Elsa Schiaparelli - Fashion Designer | Designers | The FMD Elsa Schiaparelli A word from the EIC Partnerships / Cooperations Become a fashion editor on FMD Content / Usage Questions Why am I listed on FMD? How can I submit content? Credifair (credit for your work) DMCA + Content MGMT the pure fashion news agency January 4th Pirelli's 2017 calendar features Oscar prize winners Sasha Pivovarova presents Pre-Spring collection from H & M Weekly News Roundup: Dec 26 - Dec 30 Alessandra Ambrosio is Harpers Bazaar Singapore January Cover Star About the designers Elsa Schiaparelli was the leading Parisian fashion designer of the 1920s and 30s after Coco Chanel. Elsa Schiaparelli was born in Rome on September 10, 1890, of Italian and Egyptian heritage. She was great-niece of Giovanni Schiaparelli, who discovered the canals of Mars. She had a colourful childhood, although she did many things to shock her parents.

She caused a sensation when she attended a ball in Paris with material just wound around her body, when it started to unravel. When only 18, she married William de Wendt de Kerlor, a theosophist. She remained with him as he drifted around Europe, eventually reaching America, but he abandoned her when her daughter was born. She then returned to Paris, a young woman with a child to support. She tried to get a job with POIRET and Maggy ROUFF, unsuccessfully. However in 1928, she had some luck. She had drawn a design of a black sweater with a white trompe l'oeil bow at the neck. MAINBOCHER admired it and had it shown in the French VOGUE. Anita Loos purchased on, and a buyer for a New York store ordered 40 with skirts to go along with them. Elsa was surprised at the success of her sweater and recruited a group of Armenian women to knit them. She bought some good cheap material for the skirts, and rounded up another group of women to make these. "Schiap" was in business. She rented a studio at 4 rue de la Paix and put up her notice board "pour le sport".

She started making clothes for Golf, tennis, skiing and swimming. Her designs started appearing in VOGUE. By 1929, she was selling all sorts of reversible, practical and convenient clothes. In 1930, she took over the downstairs studio and added "day wear and evening wear" to her notice board. The first of the Schiaparelli prints appeared. She experimented with costume jewellery. The early 30's saw Schiaparelli consolidated techniques, bringing together expert craftsmen for couture. A skilled atelier meant a finished garment and excellent construction following her genius as a designer. She sniffed out unusual materials like glass-like cellophane giving an illusion of transparency. Schiaparelli became famous for her black knit sweaters with a white bowtie pattern. She had a flair for the unusual and even hired Salvador Dalï¿½ to design fabric, producing a white dress with a lobster print. Schiaparelli was the first to use shoulder pads, hot pink, calling it shocking pink, in 1947, animal print fabrics, and zippers dyed the same colors as the fabrics.

She is also well known for her surrealist designs of the 1930's, especially her hats, including one resembling a giant shoe and one a giant lamb chop, both which were famously worn by the Franco-American Singer sewing machine heiress Daisy Fellowes, who was one of Schiaparelli's best clients and who owned a pink gemstone that inspired the color shocking pink. She collaborated with many surrealist artists, Salvador Dalï¿½, Jean Cocteau, and Alberto Giacometti, between 1936 and 1939. In 1934 Elsa Schiaparelli opened a shop in London and also moved her Paris salon to 21 place Vendome. In the window of her boutique she put Dali's handiwork along with other surrealist works, and it was a great attraction to people on their way to the Ritz Hotel nearby. In 1936 she introduced her Egyptian look with pagoda sleeves. In the same year the zipper was invented. Schiaparelli used it imaginatively in contrasting colours to her gowns. She used zippers in exposed places as decorations rather than hiding them away as fastenings.

