Christian Siriano of Project Runway fame is hooking up with maternity designers to create a line of maternity wear. Click here to read more.
Two Coco Chanel movies are in the works right now. First is the Shirley MacLaine TV miniseries for Lifetime simply called Coco Chanelwhich is completed and will air staring Sept. 13. The second one is a called Coco Avant Chanel and is a feature staring Audrey Tatou (of Amelie fame–melt my heart)
Riitta Immonen who founded the iconic and hip again clothing and textile textile company Marimekko died last week at age 90. Click here for more details. Thomas Bata “shoemaker to the world” also died this past week at age 93. The Bata Shoe Museum in Toronto was founded by his family. Click here for more details.
The RNC had some fashion events which weren’t quite the Obama Vogue dinner of weeks ago, and instead were about how to wear Zubaz and the like. Click here for detatils or click here for another piece. Personally, the popular RNC ensemble that made the biggest impact on me this week was one of the more common sights, a quite fetching style seen on just about everyone every where you look, seemingly the “little black dress” of the convention if you will:
The remake of the classic 1939 flick, The Women will officially opening on September 12. The new version will star Meg Ryan, Annette Bening, Eva Mendes, Debra Messing, Jada Pinkett Smith, Bette Midler, Candice Bergen and Carrie Fischer with costumes by John A. Dunn (who previously designed Pineapple Express and won an Emmy for his work on Mad Men).
Why, you might ask, should an historian of dress care? Well, anyone familiar with the original version of The Women (1939), which starred Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard and Joan Fontaine will have noticed the costumes. Noted designer Gilbert Adrian created the costumes for this film, and in doing so needed to imitate some of the best fashion designers to suit the needs of the characters. Some of the most interesting, and my personal favorites, are his re-imagined Schiaparelli-esque designs for Rosalind Russell’s character Syliva (played in the new version by Annette Benning). Adrian’s comical and surrealist designs inform Sylvia’s sense of (devious) playfulness.
In her auto-biography, Rosalind Russell describes the details of one of the films best scenes:
“After the knitting scene Norma and I had a scene in a dressing room, and all the time she’s being fitted in a dress, I’m talking a mile a minute. There’s a woman down on the floor fiddling with a hem, mostly out of camera range, once they’ve established what she’s doing, and then, as Norma turns around, there I am buzzing, buzzing, buzzing. ‘Just think of it like a bee,’ Cukor had told me. ‘Get into her ear, and if she turns away, get into her other ear.
In the midst of my buzzing, Norma [Shearer] left the set for half an hour. When she came back she was wearing a dress left over from Marie Antoinette. It had never been worn; it was black velvet and it had an enormous hoop skirt. ‘I hated that other dress, George,’ she said, ‘so I put this one on.’ He studied her, he studied the dress, then he said, ‘Take a few minutes,’ and told his crew he was going to change the scene.
Now, bear in mind that the set was a tiny dressing room with a platform, and that once Norma was in the gown with the hoops, I wasn’t going to be able to get anywhere near her ears. ‘Rosalind,’ Cukor said, ‘I want you to stand on that platform.’ I stood on that platform. ‘Now pull those four full-length mirrors around her,’ he told the prop men. They pulled the four full-length mirrors around me. ‘Now, Norma,’ he said, ‘you go stand next to her as close as you can get.’ Norma came up beside me, and Cukor surveyed his handiwork. ‘Light that, fellows,’ he said.
It took some time to get the shot lit, with the reflections from the mirrors flaring into the camera, but when it was done, Cukor turned to Norma. ‘Now, instead of one Sylvia, you’ve got four,’ he said. It was tremendously effective, four people buzzing at her. Poor Norma, she was a terribly nice woman and a very pretty woman and a good actress, but what could she do?”
The 1939 version of The Women was an influential film that many present day designers turn to for inspiration and historical reference. Not only did each character have a well-tailored and distinct look (these women were, primarily, among the social elite) but they also attended a fashion show – and Adrian pulled out all the stops. Much excitement was made over the contemporary design seen in The Women – and Adrian was indeed celebrated for it.
Gossip columnist Hedda Hopper (who also had a small role in the film as a journalist), described the designs she saw on set:
“There was Roz Rusell in a white-and-black taffeta bustled dress with a tight, old-fashioned basque. And three spears on her head, hoping to stab every member of the cast at the same time, watching Norma Shearer in black velvet wearing a crystal boutonniere, a miniature of the chandelier hanging over her head, which came from an Austrian palace. . . . If Adrian wasn’t our greatest designer, he’d earn that title for his clothes in ‘The Women.’ He’s done 150 dresses – 50 for the fashion show. . . . (Hopper, Heda, “Screen,” Los Angeles Times; May 29, 1939, pg. A15).
