Wednesday, 31 December 2014

HAPPY NEW YEAR !

JEEVES / TWEEDLAND / SUNDAYIMAGES
Wish you ALL a HAPPY NEW YEAR !
Jeeves/ António Sérgio Rosa de Carvalho

Monday, 29 December 2014

TWEED >>> TWEED <<< MORE >>> <<< TWEED <<<>>>





















Debutantes / VÍDEO / SEE BELLOW.

 Debutantes
Timewatch, 2001-2002
A film examining the debutante experience of 1939 through the eyes of a colourful collection of debs and debs' delights, including the Duke and Duchess of Devonshire, the Duke of Wellington, and the Duchess of Northumberland. While Europe was steeling itself in the face of fascist aggression, the upper-class marriage market was in full swing, and here the participants talk vividly about the parties, ballgowns and broken hearts.


In the United Kingdom, the presentation of débutantes to the Sovereign at court marked the start of the British social season. Applications for young women to be presented at court were required to be made by ladies who themselves had been presented to the Sovereign; the young woman's mother, for example, or someone known to the family. A mother-in-law who herself had been presented might, for example, present her new daughter-in-law.
The presentation of debutantes at court was also a way for young girls of marriageable age to be presented to suitable bachelors and their families in the hopes of finding a suitable husband. Bachelors, in turn, used the court presentation as a chance to find a suitable wife. Those who wanted to be presented at court were required to apply for permission to do so; if the application was accepted, they would be sent a royal summons from the Lord Chamberlain to attend the Presentation on a certain day. According to Debrett's, the proceedings on that day always started at 10am. As well as débutantes, older women and married women who had not previously been presented could be presented at Court.
On the day of the court presentation the débutante and her sponsor would be announced, the debutante would curtsy to the Sovereign, and then she would leave without turning her back.
The court dress has traditionally been a white evening dress, but shades of ivory and pink were acceptable. The white dress featured short sleeves and white gloves, a veil attached to the hair with three white ostrich feathers, and a train, which the débutante would hold on her arm until she was ready to be presented. Débutantes would also wear pearls but many would also wear jewellery that belonged to the family.
After the débutantes were presented to the monarch, they would attend the social season. The season consisted of events such as afternoon tea parties, polo matches, races at Royal Ascot, and balls. Many débutantes would also have their own "coming-out party" or, alternatively, a party shared with a sister or other member of family.
The last débutantes were presented at Court in 1958 after Queen Elizabeth II abolished the ceremony. Attempts were made to keep the tradition going by organising a series of parties for young girls who might otherwise have been presented at Court in their first season (to which suitable young men were also invited) by Peter Townend.[1] However, the withdrawal of royal patronage made these occasions increasingly insignificant, and scarcely distinguishable from any other part of the social season.[2]
However, the expression "débutante" or "deb" for short continues to be used, especially in the press, to refer to young girls of marriageable age who participate in a semi-public upper class social scene. The expression "deb's delight" is applied to good looking unmarried young men from similar backgrounds.

Saturday, 27 December 2014

Downton Abbey for Text Santa - part one ( Watch Part Two Below )

Text Santa
 George Clooney Downton Abbey Text Santa special (video)
Friday 19 December at 8pm on ITV

ITV’s annual charity appeal Text Santa is back to put the Fun into Fundraising with this jam-packed three-hour show. It’s the time of year to help those near.

 It’s Christmas at Downton and Lord Robert Crawley (Hugh Bonneville) seems to be facing financial ruin once again. He’s beginning to wonder if his family may be better off without him but divine intervention in the form of a very special heavenly body gives him a view of what life would really be like without his guiding spirit.
Presenting duos Ant and Dec, Phillip Schofield and Christine Bleakley, and Paddy McGuinness and Alesha Dixon will each host an hour of this all-star cast and present their own special segments.

