and added layers of dark comedy. The Monkey currently has a 6.5/10 on IMDb, a 79% critic score on Rotten Tomatoes, and a 60% audience score. We personally think the audience is wrong - this movie is better than that.A Darkly Comedic and Campy Horror ExperienceOne of the most striking aspects of The Monkey is its unexpected tone. It is absolutely a horror movie, but it also leans into an absurd, almost slapstick, dark comedy style that took us by surprise. We laughed - a lot.The film is directed by Osgood Perkins, who comes from a long line of cinematic and artistic figures. His father, Anthony Perkins, famously played Norman Bates in Psycho, and his mother, Berry Berenson, was a photographer, actress, and model. His grandfather was a silent film actor, and his maternal grandmother was Elsa Schiaparelli, a legendary fashion designer. With this rich lineage, it's no wonder Perkins has carved out a unique space in horror filmmaking.Perkins has directed eerie and atmospheric films like The Blackcoat's Daughter and I Am the Pretty Thing That Lives in the House, but The Monkey is a departure from his usual style. It leans into camp, exaggeration, and grotesque humor. While some horror fans might find the film's comedic undertones off-putting, we found them incredibly entertaining. There's a certain madcap energy to the way events unfold - especially in the film's death scenes - that makes it feel like a Final Destination movie, but funnier and more stylized.The Plot: A Family Cursed by a Sinister ToyThe movie follows Hal Shelburne and his twin brother, Bill, from childhood into adulthood. As kids, they stumble upon their father's old belongings and find the wind-up monkey. When they activate it, strange and horrifying deaths follow.The film opens with a chilling cold open - one of the best we've seen in a while - where their father, played by Adam Scott, tries to get rid of the monkey in a pawn shop, only for a brutal series of events to unfold, leading to his own gruesome death. The family, unaware of what really happened, believes he simply abandoned them.As the story unfolds, we see how the curse haunts both brothers in different ways. Hal isolates himself, fearing that anyone close to him is in danger, while Bill grows more obsessed, believing he can control the monkey's power. As adults, they each react to their trauma differently, showing how past events shape people in unexpected ways.One of the film's central themes is the illusion of control over fate and death. Both brothers, at different times, believe they can direct the monkey's killings, but ultimately, they cannot. Death is random, and any attempt to manipulate it only leads to destruction.The Kills: A Mix of Horror and Ridiculous GoreIf you're a horror fan who enjoys creative and over-the-top death scenes, The Monkey delivers in spades. The deaths in this movie are insane, brutal, and bizarrely comedic.For example:A woman jumps into a pool only to explode into pieces the moment she touches the water due to an electrical surge.A man shoots a wasp nest, and every wasp flies directly into his mouth, suffocating him.Another victim is trampled to death by horses while trapped inside a sleeping bag, and when they unzip it, all that's left is slush.These deaths don't just shock - they make you laugh at their absurdity. Even the director, Osgood Perkins, mentioned in an interview that audiences laughed so much at the kills that they missed the actual jokes that followed. That's how outrageous some of these moments are.While the film has plenty of gore, it doesn't dwell on it. Each kill happens quickly and unexpectedly, without excessive lingering on the aftermath. This pacing keeps the film moving at a fast clip, making it an incredibly entertaining watch.Performances and Final ThoughtsWe have to give credit to Theo James, who plays both Hal and Bill, delivering two distinct performances that make each brother feel like a separate person. Elijah Wood has a hilarious cameo as a stepfather, bringing his usual quirky charm to the role. Even the child actors playing young Hal and Bill are excellent, carrying much of the film's early tension.There's also an interesting discussion to be had about how trauma shapes people differently, and the film explores the inescapable pull of family ties, no matter how much you try to separate yourself from the past.While The Monkey is undeniably fun and entertaining, it also carries deeper themes of fate, death, and the inability to control life's chaos. The story makes us wonder: If we had the monkey, would we turn the key? Our answer? Absolutely not.This film is one of the most enjoyable horror-comedies we've seen in a while. Whether you're watching it for the bizarre kills, the dark humor, or the unsettling themes, The Monkey is a wild ride that horror fans shouldn't miss. We'll definitely be grabbing the Blu-ray to revisit all the behind-the-scenes details.That concludes our in-depth summary of The Monkey. We're heading into March with a new theme, and while we can't reveal too much yet, let's just say it's going to be a little dark and a little twisted. Stay tuned for more!

In conversation with Alexis of Tab Vintage on Elsa Schiaparelli and Madam Gris, the spice girls influence, how she pivoted her career to vintage, selling qvc style on instagram live during the pandemic, becoming the special occasion vintage shopping destination, doing the research and solving fashion mysteries, the characters you meet through sourcing, when Tab Vintage graced the Met Gala, what it actually means when celebs wear vintage to an event, being a Pheobe Philo Celine Queen & so much more

Hear the extraordinary life of Elsa Schiaparelli. From her rebellious youth and surrealist collaborations to her iconic designs like the lobster dress and shocking pink, discover how Schiaparelli redefined fashion as art and left a legacy of daring innovation, with guest and fashion enthusiast, Darrian Wright._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay_______Sources:Shocking: The Surreal World of Elsa Schiaparelli by Marie-Sophie Carron de la Carrierehttps://www.schiaparelli.comPodcast —  Dressed: The History of Fashion on SchiaparelliAbout ElsaElsa Schiaparelli was the ultimate rebel of fashion, a designer who turned shocking ideas into art. Born in 1890 to an aristocratic family in Rome, Elsa's life was anything but conventional. As a child, she released a box of fleas under her parents' dinner table and later staged a hunger strike to escape a Swiss convent. After a whirlwind marriage to a charming con man, she found herself as a single mother in New York, scraping by while mingling with avant-garde artists like Marcel Duchamp and Man Ray. It wasn't until she moved to Paris and met legendary designer Paul Poiret that she discovered her true calling: inventing fashion. From surrealist collaborations with Salvador Dalí to creating her signature shocking pink, Schiaparelli defied norms, blending wit, art, and bold femininity. She gave us iconic designs like the lobster dress, the shoe hat, and the first wrap dress. A pioneer who refused to play by the rules, Elsa didn't just make clothes—she made statements.Follow Darrian@iamdarrian ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Sub to the PPM Patreon to access the entire 3 hour runtime of CULT OF CAGE PT. II: ⁠patreon.com/ParaPowerMapping⁠ (Full notes viewable via the link) An impromptu Halloween session w/ Orion St. Peter gave birth to this Nicolas Cage dbl feature—in which we discuss occult, cultic, & PTK themes in the loosely defined horror films "Longlegs" & "Mandy", tentpoles of the late Cage capitalism debt-induced “renaissance”. We dig deep into the interplay between the "Longlegs" narrative and director Oz Perkins's personal esoteric & intergenerational familial trauma history, sussing out the sources of inspiration in his own highly strange, quasi-aristocratic pedigree. For ex, his great-grandpa "Count" Wilhelm de Wendt de Kerlor, a psychic detective cum spy in the mold of PPM usual suspects Aleister Crowley or Erik Jan Hanussen who was a member of the Theosophical Society, an avid spiritualist, and supposedly the medium who prophesied tabloid journo & anti sex trafficking crusader W.T. Stead's death on the Titanic... We discuss his Italian great-gma, world-conquering designer (aka Chanel's rival) Elsa Schiaparelli & her affiliations with Dadaists & Surrealists like Dalí and Man Ray, not to mention the fact the de Gaulle government suspected her of collaborating with the 3rd Reich. We unpack how psychic detective de Kerlor appeared on the scene in New Hampshire to "investigate" a murder that two BOI agents linked to German espionage in the Northeast during WWI, and we discuss how de Kerlor & Schiaparelli would be surveilled & interviewed, Wilhelm seemingly under suspicion of serving as a foreign agent. These fascinating, little known histories re Oz Perkins's ancestors are an obvious touchpoint for the clairvoyant FBI agent Lee Harker in the glam Satanic serial-killing-by-sympathetic-magick-or-mind-control flick "Longlegs". We also talk about how it's conceivably 9/11 as Mass Ritual pilled, seeing as Oz's mom Berry Berenson died on Flight 11 on 9/11, which gives one a headrushing vertiginous feeling indeed... Seeing as she's descended from this Theosophist spy. Her BDay is repeatedly woven into the sigilistic & algorithmic subtext of the film. And we also discuss how, on the patrilineal side of Oz's family, his Dad Anthony Perkins's confessed childhood Oedipal complex, the early wished-for death of his father, his lifelong closeted life, and his ultimate succumbing to AIDs... How all of this informed the emotionally-charged, cathartic film & its unspoken traumatic seeds... As we go, our analysis of the film begins to force us to confront a theory where a kind of unstated CSA blackhole is the source of the the Longlegs mystery's gravitational pull. We talk: Mandy dir. Cosmatos's father George Pan Cosmatos's final film “The Shadow Conspiracy” which concerns a pres assassination by drone; both Panos & his Dad having Pan in their names; the Mansonian failed songwriter vibes of both villains Jeremiah Sands & Longlegs; the Mandy scene where a planned ritualized orgy lubricated with “the chemist's best batch” & hallucinogenic wasp injections derails when Mandy openly clowns on the cult leader; Longlegs's character obvs nodding at glam Satanism, Marc Bolan, & David Bowie's infamous “Station to Station”, Dion Fortune-informed exorcism of his possessed indoor pool in what was once stripper & burlesque dancer Gypsy Rose Lee's LA manse; Longlegs's cinematic influences - Fincher fare like Se7en, Zodiac, etc; Silence of the Lambs; Don't Look Now; Altman; Twin Peaks; The Omen; New French Extreme; Gaspar Noe; & Phantasm Many thanks to Orion for jumping on for this spooky dbl feature at such short notice. His death/doom outfit Ilsa are back in the studio as we speak—sound engineering doesn't come cheap. Help them lay down their new record by purchasing their most recent LP "Preyer" on Bandcamp! Songs: | Ilsa - Enter the Void | | Matt Akers - Hunting Ground | | Matt Akers - Urge to Kill |

Sabia que o rosa choque foi inventado em 1937? Pois é, antes disso até havia vestimentas em tons de rosa, mas não ESTE específico. Que entrou em cena graças a uma das estilistas mais geniais de todos os tempos, que embora tenha contribuído imensamente para a construção da moda como ela é hoje, não tem a mesma fama de vários de seus colegas de profissão — ainda que, entre os fashionistas de verdade seja reconhecida como uma das maiorais. Essa mulher se chamava Elsa Schiaparelli e, além de lançar uma cor que marcou tantos produtos culturais nos séculos XX e XXI, lançou várias ideias inovadoras de negócios. Neste episódio especial, você pode conhecer mais sobre Schiap — que é como ela gostava de ser chamada. ======================== APRENDA EM 5 MINUTOS é o podcast sobre coisas que você nem sabia que queria saber. Os episódios são roteirizados e apresentados por Alvaro Leme. Jornalista, mestre e doutorando em Ciências da Comunicação na ECA-USP e criador de conteúdo há vinte anos, ele traz episódios sobre curiosidades dos mais variados tipos. São episódios curtos, quase sempre com 5 minutos — mas alguns passam disso, porque tem tema que precisa mesmo de mais um tempinho. Use o cupom ALVINO, na evino, ganhe 10% de desconto nas suas compras e ajude o APRENDA EM 5 MINUTOS a se manter no ar Edição dos episódios em vídeo: André Glasner http://instagram.com/andreglasner Direção de arte: Dorien Barretto https://www.instagram.com/dorienbarretto66/ Fotografia: Daniela Toviansky https://www.instagram.com/dtoviansky/ Narração da vinheta: Mônica Marli https://www.instagram.com/monicamarli/ Siga o APRENDA no Instagram: http://instagram.com/aprendavideocast http://instagram.com/alvaroleme Comercial e parcerias: contato@alvaroleme.com.br ====================== Quer saber mais? Confira as fontes que consultei enquanto criava o episódio - The Mother of Strange Fashion Por Jessica Testa, New York Times - 'Shocking!' une loucuras surrealistas ao pink vibrante da estilista Elsa Schiaparelli Por Carolina Vasone, Folha de S. Paulo - Mundo rosa-choque: a história da cor que dominou 2022 e que deve continuar em alta Por Natália Eiras, Elle - Ela era surreal: o legado da revolucionária estilista Elsa Schiaparelli Por Simone Blanes, Veja - Elsa Schiaparelli: a estilista que criou o rosa-choque e transformou o mundo da moda Caras

Matt Crawford speaks with Therese Casadesus Rawson about her book, My Musical Notes: A Journey in Classical Piano between the World Wars and Beyond. This is actually her mother's book which she has translated and rereleased on the 25th anniversary of her mother Gaby Casadesus' passing.  Chronicling nearly a century of music, Gaby Casadesus' My Musical Notes, recounts the French pianist's remarkable career as half of one of the most extraordinary husband and wife teams in twentieth century classical music, with her husband Robert Casadesus. Told in a lively conversational tone, she evokes the delicate balance between touring and family life, maintaining her own solo career and traveling the world while raising three children. Her decades-long teaching imparted the stylistic legacy of Debussy, Fauré and Ravel, a personal friend to both Robert and Gaby, to generations of young pianists. In this memoir, we experience the bustling Paris of the 1920s and 30s as well as numerous adventures touring North and South America, Europe, the Middle East, and Asia while championing French piano repertoire as the internationally recognized duo Robert and Gaby Casadesus. She also details her encounters and collaborations with the greatest names of 20th century classical music: Fauré, Ravel, Stravinsky, Poulenc, Bruno Walter, Toscanini, Szell, Boulez, Bernstein as well as other celebrities of the era such as Albert Einstein, with whom she played Mozart, Elsa Schiaparelli, Joan Miró and more.

