Your mailbox is overflowing with a thousand online discounts from brands, in the wake of the catastrophic NovelCoronavirus. You have already sifted through thousands, wondering what to do with them in uncertain times of a Government lockdown. We’re not here to bother you with notifications. Instead, Pierre Cardin’s just dropping by to make sure you’re coping well.
We’ve put on our favourite shoes to take those essential steps that will ensure your comfort and our employees’ safety. In light of the recent lockdown, physical stores will remain shut until further notice but we will continue to cater to your sartorial needs, on our website and social media accounts.
Here, we’ve jotted down a list of necessities, not in terms of fashion and styling but in terms of self care during the Covid-19 scare. We promise, the next one will address your styling needs!
Down but Not Out
Lockdown 2020 has got Indians running around in confused circles. Pierre Cardin, however, salutes and supports this measure as the Covid-19 positive cases are on a sharp incline. It’s the need of the hour. It’s time to help flatten the curve. It’s do or die. It’s now or never.
This is what you can do to keep yourself and your family active, healthy and happy in the great indoors:
Work from home
Not everyone is privileged to be able to work from home. So if you aren’t into essential services like security or medicine, stay put. Thank your lucky stars that your long-forgotten dream of wearing pyjamas to work is finally coming true!
Give yourself much-needed Tender Loving Care. While Nature is having a whale of a time outside, you can do the same at home. Pull out your yoga mat or take to your good ol’ floor for a rejuvenating meditation or work-out session. Involve your family – the more, the merrier!
Work it out
Pandora’s box has been long-locked and forgotten. It’s the right opportunity to pull up important matters that have taken a back seat due to a hyper-busy schedule. Sort it out over calls and video conferences, laying the ground for a worry-free tomorrow.
Work up an appetite
We all have an inner chef waiting to be unleashed. Whether cooking is therapeutic for you or you’re a plain kitchen disaster, what better time than a shut-in to brush up on skills? After all, no better incentive to cook than the promise of a delectable meal at the end.
Work around it
If you’re a bachelor, no one will understand this better than you. Please, we repeat, please, reorganise your shoe rack. You don’t want those polished Pierre Cardins to gather dust over time. Put them in a clean dust bag or our signature shoe boxes and stack them up neatly. Your mother, girlfriend and sister will be so proud! If you’re married with kids, set an example for those little eyes that follow everywhere.
Above all, keep your surroundings clean. You may feel the advice has been done to death but we cannot emphasise this enough – the only way to wipe out the virus is to do it literally. Don’t forget to sanitize common surfaces and keep your hands clean at all times.
Wearing counterfeit accessories isn’t a faux pas, it’s a sin. What sends the fashion world into a tizzy isn’t as much a wrongly-paired outfit, as is a mistakenly purchased one. You’ll be surprised to know how alike a fake pair of footwear can look – we were!
Apparently, your trusted e-commerce website is taking your faith for a ride, with you in tow, wearing those new-looking but duplicate shoes. The market for ‘first copy’ goods, especially shoes, is flourishing across India. Over time, dealers in counterfeit shoes have expanded their operations from brick-and-mortar stores to the more easily accessible online world.
We’ve compiled a handy list of tell-tale signs to watch out for when getting yourself a Pierre Cardin. These are sure to blow your mind and knock your shoes, err, socks off!
Hey, presto! It’s perfetto
The perfect Pierre Cardin shoe and shoe lining will always be made of 100% genuine leather that lets your feet breathe. Run your fingers over the body of the shoe and closely examine the surface. If it looks and feels uneven, good news, it’s real.
Genuine leather is essentially a natural material that feels pliable and supple to touch. Push it down with a finger to test – it will crease and wrinkle.
All that glitters is really not gold – so tread carefully. The original Pierre Cardin shoe that matches your sleek new tux so well comes neatly-stitched. Take a closer look at the shoe you’re holding – if the threads are untidy or fraying, drop it right there. Nobody deserves a duplicate Pierre Cardin!