Throughout the evening, the amazing work of the six UK based charities supported by Text Santa will be highlighted by well-known faces. This year’s charities are Teenage Cancer Trust, Guide Dogs, Marie Curie Cancer Care, Alzheimer’s Society, WellChild and Together for Short Lives.

http://www.itv.com/presscentre/press-releases/george-clooney-downton-abbey-text-santa-special-

video

Downton Abbey for Text Santa - part two

Thursday, 25 December 2014

THE COVERT COAT


The Covert coat is very similar to the Chesterfield, but it was designed for hunting and the outdoors. Therefore, it had to be tailored from particularly sturdy material – the so-called Covert cloth, named after the covert bushes. It was designed to protect its wearer from mud, bush encounters, and of course the weather. For that reason, it had to be very heavy (29 or 30 ounces a yard), sturdy, and durable. Today, the fabric is not quite as heavy anymore, but it is still a tweed material made to last. It always comes in a brownish-green color because it does not show the dirt very much.

A Covert coat usually has the following:

    Single-breasted with a fly front
    Notched lapels
    Made of brown-green Covert cloth
    Short topcoat that is just a little longer than the jacket beneath
    Signature four (sometimes five) lines of stitching at the cuffs and hem, and optionally on the flap of the chest pocket
    Center vent
    Two flap pockets with optional ticket pocket
    The collar is constructed either of Covert cloth or velvet
    Poacher’s pocket (huge inside pocket that can accommodate a newspaper or an iPad)














Sunday, 21 December 2014

Charles and Marie-Laure de Noailles / VÍDEO: Les Ombres de la Villa HD (Villa Noailles à Hyères 83400)



Charles and Marie-Laure de Noailles were patrons of the arts. Their 'hotel' at Place des Etats-Unis was restored in modern style in 1926 by Jean-Michel Franck, and was a focus for a large circle.

Charles financed Man Ray's film Les Mystères du Château de Dé (1929), which centers around Villa Noailles in Hyères. He also financed Jean Cocteau's film Le Sang d'un Poète (1930) and Luis Buñuel and Salvador Dalì's L'Âge d'Or (1930). Charles and his wife appeared in Les Mystères du Château de Dé as well as Le Sang d'un Poète.

In 1929 or 1930, Charles made possible the career of Dali by purchasing in advance a large work for 29,000 francs, thus enabling Dali and Gala to return from Paris to Port Lligat and devote themselves to his art.

The de Noailles had an extensive correspondence with Francis Poulenc and commissioned him on two occasions. He received 25000 Francs for Aubade, which he wrote for one of their balls at Place des États-Unis where it premiered on 18 June 1929. Le Bal Masqué, inspired by Max Jacob's Le Laboratoire Central, was written for a private celebration on 20 April 1932 at the municipal theatre in Hyères.Max Jacob's Le Laboratoire Central, was written for a private celebration on 20 April 1932 at the municipal theatre in Hyères.

Marie-Laure de Noailles, Vicomtesse de Noailles (31 October 1902 – 29 January 1970) was one of the 20th century's most daring and influential patrons of the arts, noted for her associations with Salvador Dalí, Balthus, Jean Cocteau, Ned Rorem, Man Ray, Luis Buñuel, Francis Poulenc, Wolfgang Paalen, Jean Hugo, Jean-Michel Frank and others as well as her tempestuous life and eccentric personality. She and her husband financed Ray's film Les Mystères du Château de Dé (1929), Poulenc's Aubade (1929), Buñuel and Dalí's film L'Âge d'Or (1930), and Cocteau's The Blood of a Poet (1930)
She was born Marie-Laure Henriette Anne Bischoffsheim, the only child of Marie-Thérèse de Chevigné, a French aristocrat, and Maurice Bischoffsheim, a Paris banker of German Jewish and American Quaker descent. One of her great-great-great-grandfathers was the Marquis de Sade, and her maternal grandmother, Laure de Sade, Countess de Chevigné, inspired at least one character in Marcel Proust's In Search of Lost Time. Her nephew Philippe Lannes de Montebello was the director of the Metropolitan Museum of Art in New York City. Her stepfather was the French playwright Francis de Croisset, and her former sister-in-law, Jacqueline de Croisset, became the third wife of actor Yul Brynner.

