Artifacts from American Fashion: The Eisenhower Jacket

By Heather Vaughan Lee

This post is one in a series that gives readers a sneak-peek into my new book Artifacts from American Fashion (Available November 30), as well as the research behind it. The book offers readers a unique look at daily life in twentieth-century America through the lens of fashion and clothing. It covers forty-five essential articles of fashion or accessories, chosen to illuminate significant areas of twentieth-century American daily life and history, including Politics, World Events, and War; Transportation and Technology; Home and Work Life; Art and Entertainment; Health, Sport, and Leisure; and Alternative Cultures, Youth, Ethnic, Queer, and Counter Culture. Through these artifacts, readers can follow the major events, social movements, cultural shifts, and technological developments that shaped our daily life in the U.S.


Olive drab “Eisenhower” U.S. Army Field jacket, worn by Dwight D. Eisenhower during World War II and was made sometime between 1944 and 1947. Kansas Historical Society, 1983.3975.1.1

The Eisenhower jacket (also known as the M-44, the “Ike” Jacket, ETO jacket (European Theater of Operations) and officially, the “Wool Field Jacket M-1944”) was first issued by the Army in November 1944 . It had been developed by General Dwight D. Eisenhower (1890-1969) and his tailor, Sgt. Michael Popp (1905-1968) during World War II (1939-1945). The Jacket became standard issue and along with other military clothing, inspired civilian clothing and uniform styles.

Dwight D. Eisenhower Presidential Library and Museum, National Archives (63-92) https://prologue.blogs.archives.gov/2014/11/11/the-ike-jacket/

Eisenhower and his tailor, Sgt. Michael Popp (1905-1968), redesigned the standard field jacket into something more practical and attractive. Lacking proper pattern paper, Sgt. Popp had used bedsheets to make the early drafts of the jacket (“A Blouse for Ike.” 1951, 3). It was completed in March of 1943. It would become “a coveted jacket popularized by one of the war’s most-photographed personalities” (Blount 2001). Eisenhower was so pleased with the job Sgt. Popp had done that he awarded him a bronze star (“A Blouse for Ike.” 1951, 3). Popp remained on Eisenhower’s staff until he was discharged in December 1945.

“A Blouse for Ike.”1951. Dayton Daily News (Dayton, Ohio) 24 Jun, 3. https://www.newspapers.com/image/402234982/?terms=Popp%2BEisenhower

In June 1951, Popp noticed that Eisenhower was still wearing his old uniforms and designed him a Summer new one (using measurements from memory). The jacket was to be hand-delivered by Popp’s wife.

About a month later, Ike’s gratitude for the gift was reported in the local newspaper, with an additional note that “Sgt. Popp doesn’t know it, but I’m a little bigger around the waist than I was during World War II. I may have to reduce a little.” (“Ike to Reduce to Fit Suit.” 1951)

The Army continued to issue the Ike jacket until 1956, when they began phasing it out, and was completely gone from inventory by October 1960 (Parkinson 2014). After President Dwight D. Eisenhower died in 1969, he was buried in an M-44 jacket in Abilene, Kansas (Parkinson 2014).

You can learn more about the Ike jacket, military uniforms, and how military dress influenced both mens and women’s fashion during wartime, in Artifacts from American Fashion, now available for pre-order.

Sources:

“A Blouse for Ike.” 1951. Dayton Daily News (Dayton, Ohio) 24 Jun, 3. Accessed October 30, 2018. https://www.newspapers.com/image/402234982/?terms=Popp%2BEisenhower

“Ike to Reduce to Fit Suit.” 1951. Dayton Daily News. July 1. Pg 78. Accessed October 30, 2018. https://www.newspapers.com/image/402227463/?terms=Popp%2BEisenhower

“Jacket Uniform.” N.d. Kansas Historical Society. Accessed October 30, 2018. http://www.kshs.org/museum/musobjs/view/307342

Blount, Jim. 2001. “Michael Popp, Hamilton tailor, created popular Eisenhower jacket.” Journal-News (Ohio) Wednesday, July 4. Accessed October 29, 2018. http://www.20thcenturygi.com/index.php?topic=145.0;wap2.

Parkinson, Hilary. 2014. “The Ike Jacket.” National Archives Pieces of History Blog. November 11. Accessed October 30, 2018. https://prologue.blogs.archives.gov/2014/11/11/the-ike-jacket/


Heather Vaughan Lee is the founding author of Fashion Historia. She is an author and historian, whose work focuses on the study of dress in the late 19th through the 20th century. Covering a range of topics and perspectives in dress history, she is primarily known for her research on designer Natacha Rambova, American fashion history, and the history of knitting in America and the UK. Her forthcoming book, Artifacts from American Fashion is available for pre-order on Amazon (November 2019 from ABC-CLIO).  More posts by the Author »

Continue Reading

Iconic Career Fashion of the 1980s at Turtle Bay (Redding, CA)

By Heather Vaughan Lee

A rare opportunity to curate a fashion exhibition of objects held and worn by local collector presented itself to me back in April, and I jumped at it. Now an exhibit at Turtle Bay Exploration Park and Museum, and in collaboration with the Redding Fashion Alliance, the exhibition explores the 1980s high fashion career-wear of local Redding resident Aleta Carpenter.

