I’ve been getting to know the crew over at The Seams, which is a new podcast developed by NPR contributorJacki Lyden.
As you may remember, we encouraged Worn Through readers to donate to their Kickstarter since the topic of their shows, storytelling about apparel, are certainly something we’d love to hear about more regularly.
Recently I did a phone interview with Jacki that was initially supposed to air on the show. It was decided that instead I’d speak about a different subject for a future airing, but the interview dives into the history of our field, some academic and social aspects of what we study, and a tad into subcultural waters.
Although it’s not going to air on the Seams/NPR, Jacki and I thought Worn Through readers would be the perfect audience and have brought it you here! Listen for me to appear in future episodes.
If you’re in the Costume Society of America you’ll see that the regional elections for the new boards are taking place. They close tomorrow July 1. Please do participate in your regional and national elections of the societies you are a part of to help move them in the directions you’d like to see.
**UPDATE: I was elected to the board. Thank you.**
The symposium topics explore and discuss the relationships of power, sex and fashion in dress. Papers will begin at 1pm on Friday followed by a public (free) keynote address at 5:30pm by Valerie Steele, Director and Chief Curator, Museum at the Fashion Institute of Technology, New York City.
Bonus Lecture (free) at 7:30 pm on “Alexey Brodovitch, Art Director,” related to Goldstein Museum of Design current exhibit in McNeal Hall.
Saturday panels will begin at 9 am and continue through late afternoon, and a celebratory dinner in the evening.
The deadline for early bird registration is July 31.
*NOTE FROM MONICA: This is happening in my area, so I can help people figure out travel logistics, and, if enough people come I’d be happy to organize a Worn Through meet up
Some of the most vivid primary sources for historic fashion research are autobiographies and memoirs of great designers. Several of the books listed below were required reading for a fashion history course in my M.A. program. They can be entertaining and intimate, and help historians make a stronger connection with these figures whom we associate primarily with their work and their legacies, but not their voices. Poiret amuses with self-congratualtion and Dior leaves you desperate for content beyond the last page (Christian Dior died suddenly the year before it was published). Three of the four titles were out of print until recently, when the V&A began to reprint them. Early editions can be found used online, or in libraries.
Paul Poiret’s autobiography tells the extraordinary story of the meteoric rise of a draper’s son to the ‘King of Fashion’. From his humble Parisian childhood to his debut as a couturier, to his experiences during the First World War, Poiret reveals all in this captivating tale. His artistic flair, coupled with his remarkable and highly original cutting skills, enabled him to translate the spirit of Art Deco into revolutionary garments and his memoirs bring this astonishing period to life. – From the Publisher
Christian Dior rocketed to fame with his first collection in 1947 when the ‘New Look’ took the world by storm. This charming and modest autobiography gives a fascinating and detailed insight into the workings of a great fashion house, while revealing the private man behind the high-profile establishment. It is also a unique portrait of the classic Paris haute couture of the 1950s and offers a rare glimpse behind the scenes. Dior details his childhood in Granville, the family and friends closest to him, his most difficult years and sudden success, as well as his sources of inspiration and creative processes. – From the Publisher
Elsa Schiaparelli (1890-1973) was one of the leading fashion designers of the 1920s and 1930s with a flair for the unusual. The first to use shoulder pads, animal prints and the inventor of shocking pink, Schiaparelli collaborated with artists including Jean Cocteau, Alberto Giacometti and Salvador Dalí, to create extraordinary garments such as the infamous Dalí Lobster Dress and the bizarre Skeleton Dress. Schiaparelli had an affluent clientele, from Katherine Hepburn to Marlene Dietrich, who embraced her outrageous but elegant designs. She designed aviator Amy Johnson’s wardrobe for her solo flight to Cape Town in 1936, the culottes for tennis champion Lily d’Alvarez that outraged the lawn tennis establishment, and her clothes appeared in more than 30 films including Every Day’s a Holiday and Moulin Rouge. Schiaparelli’s fascinating autobiography charts her rise from resident of a rat-infested apartment to designer to the stars. – From the Publisher
Though not strictly an autobiography, this book is based on a series of conversations between Mademoiselle Chanel and the author, Paul Morand. Morand’s last book, one of the most appealing of his oeuvre, brings together around the figure of Chanel, portraits of Misia Sert, Erik Satie, Serge Lifar, Georges Auric, Raymond Radiguet, Jean Cocteau, Picasso and Churchill, among others. Written in the great storyteller’s marvelous prose, this book artfully sketches the character of the elusive, mysterious and charming creature who inspired Malraux to say: “Chanel, De Gaulle and Picasso are the greatest figures of our times.” Hailed on its publication in 1976 as ” a great celebration of a book, a finely cut, sparkling gem”, The Allure of Chanel attracted the attention of Karl Lagerfeld, who embellished it with seventy-three drawings. – From the Publisher
Have you ever proposed to your students to explore an uncommon topic? Or combine two topics that seem to have nothing in common at all? What did the students think about the approach?