Can we get a big ‘yay’ for the ultimate test of authenticity? Here’s what you need to remember the next time you step out to purchase, browse or even window-shop a Pierre Cardin – the shoe tag comes with a special QR Code.
Whip out your phone, scan the QR code, and the details of your dream Pierre Cardin will pop right up on your screen. If the QR Code isn’t printed on your shoe tag, you know it’s a fake! What’s more, if you register with us and make a purchase, you’re entitled to an additional 6-month warranty.
Licensed to thrill
We know what you mean when you crave drop-dead amazing shoes, and we are licensed to kill (but not really). Always take note of the inside of a Pierre Cardin shoe. A genuine pair will have ‘Eltus Mode Pvt. Ltd.’ printed – comfortably in your line of sight under the tongue but well away from the gaze of onlookers.
Eltus Mode Pvt. Ltd. is the only Pierre Cardin shoe licensee across India, Nepal, Bangladesh, Bhutan and Sri Lanka. Beware the tricksters! Additionally, we’ve partnered with only the best names in the business – so don’t get scammed! Check out the list of registered dealers on our website & find a store closest to you.
It’s a wrap
You love your shoe collection. So do we. Pierre Cardin makes sure our shoes meet their rightful owner in ship-shape. If you pay attention, you’ll notice how a Pierre Cardin pair always comes wrapped in duly-labelled paper. This is then tucked away in a box with a barcode and manufacturing details that include a serial number and licensee address of ELTUS MODE PVT. LTD.
You’ve heard those whispers float across the room, singing praises of your perfectly-tailored suit; noticed their awestruck gaze follow wherever you go. You’re aware of the ripples your crisp shirt creates. This dapper fashion choice is making a statement and you’re already on your way up the fashion ladder. But is it enough?
As one of the leading designer men’s shoes brands, Pierre Cardin is set to take you on a ‘sole-stirring’ journey – from owning your sense of style to ruling their hearts. With these essential fashion tips, you will soon go from being the talk of the town to the walk of the town. Let’s strut that style!
Put your best shoe forward
Don a pair of jeans and throw on a tee without meticulous planning. It’s what casual dressing is all about. Simplify your effortless look with Pierre Cardin’s men’s designer shoes. Here’s how!
You can never slip up with a slip on! Pair one classic with another – humble denim jeans and leather slip-on shoes. Channel your boyish charm with a hoodie or polo-neck tee, and you’re good to go.
If you’re feeling more adventurous, team your ankle-length plaids with a pair of boots. In case we haven’t already mentioned, our exclusive collection is made from 100% leather, with 100% leather lining unlike anywhere else. Let your feet breathe whilst you take their breath away.
We’re also willing to bet, your casual staples like cotton-twill Bermuda shorts or ankle-length corduroy pants will hit it off with our leather lace shoes.
A ‘sandal’ous affair
Your oh-so-loved chinos that have been crying for attention will finally get their due. Shorts are the new long, and it’s time to bring that fresh white kurta out of hiding. Get ready for a rendezvous with Pierre Cardin’s classic collection of casual leather sandals.
Make heads turn with natural textured leather, crafted for maximum comfort and style. Savour the envious attention as you take confident strides. Let’s make this a s(c)andalous affair worth remembering.
Sometimes shaken, never stirred
Bond with the best in the league, like James, flaunting a suave well-fitted black suit; rub shoulders with white-collar men, in a neatly-ironed collared shirt; step in with elan, wearing Pierre Cardin’s formal leather shoes. It’s really all that it takes!
Lace them up or strap them down, our exclusive collection of formal shoes takes into consideration the significance of your work meetings and comfort of business trips. Let your confidence set temperatures soaring during the day, and set the evening on fire with a blazing hot blazer, leather boots et al.
Men’s designer shoes may not be meant for everyone but they are, for you. Ultra-breathable and crafted from genuine vegetable tan leather, our shoes are meant for occasions that matter.
Compete, complete, complement
Your only competition is you. Up your game and stay a step ahead, even while attending your best friend’s big fat Indian wedding. Pair a chic set of kurta pyjamas or your super expensive sherwani with a snug sandal. Your outfit will thank you for the ‘compliment’. Made from velvet crust leather, this one is just what you need to flaunt a completely ethnic look.
