By Heather Vaughan,
September 30th, 2009 at 5:00 am
(History of Dress, Uncategorized)
Claire McCardelll is one of my favorite designers and this peice from the Costume Institute at the Met is one that I was able to examine thoroughly while I was a student at NYU. This gown is one of my favorites because of her interest in creating formal garments from informal materials (much like Chanel and the jersey revolution). McCardell believed that skiwear and evening gowns alike should be created with comfort and practicality in mind. She appreciated the usefulness of deep pockets, and generous armholes afforded in men’s clothing. She had a preference for emphasizing the waste, with either a cubmer bund or belt. Her favorite sleeve was cut on the bias and all in one with the bodice. Her favorite fabrics were of the heavy-duty kind, such as denim, chambray, mattress ticking, cotton seersucker, gingham and jersey. She is best remembered for her functional clean lines and helping to establish the “American look.”
Ensemble, Evening, late 1940s
Claire McCardell (American, 1905-1958), Designer; Townley Frocks (American), Manufacturer
American
wool; Length at CB (a): 16 1/4 in. (41.3 cm) Length at CF (c): 13 1/4 in. (33.7 cm)
Gift of Ms. Ann Campion, 1973 (1973.222a-c)
What may not be immediately evident is that jacket and skirt are of quilted wool in a daisy design with a bandeau top of black jersey.As was popular with McCardell, the sleeve is cut in one with the front piece/back piece at the top and bottom seams. The jacket also features piping at the sleeve edging, front closure, lower hem and collar and is lined with black jersey.
The closure is utilitarian, consisting of 8 gold hook and eye closures at the center front. This emphasis on the closure is typical of McCardell – she also emphasized closures in her well known pop over dresses and swimwear. One of the smallest details, is the slight mistake on the rounded collar where a seam goes off of the rolled hem. The bandeau top of black silk jersey is extremely precise in fit. In addition to bust darts, it is also rushed at the sides (and the rushing is less pronounced in the back). Interestingly there is also boning at the sides,along with a side zipper closure.
The skirt includes two very deep side pockets and is reminiscent of her interest in mensware. It is unlined and at the side seam you can see where the two peices of fabric were quilted together with batting sewn over some mesh fabric. The side zipper is black, and again shows McCardell’s interesting in emphasizing the metal parts of her clothing.
Many museums around the globe have examples of McCardell’s work in their collections. One example is the sketch collection held by Parson’s New School. Explore more of their collection here. In 1998, McCardell was the focus of an exhibition put on by the Museum at FIT. A review of that exhibit by the New York Times can be read here.
1 Comment
By Tove Hermanson,
September 29th, 2009 at 10:44 am
(Exhibitions, History of Dress)
Ernst Kirchner self portrait, 1919
One of the few advantages of working in midtown was that I was just a couple minutes jaunt away from the MoMA, and every once in awhile, I actually took my full hour lunch break to soak up some visual culture. Earlier this year, I fought my way through the rainy day museum-attending mob (it was also free admission day) and attended a walking tour delivered by the stunningly beautiful and articulate Galia Fischer on one of my favorite artists, Ernst Ludwig Kirchner and his series of 11 Berlin street scene paintings, created 1913 – 1915 (a period I particularly love in fashion history, especially as it relates to chaotic pre-war times). Kirchner is known for his harsh, sweeping vertical lines, violent brushstrokes and dismal color schemes (I say “dismal” adoringly), not to mention his frequent subject of prostitutes (which in the scheme of art history is far from uncommon, but I’ll just throw it out there). To begin at the beginning:
“Five Women in the Street” (1913) was the first in Kirchner’s street series, and depicts the ladies of the night as birds of paradise (or perhaps a more domestic parrot), posing in their green habitat with green-tinged millinery plumage and greenish skin. The bird comparison is further emphasized by the bulky fur lapels that puff the chest area up, and the hobble skirts — both of which were popular fashions in the 19-teens — that coincidentally create bird-like, tapered legs and emphasize pointy feet.
Jeanne Paquin - hobble skirt
The women peer into what can be assumed to be a storefront on our right (the dark hash marks presumably the glass reflection) window shopping, while it may be inferred that the car sidling close on the left contains a man cruising through his own glass at the bodily merchandise they are displaying and hocking.
I really love the complex relationship between Voyeur and The Observed that windows and glass bring up. There are several great essays that deal with this topic in Sexuality & Space, published by the Princeton Press, specifically Beatriz Colomina’s “The Split Wall: Domestic Voyeurism” that discusses how architecture and constructed spaces can create nooks, for example, that feel cozy and safe but are actually framed like a stage, displaying rather than concealing. Additionally, there is the layer of interior/domestic spaces being considered inherently feminine. Though I’m delighted that “Five Women,” with its plein air ladies and automobile-hidden man, contradicts that convention in one sense, the way Kirchner has framed them hints at a more complex relationship. The women are sandwiched tightly between the car and the window, and they touch the very edges of each side of his painting, suggesting that they’re boxed in (within their profession, within their greater role as women, etc.), even within their literal outdoor setting.
