This is the second post on my list of special books that I enjoy using in my classroom and recommend to fashionistas and fashion professors. Click here to read last week’s post.
Historical Fashion in Detail, as the title suggests, focuses on the details of construction and embellishment: stitching, seams, gathers, collars, trimmings, applied decoration, and more. Both women’s and men’s clothing are covered and the photographs are clear and very close up. I use this book in my fashion history course and others, to illustrate how men’s and women’s clothing were equally ornate, and how embroidery and lace were not gendered signs of femininity in the 17th and 18th centuries in the way that they are today.
Four Hundred Years covers items of women’s and men’s dress, including accessories, in the V&A’s collection. The book was first published in 1984, and covers the 1600s through the early 1980s. This book describes in detail the museum’s dress collection, including the provenance of many artifacts, plus information on what items the collection lacks. Apparently, at the time the book was written, the collection was in need of 1950s ultra-sheer nylon stockings. If the V&A is still in need today, I’d be happy to supply them a pair from my personal collection and deliver them personally. Of course, the book also says that the museum lacks examples from Sonia Rykiel, Karl Lagerfeld, and Thierry Mugler. I think we can safely assume that the collection has been rounded out since 1984.
lesson plans, reading assignments, lecturing, and discussions
testing, cheating, motivation, and cultural diversity; and
large classes, laboratory classes and distance education.
This book is one of my recommendations because of its wide array of ideas and methods, and I heartily recommend it for new instructors looking for coverage of the essentials of college teaching in one text.
Lastly, a fairly recent text, The Men’s Fashion Reader, edited by Andrew Reilly and Sarah Cosbey, is a book that I was delighted to find when it came out last year. The text consists of 33 readings on themes such as men’s dress history, masculinity, culture, identity, body image, and more. These scholarly works fill in many of the gaps that my fashion textbooks often contain, as some of them have a subtle (or sometimes entirely overt) neglect of the male consumer of fashion. Each year, although I regularly have more women enrolled in my classes than men, I continue to have increasing numbers of men in my classes. This text helps my lessons contain a wider range of history and cultural and consumer experiences.
Have you read any of this week’s titles? What are your favorite fashion titles that you return to again and again? Leave me a comment and let me know.
While in London last month for the Global Fashion Conference, I had the pleasure of seeing Andrea Zittel’s “Smockshop” exibition at the Spruth Magers Gallery on Grafton Street (September 19 – October 3, 2009). After touring the Dover Street Market (which was itself a sartorial exhibition of delight), I headed to Spruth Magers to see the smocks, all of which were designed by a variety of artists including fashion designers, handbag designers, and even cooks.
Andrea Zittel has been playing with the idea of environment and daily routines for many years. In fact, the Smockshop itself is a project initiated in Los Angeles in 2007. However, the most recent manifestation of her pop-up gallery/sweatshop/retail space continues to remind us of her original intention – prompting viewers to question the dividing lines between art, fashion, and commerce.
But along with these ever-present questions, it seems that her exhibition highlights the notion that rules in fact make us more creative. The freewheeling liberty that we often crave, whether in art, or in constructing our own appearances, is often contrary to actual creativity. Sometimes it is only within certain confines (think variations on a theme) that creative expression can stand apart – in harmony with, or in contrast to, a set of boundaries.
Through establishing the theme of smocks, Zittel allows for a kind of uniformity amidst diversity. The garments demonstrate how we might struggle to maintain our own individuality through dress within the constraints (and commonalities) of the human body. And each smock successfully illustrates the multitude of unique possibilities one could achieve – even when given specific design guidelines. In such diverse fabrics as blue plastic tarp to knit jersey to denim to wool gabardine to crochet, there were smocks to fit anyone’s fancy. And they were all for sale for about 200 pounds each.
The smocks themselves certainly harken to an essential craftiness. In a sense, they represent craft within a craft. So the exhibition itself is “meta-craft” – artists making smocks for other (presumably) artists.
Questions concerning function and creativity, or rather, creativity that functions, will always go hand and hand with fashion. How dress, a material object that we “need” for simple covering and protection, begins to approach the purely creative is a topic that fashion exhibitions will continue to explore as long as galleries and museums open their doors to everyday design.
Garance Dore at GAP pop-up shop
Just a quick word about another exhibition I was REALLY excited to see in London. I’ve been a long time fan of Garance Dore (who actually photographed me several years ago in Paris.) Her blog has exploded in popularity (perhaps due to her celebrity romance with none other than the Sartorialist himself), so the Gap recently approached her to create a exhibition of sorts for their London pop-up store at King’s Court.
