November 19th, 2008 at 5:00 am
(History of Dress, Uncategorized)
Original Caption: “An Apollo 12 astronaut stands beside the United States flag on the surface of the moon. November 19, 1969″ (Corbis).
39 years ago today, man landed on the moon for the second time. Apollo 12 followed the Apollo 11 moon landing on July 20, where Neil Armstrong and Buzz Aldrin had become the first humans to land on the Moon. According to the Smithsonian’s online exhibition, the Apollo mission spacesuits were well-researched, and made with a mix of new and old materials. Some might consider these early techno-textiles:
“Many textiles used in space suits were invented prior to the space program. The Du Pont Company developed neoprene synthetic rubber in 1932, almost thirty years before the first manned spaceflight. Nylon and Teflon were invented in 1938. Following World War II, Du Pont introduced Mylar, in 1959, Lycra spandex fiber, and in 1963, Nomex. All of these materials were used in the Apollo space suit. Following the tragic Apollo 1 fire, researchers sought materials more resistant to very high temperatures. In 1962, the Dow-Corning Company produced Beta silica fiber, a material like fiberglass, except that it would not irritate the skin of the wearer. For the outer covering of the Apollo space suit, Beta silica fiber was coated with Teflon to create Beta Cloth”
APOLLO SPACE SUIT, MODEL A7L
The exploration of space led to a new interest in the future, and in a new design aesthetic: Space-Age Fashion. Movies had long been obsessed with the ‘last frontier,’ but the late 1960s and early 1970s produced a wealth of new designs based on this idea.
“1968 film Barbarella, with Jane Fonda in tights, bodysuit (with “exposed” right breast plate), cape, boots and holding a plastic helmet.” (Costume Design by Jacques Fonteray and Fashion Designer Paco Rabanne).
While often more interested in the aesthetic, that in the new textiles,designers such as Paco Rabanne, André Courrèges, Pierre Cardin and Rudi Gernreich created the epitome of space-age couture. Search for these and other designers, at the Met Costume Institute Collection, here.
André Courrèges
Dec. 1, 1967
Pierre Cardin, 1970 (Met, C.I.
Until next time,
Heather
www.fashionhistorian.net
Heather is a contributor to the newly released Greenwood Encyclopedia Clothing through American History, 1900 to the Present.
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November 5th, 2008 at 5:00 am
(Exhibitions, History of Dress, Uncategorized)
This past weekend I found myself attending a sold out symposium at the de Young Museum on the late designer Yves Saint Laurent. The rain didn’t seem to deter a soul from attending the lectures by the illustrious speakers. These included YSL’s long time partner, Pierre Bergé, Hamish Bowles (editor-at-large of American Vogue) and Florence Muller (one of the exhibitions curators), as well as, Fashion historian Farid Chenoune. An added bonus was that several of YSLs entourage was present in the front row of Koret auditorium (including Betty Catroux).
Betty is to the right of YSL
Some of the highlights for me included much of Farid Chenoune’s discussion of the imact and magic of Le Smoking (don’t tell anyone, but his presentation was my favorite), Hamish Bowles not only gave a wonderful overview of YSL’s design career, but also provided information about his own private collection of YSLs (he has about 20 pieces of YSL for Dior, and 60 pieces of YSL Couture). I also loved that Pierre Bergé was wearing an Obama pin throughout the day’s activities.
The opportunity to ask the illustrious panelists questions was not lost on this primarily non-academic crowd. One of the best was when an audience-member asked Hamish to describe a favorite piece from his own collection. His answer was an amazing sounding watteau-backed YSL for Dior from the Trapeze collection.
Farid Chenoune’s discussion of Le Smoking was informed, creative, and brought up issues I had never considered before: How Le Smoking was an evening ensemble in direct opposition to Chanel’s Little Black dress, the popular scandal of being nude under the tuxedo, and the interplay of gender roles as played out in the cut and fit of the ensemble. I could go on and on and on about this paper. Chenoune’s turns of phrase were inspiring, including: “The male/female issue is the eye of the hurricane that is fashion.”
