Brand history: Pierre Cardin. Pierre Cardin - rich and successful fashion designer Pierre Cardin Collections
Pierre Bourdieu's model (sociological)
Pierre Bourdieu is more distant than others from verbal communication itself. Rather, it describes the context that, as a result, predetermines certain types of symbolic actions. This context gets from him
Name habit. John Lechte believes that habitus is a type of "grammar of action that helps distinguish one class (for example, the dominant) from another (for example, the subordinate) in the social field"; . P. Bourdieu himself says that the dominant language destroys the political discourse of the subordinates, leaving them only silence or borrowed language. More precisely, he defines it as follows: ";Habitus is necessarily internalized and translated into a disposition that gives rise to meaningful practices and meaning-giving perceptions; it is a general disposition that gives a systematic and universal application - beyond what is directly studied - of necessity, internally inherent in the learning conditions"; . Habitus organizes the practice of life and the perception of other practices.
P. Bourdieu studies how the opinions of social classes are distributed across different politically marked newspapers and magazines. At the same time, he rejects the strict connection “reader - newspaper”: “The relative independence of the political opinions of readers from the political trends of their newspapers arises due to the fact that, unlike a political party, a newspaper supplies information that is not completely political ( in the narrow sense usually attributed to this word)"; . The newspaper is presented as a multi-purpose product, providing local and international news, sports coverage, etc., which may be independent of specific political interests. At the same time, the dominant class has a private interest in general problems, since it has personal knowledge of the personalities of this process (ministers, etc.).
P. Bourdieu pays special attention to nomination processes, seeing in them a manifestation of power functions:
"One of the simplest forms of political power consisted in many archaic societies in almost magical power: to name and call into existence through nomination. Thus, in Kabylia the functions of the
explanations and the work of producing the symbolic, especially in situations of crisis when the sense of peace is slipping away, brought poets prominent political positions as military leaders or ambassadors."
Pay attention to the entry into the first row of writers, journalists, directors and other creators of the symbolic, both in the case of the first congresses of people's deputies of the USSR and Ukraine.
He also directly connects power and the word: “It is known that any use of force is accompanied by a discourse aimed at legitimizing the power of the one who uses it. One can even say that the essence of any relationship of power consists in the manifestation of all one’s power only to the extent that what this relationship as such remains hidden. Simply put, a politician is someone who says: “God is with us.” The equivalent of the expression “God is with us” today has become “Public opinion is with us.”
The statement that "The General Confederation of Labor was adopted in the Yenisei Palace" is equivalent to the fact that: "Instead of the signified, a sign was adopted" . And further: “;The signifier is not only the one who expresses and represents the designated group; it is the one thanks to whom the group knows that it exists, the one who has the ability, by mobilizing the group it designates, to ensure its external existence”; .
Here are some other characteristic features of the connection between power and speech:
“Symbolic power is power that presupposes recognition, that is, ignorance of the fact of the violence it commits”; ;
“The oracle effect is the ultimate form of effectiveness; it is what allows an authorized representative, relying on the authority of the group that authorized him, to apply a recognized form of coercion, symbolic violence, to each individual member of the group”; ;
"People who participate in religious, intellectual and political games have their own specific interests that are vital to society.
society... All these interests are of a symbolic nature - not to lose face, not to lose a constituency, to silence a rival, to prevail over a hostile “current”, to gain the post of chairman, etc.”; .
In general, Pierre Bourdieu emphasizes: “Politics is an extremely fertile place for effective symbolic activity, understood as actions carried out with the help of signs capable of producing the social, and, in particular, groups”; . Thus, we have before us a variant of political communication carried out on a symbolic plane. At the same time, communication becomes an “active force” that allows the authorities and politicians to realize themselves.
Paul Grice model (pragmatic)
Paul Grice proposed a series of postulates describing the process of communication. This problem arose when not linguists, but philosophers turned to the analysis of more complex options for human communication. For example, why, in response to a question at the table: “Could you reach the salt?”, we do not say “yes”? and we continue to eat, but for some reason we pass on the salt. What makes us perceive this question not as a question, but as an indirectly expressed request?
P. Grice combined a number of his postulates under the general heading of the “cooperative principle”: “Make your contribution to the conversation as required at this stage in accordance with the accepted goal or direction of the conversation in which you are taking part”; . This general requirement is implemented within the categories Quantity, Quality, Attitude and Method.
