However, several erroneous business decisions and unscrupulous partners made Lady Gray’s glorious continuation of the name slowly forgotten in the late 1980s. In fact, her high-end studio business continued to flourish in the late 1970s. All of us know that, the garment industry took off in the 1960s, but her brand stepped into the garment sector in 1981 after joining the foreign capital. īut today, it is very regrettable that with her death, her unique method of clothing is still difficult to reproduce with machines.
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This process depends on a series of patiently acquired, specialized skills identification, conservation, display, interpretation”. “Object based research focuses necessarily and unapologetically on examination of the details of clothing and fabric. In the words of fashion historian Lou Taylor (1998):
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Her professional skills, recognition, preservation, style of work, and quality are no doubt worth praising. Her design has a unified aesthetic, and she has made progress in her own way. Trends have never had a place in her dictionary. However, the number of clients on her list has grown steadily -Madame Grès’ models still remember her clothes make them feel sexy, comfortable and comfortable. This is contrary to the general trend of the 40-50s such as DIOR Dior’s NEW LOOK. She believed that ‘every part of the body has its beauty’ and should not be modified too deliberately. “For this celebrated couturier, who pleated and draped her way through a half-century career in fashion, the art of meticulously folding fabric over the body to create dramatic sculpted forms elevated craft to art.” At the same time, the time has been put in, the materials were use of, the craftsmanship its present, and sophistication of a skirt’s design also positioned her work as a luxury dress. This famous white dress is the best example in her work, such humanized, skirt combined with the aesthetics of art and sculpture pushes her design style to a lofty position. The asymmetrical dress she cut out has a classical style, drape naturally, and is intricately integrated with the human body – human activities do not affect the lines of the clothes, and the clothes do not hinder the freedom of movement for the dresser. Margaret Bruce, Jenny Lewis,W9 Women designers is there a gender trap, 115. This unique and complex and natural dress seems to have taken off from the Greek goddess, which is also unique in her design style however, from the sculptor’s point of view, she successfully experimented with a new way – not to cut cloths, use a cloth to pleat, twist, pinch, and slowly transform the fabric into a close-fit on a human model or a custom mannequin. Prior to this, Western garments have always followed the usual method of ‘sewing quilts on tops of blouses. She has developed a novel and unorthodox method of clothing. Maybe she couldn’t choose her career at that time, she eventually chose another career, fashion designer… However, after she became a master of sculptor, under the influence of ‘patriarchy’, this “Sexual stereotyping or the sexual division of labour” ,her family thought that the sculptor was not a career that could set off the status of a lady. but at the early period she were training as a sculptor. She was especially obsessed with the sculptures of ancient Rome and ancient Greece, which has influence her future dress design. She had been traveling with her family since she was a child, which has lays the foundation for her future work and aesthetics, and she has a strong interest in exoticism and fine arts. However, after her dead, her works currently seem to only continue to live in the hearts of designers.īut Madame Grès was not her real name, her original name is Germaine Émilie Krebs, who was born in 1903, in a Parisian middle-class Catholic family. Her influence a lot of fashion masters such as, Haider Ackermann Hyde Aikman, Azzedine Alaïa Assin Alaya, the former LANVIN director Alber Elbaz, Sophia Kokosalaki Sophia Cokranzaki, Yohji Yamamoto, etc. Mr Christian Dior said, “All her creations are masterpieces.” She once had the largest working salon in Paris, employs more than 180 craftsmen, and was elected chairman of the Parisian High Fashion Association for more than a decade. But she was one of the most influential fashion designers of the 20th century. Perhaps her name did not translate into a fashion empire. The designer who I was introduced, you may never have seen her name in a large billboard or fashion magazine. Their works and the philosophy of life have all firmly grasped those dreams to change the world. People on the list may be well-known or unknown they may not have succeeded in pursuing the definition of the world, but they defined an era. Ever designers have their own list of hearts, densely packed filled with names of people who inspired or influenced their design.