We’re right here, walking right by your side – always fashionably yours. So go ahead, take the world in your (literal) stride with Pierre Cardin.
What does it take to be the torchbearer of the perfect outfit? Which part of the outfit deserves more attention? A crisp shirt paired with trousers that go well with it? Yes. A sleek tie or a bow tie? Sure. A classy blazer. Definitely. But what’s the one fashion accessory that perfects that James Bond look? It’s footwear! Today, shoes aren’t just something designed to protect your feet, they are one of the means with which the Fashion industry marches forward. They are designed to redefine style, elegance and luxury. After all, fashion without footwear is a story with an abrupt end.
A good pair of shoes can make all the difference and grab all the attention, it adds to your fashion appeal. Attractive shoes not only speak for your exceptional taste in fashion but also give you that extra tinge of confidence to stride with pride. Pierre Cardin, with a premium collection of mens designer shoes, has always been ahead of the curve in the footwear realm.
Looking after your exclusive footwear can be tricky at times. You have to ensure that the premium material doesn’t bear the brunt of a rugged cleaning and polishing process. Pierre Cardin welcomes you to tap into the world of shoe accessories that keep your footwear as good as new for as long as they are a part of your all-inclusive shoe wardrobe.
Following is the Essential Shoe Care Accessories :
Horse Hair Brush-
This one is a 100% premium horsehair brush with high-density bristles. Regular use of the product gives a silky high gloss on the polished shoe.
The high-quality application brush is perfect for application of shoe creams. The contoured beechwood handle makes for an easy grip and the rounded head eases the application of the polish.
Shoe cream provides in-depth care, refreshes colors & provides a wonderful, bright & long lasting shine.
This is a self-shining dressing with specially formulated silicone oil infused in a high-quality sponge.
Creme Luxe is a multipurpose conditioner that nourishes and enhances the feel of leather.
Wax creme cleanses, nourishes and renews leather articles. It also protects the leather from dirt and dust and renews the colour, giving it a glossy look.
The wax spray is ideal for all hard-wearing, smooth and grained leathers. It is enriched with high-quality cold wax and nourishes and conditions the leather, keeping it soft and supple. It is an intensive full care product that protects leather against moisture.
The shoehorn is made out of Stainless Steel and is suitable to be used for all Pierre Cardin shoes.
SCAD FASH Museum of Fashion + Film is honored to feature the designs of legendary fashion futurist Pierre Cardin in a major retrospective exhibition on view through Sunday, September 30, 2018.
Best known for his 1960s space-age style, Cardin has pushed the boundaries of fashion by exploring new materials and silhouettes. The exhibition presents iconic looks for both women and men from the 1950s to present, borrowed mainly from the Pierre Cardin Museum in Paris, and includes several dresses from the SCAD Permanent Collection. Cardin has said, “The clothes I prefer are the garments I invent for a lifestyle that does not yet exist—the world of tomorrow.” The exhibition celebrates Cardin’s spirit and vision, both unwaveringly inspired by the future.
In addition to his contributions to fashion, Cardin is a design innovator whose pursuits extend to accessories, costume design, jewelry, product design, fragrances, furniture, theatrical production and more. The designer is also recognized as the first haute-couture designer to democratize design; in 1959, Cardin broke from tradition by debuting a runway show of affordable “ready-to-wear” clothes inspired by his couture lines. This move revolutionized the fashion business and made his designs accessible to a modern clientele.
Admission is free for all museum members, as well as SCAD Card holders. Open to the public with the cost of museum admission.
About Pierre Cardinhttps://www.pierrecardinindia.com/heritage/
A revolutionary force in the fashion industry for seven decades, the indomitable 95-year-old designer continues at the helm of his creative enterprises and has earned numerous accolades for his impact on fashion and humanitarian causes. In 2008, Cardin was honored with the SCAD Étoile for his contributions to the fields of fashion and design as well as his role in the historic restoration and cultural life of the medieval village of Lacoste, site of the university’s study-abroad location in France.