I am asking you this because in June, I brought up a slightly unusual topic in class: Fashion and cars. At first, it seemed that the two subjects are hardly connected to each other so we set out to explore them. The results were quite fascinating and I would like to share a brief summary of them with you today, because whether you look at design, marketing strategy or the environmental impact, cars and fashion actually do have many parallels.
First of all there is a phenomenon called “car culture” which – to sum it up in a sentence – is the cultural impact cars had on society once they became mass marketed. This influence permeated the way we shop (i.e. big malls), where we work (i.e. commuting to and from suburbs) and how a car became a status and power symbol, at first mostly for men. This car culture triggered a myriad of advertising showing sexy and fashionable women and created fashion outfits to be used when driving such as the original Car Shoe and its many clones.
Secondly, todays marketing strategy for cars includes being fashionable. Car-makers want to be associated with glamour which is why they sponsor many fashion weeks (Mercedes hosts several around the world) and even delve into bridal wear (BMW sponsors the BMW India bridal fashion week).
Futhermore, there have been dozens of collaborations of designers and car manufacturers, where an unusual and fashionable exterior and/or interior has been created. One reason that car makers want to infiltrate the fashion market is perhaps the fact that car sales are declining in the saturated markets of the USA and Europe, whilst equally growing in China, India and other Asian countries. Incidentally, for many (high-) fashion brands these are equally important emerging markets.
A third area where cars meet fashion is on the subject of sustainability. Years and years have passed where the global topic of sustainability and environmental impacts of industrialized nations have been discussed. People around the world increasingly care more about where their products came from and whether they harm the environment. The new trend in cars is to create hybrids or electric cars which consume less energy which feature new and light composite materials. Smart technology is integrated to help the driver have a more personalised experience and navigate more easily to service points (i.e. to charge the battery). Does this sound familiar? I believe it does, because fashion technology thinks along very similar lines nowadays. And the foundation for both – cars and clothes – is the textile industry, which creates smart textiles to be used for the automotive and apparel sectors.
My students found it a bit difficult at first to delve into a topic so far away from fashion, but once the research was complete and they presented it in class, they were excited about their findings.
Should you be interested in exploring this topic some more, I can highly recommend a new marketing-savvy book entitled “Auto Brand: Building Successful Car Brands for the Future” by Dr. Anders Parment. There is a chapter on car culture, fashion, and lots of research about the strategies of car brands. A second interesting book is called “Autopia: Cars and Culture” by Peter Wollen and Joe Kerr and takes a more artistic approach of the subject.
Overall, some of the findings have discussed that workplace dress is highly symbolic and somewhat related to productivity, or at least to perceptions of such. Father’s Day presents may then be a tangible item to acknowledge or promote effectiveness in the workplace, which is strongly linked to a man’s overall perceptions of personal success. The catch in all of it is whether everything is legit productivity, or just perceptions, or a cycle of the two perpetuating one another, and that is a big grey area. Nonetheless, while not much of this is mentioned in the article, I’m very pleased to have a line or two.
Book Reviews is on break this month, but here is a preview of sorts for next month’s review, London Society Fashion, 1905-1920: The Wardrobe of Heather Firbank, also mentioned in Michelle’s summer reading post earlier this month.
The introduction to London Society Fashion states one reason why Firbank’s clothing is so noteworthy: “Clothing from this period is often fragile and is as ephemeral as the passing fashions themselves, making this an exceptionally large collection of historic dress to survive from one person’s wardrobe” (p. 7). Alexandra Palmer has called clothing from this era “lively ticking time bombs of self-destructing materials” (Palmer 2006: 42), and has written on the challenges of displaying and advocating for the retention of these garments in decline. The exceptional fragility and beauty of gowns from this period was highlighted earlier this year through a stunning set of photographs of Hortense Mitchell Acton’s astonishing cache of Callot Soeurs garments recently discovered in Florence.
Whether a woman was purchasing couture across the Channel or the work of a neighborhood seamstress or ready-to-wear shop down the street, the passing of time is harsh on just about all garments from this era. Fabrics were delicate, and often imbued with “inherent vice” in the form of weighted, now-deteriorating silks or the pull of masses of beads and dense embroideries.
Pictured above and below are a few items not from Firbank’s wardrobe but from a far less well-known early 20th century family–my own. My aunt sent me this lighter-than-air net, lace, and silk dress, likely worn by my great-great-great aunt or 4th or 5th cousin. She expressed in an accompanying letter her mixed feelings about sending the dress to me–not for sentimental reasons of a difficult parting, but because of its deterioration and her doubts on whether or not it should be saved at all.