Chenoune’s use of the fairytale metaphor was jaw dropping. He proposed that in the fashion fairy tale, the woman is a princess in the ballgown, and the man is a knight in black armour, sent to rescue her. But YSL turned that on its head, giving the armour instead to the princess, in effect, giving her the power. I could listen to this man all day. Unfortunately, the slim volume in the bookstore was well outside my price range - $80 (!!). I wasn’t able to find it anywhere online, but if anyone sees Yves Saint Laurent: Smoking Forever, please let me know - the holidays are just around the corner.
It is Le Smoking, but it is also NOT Le Smoking.
One of the biggest revaluations, however, was that the iconic photo that is always used to depict Le Smoking is not actually of one of the Tuxedo ensembles. It is merely one of YSLs pants suits for women. I learned so much on this day, its hard to fathom.
I hope to have a more detailed symposium review in an upcoming issue of the Costume Society of America’s Western Region newsletter. For information on joining the Costume Society of America, please contact me or visit: Costume Society of America. For some really wonderful photos of the exhibition (as mounted at the de young) take a quick peek at the coverage at SFLuxe by Damion Matthews. For the San Francisco Chronicle’s coverage of the press gala, read this.
As an aside, I also had the opportunity to interview the collection manager for the Museum at FIDM for upcoming posts on Worn Through. Watch this space for more information on their collection and upcoming events over the coming weeks.
Until next time,
Heather
www.fashionhistorian.net
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October 29th, 2008 at 5:00 am
(History of Dress, Uncategorized)
Gentle readers (I always loved that introduction),
I’m toying with the idea of starting a new series within the History of Dress section: ‘Today in (Fashion) History’. Of course, some postings will probably be more significant than others and it won’t be every Wednesday, but I thought it would make for some good visuals.
Those of you looking for last minute Halloween inspiration, might find these useful:
October 29, 1954, Sheffield, England, UK
Original Caption: “Queen Elizabeth II looks her loveliest and most glamorous self in a white fur stole and magnificent gown as she arrives by limousine at a reception in Sheffield. The event, given by the Earl of Scarborough, was held at the Cutler’s Hall.” © Bettmann/CORBIS
October 29, 1956, London, England, UK
Original Caption: “American film actresss Marilyn Monroe attends a film premiere with her husband, American playwright Arthur Miller, at the Empire Theatre, London, England, 1956. The premiere was for the Royal Film Performance of ‘The Battle of the River Plate’.” © Hulton-Deutsch Collection/CORBIS
Of course to counter this opulence, and given the current unsteady economic state, I should remind you that today is the anniversary of the start of the crash that signaled the beginning of the Great Depression. For current fashion inspired by the Depression. Try this.
October 29, 1929, “People Gathering in Front of the New York Stock Exchange”
Original caption: “New York, New York: Wall Street financial stability of the U.S. was toppling for a few minutes on Oct. 29, 1929 when a coalition of bankers and industrial executives and government officials went to the rescue and checked an hysterical shrinkage of stock market prices which, had it continued, would have brought ruin to hundreds of thousands of investors and suffering to millions of homes both in this country and abroad. Photo shows a scene in front of stock exchange jammed throughout the day.” © Bettmann/CORBIS
Despite the impending crash, 1929 saw some members of high society continuing to buy and ware finery. Here are some examples from the MET, Costume Institutes’ collection:
Wrap, Evening, 1929
House of Lanvin (French, founded 1890), Design House; Jeanne Lanvin (French, 1867–1946), Designer
French
fur; [no dimensions available]
Gift of Madame Lilliana Teruzzi, 1972 (1972.30.13)
Tiara, 1910–1929
American or European
metal, glass; Length: 8 1/4 in. (21 cm)
Gift of Margaret Tasher Smith, 1990 (1990.47.6)
Ensemble, Evening, ca. 1929
House of Patou (French, founded 1919), Design House; Jean Patou (French, 1887 – 1936), Designer
French
silk; [no dimensions available]
Gift of Madame Lilliana Teruzzi, 1972 (1972.30.17a, b)
Details on Jean Patou here.
Shoes (Pumps), 1928–1929
American
[no medium available]; [no dimensions available]
Gift of Mrs. Edith Dalmat Katz, 1966 (C.I.66.51a–d
Along with this, I do want to mention that the official publication date for The Greenwood Encyclopedia of Clothing through American History 1900 to the Present [Two Volumes] is set for tomorrow (I contributed the sections on the 1920s and 1930s). Please do request that your library order a copy. Thanks!
