Podcasts about Schiaparelli

durée : 00:55:43 - Histoire de femmes, histoire de fringues - par : Stéphanie DUNCAN - Dior, Fath, Molyneux, Schiaparelli, Balenciaga, Patou...: en 1956, Paris compte 54 maisons de couture, qui s'accordent à façonner une femme idéale, maquillée, gantée, chapeautée, chaussée d'escarpins, la taille prise dans une gaine, vêtue dans une somptueuse robe décolletée, en tulle ou mousseline. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

There's this weird circular structure near the pyramids that nobody really paid attention to for years—until recently. It looks like some kind of ancient bathtub, totally sealed and preserved. What's wild is that it hadn't been officially recorded or recognized as something important before. Historians are kind of stumped because they don't know exactly what it was used for. There are a bunch of theories, but nothing solid—it's all just educated guesses for now. It's one of those “wait… how did we miss this?” moments in archaeology! Credit: ojosdelostigres / Reddit sheizdza / Reddit TN_Egyptologist / Reddit Lloydwrites / Reddit MrLectromag / Reddit CC0 1.0 ⁠https://creativecommons.org/publicdom...⁠ Giza complex: by Drummyfish, ⁠https://commons.wikimedia.org/wiki/Fi...⁠ Schiaparelli's excavations: by Museo di Antropologia ed Etnografia, ⁠https://archiviofotografico.museoegiz...⁠, ⁠https://commons.wikimedia.org/wiki/Fi...⁠ Temple of Hathor: by Museo di Antropologia ed Etnografia, ⁠https://archiviofotografico.museoegiz...⁠, ⁠https://commons.wikimedia.org/wiki/Fi...⁠ Animation is created by Bright Side. ---------------------------------------------------------------------------------------- Music from TheSoul Sound: ⁠https://thesoul-sound.com/⁠ Check our Bright Side podcast on Spotify and leave a positive review! ⁠https://open.spotify.com/show/0hUkPxD...⁠ Subscribe to Bright Side: ⁠https://goo.gl/rQTJZz⁠ ---------------------------------------------------------------------------------------- Our Social Media: Facebook: ⁠ ⁠⁠⁠⁠ / brightside  ⁠ Instagram: ⁠ ⁠⁠⁠⁠ / brightside.official  ⁠ TikTok: ⁠https://www.tiktok.com/@brightside.of...⁠ Telegram: ⁠https://t.me/bright_side_official⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of the SheerLuxe Podcast, Nana Acheampong is joined by Louise Roe and Josh Smith. Together, the three discuss the recent celebrity appearances at Wimbledon – from Leonardo DiCaprio to Stormzy and Nicole Kidman. They also chat about the viral Zara dress and Nana shares her excitement about the upcoming Schiaparelli exhibition at the V&A. The three then share their recent fashion finds, including some amazing sustainable brands and summer staples, before moving onto Josh's new book, ‘Great Chat', and specifically the challenges of social interactions and the importance of confidence. Finally, they tackle some listener dilemmas – from dealing with a colleague's overpowering fragrance to addressing family drama over stolen baby names. Subscribe For More | http://bit.ly/2VmqduQ Get SheerLuxe Straight To Your Inbox, Daily | http://sheerluxe.com/signup PANEL GUESTSNana Acheampong | @styledbynana | https://www.instagram.com/styledbynana/?hl=en ASOS Design Tall Sleeveless Waisted Midi Dress | https://asos.bbgqo9.net/DyMYbo Next Zebra Signature Premium Leather Suede Mules | https://www.next.co.uk/style/su582590/ap7233Tilly Sveaas Large Gold Curb Chain | https://tinyurl.com/mttnfym3 Josh Smith | @joshsmithhosts | https://www.instagram.com/joshsmithhosts/?hl=en Zara Cutwork Embroidered Shirt | https://tidd.ly/4lWTIym Octobre Editions Marcio Casual Pants | https://tinyurl.com/4v4wm5n7 M&S Suede Corkbed Mule | https://tidd.ly/3GMV8Nc Louise Roe | @louiseroe | https://www.instagram.com/louiseroe/?hl=en DISSH April White Knit Ramie Dress (Similar) | https://tinyurl.com/bdcmy4we Maria Luca Rafia August Ballet Flats | https://tinyurl.com/hcf36xbp Anine Bing Quinn Blazer | https://tinyurl.com/5n6hxwcx Hosted on Acast. See acast.com/privacy for more information.

