User talk:Elly7677

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adding comment for homework last week - Laurel Sira — Preceding unsigned comment added by Ls937911 (talk • contribs) 15:42, 24 March 2015 (UTC)

Tuesday In Class Work
https://en.wikipedia.org/wiki/Vera_Wang

Is each fact referenced with an appropriate, reliable reference? Almost all of the facts are referenced by reliable references. The page has 29 references throughout the article including multiple articles from New York Times, People magazine, and Vogue. the only place where I did not see any reference was the first paragraph of her early life.

Is everything in the article relevant to the article topic? Is there anything that distracted you? Everything in the article focuses on Vera Wang and I can not point out any place that it has gone off topic. The article focuses mostly on Vera's career and personal life, detailing her accomplishments and background. Is the article neutral? Are there any claims, or frames, that appear heavily biased toward a particular position? Vera Wang's article is neutral and appears unbiased. Seeing that her article is mostly a biographical piece, biased information wouldn't be a problem. Where does the information come from? Are these neutral sources? If biased, is that biased noted? The information is mostly coming from magazines such as, New York Times, Vogue, Elle, and People. These are mostly neutral sources because they are entertainment magazines reporting on current events and trends. While these magazines could be biased on some issues, in this case the information reported does not seem to be so.

Are there viewpoints that are overrepresented, or underrepresented? The article does not really depict any viewpoints. Again, the article is mostly a depiction of her work and personal background not about Vera's opinions and issues regarding her. Check a few citations. Do the links work? Is there any close paraphrasing or plagiarism in the article? All of the links on the page work. After reading closely scanning the articles, there does not seem to be any plagiarism but some close paraphrasing. The close paraphrasing is mostly about generic information such as her background.

Is any information out of date? Is anything missing that could be added? There is missing information about Vera Wang's career and could use some updating.

Annotated Bliography on Germaine Émilie Krebs by Elena Grimm
'''Menkes, Suzy. "Madame Grès as Sculptor." The New York Times. The New York Times, 19 Apr. 2011. Web. 31 Mar. 2015.'''
 * She had an exhibit at the Musée Bourdelle called “Madame Grès: Couture at Work”in 2011 showcasing dresses such as goddess evening gowns
 * Daytime wear have the allure of simplicity and complicity: subtly hidden couture work and a respect for the female body.
 * Madame Grès business was liquidated and the name bought by the Japanese company Yagi Tsusho in the late 1980s.
 * Mr. Alaïa collected archive pieces,including the period between 1934-42 when the designer’s house was known as “Alix”, for the Fashion Museum in Marseille.
 * Duchess of Orleans or of Windsor and Hubert de Givenchy were notable clients.
 * The final creation of Madame Grès was a swelling-bodice dress ordered in 1989 by Hubert de Givenchy
 * The simplicity and minimalistic effects are what she is known for
 * This article would be useful in describing the techniques and designs Madame Gres specialized in

'''Sage, Alexandria. "Madame Gres Paris Exhibit Is Ode to Draped Fashion." Reuters. Reuters, 8 July 2011. Web. 31 Mar. 2015.'''
 * This celebrated couturier, who pleated and draped her way through a half-century career in fashion, the art of meticulously folding fabric over the body to create dramatic sculpted forms elevated craft to art.
 * Dresses include styles from modest Grecian simplicity to the avant-garde
 * 20th century designer for whom simplicity and perfection, rather than ostentation, were lifetime goals.
 * Purity of form, expert craftsmanship and an unwavering belief in her vision allowed Gres to find success making essentially the same neoclassical dress over and over
 * Gres, had wanted to be a sculptor but ended up spending a lifetime exploiting the myriad possibilities of draping fabric. She took the name Gres, the alias of her Russian painter husband.
 * First gaining notoriety in 1935 with the costumes for Jean Giraudoux's Surrealist play, "The Trojan War Will Not Take Place," she began to design under the name "Alix."
 * her gowns were worn by the glitterati from Marlene Dietrich
 * Gres could take 2.8 meters (9 feet) of fabric and reduce it through pleating to 7 cm (2.8 inches). That provided not only volume, but an inner structure that required no corseting or reinforcements.
 * With her generous use of fabric in wartime, she angered the Germans, who ordered her Paris shop to close.
 * Gres's signature work is two oversized billowing sleeves that burst forth from the shoulders and the humble pleat
 * This article features and details a lot of work done by Madame Gres and what was on display in Musee Galliera of fashion

'''Di Trocchio, Paola. "Madame Gres: Couturier At Work." Fashion Theory The Journal Of Dress, Body & Culture Volume: 18 Issue: 4 (2014): Academic OneFile. Web. 2 Apr. 2015.'''
 * Grès trained as a sculptor and applied her training to her fabric forms, yet in interviews she denied the influence of the classical
 * History labelled her queen of drapery, a title she hated
 * Grès, a private and infinitely complex woman, preferred her dresses to be read for themselves
 * statuesque, light in color, classically inspired, and its asymmetrical folds sensuously wrapped the bod (overall style)
 * for her it was the same thing to work in fabric or in stone
 * Grès was not only a classicist, but also an expert colorist and tailor.
 * Grès was exposed as a sculptor not just of fabric, but of metal, with jewels in silver and gold crafted into collars and wreaths.
 * First called Germaine Emilie Krebs, then Alix, Alix Barton, Alix Grès, and finally Madame Grès, she was as much a creation as her dresses. She adopted the name of her employer, Barton, and then the moniker of her husband, Grès. This was an anagram of his first name, Serge, which appropriately means stone. Much like her contemporary Chanel, she excelled at the art of invention

