FASHION DESIGN SCHOOLS IN EUROPE : FASHION DESIGN SCHOOLS
Fashion design schools in europe : When is paris fashion week 2011.
Fashion Design Schools In Europe
- Fashion design is the art of the application of design and [[aesthetics]or natural beauty] to clothing and accessories. Fashion design is influenced by cultural and social attitudes, and has varied over time and place.
- The art dedicated to the creation of wearing apparel and lifestyle
- (Fashion Designing) Is a profession for all those people who like to take the above defined seriously.Requires drive and unrelenting passion to understand the nuances of science,art and mathematics put together to make and stylize clothes.
- In Europe is an album by Miles Davis, released in 1963.
- In the United Kingdom, Germany, Austria, Sweden, Hungary, Ukraine, Switzerland, Denmark, Belgium, The Netherlands and Romania, "Delikatessen" (as it is spelled in current German) has a rather different meaning; it designates top-quality (and top-price) foodstuffs.
- A large group of fish or sea mammals
- (school) an educational institution; "the school was founded in 1900"
- (school) educate in or as if in a school; "The children are schooled at great cost to their parents in private institutions"
- (school) a building where young people receive education; "the school was built in 1932"; "he walked to school every morning"
Normandy Crucible: The Decisive Battle that Shaped World War II in Europe
The Battle of Normandy was the greatest offensive campaign the world had ever seen. Millions of soldiers struggling for the control of Europe were thrust onto the front lines of a massive war unlike any experienced in history. But this greatest of clashes would prove to be the crucible in which the outcome of World War II would be decided.
It began on D-Day. June 6, 1944-the day that the Allied Forces launched Operation Overlord: the great crusade to free Europe from the iron grip of Nazi Germany. But only when the troops were ashore did the real battle begin.
With Nazi defenders marshaling to stop the invaders, Hitler and his generals schemed to counterattack. Tightly constricted hedgerow country and bitter German resistance held the Allied advance to a crawl. Suddenly the Allies broke through and trapped the Nazi armies. Yet within weeks of this stunning disaster, the Germans smashed the most dangerous Allied offensive yet.
How was this possible? In Normandy Crucible, noted author John Prados offers a penetrating account that reframes the Normandy breakout to answer that question. For the first time he melds intelligence into the combat narrative. Shifting between battle action and command decisions on both sides, Normandy Crucible shows in fascinating detail how this campaign molded the climactic battle for Europe.
An Evening at the Palace
The Palacio Real de Madrid (The Royal Palace of Madrid) is the official residence of the King of Spain in the city of Madrid, but it is only used for state ceremonies. King Juan Carlos and the Royal Family do not reside in the palace, choosing instead the more modest Palacio de la Zarzuela on the outskirts of Madrid. The palace is owned by the Spanish State and administered by the Patrimonio Nacional, a public agency of the Ministry of the Presidency. The palace is located on Calle de Bailen (Bailen Street), in the Western part of downtown Madrid, East of the Manzanares River, and is accessible from the Opera metro station. The palace is partially open to public, except when it is being used for official business.
In Spanish it is sometimes incorrectly called "Palacio de Oriente" by confusion with the "Plaza de Oriente", the square which is on the East (Oriental) side of the palace.
The palace is on the site of a 9th-century fortress, called mayrit, constructed as an outpost by Muhammad I of Cordoba and inherited after 1036 by the independent Moorish Taifa of Toledo. After Madrid fell to Alfonso VI of Castile in 1085, the edifice was only rarely used by the kings of Castile. In 1329, King Alfonso XI of Castile convoked the cortes of Madrid for the first time. Philip II moved his court to Madrid in 1561.
The old Alcazar ("Castle") was built on the location in the 16th century. It burned down on December 24, 1734; King Philip V ordered a new palace built on the same location. Construction spanned the years 1738 to 1755 and followed a Berniniesque design by Filippo Juvarra and Giovanni Battista Tiepolo in cooperation with Ventura Rodriguez, Francesco Sabatini, and Martin Sarmiento. The new palace was occupied by Charles III in 1764.
