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12 juin 2011 7 12 /06 /juin /2011 13:15

source : http://francehongkong.blogspot.com/

 

Avertissement : Dans le cadre des célébrations des 160 ans de présence française à Hong Kong (voir ici), un blog a été mis en ligne sur le site du Consulat afin de vous permettre de découvrir l’histoire encore méconnue de la France à Hong Kong. Le conseil éditorial de ce blog est assuré par par M. François Drémeaux, professeur d’histoire au "Lycée Français International Victor Ségalen" de Hong Kong

 

 

 

La copie frauduleuse de produits de luxe n’est pas une nouveauté ! D’une actualité criante aujourd’hui, la contrefaçon est déjà au centre des préoccupations commerciales il y a plus de 130 ans. Et Hong Kong, une plaque tournante du trafic en Asie.
«Monsieur, vous n’ignorez pas que la contrefaçon des produits français à l’étranger a pris, depuis quelques années, un développement considérable». C’est en ces termes que le ministre des Affaires Etrangères Louis Decazes s’adresse à tous les postes diplomatiques, le 23 mars 1876. «Cet état de choses, si préjudiciable à notre industrie nationale, a, en partie, pour cause l’ignorance où se trouve l’acheteur, de la véritable marque adoptée par le fabricant pour permettre de constater l’authenticité de son produit.»
La Direction des Consulats et des Affaires commerciales espère trouver une parade avec le concours «de diverses chambres de commerce et l’approbation de M. le Ministre de l’Agriculture et du Commerce». L’idée est de «réunir dans un recueil spécial destiné à la plus grande publicité, les marques de fabriques françaises». Cet ouvrage est envoyé à toutes les ambassades et consulats pour être mis à disposition du public. Tous «les signes distinctifs et authentiques des produits nationaux» sont répertoriés et le guide est appelé à être enrichi et réédité tous les ans.
«En fournissant aux consommateurs les moyens de reconnaître la sincérité des produits qui leur sont livrés, il pourra contribuer à protéger notre industrie contre les contrefaçons dont elle est trop souvent victime à l’étranger». Il semble toutefois que ce recueil ne soit pas la solution miracle au problème.
En octobre 1887, de nouveaux courriers sont échangés à ce propos ; cette fois, la colonie britannique de Hong Kong est tout particulièrement visée. Selon les autorités françaises, c’est un grand centre de transit, voire de fabrication, de contrefaçons en Asie. Le sujet revient de manière récurrente dans les préoccupations consulaires, tout le long de l’histoire du poste, et la croissance du phénomène est toujours soulignée…
FD.


Sources : Archives du ministère des Affaires Etrangères, Nantes

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29 avril 2011 5 29 /04 /avril /2011 16:35

source : http://www.gibbs-smith.com/

 

 Book French Influences By Betty Lou PhillipsFrench Influences 
 By author: Betty Lou Phillips  
 Product Code: 50807 
 ISBN: 978-1-58685-080-7 
 Gibbs Smith, publisher 2001 

 

 

 

 

 

 

    

 

 

Hardback

Mention the French and most minds overflow with symbols of their panache: sensuous velvets, leopard prints, toile, silk taffeta curtains, deep bullion trim, and eighteenth-century furnishings. The truth is, it is difficult not to fall under the influence of the French, whose uncommon grace is inherent in everything they do.

Following on the heels of Provençal Interiors: French Country Style in America and French by Design, in French Influences, Betty Lou Phillips delves into the world of design français once again, illustrating through lavish color photography how, room by room, French elegance remains the crème de la crème.

From living rooms to kitchens, bedrooms, dining rooms, media rooms, gardens, and baths, French Influences reveals the means for creating French-style rooms in the home. Furniture, linens, floor coverings, window treatments, accessories, color palettes, lighting fixtures, and antiques inspired by their rich cultural heritage, including rock-crystal chandeliers, Aubusson rugs, exquisite tapestries, feather-filled armchairs, and painstakingly carved armoires are all part of this style. And the resource guide makes it possible for anyone to locate these objets d’art and decorate à la français, creating a gracious mingling of old-world charm and ease.

Author of Provençal Interiors: French Country Style in America and French by Design, Betty Lou Phillips is a professional member of the American Society of Interior Designers. Her design work has appeared in such publications as Southern Accents, Bedroom, Bath & Wall, and Decorating, and has also graced many magazine covers. Additionally, her design talents were featured in an appearance on the Oprah Winfrey Show. She lives in Dallas, Texas.

 Table Of Contents: 
 Contents 
 Acknowledgments 
 Introduction 
 Making a World of Difference 
 The American Way with French Style 
 Reflections of Good Taste 
 Fluent French 
 French Class 
 Unmistakably French 
 Vive la France! 
 Garden Shows 
 Designer's Notebook 

 

 

 

Image of "Betty Lou Phillips"Biography

Betty Lou Phillips is the author of the award-winning Villa Décor, plus The French Room, Inspirations from France and Italy, The French Connection, Secrets of French Design, Unmistakably French, French Influences, French by Design, and Provençal Interiors. A professional member of the American Society of Interior Designers, her work has appeared in Southern Accents, Traditional Home, Decorating, Bedroom & Bath, Window & Wall, Paint Décor, and more. Additionally, she has appeared on the Christopher Lowell Show and the Oprah Winfrey Show. She lives in Dallas, Texas.

