Relevant bibliographies by topics / Haute Couture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Haute Couture'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 June 2024

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Journal articles on the topic "Haute Couture"

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Garré, Roy. "Haute Couture." Rechtsgeschichte - Legal History 2003, no. 02 (2003): 175–77. http://dx.doi.org/10.12946/rg02/175-177.

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KIYAI @ KEAI, GREGORY, NOOR HAFIZA ISMAIL, and KHAIRUN NISA MUSTAFFA HALABI. "PEMBANGUNAN DAN CABARAN HAUTE COUTURE DALAM INDUSTRI FESYEN." International Journal of Creative Future and Heritage (TENIAT) 12, no. 1 (March 31, 2024): 80–96. http://dx.doi.org/10.47252/teniat.v12i1.1297.

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Abstrak Haute Couture merupakan sebuah industri fesyen yang berpengaruh besar dalam mewujudkan jenama mewah seperti Christian Dior, Valentino, Channel dan Fendi. Perkembangannya mengambil masa yang lama iaitu bermula sejak abad ke-19 semasa pemerintahan Raja Louis XIV di Perancis sehinggalah menjadi sebuah falsafah yang berkuasa dalam legasi fesyen dunia. Penyelidikan ini adalah bersifat kualitatif dalam mengkaji evolusi industri Haute Couture dan impaknya kepada industri fesyen pada hari ini. Kajian ini dijalankan dengan menganalisis pascapenulisan yang berkaitan dengan konsep, legasi sejarah, perkembangan dan sumbangan industri Haute Couture terhadap industri fesyen pada masa kini. Hasil kajian mendapati bahawa, penerimaan terhadap industri Haute Couture mengalami krisis dalam mengekalkan identiti asli yang diwarisi sejak dari abad ke-19 lagi, namun legasinya dalam sejarah fesyen masih kekal berkuasa dan mempunyai peminat yang tersendiri dalam kalangan golongan elit dari seluruh negara yang mementingkan hasil kerja tangan yang asli, ekslusif dan bercita rasa tinggi. Rekomendasi untuk kajian akan datang adalah sebagai kajian rintis bagi penyelidikan kualitatif dan perbandingan budaya dalam industri Haute Couture. Abstract Haute Couture, with a history dating back to the 19th century during the reign of King Louis XIV in France, has played a significant role in shaping luxury brands like Christian Dior, Valentino, Chanel, and Fendi. This research adopts a qualitative, historical approach to examine the evolution of the Haute Couture industry and its enduring impact on the contemporary fashion landscape. The research was conducted by analyzing post-writings related to the concept, historical lineage, development, and contributions of Haute Couture to the current fashion industry. The findings reveal that while the Haute Couture industry faced challenges in preserving its original identity from the 19th century, its historical legacy continues to exert a profound influence and maintains a dedicated following among elites worldwide who value originality, exclusivity, and intricate craftsmanship. Future studies could consider this research as a pilot study for qualitative and comparative cultural investigations within the Haute Couture industry.
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Kiyai, Gregory. "HISTORY OF DEVELOPMENT HAUTE COUTURE IN THE FASHION INDUSTRY." International Journal of Creative Future and Heritage (TENIAT) 12, no. 1 (March 31, 2024): 80–96. http://dx.doi.org/10.47252/teniat.v12i1.1160.

