Monica D. Murgia

Where art, creativity, and fashion meet

Archive for the ‘Genius’ Category

November 1st, 2012 by Monica Murgia

Hurricane Reading: Significant Others

I’ve been without power since Monday.  In order to connect to power sources and internet, I’ve had to be resourceful.  Many businesses have opened their doors to those of us without electricity.  Bookstores, fire houses, gyms – they have all been quite generous in lending a helping hand.

Many people seem annoyed by this change of pace.  I’ve been enjoying myself quite a bit.  No distractions!  One thing I’ve been doing to entertain myself is catching up on reading.  Right now, I’m reading Significant Others: Creativity & Intimate Partnership.

This book is a series of essays that explores the relationships of great artists.  It is an attempt to understand how gender, creativity, and partnership influence art.  Writing and painting take place in a sort of isolation, the privacy of a studio or home.  But what happens when to great writers or artists form a relationship?  How does this collaboration that happens behind closed doors affect the creative process? Can they both be geniuses?  Or is on person just an enabler of genius?  The editors of the book were hoping to shed some light on how these famous couples shattered traditional gender rols.  So much of history is written in a gendered way: creativity is considered masculine, women only paint or write when they are bored.  But there is so much more to this story.

The idea behind the book is so interesting to me.  I’m a writer and painter.  So much of my creativity happens behind closed doors.  However, I wouldn’t necessarily say that I create in solitude.  I’m inspired by friends and other people all the time.  Social interaction is critical to so many of my ideas for writing and reasons for painting.  Intimate relationships absolutely affect my creativity – some relationships thwarted my writing and painting, while others inspired me beyond words.  So I was intrigued to read about more famous collaborations . . .

The book explores 13 major creative partnerships, including:

  •  Lee Krasner and Jackson Pollock. (abstract painters)
pollockandkrasner
Jackson Pollock and Lee Krasner in their studio, c. 1949.  Image courtesy of The Slide Projector
  • Sonia and Robert Delaunay (fashion & textile designer, cubist painter)
delaunays


Sonia and Robert Delaunay.  Image courtesy of Pluto’s Edge 
  • Frida Kahlo and Diego Rivera (painters)
Diego-and-Frida
Frida Kahlo and Diego Rivera.  Image courtesy of  Blue Light Lady.
Over the next few days, I’ll be writing more about this fascinating couples and their artistic collaborations.  Be patient, please!  My access to internet and electricity are limited.

 

 

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March 7th, 2012 by Monica Murgia

Lost in Fashion

Angela Missoni painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

Keeping up with all my fashion magazines can be challenging.  So I was happy to finally sit down and look through the March edition of Harper’s Bazaar.  You can imagine my delight when I found this editorial called Lost in Fashion, a collaboration between photographer Liu Bolin and some of my favorite fashion designers.

Alber Elbaz of Lanvin painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

Bolin, a Chinese artist, lived and worked in an artists’ village in Beijing.  In 2005, the village was demolished by the Chinese government.  This prompted Bolin to create the portrait series Hiding the City, where he painted himself to melt into the wreckage of the artist’ studios.  Bolin sought to blend into the background as a way to comment on the invisible sense of humanity in every environment, especially in times of destruction.

Jean Paul Gaultier painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

This collaboration reminds me of my previous posts on Veruschka, Graffiti Fashion, and Feeling Blue.

Even Pierpaolo Piccioli of Valentino said:

We felt like Veruschka in a Franco Rubartelli picture.  But you don’t really know what’s happening, and all the people around you are saying, ‘It’s amazing.’

Pierpaolo Piccioli & Maria Grazia Chiuri of Valentino painted and photographed by Liu Bolin. Image courtesy of Harper's Bazaar.