Carpenter’s private collection includes iconic examples from the 1980s and early 1990s by major designers such as Valentino, Chanel, Oscar de la Renta, and Judith Leiber. It includes a ball gown, a dinner dress, finely tailored suits, as well as hats, shoes, and beautiful handbags. On view through January 12, 2020, this Iconic Fashion exhibit focuses on the excesses of the 1980s, women’s growing role in the workforce, and how couture and high fashion responded to the growing American career woman. Presenting new research, the exhibit also explores the popularity of the Southern California couture boutique Amen Wardy. Overall, the pieces reflect the culture and economy of that time, and also have stories to tell about California politics and fashion history.

Aleta Carpenter, at the opening of Iconic Fashion Exhibit at Turtle Bay, September 2019.

Aleta Carpenter (B. 1946) was a Sacramento lobbyist at a time when there were only a handful of female lobbyists in California (in the mid-1970s). Her career developed along with her wardrobe of professional attire. And she grew to understand that clothing could communicate ideas and change perceptions, including how women were viewed in the workplace. Her professional wardrobe evolved into an iconic collection of demi-couture and ready-to-wear. By wearing these fashions in the California State Capitol, to important political events, and to social functions, she gained a reputation as one of the best-dressed women in the Capitol.

The American economy was strong in the 1980s, and more women were entering the workforce. Fashion designers recognized their need for appropriate professional, yet stylish, attire that displayed their economic power and status. Those who could afford it spent extravagantly on luxury goods. Chanel suits, Rolex watches, Gucci shoes, Judith Leiber bags, and designer denim have since become iconic symbols of 1980s prosperity.

Power Suits and Chanel in the 1980s

The United States became increasingly status-conscious during this time. Fashion insiders and designers had discovered the professional woman. Clothing became ostentatious as Americans began “dressing for success.” The baby boom generation flourished during the economic growth of Ronald Reagan’s conservative presidency. The new business wear standard for working women became the man-tailored power suit, reflecting her economic and professional power. The 1980s silhouette featured the strong shoulders and narrow waistline that defined the power suit.

The classic Chanel suit would become an icon of modernity, with a weighted chain in the jacket hemline, perfect tailoring, and luxurious finishings and fabrics. It became a symbol of status and power in American popular culture.

Chanel Boutique, 1989, France
Aleta Carpenter Collection
Vogue, May 1989, “Fashion: The New Summer Standard.”

Beginning in 1983, Karl Lagerfeld (German, 1935-2019) took over as head designer for Chanel, bringing a youthful flare to the traditions of the brand. Included in the exhibit is a Lagerfeld-designed Chanel suit that was featured in a Vogue fashion editorial in May 1989, “Fashion: The New Summer Standard.” The article drew connections between class, power dressing for women in business, as well as the tradition of wearing white cotton in the summer heat. The following year, actress Julia Roberts appeared in a remarkably similar costume in the film Pretty Woman (1990), custom-made in the style of Chanel, by costume designer Marilyn Vance (watch for it in the clip below at the 45-second mark).

Another 1980s Lagerfeld for Chanel suit, made of denim, reflects the creation and rising popularity of designer denim, which transformed the traditional workwear into an exclusive luxury fashion. In the mid-1980s, high fashion designers including Karl Lagerfeld for Chanel, Ralph Lauren, Yves Saint Laurent, and Jean-Paul Gaultier included denim skirts and jean jackets on the runway. Lagerfeld got much attention for his use of denim beginning in 1984 as a part of his strategy to appeal to a more youthful customer. Women’s Wear Daily put this suit by Lagerfeld on the cover of its September 26, 1986 issue to preview for Chanel’s Spring 1987 ready-to-wear show in France.

Chanel Boutique Suit, Spring 1987, France
Purchased at Amen Wardy
Aleta Carpenter Collection
Women’s Wear Daily cover, September 26, 1986 (preview of Chanel’s Spring 1987 ready-to-wear show in France).

High Fashion in California: Amen Wardy and Fashion Island

Sajbel, Maureen. “Amen Wardy: Couture in California,” WWD, March 3, 1987, 28.

Due to many social and political events and commitments, a revamp of my wardrobe was in order. I fell in love with a Bob Mackie dress I saw in Vogue, and my daughter-in-law suggested that Amen Wardy was probably the only place in Orange County I might find it. I didn’t, but Amen and I struck up a lovely friendship because I wore his clothes so well (and was such a good customer!). Visits to his shop became an afternoon’s entertainment as Amen served us champagne in his private dressing room and brought out racks of clothes for me to try.”– Aleta Carpenter

The Amen Wardy Boutique at Fashion Island in Newport Beach, CA was a glamorous mecca for haute couture shoppers seeking exclusive labels. Oscar de La Renta, Chanel, Valentino, Givenchy, Emanuel Ungaro, James Galanos, Bill Blass, and Bob Mackie designs were shown during weekly fashion shows in his 2,300 square-foot mini-ballroom.

Sajbel, Maureen O. “The Wonder World of Amen Wardy,” WWD, February 4, 1985., 11.

