Fur designer

from Wikipedia, the free encyclopedia
Fur designer master furrier Dieter Zoern, model demonstration in 1986

As fur designers are fur products referred designing members of the fashion industry. They mostly belong to the professional group of furriers , otherwise they belong to the fashion designer . Like fashion designers, it is not a protected job title.

General

In terms of linguistic history, “design” comes from the Italian disegno, “drawing”.

With American opossum embellished coat by Paul Poiret (1912)

Since the 1960s, the familiar in English since the 16th century sat down in the current language design to the French word "design" by. In the 1980s the term expanded to include many areas of life. The fashion author Charlotte Seeling recognized the French Paul Poiret (1879–1944) as the first fashion designer . According to the fashion at that time there were fur trimming , -verbrämungen and -muffe in his collections. Around the 1980s, fur producers took up the term and the first furriers and furriers referred to themselves as fur designers in their public image. Since the 1990s, designer fashion has been the common name for avant-garde fashion as well as for exclusive designer brands and for prêt-à-porter .

prehistory

Names such as fashion designer, designer or the like hardly applied to the furrier at first, at least until the 20th century.

Apart from the lamb and goat skin coats of the peasantry, fur did not appear until the second half of the 19th century as an independent item of clothing with the hair facing outwards. In fashion, largely a traditional costume, it was hidden as a warming inner lining and only appeared as a decorative trim or as a collar, especially in men's but also in women's clothing. The tailor designed and manufactured the fabric cover required for this. In addition, beginning towards the end of the Middle Ages, there were small parts made of fur. More like a curiosity, but stylishly independent, the so-called flea fur stood out, a scarf made in the shape of an animal with a head decorated with gemstones for the ladies of a small wealthy class of court and bourgeoisie. Muffs for both sexes, fur scarves and other small items for women were added in the 18th and 19th centuries. A fur fashion of its own came into being in 1842, beginning with the first black ladies' seal jacket , in bourgeois clothing the fur was worn with the hair facing outwards, followed by the fur material, also black, Persians . The independence, however, consisted mainly in the special look of the fur, only rarely in its own fashionable escapades. Even after the Second World War, the prevailing view was that such a durable and high-quality product should have a certain classic timelessness. Soon, however, French fashion designers began to push through a quick fashion change that did not leave the fur without a trace. The fashionable redesign of furs gained significantly in importance.

Previously, the job titles of the fur maker were based on his activity, the material he processed or the product made. In German, in addition to the mainly Central German furrier, names like "Pelzer", "Pelzmacher" and "Pelzwerker" were preferred in northern and southern Germany, and in Lower Germany "Büntner", "Buntmacher" and "Buntfütterer". The addition “colorful” means the gray-white faux fur and means that the furrier did not process lambskins, but mainly the finer types of fur . Due to the influence of the written language, the term Kürschner then became generally accepted.

Modern

The term “fur designer”, which was taken over from English, was mainly used in North America. In the USA, the individual steps of fur production were carried out by specialist workers as early as the beginning of the 20th century, and not only in large-scale factories, than in the rest of the world at the end of the same century. In the USA in 1952 it was the “designer”, not the furrier, who designed the model before it went into production. The patterns in their different sizes may have already been drawn by another specialist, the “pattern maker”. The New York fur directory of 1963 lists 20 “designers and pattern makers” in the table of contents, most of whom referred to themselves in their advertisements as “fur designers”, one as “fur stylist”, some were suppliers of fur clothing.

In the beginning, the term fur designer was used in the German-speaking area, especially in the press, to highlight a fur worker. Until then, a common emphasis of a rather conservative-looking furrier was, among other things, “fur couturier”, which was also possible as a self-description. Edelpelze Berger in Hamburg advertised as a “fur couture house” around 1966 with its “timeless design”. In the company names there are often additions such as "fur fashion" or similar additions containing the word fashion. More spectacular were names in the tabloids such as “fur artist”, “fur king” or “fur tsar”. The term Pelzdesigner, occasionally also Pelz-König, etc., is used particularly frequently, for example for the very media-present fashion designer Alfredo Pauly (* 1955) in Bad Neuenahr.

Neither the fur designer nor the word design appears in a fur lexicon published around 1950, but the term design is. An early mention of furriers as fur designers can be found in a magazine of fur breeders from 1977, generally applied to all fur producers.

Master furrier Dieter Scheibe in Laboe has had the term “fur design” in his company signet since he won the first gold medal at the International Design Competition of the German furrier trade in 1985. The fur suppliers, which are part of the Association Initiative Pelzgestaltung VIP, advertised themselves together for the first time in 1989 in an advertising broadcast with the designer's term: “Let a designer work on your old fur”, but described themselves as a “creative master furrier”, not a fur designer. In the meantime, fur designer, mostly written with a hyphen, seems to be more in use than the traditional word furrier. The term fur design was also increasingly used in company names. The annual model competition of the German furrier trade was only renamed in 2006 in the design competition of the German furrier trade .