 

Each of the designers talk about what it would be like if they were invisible:

“I am Missoni myself, so I wanted to totally disappear into my fabric.  But if I could be invisible, I would forget about clothes for a day.  I’d be invisible but naked.” - Angela Missoni

“If I were invisible, I would look at myself as a designer, I’m not an exhibitionist; I’m move of a voyeur.  All I try to do is be invisible.  I’m working day after day in front of a mirror and trying to disappear in front of the mirror.  I don’t want to see myself.  But I think it’s a choice: to make clothes to make women visible or to be a star and to always be visible.  I always preferred to be on the other side of the street and disappear.” – Alber Elbaz, Lanvin

“If I were invisible, I don’t know what I would do.  I would have no people to interact with.  It would have to be a very short moment, not for life!  I would never use it to spy, to find out if people truly loved me, because maybe I would feel depressed.  So [laughs] I think maybe I should die.” – Jean Paul Gaultier

“If I were invisible? I would stay by myself.  Just me.” -Pierpaolo Piccioli, Valentino

“I would wear pieces by other designers [laughs]!  That would be very nice for me.” – Maria Grazia Chiuri

 

Harper’s Bazaar, March 2012.  Pages 408-417

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March 6th, 2012 by Monica Murgia

Role Reversal

My dear friend and fellow blogger D. Kareem of The Blackout Blog recently wrote about RuPaul’s Drag Race.  For those of you who haven’t seen the show, it’s a competition for America’s next drag superstar.  Perspective contestants submit audition tapes in order to be cast.  All contestants selected must be 21 years of age or older at the time of taping, and all contestants must be biological men.  Once selected, the contestants are given challenges to progressively eliminate the number of drag queens in the competition until a winner is selected.

D. Kareem asked me an interesting question:

Do you think it’s a queen’s responsibility to learn to sew before entering Drag Race? Or should she focus more on other parts of her performance in preparation for the show if that’s not her thing?

RuPaul. Image courtesy of rupaulsdragrace.tumblr.com

My immediate reaction to this question was no.  And I would say that my answer to this question was self-serving – why should Drag Race seek to become a derivative of Project Runway?  As a viewer, the idea of watching the transformation through the use of makeup is much more enthralling.  That is why I enjoy watching Petrilude so much:

After some reflection, I considered how difficult it must be to find clothing that fits these queens.  Tailored clothing can be difficult to find, not to mention when your proportions are not the industry average.  I’m not sure that it should be the responsibility for each queen to make her own garments, but I’m sure it would allow a greater freedom to express their identities.

When teaching, I often discuss how fashion constructs and deconstructs gender identities.  The first time I led this discussion, I was entering with my own agenda: women wearing pants.  (See my guest post for Fashion Historia on California Playclothes).   Trousers or pants for women appeared throughout fashion history, but always on the scandalous periphery: Amazonian warriors, riding habits, coal miners, Bloomers, and so on.  It wasn’t until the 1930s that trousers for women became accepted for casual use for the home and vacation.  Yet women could be refused service in the public sector when they were clad in pants.    This slowly started to change in the 1960s, but with much resistance.

Woman in Le Smoking by Yves Saint Laurent, 1966. Photo by Helmut Newtown. Image courtesy of mademoiselle-c.tumblr.com

I like to use images of Yves Saint Laurent’s “Le Smoking“, photographed by Helmut Newton.  I think it captures the idea of the time period – is a woman still a woman if she dresses like a man?  Now this question seems absurd.  Of course women can be feminine and still wear pants.  It is socially acceptable.  But historically, pants and trousers identified masculinity.  So what happens when gender identity is blurred through clothing?

Woman in Le Smoking by Yves Saint Laurent, 1961. Photo by Helmut Newtown. Image courtesy of messandnoise.com

 

Gia Carangi and unknown model in YSL Rive Gauche, 1979. Photo by Helmut Newtown. Image courtesy of imtheitgirl.com

Through these classroom discussions, I learned a lot about the experience of cross dressing from my students.  They were all fashion design majors and could construct their own garments, so it doesn’t address D. Kareem’s question to me.  But hearing their experience of not allowing their identity to be defined by gender was enlightening.  One student explained:

Once I embraced the idea that I was attracted to the same sex, I felt a total freedom to dress differently.  Suddenly, every garment was now accessible to me.  Waking up everyday became exciting!  So many choices!  How I dress still reflects my identity, but less of how society sees me and more of how I feel on a day to day basis.  Some days it is more masculine, and some days it is more feminine. 