After opening his first boutique in 1977, he moved to Fashion Island in 1982. Socialites and celebrities such as Joan Collins, Joan Rivers and, even the famous accessories designer Judith Leiber, all flocked to his boutique. He featured a Chanel Boutique in 1984, quickly expanded to a 31,000 square foot space, and had a steady Valentino ready-to-wear clientele by 1987. By 1988, his customers regularly traveled from across the country to frequent his shop.

One client noted, “You’re treated like a queen, and he remembers what you have in your closet.” According to the Los Angeles Times, “the bulk of Wardy’s best customers, are mature, social women of a certain age and an advanced level of financial security; women accustomed to service, at home and elsewhere.”

I absolutely adored working on this project, and hope to build on my initial research. If you happen to find yourself in the far Northern California area, please visit the show, and let me know what you think!


Heather Vaughan Lee is the founding author of Fashion Historia. She is an author and historian, whose work focuses on the study of dress in the late 19th through the 20th century. Covering a range of topics and perspectives in dress history, she is primarily known for her research on designer Natacha Rambova, American fashion history, and the history of knitting in America and the UK. Her forthcoming book, Artifacts from American Fashion is available for pre-order on Amazon (November 2019 from ABC-CLIO).  More posts by the Author »


Continue Reading

Fashion Revolution Week starts April 24 (via Fibershed)

Fibershed - Local Fiber, Local Dye, Local Labor

Dig in to the Fashion Revolution: together, we can create change by re-envisioning value chains from soil to soil. Whether you want to know who grows your clothes, or how to mend and repair them, or gain a better undertanding of the role of our working landscapes in drawing down carbon, read on for classes, events, opportunities, and inspiration from the Fibershed movement and community.


FashRev 2

Fashion Revolution

Fashion Revolution Week is a worldwide campaign to raise awareness and promote change in the fashion industry. Join Fibershed Producer members Sierra Reading and Amy Keefer along with local designers Mira Blackman and Jenny Fong to refashion your clothing with mending, natural dyeing, and embroidery, at Handcraft Studio School in El Cerrito.
You can also participate at home by sharing on social media and asking #whomademyclothes? We invite you to deepen the conversation in your Fibershed by including #Fibershed in your posts and considering #whogrewmyclothes.

Find a Fashion Revolution Week event in your community.
Fashion Revolution Re:Fashion Workshop on April 25th.
Attend Fashion Revolution’s Night Out San Francisco on April 26th.
or Fashion Revolution’s Night Out Oakland on April 27th.
Join Stanford’s Revolution by Design on April 23rd.


Within

WITHIN

Textile-based gallery and studio Ogaard hosts Within, a monthlong wellness study in collaboration with Amina Horozic, including weekly panels that bring together “local luminaries in the worlds of art, design, food, business, social justice, and community.” Fibershed founder and Director Rebecca Burgess will join Jennifer Gately of the Bolinas Museum, Heroine podcast founder Majo Molfino, and Indhira Rojas of Anxy Magazine, in conversation.

April 19th, 7:00 – 9:00 pm in Oakland CA: Click here for more information and to reserve a free ticket.


Carbon Farming Education Day

paigegreen-poncia-51311-019

Fibershed Materials Manager Krystle Moody and friends are designing a Carbon Farming Education Day at Stemple Creek Ranch—one of Fibershed’s Carbon Farm Plan partners—as a way to gather together to learn more about Carbon Farming while sharing a casual meal produced at Stemple Creek and Fortunate Farm. Proceeds for the event will support Krystle’s Climate Ride participation. Mark your calendars for August 13th for the event; tickets reserved ahead of the June Climate Ride fundraising goal will help advance this effort.

August 13th, 12:00 – 5:00 pm in Tomales, CA: Click here for tickets and information.


textile lab

Textile Lab

Join the Brooklyn Fashion + Design Accelerator for a look at cloth that was grown, milled, and made within the region. Designer and activist Laura Sansone founded Textile Lab to rebuild regional textile manufacturing and connect sustainable supply chains, and the Regional Cloth Project does just that with a focus on Hudson Valley fibers and stakeholders.

May 2nd, 4:00 – 6:00 pm in Brooklyn, NY: Click here for details and registration.


hands on hemp

Hemp_For_Liberty_Stills_D.Hedden-45-900px

This month, Kentucky Cloth Project collaborators will gather to provide information and hands-on experiences on hemp farming and fiber processing. We welcome you to explore your regional land-based fiber system through your hands and senses. All ages and skill levels are invited, and presentations and classes are free of charge, thanks to the good graces of the Lydia B. Stokes Foundation.

April 21st & 22nd in Kentucky: Click here to learn more about the event and to RSVP.


felt decoded

felt image

Felt Decoded explores wool as nature’s technology, and the ways in which felt connects us to our nomadic past and a sustainable future. The exhibition features selected wool samples from the Northern California Fibershed, and a display copy of the Wool & Fine Fiber Book. On April 27th, artist and curator Janice Arnold will share her inspirations, design process, exhibition highlights and insights.

April 27th, 6:30 – 8:30 PM at the Museum of Craft & Design in San Francisco: Click here for details.

