Gigi is a 1958 American musical romantic comedy film directed by Vincente Minnelli processed using MGM’s Metrocolor. The screenplay by Alan Jay Lerner is based on the 1944 novella of the same name by Colette.
Cecil Beaton, Portrait of Leslie Caron for Gigi directed by Vincente Minnelli, 1958 via
Portrait of Leslie Caron for Gigi directed by Vincente Minnelli, 1958 via
Portrait of Leslie Caron for Gigi directed by Vincente Minnelli, 1958 via
Gabrielle Ray (1883 – 1973), was an English stage actress, dancer and singer, best known for her roles in Edwardian musical comedies.
Gabrielle Ray by Bassano Ltd, published by Aristophot Co Ltd
hand-coloured postcard print, 1900s.
© National Portrait Gallery, London via
Gabrielle Ray by Bassano Ltd, published by Aristophot Co Ltd
hand-coloured postcard print, 1900s
© National Portrait Gallery, London via
Gabrielle Ray by The Biograph Studio, published by Davidson Brothers
hand-coloured bromide postcard print, circa 1903
© National Portrait Gallery, London via
Gabrielle Ray by W. & D. Downey, published by The Philco Publishing Co
hand-coloured bromide postcard print with glitter and sequins, circa 1905
© National Portrait Gallery, London via
Gabrielle Ray by W. & D. Downey, published by The Philco Publishing Co
hand-coloured bromide postcard print, 1905
© National Portrait Gallery, London via
Gabrielle Ray published by Davidson Brothers
hand-coloured postcard print, circa 1905
© National Portrait Gallery, London via
In 1911, publisher Lucien Vogel dared photographer Edward Steichen to promote fashion as a fine art in his work. Steichen responded by snapping photos of gowns designed by leading French fashion designer Paul Poiret, hauntingly backlit and shot at inventive angles.
The photographs were published in the April 1911 issue of the magazine Art et Décoration. According to historian Jesse Alexander, the occasion is:
“now considered to be the first ever modern fashion photography shoot,”
The garments were imaged as much for their artistic quality as their formal appearance
Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via
Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via
Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via
Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via
Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via
Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via
Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via
Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via
Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via
Portrait of Queen Mary (1867–1953) when Princess Victoria Mary of Teck, sitting prior to wedding, 6 July 1893. The Diamond rivière necklace was a gift from King Edward VII and Queen Alexandra in memory of the Duke of Clarence, 27 February, 1892. Photo by James Lafayette via
Portrait of Queen Mary (1867–1953) when Princess Victoria Mary of Teck, sitting prior to wedding, 6 July 1893. The Diamond rivière necklace was a gift from King Edward VII and Queen Alexandra in memory of the Duke of Clarence, 27 February, 1892. Photo by James Lafayette via
Rita Martin (1875-1958) started her photographic career in 1897 when she helped her elder sister Lallie Charles to run her studio. In 1906 she opened her own studio, working in a similar studio to Charles, photographing subjects in pale colours against a pure white background, and focused on actresses such as Lily Elsie and Lily Brayton and child studies, particularly of Gladys Cooper’s two children.
Martin’s and Charles’ few surviving negatives were presented to the National Portrait Gallery by their niece Lallie Charles Martin in 1994.
Dame Gladys Cooper
by Rita Martin, published by J. Beagles & Co
bromide postcard print, 1910. © National Portrait Gallery, London via
Dame Gladys Cooper
by Rita Martin, published by J. Beagles & Co
bromide postcard print, 1910. © National Portrait Gallery, London via
Lily Elsie (Mrs Bullough)
by Rita Martin, published by J. Beagles & Co
bromide postcard print, 1907. © National Portrait Gallery, London via
Lily Elsie (Mrs Bullough)
by Rita Martin, published by J. Beagles & Co
bromide postcard print, 1907. © National Portrait Gallery, London via
Lily Brayton as Katherine in ‘The Taming of the Shrew’
by Rita Martin
postcard print, 1904. © National Portrait Gallery, London via
Lily Brayton as Katherine in ‘The Taming of the Shrew’
by Rita Martin
postcard print, 1904. © National Portrait Gallery, London via
Nora Kerin in ‘The Prince and the Beggarmaid’
by Rita Martin, published by Rotary Photographic Co Ltd
bromide postcard print, 1908. © National Portrait Gallery, London via
Nora Kerin in ‘The Prince and the Beggarmaid’
by Rita Martin, published by Rotary Photographic Co Ltd
bromide postcard print, 1908. © National Portrait Gallery, London via
Jeanne Margaine-Lacroix has been neglected by fashion historians. She inherited her couture house from her mother Mme. Margaine, in 1899. The following year she changed the name to Margaine-Lacroix.
She influenced the new slender line of fashion. She was famous for her revolutionary corsetless dresses and her ground-breaking front-lacing corsets. In the 1900s, Paris was the fashion capital of the world. Couturiers routinely sent mannequins to the racecourse, wearing their latest designs. Her models caused a sensation at Longchamp in 1908.
Three mannequins walked onto the racecourse dressed in blue, white and havane brown creations by Margaine-Lacroix. According to newspapers, spectators called the three women a “monstrosity”, accused them of being semi-naked and showing revolting décolletage .
However, soon women everywhere were wearing dresses after Margaine-Lacroix’s design.
In the Spring of 1908, three women walked onto the Longchamp racecourse in Paris and caused a scandal by the semi-naked clothes they were wearing via
Longchamp racecourse, Paris 1908 via
Tanagréenne back drape on Sylphide dress by Jeanne Margaine-Lacroix. Here is an example of her slender, corsetless line, the robe-tanagréenne. It is worn by her favourite model, who small bust and simple hairstyle were avant-garde for the time and contrasted strongly with the generally accepted ideals of fashionable feminine beauty in the first decade of the twentieth-century, 1908 via
Sylphide dress with Tanagréenne back drape by Jeanne Margaine-Lacroix, 1908 via
Margaine-Lacroix mannequins pictured in the Parc de Vincennes in March 1910, wearing the new jupe-culotte – an early version of trousers via
March 1910. Margaine-Lacroix mannequins in the new jupe-culotte via
Queen, the High Diving Horse, Brockton Fair, Massachusetts, circa 1899 via
Joan of Arc, circa 1912 via
Ella Bradna, Equestrian, circa 1903 via
Loie Fuller, Glorine, Butterfly Dancer, 1902 via
Charmion, Strong Woman, 1904 via
Nettie Carrol, circa 1904 via
Annette Kellerman, circa 1907 via
Gertrude Dewar, Mademoiselle Omega, Brockton Fair, Massachusetts, 1908 via
Mademoiselle Scheel with Lions, circa 1905 via
Living Statues, circa 1905 via
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