“Berlin Street Scene” (1913) has a wider array of colors than many other of Kirchner’s street scenes. There are actually visible men in this one, but they are all made rather anonymous by their unvarying blue-black coats and high bowlers. By contrast, the two women become the focus by color alone; though they are half hidden by the two men, the woman in scarlet and her companion in bright blue pop out. The woman-as-bird theme continues with the feathered hats, but this is a male perspective, I think. What’s more telling about the closeness of the women’s relationship is that their hats match their companion’s coats and not their own. This unifies them chromatically and implies their connection within the sea of dusky men, though they look away from each other. As I went through the show, I realized that this was a favorite visual trick of Kirchner’s.
Galia pointed out that the face of the man we can actually see appears to be almost as grotesquely made up as the women’s: he has those smudgy kohl eyes and lips that match the woman in blue’s. I like to imagine a little narrative: that those are two johns approaching the prostitutes but as they near, the one on the right turns away in disgust, twisting his body in a most awkward way so you almost can’t tell which way his body is facing. But is he repulsed by the hookers (you must admit the one on the left, with mascara actually dribbling down her face, is not looking so appetizing), or himself? Remember this is pre-WWI era, when gender roles — specifically in Berlin — were slowly being muddled as men went off to war and women took over their jobs, and by extension their social roles. Though Berlin had (and has) a notoriously gender-experimental population, there seems always to be an underlying fear of feminization (and by extension, castration) fear held by men when ancient gender roles are blurred. This particular man seems to be holding onto the last shreds of his masculinity with the sickly yellow, phallic cigarette dangling from his displeased mouth.
“Potsdamer Platz” (Square) (1914) has a color scheme I love (the photo doesn’t do it justice): the chili pepper-red train station dominates the upper register while avacado/lime green streets slice through the lower half of the painting, somehow making even the round island the prostitutes stand on appear pointed. The green seems to be literally reflected in the faces of the women as they stand on their perch (anther bird illusion?), with a healthy smattering of murky beige to soften the total effect of the scene… slightly.
Rosalind Russell in 1940s hat
The woman on the left is ensconced in severe black, with a flat black hat that was not a popular style (fashion historians, correct me if I’m wrong) at the time; in fact, it more closely resembles hats of the 1940s, another war period. The broad hat becomes a platform from which to drape the oddly straight veil, whose evenly spaced vertical folds create quite a birdcage (that old theme again!) around her head, an effect punctuated by the white plumage atop it all. This ensemble approximates mourning clothes — the white of the hat feathers and the collar would have been inappropriate for true mourning-wear, but I liked Galia’s hypothesis that the prostitute was possibly attempting to elicit sympathy (and clients?!) from this odd costume choice. This, after all, was the first year of WWI and there were increasing numbers of pitiable widows on the streets as husbands, brothers and fathers were killed.
The two elongated streetwalkers appear (ironically) stationary as they are surrounded by briskly striding men in black. As with other Kirchner street scenes, the women fill the the frame from top to bottom, this time literally dwarfing the insignificant men portrayed in distorted perspective, 1/3 their size. Interesting that the monumental women seem to be stagnating in a world of men with places to go, trains to catch, etc. Social commentary, hmmm?
“Street, Berlin” (1913) has a very different color scheme from the others. The purple dress, flamingo pink street and turquoise background are oddly fresh, if still slightly unnatural, shades. The women’s smirking bubblegum pink faces are turned in conspiratorially toward each other’s again. A man is in the foreground with and the same size as the hookers for once, and though he leans away with his whole body, looking down and away, his sneaky cane projects from his general crotch area and practically touches the woman on the right. The fleshy path they all stand on parts in a cleft between the two figures and is emphasized with an outline of deeper red. The prostitute in purple’s plunging plum coat with the fur lining, not to mention her hand which simultaneously conceals and draws attention to her own groin further drives the sexual context of this painting home.
“Women in the Street” (1915) has startling chartreuse background with dark forest green dress and deep blue dress worn by the familiar prostitutes, framed centrally again. A rather effeminate man stands to the right, almost blending with the women, but his trousers peeking from beneath his coat and his bowler hat reveals his true sex. He looks demurely down in the direction of the woman in green’s feet while she and her companion stare boldly at us, upsetting traditional viewing gender rules, while calling attention to the viewer’s own participation in the voyeuristic game.
“Two Women in the Street” (1914) distinguishes itself from the rest of the series in several ways. First, it’s a close up, showing only the torsos of the women (who again, dominate the frame). Second, their faces are abstracted and flattened with unnatural striations resembling wood grain in an (uncredited — apparently Kirchner rejected any suggestion that his work was influenced by anything!) homage to the African art that was flooding Europe at that time; Picasso was similarly inspired in the early stages of his career. Even with this truncated view, the women are unified by their identical postures. And again, the woman in the tangerine coat wears a hat the color of her companion’s peacock turquoise coat; their matching lemon yellow collars unify them with pose and color.
“Street Scene” (1914) was the final painting in the exhibition. It too contains the now familiar motif of two women wearing hats matching each others’ outfits (a little hard to make out in this picture, I think): in this instance, the dusty turquoise with royal blue hat paired with her companion’s royal blue coat with turquoise cap. And again, they stand so close, belly to belly, with one elegant leg apiece stretched out in front, one tucked behind, so that they might even be mistaken for one person. I don’t have a clear reading on their smirks: do they imply power, or act as protective element?