A cotton petticoat has faired a little better, and may see a summer afternoon or two this year.
This hat is not from my family, but is a purchase that has traveled with me for many years. Its wingspan has shortened a bit from several moves, a few brushes with narrow doorways, and the fluctuating Texas weather.
While clothing and accessories can be remarkably resilient and can outlast human bodies for generations, they are also mortal like their makers. Collection managers, curators, conservators, and private collectors can do what they can to help halt the deterioration, or can redo significant portions of garments–a practice that has become less controversial in recent years–or, in certain cases, can come to accept the end of a garment’s life. Luckily for Ms. Firbank, her wardrobe has a chance at a second life at the V&A. More on this next month.
Palmer, Alexandra (2006). ‘A Bomb in the Collection': Researching and Exhibiting Early 20th-Century Fashion. The Future of the 20th Century: Collecting, Interpreting, and Conserving Modern Materials. (London: Archetype Publications): 41-47.
We will be seeking two new interns for the 2015-16 academic year.
There is no pay, however, we can help you get college credit if needed and of course it’s great networking and experience. We need help with CFPs, some column research, a bit of behind the scenes blog details, and running our book giveaways (among other projects as they emerge).
Interns in the past have done an array of research and writing projects.
The work can be done spread out over time or in chunks as your time allows. It’s all remote. Preferable candidates are current college or graduate students or recent graduates in apparel studies with a focus on academia or museums or closely related.
Email Monica with your CV and a brief cover letter.Due date July 15.
After my last column rather exhausted the fashion exhibitions up this summer (though if I missed anything, don’t hesitate to tell me what I missed by emailing me or leaving a comment!!), this week I am visiting the Met’s China: Through the Looking Glassfrom my own home. Like many of you I cannot possible visit all of the exhibitions I would like to, and being in California it is unlikely I will get to see this year’s Costume Institute exhibition.
Thankfully, we live in the digital age and the Met has provided the video below through which people like me can still experience the exhibition!
What do you think of the video? For those of you who have been, how does it compare to actually being in the exhibition? What other exhibitions are you visiting vicariously through interactive, online, or other resources? What do you think of technology and exhibitions? Great? Need improvement? Please share your thoughts!
In my last Kōrero Kākahu post I made reference to the changes that have been happening at the national museum, Te Papa, lately, particularly those brought in by the new CEO Rick Ellis. The post mentioned the scrapping of short-term exhibitions in favour of reinvigorating long-term exhibitions and I pondered what this would mean for the dedicated textiles space in the museum, Eyelights Gallery. These weren’t the only changes mooted by Ellis as curator and biographer Jill Trevelyan revealed to national media that the museum’s publishing arm, Te Papa Press, was in the firing line. Te Papa Press, it must be said, is an extraordinary success for the museum and its publications have won multiple awards, including the prestigious New Zealand Book of the Year awards. What I found most shocking however was what this would mean for New Zealand textiles history and scholarship: if we were to lose both the physical space and the intellectual space, what would remain? Thankfully, this short-sighted idea is on the cutting room floor where it belongs, with great thanks owing to Trevelyan and other arts proponents putting their voices forward to save the Press.
In light of this rollercoaster, I thought this would be a great opportunity to highlight one of the stunning publications produced by the Press in the recent past. Whatu Kākahu – Māori Cloaks edited by Te Papa Curator, Awhina Tamarapa, was launched in October 2011 and was beautiful precursor to the Kahu Oraexhibition that opened the following year. For the first time, the storerooms housing Māori textiles were opened and drawer after drawer of cloaks were photographed in enlightening and vibrant ways. In terms of “core museum work”, which is what Ellis claimed he wanted to focus on, having a publication as a lasting record of a successful exhibition is integral to the legacy of an exhibition and without these publications, we don’t get the passing on of expert knowledge in a lasting medium. Books are also portable, they can be taken away with you at the end of an exhibition and supplement the awesome feelings you felt within. They are lasting testaments to the knowledge held by curators and the networks of people that they build up. Mina McKenzie, the first Māori woman director of a museum, is well-known for saying that museums need to “keep taonga warm”, that is, these objects that make up the Māori collection and even the non-Māori museum objects, they need to be surrounded by people, to inspire people, be seen and touched and smelled by people. If museums aren’t doing that, through their exhibitions (and they really should be doing it!), then they need to do it in other ways, through books and online publications. Long live Te Papa Press!
Image from the cover of Whatu Kākahu by Te Papa Press
A note on my column title: Kōrero Kākahu translates very literally from Māori to English as “talk of clothing” but can also be read as the stories gleaned from clothing or the stories that clothing holds. Future columns, particularly those that cover Māori content, may delve into this meaning a little deeper.