Cardin has thrice received the prestigious Golden Thimble award—which rewards the most creative collection of the season—for French haute couture, an acknowledgment of his place in the upper echelons of French fashion. He was also recognized with the Council of Fashion Designers of America International Award in 2007. Cardin is a member of the Académie des Beaux-Arts, part of the illustrious Institut de France. In addition to receiving numerous honors, Cardin was designated a UNESCO Goodwill Ambassador and is decorated as a Commander of the Legion of Honor, the highest order of merit given by the president of France for military and civil distinction. Cardin has been the subject of several major international exhibitions including the Metropolitan Museum of Art in New York and Victoria & Albert Museum in London, and his garments are in important permanent museum collections worldwide.
About SCAD: The University for Creative Careers
The Savannah College of Art and Design is a private, nonprofit, accredited university, offering more than 100 academic degree programs in more than 40 majors across its locations in Atlanta and Savannah, Georgia; Hong Kong; Lacoste, France; and online via SCAD eLearning.
Pierre Cardin already has plans for attiring people in 2069. According to the legendary 97-year-old designer, “women will wear Plexiglas cloche hats and tube clothing; men will wear elliptical pants and kinetic tunics.” In other words, it will be the ‘60s a all over again.
Cardin has staked many claims to fame over the eight decades of his career, from the unprecedented ready-to-wear line he introduced in 1959 to the costumes he designed for the Beatles in 1963 to his audacious brand extensions into eyewear and cosmetics in the ‘70s. He has designed cars and airplanes and even invented a new moldable fabric called Cardine. Through all of this – much of which is included in an extensive retrospective currently at the Brooklyn Museum – Cardin anticipated the celebrity-driven mass-produced branding opportunity that mainstream fashion has become, while also helping to redefine the role of the designer as an industry-independent choreographer of desire. But the work most likely to stand the test of time – probably well beyond 2069 – is the space-age Cosmocorps collection he first presented in 1964.
The Cosmocorps line was designed for the final frontier in fashion. “I imagined wearing these costumes in space,” Cardin explains in an interview for the Brooklyn Museum exhibition catalogue. Just three years after Yuri Gagarin was launched into orbit, and five years before Neil Armstrong and Buzz Aldrin first posed for photos on the Moon, Cardin was contemplating a cosmic brand extension, and considering what the space suit might look like if the design weren’t strictly utilitarian.
Although Cardin was not scientific about it – as space suit designers such as Dava Newman are today – the Cosmocorps gambit was more than a mere marketing ploy. (If that were the only point, it would have been a flop. Cardin reveals in his catalogue interview that his space-age attire sold terribly. “I had to create clothes that were more classic and therefore more commercial,” he admits, explaining many of the contradictory aspects of his career, in which conventional distinctions between avant-garde and suburban mall are simply ignored.) Through Cosmicorps, Cardin explored how social dynamics might manifest on other planets. For instance he advanced the possibility that ideas about gender might become less fixed in microgravity, by creating unisex attire that challenged terrestrial mores. In a way, his fashion paralleled the Soviet space program, which treated men and women as equals and dressed them in the same way. However the motivations of the Soviet government were fundamentally pragmatic. Cardin, on the other hand, had no restrictions; he could just as well have designed lunar ball gowns.
Cosmocorps was equally notable for provoking people to think about colonization of other planets in a tangible way. Of course colonization scenarios were already a staple of science fiction, familiar plot lines in movies and books. However there’s an important distinction between seeing or reading about possible futures and actually trying them on for size. The Cosmocorps line is not costume. These garments weren’t made to realize a movie or TV series. (Cardin did that too. He costumed the John Steed and Emma Peel characters for The Avengers.)
From Paris to New York via London and Marseille, the fall fashion exhibitions return to a little-known counterpart to the work of Man Ray, the history of footwear from the Middle Ages to the present day, the photographs of Tim Walker or how Paris became the fashion capital of the world.