Frances Wilson has written biographies of Dorothy Wordsworth, Thomas De Quincey, D.H. Lawrence, and, most recently, Muriel Spark. I thought Electric Spark was excellent. In my review, I wrote: “Wilson has done far more than string the facts together. She has created a strange and vivid portrait of one of the most curious of twentieth century novelists.” In this interview, we covered questions like why Thomas De Quincey is more widely read, why D.H. Lawrence's best books aren't his novels, Frances's conversion to spookiness, what she thinks about a whole range of modern biographers, literature and parasocial relationships, Elizabeth Bowen, George Meredith, and plenty about Muriel Spark.Here are two brief extracts. There is a full transcript below.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?And.Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now.TranscriptHenry: Today, I am talking to Frances Wilson. Frances is a biographer. Her latest book, Electric Spark, is a biography of the novelist Muriel Spark, but she has also written about Dorothy Wordsworth, Thomas De Quincey, DH Lawrence and others. Frances, welcome.Frances Wilson: Thank you so much for having me on.Henry: Why don't more people read Thomas De Quincey's work?Frances: [laughs] Oh, God. We're going right into the deep end.[laughter]Frances: I think because there's too much of it. When I chose to write about Thomas De Quincey, I just followed one thread in his writing because Thomas De Quincey was an addict. One of the things he was addicted to was writing. He wrote far, far, far too much. He was a professional hack. He was a transcendental hack, if you like, because all of his writing he did while on opium, which made the sentences too long and too high and very, very hard to read.When I wrote about him, I just followed his interest in murder. He was fascinated by murder as a fine art. The title of one of his best essays is On Murder as One of the Fine Arts. I was also interested in his relationship with Wordsworth. I twinned those together, which meant cutting out about 97% of the rest of his work. I think people do read his Confessions of an English Opium-Eater. I think that's a cult text. It was the memoir, if you want to call it a memoir, that kick-started the whole pharmaceutical memoir business on drugs.It was also the first addict's memoir and the first recovery memoir, and I'd say also the first misery memoir. He's very much at the root of English literary culture. We're all De Quincey-an without knowing it, is my argument.Henry: Oh, no, I fully agree. That's what surprises me, that they don't read him more often.Frances: I know it's a shame, isn't it? Of all the Romantic Circle, he's the one who's the most exciting to read. Also, Lamb is wonderfully exciting to read as well, but Lamb's a tiny little bit more grounded than De Quincey, who was literally not grounded. He's floating in an opium haze above you.[laughter]Henry: What I liked about your book was the way you emphasized the book addiction, not just the opium addiction. It is shocking the way he piled up chests full of books and notebooks, and couldn't get into the room because there were too many books in there. He was [crosstalk].Frances: Yes. He had this in common with Muriel Spark. He was a hoarder, but in a much more chaotic way than Spark, because, as you say, he piled up rooms with papers and books until he couldn't get into the room, and so just rented another room. He was someone who had no money at all. The no money he had went on paying rent for rooms, storing what we would be giving to Oxfam, or putting in the recycling bin. Then he'd forget that he was paying rent on all these rooms filled with his mountains of paper. The man was chaos.Henry: What is D.H. Lawrence's best book?Frances: Oh, my argument about Lawrence is that we've gone very badly wrong in our reading of him, in seeing him primarily as a novelist and only secondarily as an essayist and critic and short story writer, and poet. This is because of F.R. Leavis writing that celebration of him called D.H. Lawrence: Novelist, because novels are not the best of Lawrence. I think the best of his novels is absolutely, without doubt, Sons and Lovers. I think we should put the novels in the margins and put in the centre, the poems, travel writing.Absolutely at the centre of the centre should be his studies in classic American literature. His criticism was- We still haven't come to terms with it. It was so good. We haven't heard all of Lawrence's various voices yet. When Lawrence was writing, contemporaries didn't think of Lawrence as a novelist at all. It was anyone's guess what he was going to come out with next. Sometimes it was a novel [laughs] and it was usually a rant about-- sometimes it was a prophecy. Posterity has not treated Lawrence well in any way, but I think where we've been most savage to him is in marginalizing his best writing.Henry: The short fiction is truly extraordinary.Frances: Isn't it?Henry: I always thought Lawrence was someone I didn't want to read, and then I read the short fiction, and I was just obsessed.Frances: It's because in the short fiction, he doesn't have time to go wrong. I think brevity was his perfect length. Give him too much space, and you know he's going to get on his soapbox and start ranting, start mansplaining. He was a terrible mansplainer. Mansplaining his versions of what had gone wrong in the world. It is like a drunk at the end of a too-long dinner party, and you really want to just bundle him out. Give him only a tiny bit of space, and he comes out with the perfection that is his writing.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?Frances: I think that the way I approach biography is that there is a code to crack, but I'm not necessarily concerned with whether I crack it or not. I think it's just recognizing that there's a hell of a lot going on in the writing and that, in certain cases and not in every case at all, the best way of exploring the psyche of the writer and the complexity of the life is through the writing, which is a argument for psycho biography, which isn't something I necessarily would argue for, because it can be very, very crude.I think with the writers I choose, there is no option. Muriel Spark argued for this as well. She said in her own work as a biographer, which was really very, very strong. She was a biographer before she became a novelist. She thought hard about biography and absolutely in advance of anyone else who thought about biography, she said, "Of course, the only way we can approach the minds of writers is through their work, and the writer's life is encoded in the concerns of their work."When I was writing about Muriel Spark, I followed, as much as I could, to the letter, her own theories of biography, believing that that was part of the code that she left. She said very, very strong and very definitive things about what biography was about and how to write a biography. I tried to follow those rules.Henry: Can we play a little game where I say the names of some biographers and you tell me what you think of them?Frances: Oh my goodness. Okay.Henry: We're not trying to get you into trouble. We just want some quick opinions. A.N. Wilson.Frances: I think he's wonderful as a biographer. I think he's unzipped and he's enthusiastic and he's unpredictable and he's often off the rails. I think his Goethe biography-- Have you read the Goethe biography?Henry: Yes, I thought that was great.Frances: It's just great, isn't it? It's so exciting. I like the way that when he writes about someone, it's almost as if he's memorized the whole of their work.Henry: Yes.Frances: You don't imagine him sitting at a desk piled with books and having to score through his marginalia. It sits in his head, and he just pours it down on a page. I'm always excited by an A.N. Wilson biography. He is one of the few biographers who I would read regardless of who the subject was.Henry: Yes.Frances: I just want to read him.Henry: He does have good range.Frances: He absolutely does have good range.Henry: Selina Hastings.Frances: I was thinking about Selina Hastings this morning, funnily enough, because I had been talking to people over the weekend about her Sybil Bedford biography and why that hadn't lifted. She wrote a very excitingly good life of Nancy Mitford and then a very unexcitingly not good life of Sybil Bedford. I was interested in why the Sybil Bedford simply hadn't worked. I met people this weekend who were saying the same thing, that she was a very good biographer who had just failed [laughs] to give us anything about Sybil Bedford.I think what went wrong in that biography was that she just could not give us her opinions. It's as if she just withdrew from her subject as if she was writing a Wikipedia entry. There were no opinions at all. What the friends I was talking to said was that she just fell out with her subject during the book. That's what happened. She stopped being interested in her. She fell out with her and therefore couldn't be bothered. That's what went wrong.Henry: Interesting. I think her Evelyn Waugh biography is superb.Frances: Yes, I absolutely agree. She was on fire until this last one.Henry: That's one of the best books on Waugh, I think.Frances: Yes.Henry: Absolutely magical.Frances: I also remember, it's a very rare thing, of reading a review of it by Hilary Mantel saying that she had not read a biography that had been as good, ever, as Selina Hastings' on Evelyn Waugh. My goodness, that's high praise, isn't it?Henry: Yes, it is. It is. I'm always trying to push that book on people. Richard Holmes.Frances: He's my favourite. He's the reason that I'm a biographer at all. I think his Coleridge, especially the first volume of the two-volume Coleridge, is one of the great books. It left me breathless when I read it. It was devastating. I also think that his Johnson and Savage book is one of the great books. I love Footsteps as well, his account of the books he didn't write in Footsteps. I think he has a strange magic. When Muriel Spark talked about certain writers and critics having a sixth literary sense, which meant that they tuned into language and thought in a way that the rest of us don't, I think that Richard Holmes does have that. I think he absolutely has it in relation to Coleridge. I'm longing for his Tennyson to come out.Henry: Oh, I know. I know.Frances: Oh, I just can't wait. I'm holding off on reading Tennyson until I've got Holmes to help me read him. Yes, he is quite extraordinary.Henry: I would have given my finger to write the Johnson and Savage book.Frances: Yes, I know. I agree. How often do you return to it?Henry: Oh, all the time. All the time.Frances: Me too.Henry: Michael Holroyd.Frances: Oh, that's interesting, Michael Holroyd, because I think he's one of the great unreads. I think he's in this strange position of being known as a greatest living biographer, but nobody's read him on Augustus John. [laughs] I haven't read his biographies cover to cover because they're too long and it's not in my subject area, but I do look in them, and they're novelistic in their wit and complexity. His sentences are very, very, very entertaining, and there's a lot of freight in each paragraph. I hope that he keeps selling.I love his essays as well, and also, I think that he has been a wonderful ambassador for biography. He's very, very supportive of younger biographers, which not every biographer is, but I know he's been very supportive of younger biographers and is incredibly approachable.Henry: Let's do a few Muriel Spark questions. Why was the Book of Job so important to Muriel Spark?Frances: I think she liked it because it was rogue, because it was the only book of the Bible that wasn't based on any evidence, it wasn't based on any truth. It was a fictional book, and she liked fiction sitting in the middle of fact. That was one of her main things, as all Spark lovers know. She liked the fact that there was this work of pure imagination and extraordinarily powerful imagination sitting in the middle of the Old Testament, and also, she thought it was an absolutely magnificent poem.She saw herself primarily as a poet, and she responded to it as a poem, which, of course, it is. Also, she liked God in it. She described Him as the Incredible Hulk [laughs] and she liked His boastfulness. She enjoyed, as I do, difficult personalities, and she liked the fact that God had such an incredibly difficult personality. She liked the fact that God boasted and boasted and boasted, "I made this and I made that," to Job, but also I think she liked the fact that you hear God's voice.She was much more interested in voices than she was in faces. The fact that God's voice comes out of the burning bush, I think it was an image for her of early radio, this voice speaking, and she liked the fact that what the voice said was tricksy and touchy and impossibly arrogant. He gives Moses all these instructions to lead the Israelites, and Moses says, "But who shall I say sent me? Who are you?" He says, "I am who I am." [laughs] She thought that was completely wonderful. She quotes that all the time about herself. She says, "I know it's a bit large quoting God, but I am who I am." [laughs]Henry: That disembodied voice is very important to her fiction.Frances: Yes.Henry: It's the telephone in Memento Mori.Frances: Yes.Henry: Also, to some extent, tell me what you think of this, the narrator often acts like that.Frances: Like this disembodied voice?Henry: Yes, like you're supposed to feel like you're not quite sure who's telling you this or where you're being told it from. That's why it gets, like in The Ballad of Peckham Rye or something, very weird.Frances: Yes. I'm waiting for the PhD on Muriel Sparks' narrators. Maybe it's being done as we speak, but she's very, very interested in narrators and the difference between first-person and third-person. She was very keen on not having warm narrators, to put it mildly. She makes a strong argument throughout her work for the absence of the seductive narrative. Her narratives are, as we know, unbelievably seductive, but not because we are being flattered as readers and not because the narrator makes herself or himself pretty. The narrator says what they feel like saying, withholds most of what you would like them to say, plays with us, like in a Spark expression, describing her ideal narrator like a cat with a bird [laughs].Henry: I like that. Could she have been a novelist if she had not become a Catholic?Frances: No, she couldn't. The two things happened at the same time. I wonder, actually, whether she became a Catholic in order to become a novelist. It wasn't that becoming a novelist was an accidental effect of being a Catholic. The conversion was, I think, from being a biographer to a novelist rather than from being an Anglican to a Catholic. What happened is a tremendous interest. I think it's the most interesting moment in any life that I've ever written about is the moment of Sparks' conversion because it did break her life in two.She converted when she was in her mid-30s, and several things happened at once. She converted to Catholicism, she became a Catholic, she became a novelist, but she also had this breakdown. The breakdown was very much part of that conversion package. The breakdown was brought on, she says, by taking Dexys. There was slimming pills, amphetamines. She wanted to lose weight. She put on weight very easily, and her weight went up and down throughout her life.She wanted to take these diet pills, but I think she was also taking the pills because she needed to do all-nighters, because she never, ever, ever stopped working. She was addicted to writing, but also she was impoverished and she had to sell her work, and she worked all night. She was in a rush to get her writing done because she'd wasted so much of her life in her early 20s, in a bad marriage trapped in Africa. She needed to buy herself time. She was on these pills, which have terrible side effects, one of which is hallucinations.I think there were other reasons for her breakdown as well. She was very, very sensitive and I think psychologically fragile. Her mother lived in a state of mental fragility, too. She had a crash when she finished her book. She became depressed. Of course, a breakdown isn't the same as depression, but what happened to her in her breakdown was a paranoid attack rather than a breakdown. She didn't crack into nothing and then have to rebuild herself. She just became very paranoid. That paranoia was always there.Again, it's what's exciting about her writing. She was drawn to paranoia in other writers. She liked Cardinal Newman's paranoia. She liked Charlotte Brontë's paranoia, and she had paranoia. During her paranoid attack, she felt very, very interestingly, because nothing that happened in her life was not interesting, that T.S. Eliot was sending her coded messages. He was encoding these messages in his play, The Confidential Clerk, in the program notes to the play, but also in the blurbs he wrote for Faber and Faber, where he was an editor. These messages were very malign and they were encoded in anagrams.The word lived, for example, became devil. I wonder whether one of the things that happened during her breakdown wasn't that she discovered God, but that she met the devil. I don't think that that's unusual as a conversion experience. In fact, the only conversion experience she ever describes, you'll remember, is in The Girls of Slender Means, when she's describing Nicholas Farrington's conversion. That's the only conversion experience she ever describes. She says that his conversion is when he sees one of the girls leaving the burning building, holding a Schiaparelli dress. Suddenly, he's converted because he's seen a vision of evil.She says, "Conversion can be as a result of a recognition of evil, rather than a recognition of good." I think that what might have happened in this big cocktail of things that happened to her during her breakdown/conversion, is that a writer whom she had idolized, T.S. Eliot, who taught her everything that she needed to know about the impersonality of art. Her narrative coldness comes from Eliot, who thought that emotions had no place in art because they were messy, and art should be clean.I think a writer whom she had idolized, she suddenly felt was her enemy because she was converting from his church, because he was an Anglo-Catholic. He was a high Anglican, and she was leaving Anglo-Catholicism to go through the Rubicon, to cross the Rubicon into Catholicism. She felt very strongly that that is something he would not have approved of.Henry: She's also leaving poetry to become a prose writer.Frances: She was leaving his world of poetry. That's absolutely right.Henry: This is a very curious parallel because the same thing exactly happens to De Quincey with his worship of Wordsworth.Frances: You're right.Henry: They have the same obsessive mania. Then this, as you say, not quite a breakdown, but a kind of explosive mania in the break. De Quincey goes out and destroys that mossy hut or whatever it is in the orchard, doesn't he?Frances: Yes, that disgusting hut in the orchard. Yes, you're completely right. What fascinated me about De Quincey, and this was at the heart of the De Quincey book, was how he had been guided his whole life by Wordsworth. He discovered Wordsworth as a boy when he read We Are Seven, that very creepy poem about a little girl sitting on her sibling's grave, describing the sibling as still alive. For De Quincey, who had lost his very adored sister, he felt that Wordsworth had seen into his soul and that Wordsworth was his mentor and his lodestar.He worshipped Wordsworth as someone who understood him and stalked Wordsworth, pursued and stalked him. When he met him, what he discovered was a man without any redeeming qualities at all. He thought he was a dry monster, but it didn't stop him loving the work. In fact, he loved the work more and more. What threw De Quincey completely was that there was such a difference between Wordsworth, the man who had no genius, and Wordsworth, the poet who had nothing but.Eliot described it, the difference between the man who suffers and the mind which creates. What De Quincey was trying to deal with was the fact that he adulated the work, but was absolutely appalled by the man. Yes, you're right, this same experience happened to spark when she began to feel that T.S. Eliot, whom she had never met, was a malign person, but the work was still not only of immense importance to her, but the work had formed her.Henry: You see the Wasteland all over her own work and the shared Dante obsession.Frances: Yes.Henry: It's remarkably strong. She got to the point of thinking that T.S. Eliot was breaking into her house.Frances: Yes. As I said, she had this paranoid imagination, but also what fired her imagination and what repeated itself again and again in the imaginative scenarios that recur in her fiction and nonfiction is the idea of the intruder. It was the image of someone rifling around in cupboards, drawers, looking at manuscripts. This image, you first find it in a piece she wrote about finding herself completely coincidentally, staying the night during the war in the poet Louis MacNeice's house. She didn't know it was Louis MacNeice's house, but he was a poet who was very, very important to her.Spark's coming back from visiting her parents in Edinburgh in 1944. She gets talking to an au pair on the train. By the time they pull into Houston, there's an air raid, and the au pair says, "Come and spend the night at mine. My employers are away and they live nearby in St. John's Wood." Spark goes to this house and sees it's packed with books and papers, and she's fascinated by the quality of the material she finds there.She looks in all the books. She goes into the attic, and she looks at all the papers, and she asks the au pair whose house it is, and the au pair said, "Oh, he's a professor called Professor Louis MacNeice." Spark had just been reading Whitney. He's one of her favourite poets. She retells this story four times in four different forms, as non-fiction, as fiction, as a broadcast, as reflections, but the image that keeps coming back, what she can't get rid of, is the idea of herself as snooping around in this poet's study.She describes herself, in one of the versions, as trying to draw from his papers his power as a writer. She says she sniffs his pens, she puts her hands over his papers, telling herself, "I must become a writer. I must become a writer." Then she makes this weird anonymous phone call. She loved the phone because it was the most strange form of electrical device. She makes a weird anonymous phone call to an agent, saying, "I'm ringing from Louis MacNeice's house, would you like to see my manuscript?" She doesn't give her name, and the agent says yes.Now I don't believe this phone call took place. I think it's part of Sparks' imagination. This idea of someone snooping around in someone else's room was very, very powerful to her. Then she transposed it in her paranoid attack about T.S. Eliot. She transposed the image that Eliot was now in her house, but not going through her papers, but going through her food cupboards. [laughs] In her food cupboards, all she actually had was baked beans because she was a terrible cook. Part of her unwellness at that point was malnutrition. No, she thought that T.S. Eliot was spying on her. She was obsessed with spies. Spies, snoopers, blackmailers.Henry: T.S. Eliot is Stealing My Baked Beans would have been a very good title for a memoir.Frances: It actually would, wouldn't it?Henry: Yes, it'd be great.