 This biography was provided by the author or their representative. 

 

 

 

   
 EXTRAITS (p. 55 et suiv.) en provenance du site ArchitectureWeek  
 This article is excerpted from French Influences by Betty Lou Phillips, with permission of the publisher, Gibbs Smith.  
 

Historic French Style

The 18th century is thought by some to be the most elegant era in European history, with French furniture from this period singled out for praise. Oblivious to the political and social turmoil that once surrounded it, French furniture radiates luxury and commands a loyal following among antique dealers, decorators, and collectors who appreciate fine craftsmanship and have the means to buy it.

At the century's beginning, Louis XIV, le Roi Soleil (the Sun King), ruled France from the Palace of Versailles, built in the mid-17th century and awe-inspiring in its magnificence. In homage to this showhouse, the king's maître ébéniste (chief cabinetmaker) Andre-Charles Boulle (1642-1732) laboriously fashioned the finest woods into regal inlaid furniture, baroque in its elaborateness.

As if exhibiting proof of the court's unassailable wealth and authority, intricate ivory, tortoise shell, and brass, or mother of pearl was veneered into marquetry patterns. Rich ormolu, or gilded bronze moldings and medallions, further defined elegance, offering bold standards for royal palaces throughout Europe while enticing the French aristocracy to mirror the king's extravagances.

One needed a title, however, to appreciate the majesty of the tall, ostentatious chairs with upholstered, haughty-looking backs and stretchers reinforcing the legs. Because only the self-indulgent king was allowed to sit in a fauteuil, or armchair, there was an abundance of lowly stools and benches — all covered in regal fabrics: velvets, damasks, gold-threaded brocades, and embroidered silk Famed Gobelin tapestries made in Paris and carpets from Aubusson, Beauvais, and the merged Savonnerie and Gobelin factories added layers of splendor to rooms.

With all of Europe watching, ceilings and walls ablaze with frescoes shamelessly begged to be noticed. Elaborately carved woodwork and paneling called boiseries, often gilded or spiced with gold leaf, replaced solid wood trim. At Versailles, the Hall of Mirrors reflected the Sun King's lavishness. Consequently, baroque-style furnishings became known on the continent as Louis XIV.

New King, New Fashion

When Louis XIV died in 1715, his five-year-old great-grandson, whose parents and brother had passed away earlier, became King Louis XV (1710-74). Because of the new king's youth, his uncle, Philippe II, the Duke of Orleans, was appointed regent, or temporary governor, of France until the king attained legal majority in February 1723.

Accordingly, the transitional period between the opulent baroque period and the less formal rococo era of Louis XV became known as French Régence, or Regency.

Offended by the unrestrained ancien régime and put off by the pageantry of Versailles, the duke moved the royal court to Paris where courtiers lived in hôtel particuliers, or private residences suited to a less pompous way of life without great fanfare. Perhaps predictably, intimate petit salons ushered in an era of furniture lighter and more graceful than the heavily carved baroque pieces of Louis XIV.

Shapely cabriole legs replaced straight ones on chairs, clocks, and case pieces — armoires, bookcases, and writing desks that were designed as storage. Sweeping curves and refined flourishes, including foliage and delicate bouquets wrapped with ribbons and bows, adorned the upper sections of armoires.

Master cabinetmakers fashioned a low chest of drawers called a commode, which differed from the bureau commode, or large table with drawers, that was crafted in the baroque period. Then, with a puffed chest and plump sides, the bombé, or convex commode, made a grand entrance. Beautiful wall paneling with softly curved corners also became a hallmark of the French Régence era.

Oriental Influence

Furthermore, there was an increasing fascination with the Far East that began in 1670 when the Trianon de Porcelaine at Versailles was built for one of Louis XIV's mistresses.

When demand for all things Asian — from silk screens and lacquered cabinets with gleaming varnished finishes to blue-and-white porcelain vases and embroidered hangings — outstripped supply, French craftsmen copied these richly decorated pieces, then added showy flourishes of their own.

The look brought together Far Eastern inspiration and Western craftsmanship, creating the foundation for the style known as chinoiserie, which is still popular today.

The Régence era pointed the way for the more beguiling rococo period — 1730 to 1760 — when Louis XV and his official mistress (maîtresse en titre) Jeanne-Antoinette Poisson, or Madame de Pompadour, had great influence on the decorative arts.

Though public reception rooms retained their sense of glamour and grandeur, family apartments were refashioned into less formal settings where strong colors were replaced with the pastels favored by Madame de Pompadour. With a new reserve embracing comfort, Louis XV sought inviting chairs, rather than stools, and fluid furniture arrangements conducive to talk.