Pls support the show by subbing to the Patreon: patreon.com/ParaPowerMapping (Full notes viewable via the link) An impromptu Halloween session w/ Orion St. Peter gave birth to this Nicolas Cage dbl feature—in which we discuss occult, cultic, & PTK themes in the loosely defined horror films "Longlegs" & "Mandy", tentpoles of the late Cage capitalism debt-induced “renaissance”. We dig deep into the interplay between the "Longlegs" narrative and director Oz Perkins's personal esoteric & intergenerational familial trauma history, sussing out the sources of inspiration in his own highly strange, quasi-aristocratic pedigree. For ex, his great-grandpa "Count" Wilhelm de Wendt de Kerlor, a psychic detective cum spy in the mold of PPM usual suspects Aleister Crowley or Erik Jan Hanussen who was a member of the Theosophical Society, an avid spiritualist, and supposedly the medium who prophesied tabloid journo & anti sex trafficking crusader W.T. Stead's death on the Titanic... We discuss his Italian great-grandma, world-conquering designer (aka Chanel's rival) Elsa Schiaparelli & her affiliations with Dadaists & Surrealists like Dalí and Man Ray, not to mention the fact the de Gaulle government suspected her of collaborating with the 3rd Reich. Oh, and that she had multiple Egyptologist & "Orientalist" academic relatives. We unpack how psychic detective de Kerlor appeared on the scene in New Hampshire to "investigate" a murder that two BOI agents linked to German espionage in the Northeast during WWI, and we discuss how de Kerlor & Schiaparelli would be surveilled & interviewed, Wilhelm seemingly under suspicion of serving as a foreign agent. These fascinating, little known histories re Oz Perkins's ancestors are an obvious touchpoint for the clairvoyant FBI agent Lee Harker in the glam Satanic serial-killing-by-sympathetic-magick-or-mind-control flick "Longlegs". We also talk about how it's conceivably 9/11 as Mass Ritual pilled, seeing as Oz's mom Berry Berenson died on Flight 11 on 9/11, which gives one a headrushing vertiginous feeling indeed... Seeing as she's descended from this Theosophist spy. Her BDay is repeatedly woven into the sigilistic & algorithmic subtext of the film. And we also discuss how, on the patrilineal side of Oz's family, his Dad Anthony Perkins's confessed childhood Oedipal complex, the early wished-for death of his father, his lifelong closeted life, and his ultimate succumbing to AIDs... How all of this doubtlessly informed the emotionally-charged, cathartic film & its unspoken traumatic seeds... As we go, our analysis of the film begins to force us to confront a theory where a kind of unstated CSA blackhole is the source of the the Longlegs mystery's gravitational pull. We talk: Mandy dir. Cosmatos's father George Pan Cosmatos's final film “The Shadow Conspiracy” which concerns a pres assassination by drone; both Panos & his Dad having Pan in their names; the Mansonian failed songwriter vibes of both villains Jeremiah Sands & Longlegs; the Mandy scene where a planned ritualized orgy lubricated with “the chemist's best batch” & hallucinogenic wasp injections derails when Mandy openly clowns on the cult leader; Longlegs's character obvs nodding at glam Satanism, Marc Bolan, and David Bowie's infamous “Station to Station”, Dion Fortune-informed exorcism of his possessed indoor pool in what was once stripper & burlesque dancer Gypsy Rose Lee's LA manse; Longlegs's cinematic influences - Fincher fare like Se7en, Zodiac, etc; Silence of the Lambs; Don't Look Now; Altman; Twin Peaks; The Omen; New French Extreme; Gaspar Noe; & Phantasm Many thanks to Orion for jumping on for this appropriately spooky dbl feature at such short notice. His death/doom outfit Ilsa are back in the studio as we speak—sound engineering doesn't come cheap. Help them lay down their new record by purchasing their most recent LP "Preyer" on Bandcamp! Songs: | Ilsa - "Poor Devil" | | Matt Akers - "Kill Kit" | | Ilsa - "Shibboleth" |

Hoy en el directo matinal de betevé hablamos de la historia del 'pantalón femenino' entre los siglos XIX y XX. De como la mujer ha conseguido vestir con pantalones sin ser juzgada ni detenida por la policía, cosa que en muchos lugares no ha ocurrido con las faldas en el caso de los hombres. De como la Biblia desde hace siglos ha sentado las bases de lo que hoy entendemos por travestismo como algo imoral, impuro y repugnante a los ojos de Dios. Hablamos de Las Terreras machegas, las primeras castizas de Ciudad Real que vistieron con pantalones a mitad del siglo XIX para trabajar en el campo. Hablamos también del famoso 'Permiso de Travestismo' parisien donde la policía autorizaba a las mujeres que quisieran llevar pantalones de forma 'justificada'. De como la prensa de finales del XIX hablaba poco más que del fin del mundo porque los hombres llevasen faldas y las mujeres pantalón. Y de como la alta costura introdujo el pantalón entre las décadas de 1910 y el 1930 con figuras de la moda como Paul Poiret, Elsa Schiaparelli y Cocó Chanel. Nueva franja de mañanas de 12:00 a 14:00h. Programas completos disponibles en la hemeroteca de betevé. Modelito de Rubén Antón diseñado por Lady Braga. Pieza de joyería y pedrería de la antigua sala Bagdad de Barcelona, de la época del destape cuando era un cabaret y hacían espectáculos picantones. Pendientes hechos a mano por Lydie Sommier. Make up por Sandra Martínez y Fashion Stylist por Judit Sanz.

This week, Stauney introduces us to one of Coco Chanel's fiercest rivals and a name experiencing a resurgence in the fashion world: Elsa Schiaparelli. Stauney and Sadie dive into Schiaparelli's strict and unconventional upbringing, her tumultuous marriage to a con artist, her journey as a single mother, and her deep connections with surrealist artists of her time. They also explore the rise and fall of her iconic fashion house and the lasting legacy she built—one that is being rediscovered and celebrated today. From surrealist collaborations to daring, imaginative designs, Schiaparelli's influence continues to shape modern couture unexpectedly. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dai nostri archivi il profilo di una delle figure più influenti della moda del secolo scorso, Elsa Schiaparelli, raccontata ai nostri microfoni da Tiziana Ferrero-Regis, docente di Teorie e Storia della Moda alla Queensland University of Technology.

In this episode of The Art Bystander, our host Roland-Philippe Kretzschmar meets with Nicolas Hugo, the now leader of Ateliers Hugo.Ateliers Hugo, nestled in Aix en Provence, France, has been a bastion of creativity since the early 1950s, crafting exquisite jewelry and limited-edition objects in gold. Their legacy intertwines with history, embracing tradition, skilled craftsmanship, and collaboration with legendary artists, sparking a renaissance in artist-made jewelry.In the aftermath of World War II, François and Monique Hugo founded Ateliers Hugo, initially focusing on crafting enamel and metal buttons and objects for fashion and commercial ventures, collaborating with esteemed designers like Chanel and Elsa Schiaparelli. Surrounded by the artistic milieu of the South of France, Hugo cultivated friendships with luminaries such as Picasso, Derain, and Ernst, igniting a movement where artists experimented with jewelry as an art form.The journey continued as Picasso and others sought collaborations with Hugo, laying the foundation for a pioneering era in jewelry artistry from 1956 to 1961. This period witnessed artists like Cocteau infusing their distinctive visions into small, gold objects, transcending commercial considerations for pure artistic exploration.A "second wave" emerged in the late 1960s and 1970s under Pierre Hugo's stewardship, marrying experimentation with commercial viability. Collaborations with artists like Arman, César, and Salvador Dali birthed masterpieces that adorned museums and galleries worldwide, elevating jewelry to coveted collectibles.Despite soaring demand, Ateliers Hugo remained a closely-knit family business, cherishing tradition and familial bonds. The studio's ethos, deeply entrenched in familial heritage, fosters a culture where lunchtime gatherings are as sacred as the craft itself.In the contemporary era, under the leadership of Nicolas Hugo, Ateliers Hugo continues its legacy, collaborating with artists like Ugo Rondinone and Eric Croes, bridging the past with the present. Upholding tradition while embracing modernity, they maintain their unique stamp, rooted in time-honored techniques passed down through generations. With a commitment to serving artists and bearing witness to the zeitgeist, Ateliers Hugo preserves its legacy while illuminating the artistic landscape of today, embodying a timeless mission of creativity and cultural stewardship. Hosted on Acast. See acast.com/privacy for more information.

Chiara Alessi"Oilà"Electa Editorewww.electa.itLa nuova collana OILÀ, curata da Chiara Alessi per Electa con il progetto grafico a cura dello Studio Sonnoli, presenta le storie di protagoniste del Novecento, figure femminili che nel panorama ‘creativo' italiano e internazionale (dal design alla moda, dall'architettura alla musica, dall'illustrazione alla grafica, dalla fotografia alla letteratura) si sono distinte in rapporto a discipline e mestieri ritenuti da sempre appannaggio dell'universo maschile.Il giocoso titolo della collana, OILÀ, riprende una celebre strofa della canzone popolare socialista La lega, poi entrata nel repertorio delle mondine:"Sebben che siamo donne paura non abbiamo, abbiamo delle belle e buone lingue e ben ci difendiamo. A oilì oilì oilà e la lega la crescerà".I primi tre titoli usciti in contemporanea, sono dedicati a Elsa Schiaparelli, Lisetta Carmi e Vanessa Bell, curati rispettivamente da Rossella Locatelli, Anna Toscano e Luca Scarlini: tre ‘progettiste', tre caratteri, tre storie, tre maniere singolari, ciascuna diversa, che hanno trasformato il modo di intendere l'arte e il design, la fotografia e la moda e hanno contribuito all'emancipazione sociale e artistica femminile. Storie che si svolgono attraversando guerre, sfollamenti, rivoluzioni sociali e che si fanno spazio in un mondo e in un mestiere che non era considerato adatto alle donne.Quindi sono usciti anche i titoli dedicati ad Anna Castelli Ferrieri e Lica Covo Steiner di Chiara Alessi e Lora Lamm di Olimpia Zagnoli.Chiara AlessiVorrei far vedere una strada che va all'infinito. Lica Covo SteinerIl carattere collettivo, la sorellanza, la partecipazione all'iniziativa non di alcune creature eccezionali, ma di molte, Lica lo abita dai tempi della Resistenza. Qui cresce la sua prospettiva femminista, che abiterà per tutta la vita. Con un'etica forte e uno spirito lieve nel lavoro, nella vita, nelle amicizie e nella politica. E un corpo, una bellezza, un apparire a cui Lica preferirà sempre l'essere, il domandare e il fare.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/show/tracce-di-il-posto-delle-parole_1/support.Questo show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Découvrez l'abonnement "Au Coeur de l'Histoire +" et accédez à des heures de programmes, des archives inédites, des épisodes en avant-première et une sélection d'épisodes sur des grandes thématiques. Profitez de cette offre sur Apple Podcasts dès aujourd'hui ! Gabrielle Chanel et Elsa Schiaparelli. Deux reines de la mode, aux styles et aux personnalités diamétralement opposés, qui se sont détestés. Au travers de leurs destins croisés, Virginie Girod refait le match entre les deux grandes dames de la haute couture dans un récit inédit. À l'origine de Chanel et de Schiaparelli, il y a deux fillettes malheureuses, Gabrielle et Elsa. La première, issue d'un milieu modeste, perd sa mère alors qu'elle n'a que 12 ans. Confiée à des religieuses, c'est à l'orphelinat d'Aubazine qu'elle aurait découvert la couture, où Chanel s'imprègne du style épuré de leur robe. L'univers familial d'Elsa Schiaparelli est aux antipodes de celui de Gabrielle. Elle appartient à l'aristocratie romaine ! Mais la vie de la fillette n'est pas si rose. Sa mère passe son temps à lui dire qu'elle est laide et qu'elle lui préfère sa sœur. Alors Elsa cultive son côté fantasque pour se faire remarquer. Les deux jeunes femmes vont être marquées par leur premier amour. Pour Chanel, ce sera Arthur Capel, surnommé Boy. Il soutient Gabrielle sur la voie de la création et de l'émancipation. C'est lui qui lui prête l'argent nécessaire pour qu'elle ouvre sa première boutique de modiste à Paris en 1910. Les succès s'enchaînent et ses boutiques se multiplient. Mais Boy meurt dans un accident de voiture. Elsa Schiaparelli n'a pas 20 ans quand elle se marie à un charlatan beaucoup plus âgé qu'elle, Wilhelm de Wendt de Kerlor, qui la laisse tomber alors qu'elle vient d'avoir un enfant. Schiaparelli trouve refuge dans le monde de l'art parisien, qui raffole bientôt de ses créations, et lui permet d'ouvrir sa propre boutique. Chanel travaille avec des couleurs neutres, des lignes sobres et dépouillées, alors que Schiaparelli c'est le too-much. Chanel et Schiaparelli tutoient les sommets quand la Seconde Guerre mondiale éclate. Chanel signe une dernière collection patriotique baptisée « bleu blanc rouge » et ferme sa maison de couture en septembre 1939. Sa position pendant l'Occupation, partagée entre les services secrets allemands et un réseau de Résistance est encore trouble. Schiaparelli s'exile aux Etats Unis où elle prolonge son succès en devenant la créatrice préférée d'Hollywood ! Elle rentre à Paris après la guerre en 1945, mais Schiaparelli comme Chanel sont passés de mode. Le style New-Look de Christian Dior les a ringardisés. Elsa Schiaparelli tombe progressivement dans l'oubli et meurt paisiblement dans son sommeil en 1973. Chanel, quant à elle, devient malgré elle un symbole du classicisme. Elle continue à travailler et à diriger ses défilés jusqu'à la fin de sa vie, en 1971. Thèmes abordés : mode, haute-couture, Chanel, Schiaparelli, seconde guerre mondiale 'Au cœur de l'histoire' est un podcast Europe 1 Studio- Présentation : Virginie Girod - Production : Camille Bichler- Réalisation : Pierre Cazalot- Composition de la musique originale : Julien Tharaud- Rédaction et diffusion : Nathan Laporte- Communication : Kelly Decroix - Visuel : Sidonie Mangin

Amix! En este episodio les platicare la vida historia de la icónica Elsa Schiaparelli, desde su rivalidad con Coco Chanel hasta su supuesta relación con Salvador Dalí.¿Qué aspecto o diseño de moda de Elsa Schiaparelli les impresiona más?}

