Three Centuries of Meissen White Gold, 1710-2010

The Gardiner Museum of Ceramics at Bloor & Avenue Road in Toronto; photo SwF

Snowball vase with birds, model probably by Johann Joachim Kaendler, Meissen, 1741, Lustheim Palace Porcelain collection, Bavaria; every detail and individual rosette is painstakingly applied while moist and pliable, later hand painted, and then the piece is fired

the above piece is a special, highly limited edition in the "snowball" style, made almost 300 years after the early 18th century piece above; it is priced at €45,000.00; photo Meissen Porcelain

This year marks the 300th anniversary of the founding of the Meissen Porcelain Manufactory in the historic town of Meissen, located in Saxony, Germany. Prior to 1710, the only fine porcelain in Europe was imported from China and Japan. In Europe, there have been special exhibitions marking this amazing anniversary, but in North America, there has been little if any recognition of this culturally significant discovery. The blossoming of a highly specialized craft, the manufacture of fine porcelain art objects, table wares, and utilitarian things, has influenced our lives in the way we eat at every meal, and through the objects we use in our home, such as porcelain sinks or wall tiles. Porcelain is highly suitable for objects that are both functional, decorative, or both.

Fine, translucent porcelain fired at very temperatures had been available since the Han Dynasty (approximately 100-200 B.C.). As Europe began to trade with Asia, porcelain, along with other luxuries like spices and silks, was greatly admired and valued. Because of the distance and great difficulty of importing porcelain from China, it was extremely valuable, reserved only for royalty and the rich, and called "White Gold."

From Renaissance times, Europe tried, unsuccessfully to come up with a formula to approximate fine oriental porcelain. In the early 18th century, there was success at Meissen in Germany, and the production began under the patronage of Augustus the Strong, Elector of Saxony and King of Poland. In the ensuing decades, it became a mark of great prestige for the royal houses of Europe to have their own porcelain factories, and some of these that began with royal patronage such as Berlin (KPM), Meissen, Royal Copenhagen, and Nymphenburg, have existed since the 18th century. It can be argued that western porcelain reached the finest period of creativity and excellence in the 1700s. The arts of 18th century Europe cannot be discussed or understood without reference to the mania that society embraced for this refined product, and the story is linked to changing fashions and tastes for tea, coffee, and chocolate which were also imported at great cost. To drink oriental tea from a fine porcelain cup was to be educated, au courrant, and successful.

The Meissen style was widely copied by other factories, and a style derivative of Meissen exists to this day in the prestige porcelains of Nymphenburg, Royal Copenhagen, Herend, Richard Ginori, and of course Meissen. The Meissen influence was also continued in lines by great British manufactories, but sadly the great majority which were located in Staffordshire, have closed in the last decade, after 250 years of continuous production.

The Meissen manufactory has gone through various periods of difficulty, notably during World War II and after, and the factory was in the east zone until the fall of the Berlin Wall in 1990. In spite of these difficulties, the firm was regarded as culturally and historically significant, and received the financial support of the government. I had the pleasure of visiting the factory and museum of Meissen in 2008, and found it beautifully maintained. The renovated, restored, and expanded exhibition halls of the museum, and the extensive showrooms for new products were bustling with delighted visitors from around the world.

Meissen Porcelain of Germany continues to produce pieces in the manner of the 18th century and takes great pride in maintaining highly specialized skills such as modelling, painting, and gilding, in every way as superb as in the 18th century. Some of the most detailed and elaborate pieces are not for the faint of heart. An historically accurate limited edition of the snowball flower teapot, completely covered with dimensional white blossoms, is priced at €45,000.00. While maintaining the skills of the 18th century with absolute fidelity, they also produce new designs that are extremely original, innovative, and unusual. After 300 years in production, their archives hold documents and artifacts of priceless historical and cultural value, making it the most esteemed and important manufacturer or porcelain in the world.

Here in Toronto, Canada, The Gardiner Museum, on Queen's Park directly across from the Royal Ontario Museum, has an exceptional collection of international repute, of early and later 18th century Meissen porcelain. Representative pieces show the development of the porcelain as different formulae were tried, until it was perfected and works of great beauty and technical expertise were achieved.