[laughter]Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now. Anything can happen. This is one of the reasons Spark was attracted to Catholicism because anything can happen, because it legitimizes the supernatural. I felt so strongly that the supernatural experiences that Spark had were real, that what Spark was describing as the spookiness of our own life were things that actually happened.One of the things I found very, very unsettling about her was that everything that happened to her, she had written about first. She didn't describe her experiences in retrospect. She described them as in foresight. For example, her first single authored published book, because she wrote for a while in collaboration with her lover, Derek Stanford, but her first single authored book was a biography of Mary Shelley.Henry: Great book.Frances: An absolutely wonderful book, which really should be better than any of the other Mary Shelley biographies. She completely got to Mary Shelley. Everything she described in Mary Shelley's life would then happen to Spark. For example, she described Mary Shelley as having her love letters sold. Her lover sold Mary Shelley's love letters, and Mary Shelley was then blackmailed by the person who bought them. This happened to Spark. She described Mary Shelley's closest friends all becoming incredibly jealous of her literary talent. This happened to Spark. She described trusting people who betrayed her. This happened to Spark.Spark was the first person to write about Frankenstein seriously, to treat Frankenstein as a masterpiece rather than as a one-off weird novel that is actually just the screenplay for a Hammer Horror film. This was 1951, remember. Everything she described in Frankenstein as its power is a hybrid text, described the powerful hybrid text that she would later write about. What fascinated her in Frankenstein was the relationship between the creator and the monster, and which one was the monster. This is exactly the story of her own life. I think where she is. She was really interested in art monsters and in the fact that the only powerful writers out there, the only writers who make a dent, are monsters.If you're not a monster, you're just not competing. I think Spark has always spoken about as having a monster-like quality. She says at the end of one of her short stories, Bang-bang You're Dead, "Am I an intellectual woman, or am I a monster?" It's the question that is frequently asked of Spark. I think she worked so hard to monsterize herself. Again, she learnt this from Elliot. She learnt her coldness from Elliot. She learnt indifference from Elliot. There's a very good letter where she's writing to a friend, Shirley Hazzard, in New York.It's after she discovers that her lover, Derek Stanford, has sold her love letters, 70 love letters, which describe two very, very painfully raw, very tender love letters. She describes to Shirley Hazzard this terrible betrayal. She says, "But, I'm over it. I'm over it now. Now I'm just going to be indifferent." She's telling herself to just be indifferent about this. You watch her tutoring herself into the indifference that she needed in order to become the artist that she knew she was.Henry: Is this why she's attracted to mediocrities, because she can possess them and monsterize them, and they're good feeding for her artistic programme?Frances: Her attraction to mediocrities is completely baffling, and it makes writing her biography, a comedy, because the men she was surrounded by were so speck-like. Saw themselves as so important, but were, in fact, so speck-like that you have to laugh, and it was one after another after another. I'd never come across, in my life, so many men I'd never heard of. This was the literary world that she was surrounded by. It's odd, I don't know whether, at the time, she knew how mediocre these mediocrities were.She certainly recognised it in her novels where they're all put together into one corporate personality called the pisseur de copie in A Far Cry from Kensington, where every single literary mediocrity is in that critic who she describes as pissing and vomiting out copy. With Derek Stanford, who was obviously no one's ever heard of now, because he wrote nothing that was memorable, he was her partner from the end of the 40s until-- They ceased their sexual relationship when she started to be interested in becoming a Catholic in 1953, but she was devoted to him up until 1958. She seemed to be completely incapable of recognising that she had the genius and he had none.Her letters to him deferred to him, all the time, as having literary powers that she hadn't got, as having insights that she hadn't got, he's better read than she was. She was such an amazingly good critic. Why could she not see when she looked at his baggy, bad prose that it wasn't good enough? She rated him so highly. When she was co-authoring books with him, which was how she started her literary career, they would occasionally write alternative sentences. Some of her sentences are always absolutely-- they're sharp, lean, sparkling, and witty, and his are way too long and really baggy and they don't say anything. Obviously, you can see that she's irritated by it.She still doesn't say, "Look, I'm going now." It was only when she became a novelist that she said, "I want my mind to myself." She puts, "I want my mind to myself." She didn't want to be in a double act with him. Doubles were important to her. She didn't want to be in a double act with him anymore. He obviously had bought into her adulation of him and hadn't recognised that she had this terrifying power as a writer. It was now his turn to have the breakdown. Spark had the mental breakdown in 1950, '45. When her first novel came out in 1957, it was Stanford who had the breakdown because he couldn't take on board who she was as a novelist.What he didn't know about her as a novelist was her comic sense, how that would fuel the fiction, but also, he didn't recognize because he reviewed her books badly. He didn't recognise that the woman who had been so tender, vulnerable, and loving with him could be this novelist who had nothing to say about tenderness or love. In his reviews, he says, "Why are her characters so cold?" because he thought that she should be writing from the core of her as a human being rather than the core of her as an intellect.Henry: What are her best novels?Frances: Every one I read, I think this has to be the best.[laughter]This is particularly the case in the early novels, where I'm dazzled by The Comforters and think there cannot have been a better first novel of the 20th century or even the 21st century so far. The Comforters. Then read Robinson, her second novel, and think, "Oh God, no, that is her best novel. Then Memento Mori, I think, "Actually, that must be the best novel of the 20th century." [laughs] Then you move on to The Ballad of Peckham Rye, I think, "No, that's even better."The novels landed. It's one of the strange things about her; it took her so long to become a novelist. When she had become one, the novels just landed. Once in one year, two novels landed. In 1959, she had, it was The Bachelors and The Ballad of Peckham Rye, both just completely extraordinary. The novels had been the storing up, and then they just fell on the page. They're different, but samey. They're samey in as much as they're very, very, very clever. They're clever about Catholicism, and they have the same narrative wit. My God, do the plots work in different ways. She was wonderful at plots. She was a great plotter. She liked plots in both senses of the world.She liked the idea of plotting against someone, also laying a plot. She was, at the same time, absolutely horrified by being caught inside someone's plot. That's what The Comforters is about, a young writer called Caroline Rose, who has a breakdown, it's a dramatisation of Sparks' own breakdown, who has a breakdown, and believes that she is caught inside someone else's story. She is a typewriter repeating all of her thoughts. Typewriter and a chorus repeating all of her thoughts.What people say about The Comforters is that Caroline Rose thought she is a heroine of a novel who finds herself trapped in a novel. Actually, if you read what Caroline Rose says in the novel, she doesn't think she's trapped in a novel; she thinks she's trapped in a biography. "There is a typewriter typing the story of our lives," she says to her boyfriend. "Of our lives." Muriel Sparks' first book was about being trapped in a biography, which is, of course, what she brought on herself when she decided to trap herself in a biography. [laughs]Henry: I think I would vote for Loitering with Intent, The Girls of Slender Means as my favourites. I can see that Memento Mori is a good book, but I don't love it, actually.Frances: Really? Interesting. Okay. I completely agree with you about-- I think Loitering with Intent is my overall favourite. Don't you find every time you read it, it's a different book? There are about 12 books I've discovered so far in that book. She loved books inside books, but every time I read it, I think, "Oh my God, it's changed shape again. It's a shape-shifting novel."Henry: We all now need the Frances Wilson essay about the 12 books inside Loitering with Intent.Frances: I know.[laughter]Henry: A few more general questions to close. Did Thomas De Quincey waste his talents?Frances: I wouldn't have said so. I think that's because every single day of his life, he was on opium.Henry: I think the argument is a combination of too much opium and also too much magazine work and not enough "real serious" philosophy, big poems, whatever.Frances: I think the best of his work went into Blackwood's, so the magazine work. When he was taken on by Blackwood's, the razor-sharp Edinburgh magazine, then the best of his work took place. I think that had he only written the murder essays, that would have been enough for me, On Murder as a Fine Art.That was enough. I don't need any more of De Quincey. I think Confessions of an English Opium-Eater is also enough in as much as it's the great memoir of addiction. We don't need any more memoirs of addiction, just read that. It's not just a memoir of being addicted to opium. It's about being addicted to what's what. It's about being a super fan and addicted to writing. He was addicted to everything. If he was in AA now, they'd say, apparently, there are 12 addictions, he had all of them. [laughs]Henry: Yes. People talk a lot about parasocial relationships online, where you read someone online or you follow them, and you have this strange idea in your head that you know them in some way, even though they're just this disembodied online person. You sometimes see people say, "Oh, we should understand this more." I think, "Well, read the history of literature, parasocial relationships everywhere."Frances: That's completely true. I hadn't heard that term before. The history of literature, a parasocial relationship. That's your next book.Henry: There we go. I think what I want from De Quincey is more about Shakespeare, because I think the Macbeth essay is superb.Frances: Absolutely brilliant. On Knocking at the Gate in Macbeth.Henry: Yes, and then you think, "Wait, where's the rest of this book? There should be an essay about every play."Frances: That's an absolutely brilliant example of microhistory, isn't it? Just taking a moment in a play, just the knocking at the gate, the morning after the murders, and blowing that moment up, so it becomes the whole play. Oh, my God, it's good. You're right.Henry: It's so good. What is, I think, "important about it", is that in the 20th century, critics started saying or scholars started saying a lot, "We can't just look at the words on the page. We've got to think about the dramaturgy. We've got to really, really think about how it plays out." De Quincey was an absolute master of that. It's really brilliant.Frances: Yes.Henry: What's your favourite modern novel or novelist?Frances: Oh, Hilary Mantel, without doubt, I think. I think we were lucky enough to live alongside a great, great, great novelist. I think the Wolf Hall trilogy is absolutely the greatest piece of narrative fiction that's come out of the 21st century. I also love her. I love her work as an essayist. I love her. She's spooky like Spark. She was inspired.Henry: Yes, she is. Yes.Frances: She learnt a lot of her cunning from Spark, I think. She's written a very spooky memoir. In fact, the only women novelists who acknowledge Spark as their influencer are Ali Smith and Hilary Mantel, although you can see Spark in William Boyd all the time. I think we're pretty lucky to live alongside William Boyd as well. Looking for real, real greatness, I think there's no one to compare with Mantel. Do you agree?Henry: I don't like the third volume of the trilogy.Frances: Okay. Right.Henry: Yes, in general, I do agree. Yes. I think some people don't like historical fiction for a variety of reasons. It may take some time for her to get it. I think she's acknowledged as being really good. I don't know that she's yet acknowledged at the level that you're saying.Frances: Yes.Henry: I think that will take a little bit longer. Maybe as and when there's a biography that will help with that, which I'm sure there will be a biography.Frances: I think they need to wait. I do think it's important to wait for a reputation to settle before starting the biography. Her biography will be very interesting because she married the same man twice. Her growth as a novelist was so extraordinary. Spark, she spent time in Africa. She had this terrible, terrible illness. She knew something. I think what I love about Mantel is, as with Spark, she knew something. She knew something, and she didn't quite know what it was that she knew. She had to write because of this knowledge. When you read her, you know that she's on a different level of understanding.Henry: You specialise in slightly neglected figures of English literature. Who else among the canonical writers deserves a bit more attention?Frances: Oh, that's interesting. I love minor characters. I think Spark was very witty about describing herself as a minor novelist or a writer of minor novels when she was evidently major. She always saw the comedy in being a minor. All the minor writers interest me. Elizabeth Bowen, Henry Green. No, they have heard Elizabeth Bowen has been treated well by Hermione Lee and Henry Green has been treated well by Jeremy Treglown.Why are they not up there yet? They're so much better than most of their contemporaries. I am mystified and fascinated by why it is that the most powerful writers tend to be kicked into the long grass. It's dazzling. When you read a Henry Green novel, you think, "But this is what it's all about. He's understood everything about what the novel can do. Why has no one heard of him?"Henry: I think Elizabeth Bowen's problem is that she's so concise, dense, and well-structured, and everything really plays its part in the pattern of the whole that it's not breezy reading.Frances: No, it's absolutely not.Henry: I think that probably holds her back in some way, even though when I have pushed it on people, most of the time they've said, "Gosh, she's a genius."Frances: Yes.Henry: It's not an easy genius. Whereas Dickens, the pages sort of fly along, something like that.Frances: Yes. One of the really interesting things about Spark is that she really, really is easy reading. At the same time, there's so much freight in those books. There's so much intellectual weight and so many games being played. There's so many books inside the books. Yet you can just read them for the pleasure. You can just read them for the plot. You can read one in an afternoon and think that you've been lost inside a book for 10 years. You don't get that from Elizabeth Bowen. That's true. The novels, you feel the weight, don't you?Henry: Yes.Frances: She's Jamesian. She's more Jamesian, I think, than Spark is.Henry: Something like A World of Love, it requires quite a lot of you.Frances: Yes, it does. Yes, it's not bedtime reading.Henry: No, exactly.Frances: Sitting up in a library.Henry: Yes. Now, you mentioned James. You're a Henry James expert.Frances: I did my PhD on Henry James.Henry: Yes. Will you ever write about him?Frances: I have, actually. Just a little plug. I've just done a selection of James's short stories, three volumes, which are coming out, I think, later this year for Riverrun with a separate introduction for each volume. I think that's all the writing I'm going to do on James. When I was an academic, I did some academic essays on him for collections and things. No, I've never felt, ever, ready to write on James because he's too complicated. I can only take tiny, tiny bits of James and home in on them.Henry: He's a great one for trying to crack the code.Frances: He really is. In fact, I was struck all the way through writing Electric Spark by James's understanding of the comedy of biography, which is described in the figure in the carpet. Remember that wonderful story where there's a writer called Verica who explains to a young critic that none of the critics have understood what his work's about. Everything that's written about him, it's fine, but it's absolutely missed his main point, his beautiful point. He said that in order to understand what the work's about, you have to look for The Figure in the Carpet. It's The Figure in the CarpetIt's the string on which my pearls are strung. A couple of critics become completely obsessed with looking for this Figure in the Carpet. Of course, Spark loved James's short stories. You feel James's short stories playing inside her own short stories. I think that one of the games she left for her biographers was the idea of The Figure in the Carpet. Go on, find it then. Find it. [laughs] The string on which my pearls are strung.Henry: Why did you leave academia? We should say that you did this before it became the thing that everyone's doing.Frances: Is everyone leaving now?Henry: A lot of people are leaving now.Frances: Oh, I didn't know. I was ahead of the curve. I left 20 years ago because I wasn't able to write the books I wanted to write. I left when I'd written two books as an academic. My first was Literary Seductions, and my second was a biography of a blackmailing courtesan called Harriet Wilson, and the book was called The Courtesan's Revenge. My department was sniffy about the books because they were published by Faber and not by OUP, and suggested that somehow I was lowering the tone of the department.This is what things were like 20 years ago. Then I got a contract to write The Ballad of Dorothy Wordsworth, my third book, again with Faber. I didn't want to write the book with my head of department in the back of my mind saying, "Make this into an academic tome and put footnotes in." I decided then that I would leave, and I left very suddenly. Now, I said I'm leaving sort of now, and I've got books to write, and felt completely liberated. Then for The Ballad of Dorothy Wordsworth, I decided not to have footnotes. It's the only book I've ever written without footnotes, simply as a celebration of no longer being in academia.Then the things I loved about being in academia, I loved teaching, and I loved being immersed in literature, but I really couldn't be around colleagues and couldn't be around the ridiculous rules of what was seen as okay. In fact, the university I left, then asked me to come back on a 0.5 basis when they realised that it was now fashionable to have someone who was a trade author. They asked me to come back, which I did not want to do. I wanted to spend days where I didn't see people rather than days where I had to talk to colleagues all the time. I think that academia is very unhappy. The department I was in was incredibly unhappy.Since then, I took up a job very briefly in another English department where I taught creative writing part-time. That was also incredibly unhappy. I don't know whether other French departments or engineering departments are happier places than English departments, but English departments are the most unhappy places I think I've ever seen.[laughter]Henry: What do you admire about the work of George Meredith?Frances: Oh, I love George Meredith. [laughs] Yes. I think Modern Love, his first novel, Modern Love, in a strange sonnet form, where it's not 14 lines, but 16 lines. By the time you get to the bottom two lines, the novel, the sonnet has become hysterical. Modern Love hasn't been properly recognised. It's an account of the breakdown of his marriage. His wife, who was the daughter of the romantic, minor novelist, Thomas Love Peacock. His wife had an affair with the artist who painted the famous Death of Chatterton. Meredith was the model for Chatterton, the dead poet in his purple silks, with his hand falling on the ground. There's a lot of mythology around Meredith.I think, as with Elizabeth Bowen and Henry Green, he's difficult. He's difficult. The other week, I tried to reread Diana of the Crossways, which was a really important novel, and I still love it. I really recognise that it's not an easy read. He doesn't try, in any way, to seduce his readers. They absolutely have to crawl inside each book to sit inside his mind and see the world as he's seeing it.Henry: Can you tell us what you will do next?Frances: At the moment, I'm testing some ideas out. I feel, at the end of every biography, you need a writer. You need to cleanse your palate. Otherwise, there's a danger of writing the same book again. I need this time, I think, to write about, to move century and move genders. I want to go back, I think, to the 19th century. I want to write about a male writer for a moment, and possibly not a novelist as well, because after being immersed in Muriel Sparks' novels, no other novel is going to seem good enough. I'm testing 19th-century men who didn't write novels, and it will probably be a minor character.Henry: Whatever it is, I look forward to reading it. Frances Wilson, thank you very much.Frances: Thank you so much, Henry. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