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ABSTRACT Haute Couture, with a history dating back to the 19th century during the reign of King Louis XIV in France, has played a significant role in shaping luxury brands like Christian Dior, Valentino, Chanel, and Fendi. This research adopts a qualitative, historical approach to examine the evolution of the Haute Couture industry and its enduring impact on the contemporary fashion landscape. The research was conducted by analyzing post-writings related to the concept, historical lineage, development, and contributions of Haute Couture to the current fashion industry. The findings reveal that while the Haute Couture industry faced challenges in preserving its original identity from the 19th century, its historical legacy continues to exert a profound influence and maintains a dedicated following among elites worldwide who value originality, exclusivity, and intricate craftsmanship. Future studies could consider this research as a pilot study for qualitative and comparative cultural investigations within the Haute Couture industry ABSTRAK Haute Couture merupakan sebuah industri fesyen yang berpengaruh besar dalam mewujudkan jenama mewah seperti Christian Dior, Valentino, Channel dan Fendi. Perkembangannya mengambil masa yang lama iaitu bermula sejak abad ke-19 semasa pemerintahan Raja Louis XIV di Perancis sehinggalah menjadi sebuah falsafah yang berkuasa dalam legasi fesyen dunia. Penyelidikan ini adalah bersifat kualitatif dalam mengkaji evolusi industri Haute Couture dan impaknya kepada industri fesyen pada hari ini. Kajian ini dijalankan dengan menganalisis pascapenulisan yang berkaitan dengan konsep, legasi sejarah, perkembangan dan sumbangan industri Haute Couture terhadap industri fesyen pada masa kini. Hasil kajian mendapati bahawa, penerimaan terhadap industri Haute Couture mengalami krisis dalam mengekalkan identiti asli yang diwarisi sejak dari abad ke-19 lagi, namun legasinya dalam sejarah fesyen masih kekal berkuasa dan mempunyai peminat yang tersendiri dalam kalangan golongan elit dari seluruh negara yang mementingkan hasil kerja tangan yang asli, ekslusif dan bercita rasa tinggi. Rekomendasi untuk kajian akan datang adalah sebagai kajian rintis bagi penyelidikan kualitatif dan perbandingan budaya dalam industri Haute Couture.
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Tilt, David. "Understanding the Role of “the City” in Developing Complex Regulatory Frameworks." McGill GLSA Research Series 1, no. 1 (November 22, 2021): 1–24. http://dx.doi.org/10.26443/glsars.v1i1.141.

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This paper considers the relationship between the legal regulation of haute couture in Europe and the importance of “the city” as the locus of complex cultural, legal, and geographical forces. Haute couture and its legal framework are used as a case study to investigate how local dynamics – in this case, focusing on the role of the city – can shape the national and international legal responses to a cultural phenomenon, as well as provide a more complete understanding of how culturally significant practices acquire such an enduring meaningfulness in society. Connecting the role of ‘the city’ and legal regulation is particularly interesting through the lens of haute couture because while cities are frequent hosts to artistic or cultural movements, haute couture resulted in an elaborate system of strict regulation that extends beyond the ordinary intellectual property toolbox. This framework has a broader function than national intellectual property law because it not only reflects the legal dynamic of a particular industry, but the cultural and artistic practices of a specific, and particularly localised in this case, city. Haute couture is a demonstration of the complex relationship between local, national, and international modalities of law-making. Haute couture emerged as a niche, city-specific, cultural development yet it resulted in a national framework of regulation that reinforced the centralisation of Paris in haute couture, building and further supporting localisation and sub-localisation in the context of the dense network of fashion houses, ateliers, and schools.
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Podboj, Martina. "“Haute couture? More like haute glue!”." Journal of Language and Sexuality 12, no. 1 (February 2, 2023): 73–97. http://dx.doi.org/10.1075/jls.21013.pod.

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Abstract Reading is a unique interactional practice in the drag queen community. It refers to leveling witty and often cutthroat mock insults at fellow drag queens, with an aim of throwing shade. In this paper, I examine the discourse of the ‘reading challenge’, a staple of RuPaul’s Drag Race (RPDR), an internationally popular drag queen reality TV show (2009–). In the first part, I review central concepts surrounding drag performance and the phenomenon of RPDR and summarize relevant sociolinguistic literature about drag queen speech and the practice of reading. In the second part, I describe the RPDR reading challenge as a unique discursive genre and analyse its performative structure, themes, and most prominent strategies that queens use to construct felicitous reads and throw shade. The analysis demonstrates that this genre relies on camp language and highly ritualized, repetitive, and recontextualized performance of reading, framed by requirements of mass-consumed reality TV.
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Загоскина, Василина. "Франция - туризм Haute couture." Украинский туризм, no. 3 (2010): 28–33.

