Marchesa

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Posted by kaori 04/18/2009 @ 22:10

Tags : marchesa, new york, fashion shows, fashion, entertainment

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Kim Kardashian: Sweating Makes Me Feel Sexy - FOXNews
Guests included Ivana Trump, Real Housewives star Jill Zarin, Beth Ostrosky Stern, feminist attorney Gloria Allred, Marchesa designer Georgina Chapman and Nobu's Richie Notar. Courtney Cox Arquette, David Arquette, Kim Kardashian, Ciara, David Spade,...
Best Fashion of Gossip Girl Season Two - Film.com
The queen bee was crowned prom queen, and it's easy to see why with this decadent Marchesa gown. Doesn't every girl deserve a couture prom dress? It was fashion sabotage when Blair sent Serena down the runway in a Jenny Humphrey-designed dress at her...
Monday night highlights, 5/11/09 - Chicago Sun-Times
Serena will be in a chiffon Dior gown ($19650), while Blair wears a corseted one-of-a-kind Marchesa with feathers. " "House" (7 pm, WFLD-Channel 32): It's right brain vs. left brain on the season finale. "Castle" (9 pm, WLS-Channel 7): Season finale....
Depth in Venice | Chanel's Cultural Cruise - New York Times
The Marchesa Casati hairdos and black liquid murky makeup (executed fantastically by Peter Philips, the creative director of Chanel Beauty) left everybody speechless. The young beautiful dark haired boys walking with the models on the desolate beach...
The Marvelous Hairy Girls by Merry Wiesner-Hanks: review - Telegraph.co.uk
Later the duke presented the teenage Enrico to his brother, a cardinal in Rome, and eight-year-old Antonietta to another relative, the Marchesa of Soragna. The marchesa paraded the girl on social visits, in the manner of a fashion accessory....
Charles Finch Hosts Hollywood Heavyweights in Cannes - Women's Wear Daily
“There have been 10 less parties every night here this year, which is a great thing,” said the producer, before greeting Rachel Weisz, who was wearing Marchesa. Elizabeth Banks, who's been in the spotlight here as one of L'Oréal Paris' new spokeswomen,...
In pictures: Met Museum Gala - BBC News
Marchesa designer Georgina Chapman made actress Kate Beckinsale's gown. "Not only is she beautiful on the outside, but she's strong on the inside," said Champan of her muse. Winona Ryder, Claudia Schiffer and Marion Cotillard also attended the annual...
Jim Gold Lends Support to Charity - Women's Wear Daily
For the 850 women attending (along with a few dozen men), Bergdorf's staged one of it most ambitious fashion shows, featuring evening looks by CD Greene, Dior, Jason Wu, Marchesa, Monique Lhuillier, Naeem Khan, Oscar de la Renta, Pamela Dennis,...
Abbie Cornish and Ryan Phillippe take centre stage at Cannes film ... - Elle UK
And, of course, Abbie and Ryan were there, enjoying more cocktails and chatting to movie mogul, Harvey Weinstein - who also just happens to own Halston, and is married to Marchesa designer Georgina Chapman. Maybe Abbie was securing another outfit for...

Marchesa (brand)

Marchesa is a high-end fashion label co-founded by Georgina Chapman and Keren Craig in 2004. The label is named after socialite Marchesa Luisa Casati. British born Georgina and Keren met at Chelsea College of Art and Design in London. Georgina, a 2001 graduate of the Wimbledon School of Art, began her career as a costume designer. Keren graduated from Brighton Art College in 2000 and subsequently focused on print and embroidery design. Georgina’s draping and design expertise paired with Keren’s textile creations resulted in a business partnership and the establishment of Marchesa in 2004.

Elegant eveningwear, inspired by vintage and Asian influences, defines the Marchesa Collection. The beautifully crafted designs fuse high fashion with an eclectic aesthetic.

In 2006, the label was named one of the CFDA/Vogue Fashion Fund's top ten finalists. Based in London and New York, the Marchesa collection is presently available in Neiman Marcus and Bergdorf Goodman in the United States.

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Marchesa Casati (Augustus John)

The Marchesa Casati is a portrait of Luisa Casati by Augustus John, that is perhaps the best known work in the collection of the Art Gallery of Ontario in Toronto.

The painting was done in 1919. John had been attached to the Canadian forces as a war artist during the First World War, and he was hired to make record of the Canadian participation at the Paris Peace Conference that year. While painting the Canadian Prime Minister and other dignitaries, he used the opportunity to join the Parisian artistic and cultural community. He met Casati at a party hosted in Paris by a mutual friend, Maria Ruspoli, and the two became lovers. John did three paintings of the Marchesa, but the AGO one is the best known.

At this time Casati had already bedded a number of famous artists, and had been a subject for many others. Rather than present her in one of the mythological guises other artists had, John chose to try and capture her flamboyant, but at the same time guarded personality. It depicts the Marchesa with fiery red hair, highlighted by a muted background, that might depict a stormy view of the Italian Alps near her home.

