Lanvin on Stairs

Lanvin Gown posed beside stairs. Photo by Horst P. Horst, Vogue, December 1934

 
 

Photo by Arik Nepo, 1949

 
 

Coat and hat Lanvin; coat and hat Cardin; coat and fur Cardin; coat with belt and black hat, on stairs, Carven.  Photo by Jeanloup Sieff. Paris, Jardin des Modes, 1961

 
 

Robe longue Mikonos. Maison Lanvin. Collection Haute couture spring-summer 1970 by Jules-François Crahay

 
 

Prêt-à-Porter Fall 2010 Lanvin by Alber Elbaz. After each model walked the runway, she climbed a dramatic circular staircase at the end

 
 

Lanvin by Alber Elbaz, Pre-collection Spring-Summer 2012. Promotional picture by Max Berlinger

An Intimate Moment with Onlookers

Sitzende Frau mit hochgezogenem linken Bein (Seated Woman With Bent Knee), Egon Schiele, 1917

 
 

In 1917, Egon Schiele painted his wife Edith Harms, and titled his creation Sitting Woman with Legs Drawn Up. The portrait displays Edith sitting on the floor, resting her cheek on her left knee. The fiery red tones of her carefree hair produce a striking contrast with the vibrant greens of her loosely fitted shirt. Her look is bold and intense as she appears to be staring directly at the viewer. Her casual pose and attire create an intimate moment with onlookers.

The suggestive nature of this portrait was not an uncommon trait in Egon Schiele’s work, as he admired the controversial artistic manner of his mentor, Gustav Klimt. However, making eroticism the major theme in most of his artwork got Schiele in trouble with the law. He was imprisoned in 1912 for obscenity in his paintings, an incident that did not deter him from his erotic artwork, (although it may have motivated him to put clothes on Edith in Sitting Woman with Legs Drawn Up). Schiele created approximately 300 paintings and more than 3000 works on paper during his career. His life was cut short when he died of the Spanish Influenza at just 28 years old; his pregnant wife died of the same illness a mere three days later.

In a review of a 1997 Schiele Exhibition, the Museum of Modern Art in New York wrote: “Egon Schiele invested his art with an emotional intensity that, coupled with his radical formal innovations, characterized the Austrian contribution to Expressionism.” The review further added: “His preoccupation with sexuality and existential explorations of the human condition convey him both as a product of his time and an artist who achieved aesthetic maturation when he was barely post-adolescent. The very aspects of Schiele’s art that precluded its popularity during much of his lifetime–ugly distortion in place of accepted notions of beauty, unveiled eroticism, and personal angst–are those for which it is considered most compelling today.”

 
 

Julianne Moore photographed by Peter Lindbergh, 2008. Dress, Lanvin by Alber Elbaz

Fashionable Bunnies

Dorian Leigh in a hat by Paulette. Harper’s Bazaar, October, 1949

 
 

Halston black velvet dress with mink trim, 1966. Collection Museum of The City of New York

 
 

Alber Elbaz

 
 

Stella Tenant and Charles Guislain, photographed by Tim Walker, Tim Walker

 
 

Candice Bergen at Truman Capote’s Black-and-White Ball. The Plaza Hotel, New York. November 28, 1966

 
 

Liza Minnelli, Truman Capote and Studio 54 owner, Steve Rubell

 
 

Andy Warhol and Eddie Sedgwick

 
 

Elsa Peretti in a Halston-designed Bunny costume, photographed by Helmut Newton in New York City, 1975

 
 

Lauren Hutton

 
 

Playboy-inspired logo bathing suit

 
 

 Yasmin Le Bon for Ralph Lauren Fall 1985 “Rabbit Hole” ad campaign

 
 

Betsey Johnson

 
 

Reese Whiterspoon in a still from Legally Blonde (Robert Luketic, 2001)

 
 

Hilary Swank. Photo: Inez van Lamsweerde and Vinoodh Matadin, 2007

 
 

Marc Jacobs. Photo: Craig McDean for the CFDA

 
 

Madonna. Louis Vuitton, 2009 Fall-Winter ad campaign photographed by Steven Meisel.