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Beaudoin-Ross, Jacqueline. "Marie-Paule Haute Couture." Dress 18, no. 1 (January 1991): 15–26. http://dx.doi.org/10.1179/036121191803657124.

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Wormer, Eberhard J. "Haute Couture hautnah erleben." Orthopädie & Rheuma 18, no. 6 (December 2015): 64–65. http://dx.doi.org/10.1007/s15002-015-0801-4.

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Bell, Elaine. "Haute couture for peptides." Nature Reviews Immunology 2, no. 11 (November 2002): 813. http://dx.doi.org/10.1038/nri938.

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Deveaux, Marc, and Didier Gosset. "Les psychotropes haute couture." Annales de Toxicologie Analytique 12, no. 1 (2000): 90–96. http://dx.doi.org/10.1051/ata/2000036.

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Dissertations / Theses on the topic "Haute Couture"

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Павлюк, Анна В’ячеславівна. "Embellished clothing ornament in haute couture fashion." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18259.

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Daval, Pauline, and Alicia Fidalgo. "Leading Creative Organizations : A study of Haute-Couture." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-34726.

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Who has never reflected about an artist or a creative person thinking why this person is not recognized and famous? Why so much talent for nobody?Who has never reflected, why this singer sings or this actor plays or this fashion designer draws? And secretly thinks that he or she should not.Finding a talented and a creative leader is a real challenge for the company. Finding the good one, we mean. Indeed, the creative leader is the key of improvement and success for creative organizations such as the theater, cinema, cuisine, music and fashion… Once the company found him or her, it has to keep him or her, to give to him or her all the freedom and power he or she needs because he is the one that is able to create great products, to draw out the creativity of the team and to build a clear vision for the company.However, the company also has to deal with constraints. There are financial, material, humans…This thesis try to understand how creative companies work and what are the characteristics of a creative leader. But we do not let the financial part be a taboo. Creative companies build a bridge between their talented leader and their financial restrictions. This paradox involves the question of whether to control or to let the creativity be completely free. The duality between leading creativity and leading rationality is the matter of this thesis.We illustrate the dichotomy with the business of fashion, in particular with Haute Couture Houses. The study case is a way to go inside a real creative organization and to understand how the leadership is implemented.
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Zirkevych, V. I. "Haute couture in the age of fast fashion." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/11387.

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Gaudyn, Weronika. "Study of Haute Couture Fashion Shows as Performance Art." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1543249777154531.

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Abdelmoula, Souhir. "Esthétique du patchwork et du collage dans la Haute Couture." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010669.

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Ma réflexion est basée sur les nouveaux problèmes des vêtements dans une société post-moderne notamment en utilisant les notions du collage, d'assemblage, du patchwork, du montage, de la récupération, du recyclage et du métissage des genres, des époques, des cultures, des styles, des matières, des couleurs, des formes dans la mode vestimentaire. L'objet de ma recherche est axé sur l'assemblage de la nouvelle esthétique des modes d'assemblage cousus et non cousus et l'étude des bouleversements esthétiques générés par l'intégration de l'art du patchwork et du collage sur la voie vestimentaire à partir de mixage des matériaux empruntés de la vie courante. Il s'agirait d'investir les fonctionnements d'une esthétique de reconstruction et de déconstruction dans les œuvres collagistes et voir la nouvelle identité de la Haute Couture métissée qui a bouleversé les rapports traditionnels entre le créateur, l'œuvre, les techniques et le coupé cousu
My thinking is based on emerging clothes in a post-modem society using the concepts of collage, assemblage, patchwork, installation, recovery, recycling and mixing of genres, eras, cultures, styles, materials, colors, shapes in fashion clothing. The purpose of my research is focused on the assembly of the new aesthetic modes of assembly and not stitched sewn and study of aesthetic upheavals generated by the integration of the art of patchwork and collage on track dress from mixing of materials borrowed from everyday life. It would invest the workings of an aesthetic reconstruction and deconstruction in collage works and see the new identity of the Haute Couture mixed that changed the traditional relationship between the creator, the work, techniques and cut and sewn
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Hénin, Janine. "La Haute-Couture, un élèment du rayonnement mondial de Paris." Lille 1, 1990. http://www.theses.fr/1990LIL10197.

