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The innovative Galerie des modes is the most expansive and perhaps the best known project of the print merchants Jacques Esnauts (or Esnault) and Michel Rapilly. Both of these men hailed from the region of Normandy (Esnauts came from Magny-le-Désert, and Rapilly came from Pirou), and the name of their publishing house, Ville de Coutances, reflects these common origins.
The library is named after the Museum of Costume Art's co-founder Irene Lewisohn. In 1960, as a part of a major renovation of The Costume Institute, the library was named in her honor. [ 2 ] By 1983, it was reported that the library was used by the staff and more than 1800 researches each year.
The boys' uniforms are made of shirt with long or short sleeves, long trousers with various colours set by their school and girls uniforms with similar colours are often a shirt and a skirt. Many schools require students to wear shoes, ties and ID cards, and schools has strict policies with hair styles and required to comb their hair down and ...
The starving artist is a typical late 18th and early 19th-century Romanticism figure featured in many paintings and works of literature.In 1851, Henri Murger wrote about four starving artists in Scènes de la Vie de Bohème, the basis for operas entitled La bohème by both Puccini and Leoncavallo.
By extension, the women wearing the coif and the costume associated with it are also called bigoudènes. The coif is about 30 cm high, and up to 40 cm in Penmarc'h . The bigoudène coif is worn by the women of the Bigouden Country ( Breton : Bro-Vigoudenn ; French : Le Pays Bigouden ) historically known as "Cap Caval" and located along the Bay ...
Centre National du Costume de Scene (CNCS) (English: National Center of Stage Costume (CNCS)) is a French museum dedicated to stage costumes and sets.. It was inaugurated on 1 July 2006 in Moulins, Allier by Renaud Donnedieu de Vabres the Minister of Culture, Pierre-André Périssol the mayor of Moulins and Christian Lacroix, dressmaker and board chairman. [1]
The Parade Armour of Henry II of France, now in the Metropolitan Museum of Art, New York, is believed to date from c 1553–55 and its decoration is attributed to the French goldsmith and engraver Étienne Delaune. Designed for use in pageantry, the armour was fashioned of gold, silver and steel and with leather and red velvet trimmings. [1]
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