This weekend ended the Palais Galliera’s glamorous exhibition dedicated to the 1950s fashion in France. We often think that because we know all about the New Look, the Bar ensemble imagined by Christian Dior in 1947, we know everything about the 1950s fashion. Yet this display demonstrates how versatile the stylistic silhouettes proposed by the designers of the decade were.
Within its splendid 19th century palace, the museum decided to privilege a simple modernist scenography that would moderate the extravagance of the architecture and emphasize the garments displayed. The exhibitions follows a thematic thread built on the typical wardrobe of an elegant Parisian of those days who would change several times a day to assume her social and fashionable obligations: we thus explore daywear, evening wear (within a ballroom-like presentation), leisure garments and cocktail dresses with a few accessory and undergarment hints. About 100 objects illustrate the abundance of styles, cuts and adornments that for most reveal how Parisian Haute Couture optimistically gained respectability and glory again after World War II while others announce a subtle fashion and social revolution, one that would burst in the 1960s.
The first thing you think of when observing all the garments displayed is how imprisoned the feminine body was during the 1950s, how male designers, led by Christian Dior’s iconic and scandalous ample New Look (influenced by Jacques Fath), fantasized a luxurious nostalgic silhouette with heavy layering of material, rich adornments and girdled hips. Most 1950s wealthy women dressed to seduce and entertain not to work, they wear Haute Couture designs alongside Tupperware products in the pages of the magazines hung on the walls of the Palais Galliera. The masculine and liberated image of women established during the war was erased for a more conservative archetype enhanced by the structural undergarments displayed within the exhibition on walls as abstract art works.
Pierre Balmain, « Antonia », evening dress, spring-summer 1954
Collection Palais Galliera
Yet alongside those romantic corollas, we observe the voluminous and sculptural garments of Cristobal Balenciaga who still inspire many contemporary designers while Gabrielle Chanel’s tailored suits announce the androgynous silhouettes of the following decade. Yes, the Chanel garments of the exhibition clearly stand out. The designer who had stopped her fashion career decided to triumphantly return in 1954 and do what she had already done in her beginnings: fight against archaism and help women build their emancipation with the help of fashion. She despised the hindering silhouettes of the male authorities and created her very own scandal with her sleek ensembles that provoked a cleavage in the middle of the decade.
Installation View: Evening Wear
Although the 1950s decade surely embodies the peak of French Haute Couture, the couturiers of the period help draw the early foundation of ready-to-wear. The exhibition makes it clear that, alongside various social factors of course, the success of Haute Couture worldwide, gave birth to ready-to-wear. The baby boomers of the decade and their youthful tastes are not represented within the display but we can’t help but note how the section dedicated to leisurewear announces teenage fashion and the 1960s ready-to-wear. Led by influential cultural figures such as Brigitte Bardot, young women favor light coton, beach dresses, ballerina shoes, naive prints…that provide the body with unrestricted, dynamic and graceful moves. Those looser designs serve as and experimental platform to the up-coming 1960s wear.
Finally, just as the exhibition’s span begins with the revolutionary look of Christian Dior’s 1947 collection, it symbolically ends with the appointment of the young Yves Saint Laurent as Artistic Director of the Christian Dior house in 1957. Although at Christian Dior, he pursues his master’s opulent style, we know how promptly he would become the emblem of feminine emancipation and ready-to-wear in the 1960s.
Installation View: Day Wear
The Palais Galliera exhibition was a strongly didactic display that not only diffused eye-candy but also proposed an innovative lecture of the decade’s fashion, far from clichés and easy assumptions and raised an undeniable debate: What do you think? 1950s fashion: revolutionary or archaic?
Exhibition Catalogue: Bosc, Alexandra. Les années 50: La Mode en France 1947-1957. Paris: Paris Musées, 2014.
I have a confession to make: I am a sucker for pretty much all things art deco. I endured Baz Luhrman’s ‘interesting’ interpretation of The Great Gatsby largely because of the design aesthetic (okay it wasn’t that bad). So, when I found out that the Los Angeles County Museum of Art (LACMA) was doing a small exhibition just on art deco textiles, I made sure to go there even before the Kimono for a Modern Age or Treasures of Korea exhibitions I had originally headed south to see. Art Deco Textiles unexpectedly was a great precursor for Kimono because both exhibitions tapped the same inspiration sources in many ways.
The exhibition is small, and tucked away amidst the rest of the museum’s modern art collection of the same time period. Using one of the smaller galleries to showcase several lengths of fabric, placing the exhibition where they did masterfully put the textiles within the greater art and design context in a way that no amount of wall text could. With so many museums dedicating space in their museums to, and thus isolating, their textile and dress collections it does feel like we are losing some of the context. LACMA’s integrating multiple textile and dress displays within other aspects of the museum collection, as well as utilizing special exhibition and specialty display spaces is one of the many ways in which LACMA continues to raise the bar.
That is not to say the wall text was inadequate. It was phenomenal in explaining the Bauhaus school, its influence, and the evolution, début, and proliferation of the art deco style from 1926 throughout the 1930s succinctly and in the context of each of the pieces displayed. No mean feat.
The pieces and the wall texts not only placed the pieces within the artistic Zeitgeist of the time period, caught as it was between the two world wars and aimed to appeal to the “lost generation,” but also showed how art deco textiles were unique and original in their own right. The wall text in particular discussed the design process of each textile, and even gave the names to the now-lost designers.
Art Deco Textiles is both a fantastic introduction to the art deco movement and the textiles it produced, and a great exhibition for those who are familiar with the period. Small, but excellent, Art Deco Textiles is definitely worth the detour if you’re at LACMA.
Have you seen Art Deco Textiles? What did you think? Do you have an opinion on integration versus isolation? Art deco? Feel free to share your thoughts in the comments below. Feel free to share any upcoming local exhibitions or events in your area there as well, or to email me the details.