The men behind them line up so neatly that they resemble a female chorus line, especially with the expertly pointed toes. This is also an obvious reference to chronophotography, the Victorian precursor to moving film recording as we know it, where photographs were taken in quick succession in an effort to capture a subject’s movements. These early photos inspired the Futurist art movement and one of my favorite Duchamp paintings, “Nude Descending a Staircase, No. 2,” and I can see similarity with Busby Berkley‘s large scale musical numbers from the 1930s involving identically (scantily clad) dancers moving in near synchronization so as to give the illusion they are all connected. Though he is more famous for his dancing girl numbers, there were also large male chorus lines. As with Kirchner’s street series, Berkley’s dance numbers were highly sexually charged, with scantily clad women opening and closing their arms and legs suggestively; the irony is that Kirchner has once again feminized the men by posturing them thus.
Continuing the sexual theme here are the phallic, creamy pink car wheels in the lower right hand corner that touch the actual bottom– complete with red slit– of an identically colored pink dog. Lastly, there is a mostly hidden, murky man who I like to imagine is the pimp of these women. He wears a gray suit as opposed to the chorus mens’ black attire, and his dusty turquoise hat ties him to the women with color, as they are tied to each other.
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By Lucy Collins,
September 29th, 2009 at 5:00 am
(Jobs, Uncategorized)
1) Director of Fashion Marketing and Management Program, The Art Institute of California- Sunnyvale
The Art Institute of California- Sunnyvale is seeking an Academic Department Director for Fashion Marketing and Management program. Ideal candidates are professionals in their field who embrace a culture of learning and value ongoing professional development. This exempt level position reports to the Dean of Academic Affairs and supervises Faculty in the department. The Academic Department Director (ADD) is the principal academic officer for the Fashion Marketing and Management program.
RESPONSIBILITIES:
Overseeing day-to-day operations, assisting students toward successful program completion and staffing the classroom with instructors who support the mission of the college. The ADD is co-responsible with the Dean of Academic Affairs for the fiscal well being of the department as it relates to education. The Director also participates in activities that promote the stature of the department and the college and abides by the mandates set by Corporate Headquarters, the President, and the Executive Committee.
Incumbent must assure that the Art Institute/ EDMC philosophy: quality services to clients; development, growth, involvement, and recognition of employees; sound economic principles; and environment which is conducive to innovation, positive thinking and expansion – is considered in carrying out the duties and responsibilities of this position.
Key Job Elements include:• Provide academic leadership for the program and select, train, develop, manage, and lead faculty and staff team members according to the guidelines provided by the Campus Head of Academic Affairs.• Provide support to college and community relations activities including planning and implementing a budget including personnel requirements, program expenses, and capital needs.• Support college programs designed to achieve student completion rates.• Advise students in Program• Collaborate with other Academic Department Directors within own school and across schools: scheduling, sharing faculty, and other.• Teach up to two classes per quarter.• Other responsibilities as determined by the Dean of Academic Affairs.
QUALIFICATIONS:
Master’s degree with a minimum of 5 years related experience. Advanced certifications or credits towards further study are highly preferred. Bachelor’s or Master’s degree must be in a related area.• A strong understanding of current professional technologies and programs.• Held positions of increasingly responsible experience in the industry and/or in Education• Fiscal and personnel management experience.• Teaching experience• Excellent communication skills, written and oral as well as strong interpersonal and problem solving skills.• Superior organization, prioritization, and self-motivation skills.• Strong computer literacy skills.• Ability to interact effectively as either a leader or as a member of a team and work collaboratively with other departments.• Ability to listen to customers (e.g. staff, etc.) and to understand and respond positively to their requests.• Ability to adapt to changing assignments and multiple priorities, to manage multiple tasks and successfully meet deadlines.
The Art Institute is one of the nation’s leaders in postsecondary career-oriented education for the creative arts. Our mission is to provide excellence in education in a top-quality, learning-centered environment where students can acquire the requisite skills and knowledge to pursue a productive career in their chosen field of study. The Art Institute of California -Sunnyvale is one of our newest, growing schools: a great place to learn and a great place to work.
APPLY:
Hiring Manager
aicasunstaffing@edmc.edu
1120 Kifer Road
Sunnyvale, CA 94086
Include: Diversity Statement or Diversity Philosophy (this may be part of your cover letter or submitted separately)• résumé• transcript from institution awarding highest degree (may be sent separately or submitted at first interview)• links to portfolio or current work (please do not send large e-mail attachments of your work)
2.) Academic Director Fashion Design, The Art Institute of California – Hollywood
The Art Institute of California – Hollywood, a Los Angeles based design college is one of the Art Institutes, America’s leader in postsecondary career-oriented education for the creative arts. Explosive growth at our campus has created an opportunity for a new Academic Director Fashion Design. This program is one of the longest running programs at Ai Hollywood and has one of the two largest student cohorts.An Academic Director (AD) is the principal academic officer for a specific program or programs.
