Balenciaga Palais Galliera

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Balenciaga,l uvre au noir,8 March to 16 July 2017,1 PRESS KIT p 3 PRESS CONTACTS. 2 EXHIBITION TRAIL p 4 Palais Galliera,Anne de Nesle. SKETCHES CONSTRUCTION p 4 Elisabeth Boucheron,assisted by Margaux Brisson. Canvases and patterns p 4,33 0 1 56 52 86 08,SILHOUETTES VOLUMES p 5 presse galliera paris fr. Structured black and punctuation in black p 5,The choice of black p 6.
PRESS VISUALS ON REQUEST,Draped black and volume p 7. Constructing black p 8,Archives p 9,BLACK AND LIGHT p 12. Contrasting material in black p 12,Black brilliance p 13. Black transparency p 14,BLACK AND COLOURS p 15,Black and white p 15. Black red and pinks p 16,3 PUBLICATION p 17,4 EXTRACTS FROM THE CATALOGUE p 18.
The choice of black p 18,Glossary p 21,Biographical notes p 26. 5 CULTURAL ACTIVITIES p 27,6 SPONSORSHIP p 28,7 THE MUS E BOURDELLE p 29. 8 PRACTICAL INFORMATION p 30,Balenciaga,l uvre au noir. 8 March to 16 July 2017, This exhibition at the mus e Bourdelle opens the Palais Galliera s Spanish season which will. continue with Costumes espagnols entre ombre et lumi re Spanish Costumes from dark to bright. at the Maison Victor Hugo June 2017 and will finish with Mariano Fortuny at the Palais Galliera. October 2017,Balenciaga l uvre au noir, The Palais Galliera pays homage to the couturiers couturier Crist bal Balenciaga 1895 1972 with an.
exhibition at the Mus e Bourdelle entitled Balenciaga l uvre au noir Balenciaga working in black. The exhibition resonates with the black tones of this alchemist of haute couture Balenciaga pieces. are displayed alongside the plaster casts in the Great Hall and there are more in Bourdelle s studios. and in the contemporary Portzamparc wing of the museum Balenciaga s work sets up a powerful. black on white dialogue with the great late 19th and early 20th century sculptor. Black for Balenciaga s inspiration the spiritual underpinnings of his work were the folklore and. traditions of his Spanish childhood Black for the ascetic taste of this extraordinarily skilful tailor. who gave us the barrel line 1947 the balloon 1950 the semi fitted suit 1951 the tunic dress 1955. and of course the sack dress 1957 Black for the monastic influence on the master of whom Dior. once said Clothes were his religion, The first part of the exhibition trail Silhouettes Volumes is followed by Noirs Lumi res Black. Light and then Noirs et Couleurs Blacks Colours because for Balenciaga black was more. than a colour or even a non colour he saw it as a vibrant matter by turns opaque or transparent matt. or shiny a dazzling interplay of light which owes as much to the luxurious quality of the fabrics. as to the apparent simplicity of its cut A lace highlight an embroidered composition some twisted. metallic tape a thick drape of silk velvet and hey presto you have a skirt a bolero a mantilla a cape. reinvented as a coat a coat tailored as a cape Here we have day clothes a suit a jacket and over. there evening outfits and also cocktail dresses lined in silk taffeta edged with fringes decorated with. satin ribbons jet beads sequins and accessories black of course Variations of black repeated in. over a hundred pieces from the Galliera collections and the archives of Maison Balenciaga. This exhibition is supported by the Maison Balenciaga. Commissariat, V ronique Belloir Director of haute couture collections at the Palais Galliera. Balenciaga,l uvre au noir,8 March to 16 July 2017,EXHIBITION TRAIL. SKETCHES AND CONSTRUCTION,I Hall des pl tres,Canvases and patterns. In many respects couture and sculpture have similar objectives Harmony comes from balanced pro. portions movement from the choice of materials In French the vocabulary of the two disciplines. reveals a common approach For Balenciaga dresses took shape when they were draped on the dress. form That first stage produced the canvas la toile a sort of sketch that he would manipulate and. adjust until he had worked out a perfect version of his draft These exceptionally black canvases gen. erally created in ecru cotton were cut in light dry percale or in heavier sized twill or sometimes in. tarlatan depending on the fabric to be used for the model Full bias or straight along the weft each. section was noted with markings and crossed with lines whose position direction and overlapping. points defined the structure and the construction of the garment White machine stitches indicated. the seams and the fitting and mounting notches Basting in coloured thread defined the height of. the hemline Taken together they were a map of the future volume with its borders and its joins. Between these lines which reveal how methodical and rigorous he was handwritten notes preserve. the intentions and the working methods of this great couturier. Balenciaga Archives Paris Studio S bert,SILHOUETTES AND VOLUMES.
