Another Prince Tribute

There is no way I can write a definitive history of Prince’s Fashion a few hours after his shocking death. The scope and depth of his impact both musically and culturally, are far too great. Suffice it to say, stylistically, the man was on par with the likes of David Bowie, Freddy Mercury, or Michael Jackson (and in retrospect seems to me like a mash-up of those three). The Cut (New York Magazine’s blog) has a good slideshow of his style.

His looks were often gender-bending, and that seemed only to bolster his sex appeal. He frequently pushed the envelope – both in the way he dressed on stage and in balking corporate music control.  He frequently used ‘shock value’ in his stage style in a career that spanned four decades.

Prince in Assless Pants at the 1991 MTV VMA’s

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I’m sure in the flood of tributes to come, more memorable outfits will surface. But for my money, nothing was better than the first time I ever heard or saw him, which was in the 1984 film, Purple Rain. Below is his costume from that film, by costume designer Marie France. Following that is a performance of “Purple Rain” that just might make you cry.

Prince's Purple Rain Costume, Accession No.: 1987.124.1-5 Gift of PRN Productions. (Minnesota Historical Society)
Prince’s Purple Rain Costume, Accession No.: 1987.124.1-5 Gift of PRN Productions. (Minnesota Historical Society)

 

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New Fashion Encyclopedia (Vol. 3 edited by yours truly!)

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I’m thrilled to share that a project I have been working on since 2012 has finally come to fruition (that is three years people!). Now available, Clothing and Fashion: American Fashion from Head to Toe is a four-volume encyclopedia edited by Mary D. Doering, Patricia Hunt-Hurst, and (myself) Heather Vaughan Lee, along with General Editor,  José Blanco F.

I wrote about 10% of volume 3 (1900-1945), and served as the volume editor. I was honored to work with an amazing group of historians, curators, collection managers, writers, and friends and I sincerely thank all of them for their contributions to this project.

While I don’t expect that very many individuals will buy this book, I do hope that it is picked up by libraries and university fashion departments. If you think your library/institution/department might be interested, you can print the flyer or you can now buy it directly from Amazon (at a slightly discounted price).

2015-12-14 16.57.31 12366263_10103698058592813_2693048397538750191_nContributors to Volume 3, 1900-1945 include

Shelley Foote
Katherine Hill Winters
Melinda Webber Kerstein
Brenna Barks
Arianna Funk
Tove Hermanson
Clarissa Esquerra
Priscilla Chung
Nadine Stewart
JoAnn Stabb
Lisa Santandrea
Marcella Millio
Patricia Cunningham
Inez Brooks-Myers
Monica D. Murgia
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Shoemaker Chris Francis and the Body as Agent Symposium

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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

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Guest Exhibition Review: Amy Winehouse: A Family Portrait

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I’m very pleased to present a review by my friend and fellow Costume Society of America Western Region Board Member, Brenna Barks.

“Back to …” By Brenna Barks

There is an intimacy present in objects of material culture that is often lost in exhibitions and academic studies. This can be especially true of clothing. It is not only worn on the body, but reflects an extremely personal choice either to express or hide identity, to reveal or armor ones self against the rest of the world.

This feeling of intense, almost uncomfortable intimacy permeates Amy Winehouse: A Family Portrait exhibition currently on display at the Contemporary Jewish Museum in San Francisco. While raw and somewhat intrusive, it is an extremely relevant intimacy as the exhibition is designed to delve behind the tabloids and the public persona of a world-famous musician, to reveal the girl her family knew, loved, and lost.

It gives the feeling of going through Amy’s belongings in the way that her family must have done after her death. In addition to various family items, it includes her clothing from childhood through the height of her career. Things that she most valued and kept, and which her brother, Alex Winehouse, and his wife, Riva (as co-curators with Liz Selby of the Jewish Museum in London) decided best represented Amy to include in this exhibition.

First among these items are her school sweater and tie worn in both grade school and the Sylvia Young Theatre School. They could be anyone’s jumper (sweater) and tie, but they are displayed so that you can see the name labels sewn into them. The objects are shown next to private photos from Amy Winehouse’s school days. These photos reveal for visitors that even a young Amy knew what her style was, and how to express it despite a school uniform.

