That Medieval Bra Business…

Lengberg Castle, East-Tyrol: 15th century linen “bra” in comparison to a longline-bra from the 1950´s

I don’t know how many of you read the CSA “Communities for the Study of Dress and Fashion Forum” Listserve, but there was quite a lively discussion last week about the now well-known 15th century ‘lingerie’ found in an Austrian castle. The most commonly cited article being from the Daily Mail, By Dalya Alberge. Much of the discussion on the forum was about the vocabulary being used: “bra,” “lingerie,” and other phrases normally used to describe twentieth and twenty-first century undergarments (not to mention hyperbole and sensationalistic writing). Listserve writers complained about the loss of educational opportunity, as well as the lack of contextualization for these pieces.

This University of Innsbruk article on the find, provides a little more of the cut-and-dry information of what was found, but here again also only uses modern-day terms to describe the objects (aside from a passing reference to a “Mieder” (German for corselette).

A woman hits her husband and puts on his underpants while he winds yarn in an engraving by Israhel van Meckenem, late 15th century.

The most informative article however, published a few days ago in the BBC History magazine, goes into considerable depth and provides a lot more context. That might be because it is written by Beatrix Nutz, a researcher at the Institute of Archaeology, University of Innsbruck (She is writing her thesis on the textiles from Lengberg). For example, Nutz explains:

There are some written medieval sources on possible female breast support, but they are rather vague on the topic. Henri de Mondeville, surgeon to Philip the Fair of France and his successor Louis X, wrote in his Cyrurgia in 1312–20: “Some women… insert two bags in their dresses, adjusted to the breasts, fitting tight, and they put them [the breasts] into them [the bags] every morning and fasten them when possible with a matching band.”

Nutz’s long, in-depth article is full of citations, quotes, and references – proving much more educational and satisfactory to this historian. She even provides the more accurate term, “breast bags” to describe the bra-like undergarments, and helps to fill in a lot of the gaps left by the more sensationalized articles. Hopefully, her work will seep into the general consciousness, despite its lack of sensationalism.

Feel free to leave your comments below.

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Book Giveaway: Balenciaga and Spain by Hamish Bowles

Enter to win a copy!

I told you to watch this space for more give-aways! Today’s contest is to win a copy of Balenciaga and Spain by Hamish Bowles. This is an exhibition catalog from the Fine Arts Museums of San Francisco’s exhibition last year. Worn Through writer, Lauren Michel reviewed the show back in May 2011 and included a number of wonderful photographs, plus an interview with Hamish Bowles.

To enter to win a copy of the lavishly illustrated book, I want to know which of his many inspirations speaks to you most. In the comments section below, tell me which Balenciaga design you love – and what inspired it (and be sure to include links to photos!)

Deadline for entry: June 20, 2012

Good Luck!

 

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Natacha Rambova: Character Development and Costume

Son of the Sheik, 1926 (Click for Source)

Yesterday, the Smithsonian Magazine’s blog, Past Imperfect posted a rather long article on Rudolph Valentino and his impact on sex and seduction in the early silent film era – and of course there is a brief mention of Natacha Rambova (the main subject of my own research). The article spends much of its time focused on the very public battle over the speculation of his sexuality, and his impact on masculinity in film. However, the article fails to discuss the role that Rambova played in the creation of his on-screen persona – especially in the role that many suggest established him as an entirely masculine star, The Son of The Sheik.

Although Rambova and Valentino had already separated by this point, their time together had inevitable effect on the development of his on-screen personas. This, coupled with the fact that Rambova’s costumes from Hooded Falcon were used for The Son of The Sheik, suggests that she had a significant (perhaps unintentional) hand in his career trajectory.

“A stunning Moorish costume adorned the stalwart form of our hero, including a pair of cerise satin Zouave trousers plentifully braided and embroidered in gold. These had been secured in Algiers originally for ‘The Hooded Falcon,’ which Rudy never made and which was the high spot in the Valentino contention with the Ritz-Carlton Company, which sent him into the United Artists fold. Natacha Rambova was the one who designed the costumes, to the tune of $100,000. They now lie on the wardrobe shelves. This is the first use that has been made of any of them.”[1]

Regardless of whether this bit of publicity is true (often the film studios publicity machine’s put out information that was in fact dead-wrong) – many actors regularly explain that putting on their costumes has helped them to ‘realize’ or ‘achieve’ the personality of an on-screen character (see the work of Dr. Deborah Nadoolman Landis). This is no less true in the early days of film. Rambova’s impact on Valentino is regularly discussed – often with negative connotations: she was too avant-garde for some, and European tastes often read as ‘effeminate’ to middle America. It’s unfortunate that this positive association is overlooked.
Despite this foible – I think the article is a good introduction to those unfamiliar with the scandals and speculations associated with Rudolph Valentino and his now infamous cult of celebrity.

[1] Chicago Tribune, April 11, 1926. William McGuire Papers, Library of Congress, Box 83, Folder 1.

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Dance Archives Open House (including Costumes!)