Let’s set the record straight right now: I’m a huge fan of Dries Van Noten’s work. He’s the designer that makes me proclaim how much I wish I was very rich to be able to buy all his collections, you thus imagine how impartial such a groupie may be when it comes to consider the exhibition celebrating the designer at Paris’ Arts Décoratifs. Yet no fear I intend to be entirely unbiased but let me tell you, this is probably the most beautiful display I have seen for years…
The title of the exhibition is to be taken literally. It is no traditional retrospective but a journey within the fertile grounds of Dries Van Noten’s imagination and how he assimilates diverse materials to fuel his creativity. The display is arranged in various themes, not genuinely in a chronological order even though it does begin with a few pieces from his Antwerp graduation show, in 1981 and ends on his Spring-Smmer 2014 collection. We enter the exhibition through a dark room entirely covered by diverse names and titles such as ‘Grease’, ‘Iggy Pop’, ‘Superman’, ‘Diana Ross’ or ‘Like a Virgin’ that all evoke how versatile the designers’ inspirations are. The different ensembles are arranged as inspirational boards with an eclectic juxtaposition that sometimes clearly justify the design of a garment but also raise inquisitive questions.
The first alcove mingles his early designs with that of his fellow Antwerp comrades such as Raf Simon and Ann Demeulemeester alongside 1980s glamorous pieces imagines by Gianni Versace and Yohji Yamamoto’s minimalist outfits, the whole beside posters and magazine covers of the trendy celebrities of the decade.
The following themes look at Gold, Butterflies, Graphic, Bollywood or Foppish and establish conversations between Dries Van Noten’s creations, historical garments selected within the museum’s archives and art works. Thus an Elsa Schiaparelli butterfly dress meets a Damien Hirst majestic collage, lamé Chanel and Thierry Mugler ensembles are assembled alongside a 1909 embroidered costume from the Balkans while a New Look silhouette contrasts with an Yves Klein sculpture and a Vasarely painting merges with a photography of Serge Gainsbourg. Such diverse personalities as Cecil Beaton, David Bowie and Jean Cocteau are united as the dandy-like inspirations of the Belgian designer’s androgynous and edgy masculine wear – the combination of counterculture and chic gives birth to Dries Van Noten’s recognizable silhouettes made of layering, prints, flamboyant Baroque and bohemian cool.
The second floor diffuses a more dramatic feel, with a highly visual and colorful mise-en-scène: flowered wall paper from ceiling to floor that ultimately brings us into an enchanted garden and an exotic environment. Here, it’s all about flowers – he who loves gardening -Indian luxuriance and Mexican gothic, something of an Alice in Wonderland travels the world…
Despite being a wonderful occasion of discovering such diverse art works and garments, the display is also a fabulous way of understanding the creative process of the designer. And here, it’s no caricatural nor explicit inspiration in the idea of ‘I saw flowers so I put flowers on the skirt’, it’s more about how Dries Van Noten’s garments are based on subtle references and how the flourishing inspirations he surrounds himself with can lead to a cut, a print or simply a purpose as the designer clearly states on the walls of the exhibition: ‘The starting point of a collection can either be very literal or abstract. A painting, a certain colour, a thought, a gesture, a smell, a flower, anything really. What matters to me is the journey from the first flash of inspiration to the final destination, the individual garments, the collection.’
When we observe Dries Van Noten’s garments on catwalks or within boutique displays, one thing clearly comes to mind: these clothes are wearable and lack the sense of spectacle that would have suited more the grounds of a museum exhibition. Yet that’s how the scenography is such a success as it nonetheless proposes a dramatic atmosphere with its spectacular alcoves that resonate with Renaissance ‘cabinets de curiosités’.
There is a strong form of modesty in Dries Van Noten’s choice to not only attract the attention on his work but also on the many creations of the artists and designers he admires. Although the display doesn’t focus on the sole work of the designer, it invites us within his very intimacy, his mind. When we leave the exhibition, we can’t help but think that more than an exposition about Dries Van Noten the designer, we have just discovered Dries Van Noten, the man.
More information: here
I have eagerly anticipated the Los Angeles County Museum of Art’s (LACMA) Kimono for a Modern Age exhibition for over a year. I started out as a Japanese language and culture scholar, and while my research focuses since I entered the field of dress history have drifted westward, I still have a love for and fascination with Japan and Korea. I had also become very interested in the type of kimono this exhibition explores – meisen — through a paper of my own delivered at the CSA Western Region symposium in 2012, which I reiterated in a post for Worn Through.
As mentioned on Unframed, the LACMA blog, the kimono in many ways symbolizes Japan itself. However, people have a very distinct impression of what kimono should look like — a stereotype, if you will — which this exhibition challenges and challenges well.
Instead of small, delicate patterns we are accustomed to in kimono fabric, meisen kimono popular between the end of the Meiji period (1868 – 1912), through the Taisho (1912 – 1926), and up to the post-war period of the Showa period (1926 – 1989) had large, bold patterns in bright colors. In my previous post, I discussed the methods of creating the most distinctive feature of meisen: the ikat-imitation effect of stencil-dyeing the warp and weft threads before the fabric is woven. The other distinguishing feature is that much of the meisen designs can be seen as borrowing from art and artistic movements in the West at the same time that Japan was influencing these same Art Nouveau and Art Deco movements, as well as modernizing their own traditions such as screen painting and calligraphy (examples below).
Now that we’ve gone over how meisen are unexpected, let’s examine this particular exhibition, which features of 30 kimono spanning the period from approximately 1920 to 1960.