Cynthia Winehouse (“Nan”), Amy Winehouses’ grandmother. Photo credit: Winehouse family

The exhibition suggests that much of Amy Winehouse’s unique style could be traced to her grandmother, Cynthia Winehouse. Alex and Amy Winehouse’s “Nan” was a strong, larger than life personality whom they both felt they could talk to (and smoke a sneaky cigarette with behind their parents’ backs). She married towards the end of World War II, and believed strongly in looking her best. Evident inspirations in Amy’s style are reflected in pictures of her Nan from the 1940s through the 1960s.

Clothing displayed from both Amy’s private and public life, the theme of intimacy remains. Several portraits from early in her career, taken in her home, were displayed along with a smattering of her wardrobe. The exhibition design aimed to display objects in the same way that Amy would have seen them every day on her clothes rail at home. Her brother Alex revealed that while she often wore stiletto heels and mini dresses in public, she was happiest in the tracksuit bottoms and cut off shorts she wore at home – albeit, as the home photos show, with her hair and make-up impeccably done.

The clothing is a delightful mix of this casual attire, exquisite designer scarves from Louis Vuitton, Yves Saint-Laurent, Hermes and others mixed with fast-fashion and thrift shop scarves, comfortable bedroom slippers next to platform heels – including some by Christian Louboutin, all hanging alongside the thrift shop finds like a pink bowling jacket Amy had customized, or a pair of braces (suspenders) found in a charity shop. There seems to be a definite mix in Amy’s “closet” of her at-home clothes and some of the dresses she performed in, as though she didn’t have a true stage wardrobe. This revelation seems to reveal that despite her public persona she managed to remain true to her authentic self by wearing her own clothes on stage, not what a stylist or her fans wanted, but what she felt comfortable in. This variation of formal and casual helps present a more realistic picture of the woman, as any of our closets would do.

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Installation view from Amy Winehouse: A Family Portrait, Jewish Museum London, July 3–September 15, 2013. Photo: Ian Lillicrapp. Amy Winehouse: A Family Portrait. On view July 23–November 1, 2015. The Contemporary Jewish Museum, San Francisco.
Amy Winehouse performing in a Luella dress at Glastonbury in 2008

A couple of her outfits are set apart. The black and white gingham, Arrogant Cat mini-dress that she wore not only in the “Tears Dry On Their Own” music video, but for several on stage performances is set apart to demonstrate just that she often wore her own clothing on stage or in videos. To quote the catalogue, this dress, combined with the bowling jacket and other casual pieces she was often seen wearing in public “reflect the grass roots nature of her style and her down-to-earth nature.” Then there is the Luella Bartley dress she sang in at Glastonbury, which was apparently too small even for Amy. This is set apart to discuss her stage persona and how even with her “down-to-earth” style, fame enabled her some designer collaborations and perks, though in the end, she preferred her own clothes, it seems.

The references to Amy’s Jewish heritage are very subtle, but that seems in keeping as it is meant to reveal the woman, rather than a perception of her. The exhibition opens with a family tree of the various Jewish, largely Eastern European emigres to London who make up the Winehouse siblings’ background, various name changes over the years as the family assimilated and became Jewish Londoners, rather than immigrants. The catalogue delves deeper not only into the family history but the history of Jewish London, a community that Amy was deeply connected to through cultural if not religious ties.

There are various objects throughout the exhibition that quietly reinforce this identity. A few pieces from her beloved Nan; photographs at her brother’s bar mitzvah, or other family gatherings at the synagogue; and a cookbook, The Book of Jewish Food by Cynthia Roden, which was a present from her brother with a message from him directing her to the recipe for chicken soup if she ever suffered “a loss of faith.” You get the impression that music was the central passion of Amy Winehouse’s life, with the large record collection, the guitars, the music school performances, but that her Jewish identity was strong and so much a part of her it didn’t need mentioning or overt displays.

The exhibition ends with a quote from Amy’s application essay to Sylvia Young Theatre School:

I want to be remembered for being an actress, a singer, for sell out concerts, and sell out West End and Broadway shows. For being … just me.”