As a result, the King's menuisier (chairmaker), Jean-Baptiste Tilliard, sculpted a perfectly proportioned, low, curved armchair with an exposed-wood frame, far lighter and less regal looking than earlier chairs.

On the seat rail of the bergère, he carved a basket of flowers. On its back, he shaped shells and cartouches, or fanciful scrolls, which communicated that this chair was not meant to stiffly line the wall but rather to be moved about for impromptu use.

As Parisian chair makers began adopting Tillard's designs, the frames of both caned and Louis XV bergère chairs were at times gilded or painted. Upholstered arms were moved back from the length of the seat so fashionable crinolines would not be crushed. When hoop skirts were no longer in vogue, they would again extend forward, but the soft, loose pillows still rested on fabric-covered platforms and curvaceous legs remained stretcher-free.

Even centuries later, the rich damasks and velvets favored for upholstery would be seen as the height of chic. Meanwhile, the chaise longue emerged as did the escritoire, a small desk with drawers and cubicles, also called a secretary.

Painstaking carvings on many wood pieces were drawn from nature, including shells, fish, waves, birds, vines, flowers, rocks, and serpents. Also, designs were commonly rooted in farming motifs such as corn and wheat. Ribbons with streamers and hearts became fashionable, too.

By the second quarter of the century, dwellings in Paris flaunted brilliant crystal chandeliers and small, exquisitely carved marble mantels with large mirror panels, or painted overmantels called trumeaus. Wood floors were arranged in marquetry patterns or in large Versailles-like parquet designs, then laid with alluring Aubusson or Savonnerie rugs.

Whereas the baroque style exuded a passion for symmetry, firmly holding that any chair, room, or chateau divided vertically should be a precise mirrored-image half, rococo once again endorsed the asymmetry born in the Régence era.

 

 Betty Lou Phillips is a member of the American Society of Interior Designers and has been published in Southern Accents,  
 Bedroom & Bath, and Decorating. She lives in Dallas, Texas.  
   
   

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20 avril 2011 3 20 /04 /avril /2011 22:09

source : http://www.time.com/time/europe

 

This issue coverCoco Chanel

The ultimate arbiter of chic, she released women from the tyranny of fashion by combining style with comfort

By KATE BETTS Thursday, Nov. 02, 2006

 

 

Luxury, said Coco Chanel, "must be comfortable, otherwise it is not luxury." And so she applied that philosophy to her clothes, tearing the linings out of tweed suits and giving them a kinder silhouette with boxy jackets. Corsets and padding were consigned to history.

The designer's views on fashion and luxury still form the underpinnings of those global businesses today. In an era in which clothes often wore the wearer — and frequently constricted her — Chanel's ideas were nothing short of radical. From the day she opened her famous Rue Cambon shop in Paris in 1910, she was tearing down any and all existing notions of fashion. Where others saw couture as strictly the preserve of the élite, Chanel declared, "fashion is not simply a matter of clothes. Fashion is in the air, borne upon the wind. One intuits it. It is in the sky and on the road. Fashion has to do with ideas, the way we live, what is happening."

That may sound like a declaration that style can't be bought, but with the Chanel trademark now associated with such fashion staples besides the tweed suit as the little black dress and ropes of pearls, it's not an idea that worries devotees of the brand. Its strength derives from her ability to invent classics. She also reached beyond fashion, enlisting the artist Sonia Delaunay to draw prints for her and turning to unlikely sources like men's riding clothes for inspiration.

She understood packaging and marketing and exploited the cult of her own personality. Chanel No. 5 was the first perfume to bear a designer's name. She recognized early on the allure of perfume — she recommended its use "wherever one wants to be kissed."

Some attribute her famously pared-down style to the influence of the nuns who raised her as an orphan in the small French village of Aubazine. If so, their influence was less visible in her private life. Christened Gabrielle, she acquired the nickname Coco during a stint as a cabaret singer, and acquired a wide circle of friends including artists like Jean Cocteau, Pablo Picasso and Igor Stravinsky. And there was a string of affairs, some with aristocrats, and one scandalous liaison with a Nazi officer during the war. Her passion for life, and work, was undimmed by the passing years. A 1954 relaunch, though deemed a flop in Parisian couture circles, unleashed a period of innovation that produced many of her signature looks.

Her creativity wasn't just restricted to design. Until her death in 1971 at the age of 87, Chanel refused any kind of categorization and often reinvented her own story to maintain an air of mystique she deliberately cultivated. Yet there's no mystery to the enduring appeal of her brand. She proved that style can be bought.