Overview of the most anticipated fashion exhibitions of the fall:
Pierre Cardin: Future Fashion
He is the dean of fashion designers: he is approaching 100 years. Yet Pierre Cardin remains the embodiment of a certain modernity, a major actor – if not the first – of this pivotal period in the history of fashion where ready-to-wear takes precedence over haute couture. A sociological revolution whose aesthetic contours he shaped, “always ahead of its time, offering society a new and breathtaking vision of what the future could be” says Matthew Yokobosky , curator of the exhibition Pierre Cardin: Future Fashion , at the Brooklyn Museumfrom New York. The 170 or so objects on display (silhouettes of course, but also drawings, furniture, photographs, videos, accessories, etc.) retrace this fashion utopia which, paradoxically, still seems particularly current. (Jérôme Hanover)
Pierre Cardin: Future Fashion, Brooklyn Museum, New York, until January 5, 2020
Paris, fashion capital
The Museum of the Fashion Institute of Technology in New York pays tribute to Paris in a new exhibition that tells of the development of the Parisian fashion industry and its international influence. From the 18th century to the present day, passing by the couturier Charles Frederick Worth , the birth of haute couture and the time when French couturiers sold their clothes to American brands through licenses, Paris, Capital of fashion highlights the cultural construction of Paris as a nerve center of world fashion.
Paris, Capital of fashion, from September 6 to January 4, 2020 at the Fashion Institute of Technology, 227 W 27th St 10001 New York
Man Ray and fashion
In November, head to Marseille for a new exhibition devoted to fashion photography in the eyes of Man Ray . It will present more than 150 prints by the artist on the border between dada and surrealism, who was one of the first to anchor fashion photography in an artistic practice and not simply documentary and put his talent at the service of Paul Poiret , Elsa Schiaparelli , Coco Chanel , Vogue , Vanity Fair or Harper’s Bazaar . Through the technical and artistic experiments of Man Ray, the exhibition will explore the border between purely artistic work and commissioned work and the birth of a new fashion aesthetic.
Man Ray and fashion, from November 8 to March 8, 2020 at the Cantini Museum, 19 Rue Grignan 13006 Marseille
The history of footwear
The Museum of Decorative Arts in Paris continues its exploration of the relationship between the body and fashion with an exhibition dedicated to shoes, walking and gait. Through more than 500 shoes, paintings, photographs, art objects, films and advertisements, from French and foreign public and private collections, the exhibition looks back on the relationship between shoes and manners, from the shoes of the nobility of the Middle -Age until the recent creations of Iris Van Herpen , exploring in an unprecedented way what their different forms and styles tell about the evolution of different world cultures.
Walking and walking, a history of shoes, from November 7 to February 23, 2020 at the Musée des Arts Décoratifs, 107-111 rue de Rivoli 75001 Paris
Tim Walker’s photographs
For his third solo exhibition, the English photographer, longtime collaborator of Vogue , has chosen to confront his dreamlike universe, at the crossroads of the fashion image and modern fairy tale, with works from the permanent collection of Victoria & Albert Museum . He drew on the museum’s archives to extract the most astonishing works of art, which will dialogue with a series of unpublished photographs constituting the heart of the exhibition, an exclusive series to which Karen Elson and Tilda Swinton notably lent their faces. The exhibition will also revisit some of the oldest photographs of the photographer, who began his career in New York as an assistant to Richard Avedon, before starting to work for Vogue in the 1990s.
Tim Walker: Wonderful things, from September 21 to March 8, 2020 at the Victoria & Albert Museum, Cromwell Rd, Knightsbridge, SW7 2RL London
VENICE— There’s serendipity in “House of Cardin” premiering in Venice. Globally known as a French designer, Pierre Cardin was actually born near Treviso, less than an hour away from Venice, and named Pietro.
And it was obvious on Friday that the designer would do anything to attend the screening of the documentary on his life bowing at the Venice Film Festival. Despite his age — 97 — Cardin endured a staggering 27-hour train ride to Venice due to “fires on the road,” he said, to get to the Lido’s Casinò Palace for the screening. After the film, which received a standing ovation, he took the time to talk to the press and pose for selfies with well-wishers.
