![]() ![]() There was also this big retrospective at the Metropolitan Museum of Art that was coming. “The official version was that she was upset with the fashion industry for not giving her mother the credit that she deserved. Her death, too, was cloaked by her daughter Anne Grès until December 1994 - more than a year after her burial in the South of France. Gomes noted how the couturier later fell on more difficult times at the end of her life and designers like Pierre Cardin, Hubert de Givenchy and Yves Saint Laurent helped her out financially. Noting how some of Madame Grès’ earlier dresses had no boning even though they look as though they did, Gomes said she relied on limited stitching, twisting or braiding to make the wearer feel secure in the garment. ![]() One of her former employees discussed with Saillard some of her intricate techniques so that SCAD students in Atlanta and Savannah will be able to learn them from him and use them on oversized T-shirts. People who worked with Madame Grès said the environment was like a convent because she required silence to create and was very strict, Gomes said. She then spent the remaining war years hiding in the South of France and reopened her atelier after the war. Grès’ studio in Paris was forced to close with the official reason being that it was a time of rationing and her dresses could require up to 60 feet of fabric due to all the details and pleats. However, it was later discovered that the designer had sewn the Star of David with blue thread inside some of those designs as a form of resistance because she was Jewish, Gomes said. Initially designing successfully using the alias “Alix” in the ’30s, she ran into problems in the ’40s for designing gowns for the wives of Nazi officers, Gomes said. He also touched upon some of their biographical backgrounds, explaining how the fashion designer, whose given name was Germaine Emilie Krebs, wanted to become a sculptor but her parents disapproved. It will be a great inspiration for our students to see these two timelines for these two great artists,” Elfering said. They were so successful in what they were doing. Both of them were escaping fascists from the 1930s. With the help of Gert Elfering, who owns the Horst Estate, the upcoming exhibition will spotlight Horst’s work from the ’30s until the ’90s. This fall’s show will feature designs from the ’30s through the ’80s. Working with the Alaïa foundation’s director Olivier Saillard, Gomes noted how the organization has an “incredible” collection of about 700 items. SCAD’s director of fashion exhibitions Rafael Gomes scrolled through some of the striking images and designs that will be featured in each show. Backstage at Alberta Ferretti RTW Spring 2023 ![]()
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