Elsa Perretti by Helmut Newton. Image courtesy of Hamburg Kennedy Photographs via artnet.com

 

Now that’s freedom.  For more on this topic, please visit:

The Blackout Blog

Vested Interests: Cross Dressing and Cultural Anxiety

In 1960 Cardinal Siri urged women not to wear trousers. I think he may have had a point

 

 

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March 2nd, 2012 by Monica Murgia

A Philosophy of Fashion

Image courtesy of optikoeyewear.blogspot.com

 

There comes a point in the semester when I discuss design philosophy with my students.  I particularly like this quote by Epictetus to start a discussion.  Philosophy can be a dirty, intangible word to many.  There are countless misconceptions about philosophy, particularly when I talk to fashion designers early in their careers. . .

Read the rest of my post on Worn Through

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October 18th, 2011 by Monica Murgia

Looking Back to Find Our Future at the Nordic Fashion Biennale

Enterance to the Nordic Fashion Biennial. Photo by Brenna Barks.

 

A few weeks ago, I heard about the Nordic Fashion Biennale taking place in Seattle at the Nordic Heritage Museum.  Geography often times inhibits my ability to see every single museum exhibition on my visiting wish list.  This year alone I missed both the Balenciaga and McQueen retrospectives.  Now, with winter knocking at my window, I am going to miss an exhibit on Nordic fashions?  Le sigh . . .

Thank goodness that Brenna Barks came to the rescue.  Brenna is a former linguistics and Japanese language and culture scholar who completed her MSc at the University of Edinburgh in 2010.  Her dissertation examined the influence of Indian garments and fabrics on British dress and society during the eighteenth and nineteenth centuries.  Brenna is fashion and textile historian, as well as a contributing writer for Worn Through.  She was recently in Seattle, and much to my delight, she agreed to visit the Nordic Fashion Biennale and write a guest post about her experience.  What a treat!  Enjoy her review, and be sure to follow her on Twitter.

Looking Back to Find Our Future. Photo by Brenna Barks.

 

The Nordic Fashion Biennale (NFB)was established in 2009 by the Nordic House, Reykjavik, to showcase “more than 60 designers, artists, musicians and speakers”.[1]  The 2011 NFB is the first to be held in America, and was co-sponsored by and displayed at Seattle’s Nordic Heritage Museum.[2] According to the Nordic Heritage Museum it is “the only museum in the United States that represents the cultural heritage of all five Nordic countries: Denmark, Finland, Iceland, Norway, and Sweden”, which makes it the perfect venue for an American-hosted Nordic Fashion Biennale.[3] The highlight of NFB 2011 is the exhibition, ‘Looking Back to Find Our Future’, curated by the New York-based Icelandic artist, Hrafnhildur Arnardóttir, aka Shoplifter.

Installation view of Half Beast Half Rainbow by Shoplifter aka Hrafnhildur Arnardottir. Site specific installation for Bowery Lane group show at the Charles Bank Gallery. December 9, 2010- February 6, 2011. Image courtesy of shoplifter.us

The Nordic Heritage Museum has three floors and the NFB 2011 pieces were scattered throughout it.  On the ground floor was the museum’s own exhibition, ‘The Dream of America’, an educational, experiential exhibit analyzing and illustrating what life had been like in the Old Countries, why people emigrated, how, and what their lives were like after they arrived, with various NFB 2011 pieces either hidden amongst the museum’s own, or openly displayed.

