Lilly dache (7 Ergebnisse)

Hardcover. Zustand: Good. Zustand des Schutzumschlags: no dust jacket visible. The book is bound in hardcover and is in good condition. The cover shows minor wear consistent with age, but the binding remains intact. There is no dust jacket present. The pages are clean, with no inscriptions or library markings, making it a well-preserved copy for its age.…

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. 1st Edition. DACHÉ, Lilly. Talking Through My Hats. London: John Gifford, 1946. Edited by Dorothy Roe Lewis. First British edition. The autobiography of Lilly Daché, the French-American milliner whose inventive designs were worn by American and European socialites, and movie stars from the 1930s through the 1950s. Celebrity clients included Dorothy Parker, Babe Paley, Greta Garbo and Marlene Dietrich. Both the designer Halston and the hair stylist Kenneth worked for her before going into business for themselves. 247pp. Black-and-white portrait frontispiece. 8vo, original cloth, crease to spine, spotting to edges. Occasional light foxing. Very good in the attractive dust jacket (price-clipped; a few small chips and nicks; light spotting to rear panel).…

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. Rare. 2nd printing. Hardbound in dust jacket. Former library copy. The dust jacket is in library Brodart cover, with the Brodart flaps glued to rear & front end papers. Call number sticker on dust jacket spine & pocket in rear. Dust jacket may be trimmed on top or bottom edges, but without removing the Brodart, it is impossible to tell. Since the book presents well in the library Brodart, we are offering it without any repair or restoration attempts. Photos available on request. Previous owner's inscription on front free end page, otherwise very good. …

Cloth. Zustand: Very Good +. Zustand des Schutzumschlags: Very Good +. A sharp, bright copy of the 1956 stated 2nd impression. Tight and VG+ (a touch of soiling along the lower front panel) in a crisp, price-intact ($3.95), VG+ dustjacket, with light rubbing along the spine edges and mild, inconspicuous staining to the inside of the dustjacket. Octavo, edited by Dorothy Roe Lewis. …

Hardcover. Zustand: Very Good. No Jacket. 1st Edition. Tight binding, clean interior, light wear. End papers have "Lilly Dache" repeated in a nice graphic design. Pale mauve boards with gilt on the front and spine. Corners are lightly worn, spine very slightly faded with ends bumped. Interior is clean, tight and unmarked. Tells how to achieve glamour head-to-toe in all aspects of your life. Includes an exam and helpful appendices. 315 pages including index.…

Hardcover. Zustand: vg.

A largely unbroken, notably scarce, run of 40 issues of La Dépêche (September 1949 until October 1950) together with three issues of La Note de Paris (August and October 1950). This run has a key fashion association, the subscriber being renowned milliner, fashion designer, and female entrepreneur Lilly Daché (?1892-1989) during her "heyday in the 1940s and early 1950s" (ANB). Born in Bègles, France, Lilly Daché "began her millinery training with her aunt, a dressmaker in Bordeaux, but talent and ambition soon led to a four-year apprenticeship with Caroline Reboux in Paris. She later worked for both Suzanne Talbot and Georgette, also noted Parisian milliners" (ANB). Reboux and Talbot are both featured in La Dépêche: Reboux, nos. 49 and 137; Talbot, no. 116, 139, and 141. Daché moved to New York in 1924 and immediately found work in a small hat store, the Bonnet Shop, which she soon bought from her employer. By the early 1940s Daché was America's premier milliner with an "elegant New York salon in which she employed 150 milliners, shops in Chicago and Miami, wholesale designs sold to more than forty stores across the country, and more than half a million dollars in business each year, selling hats priced from $35 to $500" (ibid.). Her regular subscription to the French fashion magazines collected here, and her occasional marginal crayon marks highlighting segments of text, demonstrates her desire to stay at the cutting edge of fashion and remain connected to her early roots, allowing her to maintain her reputation as a French designer. "Her growing awareness that hats were losing their place as a vital fashion accessory, combined with her inherent ambition and energy, inspired Daché to branch out into other areas of fashion and beauty. By the mid-1950s she had completely revamped her salon and was designing, in addition to her own line of hats, dresses, accessories, jewellery, lingerie, furs, perfume, and cosmetics, plus men's shirts and ties" (ibid.). Both La Dépêche and La Note de Paris were female-directed independent fashion magazines for both a French and American audience featuring sketches of new French designs for clothes and accessories, with commentary and "gossip" in both French and English. Included in these richly illustrated magazines are designs by key couturiers such as Christian Dior, Balenciaga and Pierre Balmain, as well as by milliners such as Simone Cange and Madamme Paulette. Extensive runs of La Dépêche such as these are almost unheard of in commerce, with no such collections of this ephemeral publication traced at auction. They are equally uncommon institutionally with just two collections traced; the Bibliotheque nationale de France hold a run dating from 1954 to 1966, and the Fashion Institute of Technology hold a run of 229 also finishing in 1966. Likewise, runs of La Note de Paris are scarce, with none traced at auction and one set traced institutionally at the Bibliotheque nationale de France. La Dépêche: 40 issues, tall quarto (328/310 x 210 mm). Text in French and English. Illustrated throughout with ink sketches of designs. Original illustrated cream paper wrappers; 8 wire-stitched as issued, titles in blue to front covers; 32 staple-bound in upper left corner as issued, titles in black to front cover (of these, 2 unopened and within their franked postage bands; folded: 210 x 115 mm, a further 2 (nos 42 and 43) single, unbound, sheets). Together with 3 issues of La Note de Paris: tall quarto (310 x 215 mm). Original illustrated yellow paper wrappers, cord-bound as issued, titles printed in black to front covers. Housed in a dark blue cloth flat-back box by the Chelsea Bindery. Slight nicks and creasing to edges, horizontal creases due to folding from postage, contents faintly toned, occasional rust marks from staples; a remarkably well-preserved set of this fragile publication.…