1. Make your contribution as informative as required.
2. Don't make your contribution more informative than necessary.
For example, when you are repairing a car and ask for four screws, you are expected to get four in return, not two or six.
1. Don't say what you think is a lie.
2. Don't say anything that you don't have sufficient evidence to support.
For example, when you ask for sugar for a cake, you should not receive salt; if you need a spoon, then you should not receive a “cheating” one. a spoon, for example, made of foil.
For example: when preparing a pie, one or another ingredient is required at each stage; it is not needed earlier or later, although in principle it is needed.
P. Grice analyzes many examples using the proposed maxims. For example:
- I ran out of gas.
- There is a garage around the corner.
According to the requirement to be relevant, it is expected that there is gas in this garage, that the garage is working at this time, etc.
P. Grice describes the rules of communicative behavior that make it possible to analyze not only direct (and simpler) variants of speech interaction, but also other, much more complex ones. True, Ruth Campson criticizes Grice for some vagueness of his principles, when their explanatory power is lost
Model by Petra Ershova (theatrical)
Pyotr Ershov also proposed a certain axiomatics of the communicative field, but for purely applied purposes - theatrical art. The main dichotomy within which he builds his analysis is the opposition between “strong” and “strong”; and ";weak";. He has many su-
natural observations, but they have not yet acquired a systematic character. Therefore, we turn to quotes. First, his ideas about the relationship between the strong and the weak:
“The weak one, trying to make it easier for his partner to fulfill what he wants from him, is inclined to argue his claims in detail... The strong one does not resort to detailed justification of his business demands”;;
"The weak achieve only what is absolutely necessary and are not entirely confident of success; hence haste in using detailed argumentation; but haste entails mistakes and oversights; they must be corrected with even greater haste. This leads to fussiness in speech. The strong have no reason hurry: there is no fussiness in the structure of his speech";;
"The weak one has to smuggle in what is in his interests, because the initiative is given to him only to fulfill what the strong need. Hence the same fussiness. The greater the distance in power between the weak and his partner, the greater the distance the ideas of the weak, the more necessary he is for what he seeks and the narrower the boundaries of the initiative given to him";
“Stronger is the one who needs a partner less, but the need for him can be dictated by both friendliness and lack of strength. Both entail compliance, and one can be passed off as the other, it’s not for nothing that a person’s preferences and his sympathies call him “ ;weaknesses"; .
This is then followed by the transformation of this disposition into processes of information exchange:
";Struggling issues new information, as he thinks, for the partner, so that the changes he needs in the partner’s consciousness occur, and in order to know that they really happened, he obtains information. Therefore, any struggle carried out by speech can be considered as an exchange of information";;
"Often, the information provided turns out to be either not new enough or not significant enough for the partner because what is important for one does not represent the same value for the other. At the same time, the ability of each to take into account the interests and inform in advance is also manifested.
the partner’s importance is the ability to provide information that is most effective in a given situation";;
"By obtaining information, you can a lot of speak, but by giving it away, you can say little";;
“The body of a person who is primarily extracting information, as it were, turns around, opens up to the partner. In the process of verbal influence itself, while a long phrase, for example, is pronounced, the position of the body usually changes somewhat - the extractor has, contrary to his main desire, also to give out information”; ;
"The enemy prefers not to give out, but to obtain information, and since he has to give out, he gives out information that is unpleasant to his partner. At the same time, an intelligent and prudent enemy takes into account the actual interests of the enemy and gives out information that significantly contradicts them, without wasting money on little things that can, while irritating a partner, activate him";;
"Friendliness in the exchange of information is revealed primarily in the readiness to give out information. A person boldly and generously equips a friend with any information at his disposal. A friend should not hide anything, he has no secrets, and he himself is interested in keeping his partner informed";;
“When giving out information in a business struggle, a strong man is inclined to hammer it into his partner’s head, considering the latter, if not stupid, then still not very smart, although perhaps diligent and diligent”; .
In general, Pyotr Ershov developed an interesting set of rules of communicative behavior, taking into account such contexts as “strong/weak”, “struggle”, “friend/enemy”. Every change in context entails a change in his communicative behavior.
Model by Alexander Pyatigorsky (text)
Before his emigration in 1974, Alexander Piatigorsky (currently a professor at the University of London) published within the Moscow-Tartu semiotic school, so his ideas reflect some of the general background of this school. One of my articles-recollections-
He concludes his knowledge with the words: “Semiotics could not become a philosophy of language and tried to replace the philosophy of culture (in Russia and France).”
