1.
Los Angeles County Museum of Art
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The Los Angeles County Museum of Art is an art museum located on Wilshire Boulevard in the Miracle Mile vicinity of Los Angeles. LACMA is on Museum Row, adjacent to the La Brea Tar Pits, LACMA is the largest art museum in the western United States. It attracts nearly a million visitors annually and it holds more than 150,000 works spanning the history of art from ancient times to the present. In addition to art exhibits, the museum features film and concert series, the Los Angeles County Museum of Art was established as a museum in 1961. Prior to this, LACMA was part of the Los Angeles Museum of History, Science and Art, howard F. Ahmanson, Sr. Anna Bing Arnold and Bart Lytton were the first principal patrons of the museum. Ahmanson made the donation of $2 million, convincing the museum board that sufficient funds could be raised to establish the new museum. In 1965 the museum moved to a new Wilshire Boulevard complex as an independent, art-focused institution, the largest new museum to be built in the United States after the National Gallery of Art. The museum, built in a similar to Lincoln Center. The board selected LA architect William Pereira over the recommendation of Ludwig Mies van der Rohe for the buildings. According to a 1965 Los Angeles Times story, the total cost of the three buildings was $11.5 million, at the time, the Los Angeles Music Center and LACMA were concurrent large civic projects which vied for attention and donors in Los Angeles. When the museum opened, the buildings were surrounded by reflecting pools, in the far-reaching expansion, museum-goers henceforth entered through the new partially roofed central court, nearly an acre of space bounded by the museums four buildings. The museums Pavilion for Japanese Art, designed by maverick architect Bruce Goff, opened in 1988, gerald Cantor Sculpture Garden of Rodin bronzes. In 1999, the Hancock Park Improvement Project was complete, kohlhaas edged out French architect Jean Nouvel, who would have added a major building while renovating the older facilities. The list of candidates had narrowed to five in May 2001, Koolhaas, Nouvel, Steven Holl, Daniel Libeskind. However, the project stalled after the museum failed to secure funding. In 2004 LACMAs Board of Trustees unanimously approved plans to transform the museum, the planned transformation consisted of three phases. Phase I started in 2004 and was completed in February 2008, the renovations required demolishing the parking structure on Ogden Avenue and with it LACMA-commissioned graffiti art by street artists Margaret Kilgallen and Barry McGee. The entry pavilion is a key point in architect Renzo Pianos plan to unify LACMAs sprawling, the BP Grand Entrance and the adjacent Broad Contemporary Art Museum comprise the $191 million first phase of the three-part expansion and renovation campaign
2.
Drapery
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Drapery is a general word referring to cloths or textiles. It may refer to cloth used for decorative purposes – such as around windows – or to the trade of retailing cloth, originally mostly for clothing, in art history, drapery refers to any cloth or textile depicted, which is usually clothing. After the Renaissance, large cloths with no obvious purpose are often used decoratively, especially in portraits in the grand manner. Drapery, by suggesting lines of force, indicates for each action a past, undraped male figures, Clark observed, were kept in motion by their flying cloaks
3.