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Iris Origo

Iris Origo D.B.E.(1902-1988), the Marchesa Origo, was an Anglo-Irish-American writer, who devoted much of her life to the improvement of the Tuscan estate at La Foce, near Montepulciano, that she purchased with her husband in the 1920s.

Iris Margaret Cutting was born on 15 August 1902, the daughter of William Bayard Cutting, the son of a rich and philanthropic New York family and Sybil Cuffe, the daughter of Lord Desart, an Irish peer. Her parents travelled widely after their marriage, particularly in Italy.

Following the early death of Bayard Cutting in 1910, Sybil Cuffe settled with her daughter Iris in Italy, buying the Villa Medici in Fiesole, one of Florence’s most spectacular villas. There they formed a close friendship with Bernhard Berenson, who lived not far away at I Tatti. Iris was briefly enrolled at school in London, but was largely educated at home, by professor Solone Montia and a series of French and German governesses.

In 1918, Iris’s mother married the architectural historian Geoffrey Scott, who later embarked on a relationship with Vita Sackville-West. The marriage was to last until 1927; following their divorce, she was to marry for a third time, to the essayist Percy Lubbock. She died in 1943.

Iris travelled to England and the United States in order to be launched in the society of both countries. In 1922, she first met Colin Mackenzie, a young Scottish businessman working in Milan; a romantic, epistolary affair was followed by a lifelong friendship.

On 4 March 1924, Iris married Antonio Origo, the illegitimate son of Marchese Clemente Origo and a man possessed of good looks and much charm. They moved together to their new estate at La Foce, near Chianciano Terme in the Province of Siena. It was in a state of bad disrepair but which, by much hard work, care and attention, they succeeded in transforming.

During the Second World War, the Origos remained at La Foce and looked after refugee children, who were housed there. Following the surrender of Italy, Iris also sheltered or assisted many escaped Allied prisoners of war, who were seeking to make their way through the German lines, or simply to survive. Her account of this time, War in the Val D'Orcia, was the first of her books to be a popular, as well as a critical, success.

After the war, Iris divided her time between La Foce and Rome, where the Origos had bought a flat in the Palazzo Orsini, and devoted herself to writing. The Origos also spent holidays at Gli Scafari, the house built by Iris’s mother at Lerici, on the Gulf of Spezia.

Antonio Origo died on 27 June 1976, and Iris Origo herself died on 28 June 1988. In 1977, she had been created an Honorary Dame Commander of the British Empire.

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Un giorno di regno

Verdi Giuseppe.jpg

Un giorno di regno, ossia il finto Stanislao (A One-Day Reign, or The False Stanislaus, but often translated into English as King for a Day) is an operatic melodramma giocoso in two acts by Giuseppe Verdi to an Italian libretto by Felice Romani, based on the play Le faux Stanislas by Alexandre Vincent Pineu-Duval. Un giorno di regno was Verdi's first attempt at comic opera.

The first performance was at Teatro alla Scala, Milan, September 5, 1840. The premiere was a failure, and the composer was actually seated in the orchestra pit during the first performance, and thus heard the audience reaction directly. Verdi himself and the critics acknowledged that the failure was partly due to the composer's own personal circumstances, as his two chldren and then his first wife Margherita Barezzi died during its composition between 1838 and 1840. La Scala cancelled the remaining scheduled performances, and did not revive the work until 2001.

Other productions during Verdi's lifetime in Italy were given in Venice in 1845, in Rome in 1846, and Naples in 1859. Verdi would not attempt another operatic comedy until the end of his career with Falstaff.

The opera is very rarely performed. In the US, it received its premiere on 18 June 1960 while in the UK, the premiere took place on 21 March 1961. It was part of the San Diego Opera’s June 1981 "Verdi Festival". Along with Oberto and other early Verdi operas, it opened the New York Grand Opera Company’s "Viva Verdi!" 1994-2007 presentation of all Verdi's operas in chronological order under Vincent La Selva. The Bronx Opera Company (NYC) has performed it twice, in 1983 and 1994. It has yet to be included in the Sarasota Opera's "Verdi Cycle".

Belfiore is a guest at the home of Baron Kelbar and he comments to himself on his change of fortune: Compagnoni di Parigi...Verrà purtroppo il giorno / "If only my old comrades in Paris could see me now, the most dissolute officer in the regiment turned philosopher king." The Baron has recently arranged a political alliance by betrothing his daughter, Giulietta, to La Rocca, the Brittany Treasurer, but Giulietta prefers La Rocca's nephew, Edoardo. Another undesired marriage involves the Baron's niece, the Marchesa del Poggio, a young widow who is in love with Belfiore. She has become engaged to the Count of Ivrea because Belfiore has been unable to commit himself to marrying her, in spite of the fact that he does love her.