Each text, he believes, is created in a certain communicative situation between the author and other persons. And further: “;The text is created in a specific, unique situation of communication - subjective situation, and is perceived depending on time and place in a countless number of objective situations." functionally not significant; on the contrary, the main tendency of correspondence is the extreme reduction of time. A letter, ideally, is a purely spatial phenomenon, where time can be neglected (telegram, phototelegram, etc.). To this "timeless" Every newspaper report strives for the ideal. For a note in a notebook, time is not important. The note is not designed for spatial transmission - it must remain in the same place; for this moment it is meaningless." The summary table has the following form, where the ";object" is understood as the one who reads this type of text:
Space |
||||
Letter or telegram | ||||
Article | ||||
Text type | Warning sign | |||
Calendar note in a notebook | ||||
Note with address or phone number | ||||
Epitaph |
In the concept of A. Piatigorsky, special importance is attached to the position of the observer; only in this case does he have a semiotic situation. “If there is no external observer, then what we have will not be a semiotic situation, but an “event” that cannot be interpreted in terms of a “sign”, that is, semiotically” . He considers the sign as a component of the interpretation process.
";This means that although we can endow an object with the quality of a sign, the sign will not be represented in the object itself, but in the interpretation procedure, on the one hand, and in the culture of the observer, on the other. That is, the objective side of the sign can reveal itself only through an external observer. That is why all attempts to transform a sign into a natural object have so far proven fruitless, and the same should be said about all existing classifications of signs"; .
Following M. Buber and M. Bakhtin, A. Piatigorsky develops the problem of the “Other”, translating it into a more complicated version. He rightly criticizes past approaches for forgetting the phenomenological principle: “;Other”; given to you in thinking, only when either he has already become you, having ceased to be the “Other”, or you have already become him, having ceased to be yourself.” His second objection is that “no phenomenology of the “other” cannot be represented as a simple reduction of one consciousness to another. Phenomenology of the "other" is impossible without the premise of “another other”; or “third”... The novel, as a fixed form of consciousness, cannot exist without this “third”, and so - from Sophocles to Kafka."
Answering the question about the relative value of oral and written communication, A. Pyatigorsky turned to the past:
"I think that in the 17th century (I’m talking now only about European culture, including Russian) there was a crystallization of the phenomenon of text. When I talk about
tallization, I do not mean what happened to the text itself. There have always been texts. This is nothing more than a hypothesis or intuition, but the 17th century, apparently, was the century when the man of Europe began to recognize his activity in generating written texts as a completely special, pragmatically fenced off type of activity... I think that the 17th century was the century exceptional importance (comparable in importance only to the 20th century): no matter how clearly they are limited in the consciousness and reproduction of this limitation in special texts";
Our time is characterized by another feature of A. Piatigorsky in relation to texts - there is a relativization of the sacred texts of religions.
"The work of ethnographers, anthropologists and historians of religion of the last 30 years has very often focused on the text as a source of objective information about religion, and in doing so it loses its absolute religious functionality, and in retrospect is already observed as a secondary element of culture. ... This relativization the text gradually acquires a universal character and is one of the signs of the modern science of religion and the modern theory of religion, entirely focused on the mental content, and not on the absolute religious functionality (sacredness) of the sacred text"; .
Thus, we went with A. Piatigorsky from his consideration of the text as a signal to the sacred text, while when the sacred text begins to be rationally analyzed, its sacredness is destroyed.
The text in another study by A. Piatigorsky is characterized by the following aspects:
Text as a fact of objectification of consciousness (“A specific text cannot be generated by anything other than another specific text”; ;
The text as an intention to be sent and received, it is the text as a signal;
The text as “;something that exists only in the perception, reading and understanding of those who have already accepted it”; ,
it follows that no text exists without another; a text has the important ability to give rise to other texts.
The plot and the situation are considered by A. Piatigorsky as two universal ways of describing the text. ";The situation is present inside plot along with events and characters. More precisely, it is most often present as something famous(thought, visible, heard, discussed) to the characters or narrators and expressed by them in the content of the text as a kind of “content within content”; . The text begins to be defined by him as “a concrete whole, a thing that resists interpretation, unlike language, which tends to be entirely interpretable; a mythological text will in this case be a text whose content (plot, etc.) has already been interpreted mythologically"; .
