Brand history: Pierre Cardin. Pierre Cardin - rich and successful fashion designer Pierre Cardin's wide range of interests, hobbies

The great Italian, who worked all his life for the French fashion week, the owner of a huge fortune in France and the owner of the creative ideas of his own brand. The biography of Pierre Cardin is full of fascinating and amazing facts and his personal history of turning points. Pierre was born in 1922 in a small Italian town near Venice.

Pierre Cardin: biography

Pierre Cardin: the beginning of a career

Pierre Cardin: ready-to-wear collection

Pierre Cardin in Russia

Pierre Cardin: personal life

Pierre Cardin: charity

He dressed the first beauties of the planet and the most popular performers. It's hard to even imagine how famous people he was dressed. They fell in love with him, worshiped him. But there were only a few women who left the brightest mark on his soul. He is still proud of his acquaintance and friendship with them.

Jeanne Moreau: true love

Jacqueline Kennedy: good friendship

Marlene Dietrich: expressive star

Maya Plisetskaya: a real diva

Pierre Cardin collaborated and collaborates with many famous fashion models, and the famous fashion designer of the 19th century chose to make the first fashion model out of his wife Marie.

Cardin is one of the pioneers of the unisex style, where he experimented a lot and not always expediently. He founded his fashion house in 1950 and introduced his "bubble dress", which became fashion history, in 1954.

Pierre Cardin was born on July 2, 1922, in San Biagio di Callalta, near Treviso. He was educated in the central part of France (France). At the age of 14, Cardin became an apprentice tailor, learning the basics of fashion design and adopting information about its construction.

In 1939, Pierre left home and got a job in an atelier in Vichy, where he began to cut suits for women. During the Second World War, Cardin worked for the Red Cross, where he was imbued with humanistic ideas, which he does not part with to this day.

Cardin moved to Paris (Paris) in 1945, where he studied architecture and worked with the fashion house of Jeanne Paquin (Jeanne Paquin). He also represented Elsa Schiaparelli and then became head of Christian Dior tailoring in 1947. Around the same period, Pierre was denied a job at Balenciaga.

Cardin opened his own fashion house in 1950. The ascent to fame began with the creation of 30 costumes for the "party of the century", a masquerade ball, held on September 3, 1951 at the Palazzo Labia in Venice (Venice). Pierre switched to haute couture clothes in 1953.

Cardin was the first couturier to secure Japan's status as a haute couture market. The fashion designer visited the Land of the Rising Sun in 1959. In the same year, Pierre was expelled from the Syndicate haute couture- for the launch of the ready-to-wear collection in Printemps department stores. He became the first couturier in Paris who "descended" to the level of a ready-made collection, but soon the syndicate accepted Cardin back.

In the 1960s, Cardin began to practice what is now used on a regular basis. We are talking about the licensing systems used in the fashion sector. Pierre's collections, released during this period, surprised everyone - for the first time the fashion designer's logo appeared on clothes.

Pierre retired from the Haute Couture Syndicate in 1966 and began showing his collections at his own venue, Espace Cardin (formerly the Théâtre des Ambassadeurs theater complex), opened outside the US Embassy in Paris in 1971. "Espace Cardin" has also been used to promote new talent, including theater groups and musicians.

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Carden worked under contract with Pakistan International Airlines, for whom he designed the uniform. An instant hit, the uniform was used from 1966 to 1971.

In 1971, the fashion designer breathed new life to Barong Tagalog, a traditional Filipino men's shirt. The new design was approved by Philippine President Ferdinand Marcos.

Cardin remained a member of the French Haute Couture and Ready-to-Wear Federation from 1953 to 1993.

Like many other current fashion designers, Pierre decided in 1994 to show his collection only to a small circle of selected clients and journalists. After a break of 15 years, Cardin showed his new creations to a group of 150 journalists at his bubble house in Cannes.

Pierre entered industrial design by developing thirteen basic design "themes" that were used for various products.

The fashion designer was under contract with American Motors Corporation (AMC). Following the success of Aldo Gucci's "Hornet Sportabout" interior, AMC used the Cardin theme for the AMC Javelin, launched in mid-1972. Thus, the "AMC Javelin" became one of the first American cars, whose plumage design was created by a famous French fashion designer.

Several updates special variant interior "Javelins" was made in 1973. Over the course of two model years, a total of 4,152 AMC Javelins received a bold multicolored stripe pattern in Chinese color tones of red, plum, white and silver on a basic black background.

