Vidal Sassoon and the 1960s five point cut

Actress Nancy Kwan with a haircut by Vidal Sassoon, published in Vogue 1968, Photography by Terry Donovan (Click for source)

Over the holiday break, I had a good bit of time on my hands to do some leisurely fashion research, reading and watching. I’ve been on a fashion documentary kick, and most recently watched Vidal Sassoon: The Movie. The film was initially conceived by Michael Gordon (founder of the now-famous salon and product line, Bumble and Bumble) as a short film to give to Sassoon upon his 80th birthday.

I have to say it’s one of the most well-done fashion biographies I’ve seen in a while. It provides wonderful context for the man’s personal history: discussing not only the social contexts of his upbringing (class-ism), religion, and world events) but also the contexts for his most famous haircut – the five point cut. It was popularized by the likes of designer Mary Quant, actress Nancy Kwan, models such as Peggy Moffitt and Grace Coddington (now an editor at Vogue), as well as by designer Rudi Gernreich.

I was struck by how thoughtful and mindful Vidal Sassoon was and is. He reminds me a lot of my grandfather. Sassoon is primarily self-educated, but he sought education in whatever form he could in order to succeed. At one point he even took elocution lessons at the Old Vic Theater in London to help him get rid of his Cockney accent. He is also yet another fashion industry professional fascinated by architecture (both Vidal Sassoon and Charles James had similar affinities for architecture, and geometry played significant roles in both of their design aesthetics).

The film also provides some behind the scenes on the production of the accompanying book, Vidal: The Autobiography. If you haven’t yet seen this marvelous little film (it opened in February 2011, but is now available on Netflix), I would encourage you to check it out (see clip below). It’s surprisingly inspiring.

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The New York Times on Trends: Yarn Bomb decor

"Do Knit Disturb" room at the Hotel Pelirocco.

Urban legend suggests that when a fashion trend hits the New York Times – it’s the beginning of the end. This past Sunday a brief piece in the Times by Lena De Casparis (Knitty Gritty) lightly suggested that “wool is popping up in everyone’s wardrobes this season. (Chalk it up to all those knitting clubs and yarn-bombers).”

But more to the point, her article also suggested that ‘knits’ are appearing in more unusual places – such as in hotel decor (with clever room names such as “Do Knit Disturb“).

While all this is clever and seems new (though iPod and coffee cup cozy’s have long been popular with the crafty kids and etsy sellers alike), I can’t help but remember Iola of the 1980s TV Series Mama’s Family and her fondness for hand-knit cozy’s ( I vaguely remember a knit tissue-box cozy that seemed pointless to my teenage self). Iola’s character was supposed to be old-fashioned and a little odd (and her making cozy’s for things was meant to reinforce this idea).

Knitted Tea Cozy's from the 1950s (via etsy)

Knitting covers for objects has also always felt more like a British phenomenon to me (and noticeably, the hotel highlighted in the New York Times is in the UK). I’m thinking specifically of tea cozy’s here. Joanne Turney’s book Culture of Knitting notes that “The tea cozy epitomizes the domestic history of knitting as an aspect of women’s dainty work and taste.”

But, going back to the notion that this ‘trend’ for knitted interior decor and fashions in general is influenced by yarn-bombers: What do you think? I’m not convinced that there is really a link between the current crop of knitted fashions and yarn-bombers (I’m sorry New York Times, but wearing a knitted sweater doesn’t mean that Yarn bombers are influencing fashion – yet). However, the notion of covering or encasing everyday objects in any kind of textile, yes suggests yarn bombers, but a broader influence might have been Christo and Jeanne Claude, who (for the unfamiliar) are best known for creating large site-specific works where they wrap large physical structures in fabric. I’d suggest that Christo influenced Yarn bombers and the two combined are beginning to influence home decor.

But, I digress: What do you think about this trend? What historical references do you see and where do you see it going?

The Pont Neuf bridge wrapped, Paris 1985 by Christo and Jeanne Claude

Sources:

Turney, Joanne. The Culture of Knitting, London: Berg Publishers, 2009 (pg 3).

Strawn, Susan M. Knitting America: A Glorious Heritage From Warm Socks to High Art. Minneapolis: Voyageur Press, 2011.

