Pierre Bourdieu's model (sociological)
P. Bourdieu is more distant than others from the actual verbal communication. Rather, it describes the context that, as a result, predetermines certain types of symbolic actions. This context gets a name from it habit.
Bourdieu studies how the opinions of social classes are distributed across different politically marked newspapers and magazines. At the same time, he rejects the rigid connection between the reader and the newspaper. The newspaper is presented as a multi-purpose product, providing local and international news, sports coverage, etc., which may be independent of specific political interests. At the same time, the dominant class has a private interest in common problems, since he has personal knowledge of the personalities of this process (ministers, etc.).
Bourdieu pays special attention to nomination processes, seeing in them a manifestation of power functions. It also directly links power and speech.
Thus, we have before us a variant of political communication carried out on a symbolic plane. At the same time, communication becomes an “active force” that allows government officials and politicians to realize their potential.
Paul Grice model (pragmatic)
This problem arose when philosophers, rather than linguists, turned to analyzing more complex variants of human communication. For example, why, in response to the question: “Could you open the door?”, we do not say “yes” and continue to sit, but for some reason we get up and go to open the door. What makes us perceive this question not as a question, but as an indirectly expressed request?
Grice called a number of his postulates the “cooperative principle”: “Make your contribution to the conversation as required at a given stage in accordance with the accepted goal or direction of the conversation in which you are taking part.” This general requirement is implemented within the categories of “quantity”, “quality”, “attitude” and “manner”.
Make your contribution as informative as required;
Don't make your contribution more informative than necessary.
For example, when you hammer nails and ask for four nails, you are expected to get four nails in return, not two or six.
- - Do not say what you consider to be a lie;
- - Don’t say things that you don’t have sufficient evidence to support.
Model by Petra Ershova (theatrical)
P. Ershov, along with other authors, also proposed a certain axiomatics of the communicative field, but for purely applied purposes - theatrical art. The main dichotomy within which he builds his analysis is the opposition between “strong” and “weak”.
In general, Ershov developed an interesting set of rules for communicative behavior, taking into account such contexts as “strong/weak”, “struggle”, “friend/enemy”, etc. Each change in context for him entails a change in communicative behavior.
Model by Alexander Pyatigorsky (text)
Each text is created in a certain communicative situation of the author’s connection with other persons. He traces the interaction of the categories of space and time with the text.
The text in Pyatigorsky's study is characterized by the following aspects:
- text as a fact of objectification of consciousness;
- the text as an intention to be sent and received, it is the text as a signal;
- a text as “something that exists only in the perception, reading and understanding of those who have already accepted it”, it follows that no text exists without another, a text has the important ability to generate other texts.
Plot and situation are considered by Piatigorsky as two universal ways of describing a text. The very understanding of myth is built on the basis of the concept of knowledge. The mythological is considered in three aspects: typological, topological and modal.
Celebrity biographies
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15.05.15 12:55
Fifty thousand “fashion inventions” – this is the “arsenal” of avant-garde couturier Pierre Cardin. The biography of this man, another representative of the “old guard” in the fashion world, proves that you can create everyday clothes and remain a great fashion designer. And although the master was expelled from the High Fashion Syndicate for his ready-to-wear collection, he did not regret it at all, because Cardin is one of the richest and largest owners in France.
Biography of Pierre Cardin
Italian French
Born in Italy on July 2, 1922, Pierre, at the age of three, moved with his parents and brothers and sisters to France - his father began to engage in winemaking, because it was not so easy to feed six children. Pierre had no desire to continue the family business, but he also wanted to help and at the age of 14 he went to earn money, getting a job as an apprentice in a tailor shop. His owner, a skilled tailor, taught the young man a lot. When the war began, Cardin helped the Red Cross and sewed women's suits at a factory in Vichy.
"Eve" and "Adam"
First notable milestone in creative biography Pierre Cardin - his work as a production designer on Cocteau's painting "Beauty and the Beast". Immediately after this, in 1947, he came to work in fashion house Diora. But Pierre wanted to reveal his talent as much as possible. Less than three years have passed since Pierre Cardin's fashion house opened its doors. The first show took place in 1951 - it was a women's collection. The couturier named the boutiques he opened one after another “Eve” and “Adam” (in the late 1950s, he began to design men’s clothing; collections “from Cardin” are still popular among the stronger sex).