What you'll learn in this episode:   Why it's harder to find quality vintage and modern costume jewelry today than in years past How Rosie secured a spot as an appraiser on Antiques Roadshow  What Rosie looks for in the pieces she collects, wears and sells in her shop Where the term “costume jewelry” came from and its history Why Rosie is one of the only people in America who will repair costume jewelry   About Rosie Sayyah Rosie Sayyah has been selling and repairing vintage and estate jewelry from her shop, Rhinestone Rosie, in Seattle since 1984. In the early 1980s, Rosie felt her family tradition of dealing in antiques calling to her. Upon leaving her corporate career in television, she decided to open a jewelry store that not only had unique, exciting items for sale, but also where she could restore greatness to jewelry that had fallen into disrepair. Teaching herself about vintage costume and estate jewelry culture and repair through books, hobby shops, and hands-on experience, Rosie has become a national expert in the field. In the late 1990s, she began appearing regularly on “Antiques Roadshow” on PBS TV and continues today as one of their expert appraisers.   Photos available on TheJewelryJourney.com   Additional resources: Website Instagram Facebook Twitter Transcript: Rosalie Sayyah, aka Rhinestone Rosie, first got jewelry lovers' attention as an appraiser on Antiques Roadshow. But she has earned her customers' loyalty for her ability to repair vintage costume jewelry and perfectly match missing rhinestones when no one else can. She joined the Jewelry Journey Podcast to talk about why so few jewelers will repair costume jewelry; what she looks for in the pieces she buys; and how to start a costume jewelry collection of your own. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.   Today, I'm talking with Rhinestone Rosie. You may already be familiar with Rosie. She has her own retail outlet in Seattle, and she does a strong mail order business. You may be familiar with her by seeing her on Antiques Roadshow giving the price of vintage jewelry to people who want to know.    All I know is that whenever I have a piece and I can't find the stone that's the right size, or I know it would be impossible to find the right kind, the color of the stone, or I know it's out of production—maybe it's a really old piece—I turn to her. She hasn't let me down yet. Many of her stones are out of stock elsewhere, but somehow she manages to find them. We'll hear all about her business today. Welcome to the program.   Rosie: Thanks for having me. It's a pleasure. I love to talk about jewelry.   Sharon: I'm so glad you're here. How did you choose the name Rhinestone Rosie?   Rosie: It was kind of a joke. I was an English minor in college, and alliteration is something that's very memorable. I was dealing with my sister over the mail. She was sending me pieces and I would sell them. Just as a joke, I signed a check Rhinestone Rosie and it stuck.    Sharon: So, from the get-go, from day one, the name of your business was Rhinestone Rosie.   Rosie: That's right. That's correct.   Sharon: Does Rhinestone Rosie refer to any kind of costume jewelry stones or just rhinestones?   Rosie: Oh no, we deal with all kinds of jewelry. Beads and metals and pearls, all materials, and actually all ages. We do a lot of repairs. In our shop, our inventory goes from, I would say, the 1870s through present day.   Sharon: I know you have some pretty old vintage pieces, but I don't know how old the antique line goes. A hundred years?   Rosie: Exactly.   Sharon: When did you first become attracted to rhinestones?   Rosie: It's hard to say. My parents had a secondhand business, and they repaired things and sold them. This was in Orlando, Florida. I helped my mom reupholster furniture, and sometimes in the old furniture, we would find a piece of jewelry and she would give it to me. It wasn't always rhinestones. I collected rocks when I was a kid, and they always had cut glass in the store. They had a secondhand store, and I just loved that cut glass. I've always liked shiny things, so that must have been what led me to this.   Sharon: And that includes all the shiny costume jewelry.   Rosie: Exactly, yes. And I like to work with my hands. I've been doing that since I was a little girl. So, working with things, that was just a natural offshoot.   Sharon: How did you get into the repair aspect of it? From your parents?   Rosie: No, actually after I had my baby, Lucia, I had a friend who had a vintage store in Seattle, and I would help her. I would bring home clothing and patterns and do mending on clothes, and she always had broken jewelry. I asked her one day, “Do you ever fix this?” She goes, “Oh, nobody really does. I do it once in a while.” So, I did some research and found out that nobody really repaired this jewelry. I thought, “Hmm, this is something I can do,” and I went to the local hobby shop, the guys that did model cars and model airplanes. They told me what lead solders to use, what glues to use, what paints to use. They were very helpful. They told me all kinds of stuff. I'm self-taught, so there it is. I bought a bunch of books and read the books. I learned how to knot in between beads and practiced through trial and error. I had to go through a lot of stuff.   Sharon: But you did this all yourself. As you were saying, there aren't that many other places that do it.   Rosie: No, I don't think there's a full business anywhere that does it. A lot of dealers will do some of their own. A lot of my contemporaries who did similar things have all either passed on or decided to go a different route. I think I've got a monopoly on it.   Sharon: I don't know anybody else who does it or has a store like yours, but I didn't want to say it without knowing for sure.   Rosie: I think you're right.   Sharon: That's why I'm surprised you're not in New York.   Rosie: Oh, no, we left Florida in 1973. We got as far across the country as we could. We wanted a big city, which Seattle is, and water and a temperate climate. We ended up settling here.    Sharon: It sounds like you made the right choice, but in terms of jewelry and being surrounded by jewelry, I think of New York first, Chicago maybe.   Rosie: I know. A lot of my contemporaries on the Road Show are from back East. I am an anomaly for sure, but it is what it is. That's what I do and I do it well, if I might say.   Sharon: I know in my jewelry cabinet, I have a pile of things and say, “Oh, that should go to Rhinestone Rosie's because I know she can fix it. There's nobody else that does that.” Until I found you, there were pieces I would toss or, like you're saying, give away or just say, “I can't do anything with it.”   Rosie: Exactly, I remember. You did come into my shop. It was a pleasure to meet you in person one time. We did close for about three months during the pandemic. Now we're only open three days a week in the brick-and-mortar store, although our online is still going on. I have people coming in almost daily with their pile of stuff that's been saved for two or three years. They're finally in the shop to get fixed.   Sharon: That's interesting. I noticed that you're only open a few days a week, which seemed to be fewer than before.   Rosie: Yes.   Sharon: What percentage of your business is mail order?   Rosie: I would say mail order and repair—because we do local repair. Of course, people walk in, and then people mail us things from all over the world. I think it's about a 50/50 split, for online sales and for walk-in sales and repair.   Sharon: Wow! I have a friend who was a little hesitant about sending something that was precious to them. It wasn't a precious item, but it was precious to them. I did it. I didn't have any compunction. She did it, too. Where do you source the stuff you have, your vintage pieces? Where do you get them?   Rosie: People just bring it into the store. Sometimes, I'll go to a yard sale or something and pick a piece, but mostly it's people that are downsizing or someone just passed. The family has chosen the pieces they want. Sometimes there's even a note in the collection, “Take this to Rhinestone Rosie.” It's kept me going, and I don't have to go out and beat the bushes.   Sharon: That's great. Have you found it's harder to get things in or harder to find things because costume jewelry—   Rosie: Oh yeah, the good stuff. I know there were a lot of manufacturers at the time, but I'd say the high-end pieces are in collectors' hands, and they go from one collector to another collector. They're not normally available in the market. Every once in a while, you will see that someone found something in a box of junk or something. What was so fun on the Road Show is uncovering something like that, but most of the time, it's hard. It's hard to find the good stuff, so you've got to change your focus. Right now, it's more modernist and clean lines, big, chunky necklaces. It's different than it was in, say, the 20s, 30s and 40s. Some people change.   Sharon: Do you think that costume jewelry has become more popular over the years or right now?   Rosie: People need to learn about the vintage pieces because there are lots of ones like dress clips or fur clips. They have a different way of attaching to the fabric, shall we say, but today a lot of stuff is coming out of China and Korea. There are very, very good contemporary artists making costume jewelry.   Sharon: With eBay and all the online sources, do you think it's harder to find? People know what they have, let's say.   Rosie: I don't think they know what they have, but I think there's a lot of the lower-end stuff. You could buy costume jewelry in a dime store. You could buy it in a pharmacy. You could buy it in a department store. You could buy it at a jewelry story. Jewelry stores and department stores usually sold the best quality. A lot of people bought the lower-end pieces because they were cheap, 10¢, 25¢, sometimes $1. I've seen more of that and less of the higher-end pieces.   Sharon: The audience can't see this, but maybe you'll send a picture. You have a beautiful Juliana necklace on. Do you think people know if they have a piece of jewelry on, I shouldn't bring that to you, I should try and sell it elsewhere?   Rosie: It's funny because they say, “I didn't think you wanted that big, ugly stuff. It's too gaudy,” and I'm like, “I want that. I want big, bold and ugly.” This is what people don't understand, especially in the plastics. It's very hard to find good Bakelite and celluloid and other plastics these days because people just toss them. But if they have something like the necklace I have on, I think it would give them pause, and they would bring something like that to me and I would be glad.   Sharon: As the market changes, like you mentioned, if it's cleaner lines or contemporary, do you change with it?   Rosie: Oh sure. Part of my job, Sharon, is educating people on what they have, how to wear it, where it came from, when it was made, what the materials are. I'll have someone come in. Let's say they're going to a wedding and they want a pair of earrings, and they think rhinestones can only be that clear, diamond-looking thing. When they walk in the shop, they realize it can be red, green, blue, purple with an iridescent coating like the necklace I have on, and they go out with a green pair of earrings instead of the clear ones. My job is not only educating people on what they have, but how to wear it, how to take care of it and, yes, it can be fixed. Don't let your high-end jeweler tell you that it can't be fixed. Just keep looking and you'll find me.   Sharon: That's really true. I have found that a lot of high-end jewelers tell me they can't do anything, and somebody who's more an engineering type feels they can do something with it. They can fix it.   Rosie: Exactly, yeah. I spend a lot of time re-repairing things that someone else did. “My father soldered it or my husband,” or “I used this kind of glue.” A lot of our repairs are removing the glue and old solder and getting it down to a basic where I can rebuild it back.   Sharon: Is it you or does somebody else work with you on repairs?   Rosie: Me and my daughter, we both do it in the shop. We don't send it out. We don't work with gold, and we don't do silver solder. We do lead solder. But yeah, these hands, that's what they do.   Sharon: Did you approach Antiques Roadshow or did they find you?   Rosie: It's funny. In 1997, they did the first launch of the program, and Seattle was one of the test cities. Some of my mentors who do fine antique jewelry said, “Rosie, you should have been there. We had so much costume jewelry come in and we didn't know what to tell people.” Long story short, my background is in television. I used to be a producer. I made commercials, and I knew the producer was the one to call.    So, I called WGBH, a guy named Peter, and I said, “Hey, my name is Rhinestone Rosie,” and there was a beat. I said, “I'm not a stripper. I can walk and talk at the same time. I'm fairly presentable on camera and I know about costume jewelry.” He said, “Yes, we would love to have you.” So, in 1998 in Portland, Oregon, it was my first show. I don't think I taped. I was a little bit afraid. I've always been behind the camera, not in front of the camera, but I got over that pretty quick. Yeah, I did call him up and I said, “You need me.” I did it for 20 years.   Sharon: That's sort of connected to this question. I didn't know how to phrase it, but it seems to me that a lot of stylists would come in and say, “I'm doing a 40s show. What do I need?” Does that ever happen, that you have a stylist come in?   Rosie: It happened a lot more before the pandemic. Whether things changed in that industry, I don't know, but yes, we had a lot of stylists or a magazine shoot. If they were doing a shoot, they would come in and pick out pieces. We used to rent our pieces, but we don't do that anymore because people just wouldn't return them. But yes, we get stylists. We would get theater seamstresses, the designers, the costume makers for theaters. We didn't get a lot of movie people in, but maybe this'll help. We can help them if they need us.   Sharon: Is it hard to decide what color or what kind of jewelry somebody should have?    Rosie: What I do is ask them about their lifestyle and what they want the piece for. I look at them. I see how they're dressed, how their hair is cut, and I can pretty well sus out if they're an edgy person or they're a modest person, kind of timid. We have tiny, little earrings, big, bold, down-to-the-shoulder dusters, and you can usually tell by talking to someone. Someone who's got nose piercings and whole-body tattoos, they're not going to go for something real mild.    You can pick up on their body language. That's helped me a lot, plus I encourage people to bring in outfits and put them on. It's like the Barbie doll thing, just dress them and put jewelry on. They can try it on, and if the necklace is too short, we can adjust things. We can change earrings. Most of our earrings are clip-on or screw-back. We can change them to pierced if they want. We do that with our jewelry, or we can do it with your jewelry.   Sharon: What's your return policy if they decide they want to take it home and try it?   Rosie: They get a store credit.   Sharon: A few of the pieces don't work. Maybe it's your daughter who told me that something wouldn't work. I can't even tell the stone apart from the original stones. How do you decide that? How do you decide if it's going to work? Can you tell us about some of the pieces that haven't worked, where you've had to come back to somebody and say, “I can't find anything”?   Rosie: Some of the older stones, I would say pre-1910 to the late 1800s, a lot of those stones, I can't find. I've taken stones out of pieces. I try very hard. If the piece comes in and the stone I'm matching is slightly discolored, I'm not going to put a brand new, shiny stone in its place. I will try to find in my pile of stones one that is slightly discolored. I try very hard to match it.   But, yeah, there are times when we just can't fix a clasp or it's in a place that's too thick for us to solder or the thread is so weak and the restringing cost is prohibitive. We do understand sentimental value. We try to let people know that we appreciate what they have and we understand. It doesn't matter to us if it cost 25¢. If it's important to you, it's important to us. So, if we honestly can't fix it, we tell them, “No, we can't fix it. We can't help you.”   Sharon: How did you get your inventory? You have quite an inventory of stones that you can put in pieces.   Rosie: 40 years. I do have a source for new stones. Sometimes I'll even go to Etsy and try to find something, but I've taken a lot of stones out of pieces. There have also been people through the years—like there was a lady who made earrings that sold in Nordstrom. Her name was Nellie, and she called me up and said, “I'm going out of business. Would you consider buying some of my stones?” That kind of thing. Jewelry stores have back inventory. When they close, I love to go in and dig around in their storerooms.   But I can't buy stones that are unfoiled. I don't do a lot of that because if you glue an unfoiled stone in, the foil is what makes a rhinestone shine. It's like a little mirror. So, if it has no foil on it, I can't really use it. A lot of stones out there have no foil backing, and I can't use those. But most of time, it's just here and there. People hear about me, or they have a hobby or they know somebody who's fixed their own jewelry and they're wanting to sell. I'll look and see what they have, and I'll pick and choose what I might use.   Sharon: Did you have any reservations about opening this kind of store in Seattle?   Rosie: No. I had it all over the kitchen table, and my husband said, “Hey, you'd better start a business because this has taken over our house.” I had no idea how to do it, but all I needed was the license. I shared space. Actually, right next door to where my shop is now, I was in the front of her store. I just had a desk and some jewelry behind me.    Now, this is a really good story. Again, my background is television, but I also have a degree in advertising and public relations. So, I printed up business cards and marched into I. Magnin and Frederick & Nelson and the major boutiques in downtown Seattle. I said, “This is what I do. I can help you,” and I walked out of every place with something to repair. That gave me street cred, so I could say, “I repair jewelry for I. Magnin or Nordstrom.”    I've never been afraid of talking about my abilities to do what we do and that we do it well, and I've always been true and honest and open to my customers. I learned that from my parents. That's how they ran their business. I started with very little cash. I didn't get any loans. It was a bootstrap business, and it's grown to what it is. I'm very proud of it.   Sharon: As I was putting these questions together, I kept asking myself, “What are you doing in Seattle?”   Rosie: Why in Seattle? I just ended up where I was.    Sharon: It's a nice place, but I wouldn't think of it as the first place I'd open anything.   Rosie: We're busy enough. There's a lot of money in Seattle and there are a lot of people. They might dress in Gore-Tex or flannel or whatever, but they like a little bit of bling. The thing is it belonged to grandma or Aunt Masie or somebody, so it's sentimental. It's not always something they're going to wear all the time. I don't wear jewelry all the time, but it's something you look at and hold and treasure. I wanted to preserve that for people.   Sharon: You don't wear jewelry all the time. That's interesting. I don't have jewelry on today. A lot of times I realize I don't have any jewelry on. People used to say, “Well, you're the kind of person who wouldn't go out without earrings.” Do you stop and put on a vintage piece?   Rosie: Well, I'm not an earring girl. I wear rings, watches, necklaces and brooches. Usually, I only wear them when I'm in the shop or if I'm giving a talk, a lecture. I do a lot of lecturing for groups about the history and culture of rhinestones. Sometimes I'll even dress totally vintage, the shoes, the hat, the dress, the jewelry, usually from the 40s. That's what my era seems to be. This is a 50s, 60s necklace I have on. Of course, when I did the Roadshow, I always wore jewelry and people loved it. I would get so many emails, “I love your jewelry. That's cool.”    Sharon: I always say something. If he's watching the show, “Oh, it's Rhinestone Rosie.” I can see why the jewelry gets attention.   Rosie: Oh, yeah.   Sharon: Do you collect anything?    Rosie: I didn't start as a collector. I started as a merchant, so my collection is just based on what I learned about. Since I did so much lecturing, I liked to have a piece of almost every major name that I could show to people. I do have that type of a collection. For some reason, I collect vintage watches. I have maybe 50 watches. It's insane.    As far as jewelry, I think my whole collection is very modest because I purge occasionally. I find if I'm not wearing it, I will take it to the shop. We'll sell it, and people get excited when they find out it is something I have worn and loved. I don't mind doing it. I'm not afraid to separate myself from some major pieces. Right now, I'm more into the clean, modernist lines, a lot of metals. Mexican 40s jewelry I really like to wear. Usually my clothes are very simple, one color, and then the jewelry is the standout part of it.   Sharon: Do you think that older Mexican jewelry is included in modernist?   Rosie: In what?   Sharon: In modernist?    Rosie: Oh yes, they were influenced by it greatly. In the 40s and 50s, some of that jewelry is –   Sharon: It is beautiful.   Rosie: Yeah, I would say it's definitely influenced by a modernist approach, yes. It shows in the Pre-Columbian and the Spanish people that came over, but that's what makes it intriguing. Look at Georg Jensen. You can have that flow, that feel in the 40s Mexican pieces. I have seen new designers make pieces that take my breath away. They're crazy, like things that wrap around your neck and stand out, nothing I could possibly wear, but I certainly appreciate.    I don't know what we would call today's costume jewelry. This term came about because Coco Chanel, Elsa Schiaparelli, they made costumes. Their clothing was costume, and they said, “It needs something.” So, the jewelry that went with it, the term costume jewelry came from that happening.   Sharon: That's interesting. What if they had made it out of real pearls and real gold?   Rosie: Chanel combined both. She wasn't afraid to wear costume and fine jewelry at the same time. As matter of fact, the word rhinestone—the best costume or stones came out of Europe, near the Rhine River. The first piece of rhinestone was a water-washed piece of crystal that came from the Rhine River. So, the name rhinestone has become ubiquitous, like Kleenex or anything like that. It is actually from a piece of crystal from the Rhine River, because the best stuff still does come out of Europe.   Sharon: That's interesting.   Rosie: They make the very best. Certain brands or names in costume jewelry use these incredible stones. You just can't find them anymore. They don't make them anymore.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Dorothea Towles Church spent over five years in Europe during the 1950s, modeling for designers like Christian Dior, Elsa Schiaparelli, Robert Piguet, Jacques Fath, Pierre Balmain and more. As the first Black woman to model for major European fashion houses, Church used her gifts and access to help othe black women learn about the fashion industry and give back to her community. Taniqua dives into the career of Dorothea Church. Black Fashion Spotlight: Invisible Beauty Film Episode Sources/Further Reading: Blazing the Way One Runway Turn at a Time Dorothea Church, 83; First Black Model to Work for French Designers 1950s Fashion Model | Dorothea Church Church, Dorothea Towles (1922-2006) Dorothea Towles: Christian Dior's Choice for the "New Look"    Follow us on IG: @blackfashionhistorypodcast @taniquarudell  www.blackfashionhistory.com       

