Italian Style at Minneapolis Institute of Art

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The exhibition entitled Italian Style: Fashion Since 1945* is truly extensive! A few weeks ago I went to the Minneapolis Institute of Arts to see their first ever fashion exhibition as well as interview Assistant Curator of Textiles Nicole LaBouff, PhD.

The MIA is a solid museum and I knew the exhibition originated from the Victoria & Albert Museum, however I was still surprised at the breadth and depth of the show. Therefore I’m spending two visits at the museum and devoting two distinct Worn Through posts to the tour/interview and then to the review.

A little background from the press release:: “Trace the evolution of Italian design, from Gucci and Prada to Missoni, Versace and more. A major retrospective of the fashion that has defined a nation—and a rare chance to see Milan’s finest in Minneapolis. An MIA first, this groundbreaking exhibition examines the craftsmanship and entrepreneurial verve that catapulted Italy from the ashes of World War II to the style powerhouse it is today. Immerse yourself in impeccable design, rare ingenuity, and the head-turning glamour of celebrity style.”

Nicole was generous enough to walk me through the exhibit discussing its development by the V & A staff as well as any adjustments made for the Minneapolis space and audience.

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Dolce & Gabbana
Leather Ankle Boots with Gold, White and Pink Embroidery
2000 Photo © Victoria and Albert Museum, London

Tom Ford for Gucci, man's velvet evening suit, Autumn/Winter 2004/5.
Tom Ford for Gucci
Man’s Velvet Evening Suit
Autumn/Winter 2004/5
Photo © Victoria and Albert Museum, London

As I walked thru the sprawling space looking at the numerous items Nicole explained that V & A curator of 20th century and contemporary fashion, Sonnet Stanfill, did extensive research into archives and an array of other sources to pull together this comprehensive show.

Monica: How did Italian Style come to the Minnepolis Institute of Arts?

Nicole: Negotiations mostly were before I arrived. The way it happened was that the V&A typically reaches out to our museum and gives us a sense of what traveling exhibits were lined up. (The MIA) was interested in doing a fashion show and what our director and our leadership really liked about Italian Style is that it wasn’t one designer that was featured, it was focusing on an entire a national industry and that was a huge draw for them.

When the show completed its run at the V & A it was packaged for touring. It will come to a handful of U.S. spots and was constructed to be transported virtually pre-built. The MIA purchased new modular cases to showcase the dress objects and plans to repurpose the cases for future shows. When the exhibition was being installed the V & A sent their choice of individuals to assist and to handle all dress objects.

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Mila Schon
Sequined Evening Dress and Silk Coat
Worn and given by Princess Stanislaus Radziwill Worn to Truman Capote’s Black and White Ball 1966 Photo © Victoria and Albert Museum, London

Monica: Can you discuss some of the challenges and highlights of the preparation and install?

Nicole: It came all prepared. That made it really exciting, the fact that we had these massive crates that would be wheeled into the galleries and when we would pry it open it would be like unwrapping these giant Christmas presents day after day! That created an install that was really high on drama.

I can’t really think of any in particular challenges as it was very smooth install. I attribute it to the fact that things were dressed everything as very fast really very pleasant.

Gucci, bamboo-handled pigskin bag, early 1960s.
Gucci
Bamboo-handled Pigskin Bag, early 1960s
Photo © Victoria and Albert Museum, London

Monica: What are some of the fan favorite pieces and you must have a favorite?

Nicole: I love the Fendi mink coat for the intricacy of construction and the “How did they do it?” factor. When we were unpacking objects I was really puzzling over how did they get those pieces (together). [Note from Monica-It's a patchwork coat and is displayed adjacent to its mock up]. There are so many fan favorites but the Fendi coat is something that there is a lot ooo-ing and aaahhh-ing and gasping. But, I kind of worry that people walk past it because it kind of doesn’t look like a fur coat. I think it’s easy to walk past it and think it’s a velvet coat and printed or something. [Note from Monica--it is part of a large display of items versus an isolated spotlight piece].

People really love the Audrey Hepburn dress. That’s an older Hollywood actress that even young people are really familiar with and spans all ages. I think it’s really interesting that it’s a film costume and you can see it moving in that film clip so it’s wonderful to have it contextualized with that material.

The Elizabeth Taylor jewelry is a really great story and it’s a great object. [Note from Monica–In her blog post for the MIA, Nicole tells the fantastic tale of Eddie Fisher buying Taylor the Bulgari earrings in an attempt to save their marriage during her affair with Richard Burton, only to have her foot the bill when it didn’t go his way.]. I’m always sure to mention on tours one of the things I think people really would appreciate about it is that the gemstones are set on springs so it would have trembled when the wearer moved so it would have been such a spectacular piece to see it in motion.

I think there’s a lot of really attractive and exciting pieces in the final gallery about the designer. The Dolce and Gabbana is hand painted, so if anyone has a difficulty understanding why a fashion exhibit belongs in an art museum I always make the point that that’s a very literal translation that bridges because it’s a painting. A lot of people catch that (and show) a lot of nodding and understanding that fashion has relevance in art museums. Also the Capucci piece in that last gallery is also a stunner; the green and pink one.

Roberto Capucci, silk evening dress, 1987-88.
Roberto Capucci,
Silk Evening Dress, 1987-88
Courtesy Roberto Capucci Foundation
Photo © Victoria and Albert Museum, London

The exhibition is built on the idea of the history of Italian style shifted from magnificent designers and their craftsmanship, then makes its way toward mass production, ready to wear and the entertainment industry, and then circling back through to unique pieces and artisans again.

Monica: What is meaningful about this exhibition to the average Minnesotan (and other U.S. cities it will travel to)? Is it the familiar designer names? Why do you think the Italian designer really grabs the American public’s interest?

Nicole: The didactics explain that the story of the growth of Italian fashion is really implicated in American history too. So it’s really an important symbiotic relationship between Italian producers and American consumers. And that’s something the exhibition really demonstrates very clearly.

I don’t imagine it’s a draw. The drama of having a major fashion exhibition here at the MIA, the first ever, is the draw, but then once they’re here they’ll find it’s really not just Italian designers doing something over in Italy. It’s actually we as American buyers helped to grow this industry and this would be really interesting to the person going through the exhibits.

If we had one on French fashion we’d see people coming in great numbers. It’s an exciting new type of artwork for people to engage with in a large scale.

In a couple of weeks look for my review of the exhibition which will be from the lens of an audience member as well as colleague. I look forward to giving all of the items a second look!