The exhibition is located in LACMA’s pavilion of Japanese Art, and is brilliantly laid out to take full advantage of the unusual exhibition space, the permanent Japanese art collection, and the other exhibition in the pavilion, Zuan: Japanese Design Books. The pavilion’s layout requires that visitors take an elevator to the top — where they can see both the permanent collection and Zuan off to the right — and then perambulate down various ramps to the display spaces on each floor to make their way to the basement and then up the elevator again to the ground floor. The space is designed to compliment Japanese art which traditionally was created with the intent of inspiring contemplation rather than intense emotion or awe. In many ways the pavilion also mimics an Indian stupa, which became the pagoda in the far east, encouraging walking in a circular or spiral pattern as a form of moving meditation. This enables the visitor to take in each of the ten or so displays of three kimono each, in a calm, contemplative manner similar to the way in which you are encouraged to appreciate the traditional arts in Japan.
It worked very, very well. The slow pace that the building’s ramps encouraged and the pause at each landing allowed me to see subtle similarities of patterning I otherwise might not have noticed had the display been set up in the usual single-floor manner of fashion and dress exhibitions. The open-plan layout, with clear, perspex railings so you could see through to the next level below you, also leant a sense of anticipation to the exhibition as you could see glimpses of kimono to come, and compare the patterning to those you were currently appreciating.
What I appreciated most about this particular exhibition was the emphasis on re-interpretations of traditional Japanese art and kimono patterns in meisen, instead of the usual focus on cross-cultural references. For example, in the blue kimono above you could interpret the design as simply “polka dots” on a blue background, but thanks to the well-written tombstones that accompanied each kimono, it was revealed that multi-coloured dots had long been used in kimono as well as paintings to emphasize sun- or moon-dappled dew drops and had specific symbolism within Japanese art.
This is indeed how the exhibition starts, with three kimono featuring three very different uses of an enlarged, traditional arrow patterning. Each kimono is in a different color scheme, each reinterprets this symbol of samurai status in a new way, sometimes emphasizing it with palm fronds that were connected with sixteenth-century warlord, Oda Nobunaga, sometimes simply using the pattern in bold red, yellow, and gray colors. This also adds more layers to the meisen of both overt and subversive political messages.
For example, the “star-patterned” kimono at the beginning of the post also resembles the Japanese war flag of the rising sun with red rays. This kimono was made around 1940 and so while not as overt as some “propaganda” kimono of the same time period is a piece that might have been gotten away with post-war during the occupation. Another kimono from the 1950s or 1960s later on in the exhibition seems to depict a city scene at dawn, but while the sun isn’t visible the red rays associated with the war flag are seen beyond the mountains. Was this a quiet protest against American occupation, or a decree of loyalty even in the midst of defeat?
I have often wondered if there were or weren’t political elements to meisen kimono. The height of their popularity coming in midst of patriotic and nationalistic fervor in the lead of to the second World War, while taking much of their inspiration from Western art movements is full of contradictions. On the one hand, the military industrial complex (bakufu) was very keen on adopting Western ways as a way of defeating both the West and Japan’s neighbors in battle. On the other hand, were the wearers of these kimono making political statements against war through their clothing? If so, is it not possible that those who had different political leanings might not do the same with their meisen?
I consider exhibitions that not only teach you something, but encourage you to re-evaluate perceptions of a particular art form and to ask questions to be the absolute best. Through the display, layout, grouping of various kimono, and informative tombstones, LACMA did just that.
They did not altogether ignore the Western influence, either. On many pieces, such as the third kimono featured in this review, they referenced not only the traditional art of screen paintings of landscapes, but the works of Impressionists and modern painters in the LACMA collection such as Matisse or Cezanne that might equally have influenced the design.
My only critique would be that all the kimono were displayed as you see in the images, none were mounted on mannequins. This however is a critique I have often of all kimono exhibitions, not LACMA in particular. I fully understand that this is the traditional method for displaying kimono in Japan, where they are admired as individual works of art in their own right; I also deeply admire LACMA’s conservation department turning to Japanese tradition when they were looking for new methods to store their kimono collection. However, since my personal fascination is with how such pieces were worn and who they were worn by, I would have loved to see at least one kimono dressed on a mannequin. Though I understand there might be conservation issues with displaying kimono this way.
This however, did not in any way diminish the exhibition. The display, use of the pavilion — even the touch of displaying one of the design books in Zuan on the pages the showed kimono designs — were magnificent. All of which combined to challenge perceptions of not only kimono, but perceptions I had about meisen kimono.
Kimono for a Modern Age will be on display in the pavilion for Japanese art at LACMA until October 12, 2014.
As always, if you have any thoughts, contributions, or want to notify me of an exhibition or events in your area please feel free to leave them in the comments, or to email me.
For my second summer exhibition review, I went to see Made in Mexico: The Rebozo in Art, Culture & Fashion at the Fashion and Textile Museum. Publicised as a first, this exhibition attempts to consider the rebozo, a shawl worn by Mexican women since the 17th century, through displays that consider historical context, cultural identification with well-known Mexican artists such as Frida Kahlo, social functions and the influence on contemporary art and fashion in Mexico today.
Examples of rebozos made in the 1950s and arranged to evoke the style of Frida Kahlo who wore them often.
Given that the Fashion and Textile Museum is housed in a building designed by Mexican architect Ricardo Legorreta and that many of the earlier designs by the museum’s founder, Zandra Rhodes, are inspired by Mexican culture, it is not a surprise to find the exhibition here.
Here, you can see contemporary rebozo designs by British designers Zandra Rhodes on the right with a white feather screenprint on a cotton rayon mix and on the left, a wool patterned design by Wallace & Sewell
There is certainly a celebratory feel throughout the space as artists, designers and anthropologists display their enthusiasm for the rebozo by providing photographs, films and contemporary interpretations alongside material examples that cover every possible fabric and motif.
The main room which featured displays of rebozos juxtaposed with art installations and photographs from the Mexican anthropologist Ruth Lechuga (1920 – 2004)
The main room is given over to a dynamic display of these beautiful coverings, demonstrating the diversity of Mexican female society. There is a rebozo here for everyone, from plain to fancy, soft to hard, flat to sculptural, raw to recycled.