Elsa Schiaparelli (1890 - 1973) was a designer known for her eccentric fashions and surrealist collaborations with artist Salvador Dalí and Jean Cocteau. Her collections were famous for unconventional and artistic themes like the human body, insects, and for the use of bright colors like her "shocking pink". For further reading: 'Schiaparelli': The Shocking, Shadowed Life Of A Fashion Icon Shocking Life: A Hommage To The Famous Firsts of A Legendary Couturier Shocking!: The surreal world of Elsa Schiaparelli Everything You Need to Know About Elsa Schiaparelli Ahead of the Shocking! Exhibition in Paris Elsa Schiaparelli: A Biography by Meryle Secrest All month, we're talking about Trendsetters: women whose vision, style, and willingness to break barriers changed culture — from what we wear to how we behave. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures.  Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, and Abbey Delk. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

Curator Romy Cockx talks to Danielle Radojcin about Man Ray's journey from growing up as the son of working-class immigrants in Philadelphia to a towering giant of 20th Century image-making.Man Ray was responsible for some of the most eye-catching photos of women in the 20th Century: Lee Miller's floating lips, the glass tears of Kiki de Montparnasse, and portraits of fashion stars Coco Chanel and Elsa Schiaparelli to name but a few.MoMu, the Fashion Museum in Antwerp, is currently running an exhibition showcasing Man Ray's relationship with fashion, from his photo editorials for Harper's Bazaar and Vogue, to the gowns worn by some of the famous women who modelled them. Cockx talks about what influenced Man Ray, from Paul Poiret to Marcel Duchamp and the Marquis de Sade, and the designers he in turn has influenced, including Phoebe Philo and Martin Margiela.Recommended links from Romy Cockx:https://www.stockmansartbooks.be/nl/man-ray-and-fashion.htmlhttps://www.momu.be/en/exhibitions/man-ray 

La mujer que unió al arte y la moda... Bibliografía: Adamuz, Esteban. Elsa Schiaparelli o cómo arte y moda se fusionaron en el siglo XX. Revista. (28/IV/2023). Página Web: https://revistarevista.com/elsa-schiaparelli-o-como-arte-y-moda-se-fusionaron-en-el-siglo-xx/ (16/V/2020) Puig, Margarita. Elsa Schiaparelli, la diseñadora que inventó vestidos surrealistas para el fin del mundo La Vanguardia. (28/IV/2023). Página Web: https://www.lavanguardia.com/magazine/moda/20200516/48712736015/elsa-schiaparelli-disenadora-invento-vestidos-surrealistas-mundo.html Reyes, Vicky Conoce a Elsa Schiaparelli: La Italiana que hizo temblar a Coco Chanel. Glamour. (28/IV/2023). Página Web: https://www.glamour.mx/moda/articulos/elsa-schiaparelli-disenadora-italiana-biografia/19725 Vogue Elsa Schiaparelli. (28/IV/2023). Página Web: https://www.vogue.es/moda/modapedia/disenadores/elsa-schiaparelli/205 (2011) Stevenson, N.J. Moda. Historia de los diseños y estilos que han marcado época. Lunwerg, Barcelona

Cristina Acidini"L'arte della moda"L'età dei sogni e delle rivoluzioni 1789-1968Forlì, Museo Civico San DomenicoFino al 2 luglio 2023http://www.mostremuseisandomenico.itTintoretto, William Hamilton, George Romney, Francesco Hayez, Silvestro Lega, Telemaco Signorini, James Tissot, Giovanni Boldini, Vittorio Corcos, Henry Matisse, Josef Hoffmann, Giacomo Balla, Piet Mondrian, Umberto Boccioni, Giorgio de Chirico, Damien Hirstinsieme con Charles Frederick Worth, Ventura, Mariano Fortuny, Paul Poiret, SalvatoreFerragamo, Coco Chanel, Germana Marucelli, Valentino Garavani e Pierpaolo Piccioli, Giorgio Armani, Christian Dior per John Galliano, Gucci, Prada, Tom Ford, Cristobal Balenciaga, Yohij Yamamoto: sono soltanto alcuni dei 100 artisti e dei 50 stilisti e couturier protagonisti di L'arte della moda. L'età dei sogni e delle rivoluzioni, 1789 – 1968, la grande mostra ideata e realizzata da Fondazione Cassa dei Risparmi di Forlì negli spazi del Museo Civico San Domenico, fino al 2 luglio 2023. Diretta da Gianfranco Brunelli e curata da Cristina Acidini, Enrico Colle, Fabiana Giacomotti e Fernando Mazzocca, l'esposizione è dedicata all'affascinante rapporto fra arte e moda. Il periodo preso in considerazione attraversa tre secoli: dall'Ancien Régime al secondo Novecento. Un racconto unico. Un percorso espositivo di confronti che comprende oltre 300 opere, tra quadri, sculture, accessori, abiti d'epoca e contemporanei. L'esposizione forlivese, la prima del suo genere, somiglia a un vero e proprio kolossal. Le opere, che a partire dal Settecento attraversano la Rivoluzione francese, il Romanticismo, la Macchia, l'Impressionismo, il Simbolismo e tutte le Avanguardie novecentesche fino a oggi, identificano un rapporto tra arte e moda dove l'arte rispecchia, crea e si fa moda e la moda appartiene definitivamente alle arti. La moda dipinta, ritratta, scolpita, realizzata dai grandi artisti. L'abito che modella, nasconde, dissimula e promette il corpo. L'abito come segno di potere, di ricchezza, di riconoscimento, di protesta. Come cifra distintiva di uno stato sociale o identificativa di una generazione. La moda come opera e comportamento. L'arte come racconto e come sentimento del tempo Tra le opere esposte Ritratto dell'avvocato Carlo Manna (1907) di Umberto Boccioni, Ritratto di Emiliana Concha de Ossa (1888) di Giovanni Boldini, Grande composizione A con nero, rosso, grigio giallo e blu (1919) di Piet Mondrian, Donna e anemoni (1920-1921) di Henry Matisse a cui fanno da contrappunto due completi ricamati di Giorgio Armani, il Panciotto di Marinetti (1923 – 1924) di Fortunato Depero, la Camicia Orlando (A/I 2001-02) di Gianfranco Ferré, il Delphos in seta con sopravveste in velluto (1920 circa) di Mariano Fortuny in dialogo con una Kore di tipo Eleusidella fine del II secolo, l'Abito da giorno “Linea Assira” (1961) di Germana Marucelli e un abito da sera inedito di Elsa Schiaparelli. Accompagnato dal catalogo edito da Dario Cimorelli Edizioni, il progetto espositivo, curato dall'architetto Alessandro Lucchi, si è avvalso della preziosa collaborazione dei più importanti musei d'arte, degli archivi, dei musei e maison di moda. L'esposizione forlivese porta in Italia capolavori provenienti da importanti istituzioni museali internazionali quali, tra gli altri, il Musée d'Orsay di Parigi, la Galleria Belvedere di Vienna, il Musée d'Art et d'Histoire di Ginevra, la Klimt Foundation e il MAK- Museum of Applied Arts, di Vienna, la Galerie Neue Meister di Dresda, Le Domaine de Trianon | Château de Versailles, il Kunstmuseum de l'Aia, il Museum National di Cracovia, il Castello Reale di Varsavia. Accanto ad essi i maggiori musei italiani: le Gallerie degli Uffizi di Firenze, la Galleria Nazionale d'Arte Moderna e Contemporanea di Roma, la Pinacoteca Agnelli di Torino, il Museo d'Arte Moderna e Contemporanea di Trento e Rovereto, il Museo e Real Bosco di Capodimonte di Napoli, il Museo Archeologico Nazionale di Napoli, la Pinacoteca di Brera di Milano, i Musei Civici di Mantova, l'Istituto per il Teatro e il Melodramma - Fondazione Giorgio Cini di Venezia, il Museo del Novecento di Milano, l'Accademia di Belle Arti di Brera, il Museo Poldi Pezzoli di Milano, le Gallerie Nazionali d'Arte Antica di Roma, la Fondazione Magnani Rocca di Fontanellato, le Gallerie d'Italia di Intesa Sanpaolo, la Fondazione Cassa di Risparmio di Lucca, la Fondazione Cariverona, il Museo Palazzo Ricci di Macerata, la Biblioteca Nazionale Centraledi Firenze, i Musei Civici di Padova, la Galleria d'Arte Moderna di Roma, il Museo Revoltella di Trieste, la Galleria d'Arte Moderna Restivo di Palermo. Prestigiosi anche i prestiti degli abiti e degli accessori provenienti da fondamentali case di moda come Giorgio Armani, Curiel, Prada, Christian Dior Couture, Archivio Storico Gucci, Maison Valentino, Lanvin, Max Mara; e da importanti istituzioni come Palazzo Morando | Costume Moda Immagine di Milano, Archivio Renato Balestra, il Museo Stibbert di Firenze, Centro di ricerca Gianfranco Ferré, il Museo della Moda e del Costume di Palazzo Pitti di Firenze, Archivio Storico Galitzine, il Museo Ferragamo di Firenze, il Museo Boncompagni Ludovisi di Roma, il Museo del Costume - Castello di Donnafugata di Ragusa, il Museo dell'Aeronautica Caproni di Trento, il Museo Mariano Fortuny y Madrazo e il Museo Correr di Venezia, la Fondazione Archivio Capogrossi di Roma, l'Archivio Germana Marucelli di Milano, gli Archivi Mazzini di Massa Lombarda, Fortuny di Venezia, la Collezione Tirelli Trappetti di Roma e la Collezione Massimo Cantini Parrini. Importanti anche i prestiti da collezioni private fra cui quella di AlbertoTagliabue e Giovanna Frossi. Ideata e realizzata dalla Fondazione Cassa dei Risparmi di Forlì in collaborazione con il Comune di Forlì e il Museo Civico San Domenico, la mostra è frutto del lavoro del prestigioso comitato scientifico presieduto ad honorem da Antonio Paolucci e composto da Marco Antonio Bazzocchi, Silvia Casagrande, Simona Di Marco, Fabriano Fabbri, Mario Finazzi, Gioia Mori, Francesco Parisi, Paola Refice, Giorgio Restelli, Stefania Ricci, Ines Richter, Chiara Squarcina, Ulisse Tramonti. Anche per L'arte della moda. L'età dei sogni e delle rivoluzioni, 1789 – 1968 si conferma la preziosa collaborazione avviata nel 2014 tra la Fondazione e Mediafriends, l'Associazione Onlus di Mediaset, Mondadori e Medusa, nel segno di arte e solidarietà, grazie alla quale una parte del biglietto di ingresso alla mostra verrà devoluto per sostenere il progetto “Scuola di Vita”, rivolto a ragazze e ragazzi che non hanno ancora trovato una strada.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Han skrev, tecknade, målade, gjorde film. Det finns knappt en enda bok om 1900-talets kultur där hans namn inte dyker upp. Jean Cocteau var en kille mitt i smeten, och dessutom en välklädd sådan. Under ett halvt sekel befann sig Jean Cocteau i centrum av den franska kulturvärlden. För många, framför allt utomlands, kom han att förkroppsliga det tidiga 1900-talets avantgardistiska franska kultur tack vare sin intelligens, ironi och espri. Han kunde kalla såväl Proust, Picasso, som Piaf sina vänner. Riktigt nära stod han modeskaparen Coco Chanel, som han också arbetade med. För ja, han hade även ett finger nere i mode-syltburken. Även till Chanels konkurrent, Elsa Schiaparelli, lånade Cocteau sina tjänster. För produktiv var han; Jean Cocteau jobbade jämt. Även om han gärna ville låta påskina motsatsen. Klädd i perfekt skurna kostymer, skjorta och slips, gick många på hans lättjefulla pose. Så pass att vissa kritiserade honom för att lägga mer energi på att spela rollen som poet och konstnär, än att skapa meningsfulla verk.I veckans Stil berättar vi om den mångfacetterade multikonstnären. Bland annat tittar vi närmare på en av hans främsta musor, trapetskonstnären och dragartisten Barbette. Uppvuxen i en småstad i Texas lyckades Barbette bli en av 1920-talets Paris stora stjärnor.Vi pratar också med modejournalisten Lotta Lewenhaupt om det sätt som länge var det självklara för att skildra stil, nämligen modeteckningar. Under en period på 1900-talet var just modetecknare ett av de hetaste yrken man kunde ha.Dessutom djupdyker vi in i en av de myter som omgärdar Cocteau. Det sägs att han dog samma dag som Edith Piaf, och att det var hennes dödsbesked som fick honom att lämna jordelivet. Vi träffar regissören Rikard Bergqvist, som berättar för oss om denna sägen, och om Piaf och Cocteaus vänskap.Veckans gäst är Sten Bernhardsson, kulturdirektör i Uppsala Kommun, samt ordförande för Alliance Française d'Upsal.

