Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia dell’Arte
Anselmo
Commedia dell’Arte
Capitano Spavento
Commedia dell’Arte
Colombine
Commedia dell’Arte
Corine
Commedia dell’Arte
Donna Martina
Commedia dell’Arte
Dottore
Commedia dell’Arte
Isabella
Commedia dell’Arte
Julia
Commedia dell’Arte
Lalage
Commedia dell’Arte
Leda
Commedia dell’Arte
Lucinda
Commedia dell’Arte
Mezzetino
Commedia dell’Arte
Octavio
Commedia dell’Arte
Pantalone
Commedia dell’Arte
Pierrot
Commedia dell’Arte
Scaramuz
Commedia dell’Arte: Lalage
Commedia dell’Arte: Lalage
Item
Designer
Year
Category
Design
Collection
Motif
Detail
Decoration
Variation
Turning French couturier Dominique Sirop’s design into porcelain became one of the most complex jobs undertaken for the Commedia dell’Arte – Couture Edition. Sirop’s design for Lalage is derived from his sumptuous, luxurious collections made from shiny metallic-coated fabrics decorated with rhinestones or sequins. The delicate rose-coloured upper part of the figure – an ordinary maid in the Commedia dell’Arte – is relatively straightforward, but on the skirt Sirop went for an opulently sequined pattern.
In order to get the appearance of tiny metal discs and the effect they have on flowingfabric, the porcelain manufactory masters, like pattern designers in fashion houses, sought completely new materials or working methods. Since such discs cannot be used on porcelain because of the high firing temperatures involved, a suitable counterpart compatible with the conditions of porcelain manufacture and painting had to be found for the sequins specified in the design sketches. The material eventually chosen was the precious metal platinum, which after the firing process is polished shiny so as to reflect the light. To represent the different facets of the sequins, a variety of shapes and surfaces had to be evolved and applied to the figure in numerous variations and irregular lines. This is particularly difficult, given the conspicuously busy shapes and patterns of the skirt.
Creating the crackle pattern on Lalage’s foot also proved a great challenge. Crackle is a web of fine cracks in the glaze on porcelain caused by the body and the glaze contracting differently during cooling. However, the multi-coloured crackle Sirop wanted cannot be produced by the natural manufacturing process, so the porcelain masters had to improvise the fine, irregular shapes freehand.
Item | 18.955 |
Height | 20 cm |
Length | 8 cm |
Width | 8 cm |