Here at Worn Through we frequently talk about the professors’ side of things, how to teach etc, but once in a while I thought we should focus on what a student is up to—particularly when something truly exciting happens. Also, I wanted to highlight a student accomplishment because it is in part be a reflection of positive classroom experiences. Those of us who are teaching can learn from their successes.
Jillian Granz with Suzy Amis Cameron and James Cameron at the unveiling of Amis Cameron's dress. Photo by Jim Peck
A friend of mine and fellow UMN grad, Theresa Winge, PhD who is an assistant professor at Michigan State University, hipped me to her award willing student Jillian Granz. Theresa said she couldn’t be more proud of Jillian’s recent win of a significant design competition.
Jillian designed a gown for Suzy Amis Cameron (James Cameron’s wife) to be worn to THE OSCARS!
Theresa recently started teaching at MSU, and as part of her role there she created a new course–Innovative Approaches to Apparel Design. In this class, students created a red carpet worthy gown that met the criteria of sustainability and submitted their designs to the Red Carpet Green Dress competition hosted by Suzy Amis Cameron.
Theresa said, “Since the competition was open to anyone in the world, I prepared the students for the unlikelihood of someone winning from class. We were in it for the experience. The students designed creative and thoughtful designs, ranging from a newspaper dress to no-waste patterning gown. Each submission was a design to be proud of.”
Low and behold one of the students in the class, Jillian Granz, did win and Suzy Amis Cameron would wear the gown it to the Oscars!
I spoke with Jillian over email to get some details of her experiences with the competition, as well as some insight into her design process and thoughts on fashion education. Below is our conversation:
Please fill us in on the basic info of the contest.The contest is called Red Carpet Green Dress and it was to raise money for a school that Suzy Amis and her sister Rebecca founded called Muse. The school is a green school and teaches students about sustainability so the dress had to be sustainable as well. I participated in the contest for my class Special Topics: Innovative Approaches to Apparel Design.Please tell us about your garment, inspirations, palette, fabric choices, etc./Why do you think your garment was selected as the winner?The dress was inspired by no-waste patterning. I had to do alot of research on sustainable fashion and after finding this technique I found that it was really appealing to my design aesthetic. The dress was also inspired by Suzy Amis, she was the client so i did follow some of the silhouettes that she typically wears and also some colors that she suggested she liked.What are some of your experiences with fashion design, particularly with formalwear?…Tell us about your fashion education at MSU–what year are you, what are your focus areas, favorite classes, etc.Michigan State has a really great Apparel and Textile Design program. It is my last year at MSU, and there are so many new classes being offered that I didn’t get to take that it makes me sad I am graduating in May and can’t take them! We really focus on women’s wear and I have just really started to design more formal wear than seperates/more casual looks. What are your carer plans after graduation?
After graduating I am still not sure what I am going to be doing, or where exactly I want to go. Hopefully this competition will get my name out there and it will still be fresh in people’s minds when i am searching for a job.
Do you follow pop culture, celebrity culture?–how meaningful was it for you to have this garment selected to be worn in the public eye?I do follow pop-culture and celebrities a little bit. I do like to keep an eye out for what they wear on the red carpet and things like that so it is really exciting that my dress will be worn on the red carpet, as scary as it is too. What role do you think your fashion education played in your preparedness to enter and win this competition?I really think that my education played a large role in winning the contest. If not for the class that i am in i wouldn’t have heard about the contest at all. I really think that us doing these more public contests is great and taking a class about innovative ideas in fashion is really great and the fact that we discussed sustainable design and no-waste patterning really helped in my design process.
Note-I grew up in Michigan, went to Michigan State for my first year of college, and later attended Wayne State Univ. for my B.S. an Eastern Michigan Univ. for my M.S. Michigan is an awesome place with a highly sophisticated, cool, unique, and edgy design sensibilities, as well as has its finger on the pulse of what is going on internationally. However, being a state so rocked by economic and social forces, long before the current meltdown, it is tough for an aspiring fashioninsta to get ahead and accomplish all of her goals. This has created a very DIY approach to fashion, which works parallel but not often intermingled necessarily with some of the more mainstream outlets for fashion such as bigger budget affairs and high end designing and retailing. Plus, although the world loves Detroit’s music scene, our fashion scene has struggled to get exposure. In this it is easy for someone with fashion interests to get mired in frustration and feelings of defeat due to lack of immediate opportunities.