Appliqued cotton rebozo made by Mamaz Collective, a group of women from Tanivet, Oaxaca in 2014. It shows how women wear and use the rebozo in their daily lives.
A detail from a rebozo owned by Lila Downs, a popular singer-songwriter in Mexico
The rebozo can be made with pompoms, silk, feathers or glass beads. It can be woven from silk, wool, cotton or even constructed out of teabags. A rebozo can be both abstract and figurative, sharing stripy details or offering up appliquéd people. A rebozo can identify you with both a particular region of Mexico and the country as a whole.
Photographs by Tom Feher of Dominga weaving a rebozo, 2010
There are fantastic images by Tom Feher of women weaving rebozos, such as Dominga, which show how these complex garments are made using a relatively simple back strap loom. Although the practice of wearing these shawls originates from the Spanish conquest and the emphasis on women covering their heads in church, their production is clearly the result of methods developed by earlier indigenous people of Mexico. As a result, the rebozo is an object of interest for collectors, artists and anthropologists as they continually seek to identify its cultural significance.
Detail of a traditional back strap loom
However, there is another reason for having this exhibition other than having a celebration. Production of rebozos has gone from involving a third of the Mexican population to less than forty people scattered across the country. And of those left, there are only two who use the traditional back loom while the rest use a foot loom, introduced through colonialisation (1).
The craft of the rebozo is clearly in decline and current generations seem less interested in learning the skills and knowledge required to make these emblematic objects. The display of contemporary art and fashion inspired by the rebozo suggests that their importance is not lost and Mexican designers today are keen to continue indigenous skills and materials.
An jaspe rebozo jacket designed by Beatriz Russek, 1990
I particularly enjoyed the garments designed by Carmen Rion and Beatriz Russek, known for their collaborations with Mexican indigenous weaving communities and who have created some striking modern designs. While the exhibition highlights the significance of artists re-interpreting the rebozo, the highlight for me was a film of weavers talking about the process of making a rebozo. They described a sense of ‘urgency’ felt when weaving as they became closer and closer to finishing the rebozo and became more and more curious about whose shoulders it might finally embrace. I was transfixed by this narrative as I imagined what it would be like to weave these objects, spending up to sixty days on one rebozo, thinking about who might this shawl belong to one day. Capturing what it feels like to produce something seems critical when inspiring current generations to value and utilise historical skills and knowledge in the future.
Recent designs by Carmen Rion using the rebozo form to create blouses and skirts
(1) Virginia David and Hilary Steele, The Rebozo: A Mexican Tradition, Fibrearts, vol35 no1 60-1 Summer 2008, p60-61
When I first heard about the Paris 1900 exhibition held at the Petit Palais, I must admit I was quite immediately excited about it. Not knowing anything about it, something inside me believed I would love it and I wasn’t disappointed. For those of you who may not know the Petit Palais, it can surely be considered as one of Paris’ loveliest museums with its beautiful Beaux Arts style architecture, decorated with impressive frescos and mosaics. Housing the city’s fine arts museum, it was specially erected for Paris’ Exposition Universelle in 1900 and thus stands as the perfect location for an exhibition dedicated to that particular time. On the pretext of the International Exhibition, the display introduces visitors to Paris’s splendid and luxurious context during the Belle Epoque. Organized like the Exposition itself, Paris 1900 is organized into 6 sections – 6 pavilions that all highlight the different aspects of the French capital’s cultural and artistic life. The exhibition demonstrates how spectacular this moment in Paris’ history has been, nourished by about 600 pieces (I think I have actually never seen so many artefacts in one space!) that mingle scientific rigor and pure aesthetic pleasure. From oral and social history to official art and innovative design, the display spans this unique cultural moment with a very rich (almost too rich: there is so much to look at) documentation: Mucha posters, letters, models, films by the Lumière brothers, a real metro entrance by Hector Guimard, paintings, sculptures and costumes. The whole within an impressive yet simple scenography.
Julius Leblanc Stewart – Redemption, 1895
The first section thus immediately brings our attention on the Exposition Universelle itself and all the architectural projects and decors, built or not, that accompanied it. This first part also celebrates the emergence of modernity with electricity, cinematography, the motor industry…that all supported the festivities’ atmosphere. A triumphant modernity that liberated imagination leading to such projects as the Eiffel Tower, the Petit and Grand Palais, the Alexandre III bridge, metro and railway lines….that enhanced Paris’ splendor as it was at the centre of the world’s attention. The visitor is introduced to the second section dedicated to Art Nouveau by a dancing Loie Fuller filmed by Pathé, in 1900: her innovative choreographies and her sinuous nature-inspired gestures perfectly echo the lines of the Art Nouveau furniture, decors and objects.
Callot Soeurs – 1905
Not being an exhibition about Art Nouveau, there is no academic approach to the movement within this section, simply a stunning ensemble of artefacts that all highlight the work of the Art Nouveau’s pioneers and put the visitors in the skin of the Exposition’s wealthy art-lovers. Alongside Majorelle furniture, Gallé delicate objects and Lalique precious jewelry, are presented two ‘avant-garde’ costumes that evoke the concept of total art promoted by the movement. These simple white outfits bear very graphic adornments that evoke the stylistic researches of Art Nouveau artists. The third section establishes what an art centre the French capital was with a hanging evocative of classic 19th century museums – that is an accumulation on the wall, all the way up to the ceiling.
Paul Troubetzkoy – La mère et l’enfant, 1898
21st century visitors being used to the white cube concept do get quite disoriented as there are many artworks to observe and you have to raise the neck high (and get blind by the spotlights) to be able to look at the highest pieces: I did appreciate the historical reference but it definitely wasn’t very practical. Nevertheless, this room overflowed with incredible works from Auguste Rodin’s sculptures to the Nabi’s almost abstract experimentations, Symbolist disturbing legends and the Impressionist serene landscapes. Strangely, although the selection is clearly eclectic, there is a certain sense of harmony that can be felt, as though, more than reflecting about different artistic movements, the section simply provides an insight into the period’s global creativity.