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20 avril 2011 3 20 /04 /avril /2011 21:28

source : http://legionofhonor.famsf.org/

 

Cartier Exhibition At The Legion Of Honor Museum

 

 

 

 December 19, 2009, to April 18, 2010 Legion of Honor Museum 
 Lincoln Park 34th Avenue & Clement Street San Francisco, CA 94121 

 

San Francisco, September 2009—Cartier and America covers the history of the House of Cartier from its first great successes as the “king of jewelers and jeweler to kings” during the Belle Epoque through to the 1960s and 1970s, when Cartier supplied celebrities of the day with their jewels and luxury accessories. Derived mainly from the private Cartier Collection housed in Geneva, the spectacular array of more than 200 objects includes jewelry of the Gilded Age and Art Deco periods, as well as freestanding works of art such as the famous Mystery Clocks. With an extensive variety of jewelry forms—ranging from traditional white diamond suites to the highly colored exotic creations of the 1920s and 1930s—Cartier made its mark with the ingenuity of its designs and its exquisite craftsmanship. The exhibition, open December 19, 2009, to April 18, 2010, is exclusive to the Legion of Honor.

Cartier Tutti Frutti NecklaceMarking Cartier’s 100 years in the United States, the exhibition concentrates on pieces owned by Americans, including a pair of rock crystal and diamond bracelets worn by Gloria Swanson in the movie Sunset Boulevard, Daisy Fellowes’s famous “Tutti Frutti” necklace, and the exotic flamingo brooch made for the Duchess of Windsor. Private lenders in the United States and France have contributed significant pieces to the exhibition. For the first time, an American museum will feature the personal jewelry of Princess Grace of Monaco from the time of her wedding to Rainier III, Prince of Monaco, in 1956. These, generously lent by H.S.H. Prince Albert II, include her engagement ring—a 10.47-carat emerald-cut diamond set with two baguette diamonds mounted in platinum––a grand diamond necklace, and more informal gold brooches in the form of birds. The Lindemann Collection of Palm Beach is sharing some of its incomparable clocks, and the Hillwood Museum in Washington, D.C., is lending jewelry made for cereal heiress Marjorie Merriweather Post, a longtime Cartier patron. Post’s brooch, one of the most spectacular pieces of jewelry made in the 1920s, incorporates Indian carved emeralds, one of which dates from the Mughal era.

Exhibition curator Martin Chapman declares, "This is a great opportunity to see some of the finest pieces of jewelry, clocks, and works of art by the legendary firm of Cartier—made for Americans or made in America.”

 

Catalogue

In the exhibition catalogue, author and curator Martin Chapman offers an in-depth exploration of how Cartier conquered America, tracing compelling connections with key patrons. The publication, titled Cartier and America, features numerous commissions for American “royalty,” Hollywood stars, and heiresses. American notables who famously collected Cartier include Marion Davies, Mrs. Cole Porter, Mary Pickford, Barbara Hutton, and Elizabeth Taylor. The catalogue presents images of significant objects complemented, whenever possible, with archival photographs showing the celebrities with their jewels. It will be available in the Museum Store in December 2009. A self-guided audio tour produced by Discovery Audio will be available in the exhibition.

 

Organization

Cartier in America is organized by the Fine Arts Museums of San Francisco in partnership with Cartier. The major patron is Lonna Wais. Dr. Alan R. Malouf, Trish Turner and Tom McConnell are sponsor. The official airline is Emirates.

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10 avril 2011 7 10 /04 /avril /2011 11:33

source : http://splendors-versailles.org

 

© Copyright 1998, Mississippi State University (website)
© Copyright 1998, Mississippi University for Women (Teachers' Guide text)

From the time Louis XIII became king of France to the French Revolution, France was the fashion capital of Europe. Whatever new style was worn at Versailles was soon adopted by the nobility throughout Europe. Although many changes were made in styles of clothing, the basic components remained the same. Men wore wigs, vests, breeches, and coats; women wore two dresses over a corset and a hooped or padded skirt. The extravagance of a noble man or woman’s clothing was intended to show the public how much social standing that person had. In fact, during the reign of Louis XIII, a law was passed stating that only the nobility could wear precious stones and gold.

Louis XIV kept his courtiers under control by constantly having new accessories or decorations added to the royal wardrobe. In order to retain one’s rank, a courtier had to follow the latest fashion, which was expensive and frequently changing. Some nobles were thus driven into debt by the expense of living at Versailles. In this situation, the king could become their creditor, giving him additional control over them. Ribbons were a favorite decoration for men and women. Men wore ribbons on their high heeled shoes, at their knees, and on their vests and coats. Sometimes over 250 yards of ribbon, gathered in bunches, would adorn one vest. A fashionable noble in Louis’ court wore a periwig, made of human hair and consisting of masses of curls that often hung below the man’s shoulders. Starting at about 1690, men began to powder their wigs. Over the wig, a man wore a flat felt hat with a large brim, decorated with an ostrich feather. Sometimes, one side of the brim was tilted up, giving the man a more rakish look. Around his neck, a man wore a cravat, a long white scarf wound several times around the neck and fastened in a bow or knot. A long white shirt, which could also be used as a night shirt, was worn under a vest and coat. The shirt’s ruffled sleeves could be seen below the elbow-length sleeves of the coat. Vests came to the knee and were elaborately decorated. Over the vest was a long coat that had a skirt from the waist to the knee. Although the coat had a long row of buttons down the front, it was usually worn open. Instead of trousers, men wore wide and baggy breeches that were fastened at the knee and decorated with rows of lace. Men’s dress was completed with white silk stockings, turned down at the knee and ruffled, and black, high heeled shoes. During the early years of Louis XIV’s reign, men wore boots with large turned-down tops, called funnel-top boots. Later in the century, boots were worn only for hunting. When the weather was cold, men wore large cloaks, often heavily trimmed, like their vests, with gold and jewels. Men’s clothing was completed with a muff, a sword, or a walking stick. Although fashionable men had small mustaches, few wore beards.