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Barreira, Ana Maria Peçanha. "La soie déchirée : la mode comme état d'esprit de la postmodernité." Paris 5, 2008. http://www.theses.fr/2008PA05H069.

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En adoptant une démarche phénoménologique pour analyser l'essence de la mode comme processus d'incorporation transitoire, mon travail intitulé « La soie déchirée. Essai sur la Mode comme état d'esprit de la postmodernité » montre comment sur la base de la sociologie du quotidien nous pouvons dégager un réseau de sens en analysant les différents parcours d'acteurs sociaux aussi variés que les couturiers Valentino, Balenciaga, Yves Saint Laurent Jean-Paul Gaultier, John Galliano, ou le scénariste de ballets russes Léon Bakst. A partir de la thématique du miroir et de ses divers points réfléchissants, notre étude revisite les thèmes de Narcisse, des sorcières, des femmes fatales et des ballets russes en France pour démontrer les diverses modifications qu'a subi la Mode et tenter d'en saisir I état d'esprit. Les divers schémas de compréhension des nouvelles valeurs sociologiques et psychologiques nous permettent d'affiner notre démarche et de délimiter une autre frontière en matière d'analyse sémiologique et phénoménologie du phénomène de la Mode et de l'anti-mode
By adopting a phenomenological approach to analyze the essence of fashion like a transitory process of incorporation, my work entitled "Torn silk. Essay on the Fashion as frame of mind of the postmodernity" shows how, on the basis of sociology of the day-to-day, we can release a network of senses by analyzing the various courses of social actors as varied as the Valentino, Balenciaga, Yves Saint Laurent, Jean-Paul Gaultier, John Galliano dressmakers, or the sciptwriter of Russian ballets Leon Bakst. From the set of themes of the mirror and its various reflective points, our study revisits the topics of Narcisse, the witches, the "femmes fatales" and the Russian Ballet in France to show the various modifications which the Fashion underwent and to try to seize its frame of mind. Various diagrams of comprehension of the new sociological and psychological values enable us to refine our approach and to delimit another delimitation as regards semiological analysis and phenomenology of the phenomenon of Fashion and anti-fashion
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Božić, Denis S. M. Massachusetts Institute of Technology. "From haute couture to fast-fashion : evaluating social transparency in global apparel supply chains." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111237.

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Thesis: S.M. in Technology and Policy, Massachusetts Institute of Technology, School of Engineering, Institute for Data, Systems, and Society, Technology and Policy Program, 2017.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 134-139).
After Rana Plaza collapsed on April 24, 2013, in Dhaka, Bangladesh, and killed more than 1,100 workers, the apparel industry fell under widely publicized scrutiny for its negligent social practices. With consumers and non-governmental organizations aware of these issues and creating public pressure on the industry, many companies are increasingly trying to institute transparency within their supply chains to become socially sustainable. However, transparency so far has not been clearly defined, which makes the process of evaluating transparency difficult and often unpractical. The main goal of this thesis is to establish a framework and methodology that can be used by consumers, brands, and regulatory bodies to define and evaluate social transparency in global supply chains. Building on previous research in this field, we first construct a framework that distinguishes external and internal transparency, after which we identify five factors that drive supply chain transparency. Adaptive survey is then designed and used to evaluate both external and internal transparency, while investigating the role of each factor in shaping supply chain transparency. Due to time constraints and data availability, this thesis focuses primarily on external transparency and two factors: legal and political complexity and supply chain communication. Our quantitative analysis shows that the degree of external transparency increases with the size of brands, which is influenced by legal acts that focus on supply chain transparency. Additionally, our qualitative analysis shows that information asymmetry and lack of standardized auditing system have a detrimental effect on external and, ultimately, internal transparency. We therefore argue that socially responsible national legal regimes and diffusion of technological innovations are necessary to increase the degree of social transparency in global supply chains.
by Denis Bozic.
S.M. in Technology and Policy
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Palmer, Helen Alexandra. "The myth and reality of haute couture : consumption, social function and taste in Toronto, 1945 - 1963." Thesis, University of Brighton, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282868.

