Best Laid Plans: What I hope to read this summer (continuing series)

In my continuing series of recently released books (that I want to read, or have started to read), I present this weeks book:Dress History: New Directions in Theory and Practice, Edited by Charlotte Nicklas and Annabella Pollen [ Bloomsbury, Oct 2015]. For more in this series, see previously reviewed books here.

If one were to judge a book by it’s cover, after reading blurbs by the likes of Nancy Deihl (NYU); Clare Sauro (Drexel); Jean L Druesedow (Kent State); and Abby Lillethun (Montclair State), one might reasonably expect to see some US-based scholarship here. Unfortunately, the series of essays include only scholarship from the UK and Canada (though the dust jacket says “international case studies.”)

That said, it does look to be a fascinating collection of essays by a good mix of early-career and established scholars. With an introduction by THE Lou Taylor (Establishing Dress History, and The Study of Dress History), it’s got some impressive clout.

Topics include gloves in the 18th Century; 19th Century Afro-Brazilian dress; African dress in the V & A; Aesthetic dress in 19th Century Britain; gender identity and Norman Hartnell; and even sari revival in Tamilnadu, India (among many others). Collections explored include the V&A; Narryna Heritage Museum; Isabella Stewart Gardener Museum; Royal Ontario Museum; and The Hartnell-Mitchison Archive.

It really does appear to be an outstanding contribution to the field, and aims to move Taylor’s work forward. I’m looking forward to continuing my reading!*

 

*I’m also looking forward to a book of similar impact that includes US-based collections and scholars.

 

 

 

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Best Laid Plans: What I hope to read this summer (continuing series)

In my continuing series of recently released books (that I want to read, or have started to read), I present this weeks book: Couture Confessions: Fashion Legends in Their Own Words, by Pamela Golbin (Rizzoli, June 2016). For more in this series, see previously reviewed books here.

In contrast to last weeks book, which was the heavily illustrated Fashion and the Art of Pochoir, this weeks selection is all about the words.  Couture Confessions: Fashion Legends in Their Own Words, by Pamela Golbin (Chief Curator of Fashion and Textiles at the Musée des Arts Décoratifs in Paris) is a compilation of words, opinions and thoughts written or spoken by a number of high profile (and deceased) 20th century fashion designers jig sawed together so that they appear to have been interviewed by the author. It is a clever way to bring a fresh perspective to these long-gone artists. This particular construct places greater emphasis on the designers’ personalities, as well as their design sense and communication styles.

I’ve read the introduction and part of the first ‘interview’ and really do want to read more. I’m learning about designers I thought I knew pretty well (like Poiret, Chanel, Balmain, and McQueen, among others) and it feels like pleasure reading, rather than academic’s ‘versions’ of designers. That said, the academic information is more readily available than in some other texts (yeah for chapter endnotes!)

The introduction is similarly constructed as an interview between the author, Pamela Golbin and Hamish Bowles. In it, she draws parallels between issues faced by the fashion industry now, and those that have been faced historically. One particularly timely point is the perennial problem of the speed of Fashion. Prior to his relatively recent departure from Dior, Raf Simons spoke to Cathy Horyn about it. Here, Golbin notes that historically designers “all had issues with time management, if I can put it that way. Whether it’s Poiret or Lanvin or McQueen, they all speak about that fact that they don’t have enough time to design their collections; that they have to keep producing in order to satisfy the demand.” (12)

Designer ‘interviews’ included in this nifty resource are: Paul Poiret, Jeanne Lanvin, Madeleine Vionnet, Gabrielle Chanel, Elsa Schiaparelli, Cristóbal Balenciaga, Christian Dior, Madame Grès, Pierre Balmain, Yves Saint Laurent, and Alexander McQueen. They are all represented in their own words, with the exception of Balenciaga: “Quite simply because he never gave an interview during his entire career, except or the one he agreed to at the end of is life. I couldn’t think of publishing this book without having Balenciaga in it, so I chose to have his peers speak about him. It says a lot about how respected he was within the fashion community…” (13)

To give an example of what these chapters are like, here is a brief section of the ‘interview’ with Paul Poiret:

What is your contribution to the vocabulary of couture?