The last monarch who lived continuously in the palace was Alfonso XIII, although Manuel Azana, president of the Second Republic, also inhabited on it, making him the last head of state to do so. During that period the palace was known as "Palacio Nacional". There is still a room next to the Real Capilla, which is known by the name "Office of Azana".
The palace has 135,000 square metres (1,450,000 sq ft) of floorspace and contains 2800 rooms. It is the largest palace in Europe. The interior of the palace is notable for its wealth of art, in regards to the use of all kinds of fine materials in its construction and the decoration of its rooms with artwork of all kinds, including paintings by artists such as Caravaggio, Velazquez and Francisco de Goya and frescoes by Corrado Giaquinto, Giovanni Battista Tiepolo and Anton Raphael Mengs. Other collections of great historical and artistic importance that are preserved in the building are the Royal Armoury, Porcelain, Watches, Furniture and Silverware. Currently, the Patrimonio Nacional, an autonomous body under the Ministry of the Presidency, manages the care of public property in the service of the Crown, including the Royal Palace.
Natalia Koreshkova (born 1975 in Kursk, Russia) is a contemporary emerging painter. As a child her creativity was encouraged by her father, an artist and fashion designer. “From a very young age, I was creating murals and collages and drawing or painting on any surface I could find. Many children have their own fantasy worlds but I was able to make mine come to life through art. The pen, the pencil, the paintbrush have always been a part of me, an extension of myself. My hands are never still, they are always working, even while I do other things, it’s like an energy that escapes through my fingertips, bringing life to the ideas in my head.”
Natalia had a classical training at art school in Kursk and later Kiev, learning about the history of art and basic artistic techniques such as still life and landscape painting. Her training brought a solid base to her creativity, giving form and direction to her artistic energy.
After finishing her formal education, Natalia moved to Munich, Germany where she studied fashion and tailoring, taking her talent into the world of fashion design. In tandem with her studies she continued to express her own creativity and began working with illustrations. Natalia was commissioned to paint portraits and specialist works for private homes and in workplaces. This was the start of her artistic career, and she began to develop a figurative style, using surrealist interpretations with fantastical figures, both human and animal.
During the last years, Natalia travelled extensively and was influenced by many other artists. Her style continued to evolve, moving more strongly towards abstract. She was impressed by a wide range of artistic techniques, particularly those of glassblower Dale Chihuly, nature photographer Peter Lik and artists such as Vladimir Kush and Patrick Boussignac.
She also collaborates with interior designers and architects for big casino projects in Eastern Europe and her work, which is mostly a selection of triptyches, is displayed in VIP rooms of casinos in the top hotels, including the Hilton, Radisson and Carlton. Natalia first began this type of work in 2006 for the Olympic Casino Group in Riga and has since completed similar projects in Warsaw and Bratislava. She has used long, expansive canvases and the paintings are abstract, decorative compositions, using vivid colours. Her work is permanently on display as part of the interior design of the casinos.
fashion design schools in europe
Using a wide collection of evidence from the late Antique period up until the fifteenth century, this informative and intriguing volume illustrates how sex in medieval times was understood, not as something that two people did together, but as something that one person did to another. Consequently, gender roles and identities were seen very differently from the ways our society defines them.
Challenging the way the Middle Ages have been treated in general histories of sexuality, the author shows how views at the time were conflicted and complicated; there was no single medieval attitude towards sexuality any more than there is one modern attitude. The well-known lusty priest and the 'repressed' penitent have their roles to play, but set here in a wider context these figures take on fascinating new dimensions. Focusing on 'normal' sexual activity as well as what was seen as transgressive, the chapters throw these classifications into focus, covering topics such as chastity, sex within marriage, the role of the church, and non-reproductive activity.
This new edition brings the book up to date with the burgeoning scholarship in this area, now includes illustrations and an extended range of examples, and increased coverage of Jewish and Islamic cultures in Europe.
Combining an overview of research on the topic with original interpretations, Sexuality in Medieval Europe is essential reading for all those who study Medieval History, or who have an interest in the way sexuality and sexual identity have been viewed in the past.
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