The subsequent single-page spread devoted to Madame Lucile's chiffons and to Poiret's plumes seemed to be included simply out of respect for the old masters and appeared fearfully outdated. This part of the Chanel myth breaks down into two ideas: that pre-1919 looks appeared outdated compared to Chanel, and that the top designers of the … Continue reading The Myth of Chanel and the 1920s: V – Outdated Old Masters
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Galerie des Modes, 47e Cahier, 4e Figure
The beautiful and tender woman from Lyons, forgetting everything in order to reflect only on her lover, announces by her bearing how much her heart is worried by his absence as she seems to pay no attention to the tumult at the Palais-Royal where she is found: she is coiffed with a hat à la … Continue reading Galerie des Modes, 47e Cahier, 4e Figure
Galerie des Modes, 47e Cahier, 3e Figure
Pretty Woman walking alone in her garden to avoid all dissipations, she engages herself entirely with sweet ideas that pleasure presents to her; this makes these flattering images which render her an agreeable solitude: she is coiffed with a hat called à la Charlotte; over her long gown she has a pelisse lined with fur … Continue reading Galerie des Modes, 47e Cahier, 3e Figure
Galerie des Modes, 48e Cahier, 1ere Figure
Grand coiffure and outfit à la Caravanne: new Costume which was shown in the Opera of the same name. (1785) "The Caravan of Cairo, an opera in three acts, shown for the first time at the theater of the Court on October 30, is the second work after Didon which had been a decided success. The … Continue reading Galerie des Modes, 48e Cahier, 1ere Figure
Galerie des Modes, 47e Cahier, 2e Figure
The brilliant Raimonde, after dinner, makes a round of the Jardin du Luxembourg, persuaded that she will not fail to meet the one who is the slave of her beauty before long: she is coiffed with a hat à la Figaro with a pelisse lined with sable and a gauze apron trimmed à la Panurge. … Continue reading Galerie des Modes, 47e Cahier, 2e Figure
Mimic of Modes 