Experimenter and inventor
The fashion designer hated the concept of “unisex,” but he actively introduced it “to the masses.” He came up with a lot of things and made them unique; he loved to play with geometric shapes and contrasting colors.
A bold experimenter and inventor, Cardin used in his collections elongated jackets and tight trousers (the master invented them for the legendary Fab Four), stockings of different colors, over the knee boots, “fun” ties, balloon dresses, and mini sundresses. The biography of Pierre Cardin as a skilled fashion designer is replete with all sorts of innovations; he received patents for more than five hundred innovative fashion “gadgets”.
Art to the masses!
He was the first of the famous fashion designers to exhibit his ready-to-wear collection in the Herti and Printemps department stores, as he wanted to make it more accessible to the masses. It was for this “rash” act that he was “crossed out” from the High Fashion Syndicate. But the example turned out to be contagious, and soon dresses and ready-to-wear suits from other famous couturiers began to appear not only in their boutiques, but also in large stores.
Muse in a pack
Cardin greatly respected the work of Marlene Dietrich and became the producer (and costume designer) of her farewell tour, another muse of the fashion designer for a long time Maya Plisetskaya, who recently left us, remained. He enjoyed designing costumes for the ballet star. So in “Anna Karenina”, “Lady with a Dog”, “The Seagull” the prima appeared in the products of the legendary Frenchman. He designed both everyday clothes for Maya Mikhailovna and evening dresses. All these were luxurious gifts for a ballet miracle from a wonderful couturier. When Plisetskaya earned enough money working abroad, she was able to thank her patron.
Castle of the Marquis de Sade and... Red Square as a podium
Another page in the biography of Pierre Cardin is his acquisition of real estate. He owns a large concert complex in Paris, a chain of not only boutiques, but also restaurants. And also - mansions near the Elysee Palace. For example, he wanted to become the owner of the house where Giacomo Casanova once lived and the luxurious castle of the Marquis de Sade. Cardin cannot be called a decrepit old man - his dresses still delight!
And watches from Pierre Cardin are a luxury item that respectable people cannot refuse.
He also visited Russia - the maestro used the capital’s Red Square as a podium in the year of the fortieth anniversary of his activity (this was in 1991).
Personal life of Pierre Cardin
Turned my soul upside down
Despite the fact that the master did not hide his sexual inclinations and was “friends” with men, in Pierre Cardin’s personal life there was a beautiful romance with an outstanding lady. He idolized the actress Jeanne Moreau: “This is the person who turned my soul upside down,” he said. They met thanks to Coco Chanel in 1961. Jeanne and Pierre were together for almost four years, but then fate separated them.
But Andre Oliver remained Cardin’s main ally, friend, lover and business partner for many years.
He dressed the first beauties of the planet and the most popular performers. It's hard to even imagine how famous personalities he had them dressed. People fell in love with him, they worshiped him. But there were only a few women who left the brightest mark on his soul. He is still proud of his acquaintance and friendship with them.
Jeanne Moreau: true love
They loved each other and treasured their relationship. The great couturier still regrets that they saved their feelings and relationships. Jeanne Moreau was constantly busy filming, and he was very passionate about his work and endless fashion shows and fashion shows. He wanted children, but she was never able to give him the joy of fatherhood. The parting was bitter for both, but devoid of mutual claims and scandals. Pierre Cardin recalls with a slight dose of nostalgia those happy four years that they spent together, and admits that he did not love anyone as much as Jeanne.
Jacqueline Kennedy: good friendship
They met at a difficult time for Jacqueline, when the first misunderstandings and disagreements in her marriage to John Kennedy were just beginning. She seemed withdrawn, uncommunicative and very reserved in expressing her feelings. But their second meeting dispelled this impression. During the good periods of her life, Jacqueline was cheerful and very pleasant to talk to. Their conversations could last for hours, they talked about fashion and cinema, about the intricacies French cuisine and about France in general. Over time, the wife of the American president became one of the master’s favorite clients. But she never allowed herself to accept a single outfit offered by the couturier as a gift; she always paid for her order. Only a bouquet of flowers could please her.
