Podcast appearances and mentions of mariano fortuny

Jaume Segalés habla de la exposición Proust y las artes y entrevista a la autora de Querida culpa: gracias, pero adiós."Proust y las artes" El Museo Nacional Thyssen-Bornemisza (Paseo del Prado, 8) dedica una cuidada exposición a Marcel Proust, una de las figuras literarias más relevantes de los siglos XIX y XX. Podemos verla hasta el 8 de junio. Una muestra que profundiza en la relación entre el Arte y la personalidad, la vida y el trabajo del ilustre escritor parisino que, a su vez, tuvo una gran repercusión en otras disciplinas como la Filosofía o la Historia del Arte. Las ideas estéticas que Proust desarrolla en sus escritos, los ambientes artísticos, monumentales y paisajísticos que le rodearon (especialmente el de la capital francesa durante la Tercera República) articulan el recorrido. Se compone de pinturas de, entre otros, Manet, Renoir, Monet, Rembrandt, Vermeer, Van Dyck, Watteau y Turner; una escultura de Antoine Bourdelle; diseños de moda de Mariano Fortuny y otros creadores coetáneos; y una selección de manuscritos y libros de Proust. Una selección lograda gracias a los préstamos de entidades colaboradoras de gran renombre como la Biblioteca Nacional de Francia y la Biblioteca del Ateneo de Madrid, así como los Museos: Louvre, d'Orsay y de Histoira de París, la Maurits-hauss de La Haya, el Rijksmuseum de Ámsterdam, el Städel de Fráncfort y la National Gallery de Washington. Entrevistamos al comisario de la exposición, Fernando Checa."Querida culpa: gracias, pero adiós" Una guía para liberar el peso emocional y vivir con plenitud. Entrevistamos a la autora, Sonia Rico, periodista, coach certificada, instructora de yoga, máster en Programación Neurolingüística (PNL) y terapeuta en kinesiología emocional. El libro expone cómo soltar la culpa, como acto de amor propio, a través de relatos conmovedores, testimonios reales y herramientas prácticas, para transformar la culpa en un motor de aprendizaje y crecimiento. La autora nos recuerda que la culpa no es un enemigo, sino una señal que nos invita a mirar hacia adentro, a identificar las creencias que ya no nos sirven y a liberarnos de las interpretaciones y expectativas tóxicas que nos impiden avanzar.Sección lingüística "Dicho Queda" Carlota Izquierdo Gil (Instagram: @cigservicioslinguisticos) nos habla sobre el origen del término "pokemon".

Tenemos las últimas noticias en Cultura Rápida cómo las novedades del diccionario electrónico de la RAE, el ciclo homenaje a Mariano Fortuny que acoge el Insituto Cervantes, hoy se entregan los Premios Nobel, ‘Emilia Pérez’ lidera con diez nominaciones las candidaturas a los Globos de Oro u otras noticias cómo el fallecimiento a los 77 años el actor de series de televisión Mark Withers. Carlos Igual nos viene a presentar a los artistas que participan estos próximos conciertos de AIEnRuta entre los que encontramos a Júlia Colom (actúa el 12 de diciembre en Espai Octubre y en Valencia el 14 de diciembre en Casa das Crechas, Santiago de Compostela), La Trinidad (actúan el 13 de este mes en La Cochera Cabaret, Málaga y el 21 en Sala Zeta, Zaragoza) y Levitants (tocan el 12, también de diciembre, en el Planta Baja, Granada, el 14 de este mes en La Cochera Cabaret,Málaga y finalmente el 28 en La Fábrica de Chocolate de Vigo). Además, hoy hemos invitado a Manuel Pinazo director de la web Muzikalia y presidente de PAM (Periodistas Asociados de Música) para hablar sobre el periodismo musical actual.Se han pasado por el estudio Alexis Morante y Oscar Lasarte director y protagonista de '¿Es el enemigo? La película de Gila'. El film muestra un momento concreto de nuestro humorista y recala en episodios deshumanizantes, cómo la guerra civil, para mostrar la cara amable y menos conocida de un superviviente. Hablamos con ellos sobre el proceso de creación de la película y cómo de fieles han sido con la historia real. Y acabamos con Barra Libre de Aloma Rodríguez y nueva entrega del anti club de lectura. Una sub sección dónde un oyente, que no adivinó ninguna de las preguntas que planteamos, nos comenta un libro que nos daba algo de pereza leernos. Hoy nuestro oyente Txema nos trae su review de 'Victoria' de Paloma Sánchez Garnica. Escuchar audio

