I just submitted my revised abstract to present some of my dissertation work with my advisor Marilyn DeLong at the Costume Society of America this coming May in Kansas City. So now I’m curious, which Worn Through readers will be there?
I’d love to hear from you to know whether you’re attending and if you will be presenting your work.
Speak up in the comments
Scandal Sandals & Lady Slippers: A History of Delman Shoes
March 9 – April 3, 2010
The Museum at FIT, NYC
Delman, cocktail shoe, multi-color floral print with gold brocade, circa 1958, USA. On loan from Delman Archive. Photograph by Eileen Costa.
The Museum at FIT presents Scandal Sandals & Lady Slippers: A History of Delman Shoes, featuring a vibrant and detailed selection of the glamorous, innovative, and classic styles that made Delman Shoes—now celebrating its 90th anniversary—a leader in women’s footwear. As the first exhibition devoted to the history of the brand, Scandal Sandals will explore and reveal the company’s renowned style, advertising and craftsmanship. The objects on display, dating roughly between 1926 and 2007, will chronicle the company’s rich and creative past. Delman shoes were worn by many movie stars and distinguished women of society, including Jacqueline Kennedy, Joan Crawford, Marilyn Monroe, and Marlene Dietrich. The company’s name will forever be associated with these iconic women.
Scandal Sandals and Lady Slippers has been organized and curated by FIT graduate students of the Fashion and Textile Studies: History, Theory, Museum Practice program.* The exhibition celebrates the 90th anniversary of Delman and marks the 25th anniversary of FIT’s Fashion and Textile Studies graduate program.
*Thanx Nicole for sending this info along to Worn Through. Good luck with the exhibition!
A few weeks ago, I was thrilled to be able to visit the exhibition Cartier and America at its only venue, the Legion of Honor in San Francisco. It is a complete history of Cartier in America (read, vast collection on display). A photographer friend and I spent a good deal of time wandering through the exhibition, on view through April 18, 2010, drooling over the priceless, glittering, showstopping objects on display. The exhibition covered the Belle Epoch, Art Deco, Pre- and Post- War all the way through to the present.
Orchid Necklace, Cartier Paris, 2007, Beryl, pink sapphires, diamonds, and platinum. Photograph by Ren Thompson.
I am going to disclose now that my ‘academic hat’ was blown right off by this exhibit. I was completely unable to cast an analytical eye towards the display, the rhetorical thesis of the show, or the framework because I was so distracted by the magic and sparkle of 100s of millions of diamonds. But I can’t really say that I’m sorry about it. Some of my favorites from the show include the following:
This special order necklace for María Félix , a Mexican actress, is set with 2,473 diamonds. According to the exhibition catalog, “when handled, the necklace mimics the slitheriness and weight of a real snake with hundreds of individual sections that are hinged internally. To enhance the sensation of snakeskin and protect the wearer, the inside segments of the necklace are enameled.”
Snake Necklace, Cartier Paris, 1968 (Diamonds, platinum, white gold, yellow gold, emeralds, and enamel). Sold to Maria Felix. Photograph by Ren Thompson.
Over and over again, my colleague and I were left standing speechless, dumbfounded and utterly bewildered by the beauty of the jewels -especially the tiaras- included in the exhibition. There were at least 10 or 12 tiaras (some called head ornaments, or bandeau’s). I think it must of touched something deep within me – the love of fantasy, of princesses and royalty. Something I thought was only fictional, and that could not really possibly exist. And yet here they were, amazing beautiful jeweled cacophonies of luxury – and so beautifully displayed and well-lit. One of the security guards suggested that we walk, 180 degrees around one of the pieces (I think the Star of South Africa brooch – 47.69 carats) just to watch how the sparkle changed. An absolutely brilliant suggestion. If you see the exhibit, I suggest you try it. This truly is the definition of glamour.*
Tiara, Cartier Paris, 1902, Diamonds, silver and gold, Sold to Adele Grant, Countess of Essex. Phogoraph by Ren Thompson.
The tiara above is “Made from 759 brilliant-cut and 289 rose-cut diamonds” and worn by the Countess of Essex (was also known for her beauty).
Hair Ornament, Cartier Paris, 1902, Diamonds and platinum, Sold to Lila Vanderbilt Sloane (Mrs. William Field). Photograph by Ren Thompson.