Their communication never concerned her relationship with her husband, but Pierre, naturally, noticed how hard she was experiencing the death of her husband. He supported her as much as he could, but gradually the friendship faded away. Men fell in love with her endlessly, showing her countless signs of attention. She chose Aristotle Onassis as her husband, after which communication between Jacqueline and Pierre stopped completely. But he always remembers their friendship with touching warmth.
Pierre Cardin and Raisa Gorbacheva met many years before her husband became president Soviet Union. But the meeting was very short, and the fashion trendsetter was sure that the woman didn’t even remember him. But a few years later she expressed a desire to communicate with the couturier, and he was persistently hinted at refusing to refuse this meeting. However, the inquisitive and inquisitive Pierre Cardin could not deny himself the pleasure of communicating with the first lady of the Union.
She diligently monitored her reputation, was very reserved in public, but in private conversations she gave the impression of being open, sociable, interesting person and the interlocutor. They were friends until the death of Raisa Maksimovna.
Marlene Dietrich: expressive star
The relationship between the couturier and the actress was very difficult. He invited her to his Espace Cardin theater, and already during the negotiations the star managed to bring the fashion designer to the boiling point. She was capricious, demanding absolutely unthinkable conditions and the highest fees for each appearance on stage. When he was ready to give up on his idea, she signed the contract anyway. As it turned out, these were just flowers. During the preparation of the concerts, Marlene threw tantrums and made scandals, finding fault with everything that came into her field of vision. She was arrogant with Cardin and did not notice either the armfuls of flowers with which he showered her after the concert, or the countless signs of attention that he showed her. However, she did not notice him either, treating the couturier as an empty place.
She exhausted Cardin so much that after the end of the contract he did not even want to hear about her; letters of gratitude and commercial offers from Dietrich were instantly sent to the trash bin. All her photographs that Pierre found were also there. As time passed, he was ready to resume business conversation, but learned about the actress’s serious illness.
Maya Plisetskaya: a real diva
He fell in love with her talent immediately after seeing her on stage in Carmen. He was surprised and delighted by the passion with which the ballerina played, by the feelings that she could express without words, with the movement of her body. After the Minister of Culture Ekaterina Furtseva introduced the fashion designer and ballerina to each other, an amazing friendship between the two great people began. He gladly dressed her for social events and sewed costumes for her heroines on stage.
Pierre Cardin still does not understand how such a strong friendship arose between them, but admits that he still misses Maya. Pierre Cardin considered Maya Plisetskaya a true symbol of Russian culture, the greatest actress of her 20th century.
Pierre Cardin has collaborated and is collaborating with many famous fashion models, and famous fashion designer XIX century, he chose to make the first fashion model from his wife Marie.
The first fashion futurist Pierre Cardin was born on July 2, 1922 in the Italian town of San Biagio di Callalta, near Venice, in the family of a hereditary winemaker. He almost never talked about his family and school years, so the first details about the life of the future Parisian couturier are associated with the early forties, when he left Italy to study.
From
Towards the end of the war, he moved to Paris, where he began to take his first steps in fashion. At first, his teachers were women: Cardin worked in the atelier of Jeanne Paquin and Elsa Schiaparelli, from whom he learned to perceive clothes as an artist’s canvas and not be afraid of non-standard moves. At the same time, he met Jean Cocteau and Christian Berard, thanks to whose patronage he received his first serious order: Pierre was offered to create costumes and masks for the film “Beauty and the Beast.”
From
After just a year, he left all his studies to work for Christian Dior. He spent four years with the maestro, gaining experience in clothing design, after which he decided to start his own business. In 1950, the Pierre Cardin brand appeared. The designer's first atelier was located on a small street in the first arrondissement of Paris, between the Grands Boulevards and the Rue Saint-Honoré - very soon Cardin's legendary colleagues will open their first boutiques in the neighborhood.