The very understanding of myth is built on the basis of the concept of knowledge. "The basis of the myth as a plot lies old(or general) knowledge, that is, knowledge that must (or can) be shared by all actors. And this knowledge - or its absence, when it is believed that it did not exist before the events - is contrasted with new knowledge, that is, acquired by the characters only during the event." There is another interesting feature of the plot of the myth - as in any ritual, something like this is happening repetitions or imitation what has already taken place objectively and outside the time of the plot." Considering a specific mythological plot in which the king kills a hermit in the guise of a deer, A. Piatigorsky states: "Neither the supernatural knowledge of the hermit nor the natural ignorance of the king can, separately, make the event a myth. Only if they are combined through the extraordinary within one situation (or plot, episode), the latter becomes mythological."
A. Piatigorsky considers the presence of the mythological in three aspects: typological, topological and modal. Within the typological aspect, he introduces
concept of the extraordinary.";Unordinary as creature class forms typological aspect of myth, and the extraordinary as a class events And actions, components of the plot, forms topological its aspect"; . Within the framework of the third aspect: "Intentionality is here that which cannot be motivated, but must, in its absolute objectivity, be thought of as mythological, and not aesthetic or psychological. (...) there can be no difference between the mythological and the way of expressing it. This is why the mode or model (in particular numerical or other) of the mythological is not trope";.
Answering the question “What is mythology?”, A. Pyatigorsky gives the following formula: the hero “is an extraordinary person with unusual behavior (typological aspect); his actions and the events attributed to him constitute a certain specific... to the inexhaustible generator of film ideas who remembered the living George Roshal, festivals of the Soviet years in...: GMILIKA, 2007. 5. Pocheptsov G.G. Theorycommunications. M., 2004. 6. Lotman Yu.M.: cit. based on the book. G.G. Pocheptsov. Theorycommunications. M., 2001. 7. there...
"Fort/Da" Slava Yanko
BookCirculation 3000 copies. 240 pp. GeorgiyPocheptsovTHEORYCOMMUNICATIONS theories Pocheptsov, Georgiy
"Fort/Da" Slava Yanko
BookCirculation 3000 copies. 240 pp. GeorgiyPocheptsovTHEORYCOMMUNICATIONS| zip Culture and cultural studies... . Text. Problems of non-classical theories knowledge Culture and cultural studies... cultural studies Online 512 p. Pocheptsov, Georgiy"History of Russian semiotics" Culture and...
Text theory
TutorialIn particular: Krasnykh V.V. Basics of psycholinguistics theoriescommunications. M., 2001. Kolshansky G.V. Communicative... Mount St. George less than when... semantics. Minsk, 1984. 66. Pocheptsov G.G. Pragmatics of the text // Communicative-pragmatic...
On the birthday of the legendary couturier, Buro 24/7 recalls the main lessons he taught
A student of Christian Dior, a close friend of Jean Cocteau, a passionate admirer of Maya Plisetskaya and the main avant-garde artist of French fashion, Pierre Cardin opened the world's eyes to many things. He came up with colored tights, jackets without collars, high boots and mini sundresses, he was the first to understand the potential of Asia and presented the collection in Beijing, he was the first to think that men also want to be fashionable. Using Cardin as an example, Buro 24/7 talks about what should not be forgotten.
Fashion must go to the masses
The Dior disciple was the first to stage a ready-to-wear show at the Printemps department store in 1959. There he began selling his collection, lowering prices so that not only the rich and aristocrats, but also ordinary people could buy designer items. For this, the high fashion trade union expelled Pierre from its ranks, because he “dishonored” the profession. Nevertheless, five years later, Cardin not only returned to the union, but also became its chairman.
Men want to dress beautifully too
Cardin was one of the pioneers of the unisex style, and in 1960 the designer decided to go further and created the first men's clothing collection in history. Before this, fashion was considered an exclusively ladies' art. Immediately after the show, the guys from the Beatles became his regular customers, and they brought popularity to Cardin's tight trousers with buttons and jackets without a collar.
Commerce is important
According to legend, Dior admonished the aspiring fashion designer with the words “Pierre, sell high - talent must be paid.” Apparently, Pierre listened to the words of his mentor. The collections exhibited at Printemps brought the designer a steady income, but he also designed cars, airplanes, airline uniforms, and since 1960 he began selling licenses to produce goods under his own name.
Now he has more than 600 licenses in 140 countries around the world. At one time, everything from lighters to canned fish came out under the Pierre Cardin brand, and the Frenchman’s fashion empire is valued by banks at $200 million.
