I recently discovered that the Conrad Mansion Museum in Kalispell, Montana is currently hosting a special costume exhibit titled At Home During Wartimes, on view through October 15, 2011. Special thanks to Tove Hermanson, who edits the Costume Society of America‘s monthly E-Newsletter, for alerting me (and all CSA members) to this unique exhibit.
According to the webpage, At Home During Wartimes includes both items worn on the front, as well those worn by the Conrad family at home during wartimes. The breadth of history is quite astounding, and goes as far back as the Civil and Spanish War America War, through WWI and WWII and into the Korean War. Uniforms as well as what ‘the folks back home’ were wearing are shown in an effort to provide insights into how wartime shortages and demands affected the clothing industry.
For further details, including address, hours visit www.conradmansion.com or call 406-755-2166 for more information and special event information. Details about the exhibit can be found on this Facebook page.
If you end up going – I’d love to hear more about the exhibit!
About a month ago, I found myself in Sacramento with time to waste. Rather quickly, I found myself quite a ways off the beaten path at a vintage shop called Lulu Forever. Once inside, it became clear that the buyer there has a great eye for both historically relevant and unique pieces: The shop held a wide range of clothing from a variety of time periods. Of particular note were the full skirted 1950s dresses, adorable pink polyester pants suits, and small (but well selected) section of menswear. I scrolled through the racks and found myself breathless with anticipation: what would I find on the next hanger? One piece caught my eye before I’d even entered the store: a textbook perfect example of mod fashion.
Grey Mod Dress
The grey mini-dress, shown below, with a white peter pan collar and single front pocket represented the epitome of the 1960s “mod” style. It referenced a number of well known designers and images.
Mod dress at Lulu Forever, Sacramento
Both Haute Couture and pop culture reference can be found here. A high fashion dress created by Yves Saint Laurent in 1958 for Dior (though it retained the heavy under structure despite appearing loose and ‘free’) is remarkably similar to the dress at Lulu’s. Though it can also be easily compared to the work of commercial designer Mary Quant in the early 1960s (as well as her own personal style). Yet a third reference draws comparisons to 1960s popular film, specifically Anthea Sylbert’s costume designs for Rosemary’s Baby (1968). Of course, the look was also parodied by John Waters in the movie Hairspray (1988, CD Van Smith).
Yves Saint Laurent for Dior, 1958 (Costume Institute, MET)Mary Quant, c.1965 (via Monpti Parapluie)
Cork Purse
Though I’d previously explored the use of cork as an alternative material for shoes, I had not realized that it was also used for handbags-perhaps by individuals rather than commercially.
Square purse of cork, at Lulu Forever
As I’d not really encountered cork handbags ‘in the wild’, a little researching was required. I found a nearly identical version for sale on etsy, and a circular example in a private collection. All appeared to be made of recycled materials (soda or wine corks) and a pre-fab zippered purse. Ferragamo is said to have created the first wedge shoe in 1936. [i] Wood and cork were used to create these soles and were frequently covered with cloth, leather and decorated with sequins, embroidery or bows. [ii] Due to a shortage of steel in 1936, which Ferragamo used usually used to reinforce the arches of his shoes, he created a sole made from a wedge of cork-leading to the trend for platform sandals in the 1930s and 1940s. [iii]
It’s easy to see that given these shortages and the cost of traditional materials, recycling wine-bottle and soda-pop cork could be an easy and innovative (admittedly, more research could be done on the use of recycled materials during the depression era). I’d love to hear from those who might be working in this area.
High cork platform shoes with gold kid strap, ca. 1937, photograph by Cecil Beaton (Conde Naste)Vintage 1930's Cork linings from bottle caps are glued into a zippered purse (Via Janet Cooper Designs)
As an aside, Lulu Forever also contained a zip-up, striped, polyester, shorts-jumper with labels from Lacoste for I.Magnin. I fell in love with it and I could not leave without buying it (I wore it to a BBQ on the 4th of July). If you ever find yourself in Sacramento, I’d suggest a visit – you just might find an icon there yourself.
[i] Mendes, Valerie and Amy De La Haye. 20th Century Fashion. London: Thames & Hudson, 1999. 86
[ii] Probert, Cristina. Shoes in Vogue Since 1910. New York: Abbeville Press, 1981, 28
[iii] Pattison Angela and Nigel Cawthorne. A Century of Shoes: Icons of Style in the 20th century Australia: Universal International, 1997. 10.