For those who wish to see more works of Meissen, I highly recommend visiting the porcelain factory and museum in Meissen, and the major museums devoted to Meissen in nearby Dresden, Germany.

http://www.gardinermuseum.on.ca/

http://www.meissen.com/de/museum/einkaufsmoeglichkeiten/meissen-boutique

http://www.magazine-deutschland.de/en/business/companiesindustries/article/article/300-jahre-meissen.html

For a fascinating account of how this historically and culturally important discovery evolved, I highly recommend "THE ARCANUM, THE EXTRAORDINARY TRUE STORY," by Janet Gleeson, Warner Books, 1998.

a Meissen yellow-ground chinoiserie single-handled beaker and saucer , c.1735-1740 G83.1.591a-b, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the yellow ground colour of this cup and saucer is much sought after

pair of beaker-form vases , Manufacturer: Meissen Porcelain Manufactory, Date Label: c.1735-1740 , G83.1.681.1 -2 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the "sea green" ground colour of these vases makes them rare and desirable

confectionery dish from the "Swan Service" , Meissen Porcelain Manufactory, c.1737-1741 G83.1.642 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner

cup and saucer from the "Swan Service" Meissen Porcelain Manufactory, c.1737-1741, G83.1.644a-b, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner ; not evident in the photo is the highly detailed relief of the pattern, depicting aquatic elements and wave-like ripples

Dolphin Saltcellar for the "Swan Service," Meissen, c.1737-1741 , G83.1.641 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner ; this dinner service is considered one of the most fanciful and extravagent ever created

figure of a pug-dog and a pug-dog with pup, Meissen Porcelain Manufactory, c.1745, G83.1.668.1 - .2, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; in 18th century Europe, the pug dog was a popular pet among the royal and aristocratic classes; in the 20th century the Duchess of Windsor had a collection of Meissen pug dog figurines

the Greeting Harlequin, Meissen c.1740 , G83.1.0908 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the Commedia dell'arte was popular among the upper classes

Royal hunting clock for Augustus III , Meissen, c.1732-1733, G87.1.1 , The Gardiner Museum of Toronto,Gift of George and Helen Gardiner; not evident in this photo is the great attention to fine detail in figures, details, and decorative painting on a hunt theme

cased tea and coffee service with harbour scenes, approximately 68 pieces, (G83.1.616.1)-(G83.1.616.53), Meissen Porcelain Manufactory, c.1740-1745 G83.1.616.1-31 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; a fully fitted case of porcelain suitable for serving tea, chocolate, or coffee would have been a costly and very prestige product

Meissen Dish with harbour scene, c.1721-1722, hard paste porcelain, underglaze cobalt blue and iron oxide, G83.1.657 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; this piece of porcelain recreates the sought after blue and white Asian porcelain that was imported at great cost

a Böttger red stoneware covered jar, made at Meissen circa 1704, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the formula for this type of stoneware was discovered in the quest for fine white porcelain; the hardness of the ware allowed it to be cut, engraved and polished like stone

late 18th Century coffee or tea pot with the desirable Meissen Yellow" ground and strewn Saxon flowers; note the simplicity of the form which allows for the brilliance of colour and hand painting to be fully appreciated; image courtesy of Hide and Go Keep Antiques, Durham, New Hampshire

Meissen saucer, 19th century, after an 18th century original, turquoise ground with quatrefoil cartouche painted with a courtly musician couple in the style of Watteau, collection of SwF; in this fine example of Meissen painting, the details are microscopic

Square with Flair gratefully acknowledges the help and assistance of the Gardiner Museum, Toronto, Canada.

Poor, but Pretty in Pucci

Pucci is one of the most iconic fashion looks of the mid to late 20th century. I remember one fashion expert saying that in the '60s, "If you weren't wearing Pucci, you didn't exist." To be in a Pucci dress was to be recognised as a member of the jet set, and those who were fashionable, modern, and had European sophistication. Pucci reached the height of popularity in the late '60s to early '70s when brilliance of colour and pattern could be seen on fashions for children, men, and women, as well as household products such as bedding, wallcoverings, upholstery and drapery fabrics. The most sophisticated patterns of this era were by Emilio Pucci of Florence. Women became weary of the brilliant looks in the mid '70s, and the immediately following trends played with Edwardian, Victorian, and romantic influences by Laura Ashley and Ralph Lauren. Within a decade, the futurism of Cardin, Gernreich, and Couregges was abandoned for high necked blouses, buttoned granny boots, and patchwork skirts that evoked the previous century. The most notable example of this was Lady Diana Spencer's 1981 neo-Victorian wedding dress, covered with lace, frills, and bows.