Respectful, intimate, and engaging, Amy Winehouse: A Family Portrait gives viewers a fuller picture of the iconic singer as a real person, so that you leave knowing that she accomplished just that.

The exhibition will be on display at the Contemporary Jewish Museum in San Francisco through November 1, 2015.

Thanks so much to Brenna for this review! For anyone not able to make it to the exhibit, the Associated Press provides this glimpse of the London version of the show in 2013:

 

*Image credit: Mark Okoh, Camera Press London. Amy at her home in Camden town, 2004.

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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

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Guest Exhibit Review: Bill Cunningham’s Facades at New York Historical Society

 

Currently on view at the New York Historical Society (through June 15, 2014), “Bill Cunningham: Facades” is a photography show from the now iconic photographer and the results of an eight-year project to document the architectural riches and fashion history of New York City which pairs models in period costumes with historic settings. Nadine Stewart, Fashion Historian, has graciously provided a review here for those not able to see the exhibit in person, or for those looking for some analysis of the show. Thanks again to Nadine!

“Fashion is the armor to survive the reality of everyday life. I don’t think you should do away with it. It would be like doing away with civilization.”

— Bill Cunningham

Today Bill Cunningham is an icon. Readers of the New York Times can follow his analysis of street styles and social life every week. He was the subject of a critically acclaimed documentary. He’s followed fashion tirelessly both in New York and abroad for 35 years. When he began, it was a lonely quest. Now bloggers copy his work every day. None of them have the knowledge or wit to equal him.

“Facades” covers an early period in Cunningham’s career. It’s a smaller, quieter exhibit across the park from the glory of the Charles James exhibit at the Metropolitan Museum of Art. Yet its images resonate just as strongly. The pictures were taken in the late 1960s when he was transitioning to his special brand of fashion photography from earlier work as a milliner and fashion journalist.

Grand Central Terminal, New York City, ca. 1968-1976 By Bill Cunningham, Gelatin silver photograph, New-York Historical Society, Gift of Bill Cunningham

Beginning in 1968, Cunningham shot a series of 88 gelatin silver prints that matched iconic New York architecture with historic fashions–a range that stretches from the eighteenth century to the 1950s. His model for this eight year project was his neighbor in the Carnegie Hall Artist Studios, Editta Sherman, a fellow photographer who became his partner and muse. Together they scoured thrift shops, flea markets and auctions for vintage clothing. One find, later photographed in front of St Paul’s Chapel, was an eighteenth century man’s coat and vest scrounged for a secondhand shop on Ninth Avenue. In the end, they used 500 outfits at 1800 locations.

In 1968, New York was considered a decaying hulk. Historic buildings like Penn Station were being torn down to make way for an uncertain new future. Preserving the past was still being debated. Some city planners felt that the only way for the city to develop was to cut its link with the past and tear down older buildings. Cunningham clearly disagreed with this approach, a feeling that comes through in the loving way he photographs each building, finding angles a less informed observer would have missed. Editta was the perfect muse for this project. A striking image of Editta in a graffiti-covered subway car dressed in Edwardian splendor, sums up the grittiness of the time, but Editta sits proudly, no giving in to the squalor around her. Her presence is powerful as it is in every picture. She modeled with flair and style—a 56 year old muse who threw herself into each pose whether she was portraying a Victorian grande dame, a flapper from the 1920s, or a swinging mini-skirted girl from the 1960s. Cunningham used his background as a milliner to provide her with hats that punctuate the picture and echo the architecture in the background—like the towering fur toque Editta wears in a close-up in front of the Guggenheim.

Though the pictures were taken 37 years ago, they show a clear relationship between architecture and fashion that informs us today. They are not simply historical dress-up. Each shot shows an understanding and a love of the city. They have a freshness that contemporary fashion photography with its Photoshopped perfection often lacks.

Editta Sherman died in 2013 after she and Cunningham were evicted from Carnegie Hall, their home of 60 years. This exhibit gives us a vision broader than fashion history or iconic New York architecture. It gives us a sense of what type of spirit it takes to survive in a dystopian time.