Maggy Rouff (designer), French, 1896–1971 'Sucre d'Orge'Dance dress(with belt & petticoat), 1958–1959 France, Paris White silk organdy,chartreuse silk taffeta and tulle Gift of Mrs. John N. Rosekrans, Jr. 1992.147.14a-c (De Young Museum, Fine Arts Museums of San Francisco)
Original caption: 6/24/1933-Santa Monica, CA- The world's largest firecracker will be set off the morning of the Fourth, on the beach in front of the Grand Hotel at Santa Monica, at the crack of dawn, to get up any late sleepers among the younger set. Martha McCormic will touch the cracker off.
Given that costume designers sometimes don’t get the credit they deserve, it’s nice to be able to tell you about a new authoritative archive that emphasizes the historical import of this often under-valued craft. Earlier this week I received notice that the Margaret Herrick Library (of the Los Angeles based Academy of Motion Picture Arts & Sciences: i.e. OSCAR!) had finally released its online archive of Production Art.
It’s not the entirety of the Graphic Arts collection, but much to my delight, it includes a good deal of film costume art! Of the 5,300 records in the database, nearly half include images. The database also includes “production design drawings, animation art, storyboards and paintings” and date from the 1920s to the present day.
It’s a huge resource for film costume historians, and thankfully provides credit for both costume designers, as well as illustrators (often two different individuals). As Library Director Linda Mehr notes:
“We’re very happy to be able to make this database more widely available to researchers, students and film enthusiasts. . . . Our hope is that it will bring much-deserved attention to the costume and production designers, sketch artists, animators, and other artists who have contributed so much to filmmaking.”
"The Spanish Dancer", 1923 by Howard Greer (via AMPAS)
To give you just a quick snapshot of what’s available: The database includes nearly 40 records for Gilbert Adrian; 20 for Milo Anderson; almost 30 for Travis Banton; 70 for Marjorie Best; 19 for Howard Greer and many, many more.
Though most images are rights-protected (i.e. you can see them on your computer screen, but can’t insert them into a blog post or save them to your computer), a few have been cleared for media purposes. Those interested in information on additional materials (or to make an appointment to view an item that does not yet include a reference image) are encouraged to contact graphic arts librarian Anne Coco at acoco@oscars.org. A full list of their databases is available here.
Jennifer Heath, a UC Press author (The Veil: Women Writers on Its History, Lore, and Politics and Land of the Unconquerable) recently turned my attention to contemporary artist Mary Tuma. Having only seen a photograph of her ‘tall fashions,’ and knowing that her work stemmed from in interest in liberating women, I became intrigued and wanted to know more.
A native of Oakland, CA she earned a BS in Costume and Textile Design from University of California – Davis.
Her artists statement notes:
internal systems III, 2008. poly-satin ribbon, yarns and string. variable. By Mary Tuma.
“My work addresses the issues of the transformation of the body and the spirit through the use of clothing forms applied to found objects or placed within a contextual environment. The use of old fabrics and found objects is important in creating a work or environment that evokes a feeling of loss, or distant memory.”
Not surprisingly, given her interest in crochet and sewing, her work reminds me of Ruth Asawa’s basket-like sculpture. Heath filled me in a little bit more on her recent work, Three Pillars: Liberty, Unity, Voice: “[It’s] huge. . . but based on the fashions of Marino Fortuny, the kind of Greek revival dresses that helped liberate women from corsets. To Mary, these are meaningful in terms of the Arab Spring (she is half Palestinian). The Three Pillars just went to a show in Kuwait. . . . Mary teaches fibre arts and fashion at UNCC.” Mariano Fortuny’s designs (worn by the likes of Lillian Gish and Isadora Duncan) and their influence on Tuma’s work seemed a unique connection. Happily I had a chance to ask Tuma about her work directly:
Three Pillars: Liberty, Unity, Voice (Kuwait) By Mary Tuma (Photo Via Jennifer Heath)
Fashion Historia: What is the significance of fashion history in your current piece, Three Pillars: Liberty, Unity, Voice?