Until Next Time,
Heather
www.fashionhistorian.net
Comments
October 22nd, 2008 at 5:00 am
(History of Dress, Uncategorized)
Los Angeles Fashion Week 2008, which kicked off on Sunday, October 12 and wrapped up Thursday, October 16, opened with the announcement that IMG will no longer be backing it (more here). This turn of events seemed like a good time to take a look at the origins of Fashion Week in Los Angeles, which as the Los Angeles Times points out, “has never really taken off, partly because organizers have tried to make it fit the template of other fashion weeks around the globe, where success is a front row stocked with retail buyers and New York magazine editors.”
The Associated Apparel Manufacturers of Los Angeles had been exhibiting shows of ready-to-wear clothing at the Biltmore Bowl in Los Angeles since the early 1920s, but it was not until 1935/1936 that the name “Los Angeles Fashion Week” came into regular use (and received regular press coverage). LA Fashion week then became established as a bi-annual event, where buyers from across the country came to see what California, and specifically, Hollywood had to offer.
“Bernard Newman and Colleagues Viewing a Fashion Show” 03 Feb 1935, Los Angeles, California, USA. Original Caption: Smart Los Angeles made clothes were on display at the Los Angeles Biltmore, in an advance showing of spring creations. A feature of the show was the appearance of RKO-Radio players in valuable gowns that were worn in a recent production. Photo shows, left to right: Bernard Newman, RKO designer, Irene Dunne, film star and Randolph Scott, leading man, as they viewed the show. — Image by © Bettmann/CORBIS
A 1936 article in the Los Angeles Times explained that one of the tactics used to get buyers out to California involved a unique marketing idea.
“’Miss Fashion of Hollywood’ in the person of June Horne, leaves Los Angeles today via American Airlines to summon retail merchants and buyers throughout the country to attend Los Angeles Fashion Week, January 11 to 13. She will carry the largest invitation ever sent across the country by air, which she will personally present to the country’s foremost merchants. Miss Horne will take a wardrobe of advanced spring and summer styles, created by the Associated Apparel Manufacturers of Los Angeles, which is sponsoring Fashion Week. These styles will be presented in twelve key cities throughout the country in the course of her five-day flying tour, to give merchants an advance glimpse of the elaborate style display awaiting them in Los Angeles. Metropolitan centers which Miss Horne will visiti in the course of her flying fashion preview include Dallas, Memphis, Louisville, Cincinnati, Chicago, Detroit, St. Louis, Oklahoma City, Tulsa, Fort Worth and El Paso. She will return here Friday.” (December 14, 1936, Los Angeles Times, pg. A10.)
How I wish I had a photo to show you of Miss Fashion of Hollywood! In January of 1937, LA Fashion Week had a special guest speaker, Twentieth Century-Fox Studios Costume Designer, Royer. According to the Los Angeles Times:
“Royer, the costume designer for a major motion-picture studio, also addressed the gathering. . . . Comparing Hollywood with Paris, she has, he said, the greatest research libraries in the world to aid her, and the screen to promote her wares. But Paris designers have freer scope, they don’t have to please the director, the producer, the supervisior, the star, and the camera. Nevertheless, screen styles are becoming more practical. . . . But the studios don’t sell clothes. The waste has been unfortunate. But now that the merchandising is being taken care of, a semi-annual style show of the type taking place at the Biltmore Bowl this evening should prove disturbing competition for Paris.” (Whitaker, Alma. Los Angeles Times, January 13, 1937, pg. A2)
And finally, at the end of the 1937 fashion week a “motion-picture style pageant at the Biltmore Bowl” was arranged. The Los Angeles TImes explained:
“Fashion designers from all the major film studios will exhibit their newest garments for forthcoming motion pictures at tonights show, to be given under the direction of Sally Martin, fashion editor of Fawcett Publications.” (Los Angeles Times, January 13, 1937, pg. A2)
What will happen to Los Angeles Fashion Week now is anybody’s guess - but given the current state of the economy, and the cancellation/discontiuation of San Francisco’s Fashion Week, it doesn’t look that good. It’s possible that Gen Art Fresh Faces nation-wide fashion shows will take up the slack. Really, its anybody’s guess.