*Top photo:
Photograph by Gian Paolo Barbieri for Gianfranco Ferre advertisement Fall/Winter 1991
Model: Aly Dunne
©GIANPAOLOBARBIERI

Italian Style: Fashion Since 1945 at Minneapolis Institute of Art

Runs Thru January 4, 2015, ticketed exhibition in the Target Galley, see the website for details

Exhibition organized by the Victoria and Albert Museum, London.
Presented by Nordstrom and the Blythe Brenden-Mann Foundation.
Major Sponsor: Delta Air Lines
Generous support provided by: Faegre Baker Daniels LLP, Topsy Simonson

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Research Award Guest Post: Discovering Bob Bugnand

Costume and textiles scholar, and Worn Through Research Award winner Susan Neill has eighteen years of experience as a museum curator and has also practiced independently. She holds an M.A. in Cultural Anthropology; has curated more than a dozen exhibitions of textiles, ethnographic dress, and historic fashion; and has presented her research at national and international symposia including the Costume Colloquium in Florence, Italy. Her current research interests are couturier Bob Bugnand and the American textile designer Mary Crovatt Hambidge. She works at the Field Museum as an exhibition project manager.

Discovering Bob Bugnand

First Encounter

No matter how long I work in museums or how many costume collections I visit, I get a thrill every time I enter one of those exalted closets. There is a mix of pleasant anticipation – of encountering old friends like a 1960s paper dress or a full-skirted antebellum gown – and the promise of discovery – of garments that spark questions I never thought to ask before. So it was in February of 2012, as I began selecting objects at the Western Reserve Historical Society (WRHS) for an exhibition of twentieth-century dress that became Dior & More – For the Love of Fashion (closed May 24, 2014).

Having worked with the treasure-trove of WRHS in the past, I expected the major challenge would not be in selecting garments so much as it would be paring down a long list of worthy candidates until the most compelling cast remained. Such an exquisite dilemma! As the days passed and haute couture designs by Cristóbal Balenciaga, Pierre Balmain, Christian Dior, Jacques Fath, Hubert de Givenchy, Madame Grès, Lucien Lelong, Jeanne Paquin, Callot Soeurs, and others began to fill out the ranks, I turned my attention to lesser-known couturiers to add dimension to the story. And that is when I met Bob Bugnand.

Paris label, ca. 1960, author photo, Western Reserve Historical Society, 89.83.17

Paris label, ca. 1960, author photo, Western Reserve Historical Society, 89.83.17

Evening dress, ca. 1960, courtesy Western Reserve Historical Society, 89.83.17

Evening dress, ca. 1960, courtesy Western Reserve Historical Society, 89.83.17

Ultimately, eight Bugnand designs were located in the collection and two were featured in the show. These evening dresses were made for Elizabeth Parke Firestone (Mrs. Harvey S. Firestone, Jr.), a discerning client who began buying made-to-measure clothing in Paris in the 1920s and amassed an extensive wardrobe by leading designers. Writing exhibit labels proved challenging, since references to Bob Bugnand were cursory. Some basic facts were repeated: 1) he designed for Jacques Heim and Robert Piguet before going out on his own, and 2) Jacqueline Kennedy and the Duchess of Windsor were both his clients. The tidbit that stayed with me came from a letter Firestone wrote in 1970, saying Bugnand had relocated to New York, where he “makes only for a very few people, [and] does all my work” (Orr 2006: 80). (Let’s hear it for graduate research – thank you, Lois Orr!)

Evening dress, ca. 1959, courtesy Western Reserve Historical Society, 89.83.16

Evening dress, ca. 1959, courtesy Western Reserve Historical Society, 89.83.16

Still wondering about Bugnand several months after the exhibition opened, I inquired about pieces in other collections containing Firestone garments and soon a dozen more had surfaced. When I learned his papers had recently been made available through the Special Collections at the Fashion Institute of Technology (FIT),I knew I had stumbled onto a topic worthy of exploration.

Thanks to the Worn Through research award, I was able to go to New York to examine the Bugnand archives and begin piecing together the arc of his career. Though it is tempting to craft a research melodrama of alternating dead-ends and puzzle pieces fitting together, instead what follows is more straightforward and, I hope, somewhat more useful. These paragraphs offer a basic chronology of Bob Bugnand’s career and my initial assessment of his work, which helps situate him in the context of twentieth-century fashion and can assist in dating his surviving fashions.

The Garments

To date, 75 Bugnand designs have been identified in 15 collections and I have personally examined 37 of them. Nearly all of the designs are complete garments or ensembles, but the number also includes a few separates. Fully half of the pieces were made for Firestone.

Limited information about additional Bugnand garments is available in a 1991 Sotheby’s catalog featuring pieces from Firestone’s estate. Images and descriptions of several other garments are available through auction house websites. Garments with Bob Bugnand for Sam Friedlander labels are beyond the scope of my current research and are excluded from the data set.

Additional Sources

This preliminary study has also been informed by Bugnand’s archives in the Special Collections at FIT and Firestone’s papers at the Benson Ford Research Center, The Henry Ford. Women’s Wear Daily, newspapers, and magazines further document the designer’s life and work.

Early Career

Fashion designer Bob Bugnand was born Antoine Bugnand in France on Feb. 23, 1924. The city of his birth is unknown, as is the source of his seemingly American nickname. He studied architecture at the Beaux Arts before focusing on couture, then apprenticed with Lelong, and was chief designer for both Piguet and Heim (New York Times Oct. 3, 1958). An undocumented press clipping reports Bugnand also worked with Alwynn Camble, another young designer, for several seasons.

In 1954, Bob Bugnand “opened a Couture house [in Paris] based on the formula of original designs which will not be repeated” (Women’s Wear Daily May 21, 1954). The venture was unusual, if not entirely unique. Rather than presenting traditional collections and incurring the associated expense of production and showings, he instead presented to private clients and buyers original sketches from which they made selections. The press described Bugnand as a “personable young designer” (New York Herald Tribune Feb. 25, 1959). His early enterprise had the capacity to produce fifty original models per month.

Bugnand apparently met Firestone, one of his most important clients, in May of 1956, after which she commissioned this evening dress now in the collection of The Henry Ford. In a letter the following spring, Firestone told the designer the red evening gown was her favorite and ordered a second version in white, which resides at WRHS.

Evening dress, 1957, courtesy Western Reserve Historical Society, 89.83.19

Evening dress, 1957, courtesy Western Reserve Historical Society, 89.83.19

Draping, 1957, courtesy Western Reserve Historical Society, 89.83.19

Draping, 1957, courtesy Western Reserve Historical Society, 89.83.19

By the summer of 1957, Bugnand expanded his business from sketch-based exclusive designs to include traditional seasonal presentations (Women’s Wear Daily July 23, 1957). Though Firestone did not attend the showing of forty models in his fall collection, she did place a significant order while in Paris that September. She commissioned a black velvet dress called Blackmail; the Florence dress of blue wool; the Jaguar coat ensemble; and Platinum, a gray flannel suit with embroidery, mink trim, and a matching chiffon blouse. Regrettably, none of these have been identified in collections.