Tenemos las últimas noticias en Cultura Rápida cómo las novedades del diccionario electrónico de la RAE, el ciclo homenaje a Mariano Fortuny que acoge el Insituto Cervantes,  hoy se entregan los Premios Nobel, ‘Emilia Pérez’ lidera con diez nominaciones las candidaturas a los Globos de Oro o otras noticias cómo el fallecimiento a los 77 años el actor de series de televisión Mark Withers.Escuchar audio

Un fin de semana más y de nuevo Un buen día para viajar regresa a la radio de casa, a Rpa con dos nuevas horas de radio y viaje…Sara Moro desde el Bellas Artes de Asturias nos trae la magnífica noticia de tener una obra de Mariano Fortuny en las salas del museo asturiano…Víctor Guerra en su sección de caminería nos cuenta quien se movía por la Senda del Arcediano, quienes eran los principales usuarios y personas que por allí transitaban y la huella que de ellos quedó…Francisco Borge en la sección de Reino de Asturias y arte prerrománico narra con su maestría y conocimiento habitual las claves del acueducto de Oviedo que desde la Granda del Anillo trasladaba el agua al centro del santuario ovetense…segunda hora magnífica tras el boletín de noticias con el gran historiador británico Roderick Beaton, especialista en la historia de Grecia desde la antigüedad hasta la actualidad que nos lleva a Grecia y su trascendental importancia en el mundo occidental…y Alicia Vallina cierra programa con su sección de Mujeres Extraordinarias hablándonos de la magnífica pintora y con vida muy llamativa y dura, Marie Blanchard…dos horas apasionantes de radio en Rpa!!

Un fin de semana más y de nuevo Un buen día para viajar regresa a la radio de casa, a Rpa con dos nuevas horas de radio y viaje…Sara Moro desde el Bellas Artes de Asturias nos trae la magnífica noticia de tener una obra de Mariano Fortuny en las salas del museo asturiano…Víctor Guerra en su sección de caminería nos cuenta quien se movía por la Senda del Arcediano, quienes eran los principales usuarios y personas que por allí transitaban y la huella que de ellos quedó…Francisco Borge en la sección de Reino de Asturias y arte prerrománico narra con su maestría y conocimiento habitual las claves del acueducto de Oviedo que desde la Granda del Anillo trasladaba el agua al centro del santuario ovetense…segunda hora magnífica tras el boletín de noticias con el gran historiador británico Roderick Beaton, especialista en la historia de Grecia desde la antigüedad hasta la actualidad que nos lleva a Grecia y su trascendental importancia en el mundo occidental…y Alicia Vallina cierra programa con su sección de Mujeres Extraordinarias hablándonos de la magnífica pintora y con vida muy llamativa y dura, Marie Blanchard…dos horas apasionantes de radio en Rpa!!

Vi skickar modevykort med berättelser om favoriter och höjdpunkter från vårens stora modeauktioner. Hilde drömmer bland annat om Yves Saint Laurents 1970-tal i Paris samt den legendariska Delphos-klänningen av Mariano Fortuny och Henriette Negrins. Agnes snöar in på bakgrunden till Dior av John Gallianos Gazette-print och Alexander McQueens "Highland Rape". Dessutom ett exklusivt samtal med en av de som sålde DEN DÄR John Galliano-klänningen – den som fick slutpris på cirka 1,1 miljoner kronor. Följ oss på @modegalaxen_podcast!

Support this podcast and get the full Episode on Pattern: www.patreon.com/cantnotpodcast In conversation with David of @Winning.and.Losing on David's favourite designers from the turn of the century such as Callot Soeurs, Lucy Lady Duff Gordon, Frederick Worth and Mariano Fortuny and his wife Henriette Negrin, dating methods for antique clothing, selling at Brimfield, old dying methods, going to auctions and so much more!

durée : 00:11:48 - Mariano Fortuny - par : Marianne Vourch - Comme Giorgione, Titien, Tintoret ou le Carpaccio – son préféré –, la lumière est au cœur des créations et des inventions de Mariano Fortuny. Peintre, graveur, photographe, architecte, designer, costumier, metteur en scène, éclairagiste et ingénieur, Fortuny fera toujours fi des catégories. - réalisé par : Sophie Pichon