Knowing of the Marchesa's imminent arrival and concerned that she might reveal his false identity as the King, Belfiore writes to Stanislaw and asks to be released from his commitment. Edoardo reveals his predicament to the "King" and begs to be taken to Poland with him in order to forget about the woman he loves. In addition, when the Marchesa arrives and, upon being introduced to Belfiore as "the King", she pretends not to recognize him. Likewise, he pretends not to recognize her, but she is determined to test him by proclaiming her love for the Count: Grave a core innamorato...Se dee cader la vedova / " ".

Giulietta is alone with her attendants and expresses unhappioness in having to marry and old man: ’Non san quant'io nel petto...Non vo' quel vecchio / " “. When the Count and La Rocca arrive, followed in succession by Belfiore and Edoardo and then the Marchesa (who was planning to help the lovers), Belfiore draws the Count and La Rocca away on the pretext of discussing state business, leaving the young lovers alone with the Marchesa.

Maintaining his role as the King, Belfiore makes the Treasurer an offer of advancement which would include marriage to a rich widow. By accepting, he agrees not to marry Giulietta. When the treasurer tells the Baron that he refuses to marry his daughter, the Baron is affronted and challenges him to a duel. To add to the confusion all round, the Marchesa immediately proposes that Giulietta and Edoardo be married immediately. However, the false King returns and proposes that he will decide on a solution that will satisfy everyone.

Following the "King's" pronouncement, the servants are mystified and they sing a carefree chorus which leads to Edoardo seeking their support and announcing his hope of still be able to marry Giulietta: Pietoso al lungo pianto...Deh lasciate a un alma amante / " ".

Belfiore, the Treasurer, and Giulietta enter discussing the reasons for the Baron's opposition to his daughter's marriage to Eduardo. Giulietta explains that the young man's poverty is the main objection and so Belfiore immediately rules that the Treasurer must give up one of his castles and give over a sum of money to the young man, and then all will be well. The latter is somewhat reluctant to disobey his sovereign, but seeks a way out of his duel with the Baron.

Belfiore and the Marchesa meet on the veranda, the former still unable to reveal who he really is. This incenses the lady, who boldly states that it is her intention to marry the Count of Ivrea. However, she cannot understand why Belfiore is taking so long to reveal himself and still hopes for his change of heart: (andante) Si mostri a chi l'adora... / " ". When Count Ivrea is announced, she takes a defiant stand (cabaletta): Si, scordar saprò l'infido / " ". Since Eduardo has pledged to join the "King" when he goes to Poland, Giulietta is determined to get the King to rescind the commitment. The Count enters and the Marchesa once again states that she will marry the Count. However, Belfiore immediately forbids the marriage for 'reasons of state' and announces that he and the Count must leave for Poland to deal with state business.

All express their feelings, but things come to a halt when a letter arrives for Belfiore. It is from King Stanislaw announcing his safe arrival in Warsaw and releasing Belfiore from his task of impersonating him. In return, the king has created him Marshall of France. Before dropping the disguise, the "King" proclaims that Giulietta and Eduardo are to be married and, having received the Baron's consent, reads the true king's letter and reveals his true rank. He expresses his love for the Marchesa and all ends happily with the prospect of two weddings.

Note: "Cat:" is short for catalogue number by the label company; "ASIN" is amazon.com product reference number.

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Scot D. Ryersson

Scot D. Ryersson (Born: September 10, 1960 in Suffern, New York) is an award-winning illustrator, graphic artist and writer. In addition to many critiques and essays on film and literature, he is the co-author of the biography Infinite Variety: the Life and Legend of the Marchesa Casati.

Ryersson is Co-Director of The Casati Archives, devoted to preserving the artistic and cultural legacy of Luisa Casati. It was founded by Ryersson and Michael Orlando Yaccarino in 1999 upon the original publication of Infinite Variety. In addition to original materials, books and ephemera, this library contains artwork reproductions and photographs of and inspired by Marchesa Casati.

Trained at London’s Chelsea School of Art and Design, for many years Ryersson was a motion picture poster designer in the United States, Canada and Europe. Credits include advertising campaigns for The Silence of the Lambs (1991), Ghost (1990) and Witness (1985), The Changeling (1980), Children of the Corn (1984), Working Girl (1988), She Devil (1989), Pet Sematary (1989) and Presumed Innocent (1990). Ryersson was presented with two Art Directors of London Awards for his poster designs for the British films Evil Under the Sun (1982 film) (1982) and Another Country (film) (1984). The concept poster design for The Silence of the Lambs was voted fifth place of the "Fifty Greatest Film Posters of All Time" by Britain's Empire magazine, while earning sixteenth place for the same accolade by the U.S. publication Premiere in their August 2001 issue.

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Source : Wikipedia