The Dream of America Exhibit. Photo by Brenna Barks

The second floor continued this theme with a special room dedicated to the fishing traditions of Seattle’s Nordic émigrés, and was the location of both the museum’s library and its gift shop. But the better part of this floor was occupied by the ‘Looking Back to Find our Future’ installations. The third floor of the museum contained country-by-country exhibits explaining the heritage and traditions of each featured country (each in its own room) and again with Nordic Fashion Biennale pieces mixed in with the permanent displays. In some ways the entire museum was like a “Where’s Waldo” game, trying to find the NFB garments and textiles.

Photo by Brenna Barks

While a bit jarring initially, I found the interspersing of the modern pieces amongst the historic displays – particularly in ‘The Dream of America’ exhibit – to be an absolutely brilliant way of showcasing this year’s Biennale’s theme of looking back.  The exhibit opened with a recreation of a dragon-headed longship, and next to it was a beautiful cloaked piece with garments by Kron by KRONKRON and Hildur Yeoman, both of Iceland, which was almost a modern interpretation of Viking women’s costume.  Beyond this in a recreation farmer’s hut stood a mannequin wearing a bright green and magenta version of traditional dress by Faroese designer, Vevstovan. Placed as it was in a recreated residence, it truly highlighted the fact that these modern, somewhat avant-garde designers were looking back, looking at their countries’ dress history and heritage to create their new designs.

Traditional Nordic Dress by Faroese designer, Vevstovan. Photo by Brenna Barks.

The coat in a later display (on the “boat out”) by Jet Korine of Iceland and styled with a traditional tam from the museum’s own collection, was made of the sort of uniform travel blanket the steam liners handed out, which brought some whimsy and creativity to the educational part of the exhibit.  Having these pieces, and many others, placed within a historical context allowed the visitor to see elements in a garment which in a “normal” gallery could have been completely lost and resulted in simply being seen as artistic and creative, rather than as a continuation of a historical tradition.

On the "Boat Out", travelers mixed travel blankets with traditional garments like tams, to keep warm. Photo by Brenna Barks.

This was not the case for every piece, unfortunately.  Many of the NFB 2011 garments could have been better showcased, and quite a few felt awkward, random, and haphazardly placed. This was particularly true in the third floor, room-by-room displays.  In the second floor room on fishing, a blanket-cum-bodysuit knit in traditional patterns caused me to look twice to assure myself it was indeed a modern Icelandic piece by Vík Prjónsdóttir, it was so seamlessly included with the other fishing paraphernalia.

Bodysuit by Vík Prjónsdóttirt. Photo by Brenna Barks.

Within the same exhibit room, raincoats from Rain Dear of Iceland were mixed in with the museum’s own collection of Macintoshes so that you could only find them if you looked for them, despite their being bright pink and green.  But upstairs, and sometimes within ‘The Dream of America’, it felt as though they had had more pieces than they’d known what to do with, and so began placing them at random which was extremely incongruous and actually interrupted the flow of the exhibit.

Raincoats. Photo by Brenna Barks.

I found the “4D” presentations within ‘The Dream of America’ exhibit absolutely wonderful. If you were walking across a front garden of mostly dirt up to a “residence” to see how the Nordic people lived in the Old Country, it was actual dirt, and there were wooden slats to the door to keep your feet out of the mud.  The “docks” were worn, wooden planks with wide enough space between them for a high heel to slip right through and surprise the wearer, I discovered.  When you boarded or disembarked from the ship that “took you to New York” you actually went up or down gangplanks.

Realistic exhibition design is so exact it recreates the types of walking surfaces in each part of the gallery. Photo courtesy of NFB - Nordic Fashion Biennale.

The set design for each aspect of the immigrant experience was nothing short of perfect, and I call it 4D because they had a soundtrack which changed depending on where you were: the sounds of cattle and the countryside at the beginning, voices and carts clattering over cobblestones in towns, voices and bustling on the docks or in the immigration offices.  It was a wonderful, extremely educational exhibit.  It was also a fantastic precursor to the second floor ‘Looking Back to Find Our Future’ main installation.  This part was done in the “traditional” gallery way, with plain white walls on which videos could be projected and truly creative re-interpretations of clothing traditions, particularly those of knitting and knitwear, by the featured designers.