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.

There's this weird circular structure near the pyramids that nobody really paid attention to for years—until recently. It looks like some kind of ancient bathtub, totally sealed and preserved. What's wild is that it hadn't been officially recorded or recognized as something important before. Historians are kind of stumped because they don't know exactly what it was used for. There are a bunch of theories, but nothing solid—it's all just educated guesses for now. It's one of those “wait… how did we miss this?” moments in archaeology! Credit: ojosdelostigres / Reddit sheizdza / Reddit TN_Egyptologist / Reddit Lloydwrites / Reddit MrLectromag / Reddit CC0 1.0 https://creativecommons.org/publicdom... Giza complex: by Drummyfish, https://commons.wikimedia.org/wiki/Fi... Schiaparelli's excavations: by Museo di Antropologia ed Etnografia, https://archiviofotografico.museoegiz..., https://commons.wikimedia.org/wiki/Fi... Temple of Hathor: by Museo di Antropologia ed Etnografia, https://archiviofotografico.museoegiz..., https://commons.wikimedia.org/wiki/Fi... Animation is created by Bright Side. ---------------------------------------------------------------------------------------- Music from TheSoul Sound: https://thesoul-sound.com/ Check our Bright Side podcast on Spotify and leave a positive review! https://open.spotify.com/show/0hUkPxD... Subscribe to Bright Side: https://goo.gl/rQTJZz ---------------------------------------------------------------------------------------- Our Social Media: Facebook:   / brightside   Instagram:   / brightside.official   TikTok: https://www.tiktok.com/@brightside.of... Telegram: https://t.me/bright_side_official Stock materials (photos, footages and other): https://www.depositphotos.com https://www.shutterstock.com https://www.eastnews.ru ---------------------------------------------------------------------------------------- For more videos and articles visit: http://www.brightside.me ---------------------------------------------------------------------------------------- This video is made for entertainment purposes. We do not make any warranties about the completeness, safety and reliability. Any action you take upon the information in this video is strictly at your own risk, and we will not be liable for any damages or losses. It is the viewer's responsibility to use judgement, care and precaution if you plan to replicate. Learn more about your ad choices. Visit megaphone.fm/adchoices