Born in Salinas Kansas and eventually raised in Oklahoma, Kenneth knew at a very young age who he was and what he wanted to do. He just didn't understand the road he would travel to get there.He earned a BS in fashion merchandising from Central State University in Wilberforce, OH and learned pattern making in San Francisco from Paris trained Simmin SethnaKenneth has sold to boutiques across the country such as Maxfield, Wilkes Bashford, and Ultimo. His work has appeared in music videos and television commercials…he designed for Geena Davis, Cloris Leachman, Bernie Taupin and Elton John He's also been featured on the red carpet for the Oscars.  His creations are in the permanent collections of the De Young Museum in San Francisco, the L.A. County Museum of Art, The Oakland Museum, and the Victoria and Albert Museum in London.He is also an Adjunct Assistant Professor at the Fashion Institute of New York and teaches around the United States and online. He's a Contributing Editor and author to Threads Magazine, has courses on Craftsy and Burda, and has written many books on couture sewing techniques.Kenneth currently lives in New York with his husband Andrew Marley.(2:19) Kenneth takes us back to his childhood, talks of his parents and the people who have powerful influences in his life. He tells us when he started and what he liked to sew. His move to Oklahoma was traumatic, but he used this to fuel his resolve. (6:44) Why did Kenneth choose to sew as an outlet? He explains… And he introduces us to Estelle.(7:55) His grandmother was his champion in his finding himself. He introduces us to her.(9:55) Who is Norma and how did she influence Kenneth? He talks us back to their meeting in 1983 and shares this story…(13:36) Kenneth expounds on the influence that San Francisco's Beaux Arts architecture had had on his work. (15:00) How does Kenneth feels about beauty in creativity in today's modern design? Pretty strongly as he explains. And don't use the word “edgy”! As part of this, he takes us inside San Francisco's famous Opera house and describes the reopening gala performance. (19:12) Kenneth's creations are not just worn, they are a part of the whole experience. He explains what this means…the person wearing it is the star! (20:14) He has developed several techniques to make his creations more wearable and comfortable…he shares a few of these secrets. (21:40) And what took Kenneth to San Francisco…? He takes us on this fortuitous journey. (22:55) Mariano Fortuny www.fortuny.com had a technique that greatly influenced Kenneth as did Swarovski www.swarovski.com. Hear about these influences and how he created a chair slipcover for Swarovski. (26:32) And how did Elton John get one of Kenneth's footstools? This is quite a story…hear it here! Elton John also owns a lot of “the good stuff” See several of Elton's videos featuring Kenneth's creations https://www.kennethdking.com/copy-of-what-s-new. (30:52) Now a part of pop culture…he has created for red carpets and many A List stars. He shares a few of the stories of how this came to be. And how does it work today…he shares the process and why is doesn't work for him now. (32:29) The Orchid Broach which he created in 1987…but didn't wear until his wedding day in 2016 is an important part of his life. Learn why. And hear the story of how he met his now husband. And…then there's the famous evening embellishment vests – a signature style of his. (40:36) Doll Couture: The Story of Lolawww.lolatheshowgirl124.com is Kenneth's upcoming new book. The story of how this tome came to be is a wonderful as the book itself. Kenneth shares the backstory and gives us a sneak peek at the book's plot. (44:06) And what's the best decision he ever made?! His answer to a pointed question steered the course of his life. (47:10) What's his dream and what's next? Well spy clothes and his Screen Play. (50:50) To reach out to him go to www.kennethdking.com and at Instagram @KennethdkingIf you know someone who has an outstanding story that should be shared on this podcast, drop Meg a note to Meg@sewandsopodcast.com or complete the form on our website.