Knitwear by Aftur. Photo by Brenna Barks.

Having just spent a good amount of time seeing photographs and garments from the Nordic Heritage Museum’s own collection of original pieces made it easier to interpret these more extreme versions than if I had simply seen them on their own.  However, there could have been far more information panels throughout.  With my own knowledge of Nordic narrative and knitting traditions, I was able to see the videos being broadcast on the walls as a celebration of the various artists’ home landscapes and a reinterpretation of the old ballad tradition. The knitwear was obviously an artistic expansion on knitting traditions that are still extensively copied, recorded, researched, and written about.  But more information would have been extremely valuable to my fellow patrons, many of whom I overheard commenting on their confusion and failure to understand what the point of any of this was.

Knitwear. Photo by Brenna Barks

There was no catalogue, and the pamphlets were more promotional materials than explanations of either what the Nordic Fashion Biennale was, or its history or purpose.  The pamphlets exclaimed that it had been a wonderful experience for both the NFB and the Nordic Heritage Museum, that they had learned from each other, that each had changed.  But how?  A single computer station with an informative slideshow of past Biennales, and interviews with officials from each organization about the project and working together would have answered many questions. If budget was a constraint, a simple binder with printouts of all of the above would have worked just as well.  But neither existed. The public was informed that it had been a wonderful collaboration and that was all.

KronbyKronKron. Photo courtesy of Nordic Fashion Biennale.

The museum’s docents could also have been better informed.  I was sold my ticket and told about ‘The Dream of America’ exhibit, but when I asked about the Nordic Fashion Biennale they offered very limited information.  The pieces were “throughout ‘The Dream of America’ exhibit”, and there was something on the second floor.  That “something” being the NFB 2011’s flagship installation.  They also thought that one or two of the Icelandic designers had designed dresses for Lady Gaga and Björk, but they didn’t know who or where their pieces might be.  And nothing was mentioned within the exhibit about having such prestigious clients.  There is a competition going on for the various designers featured, so I can understand why you might not want the famous clientele of one designer to overshadow a lesser-known one who could possibly have more talent. But museums thrive on attendance. It wouldn’t have hurt to better inform the docents and the public in the hopes of drawing in fashionistas or fangirls and –boys.

Despite all this my overall impression was extremely positive.  I came away better informed of the history of Nordic immigrants to the United States, and discovered a huge bevy of Scandinavian designers, their work and its influences.  And most importantly, I left wanting more.

For more information on the Nordic Fashion Biennale, please visit: http://www.nordicfashionbiennale.com

[1] Nordic Fashion Biennale website, accessed 16 October 2011.

[2] Ibid.

[3] Nordic Heritage Museum information pamphlet.

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October 4th, 2011 by Monica Murgia

tonya gross millinery

A few weeks ago, I made the acquaintance of Tonya Gross, a Chicago-based milliner.  I was in awe – a milliner? Based in America?  Surely the American-made hat was a thing of the past, lost somewhere along the way with the handwritten letter.  This couldn’t be farther from the truth.  Tonya makes gorgeous, custom-made hats and head wear that reminds me of a modern-day Charles James.  Her story is inspirational: a former head fund manager, Tonya branched out to start her millinery business in 2007.  She hasn’t looked back since.

Cut the mustard. Image courtesy of tonyagrossmillinery.com

Like any couturiere’s work, a closer look is needed to appreciate the intricate details.  So Tonya agreed to let me interview her and highlight her gorgeous work. 

Q) So you went from hedge funds to hear wear in 2006.  But millinery isn’t exactly an intuitive process.  When did you first start making hats, and who and what helped you perfect your craft?