The Cardin Javelins' automotive design also featured the designer's emblems on the front fenders and the use of a specific set of body colors, including combinations such as "Trans Am Red", "Snow White", "Stardust Silver", "Diamond Blue" and "Wild". Plum". However, a specially ordered "very dark shade of black" ("Midnight Black") was used for 12 Cardin-designed cars.

Seriously fascinated by geometric figures, Cardin in 1975 used one of his objects of fetishism - the shape of a bubble - for his monumental work. The fashion designer built "Le Palais Bulles" (eng. "Bubble House"), a house-bubble, using the services of the Hungarian architect Antti Lovag (Antti Lovag).

Naturally, the interior of the bubble house is filled with Pierre's original creations. The total area of ​​the building is 1200 square meters. The bubble house has ten bedrooms decorated with works by contemporary artists and a living room with panoramic windows.

Cardin bought the Maxim restaurant in 1981; branches were soon opened in New York (New York), London (London) and Beijing (Beijing). Currently, the network of hotels "Maxim" is functioning. A number of food products are produced under the same name.

In 2001, Pierre bought the ruins of a castle in Lacoste, Vaucluse department, where the Marquis de Sade once lived. Cardin partially restored the castle, where he held music and dance festivals, including together with Marie-Claude Pietragalla (Marie-Claude Pietragalla).

Cardin is the owner of the Palazzo "Ca" Bragadi" in Venice. The fashion designer claimed that the palace-mansion once belonged to Giacomo Casanova, but, in fact, it was the home of Giovanni Bragadin di San Cassian, Bishop of Verona and a Venetian elder.

For many years Andre Oliver remained Pierre's ally, friend, lover and business partner.

The first couturier elected to the French Academy of Fine Arts, commander of the Order of Merit, commander of the Legion of Honor, everyone knows his name, every girl dreams of a dress from his collection - this is the unsurpassed Pierre Cardin!

The fashion designer turned the world of fashion, created new images that influenced the whole world of high art of fashion designers. What did he do to make his name associated with the most beautiful images more than the name of Dior himself? In this article we will get acquainted with the life of Couturier and his products.

Biography of Cardin before fame

Pierre was born in 1922, July 7th. His real homeland is Italy, but from the age of three he lives in France, where his family decided to move.

IN school years Cardin had no friends, he was teased by classmates, called pasta.

His father was a winemaker, he wanted his son to take over his business, but Pierre was always drawn to clothes. He looked at the girl's dress and mentally altered it. Cardin wanted to be a theatrical producer.

His family was poor, so Pierre always had a predisposition to help other people. During World War II, Pierre Cardin helped the workers of the Red Cross. From the age of fourteen he worked at a clothing factory for sewing women's clothing.

Assistant to Christian Dior

When the war ended, Pierre moved to Paris. He was taken to work in the fashion house of Dior, where he quickly began to master the business.

In 1950, Pierre Cardin decided to open his small atelier, because he had a lot of tailoring ideas. Dior easily lets him go, but on the road he advised to sell his products expensively, because they will be exclusive, not factory.

Theatrical costume designer

Pierre Cardin has always been indifferent to the theater stage, so he began to collaborate with several theaters. The costumes were simply magical, they were distinguished by exclusivity and special charm.

In 1963, Pierre comes to Russia. He was simply amazed by this country, its theater. Pierre Cardin returned here many times to provide his costumes for performances. His hand created outfits for "Anna Karenina", "Juno and Avos" and many others. The great ballerina Maya Plesetskaya became his muse; for her performances, he prepared his most chic works.

But Pierre Cardin sewed not only for the theater, clothes for men became more diverse thanks to the fashion designer. For the first time for men, he sewed costumes for the Beatles. Collarless jackets and tight trousers were first introduced by Pierre Cardin.

Clothing for men: reviews

In 1957, Pierre opened the first boutique only menswear. It's called "Adam".

Pierre Cardin has always been considered an avant-garde and innovator. He contributed to men's fashion elongated jackets, buttons on trousers. The trousers themselves, with his light hand, were sutured so that they became almost tight. Ridiculous wide ties and huge butterflies also appeared. He didn't focus on pure men's colors clothes, boldly dyed things for men both in pink and in purple colors, was not afraid to decorate jackets with a pattern of flowers, multi-colored patterns.