Continue Reading

2016 CSA National Symposium Recap

Full-Cleveland-abstracts-2016-for-Avectra-COVER

By Ariele Elia

Kristen Miller Zohn and Tina Bates in their Full Cleveland and 1970s
Kristen Miller Zohn and Tina Bates in their Full Cleveland and 1970s

The Costume Society of America recently hosted its 42nd Annual Meeting and National Symposium, titled The Full Cleveland: Dress as Communication, Self-Expression, and Identity, in Cleveland, Ohio. The symposium opened with a keynote address by Teri Agins, author of Hijacking the Runway: How Celebrities Are Stealing the Spotlight from Fashion Designers. Agins discussed the ongoing phenomenon of celebrities creating their own clothing lines. She entertained the audience with celebrity stories she collected while writing for The Wall Street Journal. Her talk provided an insider’s view into who actually designs these lines, who is the most successful, who started the trend, and why it is leading today’s clothing industry.  She discussed lines started by Donald Trump, Jennifer Lopez, Carlo Santana, P. Diddy and of course the Kardashians. At the opening reception attendees including Executive Director, Kristen Miller Zohn and Tina Bates, author of A Cultural History of Uniforms, dressed up in their best rendition of the Full Cleveland (a 1970s ensemble complete with a white belt and matching white shoes).

Adidas superstar sneakers worn by hip-hop artists and b-boys
Adidas superstar sneakers worn by hip-hop artists and b-boys

A variety of academic papers were presented on topics such as costume design, ethnographic clothing, material culture analysis, and teaching costume studies. Below are a few selected highlights. Lauren Boumaroun, Ph.D candidate in UCLA’s Cinema and Media Studies program presented on the wardrobe of Saul Goodman in the television series Better Call Saul. Boumaroun discussed how the character built a visual identity through referencing the wardrobes and persona of other onscreen stars such as Matlock. Elizabeth Semmelhack, Senior Curator at The Bata Shoe Museum and curator of Out of The Box: The Rise of Sneaker Culture spoke about the origins of the sneakers and their connection to hip hop and menswear. She highlighted famous styles such as Chuck Taylor’s All Stars, Puma’s Clyde, Nike’s Air Force One and Air Jordans, along with the various designer collaborations. Winner of the Stella Blum Student Research Grant, Matthew Lee Hale, Ph.D candidate at Indiana University presented his ongoing research Cosplay: Creating the Body Fantastic. Hale documented the process of creating the elaborate costume for Cosplay conventions such as San Diego’s Comic Con. Ashley Garrin, Ph.D from Iowa State University discussed a case study of African American women’s hair as a symbol of individual and collective identity during the civil rights movement. Her presentation was divided into three areas: boundaries, consciences, and negotiation, which create a collective identity construct. The Costume Institute at the MET was the winner of the Richard Martin Exhibition Award for Charles James: Beyond Fashion. Jan Reeder provided a behind-the-scene look of how the exhibition was put together. Reeder explained the process of having the conservation team creating mock ups of pattern pieces for the animation team. The finished animation allowed the viewer to see the complex construction of James’ dresses. These animations will be available online in the next few months.

Lady Gaga's meat dress designed by Franc Fernandez
Lady Gaga’s meat dress designed by Franc Fernandez

Additional symposium tours included a behind the scenes tour of the Rock and Roll Hall of Fame and Museum vault. The collections manager unveiled some of the most covetable items in their collection and explained their storage methods. One of their most interesting pieces was Lady Gaga’s famed meat dress. This piece is on display in their new exhibition Louder Than Words, which examines the political messages disseminated through music. Gaga wore this dress to make the statement about the US military’s “don’t ask don’t tell” policy, stating, “If we don’t stand up for what we believe…we’re going to have as much rights as the meat on our bones.” Prior to entering into the museum collection, a taxidermist was consulted on how to conserve the dress made of Argentinian red meat. The collections manager explained that the process was similar to dehydrating beef to create jerky. An unforeseen complication was maintaining the structure of the dress. During the dehydration process the dress lost its form. A structure was later put underneath to provide some stability to the dress. To create the original red color of the dress, it was later dyed to mimic the deep red color of the raw meat. Some argue that the conservation has its ethical issues. To learn more about the process visit this article.

Peter Criss of KISS boots, Collection of the Rock and Roll Hall of Fame
Peter Criss of KISS boots, Collection of the Rock and Roll Hall of Fame

Snake skin shoes worn by Keith Moon, collection of the Rock and Roll Hall of Fame
Snake skin shoes worn by Keith Moon, collection of the Rock and Roll Hall of Fame

Other highlights of the visit were Flavor Flav’s oversized clock he wore around his neck; Janet Jackets leather jacket worn at Super Bowl XXXVIII during her infamous wardrobe malfunction; a pair of teal snakeskin shoes worn by Keith Moon from the WHO, and a pair of green rhinestone platform boots worn by Peter Criss of KISS. The glass pyramid building is a masterpiece designed by I.M. Pei and has memorabilia including cars and hot dogs suspended from the ceiling. The multiple levels of the museum hold a gems ranging from John Lennon’s acoustic guitar to costumes worn by Elvis, The Beatles, KISS, Funkadelic, and Beyoncé to name a few.