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This thesis investigates the multi-faceted use of haute couture in Toronto as a symbol of English-Canadian women's postwar cultural identity. European and Canadian couture are related to their socio-economic use in the wardrobes of elite Toronto women whose needs and taste directly reflected etiquette codes, the expanding social season, and the requirements for functioning within it. Couture is contextualized beyond a status symbol, and seen to be a necessity in the performance of women's social roles and volunteer work in establishing arts and charitable organizations. It was vital in creating a national sartorial taste for English-Canadian women, and in defining their social and cultural identity during the postwar years. Further, it examines and analyzes the systems of buying and distributing European couture by Canadian retailers, then explores the relevance of these imports for Toronto's department stores, boutiques and their customers. Integral to this documentation and analysis, is the use of a multidisciplinary methodology that weds material culture with oral history, film and printed archival research. This has made it possible to document the movement and the function of couture from production, distribution and consumption, to its use and meaning in the context of postwar Toronto. By examining couture consuniption in terms of its cultural and economic meaning this study touches upon and informs several academic fields; it contributes to the scant research on twentieth century couture, especially on Canadian dress, as well as to Canadian women's social history.
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Ahlsén, Nils. "Erik de Magog och Johan av fotfolket : Haute couture och religiös propaganda i stål och sten." Thesis, Uppsala universitet, Religionshistoria, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-352894.

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This study examines four suits of armour that belonged to two Swedish kings, one protestant and one catholic, during the renaissance. The study tries to determine if it is possible to extract the religious identity of these kings based upon the decorations or other connotations of the suits of armour. Since the two kings, Erik the XIV:th and John the III, where half brothers and they succeeded each other, the suits of armour are closley matched in time and style.   The study also examines the grave effigy of one of the kings, John the III of Sweden, to examine if there is a connection between crossed legs on effigys and the perception of religion during the period.   The study is conducted through a archeological and historiological method and uses a combination theory of Smarts seven dimensions and the pictoral turn.   The main question of the study is: -          What does it take to track religious bias through armour? The subsequent questions are: -          Is it possible to find the religious identity in the suits of armour? -          Was the Gothicism movement a religious movement? -          The effigy of John the III was sculpted in a style popular in the eleventh century, created in the 16:th century and placed in the 18:th century. What conclusions can be drawn from this while also tracking the discourse of effigys in the same time expance.   The study concludes that if the identity of the owner of a suit of armour is known, the symbols that adorne the suit can be interpreted fairly well. It also conludes that the gothic movement in Sweden where an extremely aggressive catholic movement. Finally it concludes that the creation and placement of the tomb in Uppsala cathedral closely follows the different discourses about the meaning of crossed legs on effigys in Europe and that the makers most likely gave the position a devout religious connotation.
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Books on the topic "Haute Couture"

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Haute couture. Paris]: Gallimard, 2018.

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Haute couture. Paris: Jacques-Marie Laffont, 2004.

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Harold, Koda, and Metropolitan Museum of Art (New York, N.Y.), eds. Haute couture. New York: Metropolitan Museum of Art, 1995.

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Hénin, Janine. Paris haute couture. Paris: Editions P. Olivier, 1990.

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Chère haute couture. Paris: Plon, 2006.

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Meij, Ietse. Frans Molenaar, haute couture. De Bilt: Cantecleer, 1986.

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Hohé, Madelief. Voici Paris!: Haute couture. Zwolle: Waanders, 2010.

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Saint-Etienne (Loire, France). Musée d'art et d'industrie., ed. Les enrubannées: Haute couture, hommage au ruban = Beribboned : Haute couture, tribute to ribbon. Saint-Etienne: Musée d'art et d'industrie de Saint-Etienne, 2006.

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Marly, Diana De. Worth: Father of haute couture. 2nd ed. New York: Holmes & Meier, 1990.