Paris Without a Passport

Bugnand opened a custom-order salon in New York on East 62nd Street in the fall of 1958. This additional location enabled him to better serve existing American clients while also making his designs accessible to women who did not make seasonal trips to Paris to have clothes made. With another unconventional strategy, Bugnand simultaneously reinforced the allure of French fashion – the cachet of garments designed in Paris, constructed of French fabrics, and made in the couture tradition – while removing the obstacle of transatlantic travel.

According to the press, Bugnand seemed to have found “a magical formula for selling made-to-order clothes to American women,” though it was actually more of an innovative business practice than alchemy or even sleight of hand (New York Times Feb. 25, 1959). The “magic” happened by making and fitting a muslin of the desired dress in New York, flying the muslin to the designer’s Paris workroom where it was used to make the dress, and then flying the finished model back to New York for final fittings – voila! The entire process took only about three weeks. To uphold their prestige, Bugnand collections were shown first in Paris and presented again several weeks later in New York.

Jacqueline Kennedy (Mrs. John F. Kennedy) was a Bugnand client during this period, though whether she placed orders in Paris or New York is unknown. The future First Lady used his fashions helped shape her public image. She chose a simple pink wool dress by Bugnand for the Life magazine cover story, “Jackie Kennedy: A Front Runner’s Appealing Wife” (Life August 24, 1959). Numerous photographs demonstrate his black-and-white houndstooth wool suit with black braid was a workhorse on the campaign trail during her husband’s presidential run in 1959 and 1960. The graphic, easy-to-wear combination was featured in the popular exhibition, Jacqueline Kennedy: The White House Years, and is the sole Bugnand design in the Kennedy Library. Notably, the catalog for the Hamish Bowles-curated exhibition contains the only scholarly reference to Bugnand published to date (Metropolitan Museum of Art 2001: 47).

Haute Couture Years

In the summer of 1960, Bugnand’s reputation advanced considerably when he was recognized with membership in the Chambre Syndicale de la Couture Parisienne and opened his salon at 372 rue St. Honore in Paris. Women’s Wear Daily anticipated his inaugural showing could “be the big opening of the year,” noting the designer “already in New York has a fine reputation for elegant young clothes which have a sophisticated zip” (July 25, 1960). Though the collection received mixed reviews, the New York Times lauded his “trompe-l’oeil tricks” – reversible jackets and overskirts that transformed dresses for wear after five. Remarking on his evening clothes, the paper reported, “Bugnand can be aptly called the bead boy. His lady-like dazzlers included one hound’stooth [sic] check done in jet, another in a fabric patterned like an old Victorian rose wallpaper and covered with shining bugle beads” (July 28, 1960). Sparkling eveningwear was the designer’s hallmark and featured prominently in all his collections.

Evening dress, ca. 1965, courtesy The Ohio State University Historic Costume & Textiles Collection, 1986.162.25

Evening dress, ca. 1965, courtesy The Ohio State University Historic Costume & Textiles Collection, 1986.162.25

Beadwork, ca. 1965, author photo, The Ohio State University Historic Costume & Textiles Collection, 1986.162.25

Beadwork, ca. 1965, author photo, The Ohio State University Historic Costume & Textiles Collection, 1986.162.25

Burchard Galleries auctioned one of Bugnand’s characteristically brilliant confections in 2012 (below). The calf-length gown commissioned by Firestone may well have been from the designer’s Spring 1959 collection, about which the New York Herald Tribune reported his “[s]hort evening dresses sparkle like the ceiling of the Hayden Planetarium. They’re almost all bare topped with semi-full skirts and what appears to be the labor of forty seamstresses worked into their elaborate surfaces” (Feb. 25, 1959).

Evening dress, ca. 1959, courtesy Burchard Galleries

Evening dress, ca. 1959, courtesy Burchard Galleries

Many fashion-conscious women in the United States learned about Bob Bugnand in the pages of Vogue. The magazine first mentioned him in its April 1960 issue. A larger feature two months later called readers’ attention to his design for a new night look described as “a plaid overlay of baguette beads, worked on Argyll [sic] lines in navy-blue and clear crystal on a dress of white silk net” (Vogue June 1960). Also noted were its navy blue patent leather belt and “underplayed shaping….” This dress survives – albeit unlabeled and without the belt – in The Ohio State University Historic Costume & Textiles Collection.

Evening dress, courtesy The Ohio State University Historic Costume & Textiles Collection, 1986.162.15

Evening dress, courtesy The Ohio State University Historic Costume & Textiles Collection, 1986.162.15

Firestone ordered an iteration of the design with short sleeves and a more conventional gathered skirt. In December of 1961, a Bugnand design graced the Vogue cover, accompanied by enchanting copy, “In a season of stupendous night-looks, one of the greatest: a rangy net sweater, beaming with glitter and crystal, and pulled down on the hipline of a long white silk satin dress.” This garment also resides at Ohio State.

Evening overblouse, courtesy The Ohio State University Historic Costume & Textiles Collection, 1986.162.24

Evening overblouse, courtesy The Ohio State University Historic Costume & Textiles Collection, 1986.162.24

Broad Base

Despite having salons on both sides of the Atlantic, a growing list of clients, and accolades from the fashion press, Bugnand did not rely solely on custom-made clothes to make ends meet. He also sold designs to manufacturers, though there is minimal documentation of those transactions. Some American department stores prided themselves on selling faithful copies of the latest Paris fashions. For example, at a fall 1960 event, Orbach’s showed “translations” of styles by Bugnand, Balenciaga, Givenchy, Grès, Nina Ricci, Cardin, Fabiani, and other designers, claiming they were “so exact…done with such unhurried perfection…they’re actually re-creations” (New York Times Sept. 14, 1960). A few months later, Bugnand announced his own ready-to-wear line named for the French national flag, the Tricolor Collection, which was targeted to select stores (Christian Science Monitor Nov. 7, 1960). When Bugnand began designing cocktail and evening dresses for the wholesale house, Sam Friedlander, in 1962, he stayed true to himself as a designer. According to the New York Times, “The beading and jet trim usually reserved for couture fashions trimmed moderately priced clothes” (June 12, 1962). Other designs for the manufacturer even included fur trim.

Consolidation

As the fashion world evolved, Bugnand continually revamped his business strategy to keep pace. Sometime in the mid-1960s, he closed the doors of his Paris salon and moved his entire business to New York, presumably to be closer to loyal clients such as Firestone and the socialite and philanthropist Judith Peabody (Mrs. Samuel P. Peabody). In 1965, the New York Times reported that Peabody –an avid supporter of the American Ballet Theater, New York Shakespeare Festival, and the Dance Theater of Harlem – had single-handedly “boosted the stock” of couturier Bob Bugnand by invariably appearing in his designs at parties and premieres (New York Times June 7, 1965).