I am new to labeling myself as a couture head wear designer.  It’s a weird thing. I have been sewing most of my life but couture is something special.  Yves St Laurent.  Christian Dior.  Charles James.  Coco Chanel.  Cristobal Balenciaga.  tonya gross?!  I am a long way from being in that company but I am excited for that journey!

Sewing as a kid, I loved to make my own clothes but had no patience for details.  In the beginning, my mom would make me rip out the stitches and sew it again, insisting that I take my time.  I drifted into head wear when I started thrifting in the 80′s for vintage head wear I could rework to cover my hair sculptures.  The creative abyss began when I graduated from college, moved to Chicago and started my career in finance.  Too busy to be creative, you know?  I found myself longing for a balance of the cerebral and a creative life.

I left the hedge fund business and found millinery courses at the School of the Art Institute of Chicago (SAIC) with Eia Radosavljevic.  You could say it was my epiphany.  I continued taking photography, design and fiber courses at SAIC but decided just to go for it, launching tonya gross millinery in 2007.  I continue to learn about millinery through my new work and networking with others in millinery.  Social networking has been a fantastic way to connect with people in the industry all over the world.  There is love and passion out there and I enjoy that connectivity.

 

At work. Image courtesy of tonyagrossmillinery.com

Q) I just ADORE that you have a page devoted to what inspires you.  After taking a look, I see you are inspired mostly by other design disciplines, like architecture and furniture.  Can you tell me more about what draws you to your inspiration?  Do you prefer geometric/asymmetrical compositions?  Intense colors?

Thank you!  Chicago itself is pretty inspiring.  Have you seen the Jeanne Gang building, Aqua?!  The building and the woman are both inspiring to me.  I take a lot of photographs and cull magazines for inspiration too.  Ultimately, it is the material that is most inspiring for me.  It tells me what form it wants to take by how it responds to my hands, the forms I carve, moisture, etc.  In some ways, I think the lack of millinery supply in Chicago (meaning the immediacy of traditional millinery materials) has also lead to some surprise successes.  I often have to source substitutes for millinery felt, straw, etc.  Simple problem solving.  Done in an exceptional way, of course!

 

Aqua building, Chicago. Photograph: Steve Hall/Studio Gang. Image courtesy of guardian.co.uk

Q) Who/what do you have in mind while designing and creating your hats?

It depends on the objective.  If it is a commission, it is about the client and their needs first. The shape of their face. The color of a dress.  The season.  An event.  My ideal is designing, executing and selling pieces from my own aesthetic. Sweet creative freedom! I love the sculptural aspect of the design.  The shape of the hat can come from an object that I carve first.

 

The creation takes shape. Image courtesy of tonyagrossmillinery.com

Q) Tell us about some of your recent projects.  Your hats were featured in Pamella Roland’s collection at Merecedes Benz Fashion Week for s/s 12.  How exciting!  Please tell us the details!

I had met Pamella earlier this year at the Kentucky Derby.  She had purchased one of my pieces at that time.  I was so touched.  I heard from her team some time before MBFW and was asked to create several pieces like the one she had purchased in custom colors to go with designs for the runway.  I had to turn the request around pretty quickly but was happy to do it.  Pamella is also from Michigan and is known as a big supporter of art, artists and emerging designers like me.   Pretty cool to not only show with Pamella but to have it photographed by Nigel Barker.  I really enjoy the idea of collaborating with other designers and look forward to the chance to do it all again.  That’s an open invitation to other designers, by the way!

 

Pamella Roland designer; Nigel Barker photographer; and hats by tonya gross millinery, tonyagrossmillinery.com.

amella Roland designer; Nigel Barker photographer; and hats by tonya gross millinery, tonyagrossmillinery.com.

Q) Do you think America will ever make the move back to wearing hats?  The royal wedding really got a lot of public interest and appreciation for hats.  Can you give some advice on how Americans can wear hats in our social settings?