Until Next Time,
Heather
www.fashionhistorian.net
1 Comment
October 17th, 2008 at 9:49 am
(History of Dress, Uncategorized)
An auction house in England is selling a suitcase of clothing and other memorabilia belonging to Millvina Dean (the youngest and last survivor from the Titanic disaster): “It’s the people, the human angle,” Aldridge [the auctioneer] said. “You had over 2,200 men, women and children on that ship, from John Jacob Astor, the richest person in the world at the time, to a poor Scandinavian family emigrating to the States to start a new life. There were 2,200 stories.”
More on this story can be found here:
http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2008/10/16/international/i075646D71.DTL&tsp=1
The Auction is online here:
http://www.henry-aldridge.co.uk/
Until Next Time,
Heather
www.fashionhistorian.net
Comments
October 15th, 2008 at 5:00 am
(Book Reviews, History of Dress, Uncategorized)
I’m taking a short break from my usual postings on the history of dress to let you know about this upcoming lecture at the Los Angeles County Museum of Art by filmmaker Liz Goldwyn. I’ll be back next week with, I hope, an informative post relating to California’s part in the history of 20th century dress. Now onto the post.
Burlesque, involving the removal of clothing, relies heavily on dress as costume. While this lecture and performance are likely to be more entertaining than academic, its still important for those in the area to attend and support the museums efforts. Money raised by the costume council goes directly to support the Costume collection at LACMA. Do let me know if you attend! I’d love to hear your comments.
From Burlesque to Couture: The Ultimate Show and Tell!
Monday, November 17 | 7:30 pm
Hosted by Liz Goldwyn and introducing Ava Garter
Based on her HBO documentary and book, Pretty Things, author and filmmaker Liz Goldwyn will look into the world of burlesque, where satire meets glamour, providing us with an in-depth look at the women, designers, and costumes of the last generation of American burlesque queens. Following the discussion Liz will introduce one of the rising stars in neo-burlesque, her protégé, Ava Garter, will cap the night off with an exciting performance full of grace and glamour. Liz will be available for a book signing during the cocktail reception following the program.
Bing Theater | Costume Council RSVP to 323-857-6013 or bginter@lacma.org.
For all others, tickets required: $25 for Costume Council guests; $35 LACMA members; and $50 general public. Tickets: 323-857-6010.
This event is sponsored by LACMA’s Costume Council
Details on the lecture here
For more on the HBO series, visit the website.
More on Ava Garter here:
Check out the book here:
Until Next Time,
Heather
www.fashionhistorian.net
Comments
October 8th, 2008 at 5:00 am
(History of Dress, Uncategorized)
The Metropolitan Museum of Art has just unveiled its new online costume database - and low and behold it includes EVERYTHING in the Costume Institutes collection. As reported in Women’s Wear Daily:
The project was started in 2000, and since then the department of the Metropolitan Museum of Art has worked on formatting and digitizing information on 29,432 objects from the 31,000-piece collection. It is available to view through the museum’s Web site under Collection Database at metmuseum.org/works_of_art/the_costume_institute. The move is part of the museum’s initiative to showcase its entire holdings online.
View the Database here
Combined with the Victoria & Albert Image archive, this presents a huge shift in accessibility of museums collections. It also suggests that museums, in an effort to cut down on staff and to increase storage, are beginning to move away from hands-on research of collections (many museums are beginning to store their objects in off-site locations that are not accessible to researchers). This troubles me, as I am primarily an object-based researcher and historian, rathern than a theororist. Construction techniques and materials are hard to glean from images and descriptions. Being in the same space as an object can inform your knowledge not only of the way it is constructed, but also its smell, sound and over-all presentation.