The exhibition was in a small space on the basement level of the Gap pop-up shop, but I definitely felt like I was getting an inside view into her studio. The exhibition really felt more like an expanded inspiration board, with Garance’s sketches and scribbled notes all over the walls, but there were also blown-up images from her blog as well t-shirts that she specially designed for the Gap. I especially appreciate the magazine collages that referenced her favorite style icons. Overall, it was an unpretentious, intimate, creative, and sophisticated space that very much reminded me of Garance Dore herself.
As I’ve previously mentioned , I have been tweeting (@FashionHistoria) about various fashion history related subjects. However, 140 characters doesn’t give you a lot of room for discussion. So I thought I’d highlight some of my recent tweets:
A glorious example of hardcopy media is this visually stunning fashion editorial from the November 2009 issue of Dazed & Confused, reposted on the blog, Haute Macabre (perfect inspiration for this spooky time of year). I tweeted about and posted this editorial to Facebook as “historical reference much? http://bit.ly/1yq4Zc.” The similarity to old masters, such as Vermmer, Rembrandt, Velazquez and Van Dyck, in these ethereal portraits as well as the attention to details are impressive.
I recently came across this resource for collection managers in costume & textile departments from the Museum of Fine Arts, Boston by Karen Gausch and Joel Thompson, “Storage Mounts for Costume Accessories.” It is a detailed report of the work done on the museums collection, as funded by the Institute for Museum and Library Services. Each section is heavy with photography, illustrations and detailed documentation. I urge you to check it out for yourself. It includes discussion (and photographs) of their work on:
A third note, were the lovely amateur photographs of “Fastes de Cour,” an exhibit of court dress from Versailles taken in June of this year (courtesy of 18thCenturyBlog). The Flickr set is available here: http://bit.ly/497xZq. For additional information on this exhibition with some more amazing photographs, check out the Chanel Fashion news ticker with Karl.
( Russian court dress 1788-1819)
And finally, there is this story on a selection of old stock New York City Opera costumes used by an artist (E.V. Day) in a new way – as featured in the New York Times. View the full slideshow here. I have a mixed reaction to this art installation, clearly it is beautiful to look at, but what of the historical value of the original pieces?
A final note, and a preview of things to come I’m sure is that, The Costume Society of America has also just opened a twitter account, watch for more information on that.
Earlier this year, photos of second grader Arlo Weiner circulated around the fashion blogosphere. As I just moved from Manhattan to Brooklyn, I’m feeling a bit overwhelmed by the baby presence, but I’ve been reminding myself that kids can be as cool and creative as young Arlo. The son of Matt Weiner — creator of the awesomely written, amazingly art directed 1960s period TV series Mad Men – has adopted his very own eclectic, elegant style. Referencing many influences and periods he never experienced personally, this 8-year-old shows a creative flair for dress that is both daring and inspiring.
Some fun facts about Milo:
He requested a top hat at age 3 (I myself was an ancient 29 when I got my vintage pop-out top hat).
He loves ascots (who doesn’t?).
He likes to mix and match patterns and stripes.
Allow me to share some of my favorite Arlo ensembles:
Doesn’t he look like he’s going off to the office in a newsroom?
Cary Grant as a spineless (but hilarious) reporter in His Girl Friday (1940)
This one reminds me of the Mad Hatter costume I wore last Halloween (I wore my own vintage pop-up hat):
the Mad Hatter, Sir John Tenniel's illustration of Alice in Wonderland
I love red on red on red too:
I call this outfit Arlo’s 1890s inspired steampunk look:
Steampunk woman with goggles and cane
Arlo admits most of his ties are clip-ons which I cannot condone, though considering his youth I suppose I’ll let it slide. (Friends know I’m a tie snob all around — I only wear full Windsors myself.) I’ve joked for years about how my children are going to hate me for the suits and sailor outfits I’ll put them in; it’s comforting to know there are actually young people who choose to wear what many adults would consider outlandish. It gives me such joy to know there are parents who don’t shove Baby GAP down their childrens’ throats. Arlo reminded me that children are inherently creative, exploring a world they have not grasped all the rules of yet, perhaps giving them greater breadth of imagination than many adults, as they find what’s pleasing to themselves and not what they’ve been told is cool or fashionable or trendy.