Lady Gaga in the cover of Neo2 Magazine. September 2009 issue. Photo: Olivier Rauh

 
 

Dita Von Teese

 
 

Beth Ditto

 
 

Emma Watson for Elle UK. November 2011. Photo: Rankin

 
 

Ewan McGregor. Photo: Alexi Lubomirski

 
 

Helena Bonham Carter. The Sunday Times, April 2012

 
 

Carolina Herrera’s Bunny Print dress 2013 Resort Collection

Beware the Wolf

“I love fairy tales because I think that behind fairy tales, there is always a meaning.”

Monica Bellucci

 
 

Italian actress and model Monica Bellucci posing as Little Red Riding Hood

 
 

Red Hot Riding Hood (Tex Avery, 1943). Animated cartoon short subject

 
 

“The magic of Tex Avery’s animation is the sheer extremity of it all. The classic Avery image is of someone’s mouth falling open down to their feet, wham, their eyes whooping out and their tongue unrolling for about half a mile: that is the most wonderfully liberating spectacle. Avery would just stretch the human body and face however he liked, and the result was unbelievably funny. There is no hesitation in his work, no sense that you can go too far. I think that nowadays they should put on Tex Avery festivals as an antidote to political correctness. There is also a childlike sense of immortality and indestructibility in his work; people get squashed, mashed, bashed, bent out of shape, whatever, and they bounce back. In essence, it is like the myth of eternal life.”

Terry Gilliam

The 10 best animated films of all time

The Guardian, Friday 27 April 2001

 
 

The Brothers Grimm (Terry Gilliam, 2005)

 
 

The Brotherhood of the Wolf/ Le Pacte des Loups (Christophe Gans, 2001)

 
 

French director Christophe Gans drew inspiration from manga, comics, and video games as well from filmmakers like Luchino Visconti or John Woo. “I know there is no link between them, but the truth is that the movie is very eclectic and I like to blend cinematographic genres”, he stated.

Fotogramas Magazine, issue number 1896
October 2001

 
 

Little Red Riding Hood Meets the Wolf in the Woods by Walter Crane

 
 

“The better to see you with”, woodcut by Walter Crane

 
 

Illustration by Arthur Rackham

 
 

Karen Elson, Red Cape and Gun. Photo by Tim Walker, 2008

 
 

Dakota Fanning

 
 

 Little Red Riding Hood. Lanvin ad illustrated by Remy Hetreaul, 1945

 
 

Woodcut by Gustave Doré

 
 

The origins of the Little Red Riding Hood story can be traced to versions from various European countries and more than likely preceding the 17th century, of which several exist, some significantly different from the currently known, Grimms-inspired version. It was told by French peasants in the 10th century. In Italy, the Little Red Riding Hood was told by peasants in 14th century, where a number of versions exist, including La finta nonna (The False Grandmother). It has also been called The Story of Grandmother. It is also possible that this early tale has roots in very similar Oriental tales (e.g. Grandaunt Tiger).

The theme of the ravening wolf and of the creature released unharmed from its belly is also reflected in the Russian tale Peter and the Wolf, and the other Brothers Grimm tale The Wolf and the Seven Young Kids, but its general theme of restoration is at least as old as the biblical passage Jonah and the Whale. The theme also appears in the story of the life of Saint Margaret, where the saint emerges unharmed from the belly of a dragon, and in the epic The Red Path by Jim C. Hines.

The earliest known printed version was known as Le Petit Chaperon Rouge and may have had its origins in 17th century French folklore. It was included in the collection Tales and Stories of the Past with Morals. Tales of Mother Goose (Histoires et contes du temps passé, avec des moralités. Contes de ma mère l’Oye), in 1697, by Charles Perrault. As the title implies, this version is both more sinister and more overtly moralized than the later ones. The redness of the hood, which has been given symbolic significance in many interpretations of the tale, was a detail introduced by Perrault.

The story as Rotkäppchen was included in the first edition of their collection Kinder- und Hausmärchen (Children’s and Household Tales (1812)). The earlier parts of the tale agree so closely with Perrault’s variant that it is almost certainly the source of the tale. However, they modified the ending; this version had the little girl and her grandmother saved by a huntsman who was after the wolf’s skin; this ending is identical to that in the tale The Wolf and the Seven Young Kids, which appears to be the source.