In anycase, I would encourage educators and students alike to try out the new Met database and comment on their usefulness below. A point to note on the Met’s online collection, is that descriptive text reads, ‘This information may change as the result of ongoing research.’ So be sure to do outside research in addition to information obtained directly from the site. It’s also helpful to know that by viewing ‘The highlights‘ from The Costume Institute, one can get a complete overview of fashion history (it is organized in chronological order by creation date). Again, comments welcome below. Here are a few gems I found:
This is one of the more recent donation to the collection:
“Gleaner”, Bag, 2007
Michele Oka Doner (American, b. 1945), Designer; Nancy Gonzalez (Colombian, b. 1953), Designer
American
crocodile skin, silver; Width: 21 in. (53.3 cm)
Gift of Nancy Gonzalez, 2007 (2007.377.2)
Dress, 1891
Liberty of London (British, founded 1875), Design House
British
silk; [no dimensions available]
Gift of Mrs. James G. Flockhart, 1968 (C.I.68.53.9)
Dress (Ball Gown), ca. 1887
House of Worth (French (1858–1956)), Design House; Charles Frederick Worth (French, born England, 1826–1895), Designer
French
silk, glass, metallic thread; a) L. at center front: 12 in. (30.5 cm). b) L. at center back: 60 in. (152.4 cm).
Gift of Orme Wilson and R. Thornton Wilson, in memory of their mother, Mrs. Caroline Schermerhorn Astor Wilson, 1949 (49.3.28a, b)
Dress (Robe à la Française), 1750–1775
French
silk; (a) Length at CB: 69 in. (175.3 cm) (b) Length: 42 in. (106.7 cm)
Purchase, Irene Lewisohn Bequest, 1954 (C.I.54.70a, b)
Dress, ca. 1840
American
cotton; Length at CB: 51 1/4 in. (130.2 cm)
Gift of Richard Martin and Harold Koda, in honor of Cora Ginsburg, 1993 (1993.32)
Until next time,
Heather
www.fashionhistorian.net
Comments
October 1st, 2008 at 5:00 am
(Conferences and Calls for Papers, Exhibitions, History of Dress, Uncategorized)
The Costume Society of America’s Western region is having a special program in Monterey, CA on Saturday, October 25, 2008 titled, “Distressing and Aging Costumes.” It will be taught by the legendary Costume Design educator, Tara Maginnis (now at Diablo Valley College) who is also well known for her website, Costumers Manifesto and accompanying listserve.
According to the registration information, “Her magical techniques will transform garments that you bring for this Workshop into wonderful costumes that communicate a ‘history’ and heighten characterizations…just in time for Halloween!”
Also on the docket for this program will be Monterey Pnninsula College faculty members Connie Gamiere of the Drama Department, who will give a morning tour of the MPC costume and set shops; Naeda Robinson and Lauren Michel will conduct a tour of the Family and Consumer Sciences facilities. Attendees will also have the opportunity to purchase reduced-price tickets for and evening performance of the MPC Main Stage production of “Death of a Salesman.”
The deadline for registration is October 10th.
Costs are:
CSA Members $40
Non CSA Members $50
Student CSA Members $30
Student non-CSA Members $35
Click here for details and to download the registration form.
CSA Western’s November program (whose registration deadline is today - but may perhaps be extended) is a symposium being held at the de Young Museum in San Francisco focused on the career of Yves Saint Laurent on November 1st (to accompany the only US venue for this traveling exhibition which opened in Montreal, Canada).
Among the speakers will be Hamish Bowles (VOGUE European editor-at-large) and Pierre Bergere, as well as guest curator and fashion historian, Florence Müller, Farid Chenoune, French fashion historian and author of,Yves Saint Laurent: Smoking Foreve and Nancy Troy, professor of Art History at the University of Southern California and author of Couture Culture: A Study in Modern Art and Fashion.
I hope to bring you a summary of that program (perhaps with photos) in November. According to the de Young, tickets for the symposium are available to CSA members, Museum Members, students and Textile Arts Council members for $20 and to the general public for $30. Tickets go on sale to the general public TODAY!
Symposium: Yves Saint Laurent, Eternal Style
Saturday, November 1, 1-4 PM
Koret Auditorium, de Young Museum
For tickets, visit www.museumtix.com or call 866 912-6326. Tickets are also available at the admission desk at the de Young, but it is likely going to be a sell-out, so don’t wait until the day of the event!
In addition, Jill D’Alessandro, Associate Curator, Caroline and H. McCoy Jones Department of Textile Arts at the de Young will be giving a lecture “The Yves Saint Laurent Revolution” at the de Young on October 16th at 10am ($4 for non-members, $3 for members, museum admission not required).
