moda / fashion
Uvela je print u modu
She introduced print to fashion
Na kaputima, nakitu i večernjim ha- ljinama predstavljeni su crteži Žana Koktoa. Tada je nastala i torbica sa svetlosnim efektima koja je, naravno, radila na baterije. Godine1937. lansi- rala je parfem Šoking i šoking ruži- častu boju. Bočicu parfema dizajni- rao je Leonor Fini, a predstavljala je krojačku lutku po merama Me Vest, ukrašenu porcelanskim cvetovima i žutim metrom. Uspeh je bio zagaran- tovan. U svetlu novih potreba krei- rala je kombinezon sa rajsferšlusom i velikim džepovima koji su predvi- đeni da zamene ručnu torbicu, ka- put sa integrisanom tašnom, halji- nu sa dva lica. Posle rata je pokušala da nasta- vi tamo gde je stala, pa je 1946. iz- bacila revolucionarnu kolekciju na- menjenu ženama, koje su sve više putovale. Bazirala se na šest halji- na, kaputu sa dva lica i tri sklopiva šešira. Iako je prikazala nedovrše- nu kolekciju, dobila je samo pohva- le. Uz sav trud, morala je da prizna da se svet visoke mode promenio i 1954. zatvorila je svoju modnu ku- ću i napisala autobiografiju Šokan- tan život . Koko je utrla put onome što da- nas zovemo praktičnošću, a Elsa je širom otvorila vrata modnom svetu za neograničenu slobodu stvaranja i svaku vrstu eksperimenta.
ers, while for Mae West she designed her movie wardrobe. By 1927 she already had her own stu- dio, and by 1932 she had 400 employees producing 7,000-8,000 garments annually. Her fashion empire grew, but the de- sign process remained her central inter- est. Every collection told of a rich story by borrowing from the artistic and the every- day, fusing the precious and ordinary, sur- real and symbolic. Her collections featured themes, including the likes of“Commedia dell’arte”, “Circus”, “Stop, Look & Listen” ... Her most renowned collaboration, with Salvador Dali, began in 1930. Legendary pieces emerged – a costume with draw- er-like pockets, a hat in the shape of a shoe, a dress featuring a painting of a lobster. The drawings of Jean Cocteau feature on her coats, jewellery and evening dresses. Then appeared her handbag with lighting effects, which of course ran on batteries. She launched a perfume called“Shocking” and the colour shocking pink. The bottle and packaging for her perfume was de- signed by Argentine Leonor Fini and rep-
resented a dressmaker’s dummy made to the measurements of Mae West, decorated with porcelain flowers and a yellow meas- uring tape. Success was guaranteed. In the light of new needs, she created a jump- suit with a zipper and large pockets that were supposed to replace the need for a handbag, a coat with an integrated purse, a dress with two faces. After war, she tried to continue where she had left off, so in 1946 she released a revolutionary collection designed for the women who were then increasingly trav- elling. It was based on six dresses, a coat with two faces and three folding hats. Al- though she had shown an unfinished col- lection, she was still roundly praised. With all her effort, she had to admit that the world of high fashion had changed. In 1954 she closed her fashion house and began writing her autobiography, entitled“Shocking Life”. Coco blazed the trail to what we to- day call practical, while Elsa swung open the doors of the fashion world to unlimit- ed freedom of creation and every kind of experiment.
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