Tiara, Cartier Paris, 1910, Elizabeth Queen of the Belgians. Photograph by Ren Thompson.
The exhibition also featured objects purchased by and worn by major celebrities and style icons include: Grace Kelley (her engagement ring – 10.47 carat emerald-cut diamond – and jewels), Elizabeth Taylor, the Duchess of Windsor, Gloria Swanson and many many others.
Necklace, Cartier Paris, 1951. Rubies, diamonds, and platinum. Sold to Mike Todd in 1957. Collection of Dame Elizabeth Taylor. Photograph by Heather Vaughan
Gloria Swanson, ca 1930 wearing bracelets supplied by Cartier in 1930. (on display in the exhibition)
Panther clip brooch, Cartier Paris, 1949. Sapphires, diamonds, yellow diamonds, platinum, and white gold. Sold to HRH the Duke of Windsor.
According to the catalog/exhibition “The panther is pave-set with diamonds and tiny sapphire cabochons. The Kashmir cabochon sapphire is of 152.45 carats.” It was owned and worn by the Duchess of Windsor.
So as to not be complete swept away by fantasy and luxury, I thought that an interview with the curator of the exhibition for the Legion of Honor, Martin Champan, might help bring us back down to earth (and the world of academia). I asked Chapman specifically about the nuts and bolts of the exhibition: putting it on, designing the space, and working with his exhibition team. I hope you’ll find the results stimulating.
Heather Vaughan for Worn Through: When did you first begin work on the exhibit (how many years ago)?
Martin Chapman: We started about two years ago when Cartier was introduced to us by our trustee Lonna Wais.
Lonna Wais at the opening of Cartier and America
Can you talk a little about the process of putting together such a major exhibition? What did your timeline look like, with regards to the planning, research, the catalog , and installation, etc.?
Timing was to coincide with the 100th anniversary in the Untied States. Most of the work however was done since last June when I visited the Cartier collection in Geneva, and visited the archives in London, Paris and New York. I chose the objects in the Geneva collelction working with their curator, Pascale Lepeu, and our designer Bill White, then I researched some of the pieces and personalities in the archives. I then wrote the catalogue in July and August and we installed the exhibition for 2 1/2 weeks before it opened.
Pascale Lepeu
Were there any major hurdles to overcome (that you can talk about)?
Borrowing from private collections.
Where did you go to research, what resources did you use?
Cartier archives, biographies, and books on Cartier
What role did Cartier play in determining the curatorial focus of the exhibition, in choosing the pieces to display?
I determined that the focus of the exhibition should show the history of Cartier through its finest objects and by presenting as many pieces as possible with an American connection.
What sorts of issues came up over the display of the pieces, were there condition issues that were of concern?
Fragility; light levels for miniatures and photographs in objects. Their decorator Monique Saner installed the Cartier pieces in the show. She has worked for Cartier for many years and knows the pieces intimately. Our designer Bill White came up with the wonderful design and the background colors.
Who did the lighting? It was amazing.
Our lighting designer Bill Huggins, who is a brilliant lighting technician and artist.
Who do you feel is the audience for the exhibition?
Any one interested in high quality jewelry, 20th century American decorative arts, history and social history, anyone interested in movies and celebrities.
What is your favorite piece in the exhibit and why?
The Duchess of Windsor’s flamingo of 1940 because it was such an iconic piece for her, and because it has never been shown in an exhibition before.
Flamingo clip brooh, Cartier Paris, 1940. Diamonds, emeralds, rubies, sapphires, citrine, and platinum. Sold to HRH the Duke of Windsor.
How is Cartier important in terms of San Francisco history, what role did it play?
There were few addresses in the Cartier archives from San Francisco, only one customer, a Mrs Neustadter who had a wonderful diamond choker made in 1908. We have a photo of it in the exhibition but we do not know where the piece is today. Neustadter was a clothing manufacturer with a shop on Market street in the early 1900s. There were some customers who came from San Francisco who lived elsewhere such as Virginia Fair Vanderbilt, born Virginia Fair, daughter of Senator James Fair, and who built the Fairmont hotel. There are several of her pieces in the show, along with her portrait by Boldini. Lady Cunard leader of London society in the 1930s who was born Maud Burke in Oakland, and Lady Granard, of whom Chips Channon, the diarist, says in 1937 she “ could hardly walk for jewels.” She who was born Beatrice Mills, daughter of Ogden Mills of Millbrae. Her massive diamond and emerald necklace is in the show.