While venturing outside the hotel I stumbled across an Art Deco facade with “The Arcade” written in gold. Upon entered I was blown away by the bright light beaming in from the curved glass ceiling. I had been transported back to the Victorian era and in awe of the five stories of shop windows. The Arcade was the first indoor shopping mall in American built in 1890 by John D. Rockefeller. In 2011 the Hyatt had undertaken the task of restoring The Arcade and converting it into a hotel, shopping, and dining area. Another incredible example of restoration downtown is the Cleveland Trust Rotunda. Originally designed as a bank in 1908 by George Brown Post, (architect of the New York Stock Exchange), it has been transformed into Heinen’s, the most luxurious grocery store and wine bar. Many CSA attendees finished off the conference with a glass of wine under the blue and green stained glass Rotunda.

For more photos, please visit the gallery:


Ariele Head Shot _webAriele Elia, assistant curator of Costume and Textiles, Museum at the Fashion Institute of Technology (FIT); she has curated or co-curated a number of exhibits including: “Faking It: Originals, Copies, and Counterfeits,” “Fashion and Technology,” and “Global Fashion Capitals.” Currently she is co-curated “Black Fashion Designers,” set to open December 2017. Elia has lectured on at Oxford, NYU, Eyebeam, and the University of Rhode Island. Her essay, “The Wardrobe of the Modern Athlete: Activewear in the 1930s” was published in the book Elegance in an Age of Crisis: Fashion of the 1930s. Elia is currently writing an essay about the influence of deep sea on fashion for the catalog Expedition: Fashion from the Extreme. She holds an M.A. in Fashion and Textile: History, Theory, and Museum Practices from FIT, as well as a B.A. in Art History from Saint Mary’s College of California. More posts by the Author »

Continue Reading

CSA Western Region announces mini-Symposium and tour in Edmonton, Canada

The Costume Society of America Western Region, in conjunction with the University of Alberta, Edmonton presents the international conference: Dressing Global Bodies: Clothing Cultures, Politics and Economics in Globalizing Eras, c. 1600’s-1900s to be held July 7-9, 2016.

ec13ca1c-b605-42e2-a35a-e29581ea1b65On Sunday, July 10, 2016, following the International Conference, CSA Western Region is hosting a morning mini-symposium and an afternoon tour of the Ukrainian Cultural Heritage Village (transportation is included).

Although the Royal Alberta Museum is closed for renovations, attendees will get a private look at special pieces from their collection. The morning will include a special slide tour of local textile collections by guest speakers, and attendees will hear from the 2014 Jack Handford Intern about her experiences at the De Young Museum in San Francisco, and the benefits of this semi-annual award. After enjoying a box lunch attendees will depart via provided transportation to the Ukranian Culture Heritage Village, a living history museum.

Schedule:

8:45-9:15 Registration

9:15-12 Morning program at the Museum Theatre:

  • Slide tour: Highlights of the Costume Collection of the Western Canadian History program.  The collection houses over 25,000 articles of dress and domestic textiles related to life in Alberta.
  • Paper: Hutterite Samplers and Embroidered Calligraphy, Lucie Heins, assistant curator Western Canadian History.

Coffee break

  • Paper: Costume Storage: Addressing Conservation and Curatorial Interests at the de Young Collection Jack Handford Internship presentation by Christina Frank, MA.
  • Paper: An introduction to Ukrainian textiles in Alberta, Larisa Cheladyn. Slide presentation of costuming and household textiles, with some reference to religious and other unique items will be the preparation for our afternoon tour.

12 – 1:30 Catered lunch at the museum. Have your lunch in the sunny theatre lobby or outdoors in the museum’s park-like setting above the North Saskatchewan River valley.

1:30 Luxury coach to the Ukrainian Cultural Heritage Village, a 160-acre living history museum tracing the history of Ukrainian settlement in east central Alberta. Enjoy a one-hour tour by costume curators Joy Schellenberg and Becky Dahl. Participants will have one hour on their own at the Village before traveling back to Edmonton on the bus.

Registration and more information here.

Ukrainian Cultural Heritage Village

Continue Reading

Shoemaker Chris Francis and the Body as Agent Symposium

*

It was my extreme honor to be a speaker at the Body as Agent Symposium on October 10. The sold out crowd was rife with artists, historians and fashion history/art to wear enthusiasts and I couldn’t have been among a more receptive crowd. Presenters, hand-picked by curator Inez Brooks-Myers, included Melissa Leventon (historian), Ana Lisa Hedstrom (Shibori Master), and other artists such as Carol Lee Shanks, Chris Francis, emiko oye, Dolores R. Gray, and Suzanne Lacke. Of these, several stood out as ‘crowd favorites’ (as well as my own).

Hands down, the favorite and most impressive of the group was the well spoken (though quiet) Chris Francis. His amazing (and fast) trajectory as a wearable shoe artist are impressive. His private clients include many musicians such as members of Prince’s band, Journey, and others. Self-taught, his (completely wearable) shoes are entirely handmade and reference major artists, art movements, literature, music and others.

