Deconstructing the Sphinx of Fashion Essay

Clad in drapes and flux textile, with enough chutzpah to sport a turban that had become her signature, Madame Gres had al steerings been an icon of expressive style and art. With a stellar list of clients and muses, from noble royals such as Princess lard of Monaco, Princess Matilda of Greece, the Duchess of Windsor and the Duchess of Deterling, among others to film celebrities and then-socialites Marlene Dietrich, Jacque business Kennedy-Onassis, Barbra Streisand, and Greta Garbo. Such was her presence and inimitable style that numerous would say, unwittingly, that she was more(prenominal) Garbo than Garbo herself (www. parfumsgres. com).Full of passion and air, and shrouded with mystery. Even her birth was mysterious. Many documented sources orient that she was born to a bourgeois family, a fact that was only naturalised after many years. Her birth on November 30, 1903 gave her the reboot Germaine Emilie Krebs, hardly single suitable for a would-be legendary fashion des igner. To keep historic accounts of her individualisedized life consistently vague, not much is known active her early yearsuntil she veritable(a)tually launched her fashion career sometime after the Wall Street plunge in 1930, an unfortunate time to do so as the market was no longer viable for highlife products.Some reports have it that she started as a sculptor, but was never quite a successful at itmaking her decide to change career paths (Mendoza). It is in like manner said that she soon opened a couture house under the relate Alix, yet others have mentivirtuosod that she was only but an employee of a small-time architect designd Julie Barton. However, that time was adjudged to be the best for a charr to be operative in fashion, since the closely well-known namesLanvin, Vionnet and Chanelmade themselves known during the full point (www. telegraph. co. uk).She later married the Russian painter Serge Czerefkov, and used the anagram of his name as hers, exactly the wa y he would sign his artwork. But the unification laster only for a year or less, for Czerefkov sounded all the way from France to Polynesia, and never returned. Alix Gres, as Germaine Emilie Krebs then called herself, forged on and indulged herself in the one passion that would etch her name in historyfabrics and fashion. Taking warmth from one of her design models, Madeleine Vionnet (Chang, 2005), the Grecian silhouette was what art and fashion historians would link up to the Gres name.Madame Gres viewed the clothes she created as works of art, and fashioned a manner of eddy and style that is uniquely hersdraping. This technique, as opposed to tailoring, entailed sculpting yards of fabric directly onto the bodies of her models. producing her acclaimed signature, the period jersey dress. Gres distinct style emulated the determinate Hellenic dress, which called for what is known as wet-draperythe manner of fabric contortion through animated folds, that ultimately reveals the habitus and contour of the human body (Koda, 200-).Clearly, it is Gres background in sculpture that influenced her excerption of couture, that besides brought her to use other like fabrics such as chiffon and crepe. Her lines were of all time simple and clean, yet completely feminine and elegant. Drama was her goal, and unlike virtually designers in the 1940s and 50s, Madame Gres never relied on structure and stiff supporting to create her silhouettes, no matter how much complexity and angular shapes were in fashion at the time.She alike used heavy fabric and make-up taffeta to achieve her signature flowing designs, which achieved more impact than expected, considering its basic construction. The dresses and gowns of Madame Gres were perpetually lauded for their almost-opposing characteristics of be timeless and modern at the same time, yet in truth, they were innovative and evolved constantly. During the 1940s, in the aftermath of World War II, many restrictions were prepa re in place and Madame Gres classic Grecian fashions could no longer be produced as often and as much as she used to.Because of this, she cerebrate on perfecting another technique called fluting, which is a detailed, highly-concentrated version of the regular pleating. thus, when fabric became widely available once more, Madame Gres easily incorporated this new precedent of workmanship into her classic Greek-inspired creations. In 1958, Madame Gres went on a journey to India, where she observed another significant influence on her art. It was here that she took a proclivity for the countrys native saris and caftans, which she rightly surmised would perfectly blend with her already-established smooth, flowing style.Fashion journals all oer the world showcased Gres new collections that implyd pajama drags, which she sagely combined with the trends at the time eventide with miniskirts and the ubiquitous hot pant (The Museum at Fit). It was excessively during this trip that Mada me Gres took inspiration for a perfume line she named Cabochard, quite apt for the launch of her new company called Parfums Gres, The 1970s and 80s proven to be Madame Gres most memorable years, for at this time she was offered numerous titles and recognition.In 1974, she became President of La Chambre Syndicale de la Couture genus Parisienne, as well as recipient of the De dOr de la Haute Couture. Later, in 1980, Madame Gres was named The most elegant woman in the world, and, for her unmatched contribution to French culture, she was given the observe of being a Chevalier de la Legion dHonneur. Also, era she constantly refused to delve into pret-a-porter, it was during the same year that she launched Gres Boutiqueher first collection. Her colleagues also agreed with all the accolades given