Halloween is next week… and it’s just a short leap to Thanksgiving and then holiday shopping will be upon us. Before we get to that – and all the requisite shopping for others that is required – here are a few books you might want to think about looking into for yourself. There are more than a few that I’m interested in:
I’m particularly interested in this book, not only for his personal anecdotes, but because the study covers “the late sixties through the early nineties”. For those unfamiliar, Ira Neimark was Chairman and CEO of Bergdorf Goodman for 17 years, and previously worked at Neiman Marcus Group, B. Altman, and Bonwit Teller. He’s currently director of Hermes of Paris and director emeritus of The Fashion Institute of Technology Foundation. His insights into the history and business of luxury fashion seem like they might be useful to understanding the industry. For more, see this review in the Wall Street Journal.
By Valerie Steele, Tim Blanks, Philip Delamore, James Crump, and Ivan Vartanian (Editor)
While provocative, the cover is not what drew me to this book: Valerie Steele is. Though this is an edited book of essays on high heels, Steele’s name has such cache in the world of dress studies, that simply being associated with the book makes me want to read it more. That said, the book also includes well-known photographers such as Guy Bourdin, Juergen Teller, and David Lachapelle. The essay topics are intriguing, and are likely to hold some amount of controversy. Along with Steele (on the industry forces behind high-heel design) are contributions from Stella Bruzzi on High heels on film; insights from designer Manolo Blahnik, and a discussion of the use of high heels in fashion photography.
Likely to be photo-heavy, the concept still intrigues me. “From the twilight of the Romanov dynasty through les années folles of Art Deco Paris to the jet-set seventies, Bals explores the nine most exceptional private costume parties of the twentieth century.”
The book includes both first-person accounts from and insider stories about Paul Poiret, Truman Capote, Cecil Beaton and Marisa Berenson, among others. Want more? Check out the 20 minute (French subtitled) video below.
My good friend Dr. Kimberly Chrisman-Campbell is included (along with LA Times fashion critic Booth Moore) in this short selection from the Biography Channel’s Bio of Coco Chanel:
“The terms ‘dress’ and – even more so – ‘fashion’ have many different meanings, and the contemporary study of dress testifies to this diversity and to the importance of what we wear at every level of society. The manufacture and sale of clothing is a huge industry, both in Britain (where it is the fifth largest) and worldwide; it is therefore of major economic importance. At the same time dress performs a wide variety of important social functions.”
Linda Arvidson (Mrs. D. W. Griffith) circa 1910-1915
“Any one with ‘clothes’ had a wonderful open sesame. A young chap whom we dubbed ‘the shoe clerk’ – who never played a thing but ‘atmosphere’ –got many a pay-check on the strength of his neat, tan, covert cloth spring overcoat—the only spring overcoat that ever honored the studio (An actor could get along in the spring with his winter suit and no overcoat!)
Clothes soon became a desperate matter, so Biograph consented to spend fifty dollars for wearing apparel for the women. Harry Salter and I were entrusted with the funds and told to hunt bargains. We needed negligees, dinner dresses, ball gowns, and semi-tailored effects. The clothes were to be bought in sizes to fit, as well as could be, the three principal women. (71)
In that day, on Sixth Avenue in the Twenties, were numbers of shops dealing in second-hand clothing, and Mr. Salter and I wandered among them and finally at a little place called ‘Simone,’ we closed a deal. We got a good batch of stuff for the fifty – at least a dozen pieces—bizarre effects for the sophisticated lady, dignified accoutrements for the conventional matron, and simple softness for young innocence.
How those garments worked! I have forgotten many, but one—a brown silk and velvet affair—I never can forget. It was the first to be grabbed off the hoot—it was forever doing duty. For it was unfailing in its effect. Arrayed in the brown silk and velvet, there could be no doubt as to one’s moral status—the maiden lady it mad obviously pure; the wife faithful; the mother, self-sacrificing.
Deciding, impromptu, to elaborate on a social affair, Mr. Griffith would call out: ‘I can use you in this scene, Miss Bierman, if you can find a dress to fit you.’ The tall, lean actresses, and the short ones found that difficult, and thus, unfortunately, often lost a day’s work. Spotting a new piece of millinery in the studio, our director would thus approach the wearer: ‘I have no part for you, Miss Hart, but I can use your hat. I’ll give you five dollars if you will let Miss Pickford wear your hat for this picture.’ Two days of work would pay for your hat, so you were glad to sit around while the leading lady sported your new head-piece. You received more on a loan of your clothes, sometimes, than you did on a loan of yourself. Clothes got five dollars always, but laughter and merry-making upstage went for three.” (72)
–Linda Arvidson (Mrs. D.W. Griffith). When the Movies Were Young, New York: E.P. Dutton & Company, 1925. pgs 71-72
Below is an early film (by D.W. Griffith) The Adventures of Dollie, starring Linda Arvidson and Harry Salter.
Back in 2009, I interviewed curator Christina Johnson of the FIDM Museum for Wornthrough – and she gave readers a brief glimpse the Fabulous exhibition (that was then in the planning stages).
Alexander McQueen "Peacock Dress" Fall/Winter 2008-09 (Via Nick Verrereos)
Two years later, and now as as Programs Chair for the Western Region of Costume Society, I’m thrilled to say that we have a very special behind-the-scenes tour to offer members and non-members alike.
FABULOUS! highlights include: a luxurious embroidered court suit worn by composer Johann Hummel, a Redfern court gown with regulation eleven-foot-long train (see above), and a museum-commissioned lace peacock motif Alexander McQueen couture gown (pictured at left), among others.
The CSA special program includes both illustrated presentations by curatorial staff as well as a tour. Highlights include an inside look at the Fabulous! exhibition planning process by curator Kevin Jones and a close-up analysis of the Madame Olympe gown by Danielle Killam, assistant registrar.
Happily, there is still space for those interested. Simply download the flyer and mail it in with your check (The deadline for registering is November 11) . I hope I’ll see you there!
Wedding Gown worn by Elisabeth of Wied, Queen Consort of Romania, in 1869 (via Nick Verreros)Queen Victoria of Great Britain's Evening Gown, black silk faille and crepe, from 1897 (via Nick Verreros)
“What exactly is fashion? It is difficult to give an exct definition of fashion because the word has had different connotations throughout history; the meaning and significance of the word have changed to suit the social customs and clothing habits of people in different social structures. When fashion is treated as an item of clothing that has added value in a material sense, it confuses the notion of fashion. Fashion does provide extra added values to clothing, but the additional elements exist only in people’s imaginations and beliefs. Fashion is not visual clothing but is the invisible elements included in clothing”