Virginia Graham Fair Valderbilt, 1905 portrait by Giovanni boldini, gift of Mrs. Vanderbilt Adams, FAMSF. Photograph by Heather Vaughan
Necklace, Carter London, 1932. Diamonds, emerald, and platinum. Sold to Beatrice Mills, Countess of Granard. Photograph by Ren Thompson.
Quite often, design exhibitions that focus on single designers/makers can be categorized as ‘too commercial,’ especially if the company is still actively producing goods (for example, the Chanel exhibition the Metropolitan Museum of Art and the YSL exhibition at the de Young). Clearly, the Cartier exhibition ties into the economics, history and culture of the US, but how do you specifically address those issues in this exhibition?
The Cartier objects in the exhibition are not the sort of pieces that are for sale these days, apart from one necklace that belongs to a local patron. Otherwise the emphasis is on history, social history, workmanship, and design.
I’d like to ask a little about your career history, as Worn Through readers are often very interested in this.
I was a curator at the Victoria and Albert Museum, London for 16 years. It gave me my training in decorative arts.
What advice would you give to students interested in pursuing a career in this field, what schools, experience and internships would you recommend?
The Bard Graduate Center New York and the Cooper Hewitt Master Program specialize in decorative arts.
If you have the opportunity to see this exhibition, I highly recommend it. For those unable to go, the exhibition catalog is a wonderful resource, not only for the history of Cartier, but also for a tracking the tastes of the wealthiest people in America over the last 100 years.
Cartier and America
The catalog is available for purchase as of January 10, 2010.
Note: Opening image is of my hand next to Pendant Brooch (also the cover image for the exhibition catalog), Cartier London, 1923 (altered 1928 by Cartier New York). “Marjorie Merriweather Post was a regular customer at Cartier New York, Her brooch, one of the most spectacular jewels made in the 1920s, incorporates Indian carved emeralds, one of which dates from the Mughal era.” Photograph by Ren Thompson.
*From the Oxford English Dictionary: “Glamour: 1. Magic, enchantment, spell; esp. in the phrase to cast the glamour over one (see quot. 1721). 2. a. A magical or fictitious beauty attaching to any person or object; a delusive or alluring charm.” See also Glamour: Fashion, Industrial Design, Architecture
While at home in Michigan I went with my mom to see the Avedon Fashion Photographs 1944-2000 at the Detroit Institute of Arts. It’s the first stop of the exhibit that I assume will travel but I’m not sure. It runs in Detroit through January 17.
Overall I’d give the exhibit a good review. A-/B+. It was packed which is fab for Detroit on a bitter cold day.
There were numerous images flowing between multiple rooms painted stark white, black, and grey. No photos were permitted so I’ve included some I found online that were in the exhibit to illustrate this post. It was a mix of prints and magazine images from different aspects of his career, and panels discussed that Avedon felt they should be displayed differently and served different purposes.
The images weren’t too crowded together, and in each room there was a display case with magazines featuring other pieces of his work. Although it was a fairly stark, photo-centered exhibit, the panels didn’t speak much of photography technique, and instead focused on his role socially and within the fashion system. These commentaries, which were somewhat further explored in the accompanying audio tour (a free system where you call from your own cell phone) were often the most interesting part, but could have been greatly enhanced. It seemed that the curators wanted to bring up many intriguing points about Avedon’s relevance throughout the decades, but would leave us hanging with concepts alone, and not more thorough explanations. Examples were the discussions of aesthetics within his work, his potential for irony and humor poking fun at the fashion industry he was so beautifully showcasing, and most glaringly the brief mention of his breaking down racial barriers within the arts. Each of these were fascinating concepts that were thrown out there as food for thought instead of richly investigated. Perhaps in the $100 stunning book I decided I could not afford….
On a related note, my only other potential complaint was that although it was a fashion photography exhibit, I seemed to primarily be overhearing patron talk of the fashions shown, with questions about movement, color, weight, fit, etc. It might have been nice to see video or even the real deal displayed to get a more complex view of what he was working with. But of course that’s my own bias a little showing through. If the focus was strictly the photography itself, more focus on technique would have been interesting. Those behind the scenes details do make the exhibition viewer appreciate the craft more.