–Nadine L. Stewart

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Punk Style: An Interview with Monica Sklar

My colleague Monica Sklar, has just published a new book, Punk Style (available as of January 16, 2014; Bloomsbury) and I’m happy to say she agreed to an in-depth interview for Fashion Historia.* Sklar obtained her PhD in Design-Apparel Studies from the University of Minnesota. She has taught several college-level courses in dress and retailing, worked in art and design museums/galleries in multiple capacities, and has published widely on the subject of subcultural style.

The following are her answers to a few key questions to help understand the history and evolution of Punk style.

FashionHistoria: How do you define Punk style? What do you think are the key elements of Punk fashion?

Monica Sklar: Punk remains an esoteric and amorphous concept. So it is difficult to define and to categorize its components as punk or not punk. In Punk Style, I deliberately allowed interviewees and all sources to self-identify as punk, rather than coming into the project with preconceived parameters.

In the beginning, punk-styled apparel was self-made or pieced together through bricolage. It was available for purchase only through specific channels, like small boutiques and fetish retailers, ads in fanzines, or punk events. From its 1970s origins through its various present-day incarnations, punk is commonly rooted in those who are in some way disenfranchised from society. Self-identified punks may be critical of mainstream art, politics, popular culture, consumerism, lifestyles, or sexual and social mores. Punk dress was rooted in a desire to be ironic and anti-hegemonic; it reinvented mainstream styles to critique society via bricolage and appropriation.

Many elements of punk dress, such as combat boots, studded belts, and vibrantly dyed hair, have become iconic and stable in popular culture, yet symbolism and meanings have changed throughout time. Not all of those who self-identify as punk share the same perspective on sub cultural dress.

The Bromley Contingent: (Sex Pistols fans), Anti-clockwise. Debbie Juvenile, Siouxsie, Phillip Salon, Spunker Severin, Simon Barker, Soo Catwoman, Linda Ashby, Sharon Hayman (?) (via punk77.co.uk)

The stereotypical image is of a sneering youth wearing something akin to a leather motorcycle jacket, tattered black band logo T-shirt skinny-fitting bondage pants or ripped jeans, combat boots, studded or safety pin metal accessories, and vibrant body modifications such as heavy cosmetics and/or a colored Mohawk. These signifiers are rooted in fashion designs, sub cultural trends, and popular street styles that have been incorporated into punk dress since the 1970s. However, they may not tell a complete story of punk style. It would go on to include the items from hardcore and Goth and skaters and hip hop too.

When asked to describe punk dress in general, many self-identified punks interviewed for Punk Style responded with the phrase “I guess” and other qualifiers and pauses, suggesting they were trying to put themselves in the shoes of someone else looking in on the punk scene; they were trying to describe what an outsider might see. While their answers did support the idea that punk has an iconic look, they also reflected the understanding that this look is often merely a caricature, presenting only a narrow viewpoint. In contrast, they answered with confidence to the question “describe punk dress as you personally have worn it” and other related inquiries into their own punk styling.

Today, punk style has a forty-year history, with a host of influences and a myriad of characteristic pieces that make up the look, as well as flexibility to include new components. Origins of the key aspects of punk style—which include the color black; heavy accessories; boots; clothing that is tattered and manipulated; piercings; tattoos; unnatural hair colors; facial hair; band logos; and jeans, T-shirts, and hooded sweatshirts—have become fragmented and fractured through various subgenres under the punk umbrella.

The most important thing is that it’s punk by the wearers definition

FH: In terms of the history of fashion, what do you feel are the most important origins or touchstones for punk style; it’s influencers, icons, and predecessors?