Un día como hoy, 11 de junio: Nace: 1776: John Constable, pintor británico. 1838: Mariano Fortuny, pintor español. 1864: Richard Strauss, director de orquesta y compositor alemán. 1899: Yasunari Kawabata, novelista japonés, premio nobel de literatura en 1968 (f. 1972). 1910: Jacques Cousteau, oceanógrafo y explorador francés (f. 1997). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

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

While the story of women's liberation has often been framed by the growing acceptance of pants over the twentieth century, the most important and influential female fashions of the era featured skirts. Suffragists and soldiers marched in skirts; the heroines of the Civil Rights Movement took a stand in skirts. Frida Kahlo and Georgia O'Keeffe revolutionized modern art and Marie Curie won two Nobel Prizes in skirts. When NASA put a man on the moon, “the computer wore a skirt,” in the words of one of those computers, mathematician Katherine G. Johnson. As women made strides towards equality in the vote, the workforce, and the world at large, their wardrobes evolved with them. They did not need to "wear the pants" to be powerful or progressive; the dress itself became modern as designers like Mariano Fortuny, Coco Chanel, Jean Patou, and Diane von Furstenberg redefined femininity for a new era. Kimberly Chrisman-Campbell's Skirts: Fashioning Modern Femininity in the Twentieth Century (St. Martin's Press, 2022) looks at the history of twentieth-century womenswear through the lens of game-changing styles like the little black dress and the Bar Suit, as well as more obscure innovations like the Taxi dress or the Pop-Over dress, which came with a matching potholder. These influential garments illuminate the times in which they were first worn―and the women who wore them―while continuing to shape contemporary fashion and even opening the door for a genderfluid future of skirts. At once an authoritative work of history and a delightfully entertaining romp through decades of fashion, Skirts charts the changing fortunes, freedoms, and aspirations of women themselves. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

While the story of women's liberation has often been framed by the growing acceptance of pants over the twentieth century, the most important and influential female fashions of the era featured skirts. Suffragists and soldiers marched in skirts; the heroines of the Civil Rights Movement took a stand in skirts. Frida Kahlo and Georgia O'Keeffe revolutionized modern art and Marie Curie won two Nobel Prizes in skirts. When NASA put a man on the moon, “the computer wore a skirt,” in the words of one of those computers, mathematician Katherine G. Johnson. As women made strides towards equality in the vote, the workforce, and the world at large, their wardrobes evolved with them. They did not need to "wear the pants" to be powerful or progressive; the dress itself became modern as designers like Mariano Fortuny, Coco Chanel, Jean Patou, and Diane von Furstenberg redefined femininity for a new era. Kimberly Chrisman-Campbell's Skirts: Fashioning Modern Femininity in the Twentieth Century (St. Martin's Press, 2022) looks at the history of twentieth-century womenswear through the lens of game-changing styles like the little black dress and the Bar Suit, as well as more obscure innovations like the Taxi dress or the Pop-Over dress, which came with a matching potholder. These influential garments illuminate the times in which they were first worn―and the women who wore them―while continuing to shape contemporary fashion and even opening the door for a genderfluid future of skirts. At once an authoritative work of history and a delightfully entertaining romp through decades of fashion, Skirts charts the changing fortunes, freedoms, and aspirations of women themselves. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

While the story of women's liberation has often been framed by the growing acceptance of pants over the twentieth century, the most important and influential female fashions of the era featured skirts. Suffragists and soldiers marched in skirts; the heroines of the Civil Rights Movement took a stand in skirts. Frida Kahlo and Georgia O'Keeffe revolutionized modern art and Marie Curie won two Nobel Prizes in skirts. When NASA put a man on the moon, “the computer wore a skirt,” in the words of one of those computers, mathematician Katherine G. Johnson. As women made strides towards equality in the vote, the workforce, and the world at large, their wardrobes evolved with them. They did not need to "wear the pants" to be powerful or progressive; the dress itself became modern as designers like Mariano Fortuny, Coco Chanel, Jean Patou, and Diane von Furstenberg redefined femininity for a new era. Kimberly Chrisman-Campbell's Skirts: Fashioning Modern Femininity in the Twentieth Century (St. Martin's Press, 2022) looks at the history of twentieth-century womenswear through the lens of game-changing styles like the little black dress and the Bar Suit, as well as more obscure innovations like the Taxi dress or the Pop-Over dress, which came with a matching potholder. These influential garments illuminate the times in which they were first worn―and the women who wore them―while continuing to shape contemporary fashion and even opening the door for a genderfluid future of skirts. At once an authoritative work of history and a delightfully entertaining romp through decades of fashion, Skirts charts the changing fortunes, freedoms, and aspirations of women themselves. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