Présentation de l'invitée : Son nom ne vous dit peut-être rien et pourtant, Claude Brouet est considérée comme l'une des journalistes de mode les plus influentes du XXème siècle : de ses débuts dans les années 50 chez Vive la Mode, à son départ en 1996 de la maison Hermès, cette figure du journalisme de mode a sû accompagner les femmes durant près d'un demi-siècle, en leur proposant en tant que journaliste au ELLE, puis rédactrice en chef chez Marie-Claire, des contenus dans l'air du temps qui ont toujours célébré le féminin, la simplicité et l'élégance. Dans ce nouvel épisode, Claude Brouet revient à 93 ans, sur l'ensemble de sa carrière au travers d'anecdotes personnelles qui racontent tour à tour les hasards heureux qui l'ont menée à ce milieu, la toute puissance des magazines féminins de l'époque ou encore l'arrivée des plus grands créateurs français. Un parcours hors du commun qu'elle a également souhaité transmettre dans son livre, Claude Brouet, journaliste de mode (2022). « Je suis une journaliste de mode d'un temps passé et mon livre témoigne d'une façon de travailler dans la presse et dans la mode qui n'existe plus. » Ce que vous allez apprendre dans cet épisode : Claude Brouet se présente Pourquoi elle a souhaité faire ce livre Son amitié avec Jean-Paul Gaultier La carrière de sa mère chez Chanel, puis Schiaparelli Ses débuts chez Vive la Mode Le rôle des magazines de mode dans les années 50 Son arrivée chez ELLE Les sujets abordés dans les magazines de l'époque En quoi consistait son travail en tant que rédactrice de mode Son avis sur le New-Look Son départ du magazine ELLE Son travail chez Hermès en tant que directrice de la mode L'arrivée de Martin Margiela chez Hermès Ses années chez Marie Claire Ce qu'elle souhaite transmettre Qui elle souhaiterait entendre dans ce podcast « Notre fil conducteur [chez Marie Claire] était de ne pas suivre la mode aveuglément, de sauter à pieds joints dans toutes les tendances, mais d'apprendre à se connaître et à choisir ce qui vous va vraiment. » « Le New-Look était une catastrophe pour le corps des femmes : les agrafes me rentraient dans la chair et mon tour de taille ne mesurait que 48 centimètres, mais comme tout le monde, je trouvais cela formidable. » « Mon premier souvenir au ELLE a été le couronnement de la reine Elizabeth II : j'ai à peine eu le temps de poser mon sac, que toute la rédaction était partie dans le bureau d'Hélène Lazareff pour regarder le couronnement. C'était la première fois de ma vie que je regardais une émission de télé. »N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : Son livre Claude Brouet, journaliste de mode : https://livre.fnac.com/a16972463/Sonia-Rachline-Claude-Brouet-papesse-de-la-mode Peter Knapp : http://peterknapp.ch/?page_id=12 Bibliothèque Forney : https://www.paris.fr/lieux/bibliotheque-forney-18 ELLE : https://www.elle.fr/ Diane Vreeland : https://www.elle.fr/Loisirs/Cinema/Dossiers/Diana-Vreeland-l-ex-reine-des-redactrices-de-mode-2203700 Jacques Fath : https://www.universalis.fr/encyclopedie/jacques-fath/ Elsa Schiaparelli : https://www.schiaparelli.com/fr/21-place-vendome/la-vie-d-elsa/ Marie Claire : https://www.marieclaire.fr/ Hélène Lazareff : https://fr.rbth.com/histoire/88828-helene-gordon-lazareff-fondatrice-magazine-mode-elle-russie Martin Margiela chez Hermès : https://weekend.levif.be/lifestyle/mode/les-annees-hermes-de-martin-margiela-en-8-points-cles/ Emmanuelle Kanh : https://www.ek.fr/fr/content/13-histoire-de-la-maison

Présentation de l'invitée : Son nom ne vous dit peut-être rien et pourtant, Claude Brouet est considérée comme l'une des journalistes de mode les plus influentes du XXème siècle : de ses débuts dans les années 50 chez Vive la Mode, à son départ en 1996 de la maison Hermès, cette figure du journalisme de mode a sû accompagner les femmes durant près d'un demi-siècle, en leur proposant en tant que journaliste au ELLE, puis rédactrice en chef chez Marie-Claire, des contenus dans l'air du temps qui ont toujours célébré le féminin, la simplicité et l'élégance. Dans ce nouvel épisode, Claude Brouet revient à 93 ans, sur l'ensemble de sa carrière au travers d'anecdotes personnelles qui racontent tour à tour les hasards heureux qui l'ont menée à ce milieu, la toute puissance des magazines féminins de l'époque ou encore l'arrivée des plus grands créateurs français.Un parcours hors du commun qu'elle a également souhaité transmettre dans son livre, Claude Brouet, journaliste de mode (2022). « Je suis une journaliste de mode d'un temps passé et mon livre témoigne d'une façon de travailler dans la presse et dans la mode qui n'existe plus. » Ce que vous allez apprendre dans cet épisode : Claude Brouet se présente Pourquoi elle a souhaité faire ce livre Son amitié avec Jean-Paul Gaultier La carrière de sa mère chez Chanel, puis Schiaparelli Ses débuts chez Vive la Mode Le rôle des magazines de mode dans les années 50 Son arrivée chez ELLE Les sujets abordés dans les magazines de l'époque En quoi consistait son travail en tant que rédactrice de mode Son avis sur le New-Look Son départ du magazine ELLE Son travail chez Hermès en tant que directrice de la mode L'arrivée de Martin Margiela chez Hermès Ses années chez Marie Claire Ce qu'elle souhaite transmettre Qui elle souhaiterait entendre dans ce podcast « Notre fil conducteur [chez Marie Claire] était de ne pas suivre la mode aveuglément, de sauter à pieds joints dans toutes les tendances, mais d'apprendre à se connaître et à choisir ce qui vous va vraiment. » « Le New-Look était une catastrophe pour le corps des femmes : les agrafes me rentraient dans la chair et mon tour de taille ne mesurait que 48 centimètres, mais comme tout le monde, je trouvais cela formidable. » « Mon premier souvenir au ELLE a été le couronnement de la reine Elizabeth II : j'ai à peine eu le temps de poser mon sac, que toute la rédaction était partie dans le bureau d'Hélène Lazareff pour regarder le couronnement. C'était la première fois de ma vie que je regardais une émission de télé. » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : Son livre Claude Brouet, journaliste de mode : https://livre.fnac.com/a16972463/Sonia-Rachline-Claude-Brouet-papesse-de-la-mode Peter Knapp : http://peterknapp.ch/?page_id=12 Bibliothèque Forney : https://www.paris.fr/lieux/bibliotheque-forney-18 ELLE : https://www.elle.fr/ Diane Vreeland : https://www.elle.fr/Loisirs/Cinema/Dossiers/Diana-Vreeland-l-ex-reine-des-redactrices-de-mode-2203700 Jacques Fath : https://www.universalis.fr/encyclopedie/jacques-fath/ Elsa Schiaparelli : https://www.schiaparelli.com/fr/21-place-vendome/la-vie-d-elsa/ Marie Claire : https://www.marieclaire.fr/ Hélène Lazareff : https://fr.rbth.com/histoire/88828-helene-gordon-lazareff-fondatrice-magazine-mode-elle-russie Martin Margiela chez Hermès : https://weekend.levif.be/lifestyle/mode/les-annees-hermes-de-martin-margiela-en-8-points-cles/ Emmanuelle Kanh : https://www.ek.fr/fr/content/13-histoire-de-la-maison

Présentation de l'invitée : Son nom ne vous dit peut-être rien et pourtant, Claude Brouet est considérée comme l'une des journalistes de mode les plus influentes du XXème siècle : de ses débuts dans les années 50 chez Vive la Mode, à son départ en 1996 de la maison Hermès, cette figure du journalisme de mode a sû accompagner les femmes durant près d'un demi-siècle, en leur proposant en tant que journaliste au ELLE, puis rédactrice en chef chez Marie-Claire, des contenus dans l'air du temps qui ont toujours célébré le féminin, la simplicité et l'élégance. Dans ce nouvel épisode, Claude Brouet revient à 93 ans, sur l'ensemble de sa carrière au travers d'anecdotes personnelles qui racontent tour à tour les hasards heureux qui l'ont menée à ce milieu, la toute puissance des magazines féminins de l'époque ou encore l'arrivée des plus grands créateurs français. Un parcours hors du commun qu'elle a également souhaité transmettre dans son livre, Claude Brouet, journaliste de mode (2022). « Je suis une journaliste de mode d'un temps passé et mon livre témoigne d'une façon de travailler dans la presse et dans la mode qui n'existe plus. » Ce que vous allez apprendre dans cet épisode : Claude Brouet se présente Pourquoi elle a souhaité faire ce livre Son amitié avec Jean-Paul Gaultier La carrière de sa mère chez Chanel, puis Schiaparelli Ses débuts chez Vive la Mode Le rôle des magazines de mode dans les années 50 Son arrivée chez ELLE Les sujets abordés dans les magazines de l'époque En quoi consistait son travail en tant que rédactrice de mode Son avis sur le New-Look Son départ du magazine ELLE Son travail chez Hermès en tant que directrice de la mode L'arrivée de Martin Margiela chez Hermès Ses années chez Marie Claire Ce qu'elle souhaite transmettre Qui elle souhaiterait entendre dans ce podcast « Notre fil conducteur [chez Marie Claire] était de ne pas suivre la mode aveuglément, de sauter à pieds joints dans toutes les tendances, mais d'apprendre à se connaître et à choisir ce qui vous va vraiment. » « Le New-Look était une catastrophe pour le corps des femmes : les agrafes me rentraient dans la chair et mon tour de taille ne mesurait que 48 centimètres, mais comme tout le monde, je trouvais cela formidable. » « Mon premier souvenir au ELLE a été le couronnement de la reine Elizabeth II : j'ai à peine eu le temps de poser mon sac, que toute la rédaction était partie dans le bureau d'Hélène Lazareff pour regarder le couronnement. C'était la première fois de ma vie que je regardais une émission de télé. » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : Son livre Claude Brouet, journaliste de mode : https://livre.fnac.com/a16972463/Sonia-Rachline-Claude-Brouet-papesse-de-la-mode Peter Knapp : http://peterknapp.ch/?page_id=12 Bibliothèque Forney : https://www.paris.fr/lieux/bibliotheque-forney-18 ELLE : https://www.elle.fr/ Diane Vreeland : https://www.elle.fr/Loisirs/Cinema/Dossiers/Diana-Vreeland-l-ex-reine-des-redactrices-de-mode-2203700 Jacques Fath : https://www.universalis.fr/encyclopedie/jacques-fath/ Elsa Schiaparelli : https://www.schiaparelli.com/fr/21-place-vendome/la-vie-d-elsa/ Marie Claire : https://www.marieclaire.fr/ Hélène Lazareff : https://fr.rbth.com/histoire/88828-helene-gordon-lazareff-fondatrice-magazine-mode-elle-russie Martin Margiela chez Hermès : https://weekend.levif.be/lifestyle/mode/les-annees-hermes-de-martin-margiela-en-8-points-cles/ Emmanuelle Kanh : https://www.ek.fr/fr/content/13-histoire-de-la-maison

Présentation de l'invitée : Son nom ne vous dit peut-être rien et pourtant, Claude Brouet est considérée comme l'une des journalistes de mode les plus influentes du XXème siècle : de ses débuts dans les années 50 chez Vive la Mode, à son départ en 1996 de la maison Hermès, cette figure du journalisme de mode a sû accompagner les femmes durant près d'un demi-siècle, en leur proposant en tant que journaliste au ELLE, puis rédactrice en chef chez Marie-Claire, des contenus dans l'air du temps qui ont toujours célébré le féminin, la simplicité et l'élégance. Dans ce nouvel épisode, Claude Brouet revient à 93 ans, sur l'ensemble de sa carrière au travers d'anecdotes personnelles qui racontent tour à tour les hasards heureux qui l'ont menée à ce milieu, la toute puissance des magazines féminins de l'époque ou encore l'arrivée des plus grands créateurs français. Un parcours hors du commun qu'elle a également souhaité transmettre dans son livre, Claude Brouet, journaliste de mode (2022). « Je suis une journaliste de mode d'un temps passé et mon livre témoigne d'une façon de travailler dans la presse et dans la mode qui n'existe plus. » Ce que vous allez apprendre dans cet épisode : Claude Brouet se présente Pourquoi elle a souhaité faire ce livre Son amitié avec Jean-Paul Gaultier La carrière de sa mère chez Chanel, puis Schiaparelli Ses débuts chez Vive la Mode Le rôle des magazines de mode dans les années 50 Son arrivée chez ELLE Les sujets abordés dans les magazines de l'époque En quoi consistait son travail en tant que rédactrice de mode Son avis sur le New-Look Son départ du magazine ELLE Son travail chez Hermès en tant que directrice de la mode L'arrivée de Martin Margiela chez Hermès Ses années chez Marie Claire Ce qu'elle souhaite transmettre Qui elle souhaiterait entendre dans ce podcast « Notre fil conducteur [chez Marie Claire] était de ne pas suivre la mode aveuglément, de sauter à pieds joints dans toutes les tendances, mais d'apprendre à se connaître et à choisir ce qui vous va vraiment. » « Le New-Look était une catastrophe pour le corps des femmes : les agrafes me rentraient dans la chair et mon tour de taille ne mesurait que 48 centimètres, mais comme tout le monde, je trouvais cela formidable. » « Mon premier souvenir au ELLE a été le couronnement de la reine Elizabeth II : j'ai à peine eu le temps de poser mon sac, que toute la rédaction était partie dans le bureau d'Hélène Lazareff pour regarder le couronnement. C'était la première fois de ma vie que je regardais une émission de télé. » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : Son livre Claude Brouet, journaliste de mode : https://livre.fnac.com/a16972463/Sonia-Rachline-Claude-Brouet-papesse-de-la-mode Peter Knapp : http://peterknapp.ch/?page_id=12 Bibliothèque Forney : https://www.paris.fr/lieux/bibliotheque-forney-18 ELLE : https://www.elle.fr/ Diane Vreeland : https://www.elle.fr/Loisirs/Cinema/Dossiers/Diana-Vreeland-l-ex-reine-des-redactrices-de-mode-2203700 Jacques Fath : https://www.universalis.fr/encyclopedie/jacques-fath/ Elsa Schiaparelli : https://www.schiaparelli.com/fr/21-place-vendome/la-vie-d-elsa/ Marie Claire : https://www.marieclaire.fr/ Hélène Lazareff : https://fr.rbth.com/histoire/88828-helene-gordon-lazareff-fondatrice-magazine-mode-elle-russie Martin Margiela chez Hermès : https://weekend.levif.be/lifestyle/mode/les-annees-hermes-de-martin-margiela-en-8-points-cles/ Emmanuelle Kanh : https://www.ek.fr/fr/content/13-histoire-de-la-maison