Flashback to my own youth: I was raised on yard sales and hand-me-downs, which, being a child of the opulent, label conscious and snobbish 80′s, I lamented and resented daily. Seriously, I cried almost every morning as my mother forced me into layers of distinctly unattractive turtlenecks, stretched out tights held up by belts, and courderoys that were the antithesis of then-cool shiny spandex leggings (courderoys, that is, only on gym days at school — I was only allowed to wear skirts and dresses the rest of the days. And I attended public school!). But my mom redeemed herself at playtime. In the back hall we had a dress-up box (that grew over the years) filled with random flea market finds like reams of fabric and lace, tutus, hats, and clothes of all sorts that were either not in good enough shape to wear in “real life,” or were too big, or just too crazy. But my friends and I could entertain ourselves for hours with the contents of those boxes, wrapping the cloth around ourselves and assuming exotic identities, exploring the roles we might or might not actually appropriate later in life. And even though I now live in one of the fashion capitals of the world, I’m economically independent and can wear whatever I damn please, I actually choose to shop at secondhand and thrift shops still. And instead of waiting for the weekend to play in my dress-up box, I play dress-up every day, allowing my mood and creativity (not fleeting trends) to dictate what facet of my personality I choose to display. In this Halloween season, it’s nice to be reminded that one can be creative in one’s self presentation every day!
Virginia Tech seeks an instructor to teach courses in possible combinations of apparel assembly, pattern making, introduction to the fashion industry, promotional merchandising, and historic costume.
QUALIFICATIONS: PhD; At least one earned degree in clothing and textiles. Demonstrated interest in, and commitment to, diversity and quality teaching in higher education. Evidence of research and/or creative scholarship. Ability to work effectively with students, faculty, administrators and industry professionals
ADDITIONAL QUALIFICATIONS: Evidence of successful grant-writing. Experience in interacting with industry professionals. Working knowledge of computer-aided design. Experience with online teaching.
Education:
APPLY: online at jobs.vt.edu and search for posting 090349. As part of your online application packet, please submit a cover letter, current resume and the contact information for 3 professional references.
Please direct inquiries or requests for accommodations with the online application process to:
LuAnn Gaskill
Virginia Tech
Apparel, Housing & Resource Mgt (0216)
Blacksburg, VA 24061 [email protected]
(2. Faculty, Fashion & Textile Design, The University of Montana-Missoula
The University of Montana has a great opportunity for someone to be the next Assistant Professor of Costume Technology/Design. Principal teaching will be in costume technology/design. Course load will include stagecraft, all levels of costume construction and manipulation, all levels of costume technology, costume design, and may include other courses depending on candidate’s qualifications.
The successful candidate will be expected to teach 3-4 classes per semester and serve as the costume designer or cutter/draper for 2-3 productions per year. Responsibilities will include student recruitment and advising, supervision of student designers and technicians, and serving on School and University committees. Additional opportunities may be available, including the possibility of designing for The Montana Repertory Theatre, a professional touring company. This is a tenure-track position at the Assistant Professor level.
QUALIFICATIONS: MFA in Theatre required. Significant professional experience may be considered in lieu of MFA. Evidence of excellence in teaching. Strong background in costume technology and design rooted in professional theatre and dance practices. Ability to teach the full range of costume technology and design classes offered in BFA and MFA programs. Ability to communicate both positively and effectively with students and colleagues. Demonstrated supervisory and collaborative abilities are required. Ability to adhere to established production timelines and budgets.
TO APPLY: By December 1st, send letter of application and curriculum vita; Statement of teaching philosophy; Screening Portfolio showing examples of both design and technical skills; Three recent letters of recommendation, including one from a supervisor; An official transcript indicating the applicant’s completion of a terminal degree.
Chair, Costume Technology/Design Search Committee
School of Theatre & Dance
The University of Montana
Missoula, MT 59812 (Missoula, Montana landscape in above image)
Location: California Deadline for proposals: Nov 30, 2009
This symposium returns to the ideological space between art and craft to see where the lines have shifted after poststructualism and decades of looking at visual culture in terms of hybrid identities, flexible hierarchies, and deterritorializations. Are such theoretical assumptions evident in recent arts and crafts historiography or in the institutional practices of colleges, galleries, museums, and publications? Where the divide is clear between art and craft, what values are protected on each side? Non-Western, comparative, and trans-cultural considerations are welcome as are papers on related oppositions such as high and low, modern and primitive, academic and self-taught, countercultural and commercial. Papers on art and architecture, film, and design are invited.
Please send a 300-word proposal for a 25-minute lecture with a one-paragraph professional biography as an email attachment.
This week’s post on teaching fashion takes you behind the scenes, into what inspired me to become a professor, by way of looking at some of the books that I have found indispensable over the years and how they have encouraged and enhanced my work in the classroom. There are, in fact, so many titles that you will have to wait until next week for the second half of my list.