My point is that for a fashion student to set a lofty goal achieve it gracefully, beating out national competitors, is a real coup, and speaks for the hidden gems around the country, such as in Michigan. Not everything is on the coasts, no offense to them. Applause to Jillian for reaching such heights and Theresa for empowering her students with the know-how to blast off!
The highly conceptual women’s clothing brand Rodarte, a label founded by the design team of sisters Kate and Laura Mulleavy, has been the recipient of many awards including the Council of Fashion Designers of America 2009 award for Womenswear Designer of the Year. The Cooper-Hewitt National Design Museum’s current exhibition “Quicktake: Rodarte,” on view February 11th – March 14th, 2010, takes a look at what makes Rodarte clothing more than just “cool.” (I should note too that Rodarte was one of the most recent designers to collaborate with Target, showing that despite the incredibly sophisticated nature of Rodarte garments, they still can manage to appeal to a broad range of consumers.)
The most striking feature of the garments in the exhibition is the constant interplay between hard and soft. There is an avoidable homespun feel, yet each piece feels strangely future-oriented. Re-shaped and re-formed, these garments are the epitome of collage. They are clearly falling apart, yet intentionally held together. As such is seems that they are the embodiment of the simultaneous decay and reconstruction that characterizes our current social environment.
At the risk of being overly dramatic, I’m inclined to say that Rodarte’s clothing also represents the spirit of the contemporary woman – a phoenix rising out of the ashes, a forward-thinking “fierce” being, yet one who still revels in tulle and pastels reminiscent of the ballet, and who still values craft and homespun materials which highlight the essence of femininity.
Chains, studs, intricately manipulated leather, crocheted metallic yarn, pale pink tulle — one hundred percent tough, yet entirely delicate. A few of the garments are characterized by gathered and wrapped gauze, covering the frame like a corpse or a mummy. There are certainly gothic elements at work in the clothing, but somehow there is a freedom or a power still latent in the overall effect.
Spider webs of crochet cover the chest and the legs of the mannequins, wrapping them in cocoons, but again this body covering feels like armor, preparing the wearer for action. Encased in feathers, leather, and tie-dye, snakeskin and puckered yarn, these bodies looked “dipped;” thev’ve been “treated” rather than dressed. The garments possess a true tactile quality. A person wants to touch them. This haptic visuality that informs the clothing appeals to the new shifting emphasis on touch versus sight. We no longer want to be seen, but felt as well.
Rodarte is adored by young starlets for the brands’ indescribable “it” quality, but this show at the Cooper-Hewitt demonstrate the designers’ staying quality as craftswomen deserving of actual recognition for the quality and innovation apparent in the garments they create.
As I’ve been diving back into text research for an in-depth project, I thought it might be helpful to divulge some of the wonderful electronic resources that I regularly use when doing historical research. These resources are great for mining quotes, finding little-known references and other such tid-bits. Much of the availability of these sources is thanks to Google, and often the things you find are just the tip of the ice-berg (with more research almost always needed via a library):
Google Scholar (free) Links to both primary and secondary sources including patents, scholarly articles, books and occasionally newspaper articles.
Google News (free) Searches many major historical newspaper/periodical literature, but often requires payment to read the complete article.
Google Books (free) A really good way to search for references in books without indexes (but keep in mind not every book is available to search, so a visit to the library is almost always still necessary).
Newspaper Archive (paid) Has a vast amount of smaller, regional newspapers available for search.
Ancestry.com (paid) Includes census data; birth, marriage an death certificates; some newspaper searching; some photos; Military and draft records; and an easy way to organize family relationships.
L’Officiel de la Mode, 1921-2010 online (free) A marvelous database of historical issues of this french fashion magazine (with many articles in English).
Bibliothèque nationale de France (free) I’m still working this one out – but it seems to be a large vault of text and image history specific to France.
Worldcat (free) Includes listings for nearly every book and article ever published.
Historical San Francisco Chronicle For those with academic library access, Proquest has recently added this newspaper to its database, a huge help for me personally.