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Givenchy, Hubert de. Hubert de Givenchy: Haute couture. [The Hague]: Nederlands Kostuummuseum, 1988.

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Book chapters on the topic "Haute Couture"

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Montagna, Gianni, Sandra Abreu Sousa, and Carla Morais. "Haute Couture and Ergonomics." In Advances in Intelligent Systems and Computing, 409–16. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-60597-5_39.

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Maxwell, Alexander. "Haute Couture and National Textiles." In Patriots Against Fashion, 207–36. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137277145_11.

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Ho, Hang Kei. "Haute Couture and Fashionable Beverages." In Drinks in Vogue, 174–94. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003184836-10.

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Piancatelli, Chiara, Piergiacomo Mion Dalle Carbonare, and Manuel Cuadrado-García. "Balenciaga: The Master of Haute Couture." In The Artification of Luxury Fashion Brands, 141–62. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-26121-4_6.

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Antonaglia, Federica, and Juliette Passebois Ducros. "Christian Dior: The Art of Haute Couture." In The Artification of Luxury Fashion Brands, 113–39. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-26121-4_5.

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Karra, Neri. "The golden age of haute couture (1945–1959)." In Fashion Entrepreneurship, 107–36. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315458779-7.

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Stewart, Mary Lynn. "Haute couture and the Art Deco Exhibition of 1925." In The Routledge Companion to Art Deco, 179–93. New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429032165-10.

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Kunz, Roland. "Palliative Geriatrie als Haute Couture aus Medizin und Pflege." In Demenz und Palliative Geriatrie in der Praxis, 81–89. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-63164-5_8.

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Jansen, Till. "Prêt-à-porter oder haute couture – Managementmoden in der Verwaltung." In Managementmoden in der Verwaltung, 167–83. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-26530-4_7.

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Marfia, Gustavo, Marco Roccetti, Andrea Marcomini, Cristian Bertuccioli, and Giovanni Matteucci. "Reframing Haute Couture Handcraftship: How to Preserve Artisans’ Abilities with Gesture Recognition." In Lecture Notes in Computer Science, 437–44. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34292-9_32.

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Conference papers on the topic "Haute Couture"

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Parker, Maggie, Clive Fencott, and Paul van-Schaik. "HAUTE COUTURE, HAUTE CUISINE, HAUTE GAMES." In Electronic Visualisation and the Arts (EVA 2008). BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/eva2008.24.

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Wei, Lihong. "The Application of Structural Design in Haute Couture." In 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.217.

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Narby, Morgan, and Xingqiu Lou. "The Role of Haute Couture in Today’s Fashion Industry." In Bridging the Divide. Iowa State University Digital Press, 2024. http://dx.doi.org/10.31274/itaa.17430.

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4

Peng, Jiao. "Research on Computer-based Remote Haute Couture Garment Design System." In 2022 IEEE International Conference on Advances in Electrical Engineering and Computer Applications (AEECA). IEEE, 2022. http://dx.doi.org/10.1109/aeeca55500.2022.9919033.

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Bellegarda, J. "Haute couture for transcription's next top model: text processing technologies on the catwalk." In IEEE Workshop on Automatic Speech Recognition and Understanding, 2005. IEEE, 2005. http://dx.doi.org/10.1109/asru.2005.1566464.

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Boucharenc, Myriam. "Publicité et périodiques d’entreprise dans la France de l’entre-deux-guerres." In Séminaire PéLiAS (Périodiques, Littérature, Arts, Sciences). MSH Paris-Saclay Éditions, 2023. http://dx.doi.org/10.52983/gbae7142.