In the GDR , where Anglicisms were not very welcome, design was called "industrial design" until the 1970s. Since 1978, companies and designers have regularly been awarded the state recognition of “Good Design” at the Leipzig trade fairs, but only for industrial series products. Every year since 1979, on the “ Day of the Republic ”, the “ Design Prize of the GDR ” has been awarded to particularly talented university graduates and collectives. For furriers there was the title of Recognized Artisan , which could be acquired with a part submitted to a jury and which granted tax advantages. Individual furriers had also distinguished themselves with this, in Saxony it was the master furrier Michael Kaufmann in Leipzig and in 1987, shortly before the fall of the Wall , his colleague Peter Margenberg in Riesa , in Berlin Christel Giesecke (* 1939).

In 2004, skinning became, together with other professions, a craft that was not subject to a license; no master craftsman's examination is required to practice it independently. However, a master craftsman examination can still be taken. In businesses without a master, the job title “fur designer” usually replaces the simpler term “furrier”, which was not familiar to everyone in the past. Due to the decline in fur sales, an increasing number of companies began to expand their product range around this time and no longer want to be perceived as fur specialists. With them, the term at least disappeared from their advertising.

Outstanding German fur designers in the public eye were among others Wolfgang Joop , Karl Lagerfeld along with the Italian Fendi sisters, Rudolph Moshammer and Dieter Zoern . The young Swiss Wesley Petermann , based in Leipzig, has been attracting attention since the 2010s .

See also

Web links

Commons : Kürschner  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Thomas Hauffe: crash course design . Dumont, Cologne 1995, p. 10 .
  2. ↑ Claudia Mareis: Theories of Design as an introduction . Junius Verlag, Hamburg, 2014 p. 36. ISBN 978-3-88506-086-4 .
  3. ↑ Charlotte Seeling: Mode - 150 Years of Couturiers Designer Brands . HF Ullmann publishing, 2013, ISBN 3-8480-0614-6 .
  4. ↑ Furs by Paul Poiret
  5. ^ Giancarlo Ripa, 1981.
  6. ↑ Ingrid Loschek: Reclam's fashion and costume dictionary . 6th edition, Philipp Reclam jun, Stuttgart, 2012, ISBN 978-3-15-010818-5 .
  7. ↑ Eva Nienholdt: Fur fashions of the 20th century . In: Das Pelzgewerbe No. 5, 1957, Hermelin-Verlag Dr. Paul Schöps, Berlin et al., P. 213.
  8. ↑ Bruno Schier: The names of the furrier . Hermelin-Verlag Dr. Paul Schöps, Leipzig, Berlin, 1949.
  9. ^ Frank G. Ashbrook: Furs - Glamorous and Practical . D. van Nostrand Company Inc., Toronto, New York, London, p. 19 (English).
  10. ^ Ready Reference Fur Industry Telephone Directory for New York , 1963.
  11. ↑ Fur preservation . Undated copy of an intended advertisement, with the handwritten note: "Appears in Die Welt + Welt am Sonntag Hamburg editions". One illustration shows the “golden fur moth” between the mink door handles designed by Max Kratz. Otto Berger received the Golden Fur Moth award in 1966. G. & C. Franke collection.
  12. ↑ Otto Berger, 1967 .
  13. ↑ Percy Müller . In: Express Düsseldorf, December 22, 1998.
  14. ↑ exp: More than just a touch of mink . In: Express Düsseldorf, December 1, 1992, p. 16.
  15. ↑ a b Rolf Schulte, 1981
  16. ↑ Sabine Börchers: Celebrities dress up . Welt , December 24, 2012. Retrieved April 7, 2020.
  17. ↑ Alexander Slupinski. In: Express Düsseldorf, December 22, 1998.
  18. ↑ The personal life of the fur fashion designer . Vip.de, October 14, 2015. Accessed April 8, 2020.
  19. ↑ VIP.de: fur designer Alfredo Pauly attacked and robbed. July 21, 2011. Accessed April 3, 2020.
  20. ↑ Alexander Tuma: Pelz-Lexikon. Fur and Rough Goods, Volumes XX-XXI . Alexander Tuma, Vienna (1949-1951).
  21. ↑ In: Der Deutsche Furztierzüchter 1977 . Volumes 51-55, p. 434 (snippet view). Retrieved May 3, 2020.
  22. ↑ Let a designer work on your old fur. Fur models Kuhn, leaflet, 1989.
  23. ↑ List of furrier competitions on Wikimedia Commons .
  24. ^ Günther Höhne: DDR Design . Komet Verlag, Cologne, p. 10. ISBN 3-89836-587-5 .
  25. ↑ Letterhead Michael Kaufmann . July 18, 1998.
  26. ↑ Lg .: Party friend Margenberg's furrier with tradition: serial winner in the "Pelzcup" . Unlabelled hand-dated newspaper clipping (Leipziger Volkszeitung?), September 1, 1988.