Some new resources have also recently come forward, or are in the planning processes, that readers may find useful. These include The House of Fraser Archive and Screen Search Fashion:
Abstract: “The House of Fraser Archive is a rich resource for the study of the development of fashion retailing in Britain since the mid-nineteenth century. It is, however, underexploited by textile, fashion and retail historians. During the summer of 2009, the University of Glasgow Archive Services will complete an Arts and Humanities Research Council-funded project which seeks to improve the accessibility of the Archive. Adopting a progressive approach to archival description, the project is developing an innovative online catalogue, providing fuller access to information about the Archive and the resources contained within it.” [Details on the House of Fraser Archive Project here]
30 May 1953, Coronation Fete at Horley Cricket Club
“A new website featuring fashion on film in Britain in the 1920s and 1930s has been launched. Screen Search Fashion has been developed by Screen Archive South East, at the University of Brighton, UK, in partnership with the Royal College of Art and funded by the Centre for Excellence in Teaching and Learning through Design (CETLD)”
Tangentially, the College Art Association Blog recently listed two new online databases recently made available from the Frick Collection: a directory that helps those researching the history of collecting art in the United States and a collection of inventories from the Dutch Golden Age. The FIDM Museum blog also recently put together a list of the resources (both on and offline) that they regularly use.
Merchandising, Textiles Professor, University of Kentucky
Merchandising, Apparel and Textiles Faculty/Assistant Professor, Merchandising, Apparel and Textiles.
Responsibilities include developing a research agenda and a teaching program commensurate with the mission of the Department of Merchandising, Apparel, and Textiles.
To apply: attach two documents: curriculum vitae with the names and addresses of three references (resume), and a cover letter (cover letter). Earned Ph.D. at time of hire in merchandising, retailing, economics, or related area are preferred. To apply for job number SM529097, submit a UK Online Application athttp://www.uky.edu/HR/UKjobs/.
If you have any questions, contact HR/Employment, phone: 859-257-9555 press 2, or e-mail ukjobs@email.uky.edu. Application deadline is March 4, 2010.
The University of Kentucky is an equal opportunity employer and encourages applications from minorities and women.
On Mondays WT tries to always post a call for papers regarding something in the academic world, but sometimes something else fun comes up that isn’t exactly research-y, but that I really want to let you know about.
They are looking to you to submit entries of your best ideas. Here is what they say:
“As with 101 One-Yard Wonders, we’re focusing on projects that take no more than one yard of fabric to complete. Ideally your project would use nearly the full yard of fabric (no quarter yard projects please, unless they are part of a group project which takes up a full yard).
By all means, please feel free to add trims, zippers, Velcro, buttons, interfacing — whatever additional stash stuff & notions might be necessary to complete the project. We only ask that your project uses one– and only one–yard of a single fabric.
We invite you to contribute your original designs for home decorating items, baby items, personal accessories, toys, garments (for men, women, and children), outdoors, pets, seasonal projects … whatever! The categories are open ended, and the possibilities are limitless! We can’t wait to see how you want to use your different fabrics!
The deadline for submissions is April 1, 2010. Projects will be considered as we receive them, so try to get them in sooner rather than later. The only stipulation is that your original designs may not have been previously published in a book or anthology. Email notifications will be sent May 1, 2010 with detailed next steps.”
(1. Fashion and Textile Design Faculty, Gibbs College
Gibbs College is seeking part-time, adjunct instructors to provide and sustain an effective learning environment for every student through well prepared classes, relevant assignments, fair and holistic assessment of learning, clear documentation of student progress, and support of academic success of at-risk students.
Qualifications: Demonstrated expertise in Fashion; Expertise in interpersonal and oral presentation/written communication skills, as demonstrated by: data sheet, diplomas, degrees, transcripts, certifications, CVs/Resumes, and in personal interview; 2 – 4 years experience; Diploma or associates degree in Fashion or related field is required; candidates with a master’s degree are required. Candidates with a combination of an associates or bachelors degree, certifications and work experience may be considered.
(2. Professor of Fashion Marketing and Management, SCAD Atlanta
SCAD Atlanta seeks candidates for full-time faculty positions in fashion marketing and management. Qualified candidates should have a MBA, MFA or equivalent in fashion or a related field, as well as a broad knowledge of the fashion business. Excellent skills in wholesale, retailing, and fashion marketing and management are required. Professional recognition is essential.
