Vintage fashion magazines, magazine advertising and editorials in fine condition. Available at ebay store devocanada. "devodotcom and femaleandfatal" hosted by Devorah Macdonald
Wednesday, February 6, 2013
Tuesday, February 5, 2013
IN PRAISE OF TRUMAN CAPOTE'S LANGUAGE, RICHARD AVEDON'S PHOTOGRAPHY
Until recently, Maya Plisetskayahad never danced outside the Soviet Union; wherever the Bolshoi went, to Italy or Belgium and England, little Maya was sure not to go, a circumstance that mystified many: after all she was Russia's finest dancer, officially the Bolshoi's second-ranking ballerina but considered, certainly so by the younger authorities inside her own country, a peeress of the supposed queen, the sacred Ulanova, if merely because Plisetskaya, now thirty-five, is at the noon of her ability, while Ulanova, lovely light though it casts, is moving under the moon of hers. Moreover, for over a year, Plisetskaya performed not at all, not even in Moscow, and it was understood she had been eliminated from the Bolshoi, put into purdah, it was popularly alleged, because of an affair of the heart that hurled itself into scandal: a Ballet Rose in Moscow. Tragedy ensued, gossip that gratified no one, even those who resented Plisetskaya's unsoviet and womanly glamour, her insistent individuality; but if she had not been so particular a public favorite it is improbable that this glittering animal, with her brilliantly abandoned control, would ever have been reinstated by the company: a possibly unique instance of the Russian populace having their own way, for they do adore her: Plisetskaya nights at the Bolshoi are spectator experiences on both sides of the proscenium, she brings out such an attractive audience, youthful and knowledgeable and excitingly demonstrative - there is some sweet delight in seeing an artist extravagantly appreciated, in watching wadded flowers, flung like kisses, embrace the curtsying ballerina; but, on stage and off, there is a pathetic, sympathetic expression in Plisetskaya's face, one can't quite label it (an unconvincing bravura? would defiance be a better word?), that bouquets seem to heighten rather than blur.
Truman Capote
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| Maya Plisetskaya in Russian Lynx by Emeric Partos of Bergdorf Goodman Harper's Bazaar September 1959 Photography: Richard Avedon |
Monday, January 28, 2013
BEAUTY IN DAHOMEY
Sisters from the Pilapila tribe in tribal maquilllage at the great marketplace of Djougou.
"Rarely in Africa is the body left in its natural condition. Modifications such as the cicatricial patterns on the torsos of the girls from Ganvie' are not purely ornamental; they indicate that the person belongs to a certain tribe, to a certain clan, or has undergone rites of initiation."
Believers In Magic
Girls of Ganvie, cheeks tatooed and bodies delicately marked by village seers with the symbols of their tribe.
Young Girls of Tofinu
Their white powdered necks looped in chains, waists and heads wrapped in cotton.
Girls of the Aizo Tribe
"The floating-market vendors along Dahomean lagoons which line the Atlantic shores of Dahomey powder their throats white."
"Differences in the clothes, maquillage, jewellery, scarifications and hairdressing reflect the different values and patterns of life of their peoples but, under this variety, is a common aesthetic orientation: We are in the world of art."
A Girl Vowed To Her God
"Chosen at birth, initiated in the mysteries of a vodun at a convent; a bride of ancestral spirits, her body embossed with the cicatrices of her cult."
Arms abound with bracelets, hair dressed with butter and charcoal - a Fulani, one of the proud pastoral nomads of unknown origin who wander throughout the savannahs from Senegal in the west to Cameroon in the east.
"Tatas" Of The Somba, each a private fortress for a patriarch and his family, near the hills of Atakora, where these animist tribesmen live.
The Quest For Beauty In Dahomey
Vogue December 1967
Photography: Irving Penn
Friday, January 25, 2013
Monday, January 21, 2013
Yves Klein Blues - L'Wren Scott
Jet Beaded G-string by Jorgen Timonsen
Oh How Naughty!
Dior Joaillerie
Gaultier Paris
Umbrella-Odile Gilbert
Christian Lacroix Haute Couture
Yves Saint Laurent Haute Couture
Atelier Versace
Givenchy Haute Couture
Philip Treacy Hat
Valentino Haute Couture
Chanel Haute Couture
Emanuel Ungaro Haute Couture
Odile Gilbert Headpiece
The Last Word...
Van Cleef & Arpels
Untamed Fire
Photographs by Karl Lagerfeld
Styling by L'Wren Scott
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| "Untitled Anthropometry (ANT89)," Yves Klein |
Wednesday, January 16, 2013
YVES OF EDEN
Yves Saint Laurent at Home in Marrakech
- Yves Saint Laurent in his laced, collarless pullover of tobacco glove leather with corduroy jeans from his first ready-to-wear collection.
Vogue July 1969
I was sixteen in '69 and not in a position to wear Saint Laurent. However - as a young fashionista during the mod era, and one fortunate enough to have been born into a successful ladies retail business, I was well aware of his importance to all things wonderful in the realm of the (fashion) senses.
He maintained his 'Boy Wonder' title, while others of equal import fell to the wayside, and remained the most applauded creative designer to hold court on the fashion scene, as well as the mise-en-scene, and well beyond the revolutionary fashion era of the sixties.
We Salute Him
Yves is shown in Marrakech, on a balcony overhanging the inner courtyard of his house - called El Haunch, "the serpent" - which he had owned since 1967 in the ancient medina, the native quarter. There he spent three months of every year preparing his collections, and the month of August relaxing.
- Pale pink gaberdine suit with flap pockets, flowered cotton shirt and brown leather belt from his first ready-to-wear collection for men.
Vogue July 1969
Yves wears a white gaberdine version of the pink suit, above, The shirt is black cotton voile and the printed scarf in Abraham crepe de chine.
Yves Other Eden
Saint Laurent In Marrakech
Vogue July 1969
Yves Saint Laurent
1936-2008
Once A Great Beauty
Saturday, January 12, 2013
SUMMER PREVIEW 1948
STRICT LINES ... STRICTLY BECOMING
Balenciaga's distinctly peaked plateau of grass-green faille. Wide side, short back, broad crown, and a swift flight of black wings.
Balenciaga
Balenciaga's late-in-the-day, tiered black taffeta. The tippet accordian-pleated.
DIOR
Dior's pale pink chiffon shirtwaist complete with chiffon cartwheel and a new fall of pearls
DIOR
In Paris, where the big season is May through July, ball dresses, such as this one (photographed at the Paris Opera), willl float like pale bells over parquet floors, terraced flags, in garden marquees.
Vogue April 1948
Summer Preview
Paris and America
Photography: Clifford Coffin
Tuesday, January 1, 2013
Tuesday, December 25, 2012
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