These included Dali, Picasso, The Bauhaus, Russian Constructivism, Cubism, Dadaism, Tramp Art, Punk Music, Devo, Salvatore Ferragamo, You Can’t Win by Jack Black, and other contemporary and historical culture issues. His materials (and inspirations) are often ‘found’ objects, or inspired by his current city of Los Angeles, as well as his steel working hometown in Indiana. His background includes carpentry and “building” as he put it, with a love of mechanics. He is also a sometime painter, and has sometimes used that medium as a ‘jumping off’ point for his creations.

Opium den shoes inspired by “You Can’t Win’ by Jack Black, by Chris Francis. At the symposium, he noted that these shoes could have been worn while others ‘smoked’ the opium pipe ‘and looked up’.

These included Dali, Picasso, The Bauhaus, Russian Constructivism, Cubism, Dadaism, Tramp Art, Punk Music, Devo, Salvatore Ferragamo, You Can’t Win by Jack Black, and other contemporary and historical culture issues. His materials (and inspirations) are often ‘found’ objects, or inspired by his current city of Los Angeles, as well as his steel working hometown in Indiana. His background includes carpentry and “building” as he put it, with a love of mechanics. He is also a sometime painter, and has sometimes used that medium as a ‘jumping off’ point for his creations.

Some of his shoes have architectural references, and he has toyed with including mechanical elements to the shoes (though this makes them slightly less wearable, and a little more dangerous). He is a self-identified former ‘punk’ who taught himself design and pattern making by reading and buying textbooks from a design schools curriculum (he didn’t name which school). His punk shoes included a stiff mohawk made from old broom, and actual material (flyers?) from the walls of the old CBGBs in New York.

Chris Francis, 2015. Photo by Noel Bass, courtesy of Craft & Folk Art Museum. CF: ” I’m actually trying to mimic the motions of machines rather than making shoes that just resemble a machine; I want to actually get to the motion because I love industrial design.” This pair of shoes also references his own painting, which strongly referenced cubism.

Of his Devo boots (the main image used to promote the current exhibition, the opening image here), he explained that he often sees colors and/or shapes while he’s listening to music (I believe, this is called synesthesia) and had been listening to “lots and lots” of Devo, and appreciating its mechanized sound, correlated the design to the music. I can’t wait to watch as is career and the world continues to inspire his work. His work has humor, thoughtfulness, and interesting references. All of which makes his work entertaining and aesthetically pleasing. It reminds me of the work of Gaza Bowen (especially her sculptural shoes), though I can’t quite put my finger on the ‘how’ of that feeling.

The exhibition, Body as Agent, is on view through in Richmond, CA through November 15. Chris Francis had a solo show at the Craft and Folk Art Museum in Los Angeles that closed September 6, but additional information and images are still available online. You can hear an audio review of that show via KCRW’s design show DNA.

 

 

Salvatore Ferragamo’s 1939 wedge, the inspiration for Chris Francis’ version.

Inspired by asking himself the question “What if Ferragamo were in the studio and collaborated with me on a shoe?” by Chris Francis

 

 

 

 

 

 

 

 

 

 

*Chris Francis’ boots, inspired by Devo on view at Body as Agent in Richmond, CA

Continue Reading

Save the date (October 10): I’m Speaking at “Body as Agent” In Richmond, CA

I am so excited to have been invited to speak at the Richmond Art Center’s symposium, accompanying the exhibition, “Body as Agent: Changing Fashion Art.” The exhibition opens on September 12, and the symposium will be on October 10, from 10am-4:30pm.

This symposium is held in conjunction with the exhibition Body as Agent: Changing Fashion Art. The exhibition shows wearable art, still featuring chic clothing and accessories, but has added the vibrations of upcycling which enhances the visual vocabulary of artists. In addition, this exhibition of California artists further expands notions of clothing to include works of art with garment forms serving as metaphors for social, political and social issues as found in painting, photography, print making and sculpture.”

I’ll be speaking right after lunch, and space is limited, so register now by following this link:

Symposium Registration

($35 registration fee includes a box lunch.)

 Full Program

10:00 Welcome, Inez Brooks-Myers, Richmond Art Center Board Vice President
10:10 20th Century Artwear: Heritage and Inspiration, Melissa Leventon, Principle, Curatrix
11:10 Creating the Obiko Digital Archives: Documenting the Bay Area ArtWear Movement of the 1970s
and 1980s, Ana Lisa Hedstrom, Artist/Shibori Master
11:40 Q&A
11:55 Lunch and time to view exhibition
1:30 Reconvene
1:35 Elizabeth Ginno’s Costume Etchings at the 1940 Exposition on Treasure Island, Heather Vaughan
Lee, Fashion Historian
2:05 Carol Lee Shanks, Artist
2:25 Chris Francis, Artist
2:45 Break
3:00 emiko oye, Artist
3:20 Dolores R. Gray, Artist
3:40 Suzanne Lacke, Artist
4:00 Q&A
Continue Reading

“Alamo a la Mode: Defending the Importance of Dress” in #SanAntonio

The Costume Society of America’s 41st Annual National Conference “Alamo a la Mode: Defending the Importance of Dress” is being held in San Antonio, Texas this year, May 27-30 and I’m happy to count myself among the presenters !