Real dudes began to appear thanks to Pierre and his ideas. Things were sold out with cosmic speed, and in the very near future he was recognized as a couturier, he was included in the High Fashion Syndicate.

Reviews at the present time about the male models of his clothes are the most positive. The colors have become more restrained, but there are also special bright collections. Be that as it may, every man can choose clothes according to his taste for any occasion. Many write in networks about couturier clothes, that they are really comfortable, the brand is recognizable and unique. The choice is varied. There is no specific style, clothes for everyone: from athletes to classics, from restrained things to avant-garde.

Also, many write about the reasonable price. Unlike other famous couturiers, prices for clothes from Pierre are more affordable.

Pierre Cardin: clothes for women

For the fair sex, the couturier changed the whole world, completely changed everything! Pierre Cardin presented women with high boots, colored stockings, mini-dresses and sundresses, bubble jackets. The balloon silhouette was also designed by Pierre Cardin. Clothing for women, the photo of which you can see in our article, has become simply unique, bright, bold and sexy. Following him, other fashion designers began to repeat.

In 1959, Pierre Cardin was the first to create a ready-to-wear collection. Women could freely buy these dresses in stores, and not wait until they were made to order. It was for this that Pierre was expelled from the High Fashion Syndicate.

After some time, he was again accepted there, since all fashion designers would have to be excluded, because now everyone had a collection of ready-made outfits.

Differences Cardin from other designers

The most important thing today is affordable prices for everyone for fashionable clothes from a real couturier. Pierre Cardin never increased the cost, because he was once practically a beggar. He wants everyone to be able to afford quality and exclusive items.

Pierre Cardin was the first to produce men's sleeveless shirts, he was the first to come up with a dress belt above the waist - under the chest. His outfits are light and feminine. Strict silhouettes soften, and strongly frivolous, on the contrary, become more modest. His things are contradictory, they cannot be described in words - you must see!

Men's fashion, thanks to the efforts of Cardin, has become more diverse. She has lost her imposing appearance.

Pierre Cardin was again the first to create a unisex collection, that is, for both men and women. This was a real breakthrough in the fashion world. Girls, thanks to him you can wear pants!

Now Pierre is over ninety years old, but there was no more talented couturier in the world.

Pierre Bourdieu model (sociological)

Pierre Bourdieu is more remote than others from verbal communication proper. Rather, it describes the context that, as a result, predetermines certain types of symbolic actions. This context gets from him

Name habit. John Lechte considers habitus to be a type of "grammar of action that helps distinguish one class (eg dominant) from another (eg subordinate) in the social domain"; . P. Bourdieu himself says that the dominant language destroys the political discourse of subordinates, leaving them only silence or a 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 conditions of learning"; . Habitus organizes the practice of life and the perception of other practices.

P. Bourdieu studies how the opinion of social classes is distributed among various politically marked newspapers and magazines. At the same time, he rejects the rigid link "; reader - newspaper";: in the narrow sense usually attributed to this word)"; . The newspaper appears as a multi-purpose product, providing local and international news, sports, etc., which can be independent of specific political interests. At the same time, the dominant class has a private interest in common problems, because he has personal knowledge of the personalities of this process (ministers, etc.).

P. Bourdieu pays special attention to the processes of nomination, seeing them as a manifestation of power functions:

"One of the simplest forms political power consisted in many archaic societies in an almost magical power: to name and call into existence with the help of nomination. So, in Kabylia, the functions of

explanations and work on the production of the symbolic, especially in a situation of crisis, when the sense of the world is slipping away, brought the poets prominent political posts of military leaders or ambassadors"; .

Pay attention to the appearance in 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 links power and 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. what that relationship as such remains hidden. Simply put, a politician is one who says, "God is with us." The equivalent of "God is with us" today is "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 character traits connections of power and words:

"Symbolic power is power that presupposes recognition, i.e., ignorance of the fact of the violence it creates"; ;

";The effect of the oracle is the ultimate form of effectiveness; this is what allows the authorized representative, relying on the authority of the group that authorized him, to apply to each individual member of the group a recognized form of coercion, symbolic violence"; ;

";People involved in religious, intellectual and political games have their own specific interests that are vital to the general

society ... All these interests are symbolic - not to lose face, not to lose the constituency, to silence the rival, to prevail over the hostile "trend", to get the post of chairman, etc. ";

On the whole, Pierre Bourdieu emphasizes: ";Politics is an exceptionally fertile place for effective symbolic activity, understood as actions carried out with the help of signs capable of producing the social, and, in particular, the group"; . Thus, we have before us a variant of political communication carried out on a symbolic plane. At the same time, communication becomes an "acting 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 issue arose when not linguists, but philosophers turned to the analysis of more complex variants of human communication. For example, why, in response to a question at the table: ";Could you reach for the salt?";;, we do not say ";yes"; and continue to eat, but for some reason we pass the salt. What makes us perceive this question not as a question, but as an indirectly expressed request?