Brad Goreski is a celebrity stylist whose impressive client list includes the legendary Demi Moore. Over the last 15 years, he's created countless stunning looks for her, but as she promoted her film The Substance over the last year, Goreski and Moore took things to a whole new level. From the Cannes Film Festival last May through to the Oscars earlier this year, Goreski curated a suite of looks that pushed boundaries and reflected the themes of the movie while still evoking Old Hollywood glamour. This week, he joins Hillary Kerr, Who What Wear's co-founder and chief content officer, to break down the inspirations and origins of Moore's biggest red carpet moments, his methodology for sourcing pieces, and the true magic of a perfect collaboration.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Brad Goreski is a celebrity stylist whose impressive client list includes the legendary Demi Moore. Over the last 15 years, he's created countless stunning looks for her, but as she promoted her film The Substance over the last year, Goreski and Moore took things to a whole new level. From the Cannes Film Festival last May through to the Oscars earlier this year, Goreski curated a suite of looks that pushed boundaries and reflected the themes of the movie while still evoking Old Hollywood glamour. This week, he joins Hillary Kerr, Who What Wear's co-founder and chief content officer, to break down the inspirations and origins of Moore's biggest red carpet moments, his methodology for sourcing pieces, and the true magic of a perfect collaboration.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In Dinner for Shoes episode 67, host Sarah Wasilak invites Austin-based voice actor Morgan Taylor onto the podcast to talk about her career slipping in and out of character for different roles — and how that's impacted her personal sense of style. Morgan shares how fashion relates to her job, whether she's in the studio recording or attending red carpet events and award ceremonies. Sarah complements the discussion with a rundown of the most stylish animated characters — at least in her own opinion — that she grew up watching. She also tries Morgan's favorite meal, sushi and dumplings.Whether you're in need of outfit advice or in the midst of a style dilemma, the Shoe Therapy hotline is open for your anonymous texts and voicemails. Message 917-336-2057 with fashion questions and funny stories, or tag #ShoeTherapy on Instagram and TikTok so I can “heel” ya — you just may hear your message on the podcast.THIS DINNERCalifornia roll and Yasai Gyoza from Okinawa in Hoboken, NJTHESE SHOESMar Soreli Anna Mary Jane in RossoTHIS OUTFITShop my look      VRG GRL skirt set8 Other Reasons necklaceVintage heart ringGold hoop earringsTHESE CHAPTERS0:00 - INTRO2:49 - THE OUTFIT BEHIND THE SHOES9:09 - MORGAN TAYLOR INTERVIEW43:31 - STYLISH ANIMATED CHARACTERS53:33 - SUSHI AND DUMPLINGSTHIS PRODUCTIONis created, written, hosted, and produced by Sarah Wasilak.is creative directed and executive produced by Megan Kai.is tech supervised by Nick.includes photos and videos in chronological order by Sarah Wasilak, Sailor Moon Fandom, Ellie Williams, Morgan Taylor, Rent the Runway, Nuuly, Cynthia Erivo, Ariana Grande, Schiaparelli, Society Voice Arts, Tara Strong, Debi Derryberry, Debi Mae West, DPN Talent, PS, Johnny Knoxville Fandom, Johnny Bravo Fandom, Debbie Thornberry Fandom, Roxanne A Goofy Movie Fandom, Daphne Blake Wikipedia, Ariel The Little Mermaid Fandom, Reggie Rocket Fandom, Marge Simpson Wikipedia, Wendy Darling Fandom, Crysta Ferngully: The Last Rainforest Fandom, and Monique Kim Possible Fandom.is made with love.Dinner for Shoes is a fashion podcast for people who love food, hosted by editor Sarah Wasilak. With appearances by her cats, Trish and Kit, and agendas that almost always go to shit, we aim to dive into a discussion about fashion and style and break some bread in each episode. Dinner for Shoes podcast episodes are released weekly on YouTube, Spotify, and Apple. You can follow along for updates, teasers, and more on TikTok, Instagram, and Facebook. If there are any fashion topics you've been pondering or good eats you think Sarah should try, don't hesitate to send a DM or an email.Dinner for Shoes is an original by The Kai Productions.Follow Dinner for Shoes: @dinnerforshoes on Instagram, TikTok, Facebook, and YouTube Follow host Sarah Wasilak: @slwasz on Instagram Follow producer Megan Kai: @megankaii on Instagram Get in touch: dinnerforshoes@gmail.comTo make this video more accessible, check out YouDescribe, a web-based platform that offers a free audio description tool for viewers who are blind or visually impaired.

After a month of nonstop fashion shows, Who What Wear Editorial Director Lauren Eggertsen and Associate Director of Special Projects Kristen Nichols are back home and ready to break it all down. This week, they cover the biggest stories and buzziest collections from New York, London, Milan, and Paris; their favorite pieces; and what they're expecting to see on the red carpet and in editorials in the coming months. Plus, they discuss the larger energy of each fashion week and check in on the trend predictions they made during their New York Fashion Week episode to see what stuck.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

After a month of nonstop fashion shows, Who What Wear Editorial Director Lauren Eggertsen and Associate Director of Special Projects Kristen Nichols are back home and ready to break it all down. This week, they cover the biggest stories and buzziest collections from New York, London, Milan, and Paris; their favorite pieces; and what they're expecting to see on the red carpet and in editorials in the coming months. Plus, they discuss the larger energy of each fashion week and check in on the trend predictions they made during their New York Fashion Week episode to see what stuck.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Un altre any més ens passat peL Moritz Feed Dog, el festival de cinema de moda de Barcelona per veure pel·lícules sobre la gent més important d'aquest món com la Twiggy, que ha inaugurat el certamen amb un docu sobre la seva obra. D'altres icones que s'han passat per les pantalles festival són en Paco Rabanne, en Coperni o Schiaparelli, així com tumbé hem tingut ocasión per veure un film sobre la gran Liza Minnelli. De tot això i más ens en parla la Lorena Iglesias, la nostra enviada especial al festival.

This week I'm mostly talking about the most beautiful shows at Paris Fashion Week but I'm also popping over to Milan to discuss the Prada AW25 show because it needs to be discussed.As well as talking you through some of my favourite hair and beauty moments from the shows, I'm also taking you through some of the best bits from my recent visit to Paris, from checking out some stunning exhibitions at Dior, Saint Laurent and Alaïa to eating some of the best coffee and pastries Paris has to offer!Artwork images via @instagram/lucyjbridgeLinksPhyllis Cohen episode 292: https://open.spotify.com/episode/7aKjIEvaNphCPJgHclIHRV?si=b60a83cb70a04260Haider Ackermann on Fashion Neurosis: https://www.youtube.com/watch?v=2rpAVTWXBUoHotel Panache: https://hotelpanache.com/en/Noir Coffee: https://www.instagram.com/parallel.coffeeParallel Coffee: https://www.instagram.com/parallel.coffeeThe French Bastards: https://www.instagram.com/the_french_bastardsMusee Yves Saint Laurent: https://museeyslparis.com/en/Fondation Azzedine Alaïa: https://fondationazzedinealaia.org/Peter Lindbergh at La Galerie Dior: https://www.galeriedior.com/enWHERE TO FIND MESubstack: https://beautymenotes.substack.comThreads: https://www.threads.net/@charisse_kenion/Instagram: https://www.instagram.com/charisse_kenion/TikTok: https://www.tiktok.com/@charissekenionCheck me out on ShopMy: https://shopmy.us/beautyme Business inquiries: info@charissekenion.com

Apologies for the delay, Chelsea has had yet another rough week, but we are back to discuss Hollywood's biggest night and all of the best Karla Sofía Gascón jokes. Topics discussed include the deeply healing The Color Purple reunion, Anora's shocking sweep, Demi Moore's life-imitating-art moment, the sensational Wizard of Oz tribute, David Lynch erasure, and Adrian Brody's deeply annoying acceptance speech.  P.S. this episode was recorded before we knew the deeply f**ked up and unbelievably tragic details of Gene Hackman's death. R.I.P. King. Let's watch The Birdcage in his honor

Lauren is joined by the brilliant Hillary Kerr of Future Publishing, Who What Wear, podcasting, and newsletter fame, for their annual unpacking of Hollywood's most important night…of red carpet fashion. They cover it all, from the unexpected endurance of the man-brooch trend, to the rise of archival replicas, to pervasiveness of veneers. They also discuss which fashion brands hit it big on Sunday, from Timothée Chalamet's (almost-glowing) yellow suit to Ariana Grande's Schiaparelli twofer. Plus, they reveal how VIP publicists and celebrity stylists make it all happen, from the contracts to the dress designs. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Die Nacht der Nächte, die Nacht der Academy Awards ist nicht nur ein besonderes Event für Filmliebhaber, sondern auch für Fashion-Fans ein absolutes Highlight. Da war es für uns nur logisch, dass wir uns die 97. Oscar-Verleihung live für dich angeschaut haben und anschließend diese wundervolle Podcast-Episode aufgenommen haben. Die unvergleichliche Stimmung der wichtigsten Preisverleihung im Showbusiness wurde in diesem Jahr besonders von den beiden Auftritten von Cynthia Erivo und Ariana Grande geprägt. Beide Künstlerinnen, bekannt und jeweils nominiert für den Musical-Film "Wicked", sorgten nicht nur auf dem Red Carpet für Begeisterung. Cynthia Erivo glänzte in einem dunkelgrünen Märchenkleid von Louis Vuitton, während Ariana Grande ein roséfarbenes Miederkleid von Schiaparelli trug. Beide Damen zeigten sich stilvoll und dennoch ausdrucksstark. Jedes Jahr feiert Hollywood ein großes Comeback – 2025 ist es das von Demi Moore. Die Erwartungen an sie und ihren Film "The Substance" waren riesig. Demi Moore trug an diesem Abend ein hautenges Kleid von Armani Privé, das vollständig mit silberfarbenen Pailletten in Schuppenform verziert war. Auch wenn sie den Oscar für die beste weibliche Hauptrolle an Mikey Madison abgeben musste – die in einem rosafarbenen Dior-Dress erstrahlte –, war ihre Armani-Robe für uns dennoch ein echter Fashion-Oscar. In der Kategorie „Da scheiden sich die Geister“ nominiert: Zoë Saldaña, die ein weinrotes Stufenkleid von Saint Laurent trug. Nadine war völlig hin und weg von so viel Empowerment, und offensichtlich hat es sich auch ausgezahlt – denn Zoë Saldaña erhielt den Goldjungen als beste Nebendarstellerin für ihre Rolle in "Emily Perez". Wir als Fashion-Verrückte lieben die kleinen Geschichten aus dem Backstage-Bereich. Uns ist nicht entgangen, dass viele Designer einen Blick in die Vergangenheit gewagt und den Stars Kleider mit Historie entworfen haben. Dazu zählen das kleine Schwarze von Lily-Rose Depp (CHANEL), die Vintage-Samtrobe von Scarlett Johansson (MUGLER) und das bodenlange Leopardenkleid von Doja Cat (BALMAIN). Wo Licht ist, da ist auch Schatten – und das ganz besonders an einem Oscar-Abend. Denn nicht jede:r Künstler:in konnte an diesem Abend glänzen. Neben atemberaubenden Kreationen gab es auch Looks, die nicht unseren Geschmack trafen. Dazu zählen unter anderem Stacy Martin in Louis Vuitton, Tracy Child in Balenciaga und Lena Mahfouf in Ashi Studio. In dieser Special-Podcast-Folge sprechen wir natürlich auch über die Herren des Abends. Freu dich auf Timothée Chalamet (GIVENCHY), Colman Domingo (VALENTINO) und Andrew Garfield (GUCCI). Neben jeder Menge Gossip und Fashion-News erwarten dich auch spannende Hintergrundinfos. Wir hoffen, dass dir dieses Oscar-Special genauso viel Freude bereitet wie uns – und dass sich unsere Nachtschicht gelohnt hat! Alle Kleider und Looks des Abends, die wir in dieser Episode unseres Mode-Podcasts besprochen haben, findest du auf unseren Instagram- und TikTok-Accounts unter "Lost On Planet Fashion". Alle Looks: Instagram: www.instagram.com/lostonplanetfashion/ TikTok: www.tiktok.com/@lostonplanetfashion