Though it is unclear how Bugnand felt about leaving Paris to work full-time in the United States, the designer seems to have approached his work with good humor. The earliest dated garment with his signature New York label is the sequin-covered minidress dubbed Scuba Duba from 1968. [Image 11 WRHS 92.43.45a label] [Image 12 OHCT 1990.576.3]

New York label, author photo, Western Reserve Historical Society, 92.43.45

New York label, author photo, Western Reserve Historical Society, 92.43.45

Scuba Duba evening dress, 1968, courtesy The Ohio State University Historic Costume & Textiles Collection, 1990.576.3

Scuba Duba evening dress, 1968, courtesy The Ohio State University Historic Costume & Textiles Collection, 1990.576.3

He continued to create and show collections and worked closely with long-time clients. Bugnand sent Firestone sketches of new collections and custom designs and often offered suggestions, which she sometimes heeded. [Image 13 WRHS 92.43.46] In the summer of 1975, Bugnand shifted his course again by opening a shop in Westhampton, Long Island, where he sold ready-to-wear resort clothes along with his custom designs. He continued to create collections as late as 2001 and he died at age 81 in 2005. No obituary has surfaced.

Day coat, ca. 1971, author photo, Western Reserve Historical Society, 92.43.46

Day coat, ca. 1971, author photo, Western Reserve Historical Society, 92.43.46

Summary

This preliminary investigation shows that designer Bob Bugnand’s career reflects the changing realities of Paris couture from its “golden age” in the decade or so following World War II through the end of the century. Although he was steeped in the couture – or perhaps because he understood its realities – Bugnand committed himself to the world of fashion and all its unpredictability. His longevity seems to be due to a combination of passion, flexibility, resourcefulness, and a commitment to his clients, to whom he gave what they wanted and needed, in a way they felt good about. His designs never shock, occasionally amuse, and invariably appear effortless. “I am always happy,” he said, “when I have succeeded in making a woman look her best. I consider it a personal victory…” (Christian Science Monitor Nov. 7, 1960). Making a woman the focal point – rather than her clothes – earned Bugnand earned a loyal following.

Once again, I am grateful to Worn Through for the research award that facilitated my inquiry into designer Bob Bugnand. Likewise, I appreciate the dozens of generous individuals in museums, archives, auction houses, and vintage sales who fielded my inquiries and provided information and access to materials. I intend to publish an article on Bugnand’s career and would appreciate any additional leads you can provide. It is my hope the overlooked designer will soon receive the attention he deserves.

 

Sources

Bowles, Hamish. 2001.Jacqueline Kennedy: The White House Years. New York: Metropolitan Museum of Art.

Bugnand, Bob Collection. Special Collections and FIT Archives, Gladys Marcus Library, Fashion Institute of Technology.

Firestone Family Papers. Benson Ford Research Center, The Henry Ford.

Orr, Lois. 2006. “Elizabeth Parke Firestone: Her Couture Collection and Her Role as a Woman of Influence.” M.A. thesis, University of Akron. http://sc.akronlibrary.org/files/2010/12/Elizabeth-Parke-Firestone.pdf

Sotheby’s. 1991. Collectors Carousel: Including Couture Clothing from The Elizabeth Parke Firestone Collection and The Lydia Gordon Collection. Auction catalog for Dec. 19, 1991. New York: Sotheby’s.

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Review: KNITWEAR Chanel to Westwood at FTM, London

Main image © Rachel Atkinson / mylifeinknitwear 2014 and used here with permission.

It was with some trepidation that I approached the exhibition Knitwear: Chanel to Westwood at the Fashion and Textile Museum in Bermondsey on a cold rainy Sunday last week.   The loud hint of a chronology in the exhibition title was less than appealing to what is arguably my constant critique of the historical overview as the failsafe curatorial approach to fashion and dress displays.   I wondered about which objects would be used, as well as which technological developments would be explored in more depth, given that the exhibition’s aim is to ‘chart the influence of art movements Pop, Punk and Deconstruction alongside new knitwear technologies and design innovation.’

A piece from Roisin McAtamney MA Digital Fashion collection

Upon walking in, I encountered a precursor in the form of a small display curated by Professor Sandy Black at London College of Fashion, University of the Arts, entitled Visionary Knitwear. A small display of contemporary knitwear from design graduates celebrates both fashion education and the continued relevance of knitwear to our daily dressed lives. I was particular enthralled by the work of Roisin McAtamney, Juliana Sissons and Sister by Sibling, all of whom show in their work a interesting juxtaposition between contemporary culture and historical influence. It was exciting to see knitwear as a dynamic form of textile and fashion design, studied to such a high level by these influential designers. I also liked the inclusion of examples produced by companies such as a pair of 2012 Nike Flyknits running shoes, drawing our attention to how important knitwear is as a technological innovation in the design of everyday goods.

Juliana Sissons fashion armour

This invigorating start to the larger exhibition was then followed up by a nice introductory display that demonstrates just how consistent  our interest in knitwear design is with the juxtaposition of two items in the same pattern; one from H&M and the other hand knitted in 1907.  This small opening display allowed me to reflect upon how and why it is that techniques and patterns continually resurface in everyday dress.

View of the main room, featuring sections Knit America Style, Crochet Your Way and the Cocktail Hour

However, further reflection and the hope of encountering knitwear through the lens of their emotional value and/or their associations with particular wearers, as proposed in the accompanying guide, fell short almost immediately as I found myself looking at a very straightforward chronological display of knitwear in the main room. Instead, there are just a few glimpses of how knitted items were made and what they felt like to be worn in amongst a rather basic timeline that could be found in most historical texts on knitwear, even Wikipedia, dare I say it.

Summary labels that make even the full sighted squint in an effort to read the inscrutable white capitalised text against a black, unforgiving background did not help. Due to a photography ban, it was not possible to capture these curious things.  I am not sure whether the curatorial team felt that the labels needed to be ‘modern’ in form as a contrast to the historical weight of the exhibition but whatever their rationale, I was glad they did not carry it through with the paper guide, which due to a more reader friendly combination of red, black and white meant I could still navigate my way through the various displays.

Display crates in the main room

The attempt to present knitwear in a more contemporary light may perhaps also explain the use of huge crates as display cases which frame the various ‘this is your life’ moments associated with knitwear in the 20th century. While one review lauded the way in which these semi-opened wooden cases suggested a sense of treasured garments being rediscovered, I found it difficult not to think of mothballs and the proliferation of East London cafes with similar DIY interiors.

Vogue shoot, February 1951. Photograph: Norman Parkinson/Vogue

Now, the need to make knitwear ‘modern’ or ‘now’ within the exhibition is interesting because what it reveals is some concern about the status of knitwear in today’s society. The curators and collectors are, arguable, not alone. The review of the exhibition by the Guardian’s Invisible Lady, a voice for older women interested in fashion, leads to much reminiscing about the demise of the knitting glory years and the constant low status bestowed upon knitwear in the face of haute couture and high fashion.  Yet, this does not seem to be shared by those involved in the designing and making of knitwear whom also visited the exhibition. Reading reviews by knitting enthusiasts Katy Evans and mylifeinknitwear remind us that this area of textile and fashion design is very much alive and well, with no intention of being laid to rest in some forgotten corner of our wardrobes.