RESPONSIBILITIES INCLUDE:
Day-to-day operations, assisting students toward successful program completion and staffing the classroom with instructors who support the mission of the college. The AD is co-responsible with the Dean of Academic Affairs for the fiscal well being of the department as it relates to education. The Director also participates in activities that promote the stature of the department and the college and abides by the mandates set by the Board of Trustees, the AiCAH President, and the Executive Committee.
Assure that the AiCAH/EDMC philosophy: quality services to clients; development, growth, involvement and recognition of employees; sound economic principles; and an environment which is conducive to innovation, positive thinking and expansion – is considered in carrying out the duties and responsibilities of this position. Provide academic leadership for the program and continue to enhance a community presence for our Fashion Design program. Select, train, develop, manage, and lead faculty and staff team members according to the guidelines provided by the Dean of Academic Affairs. Plan and implement a budget including personnel requirements, program expenses, and capital needs, including oversight of the annual fashion design show for senior students. Support the college programs designed to achieve student completion rates as outlined in the five year strategic plan. Collaborate with other Academic Directors within own school and across schools: scheduling, sharing faculty, and other. Identify and lead Professional Advisory Committee on behalf of the program and build professional relationships with key industry employers. Other responsibilities as determined by the Dean of Academic Affairs.
QUALIFICATIONS:
Must possess a master’s degree in fashion design or a closely related field with a minimum of five years fashion industry experience in a managerial position. Additionally she/he must have at least three years teaching or college leadership experience. Appropriate industry credentials. Held positions of increasingly responsible experience in the industry and/or education. Demonstrated experience in areas related to fiscal and staff management. Excellent oral and written communication skills. Strong interpersonal skills with the ability to act effectively as a member of a team. Ability to interact successfully with academic, student as well as business and regulatory stakeholders.
This position acts as the academic program’s chief officer making decisions and operating in a coordinated effort with the Dean of Academic Affairs, program-specific advisory board, and all education department directors. The AD provides support and guidance to students and faculty and maintains a leadership role in all department functions. Inside contact encompasses the entire range of personnel. Outside contacts may include community and professional leaders as well as other educators.
The Art Institute of California – Hollywood offers this position with a competitive compensation package that includes a generous health, dental and vision benefits insurance or opt-out credit, vacation, personal days, and holidays, 401(k) plan with Company match, free parking, and tuition waiver plan for you and your dependents. Education Management and AICAH embrace diversity as a critical step in ensuring employee, student and graduate success. We are committed to building and developing a diverse environment where a variety of ideas, cultures and perspectives can thrive.
APPLY:
Human Resources Director
pargo@aii.edu
3440 Wilshire Blvd., 10th Floor
Los Angeles, CA 90010
Comments
By Lauren Michel,
September 28th, 2009 at 5:00 am
(Conferences and Calls for Papers)
Here is a Call for Papers with a deadline of 1 October 2009.
The conference is titled Veiled Constellations: The Veil, Critical Theory, Politics, and Contemporary Society. It is an international conference “designed to problematize the prevailing discourses surrounding the veil, while exploring its subversive potential,” to be held at York University in Toronto, Canada from June 3-5, 2010.
The conference asks “what new insights may be unearthed in moving beyond the impetus to repudiate, fear, or adore the veil” and welcomes submissions ”of all sorts that deal with the issue, including those that take cross-cultural, historical, and/or comparative approaches.”
Submission formats may include academic papers from any relevant discipline and/or creative submissions such as poetry, video performances, storytelling, visual arts and other alternative formats, in addition to panels and roundtables.
Suggested themes include, to name just a few: militarism, revolution, the postcolonial experience, undoing borders, labor, patriarchy, popular culture, prisons, enclosures, concealing males, epistemology, history, social justice, and literature.
For full details on the call, click here to read it on the conference web site, VeiledConstellations.com. The deadline is October 1, 2009.
1 Comment
By Monica Sklar,
September 28th, 2009 at 5:00 am
(History of Dress, Uncategorized)
Recently I went to the store Context Clothing in Madison, Wisconsin and was blown away. It was a destination location for Harlo, who actively searches the web for stylish, quality menswear and Context is a leader in the movement to bring back classic styles. So when en route to Chicago we put a few quarters a street meter figuring we’d stop in so Harlo could try on a Woolrich coat he liked on their site. Well the quarters kept flowing as we ended up staying a couple of hours! The store is not large, but it filled with carefully hand picked pieces, and many items are designed as exclusive collaborations between Context’s owners and fashion companies (the boots pictured are a collaboration with Alden).
We spent a long time chatting with co-owner Ryan about the history of particular styles of denim, manufacturers of bags and shoes, the intricacies of apparel factories and warehouses found in northern Minnesota and Wisconsin, and the images in Japanese magazines that revere 100-year-old American style. I regretted not taping our discussion, and so Ryan graciously agreed to reply to an email interview afterward.
Woolrich Woolen Mills Coat
In the interview I wanted to discuss the exploding menswear market, the renewed interest in classic American sportswear and workwear, and success in retailing. While I didn’t ask him specifically about tips for students, I do feel his answers can be insightful for those entering the retail world. The main reason I wanted to talk more with Ryan though was because of his obvious passion for historic American menswear and his interest in reviving that aesthetic pushing it to the forefront of contemporary design. When Harlo and I were chatting with Ryan his knowledge on his subject was parallel to any professor or curator I know who gets a twinkle in their eye if you ask them about their research.