Of course I believe people are wearing hats again!  He or she is or will be wearing a hat every day if I have my way!   I think the resurgence in hat wearing started over a decade ago but I know milliners- American, Irish, English, French- that continued to make hats through a time where everyone had said no one was wearing hats. I love them for their dedication to the millinery industry and their art.  Even though fashion designers and magazines were not featuring milliners, they were still producing for their client base.  I thank Philip Treacy, Stephen Jones, Albertus Swanepoel and others for getting head wear back on the runways and magazines again.

I am a business woman who designs and produces couture head wear.   That is an important distinction from being an artist trying to start a business- which was me at the very beginning.  I think it is as important (if not more) to make solid business decisions as it is to be a strong head wear designer.  I know there is a want for impeccable quality and design.  I am mindful of margins but I am not going to sacrifice anything to inferior materials or output.  There are so many mass-produced operations that make it difficult for the designer/ small business to make headway in head wear.   If I cannot scale my business right now, I am ok with that.  I am in it for the long haul.

Q) What are some of your favorite pieces?  I absolutely LOVE  abunai yo!, pixie, and cut the mustard.

Thank you!  ‘abunai yo!’ is definitely a favorite of mine too.  I would like to say “my favorite piece is the one I haven’t made yet” but that wouldn’t be entirely true.  My favorite piece is actually an “up-cycled” cashmere beret I made for my grandmother when she was battling cancer.  I will never forget how her bright blue eyes sparkled in it.  You feel so helpless when a loved one is ill and it felt good to provide some comfort to her.   Along those lines, I just finished designing head scarves for a new line of accessories for cancer patients,  Be In beCause, launching later this fall. Proceeds benefit cancer research-related programs in Chicago.

Abunai yo! Image courtesy of tonyagrossmillinery.com

Pixie. Image courtesy of tonyagrossmillinery.com

If you’re a hat enthusiast, you must get one of Tonya’s hats.  She’s sure to be the next Stephen Jones – and wouldn’t you rather buy American?

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September 28th, 2011 by Monica Murgia

Will Travel for Fashion

1929 Jantzen Diving Girl Swimsuit. Image courtesy of thevintagetraveler.wordpress.com

As a fashion lover and professor of fashion history, it’s no surprise that I have a passion for vintage.  It’s a logical progression that since my working hours are dedicated  to looking at art, fashion, and interiors from past eras that my enthusiasm for history often spills over into my free time.  I’m an avid eBay shopper.  American Pickers is my favorite show.  Digging through flea markets and thrift stores is my idea of a modern-day treasure hunt.  So recently, when I came across The Vintage Traveler, I was delighted to find someone as interested in vintage as I am!

Vintage skirt with Paris motif. Image courtesy of fuzzylizzie.com

Creator Lizzie Bramlett is a former teacher and long-time collector  of vintage clothing.   Her blog chronically the quest for life, liberty, and the pursuit of vintage.  Lizzie takes us on her trips across the country to find the most amazing pieces.  Think of it like American Pickers for fashion historians.

Vintage Dior hatbox! J'adore! Image courtesy of fuzzielizzie.com

 

In addition to seeing Lizzie’s drool-worthy finds, The Vintage Traveler shares obscure fashion history facts.  Expect to see vintage photographs, reviews of fashion books and films, hints for identifying and collecting historic fashion, and a bi-weekly round-up of fashion history news from around the internet.

Vintage purse, detail. Image courtesy of thevintagetravler.wordpress.com

A site dedicated to gorgeous, one-of-a-kind fashions that teaches us to be vintage connoisseurs – what’s not to like?

Racks of vintage. Image courtesy of thevintagetraveler.wordpress.com

 

Fun mannequins. Image courtesy of thevintagetraveler.wordpress.com

Vintage hangers with a West Highland Terrier! Image courtesy of thevintagetraveler.wordpress.com

Be sure to visit The Vintage Traveler for more beautiful photos.  And follow Lizzie on Twitter for daily tweets!