Until next time,
Heather
www.fashionhistorian.net
Comments
September 24th, 2008 at 5:00 am
(History of Dress, Uncategorized)
Today is my birthday, so just a quick note. I leave you with these fascinating nuggets of visual culture to ponder and encourage your comments:
The ‘anti-long-skirt association’ of Parker High School trims Helen Ladd, a pro-long-skirter, into shape after school on September 24, 1947. Scissors-wielding Bobbie Renner says her motto is ‘Succumb not to fashion whims.’ Helen was only a little ahead of her time; before long, the long-skirt ‘whim’ became the look of choice. (Dayton, Ohio: Corbis)
My Comment: I just love that crazed look in her eyes, and that they appear to be holding her against her will.
Original caption:
Newton, Kansas: She’s Lived Through Four Wars. Above is pictured Mrs. Elizabeth Reese, more familiarly known as Grandma Reese in this section of the country, who recently celebrated her 97th birthday. Not only has she lived through the wars of 1845, 1861, 1898 and 1917, but members of her family have served in all of them. Her first husband was killed in the war with Mexico; her second husband fought during the Civil War.
My Comment: She just looks so iconic - like every old lady in movies from this time. I wonder if she made the hat herself. Does anyone know what kind of lace it is?
According to the Conde Naste website:
Apparel Arts became Gentlemen’s Quarterly in 1957, and the issues that immediately followed often bore both titles. This image appeared as the cover of a Quarterly fall issue, released in September 1957, and featured foreground and background shots of a model in a three-button gray suit by Sussex and hat by Dobbs.
My Comment: I think it is strongly reminiscent of the Gregory Peck movie, Man in the Gray Flannel Suit from 1956.
Until next time,
Heather
www.fashionhistorian.net
Comments
September 22nd, 2008 at 12:05 pm
(History of Dress, Uncategorized)
I don’t normally do any kind of street fashion posts, but I did go to the Treasure Island Music Festival this past weekend and found taking photos of the ‘hip kids’ rather addictive. For the play-by-play of the music as it happened, please visit my friend (of a friend)’s blog at The Bay Bridged. Personally my favorite band was Vampire Weekend.
The high school set was fond of imitating the ‘headband wearing girl’ on Gossip Girl (news to me) mixed with nerd chic (see the glasses in the above shot). All ages and genders were wearing scarves, leggings, colorful tights, tight purple pants and black and white patterns (on shoes, bags, shirts, etc - but that could be related to the pirate theme of the festival). 1970s era tan leather also seemed to be a hit with Hipster 1.0 (aka 30+ set) in the form of dresses, jackets, pants and boots.
Screen printing by San Franphsycho
The festival itself was incredibly DIY, complete with booths of hand-screen printed scarves and T-shirts (there were several that would print the item while you waited: see San Franpsycho). An art gallery, a indy zine lounge, graffiti wall (live), mobile salon, a face painter and a variety of other interesting vendors abounded. Vividot, had cute fabric covered button accessories and a huge number of screen printers presented the ever-popular graphic T-shirt, now almost an icon in San Francisco fashion, (see Deadbeatsister, Willotoons). A smattering of these folks have work at Etsy, including Kate Durkin.
From artist Mary Corey March
Artist Mary Corey March had one of the most interesting pieces in the art gallery, utilizing hand-dyed yarn to connect people to statements they felt described them to create a very large piece of art (see her website for the entire piece. Flyer’s abounded, and I picked up one for the next Gen Art Fresh Faces fashion show in San Francisco. The free bio-diesel bus that transported festival-goers from San Francisco to the Island was a real treat, affording great views of San Francisco’s major landmarks (Koit Tower and Treasure Island).
For the complete photo set, please visit my flicker. Here is a brief sampling:
Some black and white print:
Early 1990s :
Typical San Francisco (ah la 1970s):
Just plain hip:
Hypermodern (think Tron):
DIY details (perhaps an advertisement):
DIY Pirates (an apparent mixture of Victorian steampunk and theatrical costume paired with 1940s shoes):
What’s happening in high schools (headbands, early 1990s pastel, big sunglasses and skinny jeans):
Would love your comments, please leave them below.
Until next time,
Heather
www.fashionhistorian.net
2 Comments