En este episodio de Hablemos de Moda repasamos los mejores looks de los BAFTA 2025. Timothée Chalamet apostó por un elegante Bottega Veneta, mientras que Selena Gomez brilló en un Schiaparelli estructurado. Louis Vuitton reafirmó su dominio esta temporada con Cynthia Erivo y Saoirse Ronan. Aunque la alfombra roja fue más sobria, nos dejó momentos inolvidables, como Pamela Anderson en su era sin maquillaje, deslumbrando con un impecable Jacquemus.Esto es ⁠⁠⁠⁠⁠Hablemos de Moda⁠⁠⁠⁠⁠ con ⁠⁠⁠⁠⁠Claudia Cándano⁠⁠⁠⁠⁠ y ⁠⁠⁠⁠⁠Jordi Linares⁠⁠⁠⁠⁠, disponible en video en Youtube y en audio en todas las plataformas de podcast.

Textilný dizajnér Juraj Straka navrhol látky pre značky ako Schiaparelli, Dries van Noten či Jason Wu. Objavili sa v nich aj slávne ženy Lady Gaga, Madonna, Cate Blanchett či Anna Wintour. Nehovorili sme však len o triumfoch či práci textilného dizajnéra, ale aj o tom, aká bola Jurajova cesta za úspechom a vlastným štúdiom, ktoré má v Antverpách. Prebrali sme jeho najobľúbenejšie techniky, ale aj prácu s počítačom tému či nástup technológií a umelej inteligencie do oblasti odevného dizajnu. Juraj s humorom hovoril aj o tom, že ho profesionálna deformácia vedie k tomu hodnotiť vzory na ľuďoch na ulici či pred televízorom doma v obývačke.  Čo si myslí o odlive mozgov a kariére v zahraničí? Ako vníma zmeny v umení a kultúre na Slovensku a čo podľa neho môžu priniesť? A aká je budúcnosť odevného dizajnu? To všetko sa dozviete v novej epizóde relácie Ide o nás.

Fabriano Fabbri"La voce del diavolo"L'arte contemporanea e la moda.Einaudi Editorewww.einaudi.itNel lungo arco della contemporaneità, l'arte del vestire ha sedotto il corpo per liberarlo da disagi e inibizioni, lo ha accarezzato per divorarne le energie, lo ha spinto oltre i suoi limiti per urlare al mondo «la voce del diavolo», come scriveva William Blake: lo ha protetto con cura per reciderlo dai lacci della morale e del perbenismo. Fabriano Fabbri rilegge la storia dell'arte dalla fine del Settecento agli anni Duemila usando come metronomo le funamboliche evoluzioni del guardaroba di ieri e di oggi, fra i tumulti della tecnologia e le tempeste della rivoluzione sessuale.Moda e arte vivono di intrecci senza fine, di trame a doppio filo, di storie nelle storie che incantano, che sorprendono, che illudono e divertono. Nelle sue frenetiche rapsodie creative, ogni stile indumentale ha stretto da sempre un accordo di alleanza con i movimenti artistici piú noti al grande pubblico, dal Neoclassicismo alla Pop art. Eppure, in pochi conoscono le spinte sotterranee che animano moda, pittura e scultura, in pochi afferrano le ragioni profonde che spingono le une fra le braccia dell'altra. Quante volte abbiamo incontrato la parola «Minimalismo » curiosando fra rete e riviste? Quante volte abbiamo sentito parlare di Dalí e Schiaparelli o di Mondrian e Saint Laurent? E i colorati parei di Gauguin, quanto li abbiamo visti fra le pitture tropicali del simbolista francese e la sua impudica «casa del piacere»? E poi, ancora, chi non ha presente le danzatrici di Canova o la Madame Récamier di David in provocanti «vesti di velo», per rubare le parole al «Divin marchese» de Sade?«Vèstiti, cosí alla sdrucciola, potrebbe suonare come un imperativo, un invito piú o meno scoperto a dare un tocco di ricercatezza agli ingredienti del nostro stile. Oppure potrebbe essere un sostantivo: vestíti intesi come abiti, come capi d'abbigliamento, come divise, come fogge. Infine, vestíti, participio passato di vestire. Sia quel che sia, quando ci copriamo di tessuti non stiamo avvolgendo il corpo per semplice necessità di decoro e protezione: stiamo indossando le forme – le tele? – di Picasso e di Chanel, se ci infiliamo in un rettangolo; ci stiamo abbigliando con le visioni di Turner o Pollock quando i tessuti sono sdruciti, grinzosi e caotici; siamo invece avvolti dall'ironia di Duchamp se il nostro look è sofisticato, insolito, a volte street – come ci insegna Virgil Abloh. E siccome la storia dell'arte e del costume è sempre una storia di spazio e di volumi, partiremo proprio dall'amplesso mai interrotto fra gli artisti e gli stilisti del nostro tempo. Sia chiaro, è fin troppo ovvio mettere le mani in avanti, spiegare a mo' di preambolo che il primo impatto con un'opera d'arte o con un'opera vestimentaria coinvolge l'interezza della nostra sfera emotiva, del gusto e della personalità, delle cose che semplicemente “ci piacciono” cosí, in via istintiva; ma se vogliamo entrare nel merito dei valori che favoriscono uno stile piuttosto che un altro per capirne a fondo il senso culturale, spazio e volume sono le materie prime di un approccio obiettivo, il piú fedele possibile al nostro oggetto di interesse. E nel farlo sarà fondamentale tenere ben salda la distinzione tra le forme della modernità e le forme del contemporaneo».Fabriano Fabbri insegna Stili e arti del contemporaneo, Forme della moda contemporanea e Contemporary fashion all'Università di Bologna. È autore di numerose monografie su arte e moda, tra cui Sesso arte rock'n'roll, Atlante, Bologna 2006; Lo zen e il manga, Bruno Mondadori, Milano 2009; Boris Bidjan Saberi. 11, Atlante, Bologna 2013; L'orizzonte degli eventi, Atlante, Bologna 2013; Angelo Marani, Atlante, Bologna 2015. Per Einaudi ha pubblicato La moda contemporanea. Arte e stile da Worth agli anni Cinquanta (2019), La moda contemporanea. Arte e stile dagli anni Sessanta alle ultime tendenze (2021) e La voce del diavolo. L'arte contemporanea e la moda (2024).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Ohio-based Avation Medical has developed a bioelectric wearable device for at-home treatment of overactive bladder, promising improved quality of life for patients suffering from the most common cause of incontinence and urinary urgency.In Episode #38 of the MedTech Speed to Data Podcast, Andy Rogers discusses the Vivally System, entrepreneurship, and more with Avation Medical co-founder Jill Schiaparelli.Need to KnowBioelectric medicine is an alternative to pharmaceuticals and surgery — Selectively stimulating the nervous system can enhance, control, or fix a function without the tradeoffs of other treatments. Overactive bladder is a prime candidate for bioelectric solutions — Forty-five million Americans have overactive bladder, with nine million preferring adult diapers to traditional treatments.Nitty GrittyAlthough not fully understood, overstimulation of nerves in the bladder wall produces spasms, creating an urge to urinate as often as thirty times a day in extreme cases.Few sufferers choose sacral nerve stimulation, the gold standard treatment, which requires a device implanted near the spine to stimulate nerves regulating bladder behavior.“The moment you say surgery, it complicates things.” Schiaparelli explains. “You need a physician who knows how to do it, you need a patient who's willing to have what could be a very extensive surgery, and you need a payer who's willing to pay for the surgery.”Drugs for overactive bladder have unwelcome side effects that cause most patients to drop out of the care pathway. “When you look at those dynamics,” Schiaparelli says, “it screams a need. Patients want something that takes surgery out of the equation, doesn't have the side effects of drugs, and is convenient.”Avation Medical's Vivally System is an ankle-worn device that indirectly stimulates the sacral nerve through the tibial nerve without surgery. The device measures responses to adjust its stimulation automatically in real-time.“This physiologic closed loop allows the patient to have personalized, effective therapy in just thirty minutes once a week,” Schiaparelli says.Data that made a differenceAs a serial entrepreneur, Schiaparelli has learned that success requires understanding and meeting the needs of three key stakeholders: the patient, the physician, and the payer:Overactive bladder patients dissatisfied with traditional treatments are an enormous market. Most physicians can only offer prescriptions for imperfect drug therapies that do not generate revenue for their practices. Payers don't like either option since surgery costs reach $40,000 while drugs require lifetime prescriptions.“Every area we checked into, it made sense. This technology in this market checked all those boxes to say there's a need. We thought this was a real opportunity to disrupt the market.”But success requires addressing the needs of other stakeholders, including regulators and investors.Regulators' expectations, for example, drove Avation Medical's decision to implement quality control processes while starting its first clinical trial. “We knew that was going to be very important because we planned to use the clinical trial with our FDA submission.”Aligning Avation Medical's investors' expectations was just as important, with each investment round supporting the next stage in development and commercialization.Schiaparelli takes a holistic perspective on a Med Tech startup's data strategy.“It's speed, absolutely,” Schiaparelli says, “but it's also intelligent data that speaks to the needs of all the people that you'll need to demonstrate to down the line.”

