HOW DIFFICULT IT'S TO DRESS

Dresses in the past were very heavy and elaborated and the ladies had need of a third person to dress. For the "lady's toilette" their maids did everything, they  buttoned up their clothes, and tightened the corsets, but also they tied the straps which held the hosiery to underwear, the tapes of the shirts, the buttons of the sleeves. During the early 900's,  clothes begin to be simplified, and the figure of the personal maid slowly disappear. Now if we have some difficult to wear a dress, we can only help each other or do by themselves, after all there are greater difficulties.

 In passato gli abiti erano molto pesanti ed elaborati e le dame avevano bisogno dell'aiuto di una terza persona per vestirsi.  Per la loro toilette erano le loro cameriere a fare tutto,  provvedevano ad  abbottonare le vesti e stringere i corsetti, ma anche a legare le fettucce che fissavano le calze alle mutande, i nastri delle camicie, i bottoni delle maniche. Agli inizi del secolo scorso gli abiti cominciano a semplificarsi e la figura della cameriera personale viene lentamente ad estinguersi. Ora se abbiamo difficoltà ad infilarci un vestito possiamo solo aiutarci tra noi o fare da sole, dopotutto  esistono difficoltà maggiori.

Guy Bourdin

Dior 1950

Downton Abbey

Gone with the wind

Marie Antoniette

A lady at her toilette - Jean Raoux 1727

FASHION PHOTOGRAPHERS:GUY BOURDIN

Guy Bourdin was born in Paris in 1928 and first wanted to be a painter. In 1950 he met Man Ray, and became his protégé.
Bourdin made huge waves in the fashion world with his seductive, provocative, and at times violent imagery, he created images that contained fascinating stories and compositions, he was among the 1st to create images with narratives, telling stories.
During the 1950s, Guy Bourdin launched his career with fashion assignments for Vogue Paris working in B&W, and after he developed color photography to its maximum effect, creating dramatic accents with intense color saturation and textures in his compositions. Bourdin with searingly bright colours, showing clothes as never shown before.
 Bourdin's models always seemed younger and more playful, they seemed like happy victims of his camera, and with their very strong make-up and especially vivid lipstick, their appearance was often a pastiche of normal fashionability. They frequently looked like perfectly painted toys.
In 1955, Bourdin took a job at Vogue Paris–a job that he held until 1987–working alongside Helmut Newton. In the late '70s with his shots Bourdin was the promoter and advocate of a radical change in the field of fashion photography and creative imaging. In his career he worked for Vogue and Harper's Bazaar signing many collaborations and campaigns such as those for Charles Jourdan, Issey Miyake, Claude Montana, Chanel and Emanuel Ungaro.
 Guy Bourdin influenced many photographers such as Jean Baptiste Mondino, David La Chapelle, Mert and Marcus , Miles Aldridge, Terry Richardson.

Charles Jourdan 1970

Charles Jourdan 1980

Charles Jourdan 1977

Vogue France 1954