Vivienne Westwood dressed as Margaret Thatcher for Tatler Magazine

Sklar: As I describe in Punk Style, New York and London in the 1970s were areas of great impact on what would become the aesthetic aspects of punk style, however it was developing in many places at the same time and has continued to evolve. In London Vivienne Westwood and Malcolm McLaren were innovators, introducing looks that would come to epitomize punk, through their boutique. Social groups, such as the Bromley Contingent, explored a host of exciting clothing styles as well. In New York, musicians like Richard Hell and the Ramones were crucial and derived their look from street styles. Tish and Snooky of Manic Panic had the first punk clothing store in the US and would go on to start their widespread line of cosmetics/hair dye. Scene leaders within geographic regions or new related movements such as hardcore, riot grrrl, and cyberpunk, for example, would change the visuals to suit new motivations and their dress would be widely copied. An increase in subcultures interrelating with punk, such as skinhead and rockabilly, brought more styles into the fold.

Punks styles’ predecessors were social, art, design and political waves including the Situationists, Lettrists, hippies, beatniks, greasers, mods, Dadaists, surrealists, and even mid century modernists, and the arts and crafts movements. Tech progressions have strongly impacted its current incarnations. Basically whoever incorporated DIY and “status quo challenging” ideas into their style could be said to have helped shape punk style.

FH: How do see Punk style manifesting now and in the future?

Sklar: Maturation and accessibility are two major benefits and complications of punk style today. Original punks of the 70s and 80s are now parents/grandparents, homeowners, leaders in their professions, though many are burned out or deceased. Yet new adolescents declare themselves punk daily, and those two groups have limited experiences in common. But, punk can be related to both of them in different ways. The style reacts over time to have new cultural relevance and individuals have changing budgets, bodies and lifestyle.

As technology has increased access to one another and to products, more people can partake in acquiring punk style. Yet, some would argue it then lacks the intimacy and commitment that once was a key factor in developing the “look.” I think the future will see more normalization of iconic punk styles such as colored hair, tartan plaids, body modifications, and new ideas coming into the fold to continue to differentiate that in-the-know punk person from the rest. Some would say that the normalization means it is watered down if it lacks shock and commentary. Others would argue that mainstream acceptance of more diverse appearances is a “win” for a battle punk was fighting against repression and conformity.

Many thanks to Monica for taking the time to answer these questions – please feel free to leave yours in the comments section below!

*Some may remember that I am a former contributor to Monica’s blog, Worn Through.

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Four New Fashion Journals from Intellect (Download for Free!)

Intellect publishers has just announced that they will be publishing four new journals dedicated to the study of clothing and fashion (Clothing Cultures; Fashion, Style & Popular Culture; Critical Studies in Men’s Fashion plus, coming soon International Journal of Fashion Studies). They’ve also announced that you can download the first issue of each for free! Once you get the idea for what they each cover, be sure to check out those Calls for Papers… For more other information please email pennock@intellecbooks.com.

Clothing Cultures

Increasingly clothing becomes the key signifier in determining social interaction and behaviour. This journal embraces issues and themes that are both universal and personal, addressing (and dressing) us all. Download the first issue for FREE More details


Fashion, Style & Popular Culture

Edited by Joseph H. Hancock II, Fashion, Style & Popular Culture will provide an interdisciplinary environment for fashion academics and practitioners to publish innovative scholarship in aspects of fashion and popular culture. Download the first issue for FREE More details

Critical Studies in Men’s Fashion

Critical Studies in Men’s Fashion is the first journal to exclusively focus on men’s dress. The journal provides a dedicated space for the discussion and theoretical development of men’s appearance from multiple disciplines. Download the first issue for FREE More details

 

Coming soon: International Journal of Fashion Studies
By opening up the field of fashion studies to international non-English speakers, the journal will not only shed new light on some existing key themes of debate but it will also bring to the fore issues previously unattended. More details
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Weekend Reading: Smithsonian’s 101 Objects that Made America

Marian Anderson’s Fur Coat (1939)

Just a few days ago the new issue of Smithsonian Magazine landed in my mailbox. The entire issue is dedicated to the 101 objects (out of the 137 million in the Smithsonian’s collection) that are the ‘most important’ in American history and culture (arguably, of course). More than a few objects of clothing and textiles made the cut.

Each is accompanied by a small contextual essay and an illustration (usually a photograph of the actual object, but occasionally illustrations are included).

Neil Armstrong's Space Suit (1969)

Some of the essays are written by surprising people. For example, Martha Stewart penned the essay on the Singer Sewing Machine and Justice Sandra Day O’Conner wrote the essay on her own judges robe.