Some have been good enough to say that I exercised a powerful influence over my age, and inspired an entire generation. it would be presumptuous of me to agree, and I must say it makes me feel uncomfortable; though if memory serves, when I started out all color was absent from fashion.”

Could you elaborate on that, please?

The faintest of pinks, lilac, swooning mauve, light hydrangea blue, watery green, pastel yellow, and the barest beige — all that was pale soft, and insipid was held in high esteem. So I decided to let a few wolves into the sheep’s pen — reds, greens, violets, bleu de France that raised the voices of the rest.”

I’m eager to read the other chapters to see what new subtle nuances can be learned of these already well-documented designers. The book ends with a very brief round-table style group discussion with all the designers statements that answer the question, “What is Fashion?.” Ultimately, this book is an insightful, useful, and inspiring resource for both the novice and established fashion historian (especially one looking for designer’s in their own words).

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Best Laid Plans: What I hope to read this summer

As a part of my need to play catch up (I took on too many projects recently), I’m starting a summer series to share the giant stack of new books that have come through my front door. And you’ll be happy to know that I’m focusing on the good ones! I (and a few contributors), will be covering everything from the fashion illustration history, some major new works cover 20th century fashion history, new works on the field of dress, Hair (and more as the books roll in!) Stay tuned !

First on my list of ‘must read’s’ this summer is the giant, beautiful and highly informative Fashion and the Art of Pochoir: The Golden Age of Illustration in Paris by April Calahan and Cassidy Zachary (Thames & Hudson, November 2015). The fact that the book is dedicated to Dr. Lourdes Font (“whose passion and vast knowledge have inspired an entire generation of fashion historians”), tells me that these authors are on point and know their stuff (#FontFan over here!)

Highly illustrated and beautifully designed, the book appears to be a happy marriage of style and substance, full of interesting looking, well-documented essays (yeah for footnotes in a legible size!). The book covers 1908-1925, and focuses on the “centuries-old hand-stenciling technique known as pochoir,” though it does include a good many photographs for garment comparison. I love this time period, and love that this book is an easy reference to the well-loved and such famous illustrations and artists. I can’t wait to dig in !

“Collectively, the ten publications featured in this book document a fashion revolution, in terms of both the clothing depicted and the practice of fashion illustration itself. The groundbreaking illustration styles seen in the pages of these albums and magazines were born out of the need to represent the rapid modernization of fashionable dress that occurred in the first two decades of the century.”

Want more? Support the authors and Buy The Book


Heather (Vaughan) Lee 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. More on Heather’s career can be found here.

Founded in 2011, Fashion Historia explores the history of fashion (and related events and exhibitions) with a focus on California and the West Coast. It includes book reviews, historical research, theoretical discussion and invites feedback from other scholars in the field. Contact Me Here.

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

 Clothing and Fashion-19935376

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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Fashion History for the Holidays: Fashion A Timeline in Photographs: 1850 to Today

Milbanks

Recently released from Rizzoli, is a new gigantic visual reference for fashion history from expert Caroline Rennolds Milbank titled Fashion: A Timeline in Photographs: 1850 to Today (October 27, 2015). The forward from Harold Koda is overshadowed by the wealth of images: 1400 images on 320 pages. While the text is minimal, it is informative and interesting. Not your typical fashion history book, it explores a number of trends, types of clothing, and designers in not often seen images (those well versed in fashion history will present the ‘newness’ of this approach).

photoFor example, the spread on page 32 includes 10 photographs of fashions from 1867 with the text noting:

Two views of a Mrs. Bates show her seated in a black silk dress with jet embroidery and also standing dressed for an outing in a short paletot jacked and flat hat worn low on her forehead. A white cotton or linen waist with ribbon and other trimming, worn with a solid or plaid skirt makes an appearance. Christine Nilsson, the blonde and blue-eyed Swedish singing sensation, wears what is being called a suit, a fitted paletot and matching skirt in striped silk.”

The uncluttered design presents beautifully on the page, though historians may find it frustrating to have to flip back and forth to the end notes for citation information for all the photographs. Admittedly, however, the endnotes DO provide a wealth of fascinating information.

I think it would make a wonderful coffee table book – and it makes me wish I had a coffee table!