Everyone needs a family
As sad as it may be, today the 92-year-old couturier is ready to sell off his business empire just to find a worthy successor, because he has no family. Cardin was known for his affairs with both women and men. Today the designer lives on his own and hopes to transfer the company into good hands, but remain working in it as a creative director.
The soul must rest
Cardin is a well-known philanthropist and philanthropist, a passionate supporter of theater and architecture.
“When I was sixteen years old, I really wanted to be an artist, but fate decreed otherwise,” said Cardin. “After the war, I began to study to be a tailor, but I still loved dance and theater.” When Jean Cocteau invited Cardin to design costumes and sets for the film Beauty and the Beast, the young designer enthusiastically took up the job.
Soon he met the ballerina Maya Plisetskaya. “I saw her in Carmen, fell in love at first sight, and we became friends.” Since then, he has sewed costumes for all of her productions, as well as various evening dresses and casual ensembles, which he always presented to the artist as a gift.
His passion for the theater was expressed in a more obvious form: in 1970, Cardin bought the Paris theater complex Café des Ambassadeurs, renamed it in his honor - Espace Pierre Cardin, and still provides it for performances by both eminent and emerging talented artists.
In addition, Cardin owns the Maxim restaurant chain and collects architectural masterpieces of France, including the famous Bubble Palace, where Raf Simons showed his cruise collection, and the medieval Lacoste Castle, where the Marquis de Sade once lived.
The childhood of Pierre Cardin
The famous couturier was born and raised in a poor French family. He was the sixth child. Cardin's father served as a mercenary soldier, then worked as a winemaker. Pierre could have followed in his footsteps, but since childhood he dreamed of creating his own empire of beautiful clothes. Already at an early age, he began to be attracted to the theater (due to the wide variety of costumes) and dolls (which can be sewn into all kinds of outfits).In 1926, the parents of the future fashion designer moved to their homeland, France. At the age of 14, Cardin got a job as a tailor's assistant.
The youth of Pierre Cardin
At the age of 17, Pierre went to Vichy, where he worked as a tailor in a men's clothing store. Having acquired certain skills, the energetic 23-year-old young man goes to conquer Paris. Pierre does not change his dream and continues to study architecture, design and sewing. He worked in various fashion studios in Paris: Madame Paquini Elsa Schiaparelli.At the same time, Pierre met Jean Cocteau and Christian Berard. It is they who form the patronage of the young couturier and Cardin receives his first big order - to make costumes and masks for the film “Beauty and the Beast”.
The beginning of the career of fashion designer Pierre Cardin
About two years later, having gained experience, the young man became the leading fashion designer in the studio of Christian Dior, for whom he worked for about three years.Pierre Cardin is fond of clear geometric lines, ignores the female form, designs the famous “bubble dresses” and presents them in his collections. Developing the traditions of the legendary Coco Chanel, Cardin experiments a lot and offers his clients clothes in a unisex style. We can say that in almost all of his endeavors the fashion designer adheres to the avant-garde style.
In 1957, Cardin created the first collection of women's clothing, which was a tremendous success. He has proven himself to be a specialist in bias cuts, semi-fitted lines and vibrant colours. Thanks to him, short tunics appear, glasses, helmets and unusual shapes, evoking cosmic fantasies, become fashionable.
In the mid-fifties, the fashion designer opened his first boutique called “Eve”. And three years later, he decides to take a bold step and takes on men’s clothing and opens a store called “Adam”.
Pierre Cardin received the order from Vladimir Putin
Cardin was one of the first to offer clothes for men in all the colors of the rainbow. Now this is something that goes without saying, but at the time it seemed like an extremely bold decision.
One of the successes of this wonderful stylist was that he was the first to stage a show right in the store, and not on a prestigious catwalk. This caused a public scandal. The future celebrity was expelled from the trade union for attempting to dishonor the couturier profession.
A little later, the fashion designer decides to create a collection of children's clothing. A children's clothing store, Pierre Cardin, opens in Paris. And after some time, such stores already appeared all over the world.
Recognition and glory of the fashion designer
In 1957, Cardin made his first trip to Japan. Here he was awarded the title of honorary professor at the Japanese College of Design. Cardin was the first international fashion designer to turn to Japan as a fertile market for high fashion.Throughout the sixties, the fashion designer continued to work on creating fancy shapes and bright colors in clothes. Realizing that the avant-garde style of clothing is not always acceptable to the general population, the couturier gradually moves to a more traditional style. In 1961, a classic-style clothing store opened in Paris.