What you'll learn in this episode:   How Beatriz discovered and catalogued the 2,600 rings in the Alice and Louis Koch Ring Collection at the Swiss National Museum How Covid lockdown changed how people wear jewelry Beatriz's tricks for making a jewelry exhibit more engaging What it's like to work with jewels uncovered from shipwrecks How global trade has influenced how jewelry is designed and made   About Beatriz Chadour-Sampson   Beatriz Chadour-Sampson studied art history, classical archaeology and Italian philology at the University of East Anglia, and at the University of Münster, Germany. Her doctoral thesis was on the Italian Renaissance goldsmith Antonio Gentili da Faenza. In 1985 she published the jewelry collection of the Museum für Angewandte Kunst, Cologne. Since 1988 she has worked freelance as a jewelry historian, curator of exhibitions and academic writer in Britain. Her numerous publications on jewelry, ranging from antiquity to the present day, include the The Gold Treasure from the Nuestra Señora de la Concepción (1991), and 2000 Finger Rings from the Alice and Louis Koch Collection, Switzerland (1994). She was the consultant curator in the re-designing of the William and Judith Bollinger Jewelry Gallery at the Victoria & Albert Museum (opened in 2008), London and was guest curator of the ‘Pearl' exhibition (2013-14). She is an Associate Member of the Goldsmiths' Company, London. Today Beatriz Chadour-Sampson works as a freelance international and jewelry historian and scholarly author. Her extensive publications range from Antiquity to the present day.    Additional Resources: Instagram Museum Jewellery Curators - Goldsmiths' Fair Photos available on TheJeweleryJourney.com Transcript:   Working in jewelry sometimes means being a detective. As a freelance jewelry historian and curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum, Beatriz Chadour-Sampson draws on her wealth of knowledge to find jewelry clues—even when a piece has no hallmark or known designer. She joined the Jewelry Journey Podcast to talk about how she creates jewelry exhibits that engage viewers; how she found her way into the niche of shipwreck jewelry; and what it was like to catalogue 2,600 rings. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest is Beatriz Chadour-Sampson. She's been the curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum for almost 35 years. Welcome back.   Beatriz: You asked about the catalogue. We didn't know if the exhibition was going ahead at one point, but I was asked by V&A Publishing to do a book on pearls, which I did. So, yes, we did a book which was for sale during the exhibition. That was in 2013. We redesigned the jewelry gallery, and 2008 was the end of that. The pearls exhibition was in 2013, the beginning of 2014.   Sharon: Why was it redesigned, the gallery?   Beatriz: The jewelry gallery. With all galleries, there comes a point where they need to be refreshed and renewed, and the previous design needed it. You even had gates you had to get through, and if you weren't quite as slim as myself, you would have problems getting through the gates. When it was redesigned, it was a completely different aesthetic. As I said, the boards have to tell the story, so when the visitor walks in, they have to understand the story and go from one to the other. Some people say the gallery is very full, but it is a study collection. We asked the education department artists to do certain things.    I was very keen on going “from cradle to grave.” The gallery is chronological, so you want a display before you start to know why you wear jewelry. A child wears jewelry or a mother wears jewelry to protect them at childbirth, or they wear it for status or religion or whatever it is. Jewelry is multitasking, multifunctional. Today we think of jewelry as decorative, but that is not the case. Jewelry was made for an occasion and a reason. With status, you always have the big diamonds and the big stones. That has always existed, in recently centuries definitely. But there are so many more reasons for jewelry, for mourning and birth and good luck. That sort of exists today, probably with charms. So, jewelry is multifunctional.    Then we have a screen with pictures from different centuries showing portraits because, at a jewelry gallery, you can't see the pieces on someone. They need the body, but they don't have the body. So, it's good to have a screen showing how the jewelry was worn through the centuries, which is very important. Also in the display, each board—let's say you had earrings, a necklace and a bracelet. The concept was that what you wear on the top of the head goes on top. What you wear around your neck comes next and then the base, so you have a feeling of an abstract body in a way. It's not always obvious, but I try to think of it logically.    Of course, with the contemporary, we couldn't do that. It is all chronological until you get to about the 1950s, and that's it. You have to find a completely different concept. So, we decided to do it by materials. Good chronology at the beginning, but then it comes into materials. Natural materials, new metals, techniques. You couldn't do decades. That couldn't work. So, we did it by materials, which is an interesting aspect because you have all the different materials they use in comparison to all the gold and silver you see throughout the gallery. Suddenly, you're seeing a whole wall of completely different materials.   Sharon: What is your role as co-curator? You're curator and co-curator of so many places. What's your role as a co-curator? What do you do? What do they call in you for?   Beatriz: It's an advisory role. The Victoria and Albert Museum is a bit more than just an advisory role. You're working with the team, with the architect. It's a team procedure, but as I say, everybody has their own role to play. It intermingles, of course.    Sharon: At other times, you've talked about a different museum in Switzerland where you came, and it looked just—was it at eye level? Was it low? Was it too high?   Beatriz: Oh, that one, no. You remembered that detail. The eye level, that was the Victoria and Albert Museum. That is in the center of the gallery because we did a display for a tourist who goes to the museum and only has 10 minutes to look at jewelry history. So, in the center you've got these curved glass cases. The jewelry is on special mounts. You remember that. I asked my colleagues of different heights, from four foot something to six foot something. In the storage room, we had glass doors where there was a lot of storage space with artifacts in it, and I used Post-it Notes to put the different heights of people to see what a good eye level is. So, if you're looking at a broach or a tiara or something, you want it on the level where you more or less visualize it on your body so you can see it well. So, yes, that's the Post-it Notes. I used not only double-sided tape and pieces of paper, but also Post-it Notes, trying to find the right height for the pieces.    Eye level is hugely important, but the other museum you're thinking of may be something I'm current advising on. This is really an advisory role. It is a museum that will open next year, the Dubedeen, a German museum. Of course, there are gemologists there that are very specialized, but their museum experience is missing. So, I'm giving a little bit of advice on the background of things. Don't put a plinth that you can fall over. Don't make drawers that a child can get their fingers caught in. You learn these things from places like the Victoria and Albert Museum. There's health and safety. There's also the height of displays, the attention span of visitors. Text shouldn't be too long. It's more of an advisory role than an active role.   Sharon: I'm thinking about attention span. You must have seen that really go down. It seems nobody has more than two seconds for attention anymore.   Beatriz: There is an element of that. I think the Koch Collection of rings in the Jewelry Gallery is one of the most visited in the England museums. When you get to sparkle and glitter, there's more attention span, but not so much on the text.   Sharon: Yeah, that's probably true. You've also done a lot of work on shipwrecks. That's very interesting.   Beatriz: That goes back to 1989. By sheer coincidence, I came to work on shipwrecks. I was in New York when I was working on the Concepción Collection. I met Priscilla Muller of the Hispanic Society of America in New York, and I helped her with some Spanish and Portuguese jewelry. When she was asked, she just didn't have the time to work on the shipwrecks. She thought with my Spanish and Portuguese knowledge, I would be suited for that, so I was asked by Pacific Sea Resources in 1989 to work on an incredible shipwreck called the Nuestra Señora de la Concepción from 1638 that sank. It was the usual thing, mutiny and the wrong person taking care of the ship. That's a private story, not a jewelry story, but the interesting thing is that the jewelry was basically made for Spaniards in the Philippines. The jewelry was made in the Philippines, the majority of it for Spaniards. It was a Spanish colony at the time.   When I was first went through it, I thought, “It looks quite European. It looks O.K.” I signed the contract, and little did I know how much research was involved for the material, which I hardly knew. It was because of the influence. The Spaniards definitely had European design books they brought with them. By then, you had printed books with designs in them, and they must have had them there. Chinese craftsmen were working for them in the Philippines, and of course the Chinese had great skills with outside countries. Some of it looks very European, and some of it is Indian influences, Siamese influences, and influences from Java, Sumatra. The chains, heavy gold chains, were certainly Chinese filigree. In fact, I told the Ashmolean Museum it belonged to Sir Elias Ashmole, whose portrait and chains still exist in the Ashmolean Museum, and I told them that one of the gold chains he had was Chinese. It was given by the Kuffners from Brandenburg, and I happened to find out that the Kuffners from Brandenburg travelled to China. So, that all fit. That was a little like detective work. That was published in 1990.   I've recently been working again on shipwrecks, just a few pieces of absolutely fascinating jewelry found off the shore of the Bahamas, which has now been in the Maritime Museum on the Bahamas for only a few months. I also worked on the Atocha in Key West. I organized an exhibition in Hanover for them, where we did a display of the Atocha and Santa Margarita events. But what's so fascinating about shipwrecks is that we see so many portraits of beautiful jewelry from the Renaissance, the 16th, 17th centuries, where they really documented beautifully painted jewelry in paintings. Thanks to that we can study them in detail. All this jewelry doesn't exist anymore, especially gold chains, because gold chains were the easiest thing to melt and reuse for more modern jewelry. As I have said, I have a smile when somebody talks to me about recycled gold being something new. Well, it's nothing new. Recycling gold goes back centuries.    Sharon: I'm surprised because in the pictures, you always think it's a straightforward gold chain with no Chinese engraving or anything. You think of it as a gold chain.   Beatriz: Some of it is simple, what they called a P-chain. You saw loads of it, especially on Dutch paintings. But in the Atocha there was a spiral. You can see they're very tidy on the portraits, but it looks as if they had a spiral at the back holding the chain so they flowed down properly. Some of those chains we had were definitely Chinese filigree because those chains are filigree. In the 1655 shipwreck from the Bahamas, there's a chain like that, and that's mainly why they asked me to look at it. That certainly reminded me of some of the Concepción work, which was Chinese craftsmanship.    The trade was amazing. You had trade happening in the Philippines. Even the Dutch were trading with the Spaniards. The Dutch were trading silks and spices from China and so on. These big galleons went from the Philippines to Acapulco and Vera Cruz and then to Havana. They went on a route around South America, loading and offloading things from Europe. It's interesting because in Seville, there's the Archivo General de Indias, and there they have all the books on the shipping material. Like with the Atocha, they found out which ship it was because the gold bars have a text mark on them, and that coincided with the documents they have in Seville. It's fascinating. It's a fascinating field.   Sharon: It seems like it.   Beatriz: It's a mystery and it's global, of course. Made in Asia; there's nothing new. It's hundreds of years. There would not be any porcelain in 18th century Europe the other way around.   Sharon: Do you get to see the ship right away? When it comes up, do you see it when they pull it from the ocean?   Beatriz: No. When I was asked to work on the Concepción, I had to travel to Singapore where it was being cleaned and conserved. In one instance I had to say, “Stop cleaning because I think there's enamel underneath, black and white enamel. Stop.” You have to be careful because you have to get rid of the marine dirt. No, I got to see it after it was cleaned or while it was being cleaned.    Sharon: Wow! And then what? It goes to the museum? What happens afterwards?   Beatriz: It nearly got split up and sold at auction. I'm glad it didn't because it's a historical find, but unfortunately you have to go the Mariana Islands to see it. You can't see it always. The material is put together, and it was published in a black and white archaeological report. It was published in 1990, so at least it's documented. National Geographic did a beautiful spread with color, so you know what it's like.   Sharon: What have you learned from parsing these shipwrecks, from researching the shipwrecks?   Beatriz: The extent of influence in Europe of some motifs and how far they went. It was made in the Philippines and sold in Europe because everything that was made and transported on this galleon, the Atocha, at some point went to Seville and then it was traded on. We definitely know that the emeralds the emperors were after came from Colombia and then went through Havana to Seville. It's a fascinating trade, but the trade is something we never think about. In Roman times, the Roman emperor wanted pearls, so they traveled to southern India to get pearls. History does amaze one.    Sharon: It does. You're working on many projects now. What can you tell us about some of them?   Beatriz: I can tell you what's half-finished and what's coming. I've had a year of three books. I co-edited a book with Sandra Hindman, founder of Les Enluminures. I need to add Les Enluminures because for many years, I've been their jewelry consultant. They're based in Chicago, New York and Paris and are specialized mainly in Medieval and Renaissance jewelry, but this has nothing to do with the book we did. It just happened to be that we worked together again. Sandra and myself did something called a liber amicorum in honor of Diana Scarisbrick, a leading jewelry historian. It was for her 94th birthday, and we kept it a secret until her birthday. It had 20 authors in three languages all writing in her honor. That has come out. It's now available. It was published by Paul Holberton. It's on varied topics, from archaeology to today, really. 20 authors contributed towards that.    Today I received my copy of a book I worked on for the Schmuckmuseum, so it's now published. The launch is on Sunday, but I won't be traveling to Germany for that, unfortunately. It has to be a Zoom celebration for me. It's to do with the humanist Johann Reuchlin. He was from Pforzheim. He lived in the late 15th to the 16th century, and it's about script and jewelry from varying periods. It's a lot of contemporary jewelry as well. The cover doesn't really tell you that because it was the 500th anniversary of, I think, his death date. So, he was honored in this book, which has just come out, with essays from many people. Lots and lots of jewelry. That was published by Arnoldsche, and it's called—I have to think of it—German sounds so much easier in this case. It means script and pictures worn on the finger. I worked on rings with script on them.   Sharon: With writing you mean?   Beatriz: Yeah, writing, that's it. There are a lot of other topics in the book as well, but jewelry is certainly the dominant. Yes, they are rings. Mary Queen of Scotts is somebody who wrote her inscription inside the ring and was loyal to the queen. Had that been seen, her head would have gone to the chop. It's rings with prayers on them or rings with some sort of amuletic inscriptions. It's all inscriptions on rings in my case, and it's about Josiah Wedgwood who gave this ring to John Flaxman. You've got a whole history behind it. It's rings with script on them, highly visible on the bezel, either visible on the bezel or inside the hoop.   Sharon: In English or German?   Beatriz: It's basically German, I'm afraid to say, but with lots of good pictures with excellent captions, which are international. I am bilingual in German and English, but I haven't written German for a long time.    I've actually written a third book that's coming out, but that won't come out until January. That was a huge task. It's on jewelry from Bossard from Lucerne. It started in the early 19th century, but the two I worked on were a father and son from 1869 until 1934. That was the period of historicism. It was also a time of fakes of Renaissance jewelry being made, because there were so many collectors who wanted Renaissance but couldn't afford the real Renaissance jewelry. So, it was very tempting for fakers to make fake jewelry. When I started, I didn't know what I was in for, but I have come to the conclusion that it's pure historicism, what Bossard made. I had very little jewelry to go on, just a few pieces in private hands, but I did find by sheer coincidence a drawing, and I found the bishop who it belonged to. You have a hundred drawings by the Bossard Company over this whole period, and it's very interesting material to see their designs they were making. In some instances, it's real Renaissance. I don't know if they were Renaissance or if it was actually made later. Then it gets critical. It's a very complex period, but a very interesting archive in the Swiss National Museum in Zurich.   Sharon: For next year, do you have other projects going on?   Beatriz: Yes, the coming projects. I mentioned the gem museum, which is opening next year. I'm in the midst of advising. I'm going to be working very shortly—I've already started a bit—on the jeweler Eileen Coyne from London. She's been working on jewelry since the 1970s and continues to make jewelry very, very different to anything I've worked on before. What I find so fascinating is that her imagination and inspiration come from the material. It comes with the material and the tools. She also uses interesting gemstones and beads that come from ethnic backgrounds. She uses the most amazing materials. Also jades, carnelians, all kinds of things. So, we're going to do a book. She had a shop in the 80s and into the 90s. Her jewelry was displayed in Harvey Nichols in London, and she had a shop where all the celebrities and royals went shopping. It was quite an interesting clientele. We'll see if we get photographs or if they allow us to show some of the things they bought. It's very much about discretion in such cases. So, that's interesting, a completely different type of jewelry.    I'm really excited about it, but at the same time, I've also been involved, and am more involved now, in an artificial intelligence project. That is a ring that has been designed by Sylvia Reidenbach and John Emeny in England. Sylvia Reidenbach is German, but she teaches in Glasgow and London and all over Europe as well. She has created, with John Emeny, a ring with artificial intelligence based on one or two rings from the archaeological museum in Munich, a few rings from the  Germanisches Nationalmuseum in Nuremburg, and 150 rings from the Koch Collection. There's one design. The machine makes the design, mixes it all and combines it into one design. The ring is now being made. The stone is labradorite. It's been on display since Wednesday last week in the Germanisches Nationalmuseum but will be coming to Zurich afterwards. So, I'll be learning a lot about AI and design. That is completely different from anything. I like the natural materials and history, and then the contrast is the AI.   Sharon: The AI is the dimensions of all these hundreds of rings?   Beatriz: Yes, the images are put into the machine, the AI. Don't ask me the technology of it because I haven't got a clue about AI technology. I'm at the beginning of it all. I'm learning, but I have seen how it develops. The images are fed into the machine, like the 150 rings from the Koch Collection and the others, and the machine designs one ring out of that.   Sharon: Wow! So, it's already made and in the museum.   Beatriz: Only just now. It's hot off the press, but there's more to come on that. There will be more to come on that, yes.   Sharon: You've written several other books. You wrote “A Life in Jewels.”   Beatriz: That is the book we did for Diana Scarisbrick, honoring her. I've written books since 1981, so it's added up quite a bit. Sometime I can give you a list.    Sharon: How about the influence of women on 20th century jewelry? Has it changed jewelry? Has it made it more feminine?    Beatriz: It's an extremely complex story, the role of women in design. You have to see it from the role of the woman in history. Just recently by coincidence, I've seen some material on women painters from the 16th and 17th centuries. In Bologna, for example, there were quite a few, and it's only now coming to the fore. You also have to see high jewelers' workshops in the field of jewelry. You don't have a Renaissance piece of jewelry and know, “So-and-so made it.” That didn't exist. It's only in the 19th century that we start that. The hallmarking system in England goes back to the 13th century, but jewelry was considered smallware, so they didn't consider putting a hallmark on it.    That changed later on, the but the name of the designer is something that we very often don't know. The high jewelers of the 19th century, when you knew the name of who made it in Paris or New York, you never know the name of the designer. That is something that came in in the 20th century. You have some classical examples. With Cartier, it was Jeanne Toussaint. She designed some of the iconic pieces for Cartier and the Duchess of Windsor. She worked for I don't know how many decades designing jewelry. She was a very important female designer. Then you've got Coco Chanel. She designed jewelry, mostly costume jewelry, but she also designed diamond jewelry. Not that she wanted to, but it was for the nation and probably the economy that she did it. Elsa Schiaparelli, with her fantastic surrealist jewelry, made that incredible neckpiece with beetles in plastic. If you had to date that as a jewelry store and you didn't know the background, you'd easily say 1970s or 80s. It's so amazing. In that period, you also had Suzanne Belperron with her really unique designs in jewelry.    Of course, the role of the woman changed after the First World War. You had millions of widows, and they had to work. The whole society was changing. After the Second World War, it became even more evident that women were working. I was very cheeky. I did a lecture. It was in the British Museum, and I was talking about the changing role of men and women buying jewelry. You can imagine the shock of some of them. I said, “Women go out and buy their own jewelry.” Before it was classical: the husband bought the jewelry for the wife. They were the earners, so they bought it. There were a few examples in the early 1900s, like the Duchess of Manchester, whose tiaras are in the Victoria and Albert Museum. She was one of these Dollar Princesses and quite a character. She liked smoking cigars and all. She went off with the family diamonds to Cartier and said, “Make me a tiara, and use up the garments.” You have Lady Mountbatten, who, after the birth of her daughter, Pamela, decided to go to Cartier and buy herself a nice bracelet that she could also wear in her hair in the 1920s.    There are a few examples. On the whole, it was always the husband buying the jewelry, but past that, you have women earning money and buying their own jewelry. The 60s sets off in that direction, and then it becomes jewelry that's more affordable. Jewelry has never been so diverse as in the last decades. It's never been so diverse in all its history. If you look at the Royal College of Art, I think you'll find that, in general, there are a lot more women in training to become jewelers. You find so many names of women designers, now one doesn't even talk about it. Whether it's a man or a woman, it's just become a norm.    Sharon: That's interesting. If you stop to think about it, I don't even know if there are that many male designers. I'm thinking about when I go to studios. You see more women than you do men.   Beatriz: It's more and more, yes. There are more and more women, absolutely.   Sharon: What would you advise? What piece of advice would you give emerging jewelers or people who want to follow in your steps?   Beatriz: Remember that if you're a jewelry historian, you're an academic. Remember that. You have to really enjoy what you're doing. In my case, I was very lucky. I've worked for so many different projects and so many different jewelers internationally. I've specialized in that, but it's very difficult. Maybe, depending on the economic situation, people can volunteer in a museum to learn the trade. I think what you really have to know is do you want to work in a gallery, or do you want to work in an auction? Do you want to work in a museum? They don't always mingle, so you have to learn where you want to go. It depends on what your interests are. If you have anybody, send them to me privately. I'm happy to talk it through.   Sharon: Thank you for being with us.   Beatriz: My pleasure.   Sharon: Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Ben Luke talks to Nick Cave about his influences—including those from the worlds of literature, music, film and, of course, art—and the cultural experiences that have shaped his life and work. Cave, born in Fulton, Missouri, US, in 1959, creates elaborate sculptures and found-object installations. He's best known for his Soundsuits, which blend sculpture, performance, fashion and social activism. His work veers from the intimate and homespun object to vast installations and performances involving multiple participants. Among much else, he discusses his early encounters with the work of Anselm Kiefer and Barkley Hendricks; his passion for the couture of Elsa Schiaparelli; the enduring influence of George Clinton's Parliament/Funkadelic; and a seminal sequence in the film The Wiz. Plus, he answers all our usual questions, including the ultimate one: what is art for?Nick Cave: Forothermore, Solomon R. Guggenheim Museum, New York, until 10 April 2023. In the Black Fantastic, Kunsthal Rotterdam, Netherlands, until 9 April 2023. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:55:54 - Autant en emporte l'Histoire - par : Stéphanie Duncan - Elsa Schiaparelli est un nom qui nous ramène au temps révolu où les femmes dominaient la haute couture à Paris : Jeanne Lanvin, Madeleine Vionney ou Coco Chanel… Pour cette grande amie des surréalistes, la mode était synonyme d'extravagance, de liberté, d'humour et de fête. - réalisé par : Anne WEINFELD