Furthermore in 1936 she also produced her 'DESK SUIT" inspired by Dali, with some false pockets, some real, being a subdued variations on a theme. Her shocking clothes seldom offended any of her clients. Mrs Reginald Fellowes, Wallis Simpson later Duchess of Windsor, Millicent Rogers and Lady Elsie Mendl were among her elegant clients. It was even said that Daisy Fellowes managed to carry the lamp chop hat off. She dressed many movie stars both on and off the screen, including Marlene Dietrich, Gloria Swanson and Tallulah Bankhead. Her frenzy with Mae West, led to the actress's hour-glass figure being used for Schiap's perfume bottle for "Shocking". Another remarkable gown that year was the remarkable Dali lobster dress on an organdie field with parsley sprigs. Yet another was the musical notation dress. Dali also designed the textiles for the tear illusion dress of 1937 looking as if it had been torn repeatedly. 1937 also saw the back-to-front suit, with it's paradox of coming or going, which was copied by Karl Lagerfield in 1986.

Another coat this year had cleverly embroidered profiles of faces by Jean Cocteau to form the illusion of a vase of roses. It was embroidered at the famous embroidery house of Lesage. Another Cocteau jacket bore his signature giving illusion of which part of the body was where. Her hats continued to be fascinating; one with a hen in a nest was on the cover of VOGUE in 1938. Schiaparelli loved colour, and had a way with unusual tints. They could be subtle or sharp or used in eccentric combinations. Turquoise linen with grape velvet piping, purple and olive green combined with dark red. A simple black dress became dramatic with lime green coat or fire engine red stockings. Most famous was her "shocking pink" a bright magenta, not a new shade but a new name for this shocking colour. When she died, she was buried wearing an antique Chinese robe of purest shocking pink.

There were 3 great fantasy collections in 1938, the pink and blue children's world of the CIRCUS collection, the lush natural insect life of the PAGAN collection and the frolic (which became the name of Schiaparelli's lipstick) of the HARLEQUIN collection. During the 2nd World War, Schiaparelli's house closed and it re-opened in 1945. She offered examples of artistic clothing, but never with the inspired madness and exuberance of the 30's. Then she had combined art with couture, artisans and dressmakers in her atelier, until the creations became as one. Her output slowed by World War II and the title of trendsetters going to younger designers such as Christian Dior, her couture house declared bankruptcy in 1954 and she moved to the USA. She was briefly married to Count William de Wendt de Kerlor, once described as "a persuasive but inconstant Theosophist," and moved with him to Greenwich Village in New York City. They had one daughter, Marisa, known as Gogo, who was born in New York City in 1919.

Schiaparelli's grandchildren are the actress Marisa Berenson and the late photographer Berry Berenson (Mrs. Anthony Perkins). In 1951 Schiaparelli discontinued the couture part of her business, she limited her designs to accessories and in the 70's she made wigs. She herself retired from active work in 1954 and in the same year wrote her autobiography entitled "My Shocking Life". She died in 1973 at the age of 83. However her house was re-opened in 1977 by a designer team. Her lingerie and perfumes also still continue to be sold. In September 2003 an exhibition called "Shocking Attire" opened at the Philadelphia Museum of Art, on the 30th Annivery of Schiaparelli's death. It went on to Paris in January 2004. The exhibition and the book of the same name, set out to emphgasize the modernist roots of the designer known for her collaboration with Salvador Dali and the surrealists. This exhibition shows how much inspiration "Schiap's" work has been for all the modern designers.

The Look The 30's were "Schiap's" decade. Whatever she made, made headlines. Her buttons were justly famous, including bullets, cupids, clowns, rabbit's hooves, drums and astrological symbols. Her buttons and fastenings were insects, butterflies, fruit, vegetables, anything that did not look like a button. If she used a plain round button, she used diminishing sizes. Her hats were sensational, inkpots, shoes, her famous lamb chop hat. Many of these designs owe their inspiration from Surrealism which was the rage throughout the 30's. Schiaparelli's close contact with Salvador Dali led to a great many surrealistic designs in her clothes, as well as a range of accessories many of which were a statement rather than intended to be worn on the street. Throughout the 30's Schiaparelli gathered an affluent, adventurous clientele that bought with a recklessness almost as free as the designers's imagination. In that decade, Pareis was the site of the great Surrealist balls, which in their mixture of masquerade and elegance, provided the perfect context for Schiaparelli's innovations and illusions.