Pierre Cardin: to Russia with love
Having completely and unconditionally conquered Europe, the couturier went to New York in 1966. The success of his collections exceeded all expectations and a Cardin store opened in this city. In the same year, Pierre Cardin was awarded the international Golden Distaff prize in Krefeld (Germany).
Wide range of interests, hobbies of Pierre Cardin
Fashion is not the only thing Cardin is interested in. He left his mark in perfumery, in the design of the Toyota Rav 4, produces champagne and children's toys, and opened a hotel in California.In 1981, the famous couturier acquired the Maxim restaurant chain. Soon branches of the restaurant opened in London, Beijing and New York.
In 2006, Pierre Cardin opened a museum in Saint-Ouen, where he collected all his creations.
The couturier was even accused of wanting to put his name on everything from cars to food.
Personal life of Pierre Cardin
Pierre Cardin devoted his entire life to work. But the designer was not limited to work only. The main love of the “silk king”’s life was the famous actress Jeanne Moreau. 
They were introduced by Coco Chanel. Sympathy for each other soon grew into a deep feeling. All four years of their marriage they dreamed of children. But, unfortunately, Moreau could not have them. After parting, Moreau and Pierre remained friends.
The only thing Cardin regrets is that he has no heirs. One of the main contenders for the inheritance, which, according to Cardin, is worth 71 billion, is his nephew, Rodrigo, better known as a pianist.
Pierre Cardin today
Today Pierre Cardin is not only a famous trendsetter. He is the owner of restaurants, the Espace Cardin theater, an author of books, and a creator of furniture and interior items. Winner of 24 prestigious international awards, Commander of the Legion of Honor and the Order of Merit, Knight of the Order of Arts and Letters Now the House of Cardin produces up to 20 thousand models of clothing and accessories per year. More than 200 thousand people work at its factories around the world.Pierre Cardin patented 800 different products, his business includes two theaters, restaurants, 8 thousand boutiques of perfumes, watches, magazines, furniture, cigarettes and much more. The company's annual turnover is approximately $12 billion.
International fashion trendsetter Pierre Cardin, despite his age, is full of creative plans and ideas. Inexhaustible energy and good health allow us to hope that many of his ideas will come to life.
Pierre Cardin is a name and at the same time a brand, the sound of which makes the hearts of fashionistas and fashionistas around the world skip a beat. A talented fashion designer, a brave creator and a competent businessman, this man created his own fashion empire, proving that hard work and a dream can achieve a lot.
Childhood and youth
The future couturier was born on July 2, 1922 in the Italian town of San Biagio di Callalta into a large and poor family. Pierre's father was a military man and then became a winemaker. Perhaps it was poverty that made little Pierre become interested in bright theatrical costumes and dolls in luxurious dresses, because he himself could only dream of such outfits.
In 1926, Cardin's family returned to their homeland, France. At the age of 14, Pierre took the first step towards fulfilling his dream: he got a job as a tailor’s assistant. Three years later, having gained experience and self-confidence, the young man moves to the city of Vichy, where he gets a job as a full-fledged tailor in a men's dress shop.
By the age of 23, Cardin could already be called a fully accomplished professional. At this age, Pierre set off to conquer Paris. There, the young master moves from atelier to atelier, gaining experience and making new acquaintances connected with the world of fashion. In the end, such acquaintances helped Pierre receive his first serious order: the master had to sew costumes for the movie “Beauty and the Beast.” Thus began the creative biography of Pierre Cardin.
Design and fashion
Two more years later, Pierre Cardin became the main fashion designer of the “” brand, holding this honorable post for three years. During this time, the couturier managed to establish himself as a bold master, ignoring classical principles and not afraid of bold experiments. It was at this time that Cardin’s iconic “bubble dresses” and the first unisex clothing appeared (which was incredibly provocative).
The collections of Pierre Cardin caused a lot of gossip and gossip, but much more they aroused admiration and the desire to own stylish things. Later, the couturier would be called the pioneer of the avant-garde style in fashion: Pierre Cardin's clothes, shoes and bags were truly unusual and shocking, far ahead of their time.
In 1957, Pierre Cardin presented his first collection of women's clothing. The master was a dizzying success: the bias cut, bright colors and semi-fitted dresses were to the liking of both fashionistas of all ages and strict fashion critics, stingy with approval. Also, humanity owes the fashion for tunics, glasses and clothes of non-standard cut to Pierre Cardin.