From
In the first years, the designer focused exclusively on creating costumes for the theater, but after quite a short time, in 1953, he presented his first women's collection. Even then, Cardin began to use unusual synthetic materials, and used moonlight as lighting at his shows. Very soon the designer presented a “ball dress”, and that silhouette, which became no less famous than Dior’s new look, is still quoted by everyone without exception. Just a year later, Cardin’s name began to be recognized throughout the world, and his boutique called “Eve” opened on Rue Faubourg Saint-Honoré, in the prestigious eighth arrondissement of Paris.
Three years later, having established his reputation, he decided to make a bold move and took up men's clothing, although at that time fashion was considered the prerogative of women. The designer opened a store called “Adam”, he was one of the first to offer men the ironic clothes in all the colors of the rainbow that now seem to be something taken for granted.
At the same time, the designer went to Japan for the first time, where he learned about new technologies in the sewing business, and upon returning from there, he accepted an offer from the Bunka Fukosa design college and began teaching courses in three-dimensional clothing design. The next decade saw a series of endless design awards for Cardin, which he received all over the world. The consequence of this was the first women's ready-to-wear collection, which he presented at the Parisian department store Printemps. It began a warm relationship between the designer and the iconic store: his works were always given special place under a colorful dome on Boulevard Haussmann, and most recently a pop-up store dedicated to Cardin’s legacy was opened there. Despite this, he was expelled from the Syndicate High fashion for “flirting with the street.” However, the designer’s couturier status was returned very quickly.
In those years, he managed to launch a children's line, open several new stores, hold his own exhibition and, for the first time, give his name to a collection of porcelain tableware from one large manufacturer. By the mid-eighties, Cardin held his first shows in Beijing and Shanghai, celebrated thirty years of creative activity with a large-scale exhibition at the New York Metropolitan Museum of Art, and also opened new stores and representative offices around the world, from China to Bulgaria. Then he decides to try his hand at business: the designer acquires a share in the legendary Parisian restaurant Maxim’s, where he has been holding his presentations ever since.
In the summer of 1991, Cardin organized a grand show in Moscow - about two hundred thousand people gathered on Red Square. Gradually, Cardin began to increasingly accept proposals that were far from fashion: he developed the design of plumbing fixtures, furniture and car seats, produced champagne and children's toys, opened new restaurants in Budapest and Rio de Janeiro, and even took up own hotel in California. At the same time, he faced accusations of wanting to put his name on everything he could, from Vehicle and ending with food. Despite this, his merits as a couturier were emphasized almost daily: the Victoria and Albert Museum in London organized an exhibition in honor of the fortieth anniversary of the Pierre Cardin women's line and the thirtieth anniversary of the men's line (which then went on “tour” around the world), the designer was nominated to receive the Order Legion of Honor, awarded Japan's highest award - a gold and silver star, and then was even chosen as an honorary ambassador of UNESCO. The new status involved traveling around the world, so Cardin begins to move from country to country, opening new stores along the way, and meets Fidel Castro and Nelson Mandela.
In between, he releases several fragrances, opens one restaurant after another and receives an invitation to design a new Toyota Rav 4 - Cardin's futuristic design was in demand not only in fashion. In the mid-nineties, the former couturier decided to suspend the work of his own House. However, two years ago he announced the revival of Pierre Cardin and returned to Paris Fashion Week with a ready-to-wear collection.
In 2010, the famous publishing house Assouline dedicated a 200-page book to Pierre Cardin, which collected his best works, - “60 years of Innovation”.
Cardin is one of the pioneers of the unisex style, where he experimented a lot and was not always advisable. He founded his Fashion House in 1950 and presented his “bubble dress,” which went down in fashion history, in 1954.
Pierre Cardin was born on July 2, 1922, in San Biagio di Callalta, near Treviso. He was educated in central France. At the age of 14, Cardin became an apprentice tailor, learning the basics of clothing design and learning about its construction.
In 1939, Pierre left home and got a job in an atelier in Vichy, where he began cutting suits for women. During World War II, Cardin worked for the Red Cross, where he was imbued with humanistic ideas that he has not parted with to this day.