Schiap, a Roman women with huge dark eyes and a taste for the tasteless, succeeded in teasing and amusing the public. Perfumes Elsa Schiaparelli: Shocking-Pink | Lisa's History Room Lisa's History Room where the past is always present Feeds: August 12, 2009 by Lisa Waller Rogers Italian-born fashion designer Elsa Schiaparelli in the 1930s Between the two world wars, fashion design was dominated by two extraordinary pioneers, Gabrielle Chanel and Elsa Schiaparelli (1890-1973). Whereas Coco Chanel was a craftswoman who considered dressmaking a profession, Schiaparelli, on the other hand, regarded her work as art and herself as an artist. Schiaparelli’s designs were heavily influenced by artists in the dada and surrealist movements, particularly by Salvador Dali. While Chanel’s clothes were known for their simplicity, Schiaparelli’s were known for their daring. “Shocking-pink” was Schiaparelli’s signature color.

She described hot pink as “life-giving, like all the light and the birds and the fish in the world put together, a color of China and Peru but not of the West.” Schiaparelli shoe-hat which debuted in her Fall-Winter 1937-38 collection The designs Schiaparelli created in collaboration with Dali are among her best known. One of her most memorable designs created with Dali is known as the “shoe-hat” (shown here). Note that the hat is shaped like a woman’s high-heeled shoe, with the heel standing straight up and the toe tilted over the wearer’s forehead. The heel is of a shocking-pink color. This hat was worn by Singer sewing machine heiress Daisy Fellowes, among others. Daisy Fellowes was one of Schiaparelli’s best clients. Fellowes was a French-American heiress with a taste for expensive jewels and clothes and a reputation for cutting remarks. “Though a footnote today, for nearly 50 years, Fellowes, the daughter of a French duke and granddaughter of the sewing-machine magnate Isaac Merritt Singer , was the trans-Atlantic fete set’s No.

1 bad girl.” She was also editor in chief of French Harper’s Bazaar, a philanthropist who donated her salary to an orphanage, and the author of a few sexy romance novels. a caricature of the American movie actress, the provocative Mae West (1893-1980) by Miguel Covarrubias, 1928, for the New Yorker magazine Among other jewels purchased at Cartier‘s shop at 13 rue de la Paix in Paris, Fellowes owned a stunning 17.27ct pink diamond called the Tête de Belier (Ram’s Head). It was Fellowes’ pink diamond that inspired the color known as shocking-pink or hot pink. Elsa Schiaparelli took note of the diamond, using shocking pink for the box design of her 1937 perfume which she named “Shocking.” The packaging of the box, designed by Leonor Fini, was also notable for the bottle in the shape of a woman’s torso. The shape was inspired by another of Schiaparelli’s celebrity clients, the American screen actress Mae West.

The Lobster Dress by Elsa Schiaparelli Another of the Schiaparelli/Dali designs is the iconic “Lobster Dress” which debuted in Schiaparelli’s Summer/Fall 1937 Collection. The Lobster dress is a simple white silk evening dress with a crimson waistband featuring a large lobster painted (by Dali) onto the skirt.It is rumored that Dali wanted to apply real mayonnaise to the lobster on the dress but that Schiaparelli objected. Dali’s lobster design for Schiaparelli was then interpreted into a fabric print by the leading silk designer Sache. It was famously worn by Wallis Warfield Simpson in a series of photographs by Cecil Beaton taken at the Château de Candé shortly before her marriage to Edward VIII. (shown here) Wallis Simpson, the Duchess of Windsor (1895-1986), photo Cecil Beaton (1904-80). UK, early 20th century. Dali had been incorporating lobsters into his mixed media creations since 1934, most famously with “Lobster Telephone” (1936).

"Lobster Telephone," by Salvador Dali, 1936 To see more of Schiaparelli’s fashion designs, click here . A modern room with touches of Schiaparelli pink in the two chairs and flowers in foreground Shades Of Italy: Top Ten Italian Colours | ITALY Magazine Shades Of Italy: Top Ten Italian Colours Carol King | Tuesday, October 8, 2013 - 13:00 There may not be 50 shades of Italian colours but there are more than you might think. Carol King reports on some of the colours that have a very special Italian hue. Celeste - Italian Sky Blue Italian sky blue refers to a pale turquoise blue colour that is associated with the Italian bicycle company Bianchi. It is also sometimes called celeste Bianchi or Bianchi green, and is one of the celeste (sky blue) colours that attempt to emulate the colour of a clear sky. Bianchi bicycles are traditionally painted Italian sky blue. Edoardo Bianchi founded the bicycle company in Milan in 1885 and some say the colour emerged because it is meant to reproduce the colour of the Milan sky.