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Abstract:
L’essor des house-organs coïncide en France avec le développement des grandes entreprises et l’arrivée à maturité de la publicité comme profession et discipline nouvelles au cours de l’entre-deux-guerres. Le secteur du tourisme et des transports, de l’industrie et de la Haute couture sont, avec les laboratoires pharmaceutiques, les principaux pourvoyeurs de cette presse hybride. Proches du journal, de la revue ou du magazine par leur conception et leur distribution, les périodiques d’entreprise se caractérisent par leur extrême diversité s’agissant de leur mode de diffusion, de leur tirage, de leur périodicité comme du format, des contenus et de la ligne éditoriale qu’ils adoptent. Tout à la fois moyens et supports promotionnels, ces outils de prospection et de vente, de communication et de valorisation de l’entreprise, sont aussi des diffuseurs de contenus culturels : certains ont fait date par l’audace et le luxe de leur conception graphique et artistique. Ils constituent un observatoire de premier plan des stratégies, des modalités et des formes historiques de la publicité imprimée.
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7

Becho, Anabela. "Sculpting the fabric: Madame Grès’ emotional and innovative Pleating Technique." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002874.

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Abstract:
Madame Grès (1903-1993) worked for six decades in the exclusive world of Parisian haute couture, creating clothes as if they were living sculptures, always in search of the ideal dress.Her legacy was designs marked by a ceaseless quest for absolute beauty. Her long,draped dresses crafted with obsession and technical mastery are a profound reflection on fashion, time and memory. In its undying association with sculpture, her oeuvre encloses an inherent affirmative, solid, timeless perpetuity. Respect for the principles of design lies in Grès’s discourse with textiles; because it is a discourse, a thought that is transformed into matter, that grows pleat by pleat in a game of alternating light and shade. The couturier's folds enclose successive pain and mystery, melancholy and persistence, obsession and conviction. There can be no doubt that Grès’s gowns were designed for the female form, in the cutting and manipulation of the fabric, in a prodigious, precise technique in which nothing could be left to chance. This is why they are perfect examples of the highest calling of design.Nonetheless, it is precisely in the relationship between body and gown, the harmony and tension between the organic and inorganic, that Grès’s work goes beyond mere design. It moves naturally into the real world of creation, as the couturier’s gowns do not just dress the body; they become the body itself, in which fabric and flesh turn into a single, indivisible, absolute entity. Even though her oeuvre was much wider than the so-called “goddess dresses”, the long draped gowns, reminiscent of eternal time, became her archetype. Incontrast with the ephemeral nature of fashion, it is my goal to show in the course of this paper that precisely the opposite can be true, through the observation of the French couturier’s meticulous, emotional and innovative pleating technique, in which the role of avant-garde materials is crucial. The expressive use of pleating and drapery in all its limitless variation and fluidity along the outside is rightly considered to be Grès’ hallmark. Grès had a profound respect for the textile material, honouring its integrity, preferring not to cut it, and reducing its size through successive pleats — the amplitude of her dresses’ skirts could occasionally reach twenty metres in diameter. Grès’s work was unmistakably modern, though it did not seem to belong to a particular age. At the same time, it takes us back to a distant past and forward into the future. The evocative power of her gowns is absolutely breathtaking. It is ingrained in their materiality, the details of their construction, and the quest for perfection and for beauty. Although a woman of her time, bound by a cultural context specific to her epoch, there is a deliberate quest for timelessness at the very heart of Grès’ work, which, I argue, can be perceived in her technique. In a manual process, wrapped in an emotional dimension, each draping, rib, or pleat is worked minutely, actively taking part in the construction of the garment’s final shape. The initial width of the fabric could be reduced to a few centimetres by an exquisite pleating technique: to be kept in place the folds were sewn at the back, a sartorial innovation in the universe of Parisian haute-couture. Time seems to be suspended by this technical detail. In the light of the French philosopher Henri Bergson's theory, this suspension can be seen as durée, a moment of simultaneity, an experience of temporality based on a constant interaction between the past (the classical approach), the present (the moment of the making of the dress) and the future (the preview of the following repetitive gesture of making). In the draping of the fabric, we become conscious of the physical dimension of the hand that created the sculptural object, that carved the cloth as if it was stone, involving the body in a game of hide and seek, concealing and revealing its contours, emphasising its movements. It is this tension between the body and the fabric that brings the dresses alive, as the result of an emotional relationship between the humanity of the making process and the technical innovation of the textile material.
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