Cardin moved to Paris in 1945, where he studied architecture and worked with the fashion house of Jeanne Paquin. He also represented the interests of Elsa Schiaparelli, and then became head of the Christian Dior tailoring studio in 1947. Around the same period, Pierre was denied a job at Balenciaga.
Cardin opened his own fashion house in 1950. His rise to fame began with the creation of 30 costumes for the “party of the century,” a masquerade ball held on September 3, 1951 at the Palazzo Labia in Venice. Pierre switched to haute couture clothing in 1953.
Cardin became the first couturier to secure Japan's status as a high fashion market. The fashion designer visited the Land of the Rising Sun in 1959. In the same year, Pierre was expelled from the Syndicate of Haute Couture for launching a ready-to-wear collection in the Printemps department stores. He became the first couturier in Paris to “stoop” to the level of a ready-made collection, but soon the syndicate accepted Cardin back.
In the 1960s, Cardin began to practice what is now used on a regular basis. We are talking about licensing systems used in the fashion sector. Pierre's collections released during this period surprised everyone - the designer's logo appeared on clothing for the first time.
Pierre left the Syndicate of Haute Couture in 1966 and began showing his collections at his own venue, the Espace Cardin (formerly the Théâtre des Ambassadeurs), which opened near the US Embassy in Paris in 1971. "Espace Cardin" was also used to promote new talent, including theater groups and musicians.
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Carden worked under a contract with Pakistan International Airlines, for which he created uniforms. An instant hit, the uniform was used from 1966 to 1971.
In 1971, the fashion designer breathed new life in Barong Tagalog, a traditional Filipino men's shirt. The new design was approved by Philippine President Ferdinand Marcos.
Cardin remained a member of the French Federation of Haute Couture and Prêt-à-Porter from 1953 to 1993.
Like many other current fashion designers, Pierre decided in 1994 to show his collection only to a small circle of selected clients and journalists. After a break of 15 years, Cardin showed off his new creations to a group of 150 journalists in his bubble home in Cannes.
Pierre came to industrial design by developing thirteen basic design "themes" that were used for various products.
The fashion designer was under contract with American Motors Corporation (AMC). Following the success of Aldo Gucci's Hornet Sportabout interiors, AMC used the Cardin theme for the AMC Javelin, which went into production in mid-1972. Thus, the AMC Javelin became one of the first American cars whose tail design was created by the famous French fashion designer.
Several updates to the special Javelins interior were made in 1973. Over the course of two model years, a total of 4,152 AMC Javelins featured a bold, multi-colored stripe pattern in the Chinese colors of red, plum, white and silver on a primary black background.
The "Cardin Javelins" design also included designer badges on the front fenders and a special set of body colors, including combinations such as "Trans Am Red", "Snow White", "Stardust Silver", "Diamond Blue" and "Wild". Plum". However, a specially commissioned "very dark shade of black" ("Midnight Black") was used for the 12 Carden-designed cars.
Seriously fascinated by geometric shapes, Cardin in 1975 used one of his objects of fetishism - the shape of a bubble - for his monumental work. The fashion designer built "Le Palais Bulles" (English: "Bubble House"), a bubble house, using the services of the Hungarian architect Antti Lovag.
Naturally, the interior of the bubble house is filled with Pierre's original creations. The total area of the building is 1200 square meters. The bubble house has ten bedrooms, decorated with works of contemporary artists, and a living room with panoramic windows.
Cardin bought the Maxim restaurant in 1981; branches were soon opened in New York, London and Beijing. The Maxim hotel chain is currently operating. A number of food products are produced under the same name.
In 2001, Pierre bought the ruins of a castle in Lacoste, Vaucluse department, where the Marquis de Sade once lived. Cardin partially restored the castle, where he held music and dance festivals, including together with Marie-Claude Pietragalla.
Cardin is the owner of the Palazzo "Ca" Bragadi" in Venice. The fashion designer claimed that the palace-mansion once belonged to Giacomo Casanova, but, in fact, it was the home of Giovanni Bragadin di San Cassian, Bishop of Verona and a Venetian elder.
For many years, Andre Oliver remained Pierre's ally, friend, lover and business partner.