However, others have suggested that Edoardo chose the colour to match the eyes of a former queen of Italy for whom made a bicycle. However, it seems most likely Edoardo created the colour using surplus military paint from World War I that he mixed with white to tone down its militaristic connotation. Rosa Schiaparelli - Schiaparelli Pink Schiaparelli pink is a shocking pink colour more akin to magenta than pink. It is named after the Italian fashion designer Elsa Schiaparelli. She introduced the colour in 1936, using it for the packaging of her perfume Shocking which was contained in a bottle sculpted by Leonor Fini in the shape of a woman's torso inspired by Mae West's tailor's dummy and Dalí paintings of flower-sellers. The packaging, also designed by Fini, was in shocking pink, which became Schiaparelli's signature colour. This in turn was inspired by the Tête de Belier (Ram's Head), a 17.27ct pink diamond from Cartier owned by heiress Daisy Fellowes, who was one of Schiaparelli's best clients.

Verde Veronese - Paolo Veronese Green Paolo Veronese green is an intense dark shade of green. It is named after the 16th-century Venetian painter Paolo Veronese. You can see Paolo Veronese green in the artist’s painting ‘Lucretia’ of 1583 that depicts the mythical figure of Roman history whose rape by the Etruscan king’s son and her subsequent suicide are said to have lead to the foundation of the Roman Republic. The painting hangs in Vienna’s Kunsthistorisches Museum and shows Lucretia wearing a striking green skirt. However, according to experts, the painter did not invent the colour named after him. It existed in the 14th century and came about via a painting technique employed by Veronese and other Venetian painters of that time. Terra di Siena - Sienna Sienna takes its name from terra di Siena, or earth of Siena. The yellow-brown colour refers to a pigment named after the Tuscan city where it was used by artists during the Renaissance. When heated the pigment becomes a reddish brown and is referred to as burnt sienna.

The pigment was one of the first ever to be used by humans, and appears in cave paintings and Ancient Roman frescoes. It became popular during the Renaissance when the clay soil of Tuscany, which is rich in sienna’s main ingredient limonite, was used to produce the pigment. Then, the pigment was referred to as terra di Siena, terra rossa (red earth) or terra gialla (yellow earth). Italian art historian Giorgio Vasari called it terra rossa in his pioneering work of 1550 ‘The Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times’. The brown pigment was in common use in the 16th century by artists including Caravaggio and Rembrandt. In contemporary times, the sienna pigment is produced largely in Sardinia, Sicily, the French Ardennes and the Appalachian Mountains in North America. Giallo Napoli - Naples Yellow Naples yellow is sometimes known as antimony yellow. The words are used to describe a range of yellow from an earthy, reddish yellow to a bright light yellow.

It refers to the chemical compound, lead (II) antimonite that was used as a synthetic pigment from the early 17th century. Naples yellow was adopted by the Old Masters and was identified as a colour in the English language in the 18th century. However, today, the pigment is rarely used by artists and paint labelled ‘Naples yellow’ is likely to have been made from a mix of less toxic pigments. Rosso Pompei - Pompeiian Red Pompeiian red is a red ochre colour used to describe a pigment made from iron oxide. In Ancient Rome, it was known as sinopsis after the city of Sinope where, according to Pliny, it was discovered. Pompeiian red was used in murals in Ancient Roman cities, including Pompeii, which is how it got its name. It is sometimes called Ercolano red, although strictly speaking, Ercolano red is a red ochre obtained in the vicinity of Ercolano, which was known as Herculaneum in Roman times. In ancient times, Pompeiian red was prepared using pieces of cinnabar, which was very costly, ensuring that it was used for decoration in the wealthiest homes.