Mary Tuma: “Fashion is a human rights issue. One can see this clearly in the current debate over the right or requirement of women of Islamic faith to wear head scarves. Mariano Fortuny’s work has always stood out in my mind as a great example of the fashionable un-corseted natural body of woman— a celebration of unaltered human form. For me, his work speaks volumes about woman’s right to exist in her natural form apart from cultural shackles. Of course Fortuny’s Delphos dresses (on which I based formal aspects of my piece Three Pillars) were inspired by ancient Greek statuary, which serves as a reference to a culture involved in early experiments in democracy. So, for that reason, the Fortuny model seemed very appropriate for a piece about the current “Arab Spring,” which is what Three Pillars addresses. For me, democracy is also a feminist issue, and is meaningless if it’s not. As the Arab World changes, it is my hope that women will step up and take an increasingly integral role in forming new governments and creating policy. So Three Pillars: Liberty, Unity, Voice (which also spells LUV by the way!) is my way of hoping to inspire feminism in the face of changes and to inspire women to stay in the dialogue.”
Fashion Historia: How did your education at UC Davis help prepare you for your work as an artist ?
Mary Tuma: “My education at UCD Design prepared me in many ways to function as an artist working in fiber materials and methods. Apart from learning to work with dyes, garment forms, etc., I took some very important classes that directed my thinking. History of Costume (with JoAnn Stabb) was one of these and it was where I first learned about Fortuny and his amazing work.
Homes for the disembodiednext piece, 2000, remade 2003. 50 meters of continuous fabric, fallen trees, thread, stones, wire. approximately 10' x 25' x 7' (dimensions variable)
I have been fascinated since then with the mystery of the permanently pleated silk. Three Pillars was my first experiment in playing with permanently pleating silk after a student brought me an article from the web on how to “fake” it! The other two very influential classes were Textiles of the World 1 & 2…. These three courses have influenced my direction with my work in a sort of constant way. I did go on after earning my BS in Textile and Costume Design from UCD to study Women’s Fashion area at FIT [Fashion Institute of Technology] and Costume Design for Theater at Humboldt State University. Of course all of these experiences contributed to my knowledge base and have given me a unique perspective from which to work. My MFA is in Fine Art from the University of Arizona, where I studied Fibers with Gayle Wimmer. It was at the University of Arizona where I began to feel the difference between Art, Craft and Design and where I was able to negotiate between these areas to develop my practice.”
I’m thrilled to be able to share this unique use of fashion history in contemporary art. I think Mary Tuma’s work a new iteration of the 1980s ‘art to wear’ movement (which holds strong ties to California). I’d love to have your thoughts and comments on her work.
Additional Resources:
For more on Classicism in fashion see the Metropolitan Museum of Art Costume Institute’s online exhibition Goddess (2003).
*Image above is of a Mariano Fortuny Delphose dress (1930) via the MET, CI (2009.300.2606, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of the estate of Mary Boocock Leavitt, 1974)
Moulin, batik on silk, 54″ x 36″ By Mary Edna Fraser
One sometimes finds art and fashion in strange places. A few days ago, I discovered this unique collaboration between a scientist and a silk batik artist. It plays into my personal interest in both hand-crafted objects and the environment. The exhibit opens tomorrow with a special reception, remarks by the artists and a book signing:
“Our Expanding Oceans: The Blending of Art and Science”
This unique exhibit features more than 50 hand-dyed silk batiks, each inspired by aerial and satellite imagery as well as conceptual perspectives of our environment, and permeated with color to produce stunning visual effects. Developed as a comprehensive exhibit by artist Mary Edna Fraser and scientist Orrin Pilkey,* the collection explores major elements of global climate change, from melting ice sheets to rising seas.
Over on Worn Through today is a book review by my good friend, Rachel Harris of Zoot Suit: The Enigmatic Career of an Extreme Styleby Kathy Peiss (May 23, 2011, University of Pennsylvania Press). Click on the book cover to read the review!
Coupled with the coverage of the capsule collections Rodarte made for Pitti Uomo and Pitti W, it turned into quite a Rodarte-focused week around many blogs (see Exhibiting Fashion and The Fashion Informer for examples).
I recently discovered that the Conrad Mansion Museum in Kalispell, Montana is currently hosting a special costume exhibit titled At Home During Wartimes, on view through October 15, 2011. Special thanks to Tove Hermanson, who edits the Costume Society of America‘s monthly E-Newsletter, for alerting me (and all CSA members) to this unique exhibit.
and Land of the Unconquerable
) recently turned my attention to contemporary artist 