The successful candidate will be joining a highly creative, motivated and exciting team that is creating the next generation of fashion buyers, product developers, retail and wholesale merchandisers, and marketers. Strong skills in the areas of retailing, fashion marketing and management, design, concept, innovation, illustration, sketching and CAD are highly desirable. College-level teaching experience is preferred. The fashion marketing and management program combines the study of design, business, communication and cultural studies. Students are prepared to address consumers’ needs and lifestyle aspirations in order to deliver directional styles that can build or stretch brands to new levels. For complete submission requirements and to apply online, please submit curriculum vitae and an unofficial copy of the transcript showing your highest degree here.
The legendary ride of Lady Godiva, in which she took a promenade through town naked on horseback, has sparked the imagination of many. Various interpretations and multiple retellings of her story testify to the compelling nature and irresistible appeal of this tale.
In an effort to convince her husband to lower taxes, Lady Godiva is rumored to have stripped herself of all her clothes to ride through the town’s square. The townspeople are said to have shut their windows out of respect for this gallant, although shocking, gesture on the part of the Lady (but alas there was Peeping Tom notoriously watching her risque ride!). Whether or not this event really happened in the dramatic fashion in which it is most often retold is up for debate, but Lady Godiva serves as a significant springboard for discussing issues of nakedness, dress, and the gaze — all of which converge in themes of masochism and exhibitionism.
Although Lady Godiva was notoriously nude for her famous ride, there are some points to be made here regarding showing or revealing the body through clothing. Under the cover of dress we are obviously not revealing the body completely, but there is a sense in which clothing itself – while literally concealing the body – is precisely intended to show off the body. In fact, it’s been said that the history of fashion is nothing but the constant shifting focus of attention to various parts of the female form.
But what is behind this dual revealing and concealing in clothing? Does this close connection with the body allow for a sort of subtle or un-spoken exhibitionism? And if so, where does that exhibitionism leave us?
In his philosophical work Being and Nothingness, Jean Paul Sartre details the behaviors of the masochist — the person who sees him or herself most essentially as an object — a thing to be gazed upon. The masochist is too overwhelmed by freedom to encounter his/her responsibility as a subjective individual, so s/he relinquishes freedom to become an object in the eyes of others.
A person dressing with an over-emphasis on the body qua body may be revealing a masochistic/exhibitionistic inclination. Various styles which emphasize the body include anything highlighting specific body parts – the bust, the back, the legs – any article of clothing which intentionally reveals or conceals various body parts in an effort to highlight the body as something to be viewed as an object. (What is even more startling about clothing that highlights specific body parts is that it in a sense dissects the body into an amalgam of various parts – all of which are equally objectified.)
As we approach the close of New York Fashion Week and move into continued conversations revolving around the “future of fashion,” I think it’s important to keep in mind why we are interested in dress in the first place. What is purpose of dressing the way we do? I hope that through adopting a consistently self-reflective stance, we may become less and less likely to just see ourselves as objects simply wearing more objects.
Paradoxically, in the compulsive laying on of layer and layer of clothing which often characterizes fashion, we actually become naked. We have covered ourselves with so much fashionable material that we are nothing but our body — which is to say — another object.
Ruth Funk Center for Textile Arts at the Florida Institute of Technology
Uncommon Threads Symposium
February 18-19, 2010
The Uncommon Threads Symposium will explore literary imagery and narrative in English embroidery with special guest, the sixth annual Ruth Funk Lecturer in Textiles, Melinda Watt.
Ms. Watt is Associate Curator, European Sculpture and Decorative Arts and Supervising Curator, Antonio Ratti Textile Center at The Metropolitan Museum of Art in New York City.
Lecture:
Thursday, February 18, 2010
“The Biblical “It” Girls: Female Heroines in English Embroidery”
7 p.m. Gleason Center for Performing Arts
Luncheon:
Friday, February 19, 2010
10:30 Lecture
“‘Twixt Art and Nature: Floral Imagery in English Embroidery”
Noon – 2 p.m. Luncheon
Hartley Room, Denius Student Center
Tickets: $60
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British designer Alexander McQueen was well-known for extreme, hard-edged and often politically motivated designs. His innovative materials, anarchistic reputation and provocative runway shows made him a memorable figure in more recent fashion history. This post is by no means meant to be the last word on the designer, nor is it intended to be a comprehensive history. It is a tribute to a designer at the top of his game who is gone too soon.
