CONFERENCE: “Conserving Modernity: the Articulation of Innovation,” 9th North American Textile Conservation Conference
San Francisco, California November 12th – 15th, 2013
Synthetics. New ideas to old problems. Wearable art. Creative treatment solutions. Evolving installations. Collaborations with contemporary artists. These are some of the topics that will be addressed in two days of papers and posters presented in the deYoung Museum in Golden Gate Park for the 9th biennial North American Textile Conservation Conference.
Two days of workshops will precede the presentations and will cover aqueous cleaning solutions for textiles, natural and synthetic fiber identification, and progressive display techniques. There will also be workshops offered by San Francisco artists on innovative techniques for resist dyeing and working with ribbon to custom design trims and other embellishments.
The opening reception will take place in the Jackson Square District hosted by Peter Pap Oriental Rugs and the Lotus gallery. The closing gala will be held at the Asian Art Museum.
Following the conference, two additional tours will be offered: a cultural adventure throughout the East Bay and a tour of the Levi Strauss & Co Archives.
For more information contact: contactNATCC@natcconference.com
Jean L. Druesedow, director of the Kent State University Museum and former curator at the Costume Institute, has provided a marvelous essay in Katherine Hepburn: Rebel Chic, the new marvelously illustrated book out on the film-stars on and off-screen style.
Jean L. Druesedow, curator of "Katharine Hepburn: Dressed for Stage and Screen."
Druesdow’s essay, “Working Relationships: Costume Design and Katherine Hepburn,” is an in-depth look at the collection of garments worn by Hepburn, but also examines her interactions with designers such as Walter Plunkett, Howard Greer, Muriel King; Valentina; Cecil Beaton; and of course, Adrian. It also documents many of the too-often-ignored Broadway designers she worked with throughout her life. However, the essay begins by highlighting how these physical garments came to be ‘saved’:
Katherine Hepburn in "Without Love" (on Broadway), 1942. Costume Design by Valentina
Her personal letters and papers reveal that many of the costume designers and wardrobe attendants who worked with her held her in high regard. . . . Upstairs in Hepburn’s New York City home there was a closet reserved for this collection of costumes she had worn on stage and screen. The contents of the closet were separated from the other wardrobe, and when the town house was closed, these special garments were carefully inventoried, packed, and placed in a Connecticut warehouse. The collection spans nearly the entirety of her career with six stage productions and twenty-one films represented, as well as garments worn for publicity photographs. (The collection in accordance with her wishes was given by her estate executors to an educational institution, and now is housed at the Kent State University Museum in Kent , Ohio).” (88-89)
The book not includes wonderful research and background information for the film costume history enthusiast, but also includes film stills and photographs of extant garments, costume design sketches and notes, and other historical ephemera.
Edited by UC Davis professor Susan Kaiser (along with Efrat Tseëlon of the University of Leeds and and Ana Marta González of the University of Navarra); this publication – part book and part journal – seeks to further the Fashion Studies debate with both interdisciplinary and international slants. Critical Studies in Fashion and Beauty is a well-illustrated journal that includes exhibition reviews, articles and editorials by a dozen different authors on such topics as “Revisioning the Kimono” (Sheila Cliffe); “Russian Immigrant Women and the Negotiation of Social Class and Feminine Identity through Fashion” (Alexandra Korotchenko and Laura Hurd Clarke); and “Auction Prices of Fashion Collectibles: What do the mean? (Diana Crane).
Crane’s piece on fashion as collectible object was a particularly interesting editorial, especially this:
Aesthetic criteria for evaluating fashionable collectibles and fashionable clothing in general are underdeveloped, as indicated in a recent review of scholarly works on fashion (Gonzalez 2010). Most scholarly discussions of fashion theorize the characteristics and effects of fashion that is in fashion, rather than the aesthetic criteria of fashion collectibles. in fact, most such discussions ignore the possibility and implications of fashion collectibles. Analysing fashion collectibles is different from recounting fashion history. The latter tends to be a description of a succession of creators and styles.” (145-146).
Her piece also discusses the role of ‘celebrity endorsement’ in the valuation of fashion collectibles; the roles museums play; as well as some brief background analysis. It will take me a while to get through the other articles here, but they are valuable and informative works. If you’ve read other articles here, I’d love to know your thoughts on them.
I’ve just received my very own copy of Fashion: The Definitive History of Costume and Style (DK publishers – and the Smithsonian)! It’s so exciting to see ones name in print, especially alongside such well-respected and well-known historians, authors and researchers.
