Throughout the centuries, clothes of ethnic Kazakhs were distinguished by simplicity, and leather, fur and thin felt were used as the main materials to manufacture traditional attire for Kazakhstanis. The idea behind the concept of using traditional clothing to promote Kazakhstan was to integrate elements of folk art into modern European looks. “President Nazarbayev’s initiatives to revive the culture and strengthen the unity of the multi-ethnic people are the cement of the nation,” said Didier Vidal, the Editor In Chief of La Lettre Diplomatique, according to reports by Atameken. Ruhani Zhanyru is meant to revitalize the “spiritual values of Kazakhstan citizens, taking into account all the modern risks and challenges of globalization,” according to a government website. The event was the last in a program series called “Kazakhstan’s autumn in France” and initiated by the country’s embassy.īut it is President Nursultan Nazarbayev’s “Ruhani Zhanyru” project that is ultimately responsible for the cultural push. Attendees had an opportunity to taste some national cuisine as well. Musical accompaniment at the event was provided by the Bastau – a duo playing the dombra, the Kazakhstani national musical instrument – and Gulnur Orazymbetova who sang Kazakhstani folk songs. I’m always interested to see what is different from others,” said Hind Joudar, the founder and president of the Oriental Fashion Week show, who was among the visitors at the event.Īttendees included French Senator Natalie Goulet Dusen Kasseinov, the head of the Turkic international cultural organization called TURKSOY and representatives from companies including Pierre Cardin from France and Bulgari from Italy. I’m attracted to original ideas, an extraordinary approach to work. “Designers have a very peculiar taste, and this is what I value. Nurdos Aliaskarov, a bench jeweler, presented handcrafted jewelry designed in traditional Kazakhstani styles. By Angelika Pokovba.Kazakhstani traditional clothing and jewelry went on display in Paris, showcasing the versatility and distinctiveness of the cultures found within one of the Caspian region’s largest and most rapidly developing countries.Ī one-day cultural extravaganza on November 29 featured fashion collections designed by Kairolla Abishev, a founder of Zeken Moda and Aidarkhan Kaliev, a founder of Aspara Fashion Week. Vive la mode! Discover the photos of the 1945 Paris exhibition from Bela Bernand. No war with its rations and envious enemies has ever succeeded in taking fashion and craftsmanship away from Paris. Théâtre de la Mode is a story of unstoppable creativity, hope and survival. The exhibit has since then traveled a few times again during the 1980’s. The show was a great success and traveled from Paris all over the world to finally end up in the relatively small Maryhill Museum of Art in Goldendale, Washington. Dolls were even given silk underwear, Cartier and Van Cleef & Arpels accessories. The New York Times even called it the “back-in-business show.”Įverything was modelled in miniature: shoes, gloves, handbags, jewellery, hats and all the accessories. Christian Dior would later revive and edit these concepts into his own collections that would define the look of Dior. The fashion was forward-looking with rounder shoulders, nipped waists, accentuated hips and full skirts. Embroidered evening gowns, meticulously tailored suits and even beachwear were on display. Most of Europe hadn’t even purchased new clothes since 1939.īalenciaga, Lucien Lelong, Schiaparelli, Nina Ricci, Pierre Balmain, and even Christian Dior (who had not launched his own line Dior yet) created a dreamlike set that dazzled visitors. Haute fashion was also not exactly affordable or even accessible to all. Each major fashion house could only afford to produce less than a third of its usual designs for each collection. ![]() The allies prevailed of course, but like much of France’s economy, the fashion industry had emerged battered and bruised. It exists in Paris or it does not exist at all. You can impose what you will by force, but Paris’s haute couture is not transferable, either en bloc or bit by bit. ![]() The expertise of over 13,000 artisans who had developed their metier in France over generations, would be used to make German cities the new fashion capitals in a new Europe, while Paris would become a footnote in fashion history. In 1940, they warned Lucien Lelong, head of the Chambre Syndicale de la Couture, that all the great French designers and skilled workers of the Parisian ateliers, would be transferred to Berlin and Vienna. If the outcome of World War II had gone in Germany’s favour, they would have seen to it that the French fashion industry did not survive at all.
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