Because cinnabar contains mercury, later the colour was produced using mixtures of iron oxides and hydroxides. Pompeiian red was used to decorate the 'case cantoniere' (road inspectors’ houses) that line roads and highways throughout Italy. The red and white buildings have signs showing on the side giving a number in kilometers and the 'strada statale' (trunk road) number. The buildings were used to store signal boxes and equipment used to carry out road maintenance and were used by the road inspectors and workers. The buildings were costly to upkeep and most fell into disuse in the 1980s. However, the Pompeiian red buildings are still populous, particularly in southern Italy. Rosso Valentino - Valentino Red Known to fashionistas worldwide, Valentino red is a primary red with notes of deep orange that add impact and intensify tone. Italian fashion designer Valentino Garavani used a poppy-red colour for a dress in his first collection. It became his signature colour, which he returned to regularly throughout his career, ending his haute couture shows with a procession of models wearing flaming-red evening gowns.

He developed his passion for red as a young man when he went to Barcelona in Spain, where he saw an opera in which all the costumes were red. Valentino told ‘The Sunday Times’ newspaper in 2012: “It was at that moment I realised that, after black and white, there is no colour more beautiful or ﬂattering to women than red.” Many women believed him, and Hollywood stars, jet setters and royalty have all been seen in Valentino red couture dresses. The distinctive red has become so associated with the designer that it has become known as ‘Valentino red’ in the fashion world and beyond. Rosso Ferrari - Ferrari Red Ferrari red is more properly known as ‘rosso corsa’ (racing red) and refers to the brilliant red colour adopted by Italian international motor-racing cars, in the same way British cars sport British racing green and French cars use bleu de France (blue of France). Italy adopted the red colour for its racing cars in 1907 after an Italian aristocrat, Prince Scipione Borghese, won a race from Peking (now Beijing) to Paris that year.

The prince was so sure that he would win the rally that he took a detour from Moscow to St. Petersburg for a dinner in honour of his team. He then returned to Moscow to rejoin the race. Italy adopted the red colour of his Italo car’s livery in his honour. In modern Formula One racing, national colours have been largely replaced by those used by commercial sponsors. However, Italian car manufacturer Ferrari continues to use the traditional red colour that resembles a deep crimson. Rosso Veneziano - Venetian Red Venetian red is a warm red colour with cold red undertones and the name of a pigment made from a natural earth containing clay tinted by ferric oxide. The colour is so called because artists used the pigment mined from a quarry near Venice and the description came into use in English in the mid 1700s. The pigment appears in various forms all over the globe and the ochre has been used since prehistoric times. Today, artists still use Venetian red obtained from iron ore deposits in the Veneto region. Rosso Tiziano - Titian Red Titian red is a reddish-gold colour.

It gained its name from the brownish-orange colour seen on women’s hair in many of the paintings of the Italian artist, Tiziano Vecelli, known as Titian in English. Titian was the most important painter of the 16th-century Venetian school. The phrase is generally used to describe hair colour that is slightly lighter than auburn. Topic: Elsa Schiaparelli | Lisa's History Room Lisa's History Room where the past is always present Feeds: Salvador Dalí grew a flamboyant moustache, waxed and up-turned, influenced by seventeenth-century Spanish master painter Diego Velázquez. The moustache became Dalí's trademark look. In 1953, Spanish-born Surrealist painter Salvador Dalí (1904-1989) wrote: “Every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí, and I ask myself, wonderstruck, what prodigious thing will he do today, this Salvador Dalí….” Salvador Dalí found deep meaning in Jan Vermeer's painting, "The Lacemaker" (ca.

1669-70) In December 1955, that “prodigious thing” meant that he was to borrow a friend’s white Rolls Royce Phantom II, fill it to the roof with 500 kg of cauliflower, and drive it to the Sorbonne in Paris. Then he would disembark and enter the school to give a lecture he’d impossibly titled, ‘Phenomenological Aspects of the Paranoiac Critical Method:’ “Some 2,000 ecstatic listeners were soon sharing Salvador’s Dalirium. Planting his elbows on a lecture table strewn with bread crumbs, Dalí blandly explained: “All emotion comes to me through the elbow.” Then he announced his latest finding in critical paranoia. The gamy meat of it: “Everything departs from the rhinoceros horn! Everything departs from [Dutch Master] Jan Vermeer’s The Lacemaker! Everything ends up in the cauliflower!” The rub, apologized Dalí, is that cauliflowers are too small to prove this theory conclusively.” (1) As Dalí’s fame grew, his stunts and outrageous pronouncements became more frequent.

