New Fashion History Books: Sewing Machines in Japan and Stays in London

Fabricating Consumers: The Sewing Machine in Modern Japan

by Andrew Gordon

University of California Press (Nov. 1, 2011)

Written by Andrew Gordon, an expert in Japanese social history and a prestigious professor at Harvard University, this new book – Fabricating Consumers: The Sewing Machine in Modern Japan– shows how the ‘humble’ sewing machine dramatically changed life and society in Japan. It discusses the Singer sewing machine specifically, and shows how the machine in general “not only transformed manners of dress but also helped change patterns of daily life, class structure, and the role of women.”

Stays and Body Image in London: The Staymaking Trade, 1680-1810

by Lynne Sorge-English

Pickering & Chatto Ltd (June 30, 2011)

At the recommendation of Mark Hutter, I recently acquired this new(ish) book, Stays and Body Image in London: The Staymaking Trade, 1680-1810 by Lynne Sorge-English. For those academics studying this time period, it is a good resource with unique analysis. The author uses surviving examples of stays in various collections, to explore how this garment and its manufacture changed over time.  Interestingly, it examines how women’s health was affected due to prolonged use. The book combines both material analysis with literary analysis (an eighteenth-century staymakers diary) along with cultural and social history. Important to note, however – this is not a photograph-heavy book, but is a true research resource.

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Alexander Mcqueen, ‘Fabulous’ FIDM, and the book

Those of you who follow me on Twitter will know that I went to the CSA hosted program on the FIDM Museum’s current exhibition, FABULOUS: Ten Years of FIDM Museum Acquisitions 2000-2010. During the lecture, our host and curator, Kevin Jones gave us some good behind-the-scenes dirt on the objects included in the exhibition and accompanying exhibition catalog (a veritable textbook on the last 200 years of fashion history, and well-worth the money).

Alexander McQueen Peacock dress, March 2008 Runway (Click for source)

Most interesting to me from his lecture, was the Alexander McQueen dress. The amazing craftsmanship of this dress was discussed. When the museum commissioned the dress it was to take 7 months (!) for the couture house to create it. In order to have the dress photographed for the exhibition catalog, the runway version was loaned to the museum for one day only. Thus, the dress included in the catalog is the same dress that appeared both on the 2008-09 runway and on Sarah Jessica Parker’s back in the Vogue shoot at the Met.

If you haven’t seen the exhibition yet, do so before it closes on December 17.

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Joan Crawford on finding her ‘look’ (1932)

Publicity Still of Joan Crawford for Grand Hotel, 1932 (click for source)

“I played the prostitute [in Grand Hotel, 1932] and I felt that a more sensuous look was needed. Full, natural lip line and generous eyebrows—no bra, no girdle. Definite features were called for, and I found that I liked that look so much that I kept it.”

–Joan Crawford, My Way Of Life. New York: Simon and Schuster, 1971. 159.

 

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Fashion shows in early cinema via Caroline Evans

“In 1904 a journalist described another type of worker, a member of a new female profession, the fashion mannequin, walking to work across Paris: …’This lovely woman with her slender, curvaceous figure, whose costume, one discerns, has come from a good dressmaker . . . hastens towards the rude de la Paix or the place Vendome. It is barely nine o’clock, but despite the morning hour and the sharp cold that stings the face, more than one passer-by turns round and slips while paying her a quick compliment.’

The four-minute Gaumont film starring Renee Carl, Une Dame Vrainment Bien (1908), made a comedy of just such a scene. A pretty woman exits from a clothing shop, promenades in the Paris streets, and piques masculine curiosity. All the men turn as she passes, setting in motion a comical chain reaction: Falls, collisons, and other blunders. The film is an instance in French film of the way that, as Constance Balides has argued in relation to American comedy films of the 1900s, everyday scenes of women walking through public places are turned into sexual spectacle . . .Perhaps the paucity of films of fashion modeling was due to the fact that, in the early 1900s, the mannequins, young women paid to walk to and fro in the elite fashion houses of the rue de la Paix and the place Vendome, were largely invisible to the general public. . .

–Caroline Evans, “The Walkies: Early French Fashion Shows as a Cinema of Attractions,” in Munich, Adrienne (ed) Fashion in Film. Indiana University Press, June 2011 (pgs. 112-113).