So onto to the details. Most of it was fabulous of course, it is Avedon after all! However, seeing that much in one place it became clear he did have strong suits and weak areas just like everyone else.
Here are some notes:
In closing, I think it was a lovely exhibit that was amazing in its size and scope and had something for everyone. More commentary through panels or the audio tracks would have enhanced the appreciation as that which was provided would toss at you fascinating concepts that I’m anxious to explore further. But for my $12 I think it was a great afternoon and a visual treat above any other I’d recently experienced. I guess if I splurge the $100 for the book I can dig in deeper.
It’s often said that a study of fashion should begin with a study of the body. But what does examining the body look like in reference to clothing? It’s no surprise that in mulling over this topic, I’ve ended up thinking about the story of Adam and Eve, and their nakedness and shame.
Shame is a big topic. Does it relate to clothing or dress? It’s arguable that we hide our shame concerning our body with clothing, but is there a sense in which we feel shame concerning our clothing itself? Dolly Parton sang about her “coat of many colors” with a mixture of shame and nostalgia, remembering her threadbare youth. We feel shame and embarrassment when we wear things that don’t fit our bodies, and when we, in turn, don’t fit in.
One of my most embarrassing moments as a child was making a lunch stop at a McDonald’s during a family vacation. During the previous four-hour car trip my shoes were misplaced among all the luggage in the back seat. I was forced to wear my father’s much-too-big tennis shoes into the McDonalds during this busy mid-summer lunch rush. I still remember the feelings of shame and embarrassment I felt as it seemed that everyone in this crowded restaurant was staring at me wearing clothing that clearly did not fit. As a result, I felt that I inherently did not fit in.
Similar stories can be found in everyone’s experience. Clothing allows for highly orchestrated methods of “reading” someone’s body to see if they “fit.” Do they fit into their body? Do they fit into their clothes? Do their clothes fit into our group? This multi-tiered experience of “fitting in” is at the heart of our anxiety over joining groups. But at the very deepest level is a profound existential fear of being found to be an outsider, of fundamentally “not fitting in,” or being exposed as an imposter or a phony.
In every sense, to be exposed is to be cast out, revealed as an imposter, an outsider, an unknown. We fear this so greatly because to be “known” as a self, an individual, is ultimately to be known in context, specifically in the context of a group. And to be cast out is to lose context, and therefore lose identity.
And this idea of exposure is so fundamental to the Adam and Eve narrative. As the story goes, after our progenitors ate of the forbidden fruit, they felt guilt. In their shame, they covered themselves with fig leaves to hide their nakedness. These fig leaves, or the original DIY garments, signified that they had fallen out of relationship – with their Creator primarily – and with each other – when before they had known no shame. Both literally and metaphorically they were cast out. God set flaming swords above the entrance to the garden and never again were they to enter paradise. And somehow clothing was at the center of the equation.
I’m not sure how we should read the fact that a transition from an idyllic naked body to the condemnable clothed self is at the vortex of the story of the Fall of Mankind, but I think that what it may indicate, if it is to be taken seriously at all, is that perhaps there is a shred of shame, of duplicity and disguise at work in every outfit we put on. Perhaps there is something even fundamental in the very essence of human cultural projects that is built on a lie – the lie that ideal relationships are actually attainable. We concoct all these elaborate schemes and endeavors to reach the Other and yet we are always pushing others away. As Ruth Barcan puts it in her wonderful book Nudity: A Cultural Anatomy (Dress, Body, Culture)
But really what interests me here is the relation of nudity and shame. What are we hiding when we hide the body? As the above quote suggests, in that first moment of shame – when Adam and Eve recognized their nakedness and hid themselves with leaves – all of culture and society was built on concealment. So perhaps all of civilization is built on a lie.
At first, this thought seems so bleak and distressing. How can we avoid the lie – should we just traipse around in our birthday suits to avoid lying to others about who we are? But after a moment of reflection one realizes that living amongst others is always an act of self-restraint, or restraining the “true self.”
