Fairy-tales | Page 2 | the Fashion Spot

Fairy-tales

a bit too outdated to be part of a trend... but i thought of this dress, from stella mccartneys debut for chloe, when i saw this topic, because at the time it made me think of snow white: (pic from www.firstview.com)


i like gwen stefani's take on alice and wonderland, but don't think white tights will catch on
 

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thank you so much flick...
i never saw the stella mccartney that way before...
but next to the animation it is so true...

amazing...
no wonder i liked it...
:lol:
 
From nytimes.com:



Grim Fairy Tales

By INGRID SISCHY
Published: August 28, 2005

An over-the-top banquet is in full swing, but the heir to the kingdom, an ever-so-handsome prince, is not eating. ''I was thinking how odd the world is,'' he confesses. A pal laments, ''They say it will stop turning.'' No, says our prince, ''the fairies will never let it happen.'' This deliciously hopeful moment is just one of many memorable passages in Jacques Demy's 1970 movie, ''Donkey Skin,'' one of the kookiest, most vibrantly colorful pieces of celluloid to ever come out of France. The film has become such a cult favorite among artists -- it stars a singing, jaw-droppingly gorgeous Catherine Deneuve and was recently re-released with a restored print (overseen by the director Agnes Varda) -- that I predict it's only a matter of time before it crops up as an inspiration in fashion. How can designers resist a plot in which the heroine asks for a dress the color of the weather -- and gets it? John Galliano, do I hear you taking out your scissors?


No wonder the film is such a lightning rod. It taps into the zeitgeist so beautifully. Not since the Victorians have we seen so many artists working with the iconography and narratives of fairy tales; some are picking up on childhood classics, while others are inventing new stories. From Paula Rego's odd, touching paintings to Amy Cutler's spellbinding scenarios to an ever-expanding group of contemporary photographers, including Justine Kurland, Anthony Goicolea and Anna Gaskell, who imbue their images with a sense of magic, as well as menace, this body of work seems to be a response to our anxious world and the inevitable question, How can we believe that there will be a tomorrow, let alone a future in which people live happily ever after?

In the same way that the Victorians plumbed the natural world as an antidote to the threats posed by industrialization, today's fairy tales are another sort of paradigm for getting through what appears to be impossible. As the artist Kiki Smith pointed out to me recently, contemporary artists set scenes in forests or other Arcadian environments that are obviously outside the culture, clearly removed from class, race and money and free from the hold of technology. With Smith, who is probably the most groundbreaking of the breed, politics is never far away. Explaining the collective mood, she said: ''I was walking down Madison Avenue thinking about the fact that we are at the height of a most glamorous period, with so many people in sequins and jewels. And I realized that what this is about is covering the blood.''

There is no writer who has done more for our understanding of the impact of fairy tales on our evolving consciousness than Bruno Bettelheim. I remember my pleasure when I learned from Bettelheim's influential book ''The Uses of Enchantment: The Meaning and Importance of Fairy Tales'' that one of Charles Perrault's most popular heroines had a serious fan in Charles Dickens. ''I felt that if I could have married Little Red Riding Hood I should have known perfect bliss,'' the writer is said to have confessed. I wonder what he would have made of Miwa Yanagi's 21st-century take on his imaginary bride.

What's immediately striking about Yanagi's view of Western fairy tales (she is from Kyoto, Japan, and established her critical reputation with a series of performance photographs called ''Elevator Girls'') is how she alters the usual implicit distance between generations. All of her characters have the slightly icky look of an inbred clan. Little Red Riding Hood and Grandma hold each other as if for dear life. Nowhere is this give-and-take between those who have lived and those who still have it all before them more touching than in Yanagi's rendition of Rapunzel. A waterfall of hair overwhelms the scene while a scissor threatens; it's a picture of what it means to be ''in it together'' if ever there were one.

In a recent interview, Yanagi explained that she never thinks about her work in terms of posterity. What she is after is more urgent. ''I only realize that there is something when I feel my heart stir,'' she said. Which makes me think of the last line in Marina Warner's compelling study ''From the Beast to the Blonde: On Fairy Tales and Their Tellers.'' She writes: ''The faculty of wonder, like curiosity, can make things happen; it is time for wishful thinking to have its due.'' Let's get out our wands.


Photos which accomponied the piece (all by Miwa Yanagi):


Sleeping beauty





Little Red Riding Hood



Snow White



Rapunzel



Pics also from nytimes.com
 
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oh my goodness dosviolines...
that is incredible....
thank you so so much....
all the lovely gothic goodness...

:heart:


*smacks herself for not getting the paper this weekend*...:doh:...

**that just reminded me...the movie about the brothers grimm is due to be released very soon...
anyone have any info on that?...

seems like good timing...the mood is ripe... B)
 
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softgrey said:
oh my goodness dosviolines...
that is incredible....
thank you so so much....
all the lovely gothic goodness...

