With Schiaparelli’s designs, many of her gloves are incredibly memorable and often transcend our idea of what a glove can be. Maison Schiaparelli.Įlsa Schiaparelli, Black suede gloves with red snakeskin fingernails, Winter Collection 1936-37. Yes, exactly, those little creatures which usually appear on our clothing during the summer, something so natural to be part of Schiaparelli’s creative expression.Įlsa Schiaparelli, Fly sweater, 1938. It was still in the mid-century when Schiaparelli launched another of her collections focused on a particular animal kingdom: insects. Elsa Schiaparelli, Jacket in Shocking Pink color and insect buttons, 1938. Maison Schiaparelli.Įlsa Schiaparelli, Insect necklace, 1398. Salvador Dalì, The Burning Giraffe, 1937, Kunstmuseum Basel, Basel, Switzerland.Įlsa Schiaparelli, Butterfly dress, 1938. The Art Institute of Chicago, Chicago, IL, USA. Salvador Dalì, Venus de Milo with drawers, 1936. Salvador Dalì, Cover of Minotaure journal, 1936. In the Cecil Beaton photograph, we can see that the model is holding a copy of Minotaure, the surrealist journal, making a significant connection.Įlsa Schiaparelli and Salvador Dalì, Bureau Drawer Suits, photographed by Cecil Beaton in 1936. In the same way as Schiaparelli was obsessed with pockets in her fashion designs, Dalì in many of his paintings used the drawers to reference the subconscious. Schiaparelli and Dalì also presented a collection of suits with drawers pockets on them. Elsa Schiaparelli and Salvador Dalì, Skeleton Dress, 1938. Salvador Dalì, Design sketch for Skeleton Dress, 1938, Salvador Dali Museum, St. The disturbing image of the skeleton itself serves as a symbol of the ongoing Second World War and a reminder of the victims who were suffering from famine. The dress is also part of the Circus Collection and for its production, a special quilting technique called trapunto was used. Schiaparelli’s Skeleton Dress from the same year was also created in conjunction with Salvador Dalì and it references his own exploration of the skeletal form, which he often depicted in paintings and works of art around this time. Salvador Dalì, Three young surrealist women holding in their arms skins of an orchestra, 1936, Salvador Dali Museum, St.Petersburg, FL, USA. Thanks to Dalì’s participation in her designs, many famous actresses and important female figures of the time wore Schiaparelli’s dresses like Wallis Simpson, the Duchess of Windsor, wearing the Lobster Dress on her honeymoon.Įlsa Schiaparelli and Salvador Dalì, Tear Dress, 1938. The inspiration for the shoe hat came from a photograph of Dalì with his wife’s slipper on his head. In 1935, they designed a perfume together shaped like a telephone dial, an actual telephone with a fake lobster on it, and in 1937, the famous Shoe hat, which was worn by Dalì’s wife, Gala. Maison Schiaparelli.Īfter the Time’s recognition, she began an active collaboration with the Spanish Surrealist painter Salvador Dalì. Elsa Schiaparelli in collaboration with Salvador Dalì, Lobster phone, 1935. Maison Schiaparelli.Įlsa Schiaparelli in collaboration with Salvador Dalì, Perfume as a telephone dial, 1935. Maison Schiaparelli.Įlsa Schiaparelli and Salvador Dalì photographed together, 1936. With the encouragement of Poiret, she started her own business, but in 1926 her house closed due to financial difficulties.Įlsa Schiaparelli, The first newspaper print fabric, 1935. In 1922, Schiaparelli left New York and moved back to Paris where she assisted Man Ray with his Dada magazine Société Anonyme and met the famous couturier and one of the fathers of modern fashion Paul Poiret who influenced her future design and fashion career. Schiaparelli’s interest in the Dada and Surrealist movements and her friendship with Gabrielle Picabia facilitated their entry into the creative and artistic circle of New York, which comprised noteworthy members such as Man Ray, Marcel Duchamp, Alfred Stieglitz, and Edward Steichen. Onboard a ship during the transatlantic crossing to America, she became friends with Gabrielle Picabia, wife of the Dadaist painter Francis Picabia. Maison Schiaparelli.Įlsa Schiaparelli removed herself from a life of luxury because she was convinced that it had precluded her from creativity and art.
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