Diana Spencer's 1981 wedding dress in neo-Victorian style

The renaissance of Pucci started in the early '90s with women wearing vintage pieces. Around this time, books were published about Pucci, and this brought awareness and discovery to a new generation, who was smitten with Pucci's unique dolce vita modernism. Eventually the house itself increased advertising and production, and after an absence of two decades, Pucci was seen again in the most prestigious clothing stores

Iconic fashion like Pucci rarely goes on sale, and when it does, selections are very limited in terms of size, style, and colour. One will sees very expensive fashions on sale, but less frequently does one see fine classics like Chanel suits, Hermes handbags and scarves, Burburry trench coats, or classic Lacoste polo shirts, at reduced prices. That is why when they do go on sale, it is a good opportunity to buy, especially if you've always dreamed of one of these iconic pieces, but never been able to afford it.

Pucci blouses and dresses have been worn by the most fashionable women of the 20th century, including Audrey Hepburn, Catherine Deneuve, Marilyn Monroe, Marlene Dietrich, the Duchess of Windsor, Elizabeth Taylor, Helen Gurley Brown, and Paloma Picasso. A Pucci print is very sophisticated, and recognisable in the way that a painting by a good modern artist is. Pucci prints are bright and colourful, but upon examination, many of the colours are not so brilliant as they seem. The colours are so well coordinated and contrasted that they sing and vibrate. If you look at some of the colours in these Pucci prints in isolation, you'll see that many of the colours aren't nearly as electrifying as when they play off the other very carefully selected tones. The mixing of these colours is much more difficult than one can imagine. This is why most vintage psychedelic prints of the 1970s are brash and vulgar when contrasted with a Lilly Pulitzer, Porthault, Paule Marrot, or Pucci. In Pucci prints, each area of colour is delineated by a very fine black line. The small and very discreet signature "Emilio" is scattered throughout the print, so that one can discern if the pattern is authentic.

Just this week, I was surprised to come upon this rack of Puccis on sale at a major Canadian clothing discounter. There were blouses, dresses, pants in cotton and silk. Prices were half suggested retail, so that $600.00 blouses were $300.00. Considering that most fashion loses 90% of it's value when it leaves the store, these sale pieces are an excellent investment compared to most clothes. The $300.00 blouse will likely get you $100.00 to $200.00 if resold, whereas virtually any other clothing in that price range will bring nothing if resold.

Puccis are very noticeable, and some people think they are difficult to wear. This is not correct. The best way to wear them is as separates, so that for example, a blouse would be worn with slacks, jeans, or a skirt in a solid colour of one of the tones used in the print. A cotton Pucci print blouse and a pair of simple white jeans will take you almost anywhere this summer.

Fashion is often fickle and unpredictable. Avoid expensive fashion errors by sticking to time tested looks, and fashion can be much friendlier. Pucci is a dear friend one first met in the 1960s, and who is always cheerful and bright. Pucci is the perfect antidote to economic gloom and the predictable black that so many of us seem unable to shake off. In these times calling for extraordinary fiscal measures, one can still be pretty in Pucci.

© 2010 Square With Flair™

Happy Birthday Hubert de Givenchy!

Happy Birthday to the artist-ocratic Hubert de Givenchy!

In a 1998 interview with Charlie Rose, Hubert de Givenchy said, “Current fashion is ugly,” and went on to specifically mention heavy shoes, an excess of black, and the importance of being clean, suggesting that some people appear to need a bath. For a man who created such beauty, the hard edges and negative aspect of much street inspired, rock and roll fashion of today must be an anathema.

This unassuming but courtly gentleman who was born in Beauvais, France, turned 83 this February.

Givenchy retired in 1995, and was succeeded by a then unpolished John Galliano and a creative but shockingly edgy Alexander McQueen. This drastic change in artistic direction caught the French establishment off guard. It was somewhat like being forced to listen to the Sex Pistols when your favourite music is Mozart. Who can understand the logic of those who want to re-brand venerable houses in a way that makes them unrecognizable and does not acknowledge their rich, historic, and creative past? Change can be refreshing and positive, but obliterating the past is reminiscent of dictatorships. Perhaps in the future we can look forward to some creative re-interpretations of classic Givenchy designs, much the way that current designers have done at Balenciaga, Chanel, Hermes, and Dior.