Lee Alexander McQueen was born in London on March 17th 1969. His extensive fashion background included early experience working with tailors on Saville Row, theatrical costumiers, and designers Koji Tatsuno and Romeo Gigili. After completing a Masters program at St. Martin’s, stylist and icon Isabella Blow purchased his entire graduate collection. McQueen then opened his own studio in East London.[1] In 1996, McQueen became Chief Designer at Givenchy, a position he maintained until March 2001,[2] moving to focus on his own label.
His most famous clients have been “rock ‘n’ roll” royalty including: David Bowie, The Prodigy’s Keith Flint, [3] Gwen Staffani,[4] Bjork, and Lady Gaga (among many others). Actress Liv Tyler, the daughter of Aerosmith lead-singer, Steven Tyler, is also a McQueen client. At the opening for Return of the King in 2003, she wore a black McQueen gown and commented that, “his tailoring is sensational,” and that his designs make you “feel pretty and womanly.”[5]
Bjork in McQueen’s red slide dress
When Bjork wore McQueen’s “tinkling, red, glass microscope slide dress on stage,” she turned it into a “percussion object as she danced.”[6] It’s a collaboration they would continue for sometime. In more recent days, Lady Gaga has been a fan of his designs, wearing several signature pieces from his Spring 2010 collection in her video, Bad Romance.
Lady Gaga in McQueen from her video, Bad Romance.
Often referred to as a “design maverick,”[8] McQueen had an image that was only slightly superseded by his design ability. British Vogue once commented, “McQueen’s carefully propagated image as the raspberrying bad boy of fashion. . . made him a star in his own right,” [9] His design aesthetic, runway antics and personality all appealed to customers interested in volatile fashion, both in the literal and figural sense. In one instance, McQueen turned down an invitation from the Queen to meet the Emperor of Japan, saying “I couldn’t be bothered.”[10] While still an apprentice tailor on Saville Row, “McQueen famously inscribed the words ‘I am a cunt’ in the lining of a jacket destined for the Prince of Wales.”[11] Further contributing to his image as a bad boy, when asked about his design fantasizes in a Web chat on photographer Nick Knight’s site SHOWstudio.com in 2004, “McQueen mentioned dressing Carreras in denim and cowboy boots and putting Luciano Pavarotti in a jockstrap.”[12] While this kind of anti-establishment snobbery gave him a presence as a fashion personality, it was the “statement-making clothing that give McQueen his reputation for being dangerous”[13]
McQueen’s signature designs, as he noted them in 2003 were, “the bumster, the frock coat, [and] anything tromp-l’oil.”[14] Bumsters were “trousers with a waistband so low that anyone brave enough to wear them would parade their buttocks for all to see.”[15] His favorite designs have been his “wooden fan kilts from Spring-Summer 1999, the red slide dress from Spring-Summer 2001, and the Jellyfish dress from Autumn-Winter 2002.”[16]
David Bowie's Alexander McQueen frock coat at the Metropolitan Museum of Art in 2006.
Materials & Design
Australian designer Tina Kalivas, who worked with McQueen from 1998 to 2001, described her experience working with his materials: “I would sit up all night, physically making the showpiece using McQueen’s signature materials – glass, leather, feathers, boning etc., . . the only light relief came from his English bull terriers jumping on all [of] this exquisite fabric first thing in the morning.”[17] In the past, his choice of materials has run the gamut of conceivable combination’s but with a hard edge. He has used natural and synthetic, as well as conventional and innovative materials.
Marleen Berkova in Alexander McQueen's Fall 2001 ready-to-wear show
"The Island of Dr. Moreau" Fall 1997
The natural materials used by McQueen add an unexpected element to the designs, and reflect his interest in Nature. On Knight’s webchat McQueen remarked that his use of animal skins was “Not so p.c., but there’s nothing better than nature. Nature is a fabric itself”[18] He created garments using python lace, [19] as well as other hides and leathers in addition to gazelle horns.[20] He “almost fetishized materials [such as] feathers, brocade, shells…”[21] and wood. He once made an entire dresses “of cuttle-fish and mussel shells,” and clothed models “from neck to ankles in a sheath of razor shells.”[22]
Erin O'Connor in dress made of shells by Alexander McQueen, Spring 2001
Interestingly, in 1997, the London Times reported that McQueen was under investigation for using human bones, teeth and other body parts in his designs.[23] His most recent menswear collection referenced bone and skin extensively, though in pattern rather than actual object.