II Atelier de sculpture,Structured black and punctuation in black. Having trained as a tailor with Casa Gomez then worked as premier d atelier in the ladies tailor. ing department of the Au Louvre department stores in San Sebasti n Crist bal Balenciaga knew. everything about cutting, Calculated to the nearest millimetre the proportions of the coats and structured suits hug the. figure The cut of the fabric defines the contours and makes for the purest of shapes The bretelle and. princess seams the darts and the gathers give curves to the volumes or hollow them out The sleeves. have been the object of equally painstaking research Their construction defines the shoulder line. which is responsible for the balance of the model The kimono sleeves were sometimes made in three. pieces with one small side or a gusset for extra comfort. Balenciaga collars are au pli without a collar band They are cut on the bias to give them roll. and set away from the neck to leave the nape exposed. Tailleur Chapeau,Winter 1952 Winter 1967,Wool cannel Gazar over moulded sparterie. Jacket lined with silk taffeta Collection Palais Galliera. Princess seams,Short sides Julien Vidal Galliera Roger Viollet. Three piece sleeves, Collar grain line on bias cut For Balenciaga more than any other accessory hats play a.
Collection Palais Galliera significant role in balancing the volumes Whether black. Julien Vidal Galliera Roger Viollet very small or at the other end of the scale enormous their. size and shape are an extension of an inky silhouette or a. This austere suit almost military you might say if it were sober counterpoint to the colours of a model The feathered. not for the curve of the jacket makes no concessions not or embroidered pillbox hats suggest the hats worn by. even so much as a distracting button The dense close bullfighters Their coleta ponytail inspired the couturier. weave of the cannel has made it possible to create these to place volumes at the nape of the neck More abstractly. pure lines where Balenciaga s tremendous skill as a cutter cut off cones flights of tragic velvet and ebony haloes. an art that he learned very early on shows itself in the ensure congruity in the proportions and a harmony of line. amazing precision and careful construction of the piece. III Atelier de peinture,The choice of black,Cocktail dress. Client s order,Bias cut figured Staron silk,Skirt lining in silk pongee. Bustier in gros grain and tulle,Loaned by M Didier Ludot. Julien Vidal Galliera Roger Viollet, Although Crist bal Balenciaga designed many of his most. innovative creations in black this dress was designed. worked out and realised in colour The fabric contrasts the. coarseness of the irregular dupion thread motifs with the. smooth sheen of the satin foundation Those shades and the. decoration tend to distract attention from the form of this. wrap over dress And yet it is an unusual volume placed. high on the back with straps tied very slightly off centre. Absolutely identical but ordered in black by a, customer the model looks strikingly unusual yet utterly.
timeless like Chanel s little black dress from 1926. IV Anciens ateliers 1,Black drapes and volumes, In order to get the best out of a fabric Balenciaga would adapt his technique to its qualities According. to its weight its thickness its hang and its feel he would cut it or mould it or drape it differently. He used black textures to accentuate the play of shadows and to emphasise the line He would hint. at movement with a piece of soft flowing crepe taffeta he would crumple letting its lightness and. soft sheen suggest figures with constantly changing outlines With seersuckers the flounces would be. mounted with a drawstring rather than gathered For the untameable gazar and the even more stub. born zagar Balenciaga would suggest rounded pleats that pick up pearly reflections from the light. their blackness giving dramatic volume to a skirt hung below the hips and heightening the effect of. a plunging neckline,Dress and pouf ensemble detail. Winter 1940,Wool cr pe,Kimono sleeves with gussets. Shoulder seam,Draped removable pouf,gathered onto belt. Collection Palais Galliera,Eric Emo Galliera Roger Viollet.