Esta temporada Primavera-Verano 2025 de Alta Costura, Schiaparelli presentó una colección inspirada en Ícaro, con piezas de siluetas arquitectónicas, como sus faldas estructuradas. También hablamos de Chanel y del esperado debut de Alessandro Michele en Valentino, cuya propuesta seguramente dominará las alfombras rojas. Por otro lado, Ludovic de Saint Sernin nos entregó una de las colecciones más emocionantes en Jean Paul Gaultier, llena de referencias marítimas.Esto es es⁠⁠⁠⁠Hablemos de Moda⁠⁠⁠⁠ con⁠⁠⁠⁠Claudia Cándano⁠⁠⁠⁠ y⁠⁠⁠⁠Jordi Linares⁠⁠⁠⁠, disponible en video en Youtube y en audio en todas las plataformas de podcast. 

Schiaparelli Haute Couture SS2025 Live Reaction & Review with Personal Fashion Stylist Mikara ReidBrand, Be & Wear a Better You.Subscribe to Play Up Your Fashion!|| WARDROBE STYLING CONSULTANCYhttps://www.miien.co|| SIGNUP TO EMAIL NEWSLETTER:https://miien.kit.com/tribe|| THE MOST PRACTICAL PERSONAL STYLE BOOK:https://bit.ly/3YYZret|| SHOP OUR CLOSET AT MIIENhttps://bio.site/ourclosetatmiien|| SUPPORT MIIEN CONTENT:https://miien.kit.com/products/support-miien-contentWhat is MIIEN ? MIIEN (pronounced mean) founded and owned by Mikara Reid, is a personal style & fashion consultancy that helps you in everyday fashion clothing to be and wear your best. And equip RTW fashion fashion brands with influential marketing visuals, to brand and showcase their best. WBENC-certified consultancy.

Several fashion month favorites honed their craft at FIT, including Michael Kors himself, Calvin Klein himself and Schiaparelli creative director Daniel Roseberry.  So, for this week's New York Fashion Week episode of the Glossy Podcast, Glossy sat down with Dr. Joyce Brown, who will wrap up a 26-year run as the president of the Fashion Institute of Technology this year. Dr. Brown shares the evolving ways the school has set its designers up for industry success. She also weighs in on the role of a fashion show in today's fashion landscape. Throughout New York Fashion Week, from February 6-11, check back for more daily podcast episodes featuring influential fashion insiders, from brand CEOs to designers.

En este episodio hacemos un buen repaso al desfile de Jacquemus y los primeros de la Semana de la Moda de Alta Costura; Dior, Schiaparelli o Chanel. Además, hacemos un consultorio del amor, que tanto nos gusta.

C'est grâce à lui que vous connaissez la marque Jacquemus ou que les créateurs de contenu comme Lena Situations, Samia Kanaan ou Inoxtag se retrouvent au premier rang des défilés. Mais pas seulement. Lucien Pagès est un spécialiste de la communication du luxe. Saint Laurent, Schiaparelli, Patou, Victoria Beckham, JW Anderson, Sacai... Toute la mode, mais aussi la beauté (Byredo, Diptyque) et l'art contemporain (Art Basel, Paris Photo) lui font confiance pour modeler leur image. Est-ce que le petit garçon des Cévennes qui collectionnaient les parfums miniatures imaginait en arriver là ? Il en rêvait, surtout. Aujourd'hui, en guise de symbole, il collectionne toujours les flacons, mais en version géante. Peut-être un peu pour se rappeler que peu importe d'où l'on part, il ne faut pas avoir peur de prendre de la place. Chanel N°5, C'est la vie de Christian Lacroix, Le Mâle de Jean Paul Gaultier, Chapeau bleu de Marina Picasso, Jitrois de Jean-Claude Jitrois... Découvrez tous ses préférés. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Paris is bursting with fashion energy and star power this January as celebrities and fashionistas descend upon the city of lights for Haute Couture Week. This is the twice-yearly celebration of an ultra-French institution – a dazzling mix of timeless tradition and cutting-edge innovation. Fashion journalist Samantha Tse speaks to Eve Jackson about the highlights, including shows from Schiaparelli, Dior and Valentino. We also visit the Paris Louvre for the museum's first ever fashion exhibition and go through the best-dressed celebrities at the runway shows.

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 |

La mode est l'industrie par excellence du storytelling. À grand renfort de belles images d'ateliers, de jolis récits émouvants et autres documentaires, un imaginaire riche peuple notre inconscient collectif vis-à-vis du luxe. Mais cette image d'Épinal est-elle réelle ? Et bien je prends le partie de dire oui, car précisément l'industrie de la mode française a su garder son réseau humain dense et palpitant, ne cessant jamais de générer de nouveaux récits invraisemblables. Celui que j'apporte aujourd'hui à vos oreilles est justement un dont seule la mode a le secret... . Dominique de Roos, plumassier heritant d'un métier au cœur de sa famille depuis son arrière grand mère, a connu Gabrielle Chanel, Schiaparelli et autre Balenciaga. Depuis 150ans, la Maison Rd qui appartient à sa famille, a fourni les plus grands noms. Et pourtant, suite aux crises des dernières années, Dominique était sur le point de mettre la clé sous la porte quand soudain, au détour d'un restaurant du Passage des Panoramas, il rencontre un jeune Népalais qui va reprendre la flambeau. Sujan, étoile filante tombée de nulle part, se révèle fervent passionné de la plume et de l'histoire de la Maison RD. Une histoire improbable, magique, mythique, que je vous invite à découvrir sans tarder. Bon épisode à toutes et à tous!

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" |

Last night, Daniel Roseberry, the American designer who has reinvigorated Schiaparelli since taking over as creative director in 2019, was honored with the CFDA International Designer of the Year Award. The Texas born-and-raised designer joined Vogue's Nicole Phelps a few days earlier for a refreshingly frank, wide-ranging conversation about his journey from Texas, where he grew up, to Paris where he now resides full time.  

In this weeks episode Monica Monique and Zee talk about Resin. Everything from making resin corsets and clothing to other things resin is good for and used for. But first, Zee tells Monica how she had to go to the emergency room because as she was making a resin corset she got it in her eye and was blinded by it. Our hosts also get into other designers 3d fashion as well as Zee's journey with her "frozen corsets" collection.Check out this episode and come back for more as your fashions friends will keep you posted on business and life updates along the journeySupport the show

In this episode I go on a sartorial journey with the celebrated British Milliner Stephen Jones OBE. Jones is considered one of the most radical and important milliners of the late 20th and early 21st centuries. He is also one of the most prolific, having created hats for the catwalk shows of many leading couturiers and fashion designers, from John Galliano, Kim Jones and Maria Grazia Chiuri at Dior, Jean Paul Gaultier, Vivienne Westwood, the house of Schiaparelli to Rei Kawakubo at Commes des Garcons. His work is known for its inventiveness and high level of technical expertise.  Stephen's hats have adorned Rock Stars and Royalty and way beyond… His major retrospective exhibition opens in October at the Palais Galliera in Paris.   Stephen is chatty and has a wonderful way with words, painting pictures as he goes…We discuss jointly dressing the then Meghan Markle for her first Royal engagement when she attended the Commonwealth Service in 2018 with Prince Harry. He shares his insights on the process, the importance of the Royal Family to the world of millinery, and how people the world over use hats and headwear as style signifiers.    I ask him to explain his quote  “You wear clothes – and hats – to convince yourself and others that you're a certain way. Fashion is still a fabulous, fabulous lie.”  …needless to say his answer was both insightful and amusing.   Fashion and appearance clearly run deep in Stephen's veins and he talks with such knowledge, intuition and wisdom…and more than a little cheeky humour. I felt privileged, and entertained having this conversation with him.   Thank you Stephen for sharing your wit and wisdom.

This week, Who What Wear associate director of fashion news Erin Fitzpatrick is here to talk about her latest feature on the past, present, and future of women's watches. The category has been exploding over the past few years, and there are so many It-girl pieces on the market. Join Kat and Erin as they break down the top brands and styles, upcoming trends, and watch recommendations for any price point. Plus, they talk their dream watches and how the first-known wristwatch was actually commissioned by a queen.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, Who What Wear associate director of fashion news Erin Fitzpatrick is here to talk about her latest feature on the past, present, and future of women's watches. The category has been exploding over the past few years, and there are so many It-girl pieces on the market. Join Kat and Erin as they break down the top brands and styles, upcoming trends, and watch recommendations for any price point. Plus, they talk their dream watches and how the first-known wristwatch was actually commissioned by a queen.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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

In this episode, I sit down with Jill Schiaparelli, CEO of Avation Medical, to discuss their groundbreaking device, Vivally. Vivally is designed to alleviate overactive bladder symptoms through noninvasive tibial nerve stimulation. Jill explains how Vivally works by continuously monitoring and personalizing electrical signals to effectively target the tibial nerve. We cover the challenges of current OAB treatments and reassure the audience about Vivally's convenience and effectiveness. We'll also touch on how the device can be integrated into patients' lives with minimal disruption, instilling confidence in our audience.For more information, visit Avation website HERETimeline00:28 Introduction00:35 Understanding Overactive Bladder01:03 How Vivally Works01:39 Challenges with Current Treatments02:03 Innovations in Neuromodulation04:18 Vivally's Unique Features07:19 Patient Experience and Feedback16:32 Clinical Studies and Effectiveness19:29 Future Research and Real-World Data22:09 How to Access Vivally23:30 Conclusion and Final Thoughts

In this edition of arts24 from the Cannes Film Festival with Eve Jackson, we explore glamorous fashion on and off the red carpet. With dresses and outfits each more stunning than the last. Greta Gerwig in Prada, Cate Blanchett in Jean-Paul Gaultier, Demi Moore in Schiaparelli and Selena Gomez in Saint Laurent are just a few examples. During the festival, the Croisette is transformed into an open-air fashion show. And, as you'll see, the stars aren't the only ones playing the game ... Also on the programme: an apartheid documentary about an unsung hero photographer in "Ernest Cole: Lost and Found", directed and written by Raoul Peck and narrated by US actor and rapper Lakeith Stanfield.