Pierre Cardin opened his first store in the mid-1950s. The boutique was called Eve. Three years later, the designer's second store opens - Adam. It is not difficult to guess that “Adam” offered clothes for men, and “Eve” - outfits for the fair half of humanity. Men also owe their colorful clothes to the great couturier: Cardin was the first to offer the stronger sex outfits not only in dark, gray and brown tones.
At that time, such a decision required remarkable courage and strength of character, since the strict public reacted too harshly to manifestations of dissent. Another distinctive feature of Cardin is his love for bright and unusual shows. It didn’t cost the master anything to arrange a show directly on the street or in a store. Nowadays, this seems commonplace, but at that time it was just a blatant breaking of stereotypes.
Fashion house
Pierre Cardin opened his own fashion house in 1950, finally fulfilling his childhood dream. At the same time, the fashion designer showed himself not just as a talented couturier, but as a tough and prudent businessman who knows exactly what is needed for the business and knows how to set prices correctly.
Shoes "Pierre Cardin" The fashion designer became the first person in the fashion industry to think of entering the market not only in Europe, but also in Russia, China, Japan and other countries. In addition to clothing and accessories, lighters, alarm clocks and even frying pans began to be produced under the name Pierre Cardin. Pierre achieved his goal: the name of his empire became a household name, and the logo of the Pierre Cardin house was recognized even by those who did not follow fashion.
Logo "Pierre Cardin" In 1957, the fashion designer personally went to Japan, where he received the title of professor at the Japanese College of Fashion and Design. In 1959, the designer presented a collection of prêt-a-porter clothing (that is, clothing affordable to all segments of the population). This act shocked the fashion community, and the designer was even removed from the lists of the Parisian association called Chambre Syndicale, which at that time controlled everything related to high fashion.
The 1960s were marked by the release of clothes of unusual shapes and bright colors: the master remained true to himself. However, the couturier is gradually softening the “heat of passion” in the design of everyday urban clothing, realizing that not everyone can afford to come to work in a bright suit. In 1961, Pierre Cardin made concessions to traditions and stereotypes, opening a clothing store made according to classical canons.
Clothing "Pierre Cardin" In 1966, Pierre Cardin presented his work for the first time in New York. The delight with which the collections were greeted exceeded even the designer’s wildest expectations, and soon another Pierre Cardin store opened in New York. This year was also marked for the couturier with the honorary award “Golden Distaff”, which was awarded to the master in Germany. In addition to fashion, Cardin was always interested in other manifestations of art: architecture, theater. In 1970, the great master bought a theater complex in Paris and named it Espace Pierre Cardin.
Personal life
The personal life of Pierre Cardin turned out to be no less shocking than the clothing models. The fashion designer did not hide his interest in men, but Pierre also had a place in his heart for a lady. Actress Jeanne Moreau, whom many considered the wife of Pierre Cardin, became a muse for the master, an object of adoration and admiration.
Pierre Cardin and "wife" Jeanne Moreau “I idolized this woman and felt at the height of happiness. As if she was created especially for me. She turned my whole soul upside down,” Pierre Cardin later admitted.
Their relationship lasted four years, then, by the will of fate, communication between Jeanne and Pierre ceased.
Another close person of Pierre Cardin is Andre Oliver, who was a friend, loyal ally, business partner and, according to rumors, lover to the couturier. Pierre himself commented on his own personal life:
“I've slept with women, I've slept with men. Im free person. I have been loved, seduced and desired by extraordinary people.”
Pierre Cardin now
Now Pierre Cardin, despite his advanced age, continues to keep his finger on the pulse of his own brainchild. The collections and catalogs presented on the official website of Pierre Cardin are constantly replenished and updated, and Pierre is constantly looking for new ways and solutions that will lead to the development of the company. For example, in 2016, news circulated in the media that the great couturier had begun negotiations to transfer tailoring to Russia.
In 2017, the fashion designer traditionally pleased fans of the brand with new seasonal collections and bright photos from the shows. From time to time, Pierre Cardin makes attempts to sell the company, citing the fact that he has no heirs, and the business must remain in good hands. However, the great empire has not yet found a buyer. Perhaps this is due to the colossal cost requested by Pierre Cardin and, according to the latest information, amounted to 1 million euros.
The first fashion futurist Pierre Cardin was born on July 2, 1922 in the Italian town of San Biagio di Callalta, near Venice, in the family of a hereditary winemaker. He almost never talked about his family and school years, so the first details about the life of the future Parisian couturier are associated with the early forties, when he left Italy to study.