Women’s dress was equally elegant, but more restricting. Under everything was a corset made of cloth reinforced with many vertical whalebone rods that extended from the woman’s chest to below her waist. The corset was tightly laced in the back from the bottom to the top, so that the woman’s figure would seem as small as possible. Even young girls wore corsets. Over the corset, women wore a hooped skirt called a farthingale. Hoops were considered a symbol of wealth. In fact, a woman who did not wear a hoop was not invited to social functions. At times the hoop was as wide as three people, making it difficult for women to pass each other in doorways or to sit on sofas. Over the corset and hoop, a woman wore two dresses. The dress underneath had long sleeves that came to the wrist and could be seen under the sleeves of the top dress whose sleeves came only to the elbow. Dresses were cut extremely low in front and back and were worn off the shoulders. Sometimes parts of the skirt of the top dress would be caught up and tied with bows, revealing the lower skirt. When outside, women wore muffs and also masks to protect their faces from weather. Women usually wore small caps on their heads, whether they were at home or outside.

During the reign of Louis XV, men’s clothing became a bit more practical. The front flaps of the coat’s long skirt were folded back and buttoned or hooked together, especially for hunting. Waistcoats were shortened and breeches became more narrow. Large cuffs were added to men’s coats. Thieves and pickpockets often used their wide cuffs to hide stolen goods. Men still wore cravats and high heeled shoes, but the shoes were now decorated with buckles and red heels. The wide-brimmed felt hat was folded up in three places making a tricorne. Wigs, too, became more practical. The long hair was tied with a ribbon or braided at the back. Only a few curls around the man’s ears remained.

Women still wore hoops and corsets, but over the front of the corset was worn a "stomacher," a padded flat board, that made the woman’s figure look flat from neckline to hips. Necklines were still low but now were square. Sometimes a woman would add a lace insert called a "tucker" in England. Another change in women’s dress was the sack dress, which hung straight down the back from neck to floor, rather than being fastened at the waist. Masks were no longer in fashion and were replaced by beauty marks on the face. Hair was still covered by caps.

During the reign of Louis XVI, men’s clothing had little ornamentation, although it was still brightly colored. The long coat with the skirt was replaced by that of the "swallow-tail coat," which was short in the front and knee-length in the back. This style of coat can still be seen when modern men wear formal dress to proms or weddings. Waistcoats were short, like our modern vests, and shoes or "slippers" were low heeled. Men began to wear watches, and umbrellas for men were introduced.

The flowing sack back of women’s dress during the reign of Louis XV became a long train during the reign of Louis XVI. The length of one’s train denoted the woman’s rank in court. Women of high rank soon had to walk by sliding their feet forward to avoid stepping on their train. Marie Antoinette, who was disappointed to see hoops begin to disappear from women’s fashion, reintroduced them as panniers, which were wide baskets made of cloth, iron, and leather, fastened to either side of a woman’s waist under her dress. Sometimes the panniers were 15 feet wide. The main function they served was to give women a surface on which they could rest their elbows. Also during the time of Marie Antoinette, women’s hair styles grew higher and higher. Often the hair was over 3 feet high, supported with wire frames and pads. These outlandish hair styles were decorated with flowers, wreaths, plumes, and even models of ships and farm animals. Because these hair styles were so elaborate, women would not wash their hair for months at a time. As a result, many elegant women in the court of Louis XVI had head lice. Long sticks called "‘back scratchers" were invented to relieve the itching when the vermin became too active. After 1789, women began to use parasols to keep the sun off their faces.

When the French Revolution began, fashion changed completely. To look like an elegant noble was no longer safe and could cost a person his or her life. Clothing for women became very simple, looking much like the draped dresses of the ancient Greeks. Elaborate hair styles, corsets, and hoops disappeared. The greatest change in men’s clothing was in color. The vivid blues, greens and reds of courtiers’ vests, coats, and breeches were replaced by the somber browns, blacks, and navys, which one can still see in modern men’s suits.