McQueen’s menswear for Fall 2010 (Milan) titled ‘An bailitheoir cnámh‘ (Gaelic phrase that means “the bone collector)
McQueen’s other designs have featured more expected materials such as cotton and Polyester organza,[24] but with an interest in innovation. His “Grey Lady ballgown, hand patchworked to form an intricate jigsaw of different Harris Tweeds [is] mixed with distressed mohair.”[25] He also showed a continual interest in fabric technology. Referring to his Spring-Summer 1999 collections, McQueen explained that he had an interest in “the hard edge of technology of textiles,”[26], which included molded leather body corsets, white lace, wooden fan skirts, and striped silk.
In his spring/summer 1996 collection McQueen used a stainless steel spattered synthetic material for a dress design. Spattering, according to Sarah E Bradock and Marie O’Mahony, is the “application of minute particles of metallic dust to the surface of a fibre or fabric using a vacuum method of coating.” [27] The technique was created by Masayuki Suzuki in Japan.[28] McQueen’s use of the material created a “space-age look” by combining “the fluidity of silk with the look of metal.” [29] McQueen seems to have had an affinity for metallic substances, and space, using them often in his collections.
Designer Sophie Roet had also worked for McQueen. She “laminates woven nylon, wool, and silk fabrics with thin aluminum sheets, achieving paper-like body in the new material.”[31] McQueens interest in technology is also evident in a more general sense. As noted by Suzy Menkes, McQueen has also been intrigued by the effect computers can create and has often used “digital mechanics for inspiration.”[32]
The 12 inch shoes McQueen showed in his Spring 2010 show
Philosophy
In the Web chat with Nick Knight’s site SHOWstudio.com, McQueen explained his overall view of fashion, “It’s like any entertainment industry. It’s fickle. I’ve always seen it in the same light: shallow.”[33] Despite his own comments, McQueen’s collections have often addressed political and cultural issues.[34] For example, the “Highland Rape” show in 1995 was a politicized visual representation of the volatile relationship between Scotland and England. McQueen has also said, “I use things that people want to hide in their heads. War, religion, sex: things we all think about but don’t bring to the forefront. But I do and I force them to watch it.” [35] His designs commented on the world around him, and provide examples of what was considered culturally taboo. “In part due to his reputation for outlandish shows . . . he chose to show garments on custom made Lucite mannequins which were lit from within.”[37] In 1999, he chose to show his menswear in “a short film he directed.”[38] McQueen’s spring 2004 show, while not completely subdued, featured a “macabre dance marathon.”[39] Titled, “New Beginnings,” it was based on the film, They Shoot Horses, Don’t They?.”
Alexander McQueen stated that his design philosophy was “To make a piece that can transcend any trend and will still hold as much presence in 100 years time when you find it an antique store as when you bought it in my store yesterday.” [36] McQueen, at least for a time, did consider the importance of his designs to the fashion world, suggesting that he was interested in preserving a legacy. Unfortunately, that need has come much to soon.
[10] Cathy Horyn, “Sticking With London, and Himself,” New York Times 2 Mar. 2004: B10.
[11] Susannah Frankel, Visionaries: Interviews with Fashion Designers (London: V& A Publications, interviews originally published in The Independent and The Guardian, New York: Abrams, 2001) 16.
[12] “The Month in Fashion” W Magazine, March 2004, 154.
[37] Bridget Foley, “Fashion Front,” W Magazine Oct 1999: 234-235.
[38] Socha, Miles. “Male Order:With Gohn Galliano and Alexander McQueen behind the wheel, men’s wear is running at full throttle,” W Magazine April 2004: 98.
[39] Socha, Miles. “Male Order:With Gohn Galliano and Alexander McQueen behind the wheel, men’s wear is running at full throttle,” W Magazine April 2004: 98.
was a big hit with crafters everywhere and this second volume promises to be even more robust as this time it covers all types of fabric.
*
. New York: Thames & Hudson, 1998.
. New York: Berg, 2001.
. New Haven: Yale University Press, 2003. (requested via ILL)
. London: V & A Publications; Distributed by H.N. Abrams, 2001.
, Koln: Taschen, 2003.