From
Towards the end of the war, he moved to Paris, where he began to take his first steps in fashion. At first, his teachers were women: Cardin worked in the atelier of Jeanne Paquin and Elsa Schiaparelli, from whom he learned to perceive clothes as an artist’s canvas and not be afraid of non-standard moves. At the same time, he met Jean Cocteau and Christian Berard, thanks to whose patronage he received his first serious order: Pierre was offered to create costumes and masks for the film “Beauty and the Beast.”
From
After just a year, he left all his studies to work for Christian Dior. He spent four years with the maestro, gaining experience in clothing design, after which he decided to start his own business. In 1950, the Pierre Cardin brand appeared. The designer's first atelier was located on a small street in the first arrondissement of Paris, between the Grands Boulevards and the Rue Saint-Honoré - very soon Cardin's legendary colleagues will open their first boutiques in the neighborhood.
From
In the first years, the designer focused exclusively on creating costumes for the theater, but after quite a short time, in 1953, he presented his first women's collection. Even then, Cardin began to use unusual synthetic materials, and used moonlight as lighting at his shows. Very soon the designer presented a “ball dress”, and that silhouette, which became no less famous than Dior’s new look, is still quoted by everyone without exception. Just a year later, Cardin’s name began to be recognized throughout the world, and his boutique called “Eve” opened on Rue Faubourg Saint-Honoré, in the prestigious eighth arrondissement of Paris.
Three years later, having established his reputation, he decided to make a bold move and took up men's clothing, although at that time fashion was considered the prerogative of women. The designer opened a store called “Adam”, he was one of the first to offer men the ironic clothes in all the colors of the rainbow that now seem to be something taken for granted.
At the same time, the designer went to Japan for the first time, where he learned about new technologies in the sewing business, and upon returning from there, he accepted an offer from the Bunka Fukosa design college and began teaching courses in three-dimensional clothing design. The next decade saw a series of endless design awards for Cardin, which he received all over the world. The consequence of this was the first women's ready-to-wear collection, which he presented at the Parisian department store Printemps. It marked the beginning of a warm relationship between the designer and the iconic store: his work has always been given a special place under the colorful dome on Boulevard Haussmann, and most recently they opened a pop-up store dedicated to Cardin’s legacy. Despite this, he was expelled from the Haute Couture Syndicate for "flirting with the street." However, the designer’s couturier status was returned very quickly.
In those years, he managed to launch a children's line, open several new stores, hold his own exhibition and, for the first time, give his name to a collection of porcelain tableware from one large manufacturer. By the mid-eighties, Cardin held his first shows in Beijing and Shanghai, celebrated thirty years of creative activity with a large-scale exhibition at the New York Metropolitan Museum of Art, and also opened new stores and representative offices around the world, from China to Bulgaria. Then he decides to try his hand at business: the designer acquires a share in the legendary Parisian restaurant Maxim’s, where he has been holding his presentations ever since.
In the summer of 1991, Cardin organized a grand show in Moscow - about two hundred thousand people gathered on Red Square. Gradually, Cardin began to increasingly accept offers that were far from fashion: he developed the design of plumbing fixtures, furniture and car seats, produced champagne and children's toys, opened new restaurants in Budapest and Rio de Janeiro, and even took on his own hotel in California. At the same time, he faced accusations of wanting to put his name on everything he could, from vehicles to food. Despite this, his merits as a couturier were emphasized almost daily: the Victoria and Albert Museum in London organized an exhibition in honor of the fortieth anniversary of the Pierre Cardin women's line and the thirtieth anniversary of the men's line (which then went on “tour” around the world), the designer was nominated to receive the Order Legion of Honor, awarded Japan's highest award - a gold and silver star, and then was even chosen as an honorary ambassador of UNESCO. The new status involved traveling around the world, so Cardin begins to move from country to country, opening new stores along the way, and meets Fidel Castro and Nelson Mandela.
In between, he releases several fragrances, opens one restaurant after another and receives an invitation to design a new Toyota Rav 4 - Cardin's futuristic design was in demand not only in fashion. In the mid-nineties, the former couturier decided to suspend the work of his own House. However, two years ago he announced the revival of Pierre Cardin and returned to Paris Fashion Week with a ready-to-wear collection.
In 2010, the famous publishing house Assouline dedicated a 200-page book to Pierre Cardin, which collected his best works - “60 years of Innovation”.