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© Copyright 1998, Mississippi State University (website)
© Copyright 1998, Mississippi University for Women (Teachers' Guide text)
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10 avril 2011 7 10 /04 /avril /2011 10:37

source : http://splendors-versailles.org/

 

 © Copyright 1998, Mississippi State University (website)
© Copyright 1998, MUW (Teachers' Guide text)

 

 

 

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3 février 2011 4 03 /02 /février /2011 22:00

The-French-Archive-of-Design-and-Decoration.jpgHardcover: 256 pages

Publisher: Harry N. Abrams (October 1, 1999)

Language: English

ISBN-10: 0810933381

ISBN-13: 978-0810933385

 

 

 

 

 

 


 

From the Publisher

From Rococo to Empire and Art Nouveau to Art Deco, French furniture, textiles, wallpaper, tableware, glassware, ceramics, and other home furnishings have set a recognized standard for elegance around the world. Ranging from the 18th to the early 20th centuries, this unique sourcebook uses sketches, engravings, samples, catalogues, pattern books, and other rare archival materials to illustrate the evolution of French design. For decorators, collectors, and francophiles everywhere, this striking visual chronicle of French style will be a fount of pleasure and inspiration. Over 600 illustrations, approximately 300 in full color, 256 pages, 877/8 x 12" STAFFORD CLIFF is the former creative director of the Conran design group. He is co-author and designer of many successful style books, including Abrams' The English Archive of Design and Decoration.
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21 décembre 2010 2 21 /12 /décembre /2010 14:55

Le-luxe-discret.-L-argenterie-lausannoise-des-18e-et-19e-si.jpgMusée historique de Lausanne


du 14 septembre 2007 au 17 féévrier 2008 - Exposition

www.lausanne.ch/mhl

Propriétaire d’une exceptionnelle collection d’argenterie domestique, le MHL y consacre une exposition centrée sur ses deux périodes les plus prestigieuses, les 18e et 19e siècles

 

 

 

    

 

Coupe, Pierre Masmejan, vers 1780 © MHL/O. Laffely

 


 

Dossier de presse (extraits)

 

Aux 18e et 19e siècles, Lausanne fut le plus important centre de production d’argenterie de Suisse, exportant bien au-delà de nos frontières le style propre qui fit son renom. Deux orfèvres associés, Papus et Dautun, illustrent la première période par de nombreuses pièces de grande qualité. Puis les frères Marc et Charles Gély, revenus de Paris vers 1813, créent de très beaux objets dans un style Empire épuré. Une vaste étude vient d’être consacrée à ce passé glorieux mais méconnu, incluant un inventaire exhaustif des pièces lausannoises dans les collections suisses.
Dépositaire d’une exceptionnelle collection d’argenterie, le MHL met en lumière cet art raffiné, complétant ses richesses par de nombreux emprunts de pièces issues de collections privées et publiques. Ce remarquable ensemble - auquel s’ajoute dessins et documents inédits - invite à la redécouverte des modèles, français ou anglais, suivis par les orfèvres, présente leur travail, leurs techniques et l’évolution de leur clientèle.

 

 
L’argenterie lausannoise
influences et caractéristiques

  
18e siècle: les modèles français et anglais

[...]  Parmi les milliers de réfugiés qui affluent en Suisse suite à la révocation de l’Edit de Nantes en 1685, nombreux sont des artisans – certains des orfèvres - au savoir-faire de haut niveau. Ils introduisent dès leur arrivée de nouvelles formes françaises [...] 

Modèles français

Les orfèvres huguenots ont importé des formes  françaises ou, pour le moins, contribué à renforcer le poids de l’influence stylistique française qui se fait sentir dans toute l’Europe au  18e siècle [...]

Décors

Dans la première moitié du 18e siècle, le décor est particulièrement sobre. Malgré la forte influence française, jamais ou presque, les décors gravés ou en relief de style Régence, les « grotesques » ornementales de Bérain, pourtant très répandues ailleurs, n’ont été mis en œuvre à Lausanne, ni d’ailleurs le décor rococo ou, plus tard, les ornements de style Louis XVI.

 
 

© mhl

 

 

19e siècle: les modèles parisiens

[...]  La mode napoléonienne se répand à Lausanne, devenue chef-lieu du canton en 1803, avec un style Empire presque parisien, quoique moins décoré et moins précieux
 

 > Télécharger le dossier de presse (10 pages - 263 ko)

 

 

Un livre d'art a été publié à cette occasion

Le mot de l'éditeur

Le livre analyse les formes et les décors des objets lausannois et repositionne la production dans son contexte historique, politique, stylistique et religieux. Il démontre notamment que les orfèvres, tout en subissant les influences françaises et anglaises, ont su développer un style particuler et facilement reconnaissable entre tous, considéré de nos jours comme un somme d'élégance, perpétuellement réutilisé par les grandes fabriques d'argenterie en Suisse. Il aborde également les modes de production, le marché et les commanditaires. 