Selvage Denim by Jean Shop
Below is the interview:
Please tell me about the philosophy of Context?
Our shop presents a unique mix of hand selected quality menswear; heritage craftsmanship and wear-ability top top the list of criteria. We see service as an art form. We do much more than simply present beautiful clothing.
How did you develop your interest and expertise in classic menswear?
My interest in menswear stems directly from my interest in vintage, which is quite similar to the design process for most of today’s successful men’s lines. There is a thrill to finding a hidden vintage shop or garage sale. I educated myself on how to spot pre-WWII denim, American Made workboots and shoes, as well as vintage military garments. My taste in contemporary is directly related to the gems of the past.
Can you discuss the historic and/or contemporary impact of the Midwest, U.S. on fashion, and some of your experiences checking out local designers, factories and warehouses doing research?
I can say that American heritage production has made its way into virtually every mens collection today. Whether it is well done or not determines the success of the line. There is a long list of Japanese and British designers using old American mills for production. Authenticity is a selling point. I recently found an amazing denim line called Amoskeag XX. Amoskeag was the New Hampshire mill that produced denim for Levis until the great depression. XX denotes selvage fabric (or shuttle loomed) fabric. We tell the story of the designer’s inspiration and production– what I call transparency in manufacturing.
What have you found regarding the increase of interest in men’s fashion (media, consumers, more productions, more stores, etc)?
Our most successful products are made in the US. I have a tendency to fiercely promote those products, but they do receive the best response. For example, our Alden Roy Boot sold out in 12 hours and all deliveries through January of 2010 are spoken for via preorder. The major selling point is that the boot is hand made by Alden (est. 1884) in Massachusetts using leather processed by Horween (est. 1905) in Chicago. We see these type of products as truly luxury. There are very few things that are completely made by hand in one country. This is one example.
When I was in the shop you discussed many exclusive collaborations Context does with designers. Please discuss some of them and how you’re merging old and new ideas to develop an innovative product that appeals to the modern male consumer.
The Alden shoe collaborations have been the most well received. We recognize the added value in hand crafted in America. You can have the boot resoled for $100, or completely refurbished for $125. These are lifetime boots, not garbage from China sold for $25. We choose only the best manufacturers for collaborations. I don’t want our name on anything but the best. My business partner Sam feels exactly the same way. No bullshit allowed.
What are some of the items you carry that have the oldest lineage? Why do you think they stand up and even sell for top dollar in today’s market that is often geared toward fast fashion?
Denim began roughly in the 1850′s and the first pair of rivet Levis was produced in 1873. I’d say that is about as far back as it goes for us. The shirt came in the 1880s, and we do sell shirts. Fans of fast fashion have a different set of criteria than our guys. Our guys don’t want to look like everyone else, but even more important they don’t want the item they bought to fall apart. If you shop on price alone, it is wise to invest something more, as the thing you bought quite often does perform (I just butchered an old quote from John Ruskin, but you get the point).
Discuss the impact of Japan on the re-interest in classic menswear. Especially with denim.
The Japanese indigo masters have a deep appreciation for American denim weaving. They have combined their dyeing techniques with antiquated American shuttle loom weaving to create beautifully irregular denim fabric. No one even questions where the best denim is produced today, and the Japanese will tell you the best denim ever produced was done so in the US before WWII. The Japanese also have a fascination with American vintage. They have an eye for detail and present some of the best interpretations of vintage that I have seen. It isn’t all Japan, but there is a list of Japanese men’s designers that rate high.
As a retailer with a specialized market, do you find the brick and mortar store or the web achieves your goals more successfully?
They are one in the same. The store has received international press for the design, and the web shop has been recognized as a leader in e-retail. Service and presentation are top priority.
The website indicates your prioritizing of fit, old world service for the store, and online being able to make customers feel they can reach out and touch the objects. How do you facilitate these goals?
Research. I do not attempt to style the models, choose shoot locations, or decide where the product is positioned physically in the shop until I fully understand the intent of the designer. Service begins with a hello, and ends with extensive product knowledge (passion). We are not selling, we are cultivating a fascination with fabric and design.
Since you have become an expert is classic American men’s clothing, have you ever worked with museums, costume designers, or other consulting projects?
I have a lot to learn. Speaking with designers is a thrill for me; there are hundreds of options to consider for a simple white oxford shit. I have not worked with museums, or costuming designers. If the right project presented itself, I am confident I would excel. My friends roll their eyes when we are watching a movie and I point out the brand, year, and model number of a pair of vintage jeans visible for 2 seconds. I’m a dork.
Where do you go for ideas for the store? What media and research outlets do you find helpful?
I approach the store like an installation. Nothing is permanent. I love Wisconsin selvege yards and antique malls. Recently I’ve been moving in the opposite direction. I read about a cutting edge bathhouse in Japan. I pulled some ideas from the article.
Who would you say are contemporary icons of men’s style?