Tea Gown, 1898-1899
The following section highlights the mythic figure of the admired Parisienne and how her persona was greatly built at the turn of the century with the help of the Exposition that brought much of foreigners’ attention on the feminine characters of the city. A contemporary journalist described her as ‘distinguished from other women by an understated elegance appropriate to every circumstance in life. Her characteristics are restraint, good taste, innate refinement and that indefinable something which is unique to her, a mixture of allure and modernism that we call chic.’ Thus the Parisienne rapidly was identified as not only a geographical cliché but more as a chic attitude that could be embodied by elegant duchesses as well as popular ‘midinettes’. The ‘pavilion’ we enter proposes art pieces that evoke the various representations of the Parisienne, will it be through photographies or paintings and mostly with her very own objects – costumes, jewelry and accessories – the whole drawing the picture of a mythified as well as a real woman. The little number of fashion artefacts (all lent by the Musée Galliera) are mostly spectacular pieces such as a lovely tea gown that belonged to the French comedian, Réjane, a majestic cape earned by the Duchesse de Greffuhle and a Redfern ensemble made for Anna Gould.
Evening Dress – Jacques Doucet, 1900
The two last sections highlight Paris’ night and entertainment life made of cafés, bals, cheeky cabarets, drama pieces conducted by the iconic persona of Sarah Bernhardt, operas and early experimental films. The dark side of 1900’s Parisian life is supposedly demonstrated with references to morphine and brothels. I must admit I did not find the rendering of Paris’ dark side that dark: the scenography privileged humour and a certain glamour with portraits of the city’s legendary courtesans that mostly leave us thinking that the period was free-spirited and fun rather than glaucous although we do know poverty, absinthe, drugs and prostitution were serious issues. Focusing on the Parisienne part as it enclosed the fashion objects, the exhibition definitely points out to the fact that she was entirely indissociable from the urban environment she evolved in, the reason why tailored masculine-like ensembles popularized by Redfern met with such success as they enabled Parisian women to stroll around in their city with dark and practical yet elegant outfits – the ancestor of the perfect little black dress! The Parisienne also helped establish the fame of the capital’s couture houses and craftsmanship: the Made in Paris concept becoming highly popular. The display confirms how limited the avant-garde’s influence was – fashion privileged the S shaped silhouettes (although we could say these sinuous forms did resemble that of the Art Nouveau creations) and historical motifs. What disturbed me is how the exhibition has restricted the feminine figure to the ‘frivolities’ of fashion, domestic affairs or to sexual pleasures: I know women did experience such confinements but the art section lacked art pieces made by women as well as I would have wished to see masculine fashion that would have also helped us draw the outlines of the male parisian.
Henri Alexandre Gervex – Une soirée au Pré Catelan, 1909
In the whole, Paris 1900 illustrates how inventive, spectacular and unleashed the city was, establishing close interactions between art, social and design history. It does not concentrate on precise academic issues nor does it analyse modernity and experimental works but it definitely makes the visitors feel as if they were participating to the Exposition Universelle’s exciting fiesta. I greatly appreciated the fact that fashion was not left out as it does evoke how important this creative discipline was considered within international exhibitions within which they were given special lavish displays: fashion was undeniably part of a whole artistic and cultural context – a partner of high art.
Further Resources: The exhibition’s catalogue is very interesting (I did treat myself with it):
Bosc, Alexandra. Paris 1900: La Ville Spectacle. Paris: Paris Musées, 2014.
Rose, Clare. Art Nouveau Fashion. London: V& A Publishing, 2014.
A pop history of collectables so often blends nostalgia and personal experience with historic research. The author falls in love with Legos, buttons, LPs, etc in his or her youth, saves up for the first or the elusive, and the rest is publishable material. I Love Those Earrings, by Jane Merrill and Chris Filstrup, is a love story to the earring. The typical pop history approach reminded me a bit of On the Button by Nina Edwards, a book I recently reviewed for Dress. But where that book is as scattered as an overturned notions jar, I Love Those Earrings is structured in its historical content and perfectly balanced in its evident admiration for the subject matter. With some dramatic exceptions, I wear the same pearl studs every day. But while reading this book I started to reconsider the costume earrings I’ve carried with me through many moves, reserving for special occasions. Maybe they would work for every day, playing queen or noblewoman on the streets of Stockholm?
From “I Love Those Earrings” by Jane Merrill and Chris Fulstrup, 2014.
As the authors, skillful and familiar storytellers, introduce us to Earring History, we learn that fashionable styles reflect available materials, advancing technology, sumptuary laws. We meet the women who made the jewels famous (and vice versa), find inferences in social mores and are reminded of the earrings worn in Pretty Woman–would you be able to conjure up the shape and size of the earrings, or just the snapping of the jewelry box on her fingers?
Paraphrasing ancient history, myths as painted by Titian, royal marriages, French revolution, and Josephine Baker’s influence, this book flows. It has a charming way of relating these stories of lust and war to their subject: “The initial object of [Henry VIII's] ambition was Eleanora of Austria (1498-1558) who would have brought to England an extravagant collection of earrings.” (27) I enjoyed the juxtaposition that unintentionally created: Henry weighing Eleanora’s earring collection against the Spanish alliance he would gain from marriage with Catherine of Aragon–whom he eventually chose as his first wife for that reason.
From “I Love Those Earrings” by Jane Merrill and Chris Fulstrup, 2014.