He was an endless self-promoter, grandiose and pompous. He felt impelled, he admitted, to accumulate millions of dollars. He loved money. To keep the contracts coming, he was determined to keep himself in the public eye. His art and behavior were designed to provoke a response. Salvador Dalí's most famous painting, "The Persistence of Memory," 1931. His inspiration for the drooping timepieces came to him one night when he had a headache. His wife Gala had gone to the movies with friends while Dalí, ill, had stayed behind at home. He sat at the kitchen table for a long time, staring at the melting Camembert cheese. Before going to bed, he entered his studio and looked at the landscape he had been working on - and - Voila! - decided to add three melting watches. He delighted in playing the buffoon. While Dalí’s pranks were often funny, one was certainly dangerous. Once he donned a deep-sea diving suit before giving a lecture. The helmet was soundproof so no one could hear him. Dalí began to thrash about, flailing his arms soundlessly.

The audience roared with laughter, thinking it was part of Dalí’s act. But he was suffocating inside the helmet. It was not until he almost fainted that he was rescued. Accused of going too far, Dalí would often reply, “It’s the only place I ever wanted to go.” Sometimes his stunts were offensive, such as when he and wife Gala appeared at a New York costume party dressed as the Lindbergh baby and his kidnapper. Other spectacles bordered on the criminal, like when he discovered that his Bonwit Teller window display in Manhattan had been rearranged. He became so enraged that he hurled a bathtub through the plate glass window and crashed, with the tub, inside the store. Dalí created The Mae West Lips Sofa (1937) in the same shocking-pink color introduced by fashion designer Elsa Schiaparelli. Dalí was endlessly creative in many genres other than painting.

He created jewelry, designed clothes (see my post: “ Elsa Schiaparelli: Shocking-Pink “) and furniture, painted sets for ballets and plays, wrote fiction, created window displays for department stores, and produced the dream sequence for director Alfred Hitchcock’s “Spellbound.” He recorded a TV ad for Lanvin chocolates, designed the Chupa Chups candy labels, and was interviewed on TV in 1958 by Mike Wallace – during which Dalí imperiously referred to himself in the third person. (1) TIME , Dec.

26, 1955 Posted in Elsa Schiaparelli , PEOPLE , Salvador Dali , tagged biographies of women , biographies of women designers , Cecil Beaton , Coco Chanel , Daisy Fellowes , Duchess of Windsor , Edward VIII of Great Britain , Elsa Schiaparelli , Elsa Schiaparelli fashion , Elsa Schiaparelli hot pink , Elsa Schiaparelli pink , Elsa Schiaparelli shocking pink , French fashion design , fuchsia , haute couture , Isaac Merritt Singer , Salvador Dali , Salvador Dali and the Lobster Telephone , Schiaparelli and the Lobster Dress , Schiaparelli and the shoe hat , the Duke of Windsor , Wallis Warfield Simpson on August 12, 2009 | 6 Comments » Italian-born fashion designer Elsa Schiaparelli in the 1930s Between the two world wars, fashion design was dominated by two extraordinary pioneers, Gabrielle Chanel and Elsa Schiaparelli (1890-1973). Whereas Coco Chanel was a craftswoman who considered dressmaking a profession, Schiaparelli, on the other hand, regarded her work as art and herself as an artist.

Schiaparelli’s designs were heavily influenced by artists in the dada and surrealist movements, particularly by Salvador Dali. While Chanel’s clothes were known for their simplicity, Schiaparelli’s were known for their daring. “Shocking-pink” was Schiaparelli’s signature color. She described hot pink as “life-giving, like all the light and the birds and the fish in the world put together, a color of China and Peru but not of the West.” Schiaparelli shoe-hat which debuted in her Fall-Winter 1937-38 collection The designs Schiaparelli created in collaboration with Dali are among her best known. One of her most memorable designs created with Dali is known as the “shoe-hat” (shown here). Note that the hat is shaped like a woman’s high-heeled shoe, with the heel standing straight up and the toe tilted over the wearer’s forehead. The heel is of a shocking-pink color. This hat was worn by Singer sewing machine heiress Daisy Fellowes, among others. Daisy Fellowes was one of Schiaparelli’s best clients.