Here is the fashion show (the only part of the film in color):
[flash ]
All that said, I can’t help but wonder what, if any, iconic images will come from this new version of the film. The film industry has changed so tremendously since the 1939 film, and costume design and designers are no longer promoted as stars in their own right (as was the practice during the studio system). The perception of conteporary film is often that there is no costume design - because the designers, in effect, have done their jobs well (creating costumes that the audience doesn’t notice, because they are so realistic is essential in many films). More often than not, when we notice film design (Sex and The City anyone?) it is because the choices seem unrealistic or aren’t right for the character or situation.
Once the movie is released, I may have more to say (but given what I’ve seen in trailers and ‘sneak peaks,’ I doesn’t look nearly as good as the original). I would certainly recommend that you watch the 1939 version in its entirety before seeing the remake.
The following three jobs are in Connecticut at the Long Wharf Theater :
Job Title: Cutter/Draper/Tailor
Responsibilities: Patterning and cutting costumes, attending fittings and technical rehearsals, directing garment assembly, and estimating yardage for built costumes; possibly stitching, craftwork, and shop maintenance. Skills Required: 5+ years of professional experience in draping, flat patterning, and tailoring. Must be organized and hard-working, possess leadership qualities and the ability to work under pressure with varied personalities. Some evenings/weekends may be required. Must be able to lift 25lbs. and climb stairs.
Job Title: Costume Design Assistant
Responsibilities: Assisting designer in all aspects of the build; serving as the design liaison between staff and designer; local, Internet, and out of town shopping; creation and maintenance of all show paperwork; attending fittings and technical rehearsals; possibly stitching, shop maintenance. Skills Required: 3+ years of experience. Must be an experienced crafts person and possess excellent period style knowledge. Strong organizational and computer skills are necessary; as well as being able to work under pressure with varied personalities. Driver’s License required; must be able to climb stairs, and lift 25 pounds.
Job Title: Wardrobe Super
Responsibilities: Organizing and tracking costume pieces; maintenance of costumes, wigs, and wardrobe area; assisting actors; light repairs on costumes during run. Some stitching, shop maintenance, additional crew work assigned by the Stage Supervisor. Skills Required: 3+ years of professional experience. Mostly evening/weekend position, some days required for matinees/work calls. Must be organized and work well under pressure with varied personalities. Extensive wig and hair experience preferred. Driver’s License required; must be able to lift 50 pounds and climb stairs.
To apply:
Send letter, resume & references to: LWT-HR, 222 Sargent Drive, New Haven, CT 06511 Fax: 203-776-2287 or click here to email.
This job might work for someone in dress and culture if you’ve got an athro degree or something in that specialization.
Assistant Professor of Anthropology in Cultural/Social Anthropology, with a specialty in Visual and Oral Culture
California State University, Fullerton
Seeking to fill a tenure-track position in cultural/social anthropology with specialties in visual and oral culture studies, which may include material culture and social memory; museum studies; ethnographic film and media; Native North American and/or immigrant cultural traditions of culture and communication; folklore; oral histories; or sociolinguistics. Preference will be given to applicants specializing in one or more of the following geographic areas: Oceania, Southeast Asia, East Asia, Central Asia, Caribbean, Central America, North America, or Middle East.
The successful candidate will: Teach a variety of undergraduate and graduate courses, including theory and method courses. Carry out an active program of research leading to peer-reviewed publication, and more.
Qualifications:
Ph.D. in Anthropology is required. ABDs may apply but must show evidence that the degree will be completed by the time of appointment. Evidence of excellence in scholarship and effective teaching at the college level. An active research program in one or more of the following topical areas: visual and oral culture studies; material culture and social memory; museum studies; ethnographic film and media; Native North American and/or immigrant cultural traditions of culture and communication; folklore; oral histories; or sociolinguistics. Geographic area one or more of the following: Oceania, Southeast Asia, East Asia, Central Asia, Caribbean, Central America, North America, or Middle East.
Preference will be given to applicants who have demonstrated experience of effective teaching in ways that encourage active learning and student-faculty interaction.