After a brief romance with the artist Jean Cocteau, Marie-Laure Bischoffsheim married, in 1923, Charles, Vicomte de Noailles (26 September 1891 – 28 April 1981), a son of François Joseph Eugène Napoléon de Noailles, grandson of Antonin-Just-Léon-Marie de Noailles and younger brother of the 6th Duc de Mouchy (father of Philippe François Armand Marie de Noailles), himself a cadet of the French ducal house of Noailles. The couple had two daughters:

Laure Madeleine Thérèse Marie de Noailles, later Madame Bertrand de La Haye Jousselin (1924–1979);
Nathalie Valentine Marie de Noailles, former wife of Alessandro Perrone (1927–2004).
Marie-Laure de Noailles and her husband moved to the fabled hôtel particulier at 11 Place des États-Unis in Paris, which was built by her grandfather Bischoffsheim. Its interiors, which were redecorated in the 1920s by French minimalist designer Jean-Michel Frank, vanished in the 1980s, due to a subsequent owner's redecoration and remodelling. In 1936 she acquired Wolfgang Paalen´s object Chaise envahie de Lierre in André Breton´s Galerie Gradiva and decorated her bathroom with it. Today the interiors have been renovated by Philippe Starck and house the Musée Baccarat and the headquarters of Baccarat, the crystal company.


In the 1920s, the Noailles built the Villa Noailles near Hyères. She had an affair with the young Igor Markevitch. In the 1950s she had a long-term affair with the surrealist painter Óscar Domínguez.





In 1923, they signed a contract with the architect Robert Mallet-Stevens to build a summer villa in the hills above the city of Hyères. Construction took three years, and eventually also included a triangular Cubist garden designed by Gabriel Guevrekian.

Throughout the 1920s and 1930s, the couple were important patrons of modern art, particularly surrealism; they supported film projects by Man Ray, Salvador Dalí, and Luis Buñuel; and commissioned paintings, photographs and sculptures by Balthus, Giacometti, Constantin Brâncuși, Miró, and Dora Maar. Villa Noailles features prominently in Man Ray's film Les Mystères du Château de Dé.

In 1940 the villa was occupied by the Italian Army and turned into a hospital. From 1947 until 1970, the villa was the summer residence of Marie-Laure. She died in 1970, and the house was purchased by the city of Hyères in 1973. Charles de Noailles died in 1981.

The villa is now used as an arts center and for special exhibits.

James Lord was a guest there in the mid-fifties. In his book Picasso and Dora: a memoir he writes: "...an undistinguished cubist extravaganza of reinforced concrete set atop a high hill, within the ancient walls of a Saracen fortress. It had been designed in the late twenties by a fashionable architect named Mallet-Stevens, contained something like fifty rooms and was surrounded by a large garden." He recalls the room, where Marie-Laure tried to seduce him: "...a large salon at Saint-Bernard which had no windows but was lighted from above by a bizarre cubist skylight which occupied almost all the ceiling, adding to the sense of existing outside time in a stranded ocean liner." The beauty of the location did not help, however, the "redoutable viscountess" in conquering his chastity.

The Cubist Garden designed by Gabriel Guevrekian.


Exposition permanente: Charles et Marie-Laure de Noailles, une vie de mécènes

Le projet consiste à redonner au public les clefs pour appréhender la « petite maison intéressante à habiter » de Charles et Marie-Laure de Noailles et (re)découvrir l’extraordinaire mécénat qu’ils ont mené de 1923 à 1970. L’exposition aborde tous les aspects de cette expérience et explore les liens entre les différents domaines de la création qu’ils ont pu aborder.
Cette exposition prend place dans la partie initiale de la villa : dans les salons, les salles à manger, les chambres d’ami du rez-de-jardin, les chambres de Monsieur et de Madame, la chambre d’ami du dernier étage (environ 250m2 au total). Elle fera le lien par sa scénographie avec la création contemporaine.

Direction du projet
Jean-Pierre Blanc est directeur de la villa Noailles (centre d’art) et fondateur du Festival International de Mode et de Photographie à Hyères. Il est membre de l’association des directeurs de centres d’art.

