スキャパレリのインスタグラム(schiaparelli) - 12月6日 00時59分
From the 1930’s to today: Schiaparelli, Dalí, and the lobster.
Insects and crustaceans played a prominent role in the Surrealist avant-garde approach of Elsa Schiaparelli’s friendship with Salvador Dalí. Their aim was to provoke the public by presenting repulsive images as forms of beauty and redemption, forging a new artistic language through their creations.
The lobster, featured on Gala's head in a 1934 painting (7),found its way into one of Dalí's most famous Surrealist objects, the Lobster Telephone (4), in 1936.
Schiaparelli later translated this motif into a textile design, using it for cotton beachwear and a silk organdy evening gown in the summer of 1937 (10). This gown was famously worn by Wallis Simpson, as part of her wedding trousseau (9), and immortalized by Cecil Beaton in an eight-page spread in Vogue US (8).
For Dalí, both the telephone and the lobster carried sexual connotations. The bold placement of a blood-red crustacean on the front of a white dress, strategically positioned between the thighs, was designed to attract attention. Schiaparelli, challenging conventional associations of the white dress with themes of purity and marriage, introduced an overtly sexual perspective, pushing the boundaries of good taste. Adding an intriguing twist to the story, Schiaparelli revealed that Dalí was disappointed when she refused to incorporate what he deemed the ultimate Surrealist touch: mayonnaise.
@danielroseberry reintroduced the iconic lobster for the Spring/Summer 2024 Ready-to-Wear collection unveiled at the Italian Embassy in Paris (3).
#Schiaparelli #ElsaSchiaparelli #SalvadorDal
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