The 1938 Circus collection featured a black evening dress with a padded skeleton stitched on it, boleros heavily embroidered with circus themes, and an inkwell-shaped hat whose feather resembled a quill pen.
The hat came in two versions, one that was all black, and the other, black with a shocking pink heel. The same year saw the designer's Shoe Hat ensemble, a black suit with pockets embroidered with lips and an inverted high-heeled shoe for a hat.
In 1937 Schiaparelli launched the color of vivid pink that she named "shocking," alongside her perfume Shocking!, packaged in a bottle designed by the artist Leonor Fini and based on the shape of Mae West's torso. Incorporating stunts, tricks, jokes, music, and light effects, they were dramatic and lively, and entry to them was as much sought after as tickets to a new play. Her presentations were more like shows or plays than the conventional mannequin parade. Following the Music Collection of 1937, Schiaparelli surpassed herself in 1938 and showed four collections in a single year: the Circus Collection for summer 1938, the Pagan Collection for autumn 1938, the Zodiac or Lucky Stars Collection for winter 1938-1939, and the Commedia dell'Arte Collection or A Modern Comedy for spring 1939. "Schiaparelli collection enough to cause crisis in vocabulary," read a contemporary review of Stop, Look and Listen (Schiaparelli, p. In 1935 Schiaparelli inaugurated themed collections, starting with Stop, Look and Listen for summer 1935. Their ever-changing décor incorporated, at various times, a stuffed bear that the artist Salvador Dalí had dyed shocking pink and fitted with drawers in its stomach, a life-size dummy of Mae West, and a gilded bamboo birdcage for the perfume boutique. Schiaparelli moved her boutique to the Place Vendôme in 1935, commissioning Jean-Michel Franck to decorate her new premises. The Later 1930s Patent drawing for perfume bottle for 'Sleeping' fragrance by Schiaparelli Rather, her work was galvanized by the themes of masquerade, artifice, and play- themes that related closely to the changing status of women in the interwar years, as well as to the avant-garde discourse of the surrealist artists and their circles, some of whom she worked with in the 1930s. Schiaparelli benefited from significant developments in textiles in the 1930s, but she was never purely technologically driven. Notable designs from 1934 included a "tree-bark" dress-actually crinkled rayon-and a "glass" evening cape made from a new synthetic material called Rhodophane. Throughout the 1930s the fashionable silhouette changed from the early 1930s Schiaparelli developed the boxy padded shoulders that were to characterize her mature style. Despite Schiaparelli's reputation as an artistic designer, she was always commercially successful. Later she was to remark that the more outrageous her designs became, the better they sold to a conservative clientele. Davidow and such stores as Saks Fifth Avenue in New York. Despite the 1929 economic crash, which significantly depleted the fortunes of French haute couture, Schiaparelli was still able to work successfully with American manufacturers in the early 1930s, and to sell her models to exclusive importers like William H. Schiaparelli's designs proved popular with Parisians and New Yorkers alike. Yet these early collections contained many hallmarks of her styles of the later 1930s: the innovative use of fabrics, often synthetic striking color contrasts such unusual fastenings as zippers and such eccentric or amusing costume jewelry as a white porcelain "Aspirin" necklace designed by the writer Elsa Triolet. In the late 1920s and early 1930s Schiaparelli was primarily a designer of sportswear whose geometric patterns and sleek lines were in keeping with the mood of the moment. In 1928 she launched her first perfume, S. In the early 1930s her "Mad Cap," a simple knitted hat with distinctive pointed ends that could be pulled into any shape, was a runaway success in the United States, where, like the "bow-know" sweater, it was widely copied by mass-market manufacturers. Her subsequent collections extended beyond sweaters to include dresses and suits, swimsuits and beach pyjamas, ski costumes and sports jackets. Schiaparelli's first collection featured hand-knitted trompe l'oeil sweaters, including an extremely successful black-and-white "bow-knot" sweater that was illustrated in Vogue and immediately sold in the United States.
She briefly became the designer of a small house, Maison Lambal, in 1925 before setting up an atelier in her own name in 1927. Tapestry wool vs yarn.With Poiret's encouragement, Schiaparelli began to design clothes and sell her designs on a freelance basis to small fashion houses.
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