The self cannot always be laid bare, vulnerable, exposed. In order to “get things done” we must put on our exterior armor, so to speak, and move about the world to accomplish the tasks necessary for survival. It has been argued that the advent of the city and harshness that comes with maneuvering through the urban geography is part of what has caused us to feel the need to “gird our loins” and move through our day protected, guarded, literally locking the self deep within. But yet, there still has to be a “self” to travel in that environment. So this is where the matter of dress enters… How do we fashion that shell that is to meet the public eye?
Within the safeguards of clothing, let’s not forget the delicate honesty of the body. Somewhere in the vulnerability of nudity we may be more apt to connect with one another. In order to face our ever-present fear of exposure perhaps we should just be exposed.
For more reading on the subject of clothing, nudity, and shame see: Disappearing Persons: Shame and Appearance (Suny Series in Psychoanalysis and Culture) , by Benjamin Kilborne and A Return to Modesty: Discovering the Lost Virtue
As some may remember, this past December I traveled from California to Philadelphia for the American Anthropology Association conference. While there, I spent an afternoon exploring the Philadelphia Museum of Art. The Museum had a lot to offer those interested in historical clothing. Not only were there a number of special exhibitions to tempt viewers, but its permanent exhibitions held a number of examples as well.
Portrait of a Lady and Her Child, c. 1625 by Jan Anthonisz. van Ravesteyn (Dutch)
When I arrived at the museum, the first special exhibition I came upon was “Wrought and Crafted: Jewelry & Metalwork 1900 to the Present” ending February 7, 2010 (Curated by Elisabeth Agro). Philadelphia’s history is strongly tied to the history of metalworking, though the majority of this exhibition offers more contemporary examples. The exhibition also has a nice online feature, whereby visitors can leave comments if they’ve seen it in person.
“An Enduring Motif: The Pomegranate in Textiles” ending February 21, 2010 (Curated by Dilys Blum) was the next exhibition on my trek through this marvelous museum. This small, but well executed exhibition provides a brief and beautiful history of the cultural significance of the pomegranate in textiles (not only their image, but also the use of the plant). It includes objects from as early as as the 15th Century (a silk velvet chausable dating to 1450) through the 20th Century (a Jack Lenor Larsen piece of hand-painted fabric from the 1970s). Examples are from various countries including, Uzbekistan, France, Spain, Turkey, Italy, and the United States. Techniques such as ikat (resist-dye), block-printing, needlepoint lace, lampas weave, and embroidery are also represented.
selection from Fragment, c. 1760. Block-prnted cotton plain weave, Bourger, France
Boarder, c.1650-75. Linen; needlepoint lace, Made in Italy (Venice)
Quilt Facing, 17th-19th Century (Ottoman), Linen plain weave wilk silk embroidery in surface darning stitch, Made in Turkey.
"Pomegranate" Fabric From the Afghan Colletion, 1974, Hand-printed silk plain weave Designed by Jack Lenor Larsen, Made by Jim Thompson Thai Silk Company
“Inspiring Fashion: Gifts from Designers Honoring Tom Marotta” ending Summer 2010 (Curated by Kristina Haugland) is presented in the new Perelman Building. This exhibition is also small, but very focused. It presents designs from 17 designers, in honor of the late Tom Marotta, a retail executive at Saks Fifth Avenue who was much respected in the industry. The garments on display here were obtained directly from the designers for the museums permanent collection. The exhibition includes a video of interviews with each of the designers to offer insights into the pieces, and their relationships with Marotta.
Tom Marotta
An overview of the exhibition
Carolina Herrera gown
Zac Posen, 2009 gown
Finally, “Horse and Man Armors” curated by Pierre Terjanian (ongoing) was a welcome new distraction from what I might readily consider fashion history. As I walked in to the Arms and Armor gallery the connection between fashion and armor suddenly dawned on me. The Metropolitan Museum of art has an in-depth article on the connections between armor as it relates to historical styles and trends, and an article by Stephen V. Grancsay from the 1930s traces these connections more specifically. The most recent writing on fashion and armor, comes from Ruel A. Macaraeg, “Dressed to Kill: Toward a Theory of Fashion in Arms and Armor” published in Fashion Theory, March 2007 (Berg), though the focus of this article is more on arms specifically.
Armor for the Field c.1520 (Germany)
Cuirassier Armor, 1612 (Italy or France)
But while standing agog in these galleries, amazed at the craftsmanship, it occurred to me that current designers often use armor and military concepts to inspire and design their creations. Thierry Mugler, Gareth Pugh, and a number of others seem fascinated with the idea of an armored female figure (see Tove’s post yesterday on Lady Gaga’s armored exoskeleton).