her, particularly her sense of design and classic style.The popular designer Bill Blass was asked for his opinion, on the statement that fashion is an art. He said no, it is a craft, unless it is done by Balenciaga or Madame Gres. For further governing body of the womans talents, 1988s Vogue History of 20th degree centigrade Fashion named her the greatest living couturier (www. parfumsgres. com). But not everything in Madame Gres life was as pristine and flowing as the dresses she designed, or the famous couture house that was at par with the worlds best (Cocks, 1986). alike many successful celebrities, she had her own share of negative publicity and ferine tales.Stories have been told about her indifference to the past and the accomplishments she made, even as she would travel the world just t open numerous boutiques to her name. While the legendary Vogue editor, Diana Vreeland, would comment that Madame Gres had the best address in Paris (Trow, 1980), Gres was also compared to Carmel Snow, longtime editor of Harpers Bazaar, on their both being self-centered and uninterested in nothing but themselves (Horyn, 2005). But what was most disturbing and mysterious about M adame Gres life is her death in 1993.For over a year, her only daughter Ann kept the fact hidden from fashion journalists and her breeds colleagues. Ann would even respond to queries sent about Madame Gres, indicating her mothers appreciation of the gestures, as evidenced by the time when Yves nonesuch Laurent gave due praise to the Gres prospective of the Metropolitan Museum of artistic production. Ann sent back a note detailing how Madame Gres was greatly touched and appreciative, even including a personal account of her mothers humble beginnings, told in an uncomfortably personal tone.In truth, Madame Gres was already whiling away her remaining days at a nursing home in the South of France. She was believed to have been either 89 or 94 years old. The fashion society in Paris were all baffled by this turn of events, which they were completely uninformed about. She proceed to hold the position of honorary president of the Chambre Syndicale, because no one knew of her her demise . Apparently, residuum was sent regularly to Ann Gres, which she refused to answer. Ann Gres was adamant about keeping her mothers death a secret.She believed that was how Madame Gres would have wanted things to bemysterious and secretive. She disclosed, though, that their family was in dire need of funds and other resources, that she had not been able to even afford a decent tombstone befitting her legendary mother. Ann also lambasted her mothers so-called friends, whom she declared to have never even inquired about Madame Gres condition. Sadly, this was how things turned out for the once-prosperous fashion icon. Her business, with debts and failures mounting, was sold to Bernard Tapie, an American businessman. later two years, the French group Estorel took over the company, only to go rend in 1987. Eventually, a Japanese investment group called Yagi bought the Madame Gres name for $2 million in 1988, but the contract did not include royalty payments for the designer. (Deeney, 19 94). The same fate happened to her perfume company, which was acquired by Lamotte Taurelle, a scattering company, that later sold it to a finance company subsdiary. The licenses were soon purchased by The Escada Group, which in turn sold in 2001 to Silvio Denz (www. parfumsgres. com).To this day, much of Madame Gres influences live on, and her lively pieces are now proverbial treasures. Auctions of her creations command the highest prices, as they are authoritative showcases of a womans lifelong passion for the art of fashion. Draping is a skill many of todays young designers try to emulate, an use of which is a noted finalist in Season Four of Project Runway, a hugely popular American reality show documenting the challenges of over a dozen young designers. Rami Kashou, who won second place, is known for his talent in drapingwhich may probably tell of his knowledge of Madame Gres legacy.It is just, however, completely mind-boggling how many accounts and stories lead to the concl usion that Madame Gres and her incredible talent would be the source of invidia of her only child. Though, as they say, Ann Gres despised her mother for that known fact, But it is sink to say that Madame Gres has carved her name and design philosophy into the annals of globose fashion. And just like her ethereal creations that had been consistently singular and distinct, the life of Madame Alix Gres, or Germaine Emilie Krebs, will always be mysterious and legendary.Works CitedCocks, Jay. An Elegant bequest Comes Alive. Time Magazine, February 3, 1986. Trow, George W. S. The Talk of the Town. Work. The modernistic Yorker, September 29, 1980. Horyn, Cathy. originally There Was Vreeland. The New York Times, December 4, 2005. Deeney, Godfrey. The Strange, Secret Death of Madame Gres. Womens eating away Daily, December 14, 1994. Koda, Harold. Classical Art and Modern Dress. Timeline of Art History. New York Metropolitan Museum of Art, 200-. The Costume Institute. Costume in the Met ropolitan Museum of Art. Timeline of Art History.New York Metropolitan Museum of Art, 200-. Alix Gres An Exceptional Couturier. http//www. telegraph. co. uk/fashion/main. j hypertext mark-up language? xml=/fashion/2008/02/17/st_ madamegres. xml Biography. http//www. parfumsgres. com/biography. html Chang, Lia. Cut and Construction The Foundations of Fashion, 2005. http//www. asianconnections. com/a/? article_id=594 Mendoza, Sandra. Alix Gres (1903-1993). http//www. vintagefashionguild. org/content/view/664/111/ The Museum at Fit. The sustenance and Career of Madame Gres. http//www3. fitnyc. edu/museum/gres/lifeandcareer. htm