While many designers have fashions that shout defiantly, Givenchy’s designs spoke gently, clearly and succinctly. He was a disciple of Balenciaga, and that pure, rigorous aesthetic was evident in his designs. The clothes were comfortable, but not loose. They suggested the contours of a woman’s body, but were never tight, clingy or vulgar. Prominent patrons of Givenchy couture were Audrey Hepburn, Bunny Mellon, the Duchess of Windsor, Mona Bismarck, Jacqueline Kennedy, and Jayne Wrightsman. Audrey Hepburn said that her friend Hubert’s clothes were a form of protection for her. Looking at a vintage Givenchy dress today does not convey the sense of beauty with which it was originally presented or seen. Many simple evening dresses were designed with restraint to set off important jewels clients owned. Formal gowns that are without sleeves would have been worn with long gloves, giving a less exposed look than is apparent. Day outfits were often punctuated with inventive hats, highly original and creative sculptures in their own right. In Breakfast at Tiffany’s, look at Audrey Hepburn’s little black day dress that she wears with a wide brimmed hat and long organza band to understand how millinery was crucial to the total concept. Many fabrics that have large scale prints, or elaborate surface decoration and embroideries, were put on garments with very simple, uninterrupted lines in order to show the superb design, pattern, and quality of the material.

As a great connoisseur of the arts, Givenchy has collected superlative 20th century art by Giacometti (some of it specially commissioned) and other modern masters, but also collected the most magnificent 18th century furniture and decorative arts. With his infallible, acutely trained eye, his understanding of volume, proportion, colour and balance was skillfully exploited in his fashion designs. While every designer is best known for grandiose evening gowns, and Givenchy did those to perfection, his day clothes were also outstanding. His coats and suits were finely tailored and flattering, and more designers today need to devote more attention to day wear, as Givenchy did.


Wool day suit jacket with "Matisse" motifs, 1992

For a good snapshot of Givenchy designs, look at Audrey Hepburn in Breakfast at Tiffany’s. Givenchy’s flawless designs can be seen in cocktail dresses, evening gowns, day coats, and gorgeous hats that enhance ensembles. Incredibly, Edith Head won the Oscar award for best costume in Roman Holiday and in Sabrina, when Givenchy should have been recognized. I’ve written to the Academy of Motion Pictures more than once with regard to this oversight.

There are far fewer books on Givenchy than on Chanel or Dior, and this seems to add to his mystique. The ones that are available really don’t use illustrative examples of his designs to show any chronological progression for the more than four successive decades, and that is a shame, because the collections are sublime.

I’ve seen a few pieces from one of his spring/summer 1992 couture collection, with silk and wool patchwork and applique inspired by Matisse paper cut-outs, and they are incredibly beautiful. “Beautiful,” and “pretty” are words that one rarely hears in fashion anymore. Wouldn’t most women out of their teenage years rather be “beautiful” than “edgy.”? Certainly, if they are dressing for themselves or for men, beautiful is better, and Givenchy and his exclusive clientele thought so too.



Silk day dress with "Matisse" foliate motifs, spring'/summer 1992



Detail of silk floral embroidery on dress Jacqueline Kennedy wore to Versailles, 1961.

Hubert de Givenchy fashions are wonderful to wear. They are comfortable, flattering, elegant, modest, and never make the wearer feel conspicuous. They strike the perfect balance of simplicity and style, without being minimalist or dull. His "look" could be described as mid century, modern Paris, and that is a style that is now classic and eternally flattering. Consider the images of Audrey Hepburn and all will be understood.

For an interesting but rare glimpse of the aristocratic and discreet Hubert de Givenchy, see this 1998 Charlie Rose interview:

http://www.charlierose.com/view/interview/4633

Apart from the unforgettable photographic and motion picture images, and existing archival garments that Hepburn wore, all a result of the Hepburn/ Givenchy alliance, the most wonderful thing of all is the legacy of philanthropy, and heightened awareness of the work of UNICEF that endures as testimony to Hepburn’s sensitivity and generosity, the aura within that made her all the more compelling on screen and in person. Givenchy, with his innate understanding of beauty, enhanced this and made it all the more apparent.

In the last decade, Givenchy has used his talent for philanthropic projects such as museum exhibits he has helped to organize, and restoration of the vegetable/ kitchen garden at Versailles. He has donated garments to be auctioned for charitable causes, and it was a delight to know that the proceeds of the extremely high realized prices were going to benefit the underprivileged and needy.



Garden motifs, spring 1961 Jackie's Givenchy Versailles dress

I doubt Givenchy misses the pressure of having to present new collections to legions of journalists looking for sensational changes to report. For Givenchy who loves gardens, plants and flowers so passionately, such philanthropy must be a most rewarding contribution to the disciplines of History, Horticulture and design, not to mention important social causes.

Thank you Monsieur Givenchy, and many happy returns!


Photos of white evening gown from "JACQUELINE KENNEDY; THE WHITE HOUSE YEARS Selections from the John F. Kennedy Library and Museum, Bulfinch Press/ Little, Brown and Co., 2001.

© 2010 Square With Flair™