![]() Unfortunately a long history of extreme plastic surgery and facial alteration has made her look unnatural and freaky, and her face is devoid of natural expression. ![]() It ran along quite well, but mainly because the interviewer Tim Blanks, Editor at large of The Business of Fashion who worked hard to help make it so. It was fairly interesting, she wasn’t particularly self-aggrandising, but she didn’t really have much to say. The discussion veered off to cover Donatella’s thoughts was about men and women, power and image. ![]() Richard Avedon, Helmut Newton – most of them were “difficult”. Prince was lovely, private and gave lots of money to charity. Much of the initial conversation was about the photographers she had worked with, and the models. Add to that a face-mic that was too close to her swollen lips and for the first few minutes it was impossible to understand a word she was saying. Unfortunately her English is heavily accented, and she has something of a lisp. She struck me as an introvert, not comfortable with herself. She stared at him throughout, not turning to look at the audience once, wrapping one leg over and under the other, holding her knees, and writhing a little in her seat. She looked tiny in the lecture theatre, and eventually sat down opposite the interviewer. What is clear is that they are amazingly well-made, beautifully hand-finished, exact scale models of couture dresses, using the same fabrics as their full size equivalents.Donatella arrived only a few minutes late, in a showy but relaxed navy blue skirt and sleeveless top, entered the auditorium and spent a good five minutes kissing people that she knew in the front row, including photographer Bruce Weber. The Maryland Museum, who own the 1946 Théâtre de la Mode mannikins, have confirmed that these objects are not connected to the Théâtre de la Mode. A connection is unlikely, as while the dress demonstrates superb couture craftsmanship and perfect miniature scaling, it does not appear it would fit one of the very small-waisted Théâtre de la Mode mannikins, making the theory unpalpable. Théâtre de la Mode was intended to show the world that Paris still had mastery over dressmaking and couture, and featured quarter-scale dolls dressed in the very best miniature garments that Paris could procure. The ready to wear houses and representatives would buy couture models to reproduce and copy.Īn early theory was that the dress was intended for the Théâtre de la Mode travelling exhibitions (of 19),but didn't make the final cut. During the post-war fabric shortages, items such as this would have provided a way to show a wholesale-purchaser what the dress looked like without the expense of making a full-size dress with all the attendant usage of fabric. The third dress is a 1977 yellow jersey dress, item T.34-2979.Īccording to donor, these dresses were bought with the toiles by wholesale companies who copied and adapted these dresses for the ready to wear market. ![]() ![]() In addition to this example, we have at least three full-size examples of her jersey dresses, including T.250-1974 and T.246-1974, which are both white jersey, the former from 1968, the latter a 1971 Grès replica of a 1955 design. She continued to work in jersey throughout her career, making it her signature fabric. Her column dresses of silk jersey, a challenging fabric to work with, are immaculately pleated, draped, and controlled with a masterly hand. The Grès signature is most clearly seen in her Grecian gowns of pleated jersey. After 1939, she started working as Madame Grès. Her sense of proportion and her taste for strong dramatic statements soon manifested themselves in her designs. She launched as "Alix" in ca.1934, and worked under that name until 1939. Madame Grès (1903-1993) was one of the great couturiers of her time. ![]()
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