Fellowes was a French-American heiress with a taste for expensive jewels and clothes and a reputation for cutting remarks. “Though a footnote today, for nearly 50 years, Fellowes, the daughter of a French duke and granddaughter of the sewing-machine magnate Isaac Merritt Singer , was the trans-Atlantic fete set’s No. 1 bad girl.” She was also editor in chief of French Harper’s Bazaar, a philanthropist who donated her salary to an orphanage, and the author of a few sexy romance novels. a caricature of the American movie actress, the provocative Mae West (1893-1980) by Miguel Covarrubias, 1928, for the New Yorker magazine Among other jewels purchased at Cartier‘s shop at 13 rue de la Paix in Paris, Fellowes owned a stunning 17.27ct pink diamond called the Tête de Belier (Ram’s Head). It was Fellowes’ pink diamond that inspired the color known as shocking-pink or hot pink.

Elsa Schiaparelli took note of the diamond, using shocking pink for the box design of her 1937 perfume which she named “Shocking.” The packaging of the box, designed by Leonor Fini, was also notable for the bottle in the shape of a woman’s torso. The shape was inspired by another of Schiaparelli’s celebrity clients, the American screen actress Mae West. The Lobster Dress by Elsa Schiaparelli Another of the Schiaparelli/Dali designs is the iconic “Lobster Dress” which debuted in Schiaparelli’s Summer/Fall 1937 Collection. The Lobster dress is a simple white silk evening dress with a crimson waistband featuring a large lobster painted (by Dali) onto the skirt.It is rumored that Dali wanted to apply real mayonnaise to the lobster on the dress but that Schiaparelli objected. Dali’s lobster design for Schiaparelli was then interpreted into a fabric print by the leading silk designer Sache. It was famously worn by Wallis Warfield Simpson in a series of photographs by Cecil Beaton taken at the Château de Candé shortly before her marriage to Edward VIII.

(shown here) Wallis Simpson, the Duchess of Windsor (1895-1986), photo Cecil Beaton (1904-80). UK, early 20th century. Dali had been incorporating lobsters into his mixed media creations since 1934, most famously with “Lobster Telephone” (1936). "Lobster Telephone," by Salvador Dali, 1936 To see more of Schiaparelli’s fashion designs, click here . A modern room with touches of Schiaparelli pink in the two chairs and flowers in foreground Share this: 1000+ images about ELSA SCHIAPARELLI - Designer on Pinterest | Elsa schiaparelli, Silk and Gowns Pinterest • The world’s catalog of ideas ELSA SCHIAPARELLI - Designer The Italian-born French couturière Elsa Schiaparelli is best known for the iconoclastic bravado and unrestrained, at times brazen, originality of her work.

The clothes and accessories that she created from the mid-1930s to 1940, when she was collaborating with the Surrealist artists Jean Cocteau, Salvador Dalí, and Leonor Fini and enjoying continued inspiration from her long-term association with photographer Man Ray, represent the apotheosis of her creativity. 145 Pins419 Followers 1000+ images about Maison Schiaparelli - on Pinterest | Elsa schiaparelli, Franco moschino and Lobsters The Fashion of Paris: Elsa Schiaparelli was at both ends of the fashion spectrum, from evening dress to whimsical sweater. See more Schiaparelli, Elsa Schiaparelli, Elsa born Sept. 10, 1890, Rome, Italy died Nov. 13, 1973, Paris, Fr. Italian-born French fashion designer. After working in the U.S. as a film scriptwriter and translator, she settled in Paris and opened her first shop in the 1920s. By 1935 she was a leader in haute couture and was expanding into perfume, cosmetics, lingerie, jewelry, and swimsuits.