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#Fashionbooks: The History of Modern Fashion by Daniel James Cole and Nancy Deihl

Daniel James Cole and Nancy Deihl are the authors of the new book, The History of Modern Fashion (September 2015), and they were gracious enough to answer a few questions about their new publication from Laurence King, the publishing process, and their vision for the book. Nancy Deihl was my advisor in graduate school at NYU’s program in Visual Culture Costume Studies and I’m thrilled to have the opportunity to share her work. This new book covers the history of fashion from 1850-2010 and is lavishly illustrated. It’s a must have for fashion historians, students, and enthusiasts (and with the holiday’s approaching would make a great gift!)

How did the book, as a project begin, and develop? How long did it take to research, write and publish?

The publisher, Laurence King, based in London, approached the fashion design department at FIT about the possibility of a fashion history book. Daniel teaches in that department and was definitely interested in the opportunity and asked me to join him.  It took us over six years to research and write and have it brought to print.”

My assumption is that you intend it to be used as a fashion history textbook with some cross over appeal to the general market. How do you see it’s ‘place’ in the world? Especially in comparison to other fashion history survey’s out there (such as Tortora or Mendes/de la Haye)?

The History of Modern Fashion works well for textbook use. We organized the book using a decades approach, knowing that that’s how many (if not most) instructors organize the material for a course on modern fashion.  And we start with 1850 because that’s also a typical marker for a class.  The 1850s and 60s were notable in terms of developments of the designer system and also technologies, both important for laying the groundwork for 20th century fashion.

We also made sure to include subheadings, a glossary, and really explicit captions so every word is an opportunity to inform!  We feel – and the feedback we’ve gotten so far backs this up – that it fills a niche for lots of different levels of instruction.  The general public seems to be enthusiastic as well.  I spoke at an NYU alumni event last week – and as you know Steinhardt alums range from musicians to physical therapists – and there was a fantastic response to the book!”

Six hundred images is a LOT! How did the image selection/research/publication process go?

Yes, 600 images is a lot.  Images are crucial to this project so we are grateful that everyone at LK understood that.  We were very lucky that the picture editor, Heather Vickers, who has done a number of books for LK, was extremely imaginative and just wonderful to work with.  We did lots of sleuthing and had a wish list and although not every picture we wanted was traceable (or affordable) the results are extremely satisfying! And the Special Collections department at FIT was instrumental in helping with images – making many, many available to us.”

Anything in particular you’d like your fellow historians to know about this book, the process, or the research?

This was a big project.  We learned so much along the way – not just about fashion history but about research and collaboration and communication. We certainly got to know each other very well through this collaborative process.  At the beginning we were colleagues who were only slightly acquainted; by the end of the process we could finish each others’ sentences!!

One of our favorite aspects of the writing is the ‘sidebars’ that are part of each chapter – self-contained, fun (we hope!) profiles of memorable characters and fashion ‘stories.’”

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Guest Review of “China: Through the Looking Glass” Ends Sept. 7 #ChinaLookingGlass

Once again, Nadine Stewart was gracious enough to write this review of the Met’s current fashion exhibition, China: Through the Looking Glass (through Sept 7). I’m happy to be able to share it with you, given the recent controversy faced by the MFA Boston over their Kimono exhibit:

The latest exhibit by the Costume Institute is like a sumptuous banquet with many, many rich dishes, so many it’s difficult to choose. The purpose is to show the many, many ways Chinese themes have fascinated and inspired Western fashion. This is tricky territory. The imaginary East is a construction of the West and is under attack as a product of colonialism. The exhibit acknowledges this objection voiced most notably by Edward Said, but states that the purpose of the exhibit is “driven less by the logic of politics than by that of fashion, which is typically more concerned with an aesthetic of surfaces rather than the specifics of cultural context.” The exhibit sprawls over 30,000 square feet and includes the 140 haute couture pieces from the 18th century to the present day displayed in the museum’s Chinese galleries and the Anna Wintour Costume Center downstairs.