My paper, “Hidden Treasures: The Importance of Dress at Turtle Bay Exploration Park” (3:20pm on Friday, May 29) will include a wide swath of history related to local, state, national, and even international fashion trends, as well as some Ethnographic and Archeological ‘clothing’  (and a good, but surprising, dose of honest-to-goodness Couture!) Also, Nadine Stewart who contributes exhibition reviews regularly to Fashion Historia is presenting “The World According to (the Men of) The Illustrated Milliner, 1900-1920” at 8:30am on Friday.

Though I’m only going to be there for one day, I’m still eager to see the presentations by my colleagues. Here is a run-down of those presenters headed out from my own ‘golden state’ of California. I hope to see you there (Seriously! please leave a note in the comments, I’d love to meet readers!)

Paper Presentations:

  • Shu-Hwa-Lin (with Li King) “Street Fashion styles influence by Chinese culture”
  • Shelly Foote “The Growth of the Ready-to-Wear Industry in California”
  • Meghan Grossman Hansen “The Michel Arnaud Fashion Photography Archive” (at FIDM)
  • Judi Diwanis “Men’s Nineteenth Century Period Patterns: Preserving the Craft”
  • Anne Bissonnette “Chemise Dresses and Embodiment Practices in France 1778-1799”
  • Sarah Woodyard “‘To her Ribbands and Lace, and Caps give a Grace’: Fashioning Gender in Eighteenth-Century Women’s Caps”
  • Kelly-Reddy “Best The Politicization of Fashion in Virtual Queer Spaces: A Case Study of Saint Harridan and Tomboy Tailors”
  • Heather Vaughan Lee Hidden “Treasures: The Importance of Dress at Turtle Bay Exploration Park”

Poster Presentations:

  • Beverly Chico “The Importance of Hats in Children’s Literature”
  • Shu-Hwa-Lin “Exploring Chinese Design theory from Dragon Robes”
  • Helen S. Koo (with Seoha Min) “Exploration of 3D Texture Design Technique with Organza Fabric”
  • Casey Stannard “Robe de Style Revisited”
  • Marie Bodtkin “The Feminine Gaze: Female Fashion Photographers from Midcentury America”

2015 Brochure Now Available
Register Here

Continue Reading

Issey Miyake to Western Wear to Amazons at CSA Western Region Symposium

 

Issey Miyake’s Tattoo (1970)

The Western Region of the Costume Society of America held their symposium this year at the Museum of Contemporary Craft in Portland, OR, on October 11. I was fortunately enough to attend and was treated to seven lovely papers (some works in progress), and two lively discussions with attendees on the papers presented, as well as on the state of the western region and what members want more (and less) of. Attendees were very engaged in the discussions, more than I’d seen at a regional level.

The papers topics were based loosely on the topic “From the Street to the Catwalk, Cultural Influences on Contemporary Fashion” and the Museum of Contemporary Craft made for a wonderful setting (especially because of their exhibit, Fashioning Cascadia, which ended that day.

After opening remarks, the Annual Business meeting, and a short talk by CSA National President, Kathy Mullet (who is a Western Region member), the papers were presented. Given by Brenna Barks, Clara Berg, Meghan Hanson, Jennifer M. Mower, Linda Florence Matheson, Ilana Winter and JoAnn Stabb, the papers were varied – both in their topics, as well as in the progress of research. Topics included

  • Issey Miyake’s use of Japanese revival style,
  • GLBTQ style clothing in a regional museum,
  • a preview of the Michel Arnaud Fashion Photography Archive at FIDM,
  • pre-WWII WPA sewing rooms,
  • Street to runway fashion from the 40s-80s,
  • A history of Rockmount Ranch Wear, and
  • Romaine Brooks’ Amazon/Tuxedo fashions and their influence through history

It was also a good mix of emerging professionals and well –seasoned presenters. Regional diversity was good too – presenters were from Fresno, Los Angeles, Davis, Seattle, and Corvalis, covering three states (California, Oregon, and Washington).

Happily, attendees were also given packets of information with abstracts for all the papers presented, and much discussion was generated by the topics in the symposium wrap-up. I was glad to get to spend such good time, considering these interesting topics. It makes me glad that there is still so much research left to do! Below are some photos I took from the Fashioning Cascadia Exhibition:

Photo Oct 11, 8 26 30 AMwtmkPhoto Oct 11, 8 25 40 AMwtmk  Photo Oct 11, 8 26 45 AMwtmkPhoto Oct 11, 8 26 34 AMwtmk

Continue Reading

“Hips Don’t Lie” at the Asian Art Museum (San Francisco)

I’m happy to be able to share with you, this review by my good friend, and fellow CSA Western Region board member, Brenna Barks. She recently visited the Asian Art Museum in San Francisco to hear “HIps Don’t Lie — GORGEOUS Idea Talk” by Nicole Archer, a fellow CSA member, as a part of a CSA Western Region meet-up. . The talk is part of programming support for the current exhibition, Gorgeous (on view through September 14). Brenna kindly agreed to write up her thoughts for Fashion Historia:

Hips Don’t Lie – GORGEOUS Idea Talk by Nicole Archer

The first piece Nicole Archer led the group to in the GORGEOUS galleries for her talk, ‘Hips Don’t Lie’, was Gerhard Richter’s 1991 piece, Spiegel, blutrut (Blood Red Mirror). It was an unexpected first piece to examine, and with it, Nicole masterfully set the tone for the entire talk.