Her designs combined eccentricity with simplicity and a trim neatness with flamboyant colour. She introduced the padded shoulder in 1932; designed fur bed jackets and rhinestone-trimmed lingerie in the 1940s; and in the 1950s popularized "shortie" coats in vivid reds, golds, and chartreuses. Her use of "shocking pink," the sensation of the 1947 season, is still regularly revived. With Christian Dior, she was instrumental in the worldwide commercialization of Parisian fashion. * * * born Sept. 10, 1890, Rome, Italy died Nov. 13, 1973, Paris, France Italian-born fashion designer who established an important couture house in Paris. She was famous for her Surrealist ( Surrealism ) fashions of the 1930s and for her witty accessories, such as a purse in the shape of a telephone. Schiaparelli ran away from her upper-class family and worked in the United States briefly as a translator. Then in the late 1920s she settled in Paris, where she opened her couture house.

By 1935 she was a leader in haute couture and was quickly expanding into jewelry , perfume , cosmetics , lingerie , and swimsuits. Her designs were noted for combining eccentricity with simplicity and a trim neatness with flamboyant colour. In 1947 Schiaparelli's new colour, “shocking pink,” was the sensation of the fashion world. She escaped to New York during World War II and opened a branch in 1949 to mass-produce suits, dresses, and coats of her design. Along with designer Christian Dior ( Dior, Christian ), she was instrumental in the worldwide commercialization of Parisian fashion. Schickard, Wilhelm Look at other dictionaries: Schiaparelli, Elsa — (1890 1973) Born in Rome to a distinguished family (her uncle was the astronomer who discovered the Martian canals), she spent her childhood rebelling against her intellectually staid, yet artistic, family.

She left Italy in 1913 to travel to… … Historical Dictionary of the Fashion Industry Schiaparelli,Elsa — Schia·pa·rel·li (skē äp ə rĕlʹē, skăp , shăp , skyäp ä rĕlʹlē), Elsa. 1896 1973. Italian born fashion designer noted for her use of brilliant colors and synthetic materials in haute couture designs. * * * … Universalium Schiaparelli, Elsa — (10 sep. 1890, Roma, Italia–13 nov. 1973, París, Francia). Diseñadora de modas francesa de origen italiano. Luego de trabajar en EE.UU. como guionista de cine y traductora, se radicó en París y abrió su primera tienda en la década de 1920.

En… … Enciclopedia Universal Schiaparelli, Elsa — (1890–1973) Italian born French fashion designer … Bryson’s dictionary for writers and editors SCHIAPARELLI (E.) — SCHIAPARELLI ELSA (1890 1973) Cette Italienne pleine de fantaisie est venue à la couture par hasard; en effet, Elsa Schiaparelli, après un mariage malheureux et un séjour aux États Unis, doit assurer sa vie et celle de sa fillette «Gogo», et… … Encyclopédie Universelle Schiaparelli — ist der Familienname folgender Personen: Celestino Schiaparelli (1841–1919), italienischer Arabist, Bruder von Giovanni Virginio Schiaparelli Elsa Schiaparelli (1890–1973), italienisch französische Modeschöpferin Ernesto Schiaparelli (1856–1928) … Deutsch Wikipedia Elsa Schiaparelli — Infobox Fashion Designer name = Elsa Schiaparelli caption = On the

 cover of Time magazine, 13 August 1934.

birth date = birth date|1890|09|10|df=y birth place = Rome death date = death date and age|df=yes|1973|11|13|1890|09|10 death place = Paris … Wikipedia Elsa Schiaparelli — Pour les articles homonymes, voir Schiaparelli. Le fameux rose shocking. Elsa Schiaparelli (née le 10 septembre … Wikipédia en Français Elsa Schiaparelli — (* 10. September 1890 in Rom; † 13. November 1973 in Paris) war eine italienisch französische Modeschöpferin.

Leben und Wirken Geschieden und vom Leben und ihrem Ex Mann enttäuscht, kehrte die in Rom geborene Elsa Schiaparelli im Jahr 1922 aus… … Deutsch Wikipedia Elsa Schiaparelli — Saltar a navegación, búsqueda Elsa Schiaparelli (Roma, 10 de septiembre de 1890 – 13 de noviembre de 1973) fue una diseñadora de moda italiana Nació en el Palazzo Corsini en Roma. su padre era decano de la Universidad de Roma y una autoridad en… … Wikipedia Español 16+

Question: Which Italian-born fashion designer introduced the colour ‘Shocking Pink’ in 1936?
Answer: Elsa Schiaparelli