 

l-argenterie-lausannoise-des-18--et-19--siecles.jpg

 

 

Sommaire

Les orfèvres et leurs oeuvres

  • l'argenterie lausannoise du 18e siècle
  • l'argenterie lausannoise du 19e siècle
    provenance des artisans
  • poinçons
  • les principaux orfèvres du 18e siècle
  • les principaux orfèvres du 19e siècle
  • types d'objets: une production essentiellement destinée à la table
  • pièces pour les mets
  • pièces pour les boissons
  • objets de table divers
  • couverts
  • chandeliers, bougeoirs et mouchettes
  • objets de toilette et de voyage
  • objets de culte, de cérémonie et prix
  • objets rares
  • objets scientifiques

Formes et décors

  • formes du 18e siècle
  • modèles français
  • modèles anglais
  • un cas particulier: le chandelier-trompette
  • décors du 18e siècle
  • formes de la 1e moitié du 19e siècle
  • décors de la 1e moitié du 19e siècle - appliques
  • reprise de modèles lausannois du 18e aux 19e et 20e siècles

Le travail des orfèvres

  • l'organisation du travail
  • techniques

Le marché et la clientèle

  • les commanditaires du 18e siècle
  • les commanditaires du 19e siècle

Catalogue 

  • catalogue de l'argenterie lausannoise du mhl
  • catalogue des dessins d'orfèvrerie du mhl
  • biographie et poinçons des orfèvres
  • index des poinçons
  • bibliographie et sources
  • index des noms propres

 

 

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fastes-de-cour-et-ceremonies-royales--exposition-a-Versa.jpgFastes de cour et cérémonies royales
le costume de cour en europe 1650  -  1800
Du 31 mars au 28 juin 2009 au château de Versailles
. (www.chateauversailles.fr)
 
 
 
 
 
 
 
 
 

 
Avant-propos de jean-jacques Aillagon  Ancien minisre, Président de l’Établissement public du musée et du domaine national de Versaille (dossier de presse - extrait)
 
Versailles reste le plus éblouissant témoin de ce qui fut, en Europe, aux xviie et xviiie siècles,  la vie de cour. C’est là d’ailleurs, entre les murs de ce château où se concentra la vie du monarque, de sa famille, de sa cour qui rassembla quasiment tout ce que Saint-Simon appelait « La France »,  de son gouvernement et de son adminisration, que se forgea un modèle qui devait imposer à l’Europe tout entière son syle. Si ce modèle puisait nombre de ses règles dans des traditions plus anciennes, celles notamment de la cour de Bourgogne exaltées par celle d’Esagne, c’es sous Louis XIV,  «  le plus grand Roi de la terre », à Versailles, que la cour et donc les codes de la vie de cour, acquirent cet éclat singulier qui caracérisa la manière de marquer au commun des mortels que la vie qui  se déployait autour du monarque était d’une autre essence que la leur, même s’ils étaient puissants, nobles et riches. Tout, dans l’Étiquette, dans les cérémonies, dans les rites, dans les préséances,  dans l’habillement qui consitue le sujet de cette exposition… tout devait marquer cette quasi autre nature où la royauté avait élevé ceux qui l’exerçaient et ceux qui l’entouraient au plus près [...]
 
 
 
 
 
Cliquez sur la robe pour découvrir l'exposition "Fastes de Cour et cérémonies Royales"
 
 
Le mot de Karl Lagerfeld (dossier de presse - extrait)
 
Même la cour française, la plus brillante et la plus imitée du monde, n’hésitait pas à s’endetter  pour reser à la hauteur de la fascination qu’elle exerçait universellement. Rien n’était trop beau  et rien n’était trop cher. À la fn de l’Ancien Régime, la cour et la grande noblesse devaient des fortunes  aux «  fournisseurs  », comme la célèbre Rose Bertin. Il fallait éblouir pour s’imposer.

 
 
 
Le mot des commissaires (dossier de presse - extrait)
 
Prévoir en France une exposition sur le cosume de cour des xviie et xviiie siècles relève d’une gageure. En efet, il ne subsise dans ce pays qu’un nombre infme de vêtements dits de cour. [...] En revanche, la Suède, le Danemark et la région de la Saxe en Allemagne possèdent des fonds presigieux de cosumes de cour des xviie et xviiie siècles, dont la collece ft l’objet de décisions politiques. [...] Les costumes conservés étant généralement liés aux grands événements de la vie des souverains étrangers, il a été choisi de les présenter selon leur usage. Le cosume de cour européen se singularise, en efet, par un certain nombre de vêtements similaires attachés à des circonsances curiales universelles, sacre et couronnement, cérémonies d’ordre, mariage, fesivités. Ce vesiaire, uniformisé par les circonsances, est également unifé par  l’infuence primordiale de la mode française.  Car l’habit trois-pièces, dit « habit à la française » au xviiie siècle, et le grand habit féminin, cosume curial par excellence, probablement élaborés à la cour de Louis XIV, ont gagné toutes les cours d’Europe à la fn du xviie et au xviiie siècles. Cette infuence est le fil rouge de l’exposition, matérialisée par des cosumes confecionnés en France, des étofes et des agréments exportés de Paris et  des formes vesimentaires reprises de la mode française. Un cosume suédois daté de 1654, un habit de cour russe de 1796, commandés à Paris, rappellent d’ailleurs que le rayonnement de la mode  et du luxe français commença avant Versailles et lui survécut. 
 