P. Grice united a number of his postulates under the general heading of ";cooperative principle";: ";Make your contribution to the conversation as it is required at this stage in accordance with the accepted goal or direction of the conversation in which you are participating"; . This general requirement implemented within the categories Quantity, Quality, Relationship and Mode.

1. Make your contribution as informative as it needs to be.

2. Don't make your contribution more informative than necessary.

For example, when you fix 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 things you don't have enough evidence to back up.

For example, when you ask for sugar for a pie, you should not get salt; if you need a spoon, you should not get "fraudulent"; a spoon, for example, made of foil.

For example: when making a pie, one or another ingredient is required at each stage, it is not needed sooner or later, although in principle it is needed.

P. Grice analyzes many examples using the proposed maxims. For example:

- I've run out of gas.

- There's a garage around the corner.

According to the requirement to be relevant, it is expected that this garage has gasoline, that the garage is open at that time, etc.

P. Grice describes the rules of communicative behavior, which allow one 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 Pyotr 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 of "strong"; and ";weak";. He has a lot of

significant observations, but they have not yet acquired a systemic character. So we turn to quotes. First - his ideas about the relationship between strong and weak:

"; The weak, seeking to make it easier for the partner to fulfill what he is seeking from him, tends to argue his claims in detail ... The strong does not resort to detailed justifications for his business requirements" ;;

"; The weak one achieves only the absolutely necessary and is not completely sure of success; hence the haste in using detailed argumentation; but haste entails errors, 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, as it were, what is in his interests, because the initiative is given to him only to fulfill what the strong needs. Hence all the same fussiness. The greater the distance in strength between the weak and his partner, according to to the ideas of the weak, the more he needs what he seeks and the narrower the limits of the initiative provided to him ";;

"Stronger is the one who needs a partner less, but the need for him can be dictated by friendliness itself and a lack of strength. Both entail pliability, and one can be passed off as the other, it's not for nothing that a person's passions and sympathies call him ;weaknesses"; .

This is followed by the transformation of this disposition into information exchange processes:

";Struggling issues new, as he thinks, information for the partner, so that the shifts he needs in the partner's consciousness take place, 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 given out 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 pre-inform

partner's vanity - the ability to give out information that is most effective in a given situation ";;

";Getting information, you can a lot of to speak, and giving it away, you can say little ";;

“The body of a person who mainly obtains information, as it were, unfolds, opens up to a partner. In the process of verbal influence itself, while a long phrase, for example, is being pronounced, the position of the body usually changes somewhat - the person who obtains information has to, contrary to his main desire, also 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 the partner. little things that can, irritating a partner, activate him";;

";Friendliness in the exchange of information is found primarily in the willingness to give out information. A person boldly and generously arms a friend with any information at his disposal. A friend should not hide anything, he has no secrets, and he himself is interested in informing a partner ";;

“Giving out information in a business struggle, a strong man tends to hammer it into his partner’s head, considering the latter, if not stupid, then still not too smart, although, perhaps, diligent and executive”; .

In general, Petr Ershov has an interesting set of rules for communicative behavior, taking into account such contexts as ";strong/weak";, ";fight";, ";friend/enemy";. Each change of context in him entails a change in communicative behavior.

Model of Alexander Pyatigorsky (text)

Prior to his emigration in 1974, Alexander Pyatigorsky (currently a professor at the University of London) published within the framework of the Moscow-Tartu semiotic school, so his ideas reflect some of the general background of this school. One of my articles-remember-

he concludes his studies with the words: "Semiotics could not become a philosophy of language and tried to replace the philosophy of culture (in Russia and in France)";.