“I like seeing myself up there — I forgot I was young,” said Cardin smiling, when asked about his feelings watching the movie. “And there were a lot of things I never saw before. I was moved to tears,” he admitted.
The film, directed by P. David Ebersole and Todd Hughes, self-described “Cardinophiles,” approaches the designer’s multi-faceted creative undertakings and starts with trying to answer the question: “Who is Cardin?” Ebersole and Hughes themselves, married for 20 years and proud owners of a Cardin AMC Javelin, featured in the film, admitted they always thought of Pierre Cardin as a brand and not as the person behind it.
“He is an emperor, he wanted to reach many people, he showed on the Great Wall, went to India, Russia,” Jean-Paul Gaultier, who worked with Cardin, says in the film. “He taught me to be free.”
“Chic” is one definition of the couturier offered by Dionne Warwick in the film. “What’s not to admire?” wonders Sharon Stone, who remembered how Cardin defined her beauty as “a white rose.” A differentiation that impressed the actress, who began thinking that the designer could see how every woman could be associated to a different flower.
“He revolutionized the business,” muses Naomi Campbell. “He was a tailor and a tailor will always eat.” To be true, Cardin is a self-taught master at cutting and sewing, who as a child enjoyed dressing dolls. “I didn’t know what a couturier was,” says Cardin in the film.
One of nine siblings, his family escaped fascism, fleeing to France in 1924, and the film details his first steps in fashion, starting out at the house of Paquin, then working for Christian Dior and Schiaparelli, and his circle of artists, including Jean Cocteau, Christian Bérard, Pierpaolo Pasolini and Luchino Visconti. “I was handsome, everyone wanted to sleep with me,” Cardin says in the film, which had the audience laughing out loud.
When he branched out on his own, Dior sent him 144 roses, and his first red, pleated coat sold 200,000 pieces in the U.S. — two tidbits from those early days. Cardin’s relationship with actress Jeanne Moreau and his protégé Andre Oliver are also explored.
“People may associate him with glamor, but here’s a hard-working man, one who had and has a vision of the future,” said Ebersole. To be sure, Cardin, who still works every day, says in the film that work is what makes him happy. “It is my reason for being,” he said Friday.
Cardin was ahead of his peers in democratizing fashion, freeing women with his unconstricting shapes, says Hanae Mori in the film, and employing diverse models, venturing into men’s wear and furniture, turning eyewear into hot accessories, and traveling to bring his fashion around the world when globalization was not a given. Modern and a risk-taker are definitions that run throughout the documentary, which also includes interviews with the likes of Kenzo Takada, Philippe Starck and Trina Turk, to name a few. “And you can see how consistent and authentic he has been throughout his life,” said Hughes.
Cardin has often been accused of diluting his brand through countless licenses, but he simply says in the film about designing a Westwind jet, “Why not?” At the same time, he is seen urging his collaborators during a meeting to preserve the label’s identity. Hughes on Friday underscored that “people may think that greed was behind all this licensing, but this is not at all true.” It was a way to channel his creativity, which also allowed the designer to be financially solid, and support theater and the arts. “I would have loved to be an artist,” Cardin says in the film, which also touches on the designer’s cultural activities at the Espace Cardin and the Festival de Lacoste, France, his acquisition of iconic restaurant Maxim’s, and his real estate investments, including a most recent purchase of a 10,800-square-foot house in Houdan, which he calls “the house of dreams.”
The directors said it was easy to convince Cardin to do the film. “Just as he hired Gaultier and Starck on the spot, he said, ‘When do we start?’” said Ebersole, noting the designer felt comfortable and relaxed throughout.
“I have no regrets,” said Cardin on Friday, and, asked about future projects, he said: “To live beyond 100 years.” Always looking forward.
The exhibition, called “Fashion Futurist,” starts Friday at Dusseldorf’s Kunstpalast and includes more than 80 haute couture garments as well as accessories, pictures and films. Items range from those produced in the Fifties right up until 2014. Exhibits will be arranged in four categories: Visionary, Geometric, Young and Glamorous. But there’s also a particular focus on the Space-Age-inspired styles that Cardin was well-known for in the Sixties and Seventies. These include his 1966 Cosmocorps collection and 1968’s sculptural Cardine dresses.