Skirt
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A skirt is the lower part of a dress or gown, covering the person from the waist downwards, or a separate outer garment serving this purpose. Most skirts are self-standing garments, but some skirt-looking panels may be part of another garment such as leggings, shorts, some fashion designers, such as Jean Paul Gaultier, have shown mens skirts. Modern skirts are made of light to mid-weight fabrics, such as denim, jersey, worsted. Skirts of thin or clingy fabrics are often worn with slips to make the material of the skirt drape better, a straw-woven skirt dating to 3900 BC was discovered in Armenia at the Areni-1 cave complex. Skirts have been worn by men and women from many cultures, such as the lungi, lehnga, kanga and sarong worn in South Asia and Southeast Asia, and the kilt worn in Scotland and Ireland. The earliest known culture to have females wear clothing resembling miniskirts were the Duan Qun Miao and this was in reference to the short miniskirts that barely cover the buttocks worn by women of the tribe, and which were probably shocking to observers in medieval and early modern times. In the Middle Ages, some upper-class women wore skirts over three metres in diameter at the bottom, at the other extreme, the miniskirts of the 1960s were minimal garments that may have barely covered the underwear when seated. Costume historians typically use the word petticoat to describe skirt-like garments of the 18th century or earlier, during the 19th century, the cut of womens dresses in western culture varied more widely than in any other century. Waistlines started just below the bust and gradually sank to the natural waist, skirts started fairly narrow and increased dramatically to the hoopskirt and crinoline-supported styles of the 1860s, then fullness was draped and drawn to the back by means of bustles. In the 1890s the rainy daisy skirt was introduced for walking or sportswear and it had a significantly shorter hemline measuring as much as six inches off the ground and would eventually influence the wider introduction of shorter hemlines in the early 20th century. Beginning around 1915, hemlines for daytime dresses left the floor for good, broomstick skirt, a light-weight ankle-length skirt with many crumpled pleats formed by compressing and twisting the garment while wet, such as around a broomstick. Bubble dress/skirt, a voluminous skirt whose hem is tucked back under to create a “bubble effect” at the bottom, Cargo skirt, a plain utilitarian skirt with belt loops and numerous large pockets, based on the military style of Cargo pants and popularised in the 1990s. Crinoline, a full skirt supported by hoops or multiple petticoats. Hobble skirt, a long and tight skirt with a hem narrow enough to impede the wearers stride Kilt-skirt. Though traditionally designed as womens wear, it is fashioned to mimic the appearance of a mans kilt. Leather skirt, a made of leather Lehenga, a long, pleated skirt, often embroidered, worn mostly as the bottom part of the Gagra choli in North India. Mini-crini, a version of the crinoline, designed by Vivienne Westwood in the mid 1980s. Poodle skirt, a circle or near-circle skirt with an appliqued poodle or other decoration Puffball skirt, popular in the mid-late 1980s when it was inspired by Westwoods mini-crini
4.
Petticoat
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A petticoat or underskirt is an article of clothing, specifically an undergarment to be worn under a skirt or a dress. The petticoat is a separate garment hanging from the waist, in historical contexts, petticoat refers to any separate skirt worn with a gown, bedgown, bodice or jacket, these petticoats are not, strictly speaking, underwear as they were made to be seen. In both historical and modern contexts, petticoat refers to skirt-like undergarments worn for warmth or to give the skirt or dress the desired fashionable shape, in this context a petticoat may be called a waist slip or underskirt or half slip, with petticoat restricted to extremely full garments. Petticoat can also refer to a slip in the UK. Petticoat is the name in English for any underskirt worn as part of non-Western clothing such as the lehenga with the sari. The practice of wearing petticoats as undergarments was well established by 1585, Petticoats were worn throughout history by women who wanted to have the currently fashionable shape created by their clothing. The petticoats, if sufficiently full or stiff, would hold the overskirt out in a domed shape. It would also complement the large bust. Elaborately decorated petticoats were worn under open-fronted gowns and looped overskirts from the mid-16th century and these ankle-length petticoats remained a rural fashion, especially in the UK, into the 19th century and are a part of the traditional Welsh costume. In the 18th century, among the upper class women of Europe and America, in the early 19th century, dresses became narrower and simpler with much less lingerie. Then, as the waltz became popular in the 1820s, full-skirted gowns with petticoats were revived in Europe, by the mid 19th century, petticoats were worn over hoops, which were placed over other underwear like a corset cover, a corset, and drawers. The popular novel Gone with the Wind provides considerable, detailed descriptions of these fashions, in the 1939 film adaptation, the character played by Vivien Leigh gives a good idea of the layers of petticoats and underwear that were worn in the 1860s. The sheer weight of the clothing, along with the tightness of the corsets, the use of multiple petticoats continued to be popular until the 1870s, when the bustle was introduced, resulting in a return of narrower skirts. Some full-skirted gowns with petticoats were revived in the 1890s into the early 20th century, the Gibson Girl look with white blouses and long, narrow skirts was very popular during the late 19th and early 20th century. For the first two decades of the 20th century, multiple petticoats fell out of fashion, narrow, sometimes tight, then, in the late 1920s, chiffon dresses with several sheer petticoats became fashionable. With the Great Depression in the 1930s, narrow skirts returned and petticoats again were unpopular until the end of the decade when revived for some evening, prom, world War II, with its rationing and general shortage of materials, brought an end to petticoats. Petticoats were revived by Christian Dior in his full-skirted New Look of 1947 and tiered, ruffled, stiffened petticoats remained extremely popular during the 1950s, most of the petticoats were netlike crinoline, sometimes made of horsehair. Increasingly, nylon chiffon, taffeta, and organdy were used in petticoats, many department stores carried an extensive variety of styles and colors of petticoats until the early 1960s
5.