While the story of women's liberation has often been framed by the growing acceptance of pants over the twentieth century, the most important and influential female fashions of the era featured skirts. Suffragists and soldiers marched in skirts; the heroines of the Civil Rights Movement took a stand in skirts. Frida Kahlo and Georgia O'Keeffe revolutionized modern art and Marie Curie won two Nobel Prizes in skirts. When NASA put a man on the moon, “the computer wore a skirt,” in the words of one of those computers, mathematician Katherine G. Johnson. As women made strides towards equality in the vote, the workforce, and the world at large, their wardrobes evolved with them. They did not need to "wear the pants" to be powerful or progressive; the dress itself became modern as designers like Mariano Fortuny, Coco Chanel, Jean Patou, and Diane von Furstenberg redefined femininity for a new era. Kimberly Chrisman-Campbell's Skirts: Fashioning Modern Femininity in the Twentieth Century (St. Martin's Press, 2022) looks at the history of twentieth-century womenswear through the lens of game-changing styles like the little black dress and the Bar Suit, as well as more obscure innovations like the Taxi dress or the Pop-Over dress, which came with a matching potholder. These influential garments illuminate the times in which they were first worn―and the women who wore them―while continuing to shape contemporary fashion and even opening the door for a genderfluid future of skirts. At once an authoritative work of history and a delightfully entertaining romp through decades of fashion, Skirts charts the changing fortunes, freedoms, and aspirations of women themselves. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

While the story of women's liberation has often been framed by the growing acceptance of pants over the twentieth century, the most important and influential female fashions of the era featured skirts. Suffragists and soldiers marched in skirts; the heroines of the Civil Rights Movement took a stand in skirts. Frida Kahlo and Georgia O'Keeffe revolutionized modern art and Marie Curie won two Nobel Prizes in skirts. When NASA put a man on the moon, “the computer wore a skirt,” in the words of one of those computers, mathematician Katherine G. Johnson. As women made strides towards equality in the vote, the workforce, and the world at large, their wardrobes evolved with them. They did not need to "wear the pants" to be powerful or progressive; the dress itself became modern as designers like Mariano Fortuny, Coco Chanel, Jean Patou, and Diane von Furstenberg redefined femininity for a new era. Kimberly Chrisman-Campbell's Skirts: Fashioning Modern Femininity in the Twentieth Century (St. Martin's Press, 2022) looks at the history of twentieth-century womenswear through the lens of game-changing styles like the little black dress and the Bar Suit, as well as more obscure innovations like the Taxi dress or the Pop-Over dress, which came with a matching potholder. These influential garments illuminate the times in which they were first worn―and the women who wore them―while continuing to shape contemporary fashion and even opening the door for a genderfluid future of skirts. At once an authoritative work of history and a delightfully entertaining romp through decades of fashion, Skirts charts the changing fortunes, freedoms, and aspirations of women themselves. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

While the story of women's liberation has often been framed by the growing acceptance of pants over the twentieth century, the most important and influential female fashions of the era featured skirts. Suffragists and soldiers marched in skirts; the heroines of the Civil Rights Movement took a stand in skirts. Frida Kahlo and Georgia O'Keeffe revolutionized modern art and Marie Curie won two Nobel Prizes in skirts. When NASA put a man on the moon, “the computer wore a skirt,” in the words of one of those computers, mathematician Katherine G. Johnson. As women made strides towards equality in the vote, the workforce, and the world at large, their wardrobes evolved with them. They did not need to "wear the pants" to be powerful or progressive; the dress itself became modern as designers like Mariano Fortuny, Coco Chanel, Jean Patou, and Diane von Furstenberg redefined femininity for a new era. Kimberly Chrisman-Campbell's Skirts: Fashioning Modern Femininity in the Twentieth Century (St. Martin's Press, 2022) looks at the history of twentieth-century womenswear through the lens of game-changing styles like the little black dress and the Bar Suit, as well as more obscure innovations like the Taxi dress or the Pop-Over dress, which came with a matching potholder. These influential garments illuminate the times in which they were first worn―and the women who wore them―while continuing to shape contemporary fashion and even opening the door for a genderfluid future of skirts. At once an authoritative work of history and a delightfully entertaining romp through decades of fashion, Skirts charts the changing fortunes, freedoms, and aspirations of women themselves. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices

While the story of women's liberation has often been framed by the growing acceptance of pants over the twentieth century, the most important and influential female fashions of the era featured skirts. Suffragists and soldiers marched in skirts; the heroines of the Civil Rights Movement took a stand in skirts. Frida Kahlo and Georgia O'Keeffe revolutionized modern art and Marie Curie won two Nobel Prizes in skirts. When NASA put a man on the moon, “the computer wore a skirt,” in the words of one of those computers, mathematician Katherine G. Johnson. As women made strides towards equality in the vote, the workforce, and the world at large, their wardrobes evolved with them. They did not need to "wear the pants" to be powerful or progressive; the dress itself became modern as designers like Mariano Fortuny, Coco Chanel, Jean Patou, and Diane von Furstenberg redefined femininity for a new era. Kimberly Chrisman-Campbell's Skirts: Fashioning Modern Femininity in the Twentieth Century (St. Martin's Press, 2022) looks at the history of twentieth-century womenswear through the lens of game-changing styles like the little black dress and the Bar Suit, as well as more obscure innovations like the Taxi dress or the Pop-Over dress, which came with a matching potholder. These influential garments illuminate the times in which they were first worn―and the women who wore them―while continuing to shape contemporary fashion and even opening the door for a genderfluid future of skirts. At once an authoritative work of history and a delightfully entertaining romp through decades of fashion, Skirts charts the changing fortunes, freedoms, and aspirations of women themselves. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

El Año Fortuny termina en Granada con el estreno de la película de José Sánchez Montes 'El Universo en una caja'. Nos la presenta en esta entrevista

Nos centramos en una pieza que constituye un verdadero hito en la historia de la moda: el vestido Delphos, firmado por el pintor, grabador, fotógrafo, diseñador textil, diseñador de moda y escenógrafo español Mariano Fortuny. La patente que, en 1909 y con gran visión, decidió registrar Mariano Fortuny recogía casi todos los detalles de la técnica que su mujer, Heriette Brassart, y él empleaban para lograr el característico y minúsculo plisado de la hoy emblemática túnica Delphos. Edurne Baz repasa el proceso de creación de uno de los más icónicos diseños de la historia de la moda.

Nos centramos en una pieza que constituye un verdadero hito en la historia de la moda: el vestido Delphos, firmado por el pintor, grabador, fotógrafo, diseñador textil, diseñador de moda y escenógrafo español Mariano Fortuny. La patente que, en 1909 y con gran visión, decidió registrar Mariano Fortuny recogía casi todos los detalles de la técnica que su mujer, Heriette Brassart, y él empleaban para lograr el característico y minúsculo plisado de la hoy emblemática túnica Delphos. Edurne Baz repasa el proceso de creación de uno de los más icónicos diseños de la historia de la moda.

Un día como hoy, 11 de junio: Nace: 1776: John Constable, pintor británico. 1838: Mariano Fortuny, pintor español. 1864: Richard Strauss, director de orquesta y compositor alemán. 1899: Yasunari Kawabata, novelista japonés, premio nobel de literatura en 1968 (f. 1972). 1910: Jacques Cousteau, oceanógrafo y explorador francés (f. 1997). Una producción de Sala Prisma Podcast. 2021