The pouf is reminiscent of the pouf that was hidden. under the skirts of 1880s women to emphasise the, arch of the back The matt black wool in which it is. tailored follows the contours of Chinese shadows,V Anciens ateliers 2. Constructing black, Balenciaga s research and experiments gradually led him towards a deconstruction of traditional. forms and the invention and elaboration of increasingly abstract figures The garment became more. than an envelope and grew to be independent of the body it clothed The black which Balenciaga. chose for his models was the materialisation of a clear move towards geometry It can be seen in. these great wool or velvet coats surmounted by high collars reminiscent of Cubist architecture rising. imperiously into the air, His use of gazar and zagar his own variant which had even more obvious qualities inspired. him to yet more abstraction and gave the garment an existence of its own These fabrics were specially. developed for Balenciaga in 1958 and 1964 respectively by Gustav Zumsteg who at the time ran the. Swiss textile firm Abraham They are feather light full and impetuous and also unpredictable The mas. ter brought all his sensitivity to bear on them imbuing the fabrics with energy and movement and crea. ting completely new figures The most emblematic models were designed in black like this cone shaped. one nipped in at the shoulders and held up by nothing more than two jewelled straps or this tall. column leading to a draped hood as if it were cut from one block of stone and sculpted in one piece. Illustration from a collection,Winter 1967 model n 128.
Balenciaga Archives Paris, VI Extension Christian de Portzamparc rez de chauss e. Archive documents, With Balenciaga ideas might take shape on the page of a sketchbook or on a sheet of hotel notepa. per Fragments of dresses the construction of a bodice a single sleeve or the arrangement of a yoke. would be pencilled in here and there Arrows indicate the direction of the fabric a few words in. Spanish give the colour negra or rojo and add explanations eos solo en este lado de la misma tela. In the studio Balenciaga s assistants translated his suggestions into sketches for the workshops. where the seamstresses made the first canvases the early prototypes A back view a detail and a. sample of fabric completed this working document on which the name of the premi re d atelier head. seamstress was mentioned The name of the model was also mentioned She would wear the model. from the fittings of the canvas to the completed garment and she would pose in front view back. view and in profile for the photographs taken in the House s salon on the Avenue George V or in the. workshops With neither decor nor special staging these pictures were taken from 1957 by photo. grapher Thomas Kublin The local police station would then stamp the albums of the collection to. attest the industrial property rights of the models. The fashion photographs would go to the press while an illustrator was commissioned to do. the drawings for the client,only on this side in the same fabric. Study sketch by Crist bal Balenciaga,Balenciaga Archives Paris. VII Escalier,Structured black,Hiver 1949,Rayon cannel.
Viscose taffeta lining,Ecru linen stiffening,Tailored collar. Bretelle seams on the front,Princess seams on the back. with short sides,Collection Palais Galliera,Julien Vidal Galliera Roger Viollet. VIII Extension Christian de Portzamparc niveau 1,Draped black. Dress Dress,Summer 1956 1958,Silk taffeta grain line Silk crepe.
Underskirt in crin over satin organza Silk pongee lining. Stitched ruffle Draped cowl back,Grain line folds over draped facing. Collection Palais Galliera, Collection Palais Galliera Julien Vidal Galliera Roger Viollet. Julien Vidal Galliera Roger Viollet,BLACK AND LIGHT. Contrasting material in black, The duality of light and shade is inherent in any form of artistic expression in Spain The two essential. qualities of black designated by the Latin words niger for brilliant black the black of elegance and. ceremony and ater matt black the colour of darkness and mourning suggested arrangements. to Balenciaga that arose from that opposition, With the dull matt surfaces of wool or deep inky black velvet the couturier contrasted the bri.
Black brilliance p 13 Black transparency p 14 BLACK AND COLOURS p 15 Black and white p 15 Black red and pinks p 16 3 PUBLICATION p 17 4 EXTRACTS FROM THE CATALOGUE p 18 The choice of black p 18 Glossary p 21 Biographical notes p 26 5 CULTURAL ACTIVITIES p 27 6 SPONSORSHIP p 28 7 THE MUS E BOURDELLE p 29 8 PRACTICAL INFORMATION p 30 PRESS CONTACTS Palais

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