Appointment Date: August 2009
Application Procedure:
Please send your application, describing research and area interests along with (1) evidence of research in cultural/social anthropology; (2) evidence of active research program in visual and oral culture studies, material culture and social memory, museum studies, ethnographic film and media, Native North American and/or immigrant cultural traditions of culture and communication, folklore, oral histories, or sociolinguistics; (3) copy of most recent curriculum vitae; (4) copies of official graduate transcripts; (5) evidence of excellence in teaching (such as sample syllabi and evaluations); (6) copies of publications (such as articles, reports, and reviews); and (7) three letters of recommendation to:
Dr. John “Jack” Bedell, Chair of Anthropology
Search Committee for Cultural/Social Anthropology: Visual and Oral Culture Studies
Department of Anthropology, MH-426
California State University Fullerton
P.O. Box 6846
Fullerton, CA 92834-6846
I might have posted this one before, but regardless, it’s got an upcoming deadline so here it is:
The 13th meeting of the European Business History Association and the 55th meeting of the Business History Conference will be a joint conference, hosted by Bocconi University in Milan, Italy. The call for papers has now been posted. The event is June 11-14, 2009.
The theme for the 2009 conference is “Fashions: Business Practices in Historical Perspective.” The deadline for proposals—including full sessions or abstracts of individual papers—is September 29, 2008.
This is an arts conference which seems that it might have successful overlap with dress and design studies.
CALL FOR PAPERS-AAH Conference 2009
The 35th AAH conference will be held at the Manchester Metropolitan University April 2-4, 2009. It will focus on the intersections (connections, linkages, overlaps) of art history with different disciplinary, methodological, political and historical spaces. Three areas of intersection might be identified: between areas of convention and innovation within the discipline; between art history and its adjacent fields of inquiry, display and production; and between the subjects and objects of interpretative and historical practice. In this light, intersections can be understood as the convergence, however temporary or in-process, of art history’s divergent values and practices.
Within the discipline, areas of intersection may encompass: the descriptive, interrogative, ethical, pedagogical and critical elements of art historical practice. Between art history and its adjacent fields lie the margins, overlaps and divisions that notions of intersectionality are able to highlight. Interactions with visual processes and practitioners invoke social worlds, individuals, performative and public spaces. The AAH09 conference will provide a platform for the interrogation and exploration of these and other intersections that define and challenge art history.
It is hoped that the sessions will attract participants from across disciplines and art practices to fully open up debates and explorations of art history as a discipline of intersections.
Phillip Treacey designs a hat for breast cancer awareness. It will be available only at Selfridges. Click here for more details.
Target has announced that it is doing these temp locations in NYC they’re calling Bullseye Bodegas. They will feature 22 of Target’s celeb designer collaborations available in NYC for a brief time. This is cool, and I’m glad it will be available in a way which highlights the well designed cheap goods, but there is something humorous coming from the midwest, where Targets and the like are abundant, and now straight from Minneapolis, where Targets are literally on every block (including the one my house is on) and practically everyone in design age 20-40 does now or formerly has worked with or for Target in some way. Sometimes it’s sort of amusing to read an NYC perspective on the world which doesn’t include strip malls and supercenters of endless Target type places. I lived in NYC for a while and remember when Kmart was opening in the Village and how everyone went mad over it. I can only imagine the mood over the Target Bodegas. Good to see the coasts salivating over whats happening in the midwest.
Bust magazine profiles women who are making plus size vintage clothes more available. They are searching all over for the hard to find items and starting businesses specifically focused on that market. The three people they profile have online locations for selling their awesome finds. Re/Dress and Elisa’s Bodacious House of Style (see image) and Fat Fancy.
The Rock and Roll Hall of Fame, which is in Cleveland, OH has branched out to have an annex in NYC. Click here for more details. Personally this seems like a bad idea to me….Monica (pictured is the original location)
As this new school year begins I’m like a little kid with maps and my lunchbox nervously getting acquainted to my new digs. I’ve completed my two year contract with the Goldstein Museum of Design and this year I will be a Teaching Assistant.
The nervous part is because in the fall I’m TA’ing two sections of the introductory textile lab, and although I’ve had oceans of textile courses both undergrad and grad level, and yes, I did my master’s thesis on smart textiles, most of my personal interest has been in consumption and societal values, not the mechanics of the fibers. Therefore, yesterday when I was getting the bunsen burners ready I got a bit of a cold sweat thinking about being responsible for this material (and the potential fire hazard of disinterested college-aged people doing this early in the morning with no food or drink (i.e. no coffee) allowed in the lab). But, I adore my new co-workers so I think this should be a good experience.
In the spring I’m both lead teacher (still a TA position) and my own TA (grading) for an introductory consumers class of about 80 students. I’ve taught numerous semesters before, as first a TA and then as adjunct faculty for a few years, but it was topping out at about 35 students, so a big lecture auditorium should be a change of pace. I’ll let you know how this goes.