Commissaires
Raphaèle Billé. Commissaire d’exposition indépendante, historienne d’art, spécialisée dans les arts décoratifs de l’entre-deux-guerres. Elle co-réalise plusieurs expositions du cycle Documents, à la villa Noailles en 2006 et 2009 et a collaboré à plusieurs publications sur l’histoire du mobilier métallique.

Stéphane Boudin-Lestienne. Historien d’art, chargé de mission à la villa Noailles, il est commissaire des expositions du cycle Documents, présentées à la villa Noailles depuis 2003.

Alexandre Mare. Éditeur, critique, commissaire d’exposition, ancien directeur de la Galerie Marion Meyer à Paris, il enseigne l’Histoire du livre et de l’édition à l’Université du Havre et à Paris X. Critique littéraire d’Artpress et de la Revue des Deux Mondes, il a publié une monographie sur l’artiste Michel Aubry, Salle d’armes (Marion Meyer Éditions), un essai, Sexe ! Le trouble du héros (Moutons électriques éditeurs) et il prépare actuellement la publication de la correspondance de René Crevel aux Editions du Seuil.

Principe du projet
Confiée à David Dubois, la scénographie tient compte de la contrainte de refaire « l’histoire en son lieu même ». Le projet s’oriente vers une exploitation du lieu la plus discrète et la plus respectueuse possible de la cohérence originale des espaces. Les volumes et les installations d’origine doivent rester lisibles et ne pas entrer en conflit avec des interventions contemporaines qui revendiquent leur identité propre. Accueillant la création sous toutes ses formes, la villa Noailles devient ainsi un exemple de réutilisation du patrimoine architectural, non seulement dans son ouverture aux artistes contemporains, mais aussi dans le rapport à son propre passé.
La signalétique, confiée à Frédéric Teschner, doit accompagner cette scénographie en essayant de produire le minimum de repères possible. Certaines « références » aux usages des propriétaires sont réactivées comme des introductions à la culture du lieu. Ainsi est envisagée, en partenariat avec Sèvres - Cité de la céramique, la création de vases par différents designers pour accueillir les bouquets de fleurs. Cette idée renvoie à l’une des raisons d’être du bâtiment, implanté dans un jardin bouquetier, fierté des Noailles.
Les aménagements paysagers du lieu, imaginés avec Christophe Ponceau, prolongent cette démarche.

David Dubois, scénographie
Designer, il est diplômé de l’Ensci-les Ateliers (2003) et présente pour la première fois son travail à la villa Noailles en 2004 (Débuts). Il réalise depuis de nombreuses scénographies à la villa et une commande pour l’une des chambres de résidence (2007/2008). Il est représenté et édité par la galerie kreo, édité par FR66 et auto-produit certaines de ses créations. Il est enseignant à l’ESAD (Reims). Certaines de ses pièces appartiennent aux collections permanentes du Mudam (Luxembourg).

Frédéric Teschner, identité graphique du projet et édition
Diplômé de l’ENSAD de Paris, il collabore avec des architectes, des designers, de jeunes chorégraphes, des galeries (In Situ, kreo) et le Théâtre de Gennevilliers. À partir de 2003, il conçoit les identités visuelles de plusieurs expositions pour le Centre Pompidou, le Mémorial de la Shoah, le MAC/VAL, le Musée d’art moderne de la Ville de Paris. Il travaille également avec des centres d’art (villa Noailles, Cneai, DCA, Association de centres d’art contemporain) ou des institutions du ministère de la Culture et de la Communication telles le CNAP (Centre national des arts plastiques) ou la DAP (Direction des arts plastiques). Il enseigne le design graphique à l’ESAD d’Amiens et à l’EHAD (Genève).

Christophe Ponceau, aménagements des jardins
Paysagiste-scénographe, (École Boulle et Architecte DPLG), il collabore avec le paysagiste Gilles Clément à partir de 1997 et commence une activité de scénographe. Il réalise la partie végétale de l’exposition Le Jardin planétaire (Grande Halle de la Villette, Paris) en 2000 et est en charge de la programmation d’interventions contemporaines du Parc de la Ferté-Vidame depuis 2006.