Yesterday I did a post about the collaborative work of Schiaparelli and Lesage. Well, there were two examples that I found through the Met, that had so many great detail images that I couldn't limit myself to just one, so I saved them to do today, so I could share more with you.
First up, two parts of a 1938 evening ensemble that included a black crepe skirt, not pictured. There is a gold colored silk satin blouse paired with the regulation Schaiparelli jacket. But just get a load of the level of workmanship and design that went into the embroideries by Lesage. Both pieces have been heavily worked with metal strip, silk wrapped metal strip, purl, and citrine colored rhinestones in a foliate pattern reminiscent of Thai textiles.
The second is an evening jacket from 1939, this one is brilliant red wool with the embroidery work confined to the leg-o-mutton sleeves.
What really kicks this one into another realm are the fantastical pockets that imitate the outlines of the embroidery, and the glass buttons shaped like beetles.
The decorative work this time is outlined with very narrow gold cord that has been couched into the pattern on the sleeves, and then the fill work is done with 3mm round gold sequins, and 8mm hexagonal sequins of varying colors that are held in place by tiny rocaille beads.
One of the things that must be said about Schiaparelli's house is that it was never known for the extraordinary quality of its workmanship in final construction. This is one of the rare times when it reached the mark in every respect. Those pockets would have required very high skills to pull off without them puckering or warping. But this time, everything is on the same level. Brava, Madame Elsa. And Bravo, Monsieur Lesage.
Swoon... just, swoon! : )
ReplyDeleteAnd hexagonal sequins; I don't think I've ever seen them before. They make a subtly different effect. Cool.