The experience (and it can only be called an “experience”) is amplified by the art direction of filmmaker Wei-Kar Wei, who has selected a range of films that have dramatized China in the Western mind. They range from the “Broken Blossoms,” a 1919 movie about opium smoking, to “The World of Susie Wong,” a 1950s romance about prostitution and redemption. In the background on the Chinese galleries is the art that inspired this fantasy. It’s a lot to take in.

Moon in the Water gallery

Curator Andrew Bolton has described the arrangement of the exhibit as “film stills.” Label copy is minimal. This is to encourage one to absorb the total experience in each gallery, not focus on small details. There is a great deal of Yves St Laurent, who staged a famous China show in the 1970s and devised the signature perfume Opium. John Galliano seems to appear everywhere too, most notably, in the gallery titled “Moon in the Water” where his fantastical gowns seem to float above a small “lake.” But, there are many other treats to look for—a gorgeous red velvet jumpsuit by Paul Poiret covered with a shawl embroidered with alternating rows of embroidery and fringe, a gown by Alexander McQueen inspired by Chinese painted wallpaper displayed across from elegant gowns from the 18th Century with intricate painted Chinese motifs, and exquisite robe a la franchise with the strip after strip of Chinese florals accented with gold thread, and a 1924 robe de style by Jeanne Lanvin.

The possibilities are endless. The themes in each gallery could be the nucleus of a smaller exhibit.

The Asian galleries upstairs create a dreamlike background for the parade of gowns, perfume bottles, and, even a tiny, delicate Philip Tracey headpiece of a Chinese cityscape. Transition comes in the hallways. One is a tribute to Chinese-American Film star Anna May Wong who was stereotyped as the villainous “Dragon Lady” and the docile “Lotus Flower” till she quit Hollywood and decamped to Paris. According to Bolton, Wong’s screen persona fed the fantasies of Western viewers and cemented their visions of the inscrutable East.

People’s Republic of China gallery

“Dreamy” is not what one would call the themes of the other transitional gallery, which deals with the influence of Communist China and the utilitarian “Mao Suit,” a drab unisex garment that still inspired Western fashion. “The Red Detachment of Women,” a ballet from the Cultural Revolution plays high on the wall. The gallery also features Vivienne Tam’s famous suits and dresses printed with multiple images of Mao as interpreted by Andy Warhol.

Downstairs in the Anna Wintour Costume galleries the pace seems to quicken, partly due to the enormous projections of Bertolucci’s “The Last Emperor” on two central walls. One gallery is dedicated to the cheongsam or qipao, a development of the 1930s, which evolved from the loose robes of the Manchu court to the form-fitting gown of the film stars of Shanghai. They are displayed opposite the fashions they inspired. I felt this gallery was too full and crowded. It was hard to see the pieces and movement in that space was limited by the fact that there was a film playing on the back wall. People tended to stand and watch the film, so I had to maneuver around them to get a closer view of the garments on display. I should add that I did not have this feeling in the rest of the exhibit. Even though there were plenty of people in the galleries upstairs, I did not feel like I had to strain to see the pieces.

Manchu Robe gallery

 

Out in larger space downstairs, those Manchu robes are displayed, each with a haute couture gown. The embroidery on the Manchu robes is fabulous. I wished I could get closer to see it. The Western couture glitters. It occurred to me that sequins are the gold thread of our time. The music in this gallery is thundering and relentless. Here some more detail would have been helpful. The symbols on the Chinese robes have great meaning even down to the number of claws on a dragon. It would have helped understand the tremendous transition over the centuries from court robes to high-end fashion if there had been a bit more explanation here.

Special mention must be made of the gorgeous headpieces by milliner extraordinaire Stephen Jones. They are elegant, often whimsical, and witty. They always add the perfect grace not to each mannequin.

I had two wishes as I went through this massive exhibit. The Museum at FIT did an exhibit on “China Chic” in 1999. I found myself wondering how it would compare with this one. Also, the Met did a fine exhibit earlier this year on the art of the Plains Indians, which contained many garments that showed how the Native American and European cultures influenced each other. Since this is another culture that is often appropriated by fashion, it would have been wonderful to have them both on view at the same time.

In the end, the exhibit is gorgeous. It’s been extended through Labor Day Weekend, so you still have plenty of time to see it. Put on your most comfortable shoes and enjoy the dream.”

 

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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
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“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

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