{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O140265"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O140265/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2025PG0453/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2025PG0453/","_alt_iiif_image":[],"imageResolution":"low","_images_meta":[{"assetRef":"2025PG0453","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2025PG0449","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2025PG0448","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006BK4776","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006BK4778","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006BK4777","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006BK4775","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006BG5678","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006BD5589","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006AF3961","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":null},"record":{"systemNumber":"O140265","accessionNumber":"T.393B&C-1974","objectType":"Pair of gloves","titles":[{"title":"The Circus Collection","type":"named collection"}],"summaryDescription":"This pair of evening gloves was worn with Elsa Schiaparelli's 'Tears' dress. (see T.393&A-1974) Their strong pink colour would have complemented the pink and magenta print of the dress. Schiaparelli had a knack for taking everyday garments and using unusual details and trimmings to make them extraordinary. Here, instead of a traditional glove-leather, a pink crêpe fabric is used. Crêpe was more stretchy, precluding the need for buttons or fastenings. The dramatic shirred ruffles which run the entire length of each glove provide an additional unexpected touch.","physicalDescription":"Pair of pink opera-length crêpe gloves with exaggerated ruffles down the back of the hand extending all the way up the forearm.","artistMakerPerson":[{"name":{"text":"Elsa Schiaparelli","id":"A2375"},"association":{"text":"designer","id":"x36960"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"crêpe","id":"AAT183741"}],"techniques":[{"text":"sewing","id":"AAT53658"}],"materialsAndTechniques":"Crêpe","categories":[{"text":"Evening wear","id":"THES48999"},{"text":"Fashion","id":"THES48957"},{"text":"Clothing","id":"THES48975"},{"text":"Accessories","id":"THES48998"}],"styles":[{"text":"surrealist","id":"AAT21512"}],"collectionCode":{"text":"T&F","id":"THES48601"},"images":["2025PG0453","2025PG0449","2025PG0448","2006BK4776","2006BK4778","2006BK4777","2006BK4775","2006BG5678","2006BD5589","2006AF3961"],"imageResolution":"low","galleryLocations":[{"current":{"text":"SAINS","id":"THES276095"},"free":"","case":"CA005","shelf":"","box":""},{"current":{"text":"SAINS","id":"THES276095"},"free":"","case":"CA005","shelf":"","box":""}],"partTypes":[[{"text":"Glove","id":""}],[{"text":"Glove","id":""}]],"contentWarnings":[{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Paris","id":"x29068"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1938","earliest":"1938-01-01","latest":"1938-12-31"},"association":{"text":"made","id":"x28654"},"note":"February "}],"associatedObjects":[{"object":{"text":"T.393-1974","id":"O84418"},"association":"Ensemble"}],"creditLine":"Given by Miss Ruth Ford","dimensions":[],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Elsa Schiaparelli (1890–1973) was one of the world’s revolutionary fashion designers. Her couture house, one of the most discussed of interwar Paris, redefined fashionable taste and perceptions of beauty in the 20th century.  With no formal training, she launched her first fashion collection in 1927. Her bold, often audacious, haute couture creations soon made her the designer of choice for a confident clientele. Within five years, Maison Schiaparelli employed 400 staff who created over 7000 couture garments each year.  \r\n\r\nOften designing to confront and shock, Schiaparelli’s radical approach embraced the new and experimental, resulting in clothes that were resolutely modern. Perhaps more than any fashion designer of the era, Schiaparelli urged textile manufacturers to bring her their newest and best materials. At the same time, Schiaparelli’s impact extended beyond fashion and she possessed a vibrant artistic sensibility. Embedded within Europe’s creative avantgarde, she positioned her work in direct dialogue with art, design and performance. Her collaborations with artists, including Salvador Dalí, Jean Cocteau and Meret Oppenheim, led to some of her most radical and memorable designs for clothing, accessories and jewellery. In 1954, Schiaparelli officially retired and closed the doors of her couture salon. She left an enduring mark on the world of fashion and a creative legacy that spanned the cities of Paris, London and New York.  \r\n\r\nRef. Paris Centre de Documentation de Costume, <i>Schiaparelli, Album no 19</i>, 1938, p.124\n\nHistorical significance: Extremely important Schiaparelli design, representing her collaboration with Salvador Dali. Particularly significant in how it relates to world affairs. The savagely ripped print suggests the horrors of the Spanish Civil War and the upcoming turmoil of the Second World War.","historicalContext":"In 1936 Salvador Dali painted three pictures showing figures with flayed/torn skin where torn garment and torn flesh were indistinguishable. One of these, <i>Necrophiliac Springtime</i> was owned by Elsa Schiaparelli. The one most commonly associated with the \"Tears Dress\" is <i>Three Young Surrealist Women Holding In Their Arms The Skins Of An Orchestra</i> (both paintings can be seen in Blum, p.139)\r\n\r\nThe Circus Collection for summer 1938 was presented at the beginning of February of that year, just after the Paris Surrealism exhibition opened on 17th January. Along with this dress, Dali collaborated with Schiaparelli on the Skeleton Dress in the same collection. (T.394-1974).\r\n\r\nRichard Martin says that to \"tear the dress is to deny its customary decorum and utility, and to question the matter of concealment and revelation in the garment.\" He compares it to the Spanish Civil War, and the spread of Fascism through Europe. He suggests that the imagery of rent fabric held strong implications for both the politicial and visual worlds. To Martin, the dress is a <i>memento mori</i> - a reminder of one's own mortality - that was in a state of destruction even when it was new. (p.136-137) The real tears on the cape/veil and the fictive tears on the dress create a visual friction between what is real and what is not. Martin proposes that if the dress were to become mere decoration (like slashing in the 16th century), the cape would still negate this, and vice versa. The two styles support each other's plausibility.  The mysticism of penetration without tearing asunder becomes more viable when accompanied by a physical manifestation of the dress without rupture. Dress is therefore used to represent and reference, just as furniture, architecture, and sculpture themselves do. (p.114)\r\n\r\n- Daniel Milford-Cottam, 2008\r\n\r\n<b>Bibilography</b>\r\n<br>\r\nBlum, Dilys E. <i>Shocking! The Art and Fashion of Elsa Schiaparelli</i>, Philadelphia Museum of Art, 2003\r\nMartin, R. <i>Fashion and Surrealism</i>, London, 1988.","briefDescription":"Pair of crêpe evening gloves, 'The Circus Collection', designed by Elsa Schiaparelli, Paris, 1938.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Palmer White, Elsa Schiaparelli: Empress of Paris Fashion. p.134-135, p.166. London, 1986"},{"reference":{"text":"","id":""},"details":"","free":"Blum, Dilys E. Shocking! The Art and Fashion of Elsa Schiaparelli. (Philadelphia, 2003) p.138-139"},{"reference":{"text":"","id":""},"details":"","free":"Martin, R. Fashion and Surrealism, London, 1988. p.114, 136-137."},{"reference":{"text":"<i>Fashion : An Anthology by Cecil Beaton</i>. London : H.M.S.O., 1971","id":"AUTH354373"},"details":"224","free":""}],"production":"","productionType":{"text":"Haute couture","id":"THES48861"},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[{"text":"surrealism","id":"x35568"},{"text":"trompe-l'oeil","id":"AAT56506"}],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["T.393B-1974","T.393C-1974"],"accessionNumberNum":"393","accessionNumberPrefix":"T","accessionYear":1974,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE","Glove [1]","Glove [2]"],"assets":[],"recordModificationDate":"2026-05-12","recordCreationDate":"2007-10-29","availableToBook":false}}