It really is an amazing resource, and very well done (covering the history of fashion from Prehistory to the present day). Below are my snapshots of a few of the sections I wrote – including some writing on mod fashion, 1950s ball gowns and cocktail dress. You can order a copy on Amazon now and get $20 off…
Mission Period Ecclesiastical Vestments from the de Saisset Museum Permanent Collection and Annual Membership Meeting
November 10, 2012
de Saisset Museum, 500 el Camino Real, Santa Clara University, Santa Clara, CA
Join us for a presentation and tours of the richly-textured, exotic and clandestine histories of the Vestment and Liturgical Garments used in Alta California’s Missions. Guest speaker Elise Yvonne Rousseau will discuss their worldly origins, spanning more than two centuries and four continents.
Photo credits: Elise Yvonne Rousseau – ACdR 2001. 17th c. metallic banana silk brocade – Phillipines, 16th c. silk brocade, with metallic braid trim – Spain, 18th c. silk brocade – Mexico City, Nueva Espania, 18th c. flat silk embroidery – Peking, China
Reservations must be received by Nov. 1, 2012
Tickets include lunch:
• CSA Members $30
• CSA Student Member(s) $20
• Non-Member(s) $40
• Student Non-Member(s) $25
• Special: SCU Student and Faculty/Staff Non-Members
With lunch $25
Without lunch $15
Download the registration form to sign up and get information about the schedule, lunch, directions and special hotel rates.
SAN FRANCISCO’S BELOVED MUSEUM OF CRAFT AND FOLK ART (MOCFA) CLOSES ITS DOORS AFTER 30 YEARS OF PUBLIC SERVICE
The Museum of Craft and Folk Art (MOCFA) on Yerba Buena Lane announces that it will be closing its doors on December 1, 2012 at the end of the run of its current international exhibition “Fiber Futures: Japan’s Textile Pioneers.”
Sustainability in the current economic climate, with reduced funding for the arts, was a significant factor in the decision, but Museum leadership also felt that, in many ways, MOCFA had achieved its essential mission.
“MOCFA has been a leading platform for critical discussions and a change in perspective around craft and folk art in the contemporary art field,” says MOCFA director Jennifer McCabe. “Contemporary artists who engage in craft traditions are now embraced by the contemporary art market and by larger venues including leading museums, which was generally not the case when we began. We would like to frame the closing of the Museum on its 30th anniversary as a celebration of the incredible contributions MOCFA has made in the Bay Area and beyond. The organization should be remembered for its groundbreaking exhibitions, a commitment to arts education in schools, and its strong ties in the community. We would like to thank the generosity of our funders, not all of who can be mentioned here but include: MOCFA Board of Directors, Fleishhacker Foundation, Gertrud and Harold Parker, Grants for the Arts/San Francisco Hotel Tax Fund, Kimball Foundation, Bernard Osher Foundation, Walter & Elise Haas Fund, The Andy Warhol Foundation for the Visual Arts, Zellerbach Family Foundation, Millennium Partners, and all Museum members and friends.”
MOCFA Board Chair, Elaine Connell adds, “The Museum of Craft and Folk Art is proud of its 30-year history, but due to material changes and the economic climate, the Board of Directors is saddened to inform the public of MOCFA’s imminent closure. While decisions of this magnitude are never easy, we are proud to be closing at such a high point in the organization’s history, and thankful for the leadership of Director Jennifer McCabe, along with Curator Natasha Boas, Educator Linda Janklow, and all the amazing staff who have contributed immensely to exhibitions and public programs.”
Founded in 1982 by craft artist and patron of the arts Gertrud Parker, the Museum’s mission has been to “provide exhibitions and educational programs to enrich and inspire, honor cultural traditions past and present, and celebrate the creative spirit.” MOCFA has provided innovative exhibitions and educational programs that have been designed to connect with and inspire diverse communities and served the Bay Area, as well as San Francisco visitors.
As the only folk art museum in Northern California, the Museum has been recognized for its rich offering of focused and unique exhibitions of traditional and contemporary folk art and craft from around the world — demonstrating how folk art, contemporary craft, and fine art are all part of the same continuum.
Over the past 30 years, the Museum has exhibited hundreds of artists and significant local and national craft and folk art collections such as “Will the Circle Be Unbroken: Four Generations of African-American Quiltmakers”; “Emblems of Passage: Art of Africa, Oceania, and the Americas”; “June Schwarz: Enameled Bowls and Wall Pieces”; “The Road to Heaven is Built by Good Works: Southern Visionaries”; “Not So Naive: Bay Area Artists and Outsider Art”; “The Art of Gaman: Arts and Crafts From the Japanese Internment Camp 1942-1946”; and “Simply Shaker: The Ben and Toby Rose Collection of Shaker Arts and Crafts.”
In the new Yerba Buena Lane space, MOCFA enjoyed critical acclaim and strong admission numbers for its lively and engaging exhibitions, such as “E is for Everyone: Celebrating Sister Corita”; “Volver: Mexican Folk Art into Play”; “Clare Rojas: We They, We They”; “Rhythm and Hues: Cloth and Culture of Mali”; “Open Source Embroidery”; “Inside/Outside: Artist Environments”; and “The Shape of Things: Paper Traditions and Transformations.”