Norman Parkinson, Vogue, February 1952

For me, it is the emphasis on presenting a chronology of knitwear that is problematic and which underpins the subsequent need to make small details in the exhibition appear ‘modern’ such as the labels and display cases. If the opportunity to debate the currency of knitwear, the shifts in production and consumption, technological developments and the philosophical concerns underlying its existence had framed the curatorial decisions, this exhibition would have better addressed the issue of knitwear being more than just a bag of old clothes on display.

The Fair Isle display

I am also confused by the arrangement of 150 knitwear examples because according to the exhibition information, the curators and collectors wanted to avoid a ‘historical overview’ and focus on ‘the emotions we invest in objects’. Unfortunately, one is completely overwhelmed by a chronological approach and very underwhelmed by the personal associations with these items. A good example of this was the display of Fair Isle garments where quantity and repetition took precedence over quality and association, making it very easy to disassociate from what looked like a bad Boden editorial.

Mark and Cleo Butterfield at the exhibition’s opening night

On closer look, it is possible to find evidence of these emotional investments, allowing me to see knitwear playing an active role in people’s lives, challenging the notion that no-one knits anymore or will care to in the future.   I was fascinated by the items that revealed just how interested their owners were in knitwear and the best examples of these were those shared by Mark and Cleo Butterfield, private collectors whose collection makes up most of what is on display.   To see Cleo’s very competent attempt to knit a Patricia Roberts pattern in the 1980s was to witness the immediacy of knitting and the effort made to ‘wear or create’ knitwear.

Les Sportives section featuring knitted swimwear

It would have been great to include more details like this as related to the earlier pieces, which might better locate the making and wearing of knitwear in our emotional memory. The display of knitted swimwear, for example, left me with so many questions concerning the experience of wearing these garments at the seaside. What did it feel like to wear wool in the water or while lying down on the pebbles? To what extent did these items sag and become heavy with the weight of salty liquids? How did that alter the experience of those wearing them? Was it embarrassing, hilarious, liberating?  Alternatively, there were many pieces on display that were machine knitted yet discussion around this means of production was largely absent. The exhibition seemed to miss these moments for further deduction, opting instead for an extended but static representation of knitted items.

The Novelty Factor section, highlighting 1970s interest in pop art and postmodern styling

So, in some ways, my initial feelings of trepidation were not without warrant. Knitwear Chanel to Westwood is not an exhibition that breaks new ground nor did it leave me wanting to pick up an implement and use it to start weaving two threads together. The historical examples are enjoyable to see but they are definitely more interesting when accompanied by a personal story or two.  Yes, the exhibition does capture some cultural and technological aspects of a knitwear timeline but it could have done so much more with this.  It wasn’t a badly spent Sunday wet afternoon, just perhaps a bit too quiet for my liking.

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Punk Style Book Coupon Code

punk style

This is the time when everyone starts to go a little wild with holiday shopping on the brain, often not knowing what to buy. Perhaps your list has a fellow fashion-minded friend or colleague, or maybe someone who has always had an interest in subculture? You could consider picking up my book Punk Style!

It features chapters on history, cultural analysis, merchandising, and identity, with interviews from Tish & Snooky, Marco Pirroni, Roger Burton from the Contemporary Wardrobe, and many self identified punks who took the time to speak at length regrading their experiences with the style. Also there are numerous high quality photos of the garments and accessories individually and in use.

Click here to read find a snippet from the book and give it a try.

My publisher Bloomsbury has generously provided a coupon code for Worn Through readers and friends and family. Use the code “PunkHolidays” on Bloomsbury.com and get 15%off thru January 1, 2015. It comes as paperback, hardcover, and e-book.

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Domestic Affairs: Princely Traditions

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This week’s post is a bit of a cheat, since I will be discussing an exhibition that closed over a month ago. But the exhibition was so wonderful, despite being small and tucked in amongst LACMA’s South Asian and Middle Eastern permanent displays, that it absolutely deserves a mention even if it is no longer open.

Back in September when I visited the Los Angeles County Museum of Art (LACMA) to see both Kimono for a Modern Age  and Art Deco Textiles (both of which I reviewed here at Worn Through), I noticed Princely Traditions and Colonial Pursuits in India on the list of exhibitions currently on display. Having done my master’s thesis (dissertation in the UK) on the influence of India on British dress and society, I knew I had to stop in at the exhibition before I left the museum that day.

Unknown Landscape with the Taj Mahal, circa 1800-1825 India, Uttar Pradesh, Awadh, Lucknow Opaque watercolor on paper Sheet: 15 3/4 x 24 in. (40.0 x 60.96 cm); Image: 14 x 22 in. (35.56 x 55.88 cm) Los Angeles County Museum of Art, Purchased with funds provided by The Smart Family Foundation through the generosity of Mr. and Mrs. Edgar G. Richards (M.86.123) Photo © 2014 Museum Associates/ LACMA

Unknown
Landscape with the Taj Mahal, circa 1800-1825
India, Uttar Pradesh, Awadh, Lucknow
Opaque watercolor on paper
Sheet: 15 3/4 x 24 in. (40.0 x 60.96 cm); Image: 14 x 22 in. (35.56 x 55.88 cm)
Los Angeles County Museum of Art, Purchased with funds provided by The Smart Family Foundation through the generosity of Mr. and Mrs. Edgar G. Richards (M.86.123)
Photo © 2014 Museum Associates/ LACMA

For my master’s research I was focused on Britain itself, and what the returning nabobs and nabobinas — as they were derisively referred to — brought with them and how it affected their society. LACMA’s exhibition focused on what they collected and commissioned while they were in India, the prologue to my own research, if you will. So needless to say I found the exhibition absolutely fascinating. I learned that many artists and artisans who had previously worked for Indian princes, now offered their services and products to the British colonists, “adjusting their  practices to suit the taste of their new patrons.” There was also the influence of European artists who came with the merchants and government officials, as can be seen in the two paintings above: they introduced new genres and aesthetic styles to India.

LACMA does not ignore the fact that many of these officials and merchants were only temporarily posted to India, and also explores the demand for Indian luxury items created by not only Britain’s having this new colony, but more definitely by those returning from India with their collections of Indian art and household goods. One intriguing detail I noted was that the names of the Indian artists were far more often known than those of the European painters. I found myself wondering if India didn’t respect the arts and thus the artists more than Europe did during the eighteenth and nineteenth centuries.