Magical Venice ...and murder. Jane Thornley was one of my very first guests. She joined me on episode 14 to talk about her Crime By Design books. Today she is back to discuss The Carpet Cipher, the first book in the Agency of Ancient Lost and Found mysteries. Jane has always done a lot of traveling, which is reflected in all her books and that's true as well of the excerpt she reads to us. We begin in Venice, pre-Covid-19, and you can almost smell the damp and decay as Jane's protagonist, Phoebe McCabe makes her way through the city. I've never been to Italy, but am as desperate as ever to visit the floating city after hearing Jane read. This week's mystery author Jane Thornley has been creating stories forever, or at least, as far back as she can remember. Once a superintendent of schools, once a travel host, once a professional librarian, once and still a knitwear designer, now she remains passionate about travel, history and art. Though she's published many books, her new Agency of the Ancient Lost & Found series remains the most popular. To learn more about Jane and all her books visit JaneThornley.com Press play (above) to listen to the show, or read the excerpt below. Remember you can also listen on Apple Podcasts, Stitcher, Android, Google Podcasts, TuneIn, and Spotify. Excerpt from The Carpet Cipher Venice, February 2019 How long had it been since she had last ventured into the Venetian streets at night—five years, ten? Too long ago, in any event, and to do so tonight of all nights, when the carnival finale was in full swing and the revelry would reach a raucous pitch, seemed foolish even for her. How she detested the noise, the crowds, even the fierce and gilded costumes that would press against her in the dark like fevered dreams. To stay home by the fire with a book and a glass of wine seemed far preferable. Still, it must be done. After tonight she would lay one matter to rest and possibly see the conclusion of another, much older mystery. She opened the front door, hesitating briefly before leaving the safety of her palazzo and plunging into the throng, her velvet coat wrapped tightly around her to ward away the spring chill. As expected, the young people were outdoing each other with fantastic finery. Gone were the days when only the time traveler mode of long gowns and medieval costumes ruled, though plenty of those still roamed the streets. Now creative interlopers had arrived with glittery fairy wings, and was that a chicken? Yes, a chicken, complete with an enormous egg tucked under one false wing! She stifled a laugh.  Her own mask, on the other hand, was demure by comparison, a lovely sun/moon creation she had had especially made for another carnival long ago when she had been a young woman, her whole life stretching ahead. Then, the duality of light and dark had been no more than a playful game. As on that evening, she also wore the cape worked in deep blue velvet stenciled in gold stars with Mariano Fortuny’s distinctive flair. Now, that subtle silken loveliness seemed to sink like a poor cousin against the surrounding sequins and gaudy trappings.  Never mind, she told herself, the man she was to meet would appreciate it for what it was: a testament to artisan beauty in a world that had long lost sight of what does not scream for attention. That she would reunite with the one with whom she had first worn the ensemble was a fitting end to their long torturous relationship. Though they had not seen one another for many decades, she prayed that he had finally forgiven her long enough to help her now. He of all people would know the significance of what she had discovered. But first, she must resolve the other matter. There was to be no meeting at her family’s weaving studio, on that point she was firm. The call had come just moments before she left the villa and her first response had been to refuse the request, but then she reconsidered.

Un día como hoy, 21 de noviembre: 1694, nace Voltaire. 1840, nace Victoria del Reino Unido. 1898, nace René Magritte. 1912, nace Eleanor Powell. 1965, nace Björk. 1695, fallece Henry Purcell. 1874, fallece Mariano Fortuny. Una producción de Sala Prisma Podcast. 2020

Un viaggio suggestivo attraverso la vita e la passione per i tessuti di Mariano Fortuny, una delle personalità più affascinanti e creative che Venezia ha avuto il privilegio di vantare tra i propri figli adottivi. L'approfondimento è a cura della giornalista Paola Sartore.

Sono i tessili raccolti da Mariano Fortuny, stilista, designer, pittore e scenografo spagnolo che fece di Venezia la sua seconda patria, il soggetto dell'approfondimento firmato da Alessandra Gini, referente della Fondazione di Venezia per le proprie collezioni.

Presentamos a un nuevo personaje que de vez en cuando se asomará en nuestro espacio: el caminante errante. Con él nos paseamos por el Museo Nacional del Prado y desnudamos a través de su mirada algunas de las obras allí expuestas. En esta primera aparición nuestro caminante se detuvo en El Triunfo de la muerte por Pieter Brueghel "el viejo", la Vista del jardín de la Villa Médici en Roma por Diego de Velázquez y en la Fantasía sobre Fausto por Mariano Fortuny (1866)

La genialidad de Fortuny Nos desplazamos al taller de Los Laberintos del Arte para conocer la vida y obra de Mariano Fortuny, un pintor que rescata actualmente el Museo del Prado en la exposición: Fortuny (1838- 1874). Un libro para conocer curiosidades de Roma En el último tramo del programa conversamos con Javier Ramos, quien nos presentó su libro,  Eso no estaba en mi libro de Historia de Roma roma, publicado por la editorial Almuzara

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Veckans STIL ägnar vi åt Mariano Fortuny (18711949). Ett universalsnille som uppfann den teknik han saknade, inom både teater och mode. Själv betraktade han sig i första hand som konstnär. Men det är som skapare av plisserade plagg han slog igenom 1907 och vars influenser man kunnat se i modet sedan dess genom att vara toppmoderna i sin enkelhet. Mariano Fortunys plisserade plagg skulle lätt kunna gå sida vid sida med kjolar och klänningar från årets vårkollektioner från modehus som Lanvin och Chloè utan att se särskilt gammalmodiga ut.