Your welcome ^_^
 
Pics from Vogue's april 2005 issue, source: style.com

Drew Barrymore as Beauty from Beauty and the Beast, shot by Annie Leibovitz

A Thorny Problem
Beauty finds herself captive in the Beast's palace when she selflessly offers herself up to save her father from the Beast's almighty wrath. [Her father's crime: picking a rose for his daughter from the Beast's garden.] Chanel Haute Couture gray beaded-and-beribboned dress.
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A Feast for the Eyes
Every night, the Beast proposed marriage to Beauty, but she refused him again and again. Christian Lacroix Haute Couture dress with gold lace petticoat.
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A Haunting Melody
The Beast adorned Beauty with the finest robes and jewels. Here, Barrymore wears a Dior Haute Couture by John Galliano ivory Empire dress with gold beadwork and a large bow on the shoulder.
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Through the Looking Glass
"It's quite a shame that the Beast is so ugly," sighed Beauty, "for he is so good." Chanel Haute Couture white satin dress with beaded lace overlay and Alice-blue ribbons.
img043fh.jpg


A Dark Horse
She wouldn't leave the gentle Beast alone long. Dior Haute Couture by John Galliano strapless white gauze dress and coat with exaggerated cuffs and collar and heavy gold embroidery.
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Midnight in the Garden
"I thought I felt only friendship toward you," cried Beauty, "but I see that I love you." Christian Lacroix Haute Couture voluminously ruffled dress with pink and purple chiffon layers.

img064yc.jpg


In this story: fashion editor, Grace Coddington; hair, Julien d'Ys; makeup, James Kaliardos for L'Oréal.
 
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holy head and hallelujah!!...:woot:
those are great too...!!
:clap:


does anyone have those alice in wonderland pics by annie liebowitz?...:heart:
 
thank for the link ta-ta...

i think dosviolines is gonna post the whole story...:unsure:

*crosses fingers and hopes*....
:innocent:
 
javascript:popUpAlice('/vogue/feature/120103/popup/slideshow1.html') Article and picture from style.com

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Charles Lutwidge Dodgson, a stammering bachelor professor of mathematics at Oxford University, was a gifted amateur exponent of the fledgling art of photography and a man of profound religious beliefs and bounding imagination. Under his nom de plume, Lewis Carroll, he gave posterity two of the most enduringly enchanting children's books in the English language. In Alice's Adventures in Wonderland, first published in 1865, and its sequel, Through the Looking-Glass, Dodgson transposed the conventions of his genteel world into a magical universe. Instead of the dour, moralistic tales that were considered appropriate nursery fare at the time, Dodgson served up absurdist takes on Victorian England's polite tea parties, its eccentric dons, its gossipy news stories, its popular poems, songs, dances, and parlor games. All this was calculated to entrance the grave, well-mannered, and preternaturally poised young girls that Dodgson cherished, so ambiguously to modern eyes. First among these was Alice Liddell, the middle daughter of Dodgson's dean at Christ Church; Alice is her story.

Today, the Alice fantasies, available in dozens of editions, are the most translated and quoted books after the Bible and the works of Shakespeare. Since their original publication, countless artists (from Arthur Rackham to Salvador Dalí and Ralph Steadman) and filmmakers and directors (from Walt Disney to Jonathan Miller) have risen to the considerable challenge of improving upon Dodgson's imagination and John Tenniel's brilliant woodcut illustrations. Now Vogue joins this illustrious roster, with Annie Leibovitz's photographs of a cast drawn from fashion's own often fantastical universe.

Vogue's Alice is 21-year-old Natalia Vodianova, whose heartbreaking blue-eyed beauty made her the inevitable choice to play the poignant and spirited heroine. "Alice is my dream girl, and so is Natalia," says Grace Coddington, Vogue's creative director. "She's a rare, rare model." Vodianova's unique trajectory—this self-proclaimed "poor little Russian girl" helped to support her family as a teenager, selling crates of fruit in far-flung Nizhniy Novgorod—is part of what made her ideal for the role. In 2002, Vodianova made a fairy-tale marriage to the Honorable Justin Portman, the dashing scion of a patrician English family; she gave birth to the adorable flaxen-haired Lucas; and she now has multimillion-dollar contracts with Calvin Klein and L'Oréal. Her trip has been every bit as fantastical as Alice?s fall down the rabbit-hole.

"I feel very chosen," Vodianova says, "by Vogue but also by the book, which is very precious. It's just amazing that people would give it up for a great idea—forget their own egos, give up their personalities—and become something different for a second. Alice is a very special little girl."

"Alice in Wonderland" by Hamish Bowles has been edited for Style.com; the complete story appears in the December 2003 issue of Vogue.

Above: Chanel Haute Couture satin jacket and skirt.
 