Jennifer Lopez is once again being labelled rude after a clip possibly taken out of context has started going viral. But what if there's no context to take a bad moment from? What if it's just how celebrity interviews are done these days?Well, it's our job to interview celebrities and we have a confession to make… THE END BITSSubscribe to Mamamia Listen to more episodes of The Spill here. And find us on Instagram here. Share your story, feedback, or dilemma! Send us a voice message, and one of our Podcast Producers will come back to you ASAP. GET IN TOUCH: Feedback? We're listening. Email us at thespill@mamamia.com.au WANT MORE? Read all the latest entertainment news on Mamamia... https://mamamia.com.au/entertainment/ Subscribe to The Spill Newsletter... https://mamamia.com.au/newsletter CREDITS Hosts: Laura Brodnik & Ash London Producer: Taylah Strano Audio Producer: Scott Stronach Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Fashion historian, FIT professor, author, documentation, Space Trash PATRON and Molly's former roommate Natalie Nudell (Taurus rising, Taurus moon, Sag sun) joins Molly Mulshine & Sara Armour to analyze the 2024 Met Gala red carpet which happened to be divinely scheduled on the eve of the Taurus New Moon!2024's Met Gala Theme was “Sleeping Beauties reawakening beauty” and the dress code is “The Garden of Time” inspired by JG Ballard 1962 short story about the inevitable fall of aristocracy and the inability of of money and beauty to stop death … HOW DID THE CELEBS FASHION FARE AND HOW DOES IT RELATE TO THE COSMOS!?What is the costume institute and the history of the Met Gala as a public facing yet highly exclusive fundraising event? What is the value of celebrity at the Met Galaand when did that start? How does the Met Gala red carpet compare to the MET costume's institutes exhibit? What role do the Taurean sensory pleasures, scorpionic decay, and the integration of Aquarian technology play into the curation of this year's exhibit?MET Gala fashion analysis & cultural context of:-Tyla's “best of the fest” sands of time dress -Gigi Haddid in Thom Brown -Amelia Gray's “straight from the exhibit” Undercover lewk -Zendaya crushing in Galliano -Kim K in Margiela (with no waist!)-Divine Joy Randolph in denim by Zac Posen (now of The Gap)-Doja Cat in wet tee-shirt-contest couture by Dilara Findikoglu-Lana Delray in re-interpreted “antler” Alexander McQueen-Lizo with big-clock-from-Beauty-and-the-Beast energy by Victor Weinsanto-Sydney Sweeney in Miu Miu and brown hair -Serena Williams in Balenciaga -Venus Williams in Marc Jacobs-Nicole Kidman in Balenciaga -Bad Bunny in bespoke “floppy cap” Maison Margiela lewk-Kendall Jenner in archival Alexander McQueen -Sarah Jessica Parker in Richard Quinn escorted by Andy Cohen -Jeff Goldblum in and the awkward gen-Z Emma Chamberlain red-carpet interview that went over her head -Zoe Saldana, Greta Gerwig in Chloe -Pamela Anderson in Oscar de la Renta -Elle Fanning in Balmain-Ariana Grande in Loewe-Lea Michelle in baby-bump It's-a-boy couture by Rodarte-Khloe Kardashian in absentia -Alex Edelman giving comedians hope in S.S. Galey- co-chair Jennifer Lopez in custom Schiaparelli by Daniel Roseberry- Rihanna reliably showing up last no matter what - Mindy Kailing finally looking good in Gaurav Gupta-Demi Moore in Harris Reed-Sofia Coppola in funeral Chanel -Gabrielle Union in mermaid Michael Kors-Kaia Gerber giving zzzzz's in Prada -Kelsey Ballerini in Michael Kors-Shakira in Carolina Herrera -Jordan Roth in -Rita Ora in and post-gala at 5am with full boobs out -J Harrison Ghee in -Erika Badyu -Chloë Sevigny in Dilara Findikoglu-Sarah Paulson & more! Check out Natalie's documentary Calendar Girl on Amazon Video!Join the Patreon!Patreon.com/SpaceTrashPodcastSubscribe & leave a 5-star review!! Hosted on Acast. See acast.com/privacy for more information.

Hear the rest of this episode exclusively at any tier on Patreon  On this episode of Beneath the Skin we're talking about several stories of how tattoos have been used in branding, and also discussed the long lost Schiaparelli tattoo inspired bathing suits from the 1920s Beneath the Skin Store If you want to follow us online for more updates CLICK HERE Production by Thomas O'Mahony Artwork by Joe Painter (jcp_art) Intro music by Dan McKenna If you would like to get in touch you can email the show on beneaththeskinpod@gmail.com

En este episodio hablamos de tendencias y analizamos el boom “mob wife”. Comentamos el desfile de Schiaparelli y el viral bebé robot. También, reflexionamos sobre ser sexy y lo que conlleva y terminamos con nuestro querido consultorio del amor.

Big Dipper and Meatball are joined by the iconic Sasha Velour to talk about her prolific drag career, what inspires her art, and the Schiaparelli earrings she's worn for two years. Plus they get the scoop on the new season of “We're Here” on HBO, her book “The Big Reveal,” and her upcoming tour “The Big Reveal Live Show!” And it wouldn't be Sloppy Seconds without some voicemails about douching and spit. Enjoy! Listen to Sloppy Seconds Ad-Free AND One Day Early on MOM Plus Call us with your sex stories at ! Or e-mail us at sloppysecondspod@gmail.com FOLLOW SLOPPY SECONDS FOLLOW BIG DIPPER FOLLOW MEATBALL SLOPPY SECONDS IS A FOREVER DOG AND MOGULS OF MEDIA (M.O.M.) PODCAST Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Bonjour f**ckettes! We're back to discuss the highs and lows of Paris Fashion Week, Kim Cattrall's Skims campaign, the reveal of Stevie Nicks' Barbie, the scarily realistic Vera Wang Barbie, Beyonce's Renaissance concert film, and Angelina Jolie's new fashion venture. Pertinent Links Rachel Tashjian's We Need More Female Fashion Designers article, Harmony Korine's 2021 Balenciaga short feat. Cathy Horyn, and Tracie Egan Morrissey's Pulizer-worthy Kravis Instagram Story. Fashion Shows Alexander McQueen, Balenciaga, Comme des Garçons, Maison Margiela (here's the video also), Louis Vuitton, Loewe, Miu Miu, Schiaparelli.Today's episode is brought to you by Dipsea! Our listeners get an extended 30 day free trial when you go to DipseaStories.com/Outfit!As well as, Nutrafol. Enter the promo code OUTFIT  to save FIFTEEN DOLLARS off  your first month's subscription.

We know, it's October and we're still talking about this year's Love Islanders! But, with the news dropping that Sammy and Jess have called it quits just three months post the Love Island final, we couldn't help but spill all our thoughts on the situation. We're also diving headfirst into the latest MAFS drama and then jet across the pond to Kardashian land, where we dissect that tense Kim and Kourtney phone call, delve into Kim's fashionably late entrance at Victoria Beckham's show, and analyse Kylie's Schiaparelli look! Hosted on Acast. See acast.com/privacy for more information.

Ahead of New York Fashion Week, The Washington Post's Rachel Tashjian speaks with BoF's founder and editor-in-chief Imran Amed about how the industry is changing post-pandemic. Background:There's a good reason why New York Fashion Week isn't the all important agenda-setter it once was, according to Rachel Tashjian, a fashion writer for The Washington Post. US consumers, she says, now take their fashion cues from influencers and social media as much as they do the runway. “Some of the more interesting things happening in American fashion are just outside of fashion week,” says Tashjian. “I just wonder if American designers feel like, is this [New York Fashion Week] really worth it for me to be doing? Is this where my audience is?”This week on The BoF Podcast, Imran Amed, BoF's founder and editor-in-chief, sits down with Tashjian to discuss her perspective on the state of the fashion industry today and her expectations for the evolution of NYFW in a post-Covid world.Key Insights:As some established brands look beyond NYFW to connect with customers to showcase their designs, Tashjian believes this shift has opened up space for emerging designers. “These smaller or more emerging brands are dominating [NYFW] because we don't have a lot of the larger brands showing,” says Tashjian.That relationship will be seen up-close at NYFW this season, Tashjian predicts. Because of the ongoing SAG-AFTRA strike, which leaves actors unable to promote their films, Tashjian says celebrities will dominate the front row. “This is going to be kind of an unprecedented season in terms of celebrity presence at fashion week because, with the strikes going on, these are things that celebrities can promote these relationships that they have with fashion brands,” she says.How celebrities embrace fashion can impact how the public perceives them, as well, says Tashjian. “Fashion has this really interesting ability to recontextualise someone we think we know really well,” she says. “Margot Robbie during the Barbie Press tour, wearing these fun, campy Schiaparelli [looks] and hot pink Chanel. All of a sudden we're thinking, ‘Oh, this is a woman who has a really fun and playful understanding of fashion.'”Tashjian believes the role of fashion criticism is different than it was in years past. “Perhaps because of the availability of fashion, we need critics more than ever before,” she says. “I think about my role as to provide an insider perspective or context. I was actually at this show and here's how it felt to be sitting in that room.”Tashjian is also known for her newsletter, Opulent Tips, which she began when she was working at GQ. In the newsletter she discussed womenswear, products and smaller brands she admired. “I felt like it could be kind of fun to have a little space where I can talk about those things and maybe introduce those brands to some people who maybe wouldn't come across them,” she says. Additional Resources:The BoF Podcast | Karl Lagerfeld at the Met: Designer, Polymath, Jigsaw Puzzle: Andrew Bolton's latest curatorial miracle celebrates the creative process of one of fashion's greatest icons. Bolton sits down with Tim Blanks for BoF's latest podcast.The Newsletter Fashion Insiders Can't Get Enough of: Rachel Tashjian, a Washington Post writer releases an exclusive newsletter each Sunday, with her take on fashion, culture and the industry at large. Hosted on Acast. See acast.com/privacy for more information.

Anyone who follows Candace Marie (marie_mag_), Social Media Strategist and Founder of Black in Corporate, knows that she isn't afraid to push the boundaries of style and beauty. In fact, when people tell her “I've never seen your style before,” she simply replies, “I know.” Tune is as we talk through her journey from growing up in Arkansas to chasing after her luxury fashion dreams in NYC, drawing out her own hair looks, finding style inspiration within her own closet, and so much more. Links to Products/Resources Mentioned: Brown Butter Beauty Detangling Conditioner, Taliah Waajid Co-Wash, Murad Intensive C Radiance Peel, Alpha Liquid Gold Exfoliant, Hyper Skin AHA Mask, Supergoop! Unseen Sunscreen, Gucci Lipstick, Danessa Myricks Foundation Join the Naked Beauty Community on IG: @nakedbeautyplanet Check out nakedbeautypodcast.com for all previous episodes & search episodes by topic Hosted on Acast. See acast.com/privacy for more information.