4x5 original

Attributed to Dana Bhati Maharao Ram Singh (r. 1827-66) Enjoys a Dance Performance, circa 1850 India, Rajasthan, Kota Opaque watercolor and ink on paper 17 x 21 1/4 in. (43.18 x 53.9 cm) Los Angeles County Museum of Art, Gift of Paul F. Walter (M.77.154.22) Photo © 2014 Museum Associates/ LACMA

Shaikh Zayn-Al-Din Pair of Lorikeets on Broken Branches, Folio from an album commissioned by Sir Elijah and Lady Impey, 1780 India, West Bengal, Kolkata (Calcutta) Opaque watercolor and ink on paper Image: 20 x 29 in. (50.8 x 73.66 cm); Sheet: 25 x 37 1/4 in. (63.5 x 94.62 cm) Los Angeles County Museum of Art, Purchased with funds provided by Christian Humann (M.72.36.1) Photo © 2014 Museum Associates/ LACMA

Shaikh Zayn-Al-Din
Pair of Lorikeets on Broken Branches, Folio from an album commissioned by Sir Elijah and Lady Impey, 1780
India, West Bengal, Kolkata (Calcutta)
Opaque watercolor and ink on paper
Image: 20 x 29 in. (50.8 x 73.66 cm); Sheet: 25 x 37 1/4 in. (63.5 x 94.62 cm)
Los Angeles County Museum of Art, Purchased with funds provided by Christian Humann (M.72.36.1)
Photo © 2014 Museum Associates/ LACMA

As I have said the exhibition was small, and tucked away amongst the South Asian and Middle Eastern permanent displays. However, it was very rich and the museum managed to communicate much through the use of objects from across museum departments. There were paintings, sculptures, architectural pieces, and, of course, fabric.

Unknown Designs from the Adina Mosque, Pandua, West Bengal, 1812 India, West Bengal, Purroah (?) Opaque watercolor and ink on paper Image: 21 1/4 x 17 9/16 in. (54 x 44.6 cm); Sheet: 21 7/16 x 17 15/16 in. (54.5 x 45.6 cm) Los Angeles County Museum of Art, Indian Art Special Purpose Fund (AC1993.74.1) Photo © 2014 Museum Associates/ LACMA

Unknown
Designs from the Adina Mosque, Pandua, West Bengal, 1812
India, West Bengal, Purroah (?)
Opaque watercolor and ink on paper
Image: 21 1/4 x 17 9/16 in. (54 x 44.6 cm); Sheet: 21 7/16 x 17 15/16 in. (54.5 x 45.6 cm)
Los Angeles County Museum of Art, Indian Art Special Purpose Fund (AC1993.74.1)
Photo © 2014 Museum Associates/ LACMA

Unknown Palampore, 1700-1740 India, Coromandel Coast for the European market Cotton plain weave, painted and dyed 124 1/2 × 89 in. (316.23 × 226.06 cm) Los Angeles County Museum of Art, Gift of the Costume Council in memory of Mary Hunt Kahlenberg (M.2012.73) Photo © 2014 Museum Associates/ LACMA

Unknown
Palampore, 1700-1740
India, Coromandel Coast for the European market
Cotton plain weave, painted and dyed
124 1/2 × 89 in. (316.23 × 226.06 cm)
Los Angeles County Museum of Art, Gift of the Costume Council in memory of Mary Hunt Kahlenberg (M.2012.73)
Photo © 2014 Museum Associates/ LACMA

This is something I have noted before that LACMA does extremely well: integrate various objects to create context without using often-limited wall text. By placing the objects with other pieces – albeit of a different medium – that they would have been seen with originally, the exhibition gives visitors a better impression of what the “whole picture,” as it were, was for this particular aesthetic movement or trend. It also creates an ambiance that is sometimes lost when an exhibition focuses only on one element. That is not to say that focusing on one element, era, or designer is a bad thing — I would never have been able to appreciate the beauty and artistry of Balenciaga had I seen his work “in context” as it were, whereas seeing it in an exhibition devoted only to him at the de Young museum gave me an understanding of his technique and genius. But it does strike at the heart of museum exhibitions: what are they trying to communicate? And how often then succeed at communicating that message through objects and their arrangement.

This is what I love about LACMA — and many other museums, it was just that this particular exhibition brought the idea home — the work and effort that goes into the exhibitions behind the scenes to make the exhibition and its message seem effortless, whether it is about a single topic, or trying to create as close to the full picture as possible. So much of ‘Domestic Affairs’ focuses on a single topic — whether it is modern kimono or fashion during World War I – it was lovely this time around to focus instead on an entire group of people. And a group of people with whom I discovered I was only half familiar. I thought I was a bit of an expert on the nabobs and nabobinas, but LACMA’s Princely Traditions revealed that I was familiar with only half their lives and opened a new avenue of research to me. Which is exactly what museum exhibitions are supposed to do.

Unknown Principal Monuments of India, Including the Taj Mahal, circa 1850 India, Delhi Opaque watercolor on ivory, mounted in an ebony frame 6 3/4 x 7 x 1/2 in. (17.145 x 17.78 x 1.27 cm) Los Angeles County Museum of Art, Gift of Albert G. Wassenich (34.13.965) Photo © 2014 Museum Associates/ LACMA

Unknown
Principal Monuments of India, Including the Taj Mahal, circa 1850
India, Delhi
Opaque watercolor on ivory, mounted in an ebony frame
6 3/4 x 7 x 1/2 in. (17.145 x 17.78 x 1.27 cm)
Los Angeles County Museum of Art, Gift of Albert G. Wassenich (34.13.965)
Photo © 2014 Museum Associates/ LACMA

Did any of you see Princely Traditions? What did you think? Are there any exhibitions that have made you stop and appreciate the art of exhibition creation, lately? Do you feel integrated exhibitions are less successful than those with a sole focus, or more? Are there any small museums or exhibitions that didn’t get the press they should have? Please share your thoughts in the comments below. And as always, if you have an announcement or know of an event or exhibition that you want featured here, please either comment below or email me.

Opening image caption: Arthur William Devis Manre Royale d’Aubusson The Hon. William Monson and His Wife, Ann Debonnaire, circa 1786 England 40 1/2 x 51 1/2 in. (102.87 x 130.81 cm) Los Angeles County Museum of Art, Gift of Hearst Magazines (47.29.16) Photo © 2014 Museum Associates/ LACMA

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Punk Style Book Coupon Code

punk style

This is the time when everyone starts to go a little wild with holiday shopping on the brain, often not knowing what to buy. Perhaps your list has a fellow fashion-minded friend or colleague, or maybe someone who has always had an interest in subculture? You could consider picking up my book Punk Style!

It features chapters on history, cultural analysis, merchandising, and identity, with interviews from Tish & Snooky, Marco Pirroni, Roger Burton from the Contemporary Wardrobe, and many self identified punks who took the time to speak at length regrading their experiences with the style. Also there are numerous high quality photos of the garments and accessories individually and in use.

Click here to read find a snippet from the book and give it a try.