Pics from style.com

Curiouser and Curiouser

Beyond nonsense verse and coming-of-age fables, Lewis Carroll's true passion was photographing moody young beauties. Olivier Theyskens, in the guise of Carroll, captures model Natalia Vodianova as Alice Liddell. Natalia wears a Rochas iridescent blue-flower ruffle dress specially designed by Theyskens.
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Down the Rabbit Hole
Faster, faster, faster she fell! Chasing Tom Ford's White Rabbit, our Alice disappears down the never-ending dark passage. Tom Ford for Yves Saint Laurent Gauche sky-blue silk-satin dress.
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Drink Me
How was Alice to know the innocent little bottle would make her grow to such a size? As Helmut Lang watched from the wall, she curled her legs up and hoped the designer's organza minidress wouldn't be crushed by her startling height. Dress from the Helmut Lang made-to-measure studio.
img03.jpg
 
Pics from style.com

Advice from a Caterpillar

Clad in Marc Jacobs's ruffled chiffon minidress, Alice found herself engaged in an infuriatingly roundabout conversation with a mushroom-dweller. Where am I? she wondered...and how have I gotten here?
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Pig & Pepper
It was a queer-shaped little creature, and held out its arms and legs in all directions, “just like a starfish.” Chanel Haute Couture embroidered satin jacket with a draped satin skirt and cream leather boot pants. The Chanel designer wears Chrome Hearts necklaces and belt.
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The Cheshire Cat
“Would you tell me, please, which way I ought to go from here?” Alice asked sweetly of the cat with a grin as devilish as anything she had ever seen. “ That depends a good deal on where you want to get to,” replied our Cat, Jean Paul Gaultier. Blue silk-jersey draped dress by Gaultier Paris.
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Tweedledum and Tweedledee
“If you think we're alive, you ought to speak,” said the one marked DEE. Alice, in a Viktor & Rolf multilayered silk dress, stared as the Tweedle duo spouted nonsensical tongue twisters. Rolf Snoeren, left, and Viktor Horsting wear matching suits and bow ties of their own design.
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The Mad Tea Party
“No room!” The March Hare and Mad Hatter shouted. “No room!” But Alice plunked down, desperate for some biscuits after a long day of living backward. Christian Lacroix Haute Couture dress with painted and sculpted mink dickey over a lace top and frilled lamé skirt. Stephen Jones (right), wears a custom-made hat of his own design. Lacroix, as the March Hare, is at far right.
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Who Stole the Tarts?
“My name is Alice, so please Your Majesty,” the young girl, draped in Dior Couture, said softly. “ You make me giddy!” screamed the Queen. Dior Haute Couture by John Galliano hand-painted polka-dot dress. Galliano as the Queen of Hearts, wears a Dior Haute Couture coat and is accompanied by his King, Alexis Roche.
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The Mock Turtle's Story
“What is his sorrow?” Alice, in Atelier Versace, asked the Gryphon. “Once,” sighed the Mock Turtle, “ I was a real turtle.” Atelier Versace layered silk-tulle and chiffon-organza dress lined in lace. Donatella Versace and Rupert Everett are in Versace.
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Through the Looking Glass
Wrapped in ocean-blue Balenciaga couture, Alice perched on the mantel, longing to escape into the shadow world, as her black kitty purred nearby. Balenciaga by Nicolas Ghesquière crystal pleated chiffon dress and grey ankle boots. Shot on location at the Château de Corbeil-Cerf.
In this story: fashion editor, Grace Coddington; hair, Julien d'Ys/Island d'Ys; makeup, Gucci Westman.Set design by Mary Howard. Prop fabrication by Jean Hugues de Chatillon.
img11.jpg
 
Love Tom Ford's comment:

Tom Ford was similarly enthusiastic about his casting as the fastidious White Rabbit. (He told Coddington, "That's a fabulous idea because the White Rabbit's really hot and sexy, Isn't he?") Ford wore a perfect white suit from his Saint Laurent men's collection. "He was immaculate, with a little camellia and little white gloves," Coddington says. But he was unprepared for the scenario that Leibovitz had conceived for his character. "The next minute Ricky"—Floyd, Leibovitz's choreographer—"picks him up, flips him upside down, and puts him on the background!" Coddington reports with a laugh. "He was really a good sport."


:rofl: :rofl: :rofl:
 
haha...i never read the behind the scenes...that's funny...
thanks ta-ta...


and thanks for posting all the pics dos...;)
 
great fairytale editorials posted dosViolines, a warm welcome to tFS :flower:

and thanks to all posting here, for making me realise that the 'fairy tale' trend out there, is what was 'forecasted' as the 'dollhouse' idea/trend for :woot: fw06.07
it seems like a hybrid of the trend that is supposed to have major mainstream 'influence' for next winter

a need to escape to childhood, dream world, away from the 'cruelty' of today's reality.. it has been already pinpointed by major trend forecasting bureaux de style but as the vintage doll house/china doll/alice look but at the end it could be the same as the fairytale style, as discussed here..

we are starting to seriously be getting forward in trendspotting..
thanks for bringing this in to Scott and to everyoneone participating in this discussion so far :flower:
 

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