 

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Fashion in Motion: Nudie Cohen, the Rodeo Tailor

This odd little film (10 minutes) was created to accompany the Antwerp Fashion Museum’s 2011 exhibition ‘Dreamsuits: Designs by Nudie Cohn, the Rodeo Tailor.’ Here photographer and filmmaker Alice Hawkins “lends her unique eye to Cohn’s equally unique couture creations, capturing the glittering surfaces of Nudie suits drawn from the collection of Belgian entertainer Bobbejaan Schoepen on fashion film in ‘Museum of Costume.'” Happy New Year!

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Tuesday Teaser: The First Women Airline Stewardesses (1930)

"Original Caption: Fifty years ago, Jessie Carter Brohson (second from right) posed with the original group of eight that became the first women airline stewardesses. All were registered nurses, a requirement in those days. Mrs. Bronson, now retired in Hawaii, flew the run from San Francisco to Cheyenne. (1930, San Francisco)" © Bettmann/CORBIS
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Tuesday Teaser: Chorus Girls from a pre-code 1933 film.

Nov. 20, 1933: Fan Dance, Where is Thy Charm. It isn't very difficult to beleieve that these three charmers were selected as the most beautiful chorus girls in Hollywood. They are appearing in the Charles Roger's RKO production, Sitting Pretty. From left to right, they are: Helen Splane, Mae Madison and Peaches Jackson.
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Walter Plunkett’s wild ideas for An American in Paris (1951)

Gene Kelly and Nina Foch in An American in Paris (Click for reference)

In the beaux arts ball sequence of ‘An American in Paris’ [Walter Plunkett] really went imaginative. His materials included newspapers, oilcloth, canvas and felt. The hats were even more extreme. They featured cardboard boxes, sofa pillows and bird cages. One, of papier-mache, took the form of a woman’s leg.”–Quigg, Jack. “Have Nothing to Wear? Use Ingenuity,” The Washington Post; Jul 8, 1951, pg. S10.

You can see a clip of the scene referenced (the New Year’s Eve party)  here.

A nice side-bar for this is that Nina Foch’s gown, according to the organizers of the recent Debbie Reynolds auction, was designed by Orry-Kelly for Walter Plukett in this scene. (Click the image below for more on that!)

Gene Kelly and Nina Foch in An American in Paris (Click for source)
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In Brief: Maharaja: The Splendor of India’s Royal Courts

This past weekend, I had the good fortune to be able to visit the San Francisco Asian Art Museum’s current, excellent, exhibition: Maharaja: The Splendor of India’s Royal Courts (on view through April 2012). This show is a somewhat smaller version of the 2009 version put on by the Victoria & Albert Museum in London.

Poshak (costume for a woman). About 1900. Silk brocade with gold thread, base metal and sequins. Private Collection. (via Asian Art Museum)

Each piece in the show is impressive: sumptuous materials, exquisite details and extravagant design make obvious that the Maharaja’s were a VERY wealthy bunch. By examining their lives as a whole, the objects included provide a cohesive picture of their worlds and lives.

Objects included in the exhibition include paintings, thrones, regal accessories, men’s and women’s costumes, and LOTS of jewelry, furniture, musical instruments, games and much more. Some of the most physically impressive objects include a full size all-silver carriage, an elephant throne and some of the biggest diamonds and sapphires I’ve ever seen (many many by Cartier). Everywhere you looked were examples of fine craftsmanship, and nearly everything was gilded, embroidered or otherwise embellished to emphasize wealth and power.

Necklace. Cartier Paris, special order, 1928. Reconstructed with some substitute stones in 2002. Platinum, diamonds, yellow zirconia, white zirconias, topazes, synthetic rubies, smoky quartz, citrine. Created for Sir Bhupindra Singh, Maharaja of Patiala. Nick Welsh, Cartier Collection © Cartier.

One word of advice though – take a magnifying glass to truly appreciate some of the amazingly small and detailed paintings (similar to detail to the recent illuminated manuscripts exhibition at the Getty). The exhibition itself was well-thought out, and the (free) audio-tour was great. The show included several informative videos that provided good context for the show, and the audio-tour offered additional videos if you wanted more information.

Can’t make it to see the show? You’re in luck, there is an exhibition catalog of the V & A’s version of the show (which I sensibly purchased). There’s also an audio-tour that you can easily download through iTunes.

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