durée : 00:58:29 - Toute une vie - En deux décennies d'une carrière avant-gardiste éblouissante, Elsa Schiaparelli inventa le sportswear, le rose shocking et les zips apparents, et fut l'autre couturière phare des années 30 face à Gabrielle Chanel, sa rivale de toujours. - invités : Bertrand Guyon directeur de style de la maison Schiaparelli.; Sophie Fontanel Journaliste et écrivain; Pamela Golbin conservatrice en chef mode et textile au Musée des Arts Décoratifs de Paris.; Marie-Sophie Carron de La Carrière conservatrice en chef du partimoine au département mode et textile du Musée des Arts décoratifs.; Marie-Laure Gutton responsable du département des accessoires du Palais Galliera.; Sophie Grossiord Conservatrice générale du Palais Galliera

Le chapeau chaussure conçu par Elsa Schiaparelli est le premier des détournements de l'histoire de la mode. Comment a-il été créé et pourquoi est il aujourd'hui au Palais Galliera? La place des surréalistes, le rôle de Dali, le Paris des années 40 et d'aujourd'hui : on marche toujours sur la tête. Modcast est un hors série du podcast Des habits et nous créé par la journaliste Hélène Altmann.

Loira, de olhos azuis e corpo violão, a boneca mais famosa do planeta, surgiu no fim dos anos 1950, nos Estados Unidos, como um ideal de mulher e feminilidade. De lá para cá, foi pintada por muitos como um símbolo cultural de sexismo e racismo. Ainda assim, nunca saiu de cena e, agora, inspira o nome de uma nova tendência fashionista, a chamada "Barbiecore". Só no Brasil, em junho, a busca pelos termos "Barbie girl" e "Barbie tattoo" na rede social de imagens Pinterest cresceu, respectivamente, 92% e 46%, em relação ao ano anterior E ainda que a Barbie seja um brinquedo voltado a crianças, são adultos e jovens da geração Z —os nascidos entre 1995 e 2010— que, nos últimos tempos, têm dado destaque à sua imagem. Enquanto os atores Margot Robbie e Ryan Gosling viralizam nas redes, com imagens vazadas do filme "Barbie", de Greta Gerwig —diretora de "Lady Bird" e "Adoráveis Mulheres"—, a cor vibrante do rosa-choque, que é marca da boneca, invade vitrines e passarelas pelo mundo. Isso porque depois de meses trancados em casa, vários sobreviventes da pandemia têm vivido dias de extravagância. Com a vacinação em massa, foi possível ostentar não só as alegrias do contato social, como também o apreço por estar vivo. E é nesse contexto que cores vibrantes passaram a ganhar mais espaço nos guarda-roupas. No episódio dessa semana, o Expresso Ilustra discute como o estilo "Barbiecore" fez do rosa-choque a grande cor do momento, como esse movimento está atrelado ao "dopamine dressing" —a tendência de cores intensas e tecidos chamativos que remetem a sensações como felicidade, prazer e êxtase—, e como a estilista Elsa Schiaparelli, que ganha mostra em Paris, foi determinante na criação desse tom. Para isso, o podcast entrevista a jornalista Carolina Vasone, a professora de história da moda Maíra Zimmermann e a especialista em design Ethel Leon. .See omnystudio.com/listener for privacy information.

Chaque semaine, Sortiraparis vous propose une sélection de sorties à faire à Paris et en Ile-de-France ! ©Musique proposée par La Musique Libre/Jazz In Paris - Media Right Productions/Rizhlaine Ferfar/Laurent Pradal

Historiquement Vôtre réunit 3 modernes modistes : Elsa Schiaparelli, créatrice italienne qui a bouleversé la mode dans les années 1920, à Paris, et en compagnie d'un artiste qui l'a influencé, un certain Salvador Dali ! Le surréaliste de génie et la géniale couturière ont donné du fil à retordre à la mode. Puis elle, elle a associé son nom à celui d'une reine: Marie-Antoinette. Pour la souveraine la plus épiée d'Europe, elle a tout imaginé, même les tenues les plus extravagantes : “la marchande de mode” Rose Bertin. Et une rappeuse, connue pour son flow agressif et ses paroles franches, qui triomphe aussi dans la mode grâce à ses "collabs" avec de grandes marques : Cardi B !

Historiquement Vôtre réunit 3 modernes modistes : Elsa Schiaparelli, créatrice italienne qui a bouleversé la mode dans les années 1920, à Paris, et en compagnie d'un artiste qui l'a influencé, un certain Salvador Dali ! Le surréaliste de génie et la géniale couturière ont donné du fil à retordre à la mode. Puis elle, elle a associé son nom à celui d'une reine: Marie-Antoinette. Pour la souveraine la plus épiée d'Europe, elle a tout imaginé, même les tenues les plus extravagantes : “la marchande de mode” Rose Bertin. Et une rappeuse, connue pour son flow agressif et ses paroles franches, qui triomphe aussi dans la mode grâce à ses "collabs" avec de grandes marques : Cardi B !

We look at the legacy of avant garde fashion designer Elsa Schiaparelli through a new show at the Musée des Arts Décoratifs and learn about Rana Salam's use of colour. Plus: Nic Monisse on the ideal summer house.

We look at the legacy of avant garde fashion designer Elsa Schiaparelli through a new show at the Musée des Arts Décoratifs and learn about Rana Salam's use of colour. Plus: Nic Monisse on the ideal summer house.See omnystudio.com/listener for privacy information.

durée : 00:43:13 - La Grande Table d'été - par : Sébastien Thème - L'exposition "Shocking ! Les mondes surréalistes d'Elsa Schiaparelli" au Musée des Arts décoratifs de Paris, qui a ouvert le 6 juillet 2022, met à l'honneur les créations diverses et variées de l'excentrique artiste Italienne. - invités : Elisabeth de Feydeau Docteur en histoire, elle enseigne à l'école des parfumeurs de Versailles. Expert auprès des Maisons de parfumeries (Chanel, Guerlain).; Olivier Gabet Directeur des musées des Arts Décoratifs de Paris

Elsa Schiaparelli is one of the most unique voices fashion has ever seen. Her penchant for daring designs was often inspired by her close friendships with Surrealist artists. We look at the life and legacy of the enigmatic designer in celebration of the opening of the exhibit “Shocking! The Surreal World of Elsa Schiaparelli” at the Musée des Arts Décoratifs in Paris. ADDITIONAL READING: Berenson, Marisa. Elsa Schiaparelli's Private Album. London: Double-Barreled Books, 2014. Blum, Dilys E. Shocking!: The Art and Fashion of Elsa Schiaparelli. Philadelphia: Philadelphia Museum of Art, 2003. Schiaparelli, Elsa. Hommage à Elsa Schiaparelli. Paris: Musée de la Mode et du Costume, 1984. Schiaparelli, Elsa. Shocking Life: the Autobiography of Elsa Schiaparelli. London: V&A, 2007. White, Palmer. Elsa Schiaparelli: Empress of Paris Fashion. New York: Rizzoli, 1986. See omnystudio.com/listener for privacy information.

EPISODE NOTES: When two creative powerhouses get together, madness (and a little lobster) is not off the menu! Elsa Schiaparelli and Salvador Dali were individually massive personalities and iconic figures. Together, they blew up and blurred lines between art and fashion. Support us at :https://www.patreon.com/historyunhemmedhttps://anchor.fm/historyunhemmed/support Follow us on: Instagram: @history_unhemmed Facebook: History Unhemmed Thank you!

Suzy speaks to American designer Daniel Roseberry, the current artistic director of the iconic brand, as Schiaparelli open their long-awaited retrospective exhibition at the Musée des Arts Décoratifs in Paris, Shocking! The surreal world of Elsa Schiaparelli. Produced by Natasha Cowan @tashonfash Edited by Tim Thornton @timwthornton Music by @joergzuber Graphics by Paul Wallis To find Suzy's articles visit https://suzymenkes.com ...find Suzy on Instagram @suzymenkes and Twitter @thesuzymenkes See acast.com/privacy for privacy and opt-out information.

PopaHALLics #77 "Dinos to Darth Vader"We cover a lot of ground in 27 minutes, from amazingly realistic dinosaurs to a Jedi haunted by his experience with the future Darth Vader ... from a strange but true World War II ruse  to Mormon extremists ... from the return of "Stranger Things" to a novel inspired by an intense fashion rivalry. Dig in! Streaming:"Planet Prehistoric," Apple TV.  This nature series from the BBC and executive producer Jon Favreau (Marvel, Star Wars, and Disney) didn't really film dinosaurs in their natural habitats. It just looks that way."Obi-Wan Kenobi," Disney +. In this limited series, Ewan McGregor stars as the title character, hiding out in the desert after his pupil Anakin Skywalker embraced the Dark Side. But then an old friend needs his help ... "Operation Mincemeat,"  Netflix. How to throw the Nazis off your invasion plans? First, get a dead body ... Colin Firth, Matthew Macfadyn, and Johnny Flynn star in this movie based on a true spy story from World War II."Stranger Things," Netflix. They're baacccck. And so's otherworldly evil in Hawkins, Indiana. The gang's all split up, but I have this feeling they'll come together, don't you?"Under the Banner of Heaven," FX. A devout detective's faith is tested as he investigates a brutal murder connected to religious extremism and a prominent Utah family. Andrew Garfield stars in this miniseries based on the nonfiction book by Jon Krakauer."Ghosts," CBS/Paramount Plus.  In this sitcom, a young woman (Rose McIver) inherits a mansion, at first unaware that many ghosts live there. If living is the right term.."Star Trek: Strange New Worlds," Paramount +. In the decade before James T. Kirk takes the helm, Christopher Pike (Anson Mount) commands an Enterprise with Spock (Ethan Peck) and other familiar characters. Outer space adventures with heart. Books:"The Last Collection: A Novel of Elsa Schiaparelli and Coco Chanel," by Jeanne Mackin. An American woman becomes entangled in the rivalry between two very different designers fighting to be the most successful and influential in Paris.Music:Our Popahallics Playlist #77 features Squirrel Nut Zippers, Red Baraat and other artists Steve saw at Bayou Boogaloo and in New Orleans. Or you can get your summer on with the playlists Kate's listening to, Surf Rock Sunshine and Summer Throwback.

Their self-proclaimed Best Sounding Episode Yet, this week Hope and Jackie are bringing you hard hitting journalism as they talk to a worker from a Crossroads Trading location that is in the process of unionizing (and getting busted.) Next, Hope talks about the connection between fashion and surrealism in the early 20th century, featuring scuffles between art bros, furry teacups, and of course, Elsa Schiaparelli. Call to action: Tell Crossroads: Don't Union Bust bit.ly/crossroadsworkers Main surrealism reference: The Surreal Body: Fetish and Fashion by Ghislaine Wood We're socialists! Follow us on the socials: @fashismpod on Instagram and TikTok

La Schiaparelli fue rival de Coco Chanel y aportó al mundo de la moda la concepción de arte, sin embargo, su nombre sigue perdido en los recovecos del siglos XX.