The book is organized chronologically, which is logical and easy to follow. As is common for pop histories spanning huge amounts of time, the “early” chapters cover centuries and even millennia, whereas the later might discuss a two or three decades. The chapters are pleasantly organized in different manners, keeping the reader engaged: the sixteenth-century examines European depictions of famous women, the seventeenth-century chapter starts with a tour of Dutch portraits in American museums. The “Belle Époque” leads with a personal history of grandmothers and ends with “In the Colors of Feminism.” When we arrive in the twenty-first century, individual earring artists, almost all American, are given the stage. The book concludes with personal histories from women who love earrings, a short visual glossary of earring fastenings, and a bibliography.
Sushi earrings by Stephanie Kilgast. Pictured in “I Love Those Earrings” by Jane Merrill and Christ Filstrup, 2014.
The photographs and reproduced paintings included are museum quality, generally well edited. One drawback–perhaps a function of the image budget?–is that many paintings referenced meaningfully in the text are not included visually. But I especially appreciated the authors’ study of contemporary portraits, which gave the work a more academic feel–more than “just” a collector’s delight. As Merrill writes in her introduction,
Swirling quite carefree in culture and fun, I became drawn to earrings like a crow to a piece of silver foil. I consciously wanted to develop my sense of beauty as I had for carpets–and my pursuit became the earrings I saw in paintings, museums, fairs, expositions, and shops. …Playing detective, I would detect a whisper of pearl of pendant in a portrait, which might well not show up in a reproduction. (6-7)
Portraits are prized in this book, and the authors write short analyses of the importance and roles of these paintings in the history of earrings to augment the existence of the extant jewelry. Advancements or fashions in portrait painting as well as the skill of celebrated artists are noted for how they helped make certain types of earrings popular, proved the eminence of the portrayed figure, or highlighted the inherent beauty of stones and precious materials.
From “I Love Those Earrings” by Jane Merrill and Chris Fulstrup, 2014.
Here and there are teasers of other primary source materials, such as an eighteenth-century drawing, a design for Aigrettes housed at the Victoria & Albert Museum in London, seen above. I wish there had been more of these less obvious sources for variety’s sake. Interestingly, as the decades pass in this volume, a greater portion of the jewelry photographed was courtesy jewelry dealers and private collections than museum collections. In the “Victorian Era” chapter, Merrill passes into a collectors’ state:
This brings me to my single, favorite pair of Victorian earrings, where whimsy is executed with perfect craftsmanship, resulting in utterly wearable fantasy. You see this pair of goldfish bowls that were a tour de force in rock crystal. If you’ve carried a goldfish in a bowl or plastic sack back from a country fair or amusement park, you know that the bowl sloshes and almost tips out the fish. The same giddy tension was embodied in these earrings. (101)
Her heartfelt description of “A Mother’s Jewelry Box” will be familiar to many young women (and men). This book is, after all, about (and arguably for) women. Men (or, “studs who wear them”) and jewelry fill one chapter, which also begins with a personal history: Merrill confronts her co-author–her ex-husband–with his adornment choices over the years.
From “I Love Those Earrings” by Jane Merrill and Chris Fulstrup, 2014.
From there we jump into ancient history and speed through the millennia to the seventeenth century. It is also an example of the abrupt endings found here and there in this book: that’s certainly not the end of male earring-wearing, and there is no concluding paragraph. The final line of the chapter concludes an anecdote about the Abbé de Choisy: “Even as he took on the celibate life of a clergyman, he continued to crossdress.”
While entertainingly written, there are some odd punctuation and interesting word-order choices; this may not bother other readers. The style is informal; historian Ion Grumeza personalizes his essay on ancient jewelry with the qualifying phrase, “Romania, where I grew up.” (20) And yes, you will find a few instances of the word “bling.” Sometimes the informality breaks the storytelling spell; the description of sixteenth-century collars as “his, the circus dog style; hers, the standing kind” (26) feels unnecessarily distancing. There are certainly examples of earrings here that could be conveyed as equally ridiculous.
From “I Love Those Earrings” by Jane Merrill and Chris Fulstrup, 2014.
While the visuals are strong (if relatively small), this book is meant to be read. Its value lies in the energetic storytelling, never focusing too long on one subject, time period, or style, but keeping today’s reader afloat on a river of anecdotes and examples. This is not a book from which to pull hard quotations for a term paper, but rather an admiring, playful tribute. There are no citations, and although the bibliography is good, sources quoted in the text are mysteriously not included there. There are not many books that focus on earrings and this is the most comprehensive in years. Books on “dress accessories” rarely include jewelry; books on jewelry are often focused on one designer or try to tackle All of the Jewelry That Ever Was.
The fashion historian might benefit from passages about trends in shape and material, such as how the girandoles of the eighteenth century were largely replaced by pendeloques by the turn of the nineteenth century, or why paste jewels were practical. But this is a book for the aspiring informed collector, and would be a helpful precedent for other writers working on similarly focused subjects. Like any excellent pop history, I Love Those Earrings places its object of affection meaningfully in the course of our accepted history, making that history all the more enjoyable and accessible.
Lead Image: Cover of I Love Those Earrings by Jane Merrill with Chris Filstrup. Atglen, PA: Schiffer Publishing, 2014.
Find more book reviews on Worn Through here!
Evans, Joan. A History of Jewelry 1100-1870. Mineola, New York: Dover Publications, 1989.
Mascetti, Daniela and Amanda Triossi. Earrings: From Antiquity to the Present. New York: Rizzoli, 1990.
Phillips, Clare. Jewelry: From Antiquity to the Present. London: Thames and Hudson, 1996.
Steinbach, Ronald. The Fashionable Ear: A History of Ear-Piercing Trends for Men and Women. Burlington, VT: Vantage Press, 1995.
Tait, Hugh, ed. 7000 Years of Jewelry. Richmond Hill, Ontario: Firefly Books, 2009.