Everyone loves Ralph Lauren. I can not tell you how many people I’ve met who worked for Polo at some time in their life. Ralph reaches deep. People love the classic American look. I look back for inspiration. Everyone today wants to look like a young Steve McQueen, Paul Newman, Robert Redford, Andy Warhol, etc. Back to the source.
Would you say the styles in Context are inspired by history, are exact duplications of historic garments, are mergers of historic and new ideas, or something else?
Interpretations of vintage. Sugar Cane denim attempts to reproduce some pieces, but thats the only exception.
Discuss the details and lengths people go to care for their denim. Washing, soaking, wearing for a year without washing, etc. What are some of the helpful tricks of the trade you’ve learned regarding fit, style, and care?
I give advice on fit to ensure the customer is happy with their jeans after they stretch. I tell them not to wash the jeans for at least 6 months and cold soak or give them a delicate hand wash when the time comes. Its good to leave some length on a jean and selvage denim looks great with a small cuff. Each person is different, and I feed off of their vibe. I want the person to be comfortable. The clothes should not wear you.
In 2008 DNR named Context one of America’s most influential men’s stores. What do you feel your team is doing that earned you this title? What are you most proud of about the store?
Our service level is a major distinguishing factor and our product mix is the best.
On your website you have a quote from Eames, who rank in my absolute favorite designers and thinkers. The quote is “art resides in the quality of doing, the process is not magic.” Can you talk about what this quote means to you and your business?
By recognizing the restraints that apply to each situation you can set yourself up for success. We are not simply putting pants in bags.
Again I want to thank Ryan and Context for taking the time to respond to my questions. Check them out online or in Madison, WI. By the way…Harlo ended up getting a pair of jeans by The Stronghold which is a historic denim brand recently resurrected. They’re very cool and look like they were found in your great-grandfather’s attic-but in perfect condition.
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By Lauren Michel,
September 25th, 2009 at 5:00 am
(Teaching)
On my teaching schedule this term is History of Fashion, covering Western fashion, from Mesopotamia to today, including everything from Ancient Egypt and Ancient Rome to the French Revolution and the Roaring 1920s. As a supplement to art and historical images, one way to illustrate fashions of the past is with selected scenes from popular films. Here is the first half of my two-part list of favorites, listed by cultural/historical period. Part II will come next week.
Ancient Egyptian: Nefertiti Resurrected
Ancient Rome: This YouTube clip advertising a BBC documentary on Pompeii.
The Late Middle Ages: The Black Adder
, Series I
Italian Renaissance: Ever After – A Cinderella Story
, admittedly, set in France, yet the costumes are heavily based on Italian Renaissance art. Visit the site Ever After Costumes to see some of the corresponding portraits some of the film costumes are based upon.
The Seventeenth Century: Girl With a Pearl Earring
The Eighteenth Century: Dangerous Liaisons
and Marie Antoinette
The Directoire and Empire Period: Sense & Sensibility
The Bustle Period: The Age of Innocence
What are your favorite films with historical costumes? Leave me a comment and let me know. Be sure to look for Part II of my list next week.
6 Comments
By Monica Sklar,
September 24th, 2009 at 4:41 pm
(Academic Research & Related, Uncategorized)
This was a productive week regarding my dissertation and book research on punk style as I was able to snag an interview with famed designer Zandra Rhodes. Rhodes is in the Twin Cities working with the MN Opera on costumes for an upcoming production. She also spent time at my U teaching a master class to undergraduates.
I recorded the interview and will publish portions of it on WT, but that will take a while. So for now I wanted to share with you a fun picture we took. She looked fabulous and was a total sweetheart!
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By Lucy Collins,
September 24th, 2009 at 4:36 am
(Conferences and Calls for Papers, Uncategorized)
This week I am in London, preparing to head to Oxford (Mansfield College in Oxford) for the 1st Global Conference on Fashion. So in anticipation, I thought I’d share a portion of my paper for the conference. (Seeing as it’s global conference, it’s somewhat related to international dress…)
Monica has asked in the past for readers to share a little of their research, in the hopes that we could give one another feedback and encouragement, so maybe this will initiate a bit of sharing from some of you who have papers, thesis, or (heaven forbid) dissertations that you are working on.
My paper is entitled “Fashion as Confession: Revelation and Concealment in Personal Identity” and below is a brief excerpt:
Clothing is a means of hiding the self. Clothing is also a means of revealing the self. Through the sartorial choices we make regarding what to reveal and what to conceal through dress, we bring attention to ourselves as individuals. Many people understand this focus on the individual through clothing as simply a form of self-expression, but I wonder how it may also be similar to confession.
Although it might be inaccurate to argue that all fashion is explicitly or overtly confessional, it seems that there is a connection between the psychological needs filled by clothing and the role of confession in society. I think that looking at the concept of confession, as both an existential and psychological tool, can help point us to the fact that group inclusion and the seeking of membership must be the most fundamental driving force behind fashion.
Confession is simultaneously a self-proclamation and a self-concealment. But through these opposing actions, confession seeks to accomplish an acknowledgement, an affirmation, and forgiveness from a select audience. Fashion employs these same means to accomplish similar goals. Fashion utilizes the interplay of self-expression and self-concealment in order to provoke a response from a certain group of others.