What you'll learn in this episode: How New York City Jewelry Week supports the jewelry industry year-round Why the best way to reach potential jewelry consumers is through education, not through a hard sell How the pandemic helped Bella and other jewelry educators get their message out to more people Why Bella and her partner JB wanted New York City Jewelry Week to feel like opening a jewelry box How you can support the upcoming 2022 New York City Jewelry Week About Bella Neyman Bella Neyman is the co-founder of New York City Jewelry Week. She is also an independent curator and journalist specializing in contemporary jewelry. Most recently she was on the Curatorial Advisory Committee for 45 Stories in Jewelry: 1947 to Now at the Museum of Arts and Design in New York. Since graduating with a Master's Degree in Decorative Arts and Design History from Cooper Hewitt, Smithsonian Design Museum & Parsons, The New School for Design in 2008, she has worked for some of New York City's leading design galleries. Bella's articles have been published in The New York Times, American Craft, and the Magazine Antiques. She is also a frequent contributor to Metalsmith magazine. Bella is on the Board of Art Jewelry Forum. She resides with her family in Brooklyn.  Additional Resources: Bella's Instagram NYC Jewelry Week website NYC Jewelry Week Instagram Links for two of Bella's upcoming classes:   Studio Jewelry: From Mid-century to the Present starting Monday, March 14th!! https://education.christies.com/courses/continuing-education/short-courses/studio-jewelry-from-mid-century-to-present Jewelry Jaunts- Mondays, April 25th - May 23rd  11am-12:30pm For this class, registrants can sign-up with code 'EARLY' to receive a 10% discount.  https://events.r20.constantcontact.com/register/eventReg?oeidk=a07eiy0iu2pe3f8ecba&oseq=&c=&ch= Transcript: Now in its fifth year, New York City Jewelry Week has changed the American jewelry landscape for good. The annual jewelry show is much more than just shopping—with workshops, educational opportunities, and showcases of every type of jewelry imaginable, there is something for every jewelry lover. NYC Jewelry Week co-founder Bella Neyman joined the Jewelry Journey Podcast to talk about what she and her partner JB Jones have in store for 2022; why they want the week to feel like opening up a jewelry box; and how you can support NYC Jewelry Week's programs. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Bella Neyman, a woman who wears many hats in the world of jewelry. The primary one is as a mover and shaker among jewelry professionals. Her other hats include jewelry curator, historian, author, educator and cofounder of New York City Jewelry Week, or NYCJW as it's known. Bella joined the Jewelry Journey Podcast several years ago talking about NYCJW when it was in its infancy. Today, we'll hear more about her own jewelry journey, what's in store for NYCJW this year, and more about her background. Bella, welcome to the program.   Bella: Thank you so much, Sharon. Thank you for having me back again. It's exciting to be here. Thank you.   Sharon: You're involved in so many things, it was so difficult to write an intro.    Bella: When I hear that, it makes me think, “Wow, is she talking about me?” I don't know. I do the things I love. Sometimes I forget I do so many things.   Sharon: Did you set out to do that? Did you know that when you became a jewelry professional? I'm sort of backing into this, but did you know that you were going to be involved in so many things when you became a jewelry professional? Or did you have one specific thing in mind?   Bella: I had no idea. To be honest with you, I didn't really know that I would end up in jewelry. I went to Cooper Hewitt/Parsons for their Decorative Arts and Design master's program. I never took the jewelry course. I was interested in design and decorative arts. Getting ready to have this conversation with you, what I realized is that I didn't find jewelry; jewelry found me. I'm glad it did, obviously, because I love what I'm doing, but I did not think jewelry was going to be my focus at all, actually.   Sharon: Were you a designer? Were you artistic as a kid?   Bella: No, not at all, and I'm still not. I can sew a button. I can draw a straight line, but I'm completely not artistic. I've always loved art. I grew up around it. I was actually born in Russia—geographically, I should say I was born in Ukraine, but I'm Russian. I moved here when I was seven years old. I moved to America; I moved to New York.    My parents were always interested in the arts. My mother was a librarian at an art museum in Odessa, which is the city where I was born. I am an only kid, so my parents always took me with them to wherever they were going. My father is a collector, so I always grew up around it. When we came to this country, because my parents didn't have anyone to leave me with, I always went with them everywhere. That's how I'm raising my daughter now. She goes with me everywhere, and we try to expose her to so many different things.    So, I was always interested in the arts, but I never thought I would have a career in the arts. My parents, while they were always really encouraging, I don't think they thought I was going to end up in the arts either.    Sharon: Did they support you if you wanted, or were they more like “Be an engineer”?   Bella: Basically, yes. They were like, “You should do the thing that's going to make you money,” because we came to this country and didn't have much. I went to a public school. The college I went to is a city college. So, they really wanted me to do something that was going to make me a good living, but they also believed I should follow my heart and do what is going to make me happy.    Even when I went to college, I didn't know what I was going to do. I was thinking, “Well, maybe psychology.” That was a popular thing at the time, but I took an art history course, and I was hooked. My bachelor's was in arts administration. I knew that I wanted to remain in the arts, but I wanted to do something where I was able to approach the art world with a sense of practicality, with a sense of having some knowledge of business skills, marketing, finance, because I always knew I wasn't going to be an artist. As I said, I'm not creative. So, I wanted to approach it from a place where I could support myself and support others.   Sharon: Arts administration, that sounds intriguing. That sounds like a great foundation for what you're talking about.   Bella: Exactly, something practical. Then, of course, for my master's degree, I decided that I wanted to go into the decorative arts, not into the fine arts. Again, thinking about what I could do to contribute to this thing I'm going to be embarking on studying. I just felt like the fine arts were saturated. There aren't any work opportunities. I thought, “What am I going to contribute to this field that hasn't already been done? There are so many other voices. Why do I need to do this? Why should I pursue this?”   I always loved the decorative arts and I thought, “You know what? This seems like more of a niche, and maybe I can do something that would be more worthwhile.” I was thinking about, “O.K., can I be a curator? Can I be a writer? Can I work in a gallery? Can I work in an auction house?” Always thinking practically about how I could make a living doing this thing I love, I ended up in this master's program, which I absolutely loved. I chose it because I can work with objects. The two years that I spent there—we were at the Cooper Hewitt—were an incredible experience, but I never took a jewelry class.   As I said, jewelry found me, because when I finished my master's degree, I was incredibly fortunate to find a job right away. I started working in a decorative arts gallery called Primavera Gallery. They had just moved to Chelsea. This was 2007, so Chelsea was really developing. Audrey and Haim, who owned the gallery, had an incredible collection. At that point, it had been in business for about 30 years, and they have an incredible collection not just of furniture and glass and ceramics and metalwork spanning the 20th century, but they also had an incredible collection of jewelry. Again, 20th century was the focus. They had really important signed pieces by many prominent European makers and designers. They also had great Georgian jewelry and Victorian jewelry because Audrey was always so passionate about jewelry. It was something she really loved. So, that was the first time I got to handle jewelry and start to appreciate it and look at it as an art form.   Sharon: That's a great way to start out. Is Primavera still in business?   Bella: At this point, Audrey and Haim have retired. I think they're probably still open by appointment. They still have a collection, but they're no longer in Chelsea.   Sharon: I've never been, but I've always heard they were a fabulous gallery.   Bella: Yeah, it was a great place to work. They were one of the first to sell Art Deco. When they were starting out, a lot of the pieces were still coming out of the original homes, the families that purchased these pieces. They were collecting them in the 70s, when there was a huge revival of Art Deco. So, it was a great place to work.   Sharon: Wow! I'm always envious of people who got into the Cooper Hewitt in that program. I wish they had something out here like that. Tell us, were you hooked on jewelry from there?   Bella: Yes, absolutely, I became hooked on jewelry there. As I said, it was the first time I was able to handle it and start to appreciate it. I think Audrey's stories about the pieces in their collection sparked an interest in me. I was always thinking about what else I could be doing. It's funny, because when you're in school, you're so busy trying to keep up with the curriculum. Once you graduate, you almost feel at a loss, like, “I have all this free time on my hands.” I really wanted to start writing, and I came upon a piece in their collection that I absolutely fell in love with. It was a necklace by the jeweler Sah Oved, and I wanted to investigate who this woman was.   Sharon: I have to interrupt you—who was the piece by?   Bella: Sah Oved.   Sharon: Oh, Sah Oved, wow!   Bella: I had started keeping a blog because, as I said, this is like 2007, 2008. Blogs were quite popular. I started a blog so I could write and have something to present should I ever find myself ready to pitch an editor, because I really wanted to write.   I found this piece by Sah Oved in Audrey's collection. I wanted to know more about it, and that was the first time I wanted to explore somebody's jewelry story. Who was this woman? Why was this piece made? Why is it so different from anything I had seen? That really is what started it for me. I wrote this article. It was my first publication in a magazine, and I was hooked. I was really, really hooked and, as I said, I think jewelry found me.    Sharon: I'm curious because so much of Moshe's work, you can't tell the difference. How did you know this was Sah Oved versus Moshe?   Bella: Yeah, Sah was the jeweler. Moshe, his contribution to jewelry has been the animal rings that come on the auction scene every once in a while. Sah was really the jeweler. He was this eccentric businessman. He was a great supporter of the arts, but he didn't make that much jewelry. She was his partner. She worked with him at the Cameo Corner, which was his shop. She did a lot of repairs for him; she did custom work, but she had been interested in jewelry prior to working for him. She had her own little studio in London. So, part of the challenge was to find out who this woman was, because not much had been written about her.   Sharon: There's still not much about her.   Bella: There still isn't. I'm hoping to change that, but yes, there still isn't.   Sharon: I know you gave a talk last year to the Association for the Study of Jewelry and Related Arts, which was fabulous because nobody ever talks about them, really.   Bella: No, they don't.   Sharon: The last time I saw a piece by you, it was in an antiques magazine. You also teach. How did you start teaching? Tell us about that.   Bella: The teaching is something that is pretty recent. That's been a product of the pandemic. What happened between leaving Primavera Gallery and finding my way to where I am today is that I also discovered contemporary studio jewelry, which is how you and I know each other through Art Jewelry Forum. I was always interested in finding work and artists whose work speaks to me and sharing their stories, whether it be through writing, through lecturing, through New York City Jewelry Week, which I know we'll get to later on. That's what I've always been interested in, sharing those stories.    I teach at two institutions. I lecture at the 92nd Street Y and at Christie's. I love jewelry, so for me, it has been wonderful—especially during the pandemic, when everybody was doing everything virtually and we were glued to our computer screens—to not only my share my jewelry knowledge, but also to broaden my jewelry knowledge. I teach a wide variety of courses. For example, next week, I'm starting a class at the Y on costume jewelry. In the past, I've taught classes on women designers in the 20th century. I've done an overview of jewelry history in the 20th century. For me, it's always been about sharing my knowledge, but also broadening my own knowledge. There's so much information out there, and to be able to take that information, make it digestible for my students and to hopefully inspire them and pass on my love of jewelry to them has been really special, especially during the pandemic, when it's been hard to be out and do things that we love.   Sharon: I'm really looking forward to this class on costume jewelry because nobody talks about costume except Bakelite maybe once in a while. Tell us about it. How did you decide to do that?   Bella: Absolutely. I've taught this class covering 100 years of jewelry and this other class on women designers, and when I put my courses together, I want to make sure I present the full scope of jewelry, all different types of jewelry. As I mentioned, while I worked for Audrey and Haim and worked with these important signed pieces and fine jewelry, in my personal life, I'm much more interested in contemporary studio jewelry and jewelry made from non-precious materials. So, when I teach these classes, I make sure I include all different types of jewelry because, to be quite honest with you, I think jewelry, regardless of what it's made from, it all informs. It informs each other, whether it's fine or studio or costume. So, when I put these classes together, I always want to make sure I cover a broad span of different types of jewelry.    When I was working on the women designers course, I realized that a lot of women designers started out in costume jewelry, much more so than in fine jewelry, which has traditionally been a very male-dominated industry. But in costume jewelry there were a lot of female designers, and that sparked my interest. I've also been interested in fashion jewelry and fashion designers like Coco Chanel or Elsa Schiaparelli, who used costume jewelry historically to build their own image or to embellish their own collections. I was interested in that relationship as well, and that's how that class came about. You're right; not much has been done on costume jewelry. There are some publications, of course, but I haven't seen any classes. It was of interest to me, so I assumed it would be of interest to others.   Sharon: It's unusual, because you can find other courses on jewelry history which are great—it's refreshing, I guess is the word.   Bella: Good. I hope everyone signs up. The class starts next Thursday, February 24 at the 92nd Street Y. It's a virtual class. It's a six-week course. It's a little bit longer than my usual courses because the other thing I've enjoyed is having guest speakers join me in my classes. With everything being virtual, that's something that's easy. So, I have some fun speakers lined up as well. I'm really excited for it.   Sharon: I'm sure it's going to be great. Do you think you'll continue at the Y with jewelry classes?   Bella: Yeah, I think so. This is now my third course for them, and it's great. I love it. I enjoy meeting all the different individuals who sign up for the courses. I feel like we end up becoming friends. They're always so eager to reach out, and the class is really wonderful. They're virtual, so we can reach more students.   Then, of course, at Christie's, we've also been able to do classes. I do virtual classes at Christie's, but I have recently started doing an in-person course called Jewelry Jaunts. It's really nice to be among other jewelry lovers, to be out looking at jewelry, trying it on and picking it up, investigating.   Sharon: That sounds great. What are you teaching virtually at Christie's? I didn't know you were teaching virtually for them.   Bella: At Christie's, I teach two courses. One of them is starting in March, and that's on the history of studio jewelry. Then the second course I've taught there is on artist jewelers. All these classes inform each other, as jewelry does. I look at a lot of the classes I teach as a part one and a part two, so, if you're interested in studio jewelry, there's a little bit of an overlap. That's why I wanted to add this other class focusing on artist jewelers. The virtual studio course is going to run in March, and the class I'm teaching now, as I said, is in person. It's fun. We'll hopefully do that in the spring again.   Sharon: Wow! You're busy.   Bella: I'm busy, but at the same time, it's been such a challenging couple of years, so it's a nice way to distract yourself.   Sharon: It sounds like they're things you might not have been able to do or focus on. From my perspective, you cover everything from antique to art jewelry, but you're saying you like contemporary jewelry. I call it art jewelry. That's what you like, but you teach everything it seems. Is that what you're saying?   Bella: I love jewelry. When it comes to the things I collect or the things I covet, most of that is contemporary studio jewelry or art jewelry, absolutely, but I love all jewelry.   Sharon: I like that word, covet.    This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.

Catbird's Leigh Plessner joins us to discuss the 1931 novella Sundays and its fascinating author, French socialite Daisy Fellowes. Heiress to the Singer sewing machine fortune, Fellowes was the Paris editor of the American Harper's Bazaar and muse to the likes of Coco Chanel, Elsa Schiaparelli, and Salvador Dali. Karl Lagerfeld reportedly once called her “the chicest woman I ever laid eyes on.” Discussed in this episode: Sundays by Daisy FellowesLeigh PlessnerCatbirdCoco Chanel Rachel TashjiaIsaac SingerIsabel Blanche SingerWinaretta SingerDiana VreelandCecil Beaton Salvador DaliVan Cleef and ArpelsBelperron CartierThe Tutti Frutti collection by CartierDuff CooperWinston Churchill“The Most Wicked Woman in High Society” (The Daily Mail) Heiresses: the Lives of the Million Dollar Babies by Laura ThompsonNancy MitfordLost Ladies of Lit episode on Nancy Mitford with Laura ThompsonRonald Firbank Marcel VertesMoulin Rouge (1952 film)Jean CocteauCats in the Isle of Man by Daisy FellowesLudwig Bemelmans Bemelmans BarTell Them it was Wonderful by Ludwig BemelmansTo the One I Love Best by Ludwig BemelmansElsie de WolfeLost Ladies of Lit episode on Marjorie Hillis with Joanna Scutts

This week I am exploring maritime tattoos as art history. My guest is Dr Matt Lodder, an art historian and curator who specialises in the history of western tattooing from the 17th century to the present day. He is Senior Lecturer in Art History and Theory, and Director of American Studies at the University of Essex, and his latest major exhibition, ‘British Tattoo Art Revealed' began at the National Maritime Museum Falmouth in March 2017 and toured through to 2021.His book - a history told through tattooing, provisionally titled ‘Indelible' - will be published by William Collins in 2022. You can find Matt on Twitter and Instagram. Tune in as we discuss a whole host of interesting areas, from the symbolism of folk art and maritime crafts, to the real Sailor Jerry and why the recording and documenting of certain bodies has skewed our understanding of tattoo history. We also discuss swimming outdoors from Essex to Bondi, swimming with Elsa Schiaparelli in the 1920s and why women often drive tattoo stories in the media.Mentioned in this week's episode:Find Matt and I exploring tattoos and fashion at the Needle on Skin online course with the National Maritime MuseumMatt's exhibition British Tattoo Art Revealed is returning to Falmouth's Maritime Museum later in 2021. The book, Queering the Subversive Stitch: Men and the Culture of Needlework by Joseph McBrinn is published by BloomsburyYou can follow me @AmberButchart, #MakingASplashPod to find out more about future guests and episodes.*Please be aware that cold water swimming can be dangerous. Read and follow the advice at the Outdoor Swimming Society if you are new to it* Hosted on Acast. See acast.com/privacy for more information.