Crinoline
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A crinoline /krɪn. əl. ɪn/ is a stiffened or structured petticoat designed to hold out a womans skirt, popular at various times since the mid-19th century. Originally, crinoline described a stiff fabric made of horsehair and cotton or linen which was used to make underskirts, by the 1850s the term crinoline was more usually applied to the fashionable silhouette provided by horsehair petticoats, and to the hoop skirts that replaced them in the mid-1850s. In form and function these hoop skirts were similar to the 16th- and 17th-century farthingale and to 18th-century panniers, in that they too enabled skirts to spread even wider, the steel-hooped cage crinoline, first patented in April 1856 by R. C. Milliet in Paris, and by their agent in Britain a few months later, steel cage crinolines were mass-produced in huge quantity, with factories across the Western world producing tens of thousands in a year. Alternative materials, such as whalebone, cane, gutta-percha and even inflatable caoutchouc were all used for hoops, at its widest point, the crinoline could reach a circumference of up to six yards, although by the late 1860s, crinolines were beginning to reduce in size. By the early 1870s, the smaller crinolette and the bustle had largely replaced the crinoline, crinolines were worn by women of every social standing and class across the Western world, from royalty to factory workers. This led to media scrutiny and criticism, particularly in satirical magazines such as Punch. They were also hazardous if worn without due care, thousands of women died in the mid-19th century as a result of their hooped skirts catching fire. Alongside fire, other hazards included the hoops being caught in machinery, carriage wheels, gusts of wind, the crinoline silhouette was revived several times in the 20th century, particularly in the late 1940s as a result of Christian Diors New Look of 1947. The flounced nylon and net petticoats worn in the 1950s and 1960s to poof out skirts also became known as even when there were no hoops in their construction. In the mid-1980s Vivienne Westwood designed the mini-crini, a mini-length crinoline which was influential on 1980s fashion. Late 20th and early 21st century designers such as John Galliano, since the 1980s and well into the 21st century the crinoline has remained a popular option for formal evening dresses, wedding dresses, and ball gowns. The name crinoline is often described as a combination of the Latin word crinis and/or the French word crin, with the Latin word linum, the crinoline was not the first garment designed to support the wearers skirts in a fashionable shape. The horsehair fabric called crinoline was first noted by 1829, when it was offered for lining and dress-making, petticoats made of horsehair crinoline appeared around 1839, proving so successful that the name crinoline began to refer to supportive petticoats in general, rather than solely to the material. One alternative to horsehair crinoline was the quilted petticoat stuffed with down or feathers, however, quilted skirts were not widely produced until the early 1850s. In about 1849, it was possible to buy stiffened and corded cotton fabric for making petticoats, marketed as crinoline, the artificial crinoline with hoops did not emerge until the 1850s. The cage crinoline made out of spring steel wire was first introduced in the 1850s, alison Gernsheim suggests that the unidentified French inventor was probably R. C. Milliet of Besançon, as the July 1856 patent was filed by their British agent, milliet had already patented a tournure de femme in Paris on 24 April 1856 which was described as comprising elastic extensible circles joined together by vertical bands
6.