From Black in Fashion (English cotton Hat, c. 1887, The Schofield Collection.
Purchased with the assistance of a special grant from the Government of Victoria, 1974).
This will be my final set of reviews for August - but I’ll have a good number of reviews coming up for September. The quality and quantity of the books coming out in time for the new academic year is really quite staggering. Some hover on the periphery of the history of dress, while others are more directly related. But all in all, these three books provide insight into specific eras and trends.
by Laura Jocic, Roger Leong, Paola Di Trocchio and Danielle Whitfield
Publication date: Jul 25, 2008
This is a breathtaking catalog (with flaps, colored ends, and high gloss paper) for the exhibit of the same name at the National Gallery of Victoria (the exhibit is now in its final days, details here). Beautifully illustrated, the catalog offers a sweeping history - from the 1600s to John Singer Seargant to Dior, Westwood and Comme des Garcons - on the use of the color black in fashion. Of particular interest is the catalogs focus on Australian designers (often unfamiliar to those outside of the country). While attending the last Popular Culture association meeting in San Francisco, I heard a paper from Dr. Vicki Karaminas, titled “Australian Gothic. Black Light Angels, Fashion and Subterranean Style” which explored the aesthetics of Goth comics and subculture in Australia (fascinating to say the least). Black in Fashion ties into those notions. For those not able to make it down under in the next week, the Museum at F.I.T. will have an exhibit opening September 5, titled “Gothic: Dark Glamour” which, while not exactly the same topic, may have some similar points regarding the connotations of wearing the color black. New York Magazine also recently noted that summer fashions have focused on dark gothic looks - especially in magazines like Dazed & Confused.
Written by Barbara Dayer Gallati - the Curator Emerita of American Art at the Brooklyn Museum, New York, High Societyincludes high quality reproductions of over 175 portraits and period photographs from the nineteenth-century, essentially documenting the American aristocracy (and their clothing choices). While the essays focus on the artist (Sargent, Renoir, Cassatt, Whistler and Cecilia Beaux) rather than the sitters - it is still an important and useful book for historians of dress to study.
While not strictly a book on the history of dress, Furious Improvisation does relate to the art and culture of an era of particular interest to me. Its chapters discuss the impact of the WPA on a specific aspect of American life - the Theater. It recieved a starred review from Publishers Weekly (the top publication in the publishing industry), along with important and positive reviews from the other major industry publications (Library Journal, Booklist and Kirkus) - as well as the New York Times. Quinn discusses the WPA’s Federal Theater Project of the 1930s, and illuminates the cutting edge theatrical productions brought to the stage under the supervision of Hallie Flanagan.
Anyone studying the history of theater and culture (as many historians of dress do) would do well to inform their own research by taking a look into this volume. It is well researched (and documented), and focuses primarily on east coast productions (but does include a chapter on San Francisco based productions). Small photos document the visual aspects of these productions (including costumes). Read an excerpt here. Listen to a book review from NPR here. Quinn will also be speaking on the topic at several east coast venues (including Hyde Park in New York), for those who are interested, details are here.
The Study Gallery at the BGC is a small space, to open in Fall 2009 that will be used to host exhibitions focused on one or more key objects which, along with supporting didactic material (illustrative, textual, digital), will tell a story or make an argument. The main purpose of the creation of this space is to facilitate a new kind of academic investigation in which the output of a research seminar will not be an article, but an exhibition. We envision this as a key step towards the integration of BGC exhibitions into the degree programs and, more generally, towards creating a much more integrated intellectual role for exhibitions in higher education. We anticipate three major uses of the gallery: first, as a focus for research seminars taught by BGC faculty; second, as a venue for student-generated exhibitions; and, third, as the location for small, focused exhibitions independent of any course.
This appointment is to the Exhibitions Department at the BGC and reports directly to the Chief Curator, Nina Stritzler-Levine. However, the specific nature of this position requires close work with the professor who is Coordinator of History & Theory of Museums, as well as with the Chair of Academic Programs. It is expected that the Curator of the Study Gallery could teach up to one course per year. Other responsibilities might include working closely with exhibition department staff on shows in the main gallery. The ideal candidate will have a PhD in art history, curatorial and exhibition experience, and a commitment to artistic and material culture. (Candidates with a background in ancient and non-western art history are especially encouraged to apply.) Rank and title will be commensurate with experience.
Please email your resume, a cover letter, three references, and your salary requirements to Curator of Study Gallery – 7608