I had noticed the piece during my quick walk-through prior to the talk and had admired it for the color and for the power of such a rich color on such a large, stark piece. But I was in a bit of a hurry because I didn’t want to miss the start of the talk so I didn’t have time to notice what Nicole pointed out: the piece’s reflective properties. Oil painted on glass, Spiegel, blutrut is naturally reflective and for a talk that focused on posture, body language, and how we use both to communicate and relate not just with ourselves and each other, but with the art objects we encounter, the first “image” Nicole confronted us with was ourselves.

This forced us to examine how we were standing and carrying ourselves, and enabled Nicole to introduce the major tenet of her talk, best summarized by a Nietzsche quote she shared with us: “There is more wisdom in your body than in your deepest philosophy.” Our bodies know as much about figurative art – and non-figurative art, we would learn – as our minds do.

Nicole then discussed the hip line and its use throughout art history and across various cultures. Starting with the ancient Etruscan kore statues and the statuary of ancient Egypt, there is a firm, stiff posture with the hips straight and parallel which establishes one’s presence, or gives one a dominating, determined, confident (if static) air. This was followed by the ancient Greek s-curve and the contro posto poses; each of these stances adds a sensuality and a movement to the body that the initial posture does not have.

This was best illustrated by Nicole through Narkissos (1976 – 1991), a collage drawing by San Francisco artist, Jess which features a self-portrait of the artist in the composition in the more sensual s-curve posture, with another male figure in the background in the firmer, straight-hipped, kore-style stance. The contrast between firmness and softness in stance, between strong confidence and a gentle sensuality emphasized the artwork’s main theme: exploration and celebration of male, homosexual desire. As Nicole stated through her use of the Nietzsche quote at the start of the talk, my body “knew” what the difference in those postures meant and I had read the difference almost subconsciously; by viewing the work through the lens of Nicole’s thesis and expertise, and hearing and participating in the discussion with my fellow attendees, this difference was brought to the surface and for me added even more depth to an already exquisite piece.

I was not alone in my revelations. While gathered around a sketch by Tom of Finland, as various people examined the figures’ postures and connected with them physically through mimicking their poses (some only mentally, some physically), there were multiple and all equally interesting and accurate interpretations of what the two men in the sketch were doing: they were subtly checking out each others behinds, they were establishing who was the dominant and who was the less dominant person in this exchange, they were posturing for a third person observing them, and so on.

While examining the comedic Laughing Nude by John Currin (1998), one young man pointed out that the hands of the woman depicted were not graceful, but – through illustrating with his own hands – rather awkward, and that their depiction was almost masculine. This meant that Currin’s Nude was not only a parody of the distorted nudes and female figures found in most Northern Renaissance paintings, but also perhaps a parody of contemporary nudes, which tend to over-emphasize an ideal of grace and delicacy.

That so many people felt comfortable speaking aloud can only be credited to Nicole. Her ability to engage with her audience, and her style of delivery were nothing short of masterful. With or without any artistic knowledge, Nicole emphasized that since we all have bodies, we can all relate to these artworks, and that no way we relate is wrong. People felt confident and comfortable enough to speak, even though surrounded by a large group of strangers in a very public setting, something I’ve never seen before. She was also very engaging, miming actions – such as the impossibility of “strutting” while maintaining a straight-hipped, kore-style stance – explaining things quickly and succinctly, making us laugh, and genuinely listening to anyone who spoke, welcoming new insights and perspectives.

Movement was as much a theme as posture. Comparing a Japanese triptych of Three Types of Edo Beauties, wrapped in their kimono with the static nature of a Noh robe hanging in a case, Nicole perhaps intentionally echoed a statement of Lou Taylor’s: that recreating the dynamism of movement in clothing can never quite be achieved in a museum or gallery setting, a living, moving body is required to give the clothing life. As Nicole illustrated, our stance indicates what movements are possible as much as what we are doing and where we are indicates the style of movement. “Why don’t we strut in galleries?” she asked. Contrasted with the performance by Phonique and other performance artists happening in the museum at the same time, it was a very thought-provoking question. It was not suggesting that we necessarily should strut, but it brought to the forefront of our minds how different situations and their different etiquette’s dictate our bodily stances and movement.

By the end of the talk through the gallery, Nicole had brought our attention to movement even in artworks that were not human: the curves of a Balinese dagger and the swaying, beaded curtain of Felix Gonzalez-Torres’s Untitled (Golden) each had their own movement and a sensuality which mimicked the s-curve of so many of the figures we had examined. Nicole also brought attention to the curators’ expertise in this exhibition by highlighting juxtaposing pieces that might seem unrelated at first, until you examine the poses and stances the art depicts – even between “realistic” photographs, and cubist portraits.

After this wonderful, insightful talk, which felt more like a private class than a lecture, I don’t think I will be completely unaware of my own stance and body language in a museum or gallery for a long time to come.

Continue Reading
1 2 3 5