“I was completely captivated by the way he constructed the garments,” one of the exhibition’s curators, Barbara Til, told WWD. “It was all based on geometry and what he did with fabric was amazing.”
Til pointed to what is known as the kimono dress. “It’s basically a large square of fabric that harks back to a Japanese kimono. But when you stretch out your arms, instead of a wonderful dress, you have a Henry Moore sculpture,” she said.
This is why, Til said, Cardin can still be considered to be relevant today. “We don’t realize half of the garments that he popularized. Like the overall,” she noted. “That was considered purely workwear in the 1960s, but he made it into everyday clothing.” Other pioneering looks include the turtleneck sweater for men — all those turtlenecks under suit jackets, as worn by Sixties playboys — and bodysuits for women.
The exhibition came together fairly quickly, Lit explained. Planning started late last year and she and her co-curator, Maria Zinser, were able to source most items from the existing, albeit currently closed, Pierre Cardin museum in Paris (he is in the process of building a cultural center, including a permanent display of his designs, in a former dairy in the town of Houdan, 40 miles west of Paris). One of the major challenges for Lit and Zinser was working out an appropriate setting for the exhibition. “But I think we managed to find the right architect,” Lit said. “Trés Cardin. That’s what Sergio Esposito [Cardin’s head of licensing] said when he saw it,” she boasted.
There have been other Cardin retrospectives lately, including one at the Brooklyn Museum in New York, and Lit thought that Germany had never had one before “because we Germans still argue about whether fashion belongs in a museum.” Lit conceded that her country often has a more conservative approach to clothing. “Although it’s changing slowly, we don’t have such big fashion museums or such well supplied, fashion departments [at existing museums] either,” she added.
As with many other art establishments that have taken to putting on fashion exhibitions, the Dusseldorf institute sees this as a good way of broadening its audience. “For me, it would be great if those who come recognize the beauty of Pierre Cardin’s cutting,” Til said. “It’s very sculptural. And if they see the multifaceted outputs he had, over seven decades in the business.”
The exhibition opens to the public on Sept. 19 and runs until January. To celebrate further, the Kunstpalast will also host Der Super Markt, a sales showcase for around 50 local designers, over the weekend. In typical Cardin style — the Frenchman did almost invent licensing, after all — the museum will also be selling an exclusive Pierre Cardin sweatshirt to commemorate the occasion.
Pierre Cardin’s Space-Age Fashion Takes Us Back to the Future
Our museums, movies and magazines have been on a yearslong binge of ’60s nostalgia, pegged to a rolling sequence of 50th anniversaries: the Rev. Dr. Martin Luther King Jr. and Neil Armstrong, Woodstock and the Manson murders. It seems Americans can’t get enough of the era, and the optimism that percolated amid great social upheaval. But well beyond our borders, before the 1973 oil crisis tanked the global economy, other countries were partying and protesting just as hard, and a youth culture of sex, drugs and rock ’n’ roll spanned the globe. This country had no monopoly on grooviness.
“Pierre Cardin: Future Fashion,” now on view at the Brooklyn Museum, offers a swinging reintroduction to Parisian style in the 1960s and 1970s, when the New Look gave way to thigh-high boots and dresses of heat-molded synthetics. The Concorde was flying, Françoise Hardy and Joe Dassin were singing and women (and men) cruised the Left Bank in Mr. Cardin’s stretchy knits and swooping miniskirts.
With 85 ensembles,the earliest dating from 1953 and the most recent from this decade, “Future Fashion” is not, strictly speaking, another ’60s show. But its core are the space-age outfits that Mr. Cardin designed in a young, newly prosperous Paris, seen here on mannequinsas well as in photographs and films of Jeanne Moreau, Mia Farrow and the cast of “Star Trek.” Some are chic, many are risible; all of it has an exuberant view of the future that marks it as decidedly from the past.
