Is there anyone on earth who doesn’t have a T-“shirt in their dresser, the classical and unmistakable cotton shirt with a round neck, short sleeves, and straight cut? It was the item of clothing worn by American soldiers and sailors beneath their uniforms during the First World War. Then it was adopted by manual laborers and farmhands. Beginning in the 1960s, the T-“shirt increasingly became a billboard on which to place slogans, jokes, famous sayings, illustrations, famous paintings, humor, social or political commentary, company logos, and commercial names.
Lidia (1933-1980). Italian journalist. From the foundation of the magazine Novità she was the alter ego of the founder Emilia, also known as Bebe, Rosselli Kuster, and finally took over her position in 1958. Under her guidance, the magazine, purchased in 1962 from Condé Nast editions, was gradually transformed until it became Vogue Italia. Receptive, open to new developments, emblematic of a crucial period in fashion and design, it represented a link between two eras. Her background was firmly grounded in work at other women’s magazines, and she was an expert in the fields of knitwear, embroideries, elegantly set and designed dining tables, she expressed her innate aesthetic sense in all the aspects of fine living. She belonged to the group of editors of women’s magazines who established themselves in part with their personal image and their charm. She was chic when this word, not yet exploited by the industry of trends, contained a variety of nuances and meanings.
Italian furrier, founded in Milan by Maximillian Tabak, in 1946. At first, the company would purchase hides and furs from around the world to supply them to apparel manufacturers. It was only occasionally that it would produce items of its own. In 1981, things changed. Massimo Tabak, the grandson of Maximillian, took over management of the company and decided to open a shop in the Via Bigli, in Milan, and to offer his own production of furs in tune with current fashions. Those were the years in which Tabak was riding the wave of the market, with advertising campaigns entrusted to major photographers. In 1995 the furrier moved to Corso Venezia. Here the shop remained until 1997, when it moved to the Via Bixio, transforming the label as well to Tabak by Deltafurs, with a dual production of sheepskin jackets and leather items, in prêt-à-porter and in high fashion. Tabak established an alliance with Cesare Manzini, setting aside for itself the role fashion designer and artistic director. The distribution of the product was very thorough in Italy and overseas, with special attention to the market of the former Soviet Union.
This term is used by Boccaccio, as well (“Io ti lascerò pegno questo mio tabarro,” literally, ‘I will leave this tabard with you as a sign of my love’). It describes a long and ample men’s cape and in certain areas in the north of Italy, the term is still used. In particular in Venice, in the eighteenth century, the term described the broad cape with a double mantle on the shoulders, worn both by noblemen and noblewomen. It was very common during the 1960s, but the tabard traces its roots back to the Middle Ages, when it was worn as a military or ceremonial uniform.
Maurice (1897-1984). French photographer. The son of silkmakers, he debuted in fashion designing fabrics, and then in 1914, following his father, he moved to the United States, where he attended the New York Institute of Photography and became such an established portraitist that he photographed the president of the U.S., Coolidge. In 1927 he returned to Paris, where he began his career as a fashion photographer, publishing in L’Album de FigÄro, Vu, Jardin des Modes, and later in Bifur, Silhouette, Vogue, and Marie Claire where he also directed the studios. He met Brodovich (who was the choreographer in photographer of the Ballets Russes and the art director of the department stores Trois Quartiers) and worked in advertising. His experimental work, influenced by the solarizing and the photograms of Man Ray and the Surrealist movement, was published in Die Form, Modern Photography, Photo Graphie. From 1946 to 1949 he returned to New York where he worked for Vogue and Harper’s Bazaar and, upon his return to Europe, he emphasized his experimental work and devoted himself to exhibits and shows.
Label of the Artigiana Sartoria Veneta (Venetian Artisanal Clothing Makers) which, in 1968, was founded in Mirano, near Venice, and which, through the Barena label as well (‘barena’ is a local term used to describe the lands that emerge from the waters of the lagoon at low tide), revitalized various distinctively Venetian or lagoon-based models of clothing as: rain capes, dustcoats, working overalls, fisherman’s breeches. The most representative item, along with the Venetian shawl with long, hand-knotted fringes, is the tabarro (or tabard), an ample men’s cape, a winter garment widely used in the Venetian area from the seventeenth century to the beginning of the twentieth century. A sort of archaeology of clothing underlies these repechages. Some of the model are based on items that are in the collections of local museums.
From the Persian, “taftah.” One of the loveliest silk fabrics, with a tight, almost rigid structure, a brilliant and luminous appearance, rustling at every slightest movement. The iridescent luminous sheen of taffeta is a result of warp and weft in different colors. It is also made with artificial and synthetic fibers.