Pascale Gorguet-Balleseros
Commissaire adjoint,
Conservateur en chef du patrimoine à Galliera, musée de la Mode de la Ville de Paris
 
 
 
COMMUNIQUÉ DE PRESSE
 
l’exposition fastes de cour et cérémonies royales –  le costume de cour en europe 1650-1800 retrace l’histoire du costume de cour en europe et met ainsi en lumière l’influence majeure de la france dans ce domaine du milieu du xviie siècle au début du xixe siècle. Pour la première fois, plus de 200 œuvres (cosumes, joyaux, iconographie) liées à des monarchies européennes presigieuses sont ici rassemblées pour une exposition qui ne sera présentée qu’à Versailles Le Vicoria & Albert Museum, le Palais Pitti à Florence, le musée du Louvre, le musée Galliera,  les Arts Décoratifs, les Archives nationales, ainsi que des collecionneurs privés ont accepté de prêter leurs œuvres. Les collecions royales de Londres, de Dresde, du Danemark (château de Rosenborg),  de Suède (Livruskammaren), du Portugal (Palais d’Ajuda), mais aussi les collecions impériales  de Vienne (Kunshisorisches Museum), des tsars de Russie (musée de l’Ermitage), et de la Cathédralde Cologne seront pour la première fois présentées en dehors de leur pays d’origine. Cet événemens’inscrit dans le cycle des expositions évoquant la vie de cour aux xviie et xviiie
 siècles, comme Versailles et les tables royales en 1993-1994 et Quand Versailles était meublé d’argent en 2007-2008.
 
 Lire la suite. Télécharger le dossier de presse (45 pages - 872 ko)
De cette exposition est issue un livre reprenant le même titre
Pierre Arizzoli-Clémentel , Pascale Gorguet-Ballesteros , Collectif

Présentation de l'éditeur

Il ne subsiste en France que très peu de vêtements de cour. Mais d'autres pays d'Europe, en particulier la Suède, le Danemark et l'Allemagne, ont conservé de somptueux ensembles des XVIIe et XVIIIe siècles. Ces « habits » magnifiques nous permettent aujourd'hui d'imaginer ce que fut la splendeur du costume de cour français, considéré alors comme un modèle dans toutes les cours européennes. Cérémonies du sacre et du couronnement, mariages, fêtes royales voient les souverains arborer des costumes d'un luxe éblouissant, symbolisant leur pouvoir tout autant que leur gloire. Mais la cour est aussi régie, au quotidien, par les rigueurs de l'étiquette et les codes subtils qui gouvernent la forme et l'usage des costumes, ceux des serviteurs comme ceux des maîtres. L'exposition présentée au château de Versailles, lieu voué par excellence à accueillir cet événement, réunit des fonds prestigieux montrés pour la première fois en France, ainsi qu'un important ensemble de peintures et de gravures. Richesse des étoffes, raffinement des broderies, luxe des joyaux reprennent tout leur éclat en regard des portraits de ceux qui les portèrent.
 
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Histoire-du-luxe-en-France-des-origines-a-nos-jours---Cast.jpgJean Castarède

 

Etude (broché). Paru en 12/2006

Editions d'Organisation | 2006-12-07 | ISBN: 270813793X | 391 pages | PDF | 1.5 MB
 

 

 

   

 

 

 


 

Le mot de l'éditeur

 

Le luxe fait rêver... Mais qu'est-ce que le luxe ? Un art ? Un art de vivre ? Un état d'esprit ?

Parce que l'univers du luxe est riche et complexe, ce livre en retrace l'histoire, des origines à nos jours. Des grottes de Lascaux aux palaces parisiens, en passant par les cathédrales et le château de Versailles, l'auteur fait défiler les époques, révélant ainsi les différents aspects du luxe au fil de son évolution. Documenté et vivant, ce livre offre un panorama complet du luxe français, considéré à juste titre comme emblématique.

Jean Castarède est diplômé de l'ENA, de HEC et docteur ès sciences économiques. Il collabore depuis sa fondation au MBA luxe de l'EDC, qui constitue aujourd'hui la meilleure formation au luxe en France. Il est aussi l'auteur du livre Le luxe," Que sais-je ? ", PUF 2003, 3e édition.

 



EXTRAIT DE LA PREFACE

Olivier Mellerio
Président de Mellerio international
Ancien président du Comité Colbert (2002-2006)



Un rayonnement unique au monde

 


Au  cours des siècles, la France, bénéficiant d’un cadre naturel exceptionnel, climatique et géographique, a su se doter d’un patrimoine architectural et culturel capable de rivaliser avec celui des principautés d’Italie. La montée en puissance des rois de France en Europe, la valorisation des activités de luxe au service d’un pouvoir concentré à Paris, la spécialisation de certains terroirs ont donné à la France un rayonnement unique au monde. Certains des meilleurs artisans français ont su pérenniser leurs entreprises au-delà de la vie limitée de leurs fondateurs et générer la naissance des grandes « Maisons », personnes morales aptes à capitaliser sur la confiance de leurs clients, à conserver et élargir les savoir-faire hérités du passé et à créer une véritable identité virtuelle incarnée par leur marque.

 

 Lire un peu plus. Télécharger la plaquette éditeur (27 pages - 478 ko)

Lire d'autres extraits sur Amazon   

 

 

 

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