This week I had the pleasure of attending the UK launch of a new journal that focuses on the dissemination of fashion studies by non-English scholars at London College of Fashion. The International Journal of Fashion Studies aims to continue a long tradition of understanding fashion as a multi-disciplinary field by providing a much needed platform for work from international writers and thinkers whose first language is not English. In order to do this, the editors Emanuela Mora, Agnès Rocamora and Paolo Volonté, of which none speak English as their first language, have developed an innovative peer review system where contributions are scientifically reviewed in their original language before translated into English for the final publication. Languages currently covered are Danish, English, French, German, Greek, Hebrew, Hungarian, Italian, Japanese, Mandarin, Polish, Portuguese, Romanian, Russian, Serbo-Croat, Spanish, Swedish and Turkish, however both the editors and Intellect, the publisher, hope this will widen out as more peer reviewers and contributors become involved in the journal’s development.
The first issue, which is available to download for free, includes contributions in French, Finnish and Portuguese covering a wealth of subjects including clothing worn by prisoners on their way to concentration camps in the Second World War, the geopolitics of fashion capitals and Brazilian fashion as understood by Brazilians. This and much more are brought together in a refreshing but thought provoking introduction by the three editors where they discuss both the linguistic and epistemological issues relevant to this new endeavor.
I had the opportunity to ask the editors Agnès and Paolo about what it was like to put this journal together. Both expressed great enthusiasm for the project, drawing upon editorial collaboration and the overwhelming interest by non-English scholars as positive highlights. While Agnès observed the unexpected but exciting arrival of a contribution in a language not covered by the existing peer reviewers, Paolo commented on the high level of demand for the idea which had overall made the whole process much easier than expected. Upcoming issues will focus on topics such as sustainable fashion and non-Western fashion.
I also managed to have a chat with Sarah Cunningham, Journals Manager for Intellect. Sarah commented on the rigour given to the peer review system and the opportunities the journal offers to researchers and scholars who may not have the resources to translate their work. Although contributors will initially fund the final translation, Intellect is looking at ways to be able to offer funding in order to broaden its international reach and establish relationships with those whose work may go unnoticed otherwise.
The International Journal of Fashion Studies is one of several fashion/dress/cloth related journals Intellect currently publish which include Critical Studies in Men’s Fashion, Clothing Cultures, Critical Studies in Fashion and Beauty and Fashion, Style & Popular Culture. It was exciting to see so many titles in the catalogue, expressing the diversity of approaches that make the study of fashion, dress and cloth both fascinating and relevant to our everyday lives.
The editors of the International Journal of Fashion Studies have also set up a Facebook page called Fashion Studies which can be found here and details for anyone interested in contributing either as a writer or an editor can be found on the Intellect website.
1. Top image used courtesy of http://exhibitingfashion.wordpress.com/2013/10/10/call-for-papers-international-journal-of-fashion-studies/
Today, I invite you to look back at my last September post about the Fondation Pierre Bergé-Yves Saint Laurent’s online archives. The website is being, slowly but surely, completed, with various costume drawings. A quick reminder urging you to keep your eye open on this treasured online resource!
As a student and during my early years as a researcher (not a very long time ago!), I tended to be quite suspicious of the internet. Online resources were not always well developed and except for a few museum’s websites, I would mistrust information found on the web: I would only rely on books! I have, fortunately, since, learnt to see online information as an ally as long as I know how to sort out the material.
In France, fashion and costume museums are late: their websites present little are no patrimonial documentation. Les Arts Décoratifs do propose about 2000 objects within their database and are a future partner of the Europeana Fashion project whilst the Musée Galliera does not even possess a proper website. [at this date, they now do]
I was therefore thrilled to learn that the Fondation Pierre Bergé – Yves Saint Laurent is working on the digitization of their documentation. Little by little, all the fashion drawings, costume projects, posters and spectacle décors will be online. For the moment, you can find the exquisite Paper Dolls imagined by Yves Saint Laurent between 1953 and 1955. A fantastic resource!
As a teenager, the couturier imagined his ideal fashion house, ‘Yves Mathieu Saint Laurent Couture Place Vendôme‘: his models are paper dolls for which he imagines garments and accessories. He also details collection programs that precise who are the textile suppliers and that the models’ hair is done by Carita and make-up by Elisabeth Arden. It is quite amazing to observe how a childlike game can reveal itself as very serious and herald a future fruitful career.
Paper Doll ‘Ivy’
Copyright: Fondation Pierre Bergé – Yves Saint Laurent
The foundation, now, possesses 11 dolls, more than 400 paper garments and more than 100 accessories and the online category enables visitors to dress up these dolls: a playful and pedagogic way of discovering the collection.
You can also browse through a few of the designer’s posters and drawings that highlight Yves Saint Laurent’s creativity and artistic sense that did not confine itself to fashion only.
Whilst working for Christian Dior, in 1956, Yves Saint Laurent imagined a cartoon for adults, entitled ‘La Vilaine Lulu‘ (Naughty Lulu) who enjoys being provocative and cruel: a humorous work that was published in 1967. You can discover on the foundation’s website 10 little illustrated stories.
Finally, are visible costume designs conceived for Jean Seberg in Moment to Moment, Sophia Loren in Arabesque, Catherine Deneuve (his favourite!) in Belle de Jour, la Chamade and La Sirène du Mississippi and Anny Duperey in Stavisky.
Belle de Jour Costume Sketch – 1967.
Copyright: Fondation Pierre Bergé – Yves Saint Laurent
It’s always fantastic to observe the preparatory work prior to the making of a film. I haven’t seen all the films cited but a few, Belle de Jour , La Sirène du Mississippi and Arabesque: it eases the experience. You can guess behind the pencil sketch, the actress’s figure and character; you can affix the tones and the environment…
I imagine this section is in the making as it is still very poor and lacks further information about the costumes and films themselves; I hope this category will be fed in the future to add a touch of celebrity glamour to the website!
The fashion section has not been started yet and I cannot wait for it to be online: that will be the ultimate resource!