The Museum has been dedicated to working with artists on commissions of new work as well as promoting artist-led projects and public programs.
MOCFA’s monthly CRAFT BAR series in partnership with ETSY has become a San Francisco tradition with an avid following of makers who converge on the Museum and on Yerba Buena Lane to socialize, learn new skills, and take something handmade home. CRAFT BAR has become a model for many national museums like the Renwick Gallery of the Smithsonian and has been presented at meetings of the California Association of Museums and American Association of Museums, as well as at Maker Faire and the American Craft Council.The program Thinking by Hand was created as a quarterly conversation platform that takes place in MOCFA’s gallery and engages the growing number of constituencies interested in the nuances of materiality and its creation of meaning, and has included such guests as Heath Ceramics, Christina Kim of DOSA, and textile expert Yoshiko Wada. Make It @ MOCFA is a monthly family-friendly workshop designed in conjunction with exhibitions and in collaboration with visiting artists.
MOCFA’s award-winning educational outreach program has explored global artistic traditions and innovations through hands-on art making workshops customized for K-12 grades fostering self-esteem and respect for cultural diversity.
“Craft and folk art traditions infuse today’s most dynamic artists and artistic practices and San Francisco has always been a locus for serious experimentation in arts and crafts and social practice,” says Natasha Boas, MOCFA Curator. “It is our hope that the innovative exhibitions, public programs, and conversations that have been seeded at MOCFA will continue to be promoted and supported by our larger San Francisco arts institutions.”
In lieu of a closing party, please join the MOCFA board, staff and volunteers for a members’ reception for Fiber Futures x2 from 5-8 pm on Friday October 12, 2012. Visit mocfa.org for more information.”
Ever wondered what happens to your clothes beyond the charity bag?
Edited by anthropologists Lucy Norris and Julie Botticello, this special issue of Textile reveals the enormous scale, value and impact of the international secondhand clothes trade, a global economy that most know very little about.
The topic is approached from a variety of disciplinary perspectives, including historical insights into the expansion of the trade, ethical considerations of charity clothing practices, and economic analysis of how value is added to clothes and profitable relationships maintained. The contributors analyse specific localized practices and, crucially, place these within the broader context of global networks and markets.
Articles in this issue cover subjects such as international trade, recycling, street vending and papermaking! Click here to see the full table of contents.”
The last few weeks I’ve been busy with a number of projects – not the least of which is that as of July 1, I became President of the Western Region of the Costume Society of America. I’ve served on the Western Region Board for the last six years (2006) and became Programs Chair/President-Elect in 2010. The first few weeks, I’ve focused on sorting out board committee chair responsibilities (Tip: If you are a CSA Western member interested in getting more involved, now is the time to speak up!).
At the Autry: Two Women, plaque (detail), circa 1934, Slip-cast earthenware, Hamilton Studio, by May Hamilton de Causse, United States, 1886-1971 Photograph: Susan Einstein
The Board also recently confirmed our new programs chair and president elect for 2012-2014 (congratulations Mary Gibson!), and other executive committee roles will be established soon.
Our next board meeting is in August, after the ‘Designing Women” program at the Autry (if you are interested in attending this behind-the-scenes tour on the opening weekend of the exhibition, the registration form is due July 28 – hurry!). I’ve been preparing Agenda items and learning as much ‘on the fly’ as possible, while at the same time trying to show Mary the ropes of being the programs chair.
CSA 2013 National Symposia: May 29 - June 3, 2013 in Las Vegas, Nevada
In case you weren’t already aware, the 2013 CSA National Symposium will be held in the Western Region – in Las Vegas (May 29 – June 3, 2013). We’re excited to be hosting, and looking forward to what the symposium committee puts together. The call for papers is already up and available for those interested in presenting on the theme “Mining the History of Costume: Fantasy and Fact.”
Hope to see some of you at the Autry program on August 11!
A few weeks ago, Matt Rudd of the Sunday Times of London asked me for a statement on the history of high heels. Though he didn’t quote me exactly, he did quote me first in his column, “God of Small Things” yesterday. For your reference, here’s the complete version of what I told him:
High heeled shoes have been around nearly as long as human civilization – with the first depictions of elevated shoes (a pre-cursor to the high heel) appearing as ceremonial dress in ancient Egyptian murals dating as far back as 3500 BC, and worn by both men and women of the upper classes. Generally, the popularization of the high heel is attributed to Catherine de Medici who – at only five feet tall – was eager to increase her appeal both to her husband and to the nation of France. Since that time, heels have often been associated with French high fashion – including France’s King Louis XIV who introduced the ‘red soled heel’ that Christian Louboutin has since co-opted as a signature element.”