From the Armored body section of the Superheroes exhibition at the MET, CI
Most memorable in my mind, however, is the work of costume designer Eiko Ishioka (her films include Bram Stoker’s Dracula, The Fall, and The Cell). Her use of armor-like designs for modern and futuristic fantasy films can’t help but influence fashion designers in their work.
In the spirit of inspiration to designers and historians alike, I have these additional images from the arms and armor galleries at the Philadelphia Museum of Art to share:
Kneeling Knight in Prayer, C. 1470 Southern Germany.
Boy's Armor, 1500-1540 (Germany)
Hauberk (shirt) of Mail c. 1600 (Persia, now Iran)
Hauberk (shirt) of Mail for Ceremonial use c. 1550-1600 (Transylvania now Romania)
As friends and family already know, I love me some anatomical charts, grotesque dissections of the intricate layers of the human body, old-timey skeletons and medical charts of muscle groups and the nervous system, etc. It appeals to my love of dissection in general, I think: peeling away layers of a body — or a topic (i.e. fashion) — in order to better understand the interconnectivity between seemingly disparate systems and subjects. It has therefore been will great relish that I’ve explored the blog Street Anatomy which collects art, design, and fashion, as related to anatomy (check out the Fashion and Products + Apparel categories). Here are some of my favorites:
"Vertebrae" necklace c. 2002 by Molly Epstein, Temple student. Glass-filled nylon.
And I was blown away at the hand-bleached skeleton hoodie:
by Derek "Bones" Bo, using bleach like fabric paint
Another, more shameful, addiction I’ve indulged lately is Lady Gaga videos. Lady Gaga shares my fascination with anatomy, often merging the robotic and mechanical with flesh and blood in her always deliciously ridiculous outfits. Several of her videos feature men with metal prostheses — a jaw, an eye patch –
"Bad Romance" video
"Paparazzi" video
and she herself becomes a kind of scoliotic (yes, I just made that word up) bionic woman after she falls from a balcony in a theatrical lovers’ tousle:
This photo is terrible quality, but it still gives the full package of this awesomely crazy ensemble — and yes, those are braces she’s clutching (while in stilettos, no less!):
"Paparazzi" video
I love this double bustier, which highlights how somewhat arbitrarily the corset (an exoskeleton if ever there was one) has dictated where breasts fall –
"Paparazzi" video
sometimes pushed flat (as in the 16th century),
Hans Holbein's "Jane Seymour," 1536
sometimes hoisted up to the collarbone.
David's "Comtesse Daru," 1810
And while this exaggerated, padded ribcage / spine seems edgy in 2009…
"Bad Romance" video
it was downright scandalous in 1938 when Elsa Schiaparelli designed the dress version (which I want sooooo bad, by the way):
Elsa Schiaparelli's skeleton dress, 1938
Even when her costumes don’t mimic metal armor, Lady Gaga favors clothes that are extremely restrictive, and hard or voluminous to the point of hilarious and delightful impracticality: essentially sartorial exoskeletons that often cover her very head and face. I highly recommend youtubing her full videos even if you don’t like her music, but beware: they are highly addictive and you too might end up loving her somewhat against your will.
Like every so-called cutting edge, influential trend setter, Lady Gaga is not without her influences. I see a lot of Helmut Newton (possibly my favorite fashion photographer) in Lady G’s style:
Helmut Newton's "Jassara," 1977
Newton had a series juxtaposing live models with identical mannequins, as on the cover of his fantastically awesome book:
Helmut Newton, manequin and model
He also had an usual series of ads that were actually x-rays of the products (jewelry, shoes), directly comparing and contrasting the metal prongs and hinges to the bones and joints of the women wearing the baubles:
helmut newton - X-Ray, ad for boot by Karl Lagerfeld
Helmut Newton's "X-Ray," Van Cleef and Arpels ad, 1979
Helmut Newton's "X-Ray," Van Cleef and Arpels ad, 1979
As much as I myself love adorning my body with beautiful underwear and clothes and jewelry and hats, there’s something beautiful, raw and powerful in the brutal functionality of human anatomy. Being somewhat of a prude in terms of body coverage, the idea of wearing modest layers that suggest the stripping away of clothes (and skin) appeals to me greatly, also satisfying my penchant for the grotesque. It’s not such a leap to see the relationship between structural skeletons, supportive braces / prosthetics, and protective armor, right? But what is it about these hard bodies that make them so repulsive, and yet enticing?