What is the philosophical concept of confession? Confession appears most often in a religious context where one is called to “own up” to his/her guilt in an effort to be forgiven, and then redeemed. Confession can also be more loosely understood as taking responsibility, or claiming all aspects of oneself, good and bad, pleasant and unpleasant.
But what are we confessing when we confess, generally speaking? A failure, a mistake, an incompleteness, a lack, a separation? For my purposes, I’d like to define confession as the public admission of something deeply personal and intimate, often revealed through a spectacular display (such as the rending of clothes and covering of oneself in ashes which accompanied many medieval religious confessions).
So, what does this concept of confession add to our notion of the self or to our understanding of fashion? Confession simultaneously constructs the self and deconstructs the self. It is both self-identifying and self-transforming. Initially, a confessor is seeking acknowledgement (of oneself, of one’s sin) by an other. Secondly, one who confesses is seeking affirmation (of oneself, of the authenticity of his/her sin). Finally, one is seeking forgiveness, or, as I’d like to understand it, transformation.
Indeed there are some ways in which confessions through dress are particularly obvious, such as the case where someone acknowledges a shift in his/her gender or sexual orientation by changing his/her style of clothing. Or perhaps a person wears a suit to work every day in order to “confess” that s/he is a business person. There is a sense, as well, in which all manner of uniforms are a particular kind of confessional dress, but this is really not what I am addressing. All these sorts of “outer layer” sartorial confessions may be interesting, but they really do not explore the existential reasons why we dress ourselves in certain ways.
Fashion explicitly seeks to accomplish the deeper goals of confession in the following ways. Through fashion, one gains acknowledgement as the other gazes at him/her and says: “I see you.” We seek this kind of acknowledgement when we dress in ways that make us stand out as individuals. Affirmation is accomplished as the other says: “I recognize you.” Affirmation is sought when we dress utilizing items that are signifiers to particular groups (as in the case of wearing noticeably trendy clothing). Finally, transformation (or forgiveness) is accomplished as the other says: “I accept you as a member of my group.” Therefore, the individual is transformed as s/he acquires the status of membership into a particular group.
It seems that this transformation, or forgiveness of guilt, is especially significant. It’s in this desire for forgiveness or transformation that fashion can be understood as a sort of confession – as a performative announcement of lack or a description of sin in which a plea for restoration is expressed. In this sense, not only is a person seeking recognition from others in the way that s/he dresses, but a fashioned confessor is looking to his audience for interpretation and evaluation – to offer an ultimate appraisal of his/her worth.
But where does the forgiveness come in? What is the source of the guilt? It seems possible that fashion allows some sort of selfish involvement with artifice. To what degree is our dressed or fashioned self an authentic self? Some might argue that the moment we begin to wear garments of clothing at all we lose all authenticity. (This is in fact a large part of the rhetoric behind nudist societies.) So then are we all, in a final fashion confession, admitting to playing roles, creating personas, and becoming the false social selves that fashion allows us to cultivate? Are we simply acknowledging the game of fashion, but in shame? Perhaps this what we are revealing in clothing – the very fact that we are acting. To wear clothing is to admit to playing a role. It is to admit to presenting a false appearance.
In light of this understanding of confession, as that form of self-accounting which reveals an innate lack (or irreconcilable duality), we may begin to see fashion as more self-revelatory. It’s often said that fashion conceals, as it presents the self as a masquerade, a duplicitous false façade, but I argue that it does exactly the opposite. Fashion is always revealing. But it reveals things we may not even know we had to say. Things we couldn’t even be aware of saying. Clothing reveals, with or without intention: one’s body; one’s materialism; one’s desire for relationship, group membership, and intimacy; and one’s innate duplicity.
One great example of the sort of confession I am speaking of is from the popular film/musical “Grease.” The climax of the story occurs when Sandy undergoes a complete transformation as she remakes herself into a cool sex kitten, complete with black leather pants, red lips, stilettos, and blown-out hair. At this point in the narrative, not only is Sandy accepted by the Pink Ladies, but she also shows Danny that she is willing to become a part of his “cool” world in order to win his affection.
Even after Sandy’s transformation, the audience is left wondering: who is the real Sandy? Was she always the popular vixen, dripping with sex appeal, or is she still the innocent naïve girl, now just wearing different clothing? So the question of whether or not Sandy is essentially playing a role is a valid one.
Another reason this particular makeover is so relevant to my argument is that it has all the characteristics of a confession: as Sandy presents her made-over self in a very public way, she is seeking acknowledgement from the “cool” kids at school, and she ultimately undergoes a real transformation as she becomes accepted as one of the Pink Ladies. Finally, Sandy’s sartorial confession exclaims her desire for relationship – broadly, in her yearning to relate to the popular kids at school, but specifically as she longs for the love of Danny.
Through our choices in dress, we present a self that we hope will be included by a certain audience. We wear particular items of clothing that serve as social cues to alert others to our desire to be included. I see this tendency as a subtle confession of a desire to be accepted.
More fundamentally, though, this desire to be included in a certain group can be understood as an innate desire for intimacy. Although in contemporary society, we are told that we should stand alone, unique and powerful in our individuality, each of us yearns for a deep, intimate connection to others. I believe this urge for intimacy is explcitly expressed in clothing.