'''Cooke, Lynne. "Madame Grès. New York." The Burlington Magazine 2008: 360. JSTOR Journals. Web. 2 Apr. 2015.''' meaning pig-headed or stub born - launched in 1959.)
 * She died mired in obscurity, isolation and poverty in the south of France
 * Famously secretive, Gres chose to veil, if not deliberately misrepresent, the principal facts of her life on the rare occasions that she was willing to be interviewed.
 * her first business was founded at the beginning of the 1930s under the name of Alix, was sold during the Second World War in a period of great personal privation; the second, the couture house which she operated from the end of the War under the signature of Madame Gres, rapidly declined after her retirement in 1987, and closed shortly there after. (Poor business dealings meant that she also lost the fortune she built on the basis of the first of her licensing deals, the perfume 'Cabochard'
 * her daughter Anne not only concealed the fact of her mother's death but impersonated her in written exchanges
 * her stylistic hallmarks, a clear contour that reveals and enhances the female form beneath, and dexterous draping that encourages fluid graceful motion.
 * Although celebrated in the 1930s for an approach to draping that dispensed with corsets and padding, she proved far from indifferent to the impact of Dior's New Look in the immediate post-War years
 * Gres, by contrast, was attracted by the simple structures of certain regional traditions of dress in particular saris, kimonos and serapes.
 * Great article that details the timeline of her career, inspirations and her notable styling

'''"The graceful drapings of Madame Gres New York's Metropolitan Museum of Art honours the last of the great couturieres." Globe & Mail (Toronto, Canada) 1994: Opposing Viewpoints in Context. Web. 2 Apr. 2015.'''
 * Achievements honored in an exhibition, titled Madame Gres, at The Costume Institute of The Metropolitan Museum of Art in New York in 1994
 * early in life wanted to be a sculptor. Her family objected. Instead, she turned her hands to shaping dressmaker's material
 * silk jersey and paper taffeta being two of her preferred media.
 * In the early thirties, under the name of Alix Barton, she established her own couture house and with it the signature of that house, gowns exquisitely moulded in classical drapery
 * her interest in creating, directly on a mannequin, garments to hold ingeniously and gracefully to the human form.
 * Gres had "little relation to the fashions of the moment," and that a Gres show was always "a long-drawn-out, tense pyschological struggle
 * Gres was such a purist, such a perfectionist, that she anguished until the last minute and often sent out clothes that were half- finished.
 * panels of jersey, of neck-to-hemline length, were pleated, hand-stitched in place, gathered tightly towards the waist and thereafter released to fall in gentle folds
 * The dimension and contour of the Gres jacket from 1935 echoes in one that John Galliano presented last month. A 1949 ensemble of bustled tartan skirt and a jacket sectioned into curves is comparable to outfits that Vivienne Westwood has proposed for next spring. The spherical incisions in the bodice of a late-sixties angora-jersey gown suggest the sort of surgery Geoffrey Beene has lately performed.

'''FOREMAN, KATYA. "A Glimpse Of Grès." WWD: Women's Wear Daily 201.62 (2011): 8-1. Business Source Complete. Web. 2 Apr. 2015.'''
 * Working rarely with patterns, she constructed designs directly on the body.
 * designer as a pioneer of sophisticated minimalism.
 * Madame Grès essentially reworked the same dress, pursuing her ideal of the seamless garment with economy of line and volume. The designer was also a great colorist, using a broad palette of hues, from sand to sun yellow, bluebell, raspberry and coral.
 * Known as a designer's designer, Grès' heyday was in the Thirties, Forties and Fifties. But she also saw a comeback in the Seventies, with Yves Saint Laurent and Issey Miyake among advocates of her work. Marlene Dietrich, the Duchess of Windsor, Grace Kelly and Paloma Picasso were among the label's fans.
 * Grès' creations were extremely light, supple and unstructured
 * the designer liked her models to wear her dresses without underwear, as she wanted the clothes to be in direct contact with skin.
 * her focus remained riveted on one thing: couture dresses, which she continued to design into her 80s
 * She is remembered as a fiercely private, strong-willed workaholic who preferred to let her creations do the talking.
 * The late designer named her bestselling fragrance after herself, baptizing it Cabochard, which translates as “stubborn.”
 * Grès died in obscurity in 1993 in a retirement home near Toulon, France, a few days before her 90th birthday. Her death was only made public a year after the event.

'''Rose, Cynthia. "Finding Fidelity Within The Fashion House." Crafts (0306610X) 231 (2011): 65-66. Art & Architecture Complete. Web. 2 Apr. 2015.'''
 * The couturière Madame Grès is a French fashion legend, famous for her draped ‘Grecian’ gowns and stunning silhouettes.
 * Over her working life of six decades, Grès lived like a monk
 * In 1972, by a unanimous vote, she was elected head of Paris couture’s Chambre Syndicale. Four years later, that body gave her its highest award. Yet she was resolute in shunning all publicity
 * each robe consumed enormous amounts of jersey, the final shapes exuded sensuous, fluid charm.
 * Grès worked directly on live models, cutting and pinning each of her creations by hand.
 * During the 50s, Grès was inspired by ethnic traditions; she explored their histories for simpler cuts and purer lines
 * During the 70s, Grès pared away her drapes to highlight naked flesh.
 * In 1986, she unveiled a dress that was made without stitching.
 * All were merely versions of her singleminded vision, a very exact idea of the feminine that eschewed all artifice.
 * her training at Maison Premet – a house founded at the time when couture was defining itself. For Grès, it was a high art, requiring ‘extreme perfection’.