(1. Assistant Professor, Textiles, California College of the Arts
CCA is seeking candidates for a full-time, tenure-track assistant level professor for the Textiles Program to begin August 2010. Candidates should have a strong commitment to teaching, theoretical and/or historical understanding of the field, and a professional practice in visual arts and/or research and writing. The successful candidate will be well versed in the major aesthetic, philosophical, social, and economic themes that have shaped textiles as a global technology and contemporary art practice, and possess a strong desire to advance the discourse of the field in broad aesthetic and educational contexts. Candidates should have a high level of technical expertise and be able to teach in two or more areas of the program. A proficiency in weaving and/or knowledge of digital technology is desirable. An ability to address diverse creative practices from a culturally competent point of view is essential, and experience in teaching project-based courses that engage community partners is a plus.
Teaching a full range of courses, from beginning level, skill-based classes to more theoretically oriented graduate seminars. An interest in and an ability to teach successfully in the college’s first year program are also expected. Participation in curricular development and the ability to play a leadership role in building the Textiles Program and furthering its national reputation is essential. The position also requires a commitment to continued professional work and active participation in college-wide service.
Qualifications:
Successful candidates will hold an MFA or equivalent degree and will demonstrate extensive professional activity. Evidence of teaching effectiveness and at least two years of college-level teaching experience or equivalent is preferred. Flexibility to work across disciplines and capacity to collaborate and develop relationships with other programs is desired.
To Apply:
Submit a letter of interest, statement of teaching philosophy, curriculum vitae, three professional references with phone numbers and email addresses, 20 examples of current work in PDF format only. CDs/DVDs should be formatted for Mac and time-based samples should be limited to no more than two minutes each. Please send materials to:
California College of the Arts
Human Resources (Job #1967)
5212 Broadway
Oakland, CA 94618-1487
fax 510.594.3681
employmentatcca.edu
Application Deadline: Applications must be postmarked by January 15, 2010.
(2. Costume Apprentice, Washington National Opera, Washington, DC
The Costume Studio is looking for individuals who have just completed or are about to complete their studies (undergraduate or graduate) and who are interested in pursuing a career as professional costumers. The apprenticeship can be geared toward the individual’s area of greatest proficiency or the area in which they would like to gain more experience. Areas of focus are draping, costume management, and crafts. 1-2 years experience working in a costume shop required. Interest/knowledge in opera, music, or the performing arts is preferred.
To Apply:
Visit http://www.dc-opera.org or send an e-mail to internships@dc-opera.org.
MESDA Conference on American Material Culture
October 28 – 30, 2010
Madison-Morgan Cultural Center, Madison Georgia
The seventh biennial MESDA Conference for recent research in the field of early American material culture and decorative arts will take place on October 28-30, 2010 at the Madison-Morgan Cultural Center in Madison, Georgia.
The conference provides the only major forum for scholarly presentation and interaction on American material culture and decorative arts. In addition to a keynote address by Dr. Bernard L. Herman, George B. Tindall Professor, Department of American Studies, the University of North Carolina, Chapel Hill, the conference includes the Gordon Seminar, a day of presentations on a variety of topics in American material culture, and a day of field trips to regional material culture and decorative arts collections.
Call for Papers:
Scholars and graduate students in American studies, southern studies, decorative arts and other fields as they relate to early American and southern material culture are invited to submit proposals. Papers are to be twenty minutes in length. Subjects with an interdisciplinary approach to the study of material culture are highly encouraged.
Proposals will be accepted for individual papers or for panel sessions. Paper proposals must include the author’s name, the paper title, a one-page abstract and the author’s curriculum vitae. Session proposals must include a chair, list of presenters, cover letter, a one-page summary of the session theme, presenter curriculum vitae, and abstracts for all papers.
Deadline for proposals: May 15, 2010
Notification of acceptance will be received by June 15.
Accepted papers must be submitted in full by September 1, 2010.