Arms and the Man
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Arms and the Man is a comedy by George Bernard Shaw, whose title comes from the opening words of Virgils Aeneid, in Latin, Arma virumque cano. Arms and the Man was one of Shaws first commercial successes and he was called onto stage after the curtain, where he received enthusiastic applause. Amidst the cheers, one audience member booed, Shaw replied, in characteristic fashion, My dear fellow, I quite agree with you, but what are we two against so many. Arms and the Man is a play that shows the futility of war. The play takes place during the 1885 Serbo-Bulgarian War and its heroine, Raina Petkoff, is a young Bulgarian woman engaged to Sergius Saranoff, one of the heroes of that war, whom she idolizes. When Russian/Bulgarian troops burst in to search the house for him and he asks her to remember that nine soldiers out of ten are born fools. When the search dies down, Raina and her mother Catherine sneak Bluntschli out of the house, Raina begins to find Sergius both foolhardy and tiresome, but she hides it. Bluntschli unexpectedly returns so that he can give back the old housecoat, Raina and her mother are shocked, especially when her father and Sergius reveal that they have met Bluntschli before and invite him to stay for lunch. Afterwards, left alone with Bluntschli, Raina realizes that he sees through her romantic posturing, Bluntschli gets a telegram informing him of his fathers death and revealing to him his now-enormous inheritance. Louka then tells Sergius that Bluntschli is the man whom Raina protected, Sergius challenges Bluntschli to a duel, but Bluntschli avoids fighting and Sergius and Raina break off their engagement. While Raina is now unattached, Bluntschli protests that—being 34 and believing she is 17—he is too old for her, on learning that she is actually 23, he immediately proposes marriage and proves his wealth and position by listing his inheritance from the telegram. Raina, realizing the hollowness of her ideals, protests that she would prefer her poor chocolate-cream soldier to this wealthy businessman. George Orwell said that Arms and the Man was written when Shaw was at the height of his powers as a dramatist and it is probably the wittiest play he ever wrote, the most flawless technically, and in spite of being a very light comedy, the most telling. Orwell says that Arms and the Man wears well—he was writing 50 years later—because its moral—that war is not a wonderful and his other plays of the period, equally well written, are about issues no longer controversial. For example, the theme of Mrs, the first Broadway production opened on 17 September 1894 at New York Citys Herald Square Theatre. Since then there have been six Broadway revivals, two of which are listed below. Olivier thought Sergius a humbug, a buffoon, a blackguard, a coward, olivier, spurred and moustachioed, was high camp, Robert Tanitch. A revival production ran at New York Citys Arena Theatre from 19 October 1950 to 21 January 1951, the cast included Lee Grant as Raina, Francis Lederer as Bluntschli and Sam Wanamaker as Sergius
7.
George Bernard Shaw
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He wrote more than sixty plays, including major works such as Man and Superman, Pygmalion and Saint Joan. With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, born in Dublin, Shaw moved to London in 1873, where he established himself as a writer and novelist. By the mid-1880s he was a theatre and music critic. Following a political awakening, he joined the gradualist Fabian Society, Shaw had been writing plays for years before his first public success, 1894s Arms and the Man. Influenced by Henrik Ibsen, he sought to introduce a new realism into English-language drama, using his plays as vehicles to disseminate his political, social and religious ideas. By the early twentieth century his reputation as a dramatist was secured with a series of critical and popular successes that included Major Barbara, The Doctors Dilemma and Caesar, Shaws expressed views were often contentious, he promoted eugenics and alphabet reform while opposing vaccination and organised religion. He courted unpopularity by denouncing both sides in the First World War as equally culpable and he castigated British policy on Ireland in the postwar period, and became a citizen of the Irish Free State in 1934, maintaining dual citizenship. He was prolific, finishing during the years a series of often ambitious plays which achieved varying degrees of popular success. Since Shaws death, opinion has varied about his works and he has at times been rated as second only to William Shakespeare among English-language dramatists, analysts recognise his extensive influence on generations of playwrights. The word Shavian has entered the language as encapsulating Shaws ideas, Shaw was born at 3 Upper Synge Street in Portobello, a lower-middle-class part of Dublin. He was the youngest child and only son of George Carr Shaw and his elder siblings were Lucinda Frances and Elinor Agnes. The Shaw family was of English descent and belonged to the dominant Protestant Ascendancy in Ireland, George Carr Shaw and his relatives secured him a sinecure in the civil service, from which he was pensioned off in the early 1850s, thereafter he worked irregularly as a corn merchant. In 1852 he married Bessie Gurly, in the view of Shaws biographer Michael Holroyd she married to escape a tyrannical great-aunt, if, as Holroyd and others surmise, Georges motives were mercenary, then he was disappointed, as Bessie brought him little of her familys money. She came to despise her ineffectual and often drunken husband, with whom she shared what their son later described as a life of shabby-genteel poverty. By the time of Shaws birth, his mother had become close to George John Lee, Shaw retained a lifelong obsession that Lee might have been his biological father, there is no consensus among Shavian scholars on the likelihood of this. The young Shaw suffered no harshness from his mother, but he recalled that her indifference. He found solace in the music that abounded in the house, Lee was a conductor and teacher of singing, Bessie had a fine mezzo-soprano voice and was much influenced by Lees unorthodox method of vocal production. The Shaws house was filled with music, with frequent gatherings of singers and players
8.