When I was in charge of the organisation of Guy Laroche’s archives, rummaging (that is the exact term! Drawings had all been thrown into boxes and had been sleeping there for more than 10 years) through the sketches and classifying them: I truly sensed the worth of illustrations. Not that I hadn’t before but I was quite an object-obsessed! I needed three-dimensional objects to comprehend a trend or a history and to me, drawings only completed the information. At Guy Laroche, I had no objects to rely on, illustrations and (hopefully!) a few photographies were my only resources. At that point, I started treasuring these documents, understanding the primary data they would diffuse and today, I still need an object because I esteem ‘the finished product’ but I definitely value these handmade elementary resources.
The foundation’s online archives are not perfect right now: the digitalization is an ongoing process so I imagine that justifies the lack of explanations along certain documents. I, however, find the site very aesthetic and easy to use (especially the Paper Doll section). I don’t know if, once the site is completely achieved, there will be more interaction between the objects and the categories but I do hope so: a method that will enable visitors to stumble upon archives they had not previously planned to research!
I tried to switch on the English version to test it for you but it didn’t seem to work: a momentary problem? The translation has not been done yet? I’d be curious to know whether, despite the website may only be in French at this time, it is useful and valuable for English speaking-only users. Let me know!
What do you think of online resources? Are you like me a few years ago: a book-only researcher? Do you practice both?
I secretly wish that in the future, the foundation would also digitalize photographies of its collection of garments: therefore, this online resource will be mere perfection! Do you agree?
If there is one private institution I particularly appreciate in Paris, it is the Fondation Pierre Bergé-Yves Saint Laurent. Despite being the treasure chest of the iconic fashion brand’s patrimonial archives, it is also a major cultural site that features eclectic exhibitions. Today’s display pays a dazzling tribute to Berber women. As I have said earlier on this site, I am completely uneducated when it comes to ethnic costumes but I surely am a profound admirer of traditional garments (having an Indian background myself, I dream of daring to wear a proper sari one day!). Thus when I visit such exhibitions, I come pure as snow with absolutely no knowledge nor do I relate to the pieces that have nothing to do with my own environment. Femmes Berbères du Maroc (Berber Women of Morocco) is at the crossroads of various implicit themes: acknowledging the audience with a traditional culture and craftsmanship, exhibiting exquisite jewellery and ethnic costumes as well as it refers to Yves Saint Laurent’s native background and lifelong fascination for North Africa.
Jewish Jewellery from Tahala – South West Morroco © Musée Berbère / photo Nicolas Mathéus
With much pedagogy, we are first introduced to the Berber culture: the display insists on the fact that women are the key holders of the Berber patrimony that they diffuse with the help of exclusively feminine crafts such as weaving, pottery and basketry. The eldest population of North Africa, Berbers occupy a territory that goes from Morocco’s Atlantic coast to eastern Egypt. Following informative maps, texts and photographies, we soon discover the traditional works created by the tribes’ women: baskets, practical everyday objects made with pottery techniques, woven textiles and carpets…illustrate the skills and decorative taste of the Berber society that clearly emphasizes simple geometrical patterns and earthy tones enhanced by strong blues. The adorning shapes mostly speak about fertility, the motives that go back to prehistoric art, protect against bad luck and are the promise of many childbirths and therefore, happiness. Woven capes bear sacred paroles: ‘ A woman who has made 40 carpets in her life is sure to go to heaven’, the saying affirms. The dim light creates a scared-like atmosphere that forces us to recognize the mysticism diffused by what could be considered as trivial objects.
After observing the creations of Berber women, come the garments and adornments with which they embellish themselves - displayed under a stellar dark sky (and along an oriental tune) that strongly evokes romantic and dramatic Arabian nights in the desert. The draped pieces of clothing are presented worn on white mannequins, on video screens that accent, with various close-ups,, their beauty and the complex technique of wrapping and assembling the textiles around the feminine body. An original curatorial choice that enables visitors to better comprehend the garments. Yet, surely the key objects of the exhibition would be the jewellery presented against majestic black busts. These intricate sculptural pieces made of silver and colourful polished coral or amber stones, as well as shells and coins that feature the same geometric adornments as the daily objects were most often wedding and engagement gifts. They helped express a tribal identity and social status- the reason why women would wear these jewels in a provocative accumulation . Easy to imagine the tinkling sound these adornments produced when worn from head to chest. Videos of these women preforming traditional dances and beautiful 1950s photographies by Mireille Morin-Barde help understand the ceremonial context within which Berber women paraded with their exquisite embellishments. Interestingly and intelligently, there is no hierarchy, within the display, between daily objects and ceremonial items: the first enable an indispensable everyday existence while still bearing mystical symbols when the second help build an explicit identification.
Most objects come from the Berber Museum that opened its doors in 2011, in Marrakesh’s Majorelle Garden which Pierre Bergé and Yves Saint Laurent had purchased in 1980. Housing testimony of Berber art, the museum also possessed the jewels passionately collected by the couple from 1966 (when they first visited the country). Yves Saint Laurent who was himself born in Algeria was strongly inspired by the culture he had been surrounded with as a child and that he lovingly found again in the 1970s with his gypset gang. He even attested he had discovered colours in Morocco and yes, Orient definitely influenced some of his most exquisite colourful and embroidered collections and I could not help myself from trying to make links between the traditional costumes displayed here and his couture designs ( an exhibition was organised in Marrakesh, in 2010/2011 to illustrate Yves Saint Laurent’s relationship with Morocco.)
What I appreciated most is that this exhibition does not display ethnic garments for the sake of presenting beautiful oriental pieces. The Fondation Pierre Berge-Yves Saint Laurent adds a sociological and inspirational feel to a show that clearly demonstrates what significant place the Berber woman occupies in her society? And how important her appearance can be, proving dressing up is not simply a means of frivolity as we easily tend to claim in our Western societies.