(General notes from the conference to follow shortly!!)
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By Heather Vaughan,
September 23rd, 2009 at 5:00 am
(Exhibitions, History of Dress, Uncategorized)
So today I leave for two weeks in Hawaii (yeah for the standard American Honeymoon!) and in that vein, I thought I would highlight the collection of the University of Hawaii.
Yes, the Hawaiian shirt has come to be the cliche’d attire of ‘men of a certain age’ but there is more to the fashion of Hawaii. Recently, the University at Manoa had a small exhibition covering 50 years of Fashion in Hawaii and now present the exhibition online via Flickr.
Here are just a few of my favorites:
1900s Holoku with Lace Trim on Collar & Cuffs
Accession #: W.98.1.17
Fabrication: White cotton
Manufacturer:: Unknown
Donor: Unknown
1960s Holoku with train
Accession #: 74.7.3 S.D.
Fabrication: white matelasse
Designer: Joan Izutsu
Donor: Univ. of Hawaii Senior Design purchase,: Joan Izutsu, designer
1940s Sailor Moku Swimsuit
Accession #: H. 1995.6.36
Fabrication: Cotton
Manufacturer: Royal Hawaiian Manufacturing Co.
Donor: Unknown
1930s Black Lace, Floor-length Gown With Sheer Nylon Yoke
Accession #: W.2007.2.10
Fabrication: Nylon with Cotton Lace
Designer: Ethel de Saussure
Donor: Diane Okubo
1980s 2 Piece Pants Suit
Acc. W. 1998.11.6 a & b
Fabric: Brocade
Manufacturer: Elenore Simmons for Malcom Starr for Carol & Mary
Donor: Unknown
Disappointingly, the online version of the exhibitoin provides no descriptive text or context for the peices chosen. Information on designers, makers or socio-cultural significance are non-existant leaving the virtual viewers with nothing but pretty photos. No explanation is provided for what a Holoku is. Interested readers can refer to these two articles in Clothing and Textiles Research Journal and Fashion Theory by Linda B Arthur of the Unviersity of Hawaii at Manoa for more information on the Holoku. An overview of the physical exhibiton is available here.
Maholo!
1 Comment
By Lucy Collins,
September 22nd, 2009 at 5:00 am
(Jobs, Uncategorized)
1.) Fashion Design Instructors, Wade College, Dallas, Texas
Wade College, a collegiately-accredited, private institution located within the Dallas Market Center for over 40 years, seeks full-time and part-time instructors for its Fashion Design Department. The college offers a program of study that rigorously and innovatively combines the merchandising and design fields. Students learn to recognize excellence in design and to have critical understanding of how art and design interact within the broader context of the business, marketing, merchandising, and design industries. This particular blending makes the college unique. The college’s faculty, many of whom are working professionals in the Dallas area merchandising and design fields, bring considerable expertise to the college’s studios and classrooms. Faculty credentials and commitment, the small, close-knit feeling of the college, combined with its pioneering uses of technology and ease of availability to students, provide our diverse student body with remarkable instruction.
Responsibilities include teaching, academic advisement, oversight of curriculum in the program, recruitment, departmental activities, and serving on college committees.
Requirements
The ideal candidate for the position should possess the following qualifications: Bachelor’s Degree in Fashion Design [Master’s Degree Preferred], Industry Experience, Knowledge of Sewing Techniques, Patternmaking, Draping, Sketching, Illustration, Proportions, and Garment Construction, Working knowledge of Adobe Photoshop and Illustrator [Preferred], Ability to Solve Issues with Original Designs
The college offers a competitive salary and benefits package. Growth potential exists. Positions open October 2009.
Wade College
1950 N Stemmons Fwy
Suite 2026
Dallas, TX 75207
To apply, contact:
Harry Davros
Phone: 214.637.3530
2.) Adjunct Instructor Fashion Design/Merchandising, Collins College, Phoenix, Arizona
RESPONSIBILITIES:
* Implement and adhere to all school policies and regulations
* Take and record accurate daily attendance and grades
* Conduct class in an organized and interesting manner which motivates the students
* Frequent use of instructional aids, such as transparencies, films, video tapes, field trips, demonstrations, speakers, etc.
* Grade quizzes, tests, labs, etc., quickly and return them to students for review
* Cooperate with, and assist, other staff members
* Keep accurate records on equipment assigned to you and your classroom
* Work with administration to continually strive to better the school operations through participation in workshops, meetings, proposals, etc., when possible.
* Complete professional development work as per Standards of Accreditation
* Other duties as may be assigned
QUALIFICATIONS:
* Must have excellent written and oral communication skills
* Must have knowledge of educational measurement
* Strong customer service skills required
* Minimum 3 years industry experience; core course faculty need 4 years of industry experience
EDUCATION:
* Bachelor s degree required in related course or program being taught (Master s for General Education instructors)
* Experience in Fashion Merchandising and Design
* Experience and education qualifications that are in accordance with Section III.B., Faculty Qualifications of the ACCSCT Standards of Accreditation, Substantive Standards.
Contact:
Collins College
4750 South 44th Place
Phoenix, AZ 85040
phone: (480) 966-3000
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