Material swagger, bow-ties and Monsieur Jean-Yves

Félix Moati monsieur Jean-Yves fait son cinéma, Paris 2011

artistic direction Garlone Jadoul, photography Markus Lambert

How can the tie, that little bit of fancy folie for men, be up-dated 

into a fashion-art statement? 

Monsieur Jean-Yves has found the way. He has taken that object of lesser affection, the bow-tie, and with the artistry of his knots and the exclusiveness of his specially made fabrics, he is on the edge of a sartorial revolution. The bow-tie - noeud papillon - has the zest of the outsider who wins us over. Those who chose the bow-tie in the recent past were always a little on the renegade side. The problem is, they weren't always as well-dressed as they wanted to be.  Lack of quality? There's no excuse anymore.

all photos: Monsieur Jean-Yves

Monsieur Jean-Yves' celebration of Cannes

The glory of fabric is key

a subdued peacock

authentic fine feathers

and it goes on. Really, the choice is difficult...

Contemporary Parisian dandies are not legion but they are everywhere. Up to them to peruse these haute façon accessories to find their own. Tying is optional, do-it-yourself or pre-tied, some bows will fête the most special occasions and others will add spank to a simple denim shirt.   

If you do not find your bonheur in his vast and varied collections,

Monsieur Jean-Yves also has a bespoke tie service.

Those of you who know me, know I've always liked ties and any way of celebrating the day with a bit of color and precious textile. Monsieur Jean-Yves has found the way to do so by uniting tradition and technology with the spirit of the today.

for more, Monsieur Jean-Yves

Contemporary rugs: Chevalier éditions

Rugs still...  now for something joyous underfoot!

photo espace-chevalier

Rug Paris by Julien Kolmont de Rogier 

wool and silk

photo espace-chevalier

Rug Panier by Stephen Burks

wool and silk

photo espace-chevalier

Rug Radiation by Eric Gizard

wool and silk

photo espace-chevalier

Rug Stries by Stephan Lanez

wool and silk

photo espace-chevalier

Rug Cirle 7 by Stephan Lanez

wool

I can't stop pointing to the beauty. Every moment and place says, 

"Put this design in your carpet!"

Djalâl ad-Dîn Rûmî

1207-1273

for more rugs, Chevalier Editions

Textile traces: Marie-Antoinette's last rug

photo St Tyl

My last posting made me think of another rug I had seen that is associated with Marie-Antoinette. In many ways the rug I just showed you at the Domaine de Madame Elisabeth, made with her own hands, could be considered her last.  Here, this relic, the fragment of a rug pictured above, is said to have been located in the Marie-Antoinette's prison cell at the Conciergerie.  It is not much to look at, but it is document of the past.

source: monuments-nationaux

In color, it  resembles the rug in the painting by Gervais Simon, La reine dans son cachot. 

photo St Tyl

The painting was commissioned by Louis XVIII is part of the Expiatory Chapel of the Conciergerie today,

photo St Tyl

where walls are covered with silver tears and draped with black hangings, traditional signs of mourning.

Textiles from the Domaine de Madame Elisabeth

La gazette d’été pour Madame Élisabeth, 1792,
Archives nationales © Archives Nationales /Pierre Grand

The property of Madame Elisabeth youngest sister of Louis XVI, is open to the public for the time of an exhibition which will last until the 21st of July. Princess Elisabeth of France, known as Madame Elisabeth, is intimate figure among the entourage of Louis XVI and Marie-Antoinette.  She was the generous, humane  and witty sister who never married, having intentionally chosen 'to remain at the foot of the French throne rather than to be seated on the throne of another country.' Orphaned at the age of 3, perhaps she felt her remaining family more important than any thing else. Her fidelity would later cost her life; the exhibit is entitled, Madame Elisabeth, princesse au déstin tragique. 