Mr. Cardin, one of the most commercially successful of all French designers (and still working at 97), was never a great artist in the manner of Christian Dior, Cristóbal Balenciaga and Yves Saint Laurent. Born Pietro Cardin in 1922, he fled with his family from fascist Italy to Vichy, which would become the seat of France’s nominal government in 1940. After the liberation of France, he moved to Paris and apprenticed with the couturier Jeanne Paquin. Later he worked in the studios of Elsa Schiaparelli and Dior, went into costuming and presented his first couture collection in 1953. He won acclaim for his “bubble dresses” (disappointingly absent from this show), cinched at the waist and hem. Here are a beige coatdress of beige bouclé wool, plus a fitted day suit worn by Jackie Kennedy; both have thick roll collars that would become a Cardin signature.
In 1959, Mr. Cardin did something shocking: He mounted a ready-to-wear presentation, at Printemps department store in Paris. It was one of the first by a named designer, and for his effrontery he was kicked out of the French haute couture guild. (He was later readmitted.) But Mr. Cardin was ahead of his time in anticipating the allure of high fashion for the middle classes, enjoying the 30-year postwar boom later christened the Trente Glorieuses.
He masterminded a business approach now gone general: glamorous couture as a loss-leader, ready-to-wear as the profit center and licensing deals to radiate your name worldwide. It made Mr. Cardin rich — he would go on to buy and to franchise the famed Parisian bistro Maxim’s — even as these licensing arrangements left the Cardin brand, stuck onto bottled water and tinned cassoulet, diffuse and cheapened.
Where he excelled was in bold, futuristic day wear, often with unorthodox cuts that reshaped or disguised the body. A pink leather jacket from 1980 has bulging shoulders like the pauldrons of medieval armor; the arms of a wool woman’s suit disguise the wearer’s body with oversized fabric circles. One mannequin sports a brown sweater and paneled skirt as well as a Plexiglas helmet, like a on-trend Apollo astronaut. Mr. Cardin took his space travel seriously: In 1969, he went to Houston and quizzed officials at NASA headquarters about how to stay stylish on the moon.
Like his colleagues André Courrèges and Mary Quant, Mr. Cardin proposed a sleek, forward-dawning fashion that sometimes dissolved gender distinctions — above all in his “Cosmocorps” collections of the mid-1960s, whose zipped sweaters and belted jumpsuits could be worn by men and women. Other outfits from the late ’60s are rather less unisex, like a “porthole” dress with cutout nipples. A man’s jumpsuit of teal wool felt features a leather thong worn over the trousers: one part Superman, two parts Tom of Finland.
Especially when compared to the day wear, most of Mr. Cardin’s evening gowns are tacky and uncreative. He is hung up on stretchy fabrics shaped by stiff hoops; one dress of black jersey incorporates six parallel rings, spaced out from the waist to the feet, that give it the look of a collapsible laundry hamper. None of these ensembles, presented together in a pin-lit gallery meant to evoke a sky full of stars, displays any of the exacting craftsmanship that Issey Miyake or Hussein Chalayan would bring to body-disguising gowns. And only a few, like a “light-up” dress with an LED tube sewn onto the chest, have the daffy futurism of the Cosmocorps.
Remember the future? Most of the clothes in “Future Fashion” were made two decades before I was born, and before our ecocidal species had the full number on the uninhabitable earth that awaits us in the 21st century. In the catalog, Mr. Cardin is asked to imagine what we’ll all be wearing five decades from now, and with a laugh he says, “Women will wear Plexiglas cloche hats and tube clothing; men will wear elliptical pants and kinetic tunics.” A nice vision — yet, as this show affirms, also weirdly retro; that was what we were already wearing 50 years previously, not 50 years hence. I’ve been trying to imagine a more serious future fashion for 2069: cuffed, waterproofed trousers for wading through flooded megacities, maybe, or coverall onesies with holsters for ice packs.
Pierre Cardin: Future Fashion
Through Jan. 5 at the Brooklyn Museum, 200 Eastern Parkway, Brooklyn; 718-638-5000, brooklynmuseum.org.
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