My publisher Bloomsbury has generously provided a coupon code for Worn Through readers and friends and family. Use the code “PunkHolidays” on Bloomsbury.com and get 15%off thru January 1, 2015. It comes as paperback, hardcover, and e-book.

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Modulations: make a broadcast about your fashion/dress research in 2015

I just received an exciting invitation for academics to collaborate with a London based radio station on broadcasting their research in a range of creative formats.  This is a great opportunity for fashion and dress researchers to produce a speech based programme about their work, supported by an experienced team of broadcast producers.

Modulations is the brainchild of Resonance FM, a London based radio station focused on the arts since 2002, and The Arts & Culture Unit, a media and communications agency dedicated to the dissemination of research and practice in the arts, humanities and social sciences.  The idea is to produce a range of programmes, from discussion shows to documentaries, in order to engage new audiences with current research.  How exciting to be able to share your research interests in a creative way but also help raise the profile of fashion and dress research amongst a diverse range of listeners!

For this initial round, Modulations are seeking out researchers based in London and the South East with the hope of extending the geographical field in later rounds.  They are particularly interested to hear from researchers with little experience in broadcast, who are enthusiastic to collaborate and whose research makes use of a range of media forms and/or oral histories.  The project will enable you to learn about broadcast media and production, resulting in both a programme and a podcast that will become part of Resonance’s archive (which I strongly recommend you peruse)

This couldn’t be a more perfect project for a fashion and dress researcher who is looking to bring their subject to life in new ways and wants to extend her/his communication skills.

The deadline is 7 December 2014; you need to submit a 400 word outline and rationale which, with such a low word count, means entry will be highly competitive.  If successful, you will start production in January 2015 and the first programmes will be broadcast in Spring 2015.

For further details, you can either go straight to the Modulations website or contact Juliette Kristensen at The Arts & Culture Unit by emailing  juliette@theartsandcultureunit.com

Good luck!

Image credit: https://twitter.com/resonancefm

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Kickstarter: The Seams

photo-carousel

Author, Journalist, and Adventurer Jacki Lyden has started a new project entitled The Seams. A team with experience from NPR and a passion for clothes plans to start a radio show/podcast discussing history and cultural stories pertaining to fashion.

It’s a fun new project we at Worn Through are supporting and we would encourage you to as well.

Consider donating to their Kickstarter campaign to help get this off the ground! It runs through Dec. 6, 2014.

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Book Review: Patriots Against Fashion

patriots against fashion

In the second half of the eighteenth and the early nineteenth century, various countries in the Western world underwent both revolutions and reforms that are especially noteworthy for dress history. The French Revolution and its effects on the clothing of the upper class is well documented, a touchstone for the concepts of protest dress, trickle-up fashion, political fashion, and more. Although I couldn’t find a caption for the cover image (just a copyright note), the red phrygian cap brings to mind that bloody exercise, and will be the most familiar case of nationalism and revolution for most readers.

One of the real strengths of Alexander Maxwell‘s new book, Patriots Against Fashion: Clothing and Nationalism in Europe’s Age of Revolutions, however, is his insistence on including historical examples from a wide range of Western countries. Newspaper clippings from Madrid, Polish poetry, Latvian law, and first-person Turkish accounts are integrated seamlessly with the more common French and German fashion magazines and British colonial writing. As he states in his introduction, the book “refuses to conflate the history of ‘Europe’ with the history of its two greatest powers.” (5)

The academic tone and few illustrations may turn readers off, and the amount of information here can be a bit stunning. Maxwell layers on his primary source examples, at times a little thick. But one can hardly complain about extensive and inclusive research like that which Maxwell offers in this book.

From "Patriots Against Fashion" by Alexander Maxwell. Palgrave, 2014.

From “Patriots Against Fashion” by Alexander Maxwell. Palgrave, 2014.

Although a pile of books have been published on fashion and revolution, they have often focused on one or two countries (or nations), providing an in-depth study. Patriots Against Fashion offers instead a broad comparative study of clothing and nationalism. Revolution is often an attempt to redefine a nation, to streamline, democratize, renew–for the love of a place. Citizens strive–and sometimes give their lives–for what they see as a better version of the country or nation that they love. Who defines nationalism, and what does it mean to be Latvian, for example? How is that expressed through clothing, and could it be improved with a national costume?

Clothing is visual and immediate; your appearance on the street defines your position, real or imagined, directly to your fellow walkers, shoppers, or protesters. In the second half of the eighteenth century and the first half of the nineteenth, fashion was generally considered a feminine vice, shallow and seductive. Male figures of power, be they doctors or politicians, offered not only critical views of fashion, but also passed laws regulating this and forbidding that. One solution to the “problem” of fashion was national dress, separate for women and men. The men’s versions may have included variations for fancy occasions or military service, depending on the country, but Maxwell focuses on the “uniform,” an everyday outfit worn by “all members of the nation.” The (male) leaders of various countries had many reasons for imposing–or suggesting–a national costume, and there were a range of expectations regarding how these costumes would be manufactured, paid for, and distributed. Was the monarch/government to impose it, or “civil society” to “spontaneously adopt” the costume? Would it be based on a sort of formal-military combination, or would it find its roots in regional folk dress?

From "Patriots Against Fashion" by Alexander Maxwell. Palgrave, 2014.

From “Patriots Against Fashion” by Alexander Maxwell. Palgrave, 2014.

Theoretically a democratic action, Maxwell describes how national dress was actually discriminatory, as various groups were forbidden from wearing the proposed national dress; this echoes nationalism’s darker, racist tendencies.

The author leads us through a logical and well-organized set of chapters, setting up the general attitudes toward fashion in the period, with a focus on anti-fashion in all its iterations. He gives many contemporary examples of fashion’s popular association with a greedy elite and unnecessary waste, both monetary and material. He describes reactions against the “tyranny” of fashion, including the most striking (and well-documented): sumptuary laws.

Maxwell then offers case studies for four different “types” of national uniforms proposed or instituted by various nations: Absolutist, Democratic, Minimal, and Folk Costumes. Absolutist come from monarchs and other absolute leaders, including Gustaf III’s unpopular national Swedish dress. Democratic dress is, as the name suggests, for the people and by the people. Here, Maxwell uses the French Revolution as the prime example, while noting that democratic national dress was a topic of discussion in Germany and America before the revolution in France.

Despite its theoretical practicality and universality, national dress would have been a radical move in many countries, and the realities of putting them into practice were essentially insurmountable. Gustaf III here in Sweden actually made his vision a reality, if for a short period of time. But a full outfit wasn’t necessary to show one’s national pride or political affiliation, and perhaps the most popular versions of “national dress” were simple items of clothing or accessories that spoke volumes. Maxwell gives headwear examples, citing the cockade, the bonnet rouge, and the fez. Can these be considered uniforms? As objects or items of clothing they were relatively uniform, but they were worn with citizens’ regular outfits, by both sexes in some cases, and could cross social lines. Here, they are offered as “minimal national uniforms,” no less meaningful than a whole outfit. Elective and powerful, the hats Maxwell describes were wildly popular patriotic symbols in ways we can only imagine now.