The graceful art de vivre of the years immediately preceding the Revolution is demonstrated through art, furnishings and artifacts, such as this Gazette des atours d'été, a catalogue of swatches for dresses worn in the year 1792. This was the last year before her imprisonment at the Temple with the royal family which was spent at the château des Tuileries. The dress of this year became necessarily more simple and no embroderies are noted among the pages of this gazette. Habitually, the use of a Gazette des atours is considered to serve in the choice of clothing for the day by placing a pin in the fabric samples. The lack of pin traces here suggests instead a document for inventory or accounting purposes.

Princess Elisabeth of France, known as Mme Elisabeth 

by Adélaide Labille-Guiard 1788

MV 7332 © RMN / EPV

The Domaine de Madame Elisabeth, a gift from her brother Louis XVI, is situated in the Montreuil sector of Versailles. In the princess' day, Montreuil was a village outside of Versailles and Mme Elisabeth, known for her charity to the villagers was called the Bonne Dame de Montreuil - the Good Lady of Montreuil. Notice the beautiful rendering of airy lace collar and of the folds and pleats in the good lady's bodice!

Caraco ou « pierrot » et jupe, vers 1789,
musée Galliera © L. Degrâces et Ph. Joffre / Galliera / Roger-Viollet

This ensemble from 1785-85 made of cotton and linen batiste is embroidered in chain stitched multi-colored silk.  It represents the new freedom of fashion in the second half of the 18th century, whose silhouettes flowed more with the natural lines of the body. Ladies left off the hoops et whale bones for their more frequent informal country gatherings. The caraco camisole worn over a light cotton corset and supple skirts, not necessarily of the same  fabric, constituted the first clothes to be worn en negligé . This is the casual wear of the period.

Tapis Marie-Antoinette, 1791-1793, Marie-Antoinette et Madame Élisabeth,
château de Versailles © RMN-Grand Palais / Ch. Milet

The importance of needle work for women of the royal court is well-known. Marie-Antoinette and Mme Elisabeth began an immense project after their departure from Versailles for the Tuileries in 1791 which they likely continued during their confinement at the Temple Prison.  It was a rug intended for the throne chamber of the Tuileries Palace, embroidered square by square in wool on canvas. The design of flowers on a dark brown ground is very simple. 

© RMN-Grand Palais / Ch. Milet

Mademoiselle Dubuquoy-Lalouette who supplied the wool and canvas, retrieved the worked squares of canvas and stored them until the Restoration. She had them assembled to make up two large rugs and added decorative - commemorative borders. The above inscription reads,

Tapisserie faite par Marie-Antoinette et Mme Elisabeth pendant les deux dernières années de leur vie

Tapestry made by Marie-Antoinette and Mme Elisabeth during the last two years of their lives

more on the exhibit link here

Moire, mi amore!

photo Dedar

I'd been predicting a comeback for moire. Not that it had ever disappeared entirely, but let's just say that it needed to be rejuvenated. Well, its day has come again. Dedar has produced a beautifully crafted moire called, Amoir Libre, that sends out a ripple of shimmering waves with the beauty of an abstract painting.

photo Dedar

 The true mechanical technique of water marking a fabric is based on folding a dampened, usually ribbed fabric in two so its selvedges meet, then calendaring it between two heated cylinders. Pressure is applied to the ribs of the fabric in such a way as to flatten the warp and weft threads, creating patterns that sculpt its surface. The result is an irregular play of matt and sheen that make formations of veins, loops, stripes and eyes. Patterns that have been mastered and catalogued have entrancing names - moire antique, moire française  moire musique, moire miroir, moire égyptienne -

and moire libre. 

photo Dedar

Dedar has chosen to create a moire libre, a free-style moire in which no two meters of fabric are alike. There is plenty of pattern, but no repeat. 

photo Dedar

In moire libre, the hand of the craftsman who guides the cloth provokes irregular undulations, 

creating a one of a kind pattern. It is an expert's game of chance, only partially predictable.

Its name is a pretty play on words; Amoir libre, like amour libre, promises not to be monotonous.

photo Dedar

The plain fabric comes in 27 colors and is accompanied by two coordinates, such as Lozange (above) and Pavillon. For the coordinates, the moire has undergone a two-step printing process with lacquered pigments and flocking for relief. For a further look, Dedar.