1990S FASHION PICTURES. DISCOUNT FASHION FABRICS.
Fashionable Clothing from the Sears Catalogs: Early 1980s (A Schiffer Book for Collectors & Designers)
Everyday clothes of the everyday American consumer of the early 1980s are shown here. Hundreds of pictures portray clothing from the early days of the Preppie era. Dress-for-success argyles, puffy sleeved sweaters, jacket dresses, and corduroy suits helped build corporate culture. Explore the suggestive lingerie, slinky sleeveless dresses, and tight jeans women wore on the town, while their men showed up for the disco dance looking ready for a safari or a rodeo. Men and women donned sweatsuits to run and play tennis, and inadvertently found a new uniform of comfort. This book is an indispensable resource for fashion historians and an excellent guide for pioneering collectors who want to get a head start on collecting the fashions of the late, great 20th century.77% (11)
Ronald Fischer, beekeeper
Richard Avedon Davis, California May 9, 1981 Gelatin silver print 59 5/8 x 47 1/8 inches Artist Bio: Richard Avedon was born in New York in 1923. In 1942 he started taking identification pictures of crewmen for the Merchant Marines. Then in 1944 he began taking more artistic photographs and became an advertisement photographer for a department store. Alex Brodovitch, art director of fashion magazine Harper’s Bazaar, discovered Avedon’s work and pushed Aveon into the world of magazine photography. In 1946, Avedon set up his own studio, and supplied several images for Vogue and Life magazine. Avedon was a true individual and took photographs, which broke out of the conformities of standard fashion techniques, showing the models filled with emotion and surrounded by colour. Although became the chief photographer for Harper’s Bazzar he later left to work for Vogue and began to explore the world outside of the studio. He started producing historical images of the Civil Rights Movement, Vietnam War and the fall of the Berlin Wall. At the same time, Avedon produced famous images of The Beatles, which were included with their 1968 White Album. Avedon was fascinated by portrait pictures and worked to capture the true essence of his subjects through his photographs. While he took several photographs of celebrities, he also is known for his remarkable portraits of everyday folk. His photographs are easy to identify because of their pure white backgrounds and minimalist approach. His subjects commonly look out into the camera lens, creating a thoughtful relationship between subject and viewer. In 1992 he became the first staff photographer for The New Yorker and won several awards for his photography in the 1990s. In 2004, while working on a project about the 2004 presidential election for The New Yorker, Avedon died as a result of a brain hemorrhage. Content: In 1979, Avedon turned his attention away from famous faces and began focusing on the faces of workers in the American West. Commissioned by the Amon Carter Museum, Avedon produced 125 images of the workers he encountered, and exhibited them all in his book, “In the American West.” Avedon’s book displays a haunting compilation of faces who are overlooked by the American public. However, Avedon was careful not to treat his subjects like second class citizens, and was known to have present them with the utmost respect. Before Avedon met the subject of the “beekeeper” image, he flirted with the idea of creating a picture of a man covered in bees. He began searching for a subject who would endure such a thing and advertised in beekeeping journals that he was looking for such a person. After being sent over 35 Polaroids, Avedon was not impressed, until the image of Ronald Fischer caught his attention. Avedon brought in around ten thousand bees for the photo shoot. Although Fischer knew that Avedon wanted to cover him in bees, Fischer was unaware that he was to be topless for the photograph. A trained beekeeper, Fischer had never worked bare-chested before and was extremely shocked and nervous at first. But Fischer proved to be a brave man and agreed to take off his shirt for Avedon. Once his shirt was off the queen bee’s pheromone, the odor which allows the queen to keep her workers attacked to her hive, was applied to Fischer’s chest, back, neck, face and head. As soon as the scent was detected the bees swarmed around Fischer, covering him like a thick fog. Although the pheromone was applied to Fischer as a means of preventing him form being stung, it was not successful and Fischer endured several burning stings throughout the photo shoot. Avedon’s final two photographs portray Fischer in two very different ways. In the first one Fischer appears to be in obvious pain. His expression illustrates an intense suffering and reflects his struggle to keep it together for the sake of the photographs. Avedon explains this painful image as a representation of Christian martyrdom. In a completely different tone, Avedon’s second image of Fischer does not reveal the slightest discomfort. Instead, in this photograph, which Avedon chose to display in “In The American West,” Fischer appears remarkably calm. Here, Fischer looks undisturbed by the bees that climb all over him. In this image Fischer is untouched by the constant buzzing and activity that surrounds his body. It is as if the viewer has found Fischer is a moment of reflection or meditation. Thus, this picture symbolizes the Buddhist philosophy of detachment from suffering. Although in truth, Fischer was in great pain, for a moment he is able to stand still and powerfully look out into the camera lens in an instance of pure serenity. Avedon chose this image for the final print because it directly spoke to his belief in the human endurance and the ability to survive and overcome afflictionBrigitte Bardot