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Dance Archives Open House

Museum of Performance and Design,

Saturday, June 30, 1:00 pm – 5:00 pm

On the occasion of the Dance/USA Conference held this year in San Francisco, Museum of Performance and Design will display, for one day only, a selection of unique documents and costumes from the dance archives. The Museum will also give a tour of the regional hub of Dance Heritage Coalition’s Secure Media Network, which is hosted locally at MPD. The Secure Media Network is an online searchable database of streaming archival-quality dance footage.

This event is free and open to the public.

 

 

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Win a Copy: The Cult of Beauty Exhibition Catalog

The Cult of Beauty: The Victorian Avant-Garde 1860-1900 ends its run at the Legion of Honor on June 17th. I previously reviewed the catalog back in April – and now, you have the opportunity to win a copy!

The catalog describes the styles utilized by the Aesthetic Movement (Japonism, Neo-Classisism, and Pre-Raphaelite), and provides insights on the artists, designers, makers and writers of the era – from William Morris to Liberty & Co, to Oscar Wilde, Whistler, Gowin and Beardsley.

To enter: In the comments section below, tell me who your favorite designer (fashion or decorative) from this period is, and more importantly, WHY? Include links to a particular design from this period if you can.

Deadline: Wednesday, June 6, 2012.

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Schiaparelli & Prada: The Book Winner!

I am so happy that so many of you entered (10!) in the contest to win a copy of Schiaparelli & Prada! Below are some of the images that people submitted (in case you missed it). I was pleasantly surprised to see that many of you went to major museums to pull images for the contest (Costume Institute, Philadelphia Museum, FIDM Museum and Chicago History Museum were all included!) I’m also a little surprised that only one of you submitted a Prada image (tells me a good deal about the readers of this blog). In anycase, I guess I’d better tell you who won the book, no?

It was a hard choice, but the Winner is…….

 

 

Jacqueline !

Thanks to everyone for participating!

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Tapestry Symposium: Melissa Leventon to speak at San Jose Museum of Quilts & Textiles

Poppies, 1976 56" x 42" From the E. Mark Adams and Beth Van Hoesen Adams Trust

Melissa Leventon, former curator of Costume & Textiles at the De Young Museum of San Francisco, as well as a past president of the Costume Society of America, Western Region will be part of a Tapestry symposium on artist Mark Adams being held on Sunday, June 24, from 1-4:30pm. Hope to see you there!

Mark Adams: His Tapestry and Collaborators

In conjunction with the Mark Adams exhibition, a symposium, Mark Adams: His Tapestry and Collaborators brings together some of Adams’ key collaborators in the tapestry process, contemporary tapestry artists, as well as the leading essayist from the soon to be published catalogue raisonné on his work, Mark Adams.

The symposium will delve into Mark Adams’ deep connection with the tapestry medium and give unique insight into his design process and extensive body of work, directly from the people who knew and collaborated with him.

Presenters include:

Melissa Leventon – former curator of Costume & Textiles at the De Young Museum of San Francisco, Principal of Curatrix, (a museum consulting firm), and essayist for the Mark Adams catalog.

Haena Point (Hawaiian Sunset No. 1), 1979 63" x 67" From the Collection of the Stanford Library of Art and Architecture

Jean Pierre Larochette – tapestry weaver, instructor, director and co-founder of the San Francisco Tapestry Workshop

Phoebe McAfee – co-founder of the San Francisco Tapestry Workshop and principal weaver of Mark Adams tapestries.

Rudi Richardson – principal weaver of Mark Adams tapestries and currently a primary weaver for the tapestry project creating a new set of “The Hunt of the Unicorn” tapestries (seen at the Cloisters, MET, NYC) at Stirling Castle, Stirling, Scotland.

Constance Hunt – artist weaver, who studied at the SFTW, and will speak about her close mentor relationship with Mark Adams.

$40 nonmembers /$30 members /$20 student fee

Purchase online or call 408.971.0323 x14.

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The Shirtwaist Dress at the Women in Magazines Conference (London) June 22-23

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This coming June my paper, “Icon: The Shirtwaist Dress in Good Housekeeping and other media,” will be included in the presentations at the upcoming conference: Women in Magazines: Research, Representation, Production and Consumption.

(click to enlarge)

I’ve previously discussed this work, as it relates to Donna Reed and idealized Motherhood on Fashion Historia. Kingston University in London will play host to this and other such papers, including keynote speakers Professor Noliwe Rooks of Princeton University and Dr. Penny Tinkler of Manchester University.

You can register for the conference at http://kuwomeninmagazines.eventbrite.com/

Additional details are available at http://womeninmagazines.tumblr.com/

*Christian Dior, 1947 (Metropolitan Museum of Art, Costume Institute)

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Schiaparelli and Prada: The book GIVEAWAY!

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Last week, I was able to share with you my thoughts on the newly released book Schiaparelli and Prada: Impossible Conversations – and this week I’m happy to share that I have a copy of the book to GIVE AWAY to one lucky reader.

To enter simply leave a comment in the section below discussing your favorite Schiaparelli or Prada design (link to a photo if you can!)

The deadline for entry is Wednesday, May 23, 2012

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