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Small Collection Highlight: Sacramento Valley Museum

I spent this past Friday and Saturday in the small town of Williams, CA. For those who don’t know it, it is on I-5, at the exit for Clear Lake. It’s primarily a farm town – but its history is long and well preserved in the former school house, now known as the Sacramento Valley Museum. My family’s roots go back to this particular town to at least 1920, but we were in the surrounding area as early as 1885.

The museum is a large two-story building and it contains all manner of historical every-day objects. It had a special Veterans Day memorial on view (which included example uniforms and paraphernalia from every major conflict). The permanent exhibitions areas include farming equipment, Williams High Alumni collections (including band uniforms), Masonic paraphernalia, as well as rooms organized by theme: kitchen, bathroom, bedroom, children’s rooms as well as businesses such as apothecary, general store and happily for me, the clothing boutique (all including objects from varying time periods). Shocking -and somehow comforting-to know just how long the same pharmacy (Fouch’s) has been in existence here.

Of particular note were the Model-T car, the dusters in the tack room (circa 1900), and some fine examples of corsets, dresses, and women’s accessories. Somehow, the things worn and used by real people (rather than the rich-and-famous) are always of greater interest to me. They seem more authentic, and by extension, more important to study and understand.

If you ever find yourself in the area, I’d encourage a visit – it’s a unique way to step back in time and smaller, lesser-known collections need your support to survive. Hope you enjoy these quick snap-shots:

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Faye Dunaway on Costume Designer Theadora Van Runkle, 1929-2011

“After I got the role of Bonnie [in Bonnie and Clyde, 1967], Arthur [Penn] and I started talking about what she might wear. I thought jeans, maybe, pants of some sort since they were robbing banks and making quick getaways. But Warren [Beatty] and Arthur wanted to put her in dresses, great costumes that would give her style. They had decided to give Theadora Van Runkle, who was a young sketch artist with a great eye, a shot at designing the costumes. Soon after I met Theadora, who was to affect my own sense of style and become a good friend during these fast times. Until I met Theadora, clothes, and getting to a certain look, creating an effect had just been part of the job. She taught me just how much fun it can be. I like Theadora immediately. She was smart, funny, a very independent spirit, and a genius when it came to clothing design.”

— Faye Dunaway. Looking for Gatsby: My Life. New York: Simon & Schuster, 1995. (128-129)

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Veterans Day

Signing the Armistice that ended the First World War (Via Corbis)

Today is Veterens Day, and the US Department of Veterans Affairs explains:

“World War I – known at the time as “’The Great War” – officially ended when the Treaty of Versailles was signed on June 28, 1919, in the Palace of Versailles outside the town of Versailles, France. However, fighting ceased seven months earlier when an armistice, or temporary cessation of hostilities, between the Allied nations and Germany went into effect on the eleventh hour of the eleventh day of the eleventh month. For that reason, November 11, 1918, is generally regarded as the end of ‘the war to end all wars.’ . . . The original concept for the celebration was for a day observed with parades and public meetings and a brief suspension of business beginning at 11:00 a.m.”

Women on a dock welcome home a hospital ship of WWI ANZAC veterans. (Via Corbis)
An Anzac World War I veteran is attended to by Randwick base nurses. (Via Corbis)
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The Wednesday Word: Alexandra Palmer (1997)

Bath Fashion Museum Shoes (Click for source)

“Voids in fashion scholarship can be partly explained by the fact that the study of dress often carries negative associations. The traditional study of dress history has been largely based on old art-historical methods of stylistic analysis, without integrating this with economic or social history. A contributing factor is that there is little formal academic training that addresses fashion or costume history; and fashion has to fight to gain recognition as a legitimate area of study.”

Alexandra Palmer, Abstract for “New Directions: Fashion History Studies and Research in North America and England”, Fashion Theory: The Journal of Dress, Body & Culture, Volume 1, Number 3, August 1997 , pp. 297-312(16)

(“The article compares the teaching of fashion history in England and North America, and Palmer uses some sample case studies to illustrate the validity of employing a multidisciplinary methodology that is based on material culture. She concludes that material culture analysis has to be set within a broader academic framework and not just be for its own sake. Liaison with scholars in other areas should be encouraged, as it is through cross-disciplinary interaction that more dynamic research can be pursued.”)

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