The national costume’s nostalgic turn is described in his chapter on folk costume as national dress, from Welsh national costume to Greek foustanela. He addresses the very important–and very current–concept of “buying local.” Even if a national costume failed to gain popularity, buying goods and dress-related services made in your country was considered very patriotic. The whimsy of fashion could be swayed to meet the needs of nations undergoing growing pains. For example, this excellent quotation about Hungarian fashion, written by a British observer in Budapest 1869 and cited by Maxwell:

To subscribe to a journal of a fashions, written in the Hungarian language, is spoken as an act of patriotism. All this seems to us very absurd, but from the standpoint of the Hungarians themselves it is quite intelligible. The most mindless and frivolous of women, even if she have neither husband nor child, has still some influence in society. (199)

That statement is in turn quite absurd to modern readers, but probably intelligible to those (men) reading it in the mid-nineteenth century. Maxwell follows through to the twentieth century in his final chapter on haute couture and textiles, an extension of the buy local-patriotism discussed in the former.

With its extensive research and truly European outlook, this book is a must-read for those interested in the time period. It would be an excellent complement to the more specialized works on specific revolutions, and is rich with primary-source quotations and citations to inspire a rich term paper. With all of his primary source research, I imagine Maxwell must have come across a great number of images, and I wish there were more included here. It would have been exciting to be able to make a visual comparison across countries to accompany his written comparison; maybe that is a different book, or a future project.

Compact, academic, and thoughtful, this book is definitely aimed toward those with more than a passing interest in the subject. In fact, he suggests that this is not a fashion history book at all, but instead a contribution to the study of nationalism. It is too a fashion history book, I argue, and a much more nuanced and well-researched one than many intentionally fashion-based history books I’ve read.

 

Lead Image: Cover of Patriots Against Fashion: Clothing and Nationalism in Europe’s Age of Revolutions by Alexander Maxwell (Palgrave, 2014).

 

Find more book reviews on Worn Through here!

Further Resources:

**I feel like this is way skewed toward France and England, if you have good non-London, non-Paris suggestions please leave them in the comments section and I’ll add them here!**

Condra, Jill. Encyclopedia of National Dress: traditional clothing around the world. Santa Barbara, CA: ABC-CLIO, 2013.

Jones, Jennifer. Sexing la Mode: Gender, Fashion, and Commercial Culture in Old Regime France. Oxford, UK: Bloomsbury Academic, 2004.

Purdy, Daniel. The Tyranny of Elegance: Consumer Cosmopolitanism in the Era of Goethe. Baltimore: Johns Hopkins University Press, 1998.

Roche, Daniel. Jean Birell, trans. The Culture of Clothing: Dress and Fashion in the ‘Ancien Régime.’ Cambridge, UK: Cambridge University Press, 1997.

Starobinski, Jean and the Kyoto Costume Institute. Revolution in Fashion: European Clotthing 1715-1815. New York: Abbeville Press, 1989.

Weber, Caroline. Queen of Fashion: what Marie Antoinette wore to the Revolution. New York: H. Holt, 2006.

Wrigley, Richard. Politics of Appearances: representations of dress in Revolutionary France. Oxford: Bloomsbury Academic, 2002.

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Domestic Affairs: Holiday Line Up

CartierCarousel1

Among the many things that I am preparing for with the approach of the holiday season is how I’m going to work various fashion exhibitions into my schedule.

Obviously, those exhibitions outside of California are impossible for me, but hopefully they will be possible for many of you.

Most exciting for next week is Fern Mallis’s conversation with Valentino at 92Y in New York City. Tickets are currently sold out, but there is a wait list available for Mallis’s November 18 program with the legendary designer. This is in addition to the Death Becomes Her having opened in the last couple weeks at the Metropolitan Museum of Art (Jill discussed her visit to the exhibition in her post, yesterday), and Killer Heels still open at the Brooklyn Museum.At the Museum at FIT, while Exposed: A History of Lingerie is closing, their special exhibition, Dance & Fashion will remain open until January 3.

As I was informed by Jon in a comment on my last exhibition round up, there is another exciting exhibition on the east coast examining Marjorie Merriweather Post’s Cartier collection at the Hillwood Estate. Cartier: Marjorie Merriweather Post’s Dazzling Gems has been open since June, but will not close until December 31.

In the Midwest, Chicago Styled: Fashioning the Magnificent Mileopens November 15 at the Chicago History Museum. It looks to be a truly fascinating exploration of the local fashion industry and the people who both worked in and utilized it, based upon the amazing blogposts that have led up to the exhibition’s opening.

In Des Moines, Halston & Warhol: Silver & Suede will be open at the Des Moines Art Center until January 18.

Here in California, Hollywood Costumeopened a month ago and will be up until March just across the street from the Los Angeles County Museum of Art. Also in Los Angeles, the Fowler Museum at UCLA has three textile exhibitions on display: Bearing Witness: Embroidery as History in Post-Apartheid South Africaup through December 7; Textiles of Timor: Island in the Woven Sea up through January 4; and Yards of Style: African-Print Cloths of Ghanaopen through December 14.

In San Francisco, not directly related to fashion — but indirectly since his V magazine photo shootAi Weiwei’s @Largeis currently on display on Alcatraz Island; at the de Young Museum, Keith Haring: The Political Line while not actually involving clothing or textiles offers visitors a chance to see some of the original drawings used by Vivienne Westwood in her 1983 collaboration with the artist. At the Legion of Honor, Houghton Hall: Portrait of an English Country Houseis open until January 18. I will be writing my review of it in early December.

Opening January 31 at the de Young is Embodiment: Masterworks of African Figurative Sculpturewhich will be a wonderful opportunity to explore bodily depiction from approximately 110 different cultural groups. It may be a wee bit early to get excited about March openings, but I must confess I am eagerly awaiting the arrival of Botticelli to Braque: Masterpieces from the National Galleries of Scotland opening on March 7 and featuring not only Henry Raeburn’s Reverend Robert Walker Skating on Duddingston Loch, but his portrait of Colonel Alastair Ranaldson Macdonell of Glengarry in full Scottish military regalia which inspired my master’s ‘virtual exhibition’ on tartan and Scottish dress. Even more exciting is the arrival of High Style: The Brooklyn Museum Costume Collection at the Legion of Honor on March 14.

What exhibitions are you making time for this winter? Are there any exhibitions you want to share with Worn Through readers? If so, feel free to either email me or to share your thoughts in the comments!

Opening image from the website for Hillwood’s Cartier: Marjorie Merriweather Post’s Dazzling Gem

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