Corset
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A corset is a garment worn to hold and train the torso into a desired shape for aesthetic or medical purposes. Both men and women are known to wear corsets, though this item was for years an integral part of womens wardrobes. Since the late 20th century, the industry has borrowed the term corset to refer to tops which, to varying degrees. While these modern corsets and corset tops often feature lacing or boning and generally imitate a historical style of corsets, they have little, if any. Genuine corsets are made by a corsetmaker and are frequently fitted to the individual wearer. The word corset is derived from the Old French word corps and the diminutive of body, the craft of corset construction is known as corsetry, as is the general wearing of them. Someone who makes corsets is a corsetier or corsetière, or sometimes simply a corsetmaker, in 1828, the word corset came into general use in the English language. The word was used in The Ladies Magazine to describe a quilted waistcoat that the French called un corset and it was used to differentiate the lighter corset from the heavier stays of the period. The most common and well-known use of corsets is to slim the body, for women, this most frequently emphasizes a curvy figure by reducing the waist and thereby exaggerating the bust and hips. However, in some periods, corsets have been worn to achieve a tubular straight-up-and-down shape, for men, corsets are more customarily used to slim the figure. An overbust corset encloses the torso, extending from just under the arms toward the hips, an underbust corset begins just under the breasts and extends down toward the hips. A longline corset – either overbust or underbust – extends past the iliac crest, a longline corset is ideal for those who want increased stability, have longer torsos, or want to smooth out their hips. A standard length corset will stop short of the iliac crest and is ideal for those who want increased flexibility or have a shorter torso, some corsets, in very rare instances, reach the knees. A shorter kind of corset that covers the waist area, is called a waist cincher, a corset may also include garters to hold up stockings, alternatively, a separate garter belt may be worn for that. Traditionally, a corset supports the visible dress and spreads the pressure from large dresses, such as the crinoline, at times, a corset cover is used to protect outer clothes from the corset and to smooth the lines of the corset. The original corset cover was worn under the corset to provide a layer between it and the body. Corsets were not worn next to the skin, possibly due to difficulties with laundering these items during the 19th century, as they had steel boning, the corset cover was generally in the form of a light chemise, made from cotton lawn or silk. Modern corset wearers may wear corset liners for many of the same reasons and those who lace their corsets tightly use the liners to prevent burn on their skin from the laces
9.
Haute couture
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Haute couture is the creation of exclusive custom-fitted clothing. A haute couture garment is made for a client, tailored specifically for the wearers measurements. Considering the amount of time, money, and skill allotted to each completed piece, haute couture garments are described as having no price tag. The term originally referred to Englishman Charles Frederick Worths work, produced in Paris in the mid-nineteenth century, in modern France, haute couture is a protected name that may not be used except by firms that meet certain well-defined standards. However, the term is used loosely to describe all high-fashion custom-fitted clothing whether it is produced in Paris or in other fashion capitals such as London, Milan. In either case, the term can refer to the houses or fashion designers that create exclusive. In France, the haute couture is protected by law and is defined by the Chambre de commerce et dindustrie de Paris based in Paris. The chambre syndicale de la haute couture is defined as the commission that determines which fashion houses are eligible to be true haute couture houses. Formation of the organization was brought about by Charles Frederick Worth, an affiliated school was organized in 1930 called LEcole de la Chambre Syndicale de la Couture. The school helps bring new designers to help the couture houses that are present today. Since 1975, this organization has worked within the Federation Francaise, de couture, more rigorous criteria for haute couture were established in 1945. g. With that of prêt-à-porter in the public perception, almost every haute couture house also markets prêt-à-porter collections, which typically deliver a higher return on investment than their custom clothing. Falling revenues have forced a few houses to abandon their less profitable haute couture division. These houses are no longer considered haute couture houses by the original, legal usage of the term. Many top designer fashion houses such as Chanel use the word for some of their special collections, as well, the term haute couture has taken on further popular meanings referring to non-dressmaking activities, such as production of fine art, music, etc. Haute couture can be referenced back as early as the 17th Century, rose Bertin, the French fashion designer to Queen Marie Antoinette, can be credited for bringing fashion and haute couture to French culture. Visitors to Paris brought back clothing that was copied by local dressmakers. Stylish women also ordered fashion d dressed in the latest Parisian fashion to serve as models, as railroads and steamships made European travel easier, it was increasingly common for wealthy women to travel to Paris to shop for clothing and accessories
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