Big German card by ISV, nr. HX 102. Beautiful French actress Brigitte Bardot (1934) was the sex kitten of the European film industry. BB starred in 48 films, performed in numerous musical shows, recorded 80 songs. After her retirement in 1973, she established herself as an animal rights activist. Brigitte Bardot was 18 when she started her acting career in 1952, and after appearing in 17 films she became world-famous due to her role in controversial film Et Dieu crea la femme/And God Created Woman (1956), directed by her husband Roger Vadim. Bardot had an affair with her co-star Jean-Louis Trintignant (who at that time was married to French actress Stephane Audran) .Her divorce from Vadim followed, but they remained friends and collaborated in later work.She appeared in light comedies like Une Parisienne/La Parisienne (1957, Michel Boisrond) which suited her acting skills best. Photographer Sam Levin's photos contributed considerably to her image of sensuality and slight immorality. One of Levin's pictures show Brigitte from behind, dressed in a white corset. It is said that around 1960 postcards with this photograph outsold in Paris those of the Eiffel Tower. She divorced Vadim in 1957 and in 1959 married actor Jacques Charrier, with whom she starred in Babette s'en va-t-en guerre/Babette Goes to War (1959, Christian-Jaque). The paparazzi preyed upon her marriage, while she and her husband clashed over the direction of her career. Her films became more substantial, but this brought a heavy pressure of dual celebrity as she sought critical acclaim while remaining a glamour model for most of the world. Vie privee/Private Life (1960), directed by Louis Malle has more than an element of autobiography in it. The scene in which, returning to her apartment, Bardot's character is harangued in the elevator by a middle-aged cleaning lady calling her offensive names, was based on an actual incident, and is a resonant image of celebrity in the mid-20th century. Soon afterwards Bardot withdrew to the seclusion of Southern France. On 18 June 1959 Brigite Bardot married actor Jacques Charrier, by whom she had her only child, a son, Nicolas-Jacques Charrier Her other husbands were German millionaire playboy Gunter Sachs and Bernard d'Ormale. She is reputed to have had relationships with many other men including Sami Frey, her co-star in La Verite/The Truth (1960, Henri-Georges Clouzot), and musicians Serge Gainsbourg and Sacha Distel.In 1963, Brigitte Bardot starred in Godard's critically acclaimed film Le Mepris/Contempt (1963, Jean-Luc Godard). She was featured along with such notable actors as Jean Gabin in En cas de malheur/In Case of Adversity (1958, Claude Autant-Lara), Alain Delon in Amours celebres/Famous Love Affairs (1961, Michel Boisrond) and Histoires extraordinaires/Tales of Mystery (1968, Louis Malle), Jeanne Moreau in Viva Maria! (1965, Louis Malle), Sean Connery in Shalako (1968, Edward Dmytryk) and Claudia Cardinale in Les Petroleuses/Petroleum Girls (1971, Christian-Jaque). She participated in various musical shows and recorded many popular songs in the 1960’s and 1970’s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including Harley Davidson, Le Soleil De Ma Vie (the cover of Stevie Wonder's You Are the Sunshine of My Life) and notorious Je t'aime... moi non plus. In 1973 just before her fortieth birthday, Brigitte Bardot announced her retirement. She chose to use her fame to promote animal rights. In 1986 she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals. She became a vegetarian and raised three million French francs to fund the foundation by auctioning off jewelry and many personal belongings. During the 1990s she became also outspoken in her criticism of immigration, interracial relationships, Islam in France and homosexuality. Her husband Bernard d'Ormal is a former adviser of the far right Front National party. Bardot has been convicted five times for "inciting racial hatred". More fun is that Bardot is recognised for popularizing bikini swimwear, in such early films such Manina/Woman without a Veil (1952), in her appearances at Cannes and in many photo shoots. Bardot also brought into fashion the choucroute ("Sauerkraut") hairstyle (a sort of beehive hair style) and gingham clothes after wearing a checkered pink dress, designed by Jacques Esterel, at her wedding to Charrier. The fashions of the 1960s looked effortlessly right and spontaneous on her. Time Magazine: "She is the princess of pout, the countess of come hither. Brigitte Bardot exuded a carefree, naive sexuality that brought a whole new audience to French films." Sources: Wikipedia and IMDb.
As the times change, so do the fashions. Decades of Beauty takes a unique look at the history of female beauty and how it has evolved since the end of the Victorian era. This lavishly illustrated book traces the major changes in the female image over the past one hundred years, one decade at a time. Focusing on the look that was "in" during each time period, each chapter explores particular reasons for a style, including developments in make-up, hair-styling, fabrics, accessories, and the shape of female underwear and garments.See also:
Beautiful and informative, Decades of Beauty also examines the major social and political events that affected the way women were perceived throughout history, and profiles the key personalities and innovators of feminine style who personified the decade.
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