Each text, he believes, is created in a certain communicative situation of the author's connection with other persons. And further: ";The text is created in a specific, single connection situation - subjective situation, is perceived depending on time and place in countless objective situations";. In the same work ";Some general remarks regarding the consideration of the text as a kind of signal"; (1962) he traces the interaction of the categories of space and time with the text. ";For writing, time functionally insignificant; on the contrary, the main tendency of correspondence is the maximum reduction of time. Ideally, writing is a purely spatial phenomenon, where time can be neglected (telegram, phototelegram, etc.). To this "timeless"; Every newspaper report aspires to 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 ";object"; means the one who reads this type of text:

In the concept of A. Pyatigorsky, special importance is attached to the position of the observer, only in this case a semiotic situation arises for him. "If there is no external observer, then what we have will not be a semiotic situation, but an 'event', which cannot be interpreted in terms of a 'sign', that is, semiotically"; . The sign is considered by him as a component of the process of interpretation.

"; This means that although we can endow an object with the quality of a sign, the sign will be presented not in the object itself, but in the procedure of interpretation, 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 as through an external observer. That is why all attempts to turn a sign into a natural object have so far proved fruitless, and the same must be said about all existing classifications of signs "; .

Following M. Buber and M. Bakhtin, A. Pyatigorsky develops the problem of the "Other", translating it into a more complicated version. He rightly criticizes past approaches in oblivion of the phenomenological principle: ";Other"; is given to you in thinking, only when either he has already become you, ceasing to be "the Other", or you have already become him, ceasing to be yourself. cannot be represented as a simple reduction of one consciousness to another. The phenomenology of the ";other"; impossible without the premise of "other 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. Piatigorsky turned to the past:

";I think that in the 17th century (I am now talking only about European culture, including Russian), the phenomenon of the text crystallized. When I talk about the

talization, I don't 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 realize his activity in the production of written texts as a completely separate, pragmatically fenced off kind of activity ... I think that the 17th century was a century of exceptional importance (comparable in importance only with the 20th century): no matter how clearly limited in consciousness and reproduction of this limitation in special texts"; .

Our time is typical for A. Pyatigorsky with another feature in relation to texts - there is a relativization of the sacred texts of religions.

";The works of ethnographers, anthropologists and historians of religion of the last 30 years have very often focused on the text as a source of objective information about religion, and at the same time it loses its absolute religious functionality, and retroactively already observed as a secondary element of culture. ... This relativization text gradually acquires a universal character and is one of the hallmarks of the modern science of religion and modern theory a religion entirely oriented towards the mental content, and not towards the absolute religious functionality (sacredness) of the sacred text"; .

Thus, we went with A. Pyatigorsky from his consideration of the text as a signal to the sacred text, and when the sacred text begins to be rationally analyzed, its sacredness is destroyed.

The text in another study by A. Pyatigorsky is characterized by the following aspects:

The text as a fact of the objectification of consciousness ("; A specific text cannot be generated by anything other than another specific text"; ;

Text as an intention to be sent and received is text as a signal;

Text as ";something that exists only in the perception, reading and understanding of those who have already accepted it"; ,

hence it follows that no text exists without the other, the text has an important ability to generate other texts.

The plot and the situation are considered by A. Pyatigorsky as two universal ways text descriptions. ";Situation present inside plot along with events and actors. More precisely, it is most often present as something famous(thought, seen, heard, discussed) by actors or narrators and expressed by them in the content of the text as a kind of "content in content"; . The text begins to be defined by him as ";a concrete whole, a thing that resists interpretation, in contrast to language, which tends to be fully interpretable; a mythological text will then 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. "At the heart 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 beginning of events - is opposed to new knowledge, that is, acquired by the actors only in the course of the event ";. There is another interesting feature the plot of the myth - as in any ritual, "something like repetition or imitations 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. Pyatigorsky 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. Pyatigorsky considers the presence of the mythological in three aspects: typological, topological and modal. Within the framework of the typological aspect, he introduces

notion of the non-ordinary."; The non-ordinary as creature class forms typological aspect of myth, but the extraordinary as a class events And action, constituting 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 conceived as mythological, and not aesthetic or psychological. (...) there can be no difference between the mythological and the way it is expressed. That is why the mode or model (in particular numerical or otherwise) of the mythological is not path";.

Answering the question "What is mythology?", A. Pyatigorsky gives the following formula: the hero "is an extraordinary person with extraordinary behavior (typological aspect); his actions and events attributed to him constitute a certain specific ... to the inexhaustible generator of movie ideas, who remembered the living George Roshal, festivals 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...