To select only one favourite from my library of fashion classics would be near impossible, as would be ranking them by quality or preference, hardly my aim in assembling this list today. In the interest of fairness and objectivity, I will share them with you in the order in which I was introduced to them, creating a chronological account of how each entered my library.
First was the now classic text, The Social Psychology of Clothing: Symbolic Appearances in Context, by Susan B. Kaiser. This was the text used in a course I took in my undergraduate work and was the first college textbook ever to hold me rapt, in that I read it from cover to cover, well in advance of the suggested dates on the course schedule (I have yet to have a student of my own admit to doing this with any of the textbooks I have assigned over the years). The Social Psychology of Clothing definitely guided my interest in fashion, in particular a social psychology approach to the field of dress studies.
Second, another text from my undergrad days, and it almost seems pedestrian to mention a so-called humble guide to sewing, as these days dress scholars often prefer to distance themselves from our roots in the discipline of home economics (now known as consumer and family science, human ecology, and others, in various institutions), is the Complete Guide to Sewing : Step-By-Step Techniques for Making Clothes and Home Furnishings.
At the time that I took my first college sewing course, I was admittedly frustrated by the $75 price tag (today, it can be had for only $38), and the fact that, in class meetings and assignments, my instructor referred to only a fraction of the techniques contained within its covers (which, now that I am an instructor, makes a little more sense to me), and initially I thought the book was over-detailed for an introductory clothing construction course, but it is one of very few books that I did not sell back to the university book store at the end of the term, and I have referred to this book countless times when sewing at home (which, I if I recall correctly, was the instructor’s stated purpose in assigning the text).
There may be more up-to-date texts available these days, but regardless of the year of publication, I highly recommend keeping a visual dictionary of sewing techniques on your bookshelf. You never know when you may need a refresher on mitered corners, casings, hems, or pockets, and flipping through the index to find what you need should be quicker than doing a google search.
Also in the fashion history vein is Survey of Historic Costume, by Tortora and Eubank, the standard tome for undergraduate courses covering the history of western dress (in the English language, at any rate; if you were assigned a different text in your studies, please leave a comment and let me know what it was!). This is another one of those rare texts which I did not sell back to the school book store at the end of term. More than one edition has been released since my school days and this text only improves with each successive revision. I have had many students over the years tell me that they, too, will not be selling back their copies at the end of term, either, as it often becomes a well-loved addition to one’s library.
These are only half of my list of special books that have played a role in my own education, and in turn, in my work educating others. Stay tuned for the second half of my list, coming next week.
What are some of your favourites that you recall from your own early days as a fashion scholar or a fashionista? What texts do you turn to again and again? Please leave a comment and let me know.
I’m feeling a bit nostalgic for my former days working with costume collections and I suspect a number of you enjoy looking at the inner workings of costumes and museums alike. I happened upon these videos which provide a wonderful, inside look at the Costume Institute at the Metropolitan Museum of Art in New York.
The first video highlights two dresses, one by Madame Gres and another by Paul Poiret. The conservator, Chris Paulocik, shows some examples of how garments are prepared for installation and discusses garment construction. It’s entertaining, informative and clear.
More on the above pictured dress can be found at the Met’s website. Fore more information on conservation techniques, The Kent State University Museum website is an excellent (and detailed) resource.
Another video features former collections assistant Jessa Krick*, in a lovely montage of several garments being examined in storage, with a sort of music-video feel. Designers include Miyake, Adrian, Worth and others. For those of you desperate to get up close and personal with historically significant garments, to examine techniques, fabrics and embellishments, this is the video for you:
In both videos, there is a surprising amount of ‘hands-on’ research taking place (literally, in the first video the conservator touches dresses without gloves. In the second, the outside researcher is allowed to touch the garment). Many museums are starting to be much more strict about researchers being able to even make appointments, let alone touch the garments. If you’re at a museum, please comment on how much access your museum allows. If you are an outside researcher, I’d love to hear some of your recent experiences with museum access.
*Jessa Krick is now the Collection Manager/Curatorial Assistant for Historic Hudson Valley, a group of historic sites in Westchester County, New York
, by Susan B. Kaiser. This was the text used in a course I took in my undergraduate work and was the first college textbook ever to hold me rapt, in that I read it from cover to cover, well in advance of the suggested dates on the course schedule (I have yet to have a student of my own admit to doing this with any of the textbooks I have assigned over the years). The Social Psychology of Clothing definitely guided my interest in fashion, in particular a social psychology approach to the field of dress studies. 