The essays are available in part or in full online, and grouped by theme: Wild America, Discovery, Voice, Power, Invention, Community, Happiness, America in the World, and Freedom. It’s a good issue and a unique look at the history of the U.S. The weekend’s approach is a good excuse to seek out the issue, sit down and read it (especially those for those with historical leanings).

What articles of clothing would you have included that they left out?

Neil Armstrong’s Space Suit (1969)

Lincoln’s Top Hat (1865)

Marian Anderson’s Fur Coat (1939)

Cesar Chavez’s Jacket (c. 1990)

Justice O’Connor’s Robe (1981)

Lincoln’s Top Hat (1865)

Singer Sewing Machine (1851)

Levi’s Jeans (1873)

Aids Quilt (1987)

Ruby Slippers (1938)

Michael Jordan’s Jersey (1996-97)

Muhammad Ali’s Gloves and Robe (1974)

World War I Gas Mask (1917)

U.S. Olympic Hockey Jersey (1980)

Star Spangled Banner (1814)

 

 

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Researching ‘Hollywood Sketchbook’: An Interview with Natasha Rubin (Part 2)

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If you enjoyed the brief look into  Hollywood Sketchbook: A Century of Costume Illustration from last week, you’re going to love “Part II” of my interview with Natasha Rubin, who contributed a fascinating essay to this book:

Heather Vaughan: Who was your favorite person to interview for this project?

Natasha Rubin: “Deborah interviewed the vast majority of the living illustrators for the book; I contacted some of the new guard (e.g. Oksana Nedavniaya, Phillip Boutte, Jr, and Christian Cordella) for quotes. All of the interviews are pretty compelling. Julie Weiss is great to listen to because she has so many wonderful stories, I mean, she worked with Bette Davis!

Sketch from "Shampoo" by Pauline Annon on Page 95: "Courtesy of the Designer," (Via Los Angeles Times)

The interview with designer Anthea Sylbert about working with her illustrator, Pauline Annon, was fascinating in many respects. She had worked with her for several years, but knew so little about her personal life. Pauline is still alive, but didn’t want to be interviewed; she’s a fine artist and the Hirshhorn Museum in DC has collected some of her work.”

HV: Was there one sketch that you wish you could have included that you could not?

NR: “We were able to include almost every sketch we wanted, except a few due to various reasons. In addition to museums and archives, we were lucky to have so many generous lenders including collectors, designers, illustrators, and also the cooperation of auctions houses such as Christie’s, Profiles In History, and Heritage Auctions.”

HV: How has yours and Deborah Landis’ affiliation with UCLA changed the scope of the research you’ve been doing?

NR: “The support of David Copley has given us the resources to cope with the extensive research demands that all of these projects require. UCLA has provided us with a space to work, an academic community, and of course the UCLA name acknowledges the Center’s credibility and lends prestige. It has also increased our visibility in the costume design community, both nationally and internationally. The Center is now a clearinghouse for information and personal stories about costume design history. Every day I field more requests and calls of interest; it’s very exciting!”

Professor Deborah Landis, Founding Director of the David C. Copley Center, Teri Schwartz, dean, UCLA School of Theater, Film and Television, donor David C. Copley, and Nadja Swarovski, head of communications for the company founded by her grandfather.

HV: What can you tell me about how the David C. Copley Center for the Study of Costume Design at UCLA, and what it will be able to provide for interdisciplinary historians researching this subject? What sorts of materials and resources does it provide?

NR: “The David C. Copley Center for Costume Design is in the process of digital archiving, creating a visual database of film costume illustrations, first-person accounts, and scholarly research placing costume design in the center of a century of cinema storytelling. We also continue to offer opportunities to learn more about costume design for film through panels and lectures. We welcome questions from scholars and those interested in learning more about costume design history.”

Many many thanks to Natasha for being so generous with her time, and for providing many of the images in these two posts. To learn more about the history of  film costume illustration be sure to pick up a copy of Hollywood Sketchbook: A Century of Costume Illustration.

 

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