Electronic submissions in Word format are preferred. Please send email proposals or via US Mail to:
Sally Gant
MESDA Conference on American Material Culture
924 South Main Street
Winston-Salem, NC 27101
To receive more information on attending this conference, contact MESDA at 336-721-7360 or email.
Click here for more details.
Photo from Monarch Knitting and Quilts, Pacific Grove, CA
An Evening With Kaffe Fassett, in Pacific Grove, California this past Sunday the 27th of December was fabulous, as expected. The event was coordinated by two local shops, Monarch Knitting and Quilts and Back Porch Fabrics (you can also read their write-up of the event). I went to last year’s Evening, and that one was marvelous. This one was very similar, a delight like last year’s with new material added in, plus a display of many of Fassett’s well-known designs.
Fassett started off his talk by saying, “I live in a world of textile and color.” If you know his work, you know his vibrating color combinations. The textile artist in me loves that he named textile before colour. He gave his biographical backgound, telling us of how when he first went to study painting in Boston (you can read his biography on his web site), the lessons included an introduction to color wheels, and how he reacted to them as, in his words, “the work of the devil,” saying that “colour is a very instinctive thing.”
If you look at the span of Fassett’s career, and the development of his work, it is fascinating to see how in his early work as a painter, he was, in his own words, “terrified of color.” For a long period, he painted white-on-white still lifes (not as colorful as the more recent painting pictured above), often assortments of white china, sometimes broken china (interesting, when you see his recent work with broken china mosaics, pictured below).
As the legend goes, Fassett learned to knit after a visit to a Scotland wool mill with designer Bill Gibb. He purchased twenty different colored balls of yarn and some knitting needles, and asked a woman on the train back to London to teach him to knit, which he says took just twenty minutes. He immediately started on a twenty-color sweater, and when it was finished, took it to Vogue Knitting and had his design published. Kaffe Fassett’s very first sweater is pictured below, as seen in the book Glorious Knitting
Kaffe Fassett's First Knitting
Today, Fassett is known for his textile designs for quilt fabrics and interior design, needlepoint, mosaics, painting, tapestries, and quilts, and, of course, his ten books. Currently in progress are a book about his lifetime process of becoming a designer and an update of Welcome Home: Kaffe Fassett
Fassett described in his talk how travel has been a continuing source of inspiration for him: first, in his travels to places with “intense love of color, no fear of color,” such as Guatemala and India, and second, as a teacher. He described how in his work teaching workshops around the world, seeing people discover how to work with color was one of the things that keeps him teaching (I know that’s one of the things that keeps me teaching, now to figure out how to get paid to travel the world while doing so).
Fassett’s talk was filled with wit and humor and kept the audience well entertained. Here are some of my favorite quotes from the Evening:
When in doubt, overdo it.
So basically, it’s a TV cozy.
Deep down, I’m shallow.
When he described how he chose to hand off teaching knitting workshops (now done by his partner, Brandon Mably) in favor of teaching quilting workshops, he said it was because the quilters could accomplish an entire quilt in a one-day workshop, he said “much more to my taste, because I’m a speed demon.” Having taught both knitting and quilting myself, I can relate.
The night was rounded out with booksigning and time to view the quilts and garments on display. Pictured below are some of Fassett’s knitted creations from the on display on the stage:
I had brought my first edition copy of Glorious Knitting.
Like last year, many in the audience proudly wore their own handknit creations, Kaffe Fassett designs or otherwise. The bag pictured below was particularly eye-catching. Made and designed by Therese Stark Felder, of StarKreation, it is an entrelac knitted and felted bag, with a vintage belt for a closure.
If you would like to learn more about knitting Kaffe-Fassett-style, I recommend you pick up one of his books, and likewise if you are interested in his quilt designs. If you are interested in his appearances and workshops in California, bookmark the site Kaffe in California. His entire international tour and workshop schedule is on the main Kaffe Fassett site, here. Lastly, while Fassett is a self-professed Luddite, his partner Brandon Mably is on facebook, and you can also become a fan of the Kaffe Fassett facebook fan page.
If you are interested in shopping online for Kaffe Fassett fabrics, visit Glorious Color and Westminster Fabrics. If you want to see his needlepoint kits, visit Ehrman Tapestry.
Have any of you knittted up any Kaffe Fassett designs, or used his fabrics, quilt patterns, or needlepoint patterns? If so, let me know and share a photo.