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August 28th, 2011 by Monica Murgia

Protecting Your Collection

The Missouri Historic Costume and Textile Collection located in Gwynn Hall. Photo by Kayla Huett. Courtesy of www.themaneater.com

Hurricane Irene has caused quite a stir.  While you may or may not have been in her path, the publicity blitz is enough to make you re-assess how secure your personal items and collections really are.  Now is the perfect time develop your own disaster plan to protect your precious collection.  Here are some tips to get you started:

1) Accessing your space:

The ultimate goal is to maximize efficiency and minimize risk in your home or storage area.  Look at your floor plan and evaluate potential risks.  Here are some questions to ask:

  • Where are all of your exits?  How does this affect access to your storage? Where are your sprinklers?
  • What is your emergency evacuation route?
  • Where are your fire extinguishers?
  • Are there any gas lines in your space?
  • What type of heating/cooling system do you do you have?  Where is it located?
  • Could you prevent any potential disasters by moving objects to different locations?
  • Is your storage furniture working well, or does it take up a lot of space?

Looking at the floorplan can help access your space. Image courtesy of jhchildrensmuseum.com

 

Make sure not to place fragile materials, such as paper or fabrics, under a water source.  Take some time to think about how the layout of your storage can affect your collection.

Archival quality storage is a dream come true for your collection. Image courtesy of museum.spacesaver.com

2) Establish Goals & Guidelines 

Your goals should include both short-term and long-term considerations.  Here are some goals you may want to adopt:

  • Minimize potential water damage
  • Create a stabilized climate
  • Minimize handling of brittle objects
  • Organize your artifacts and create a master list

Think about your collection and what is most important to you.  What other considerations come to mind?  After you have established goals, guidelines will help you achieve your goals.  Guidelines will protect your collection.  Examples of guidelines are:

  • Not allowing food near your collection
  • Protocol for monitoring humidity and temperature
  • Handling procedures
  • Cleaning procedures

Since 2003, Chinese collector Wang Guohua has been amassing cigarette boxes, some of which he now keeps in a room in Hangzhou, in China’s Zhejiang province. The collection includes 30,000 cigarette boxes from more than 100 production areas spanning more than 10 countries. Very organized! Image courtesy of sciencehax.com

3) Document the Collection

Using a digital camera has an advantage if you plan on digitizing your collection.  Digitization is representing your object with various photographs of it.  Digitization allows you to share your objects with other people, like insurance companies.  You can publish your collection on-line, create a virtual gallery, create a virtual catalog, and easily manage insurance claims.

It is essential to back up your digital images.  The best method to ensure backup is through an external hard drive or third-party service.  Collections management systems integrate the digitization process into your cataloging.

Documenting your collection helps you share objects and makes filing insurance claims easier. Image courtesy of artinfo.com

Disaster Preparedness

Unfortunately, some damages can’t be prevented.  The good news is, with the proper resources, you can minimize damage.  Here are some important initial steps to take that can minimize damage:

  • Temperature and relative humidity: If your collection received water damage, first dry everything as thoroughly as possible indoors.  Use a fan and allow the drying process to occur gradually.  Extreme temperature and humidity fluctuations compromise your objects. Fluctuations also contribute to changing pH levels.  Make sure the drying area is at a stable temperature and humidity level.  Having a relative humidity about 65% fosters mold growth.  Once you have a mold infestation, you can never get rid of it.  Try to avoid this before it becomes an issue.  Measuring these levels is as simple as installing a digital thermo-hygrometer.  Thermo-hygrometers are inexpensive, small tools that measure temperature and relative humidity.  Also, invest in a dehumidifier.
  • Rehabilitate with a conservator: Some objects, like books, can be rebound once they are dry.  Once the condition of your collection is stabilized, a trained conservator can restore the object to its previous condition.  Textiles can be preserved, paintings can be re-stretched and framed.  Work with a reputable conservator that has been trained to deal with similar objects.  The American Institute for Conservation of Historic & Artistic Works can recommend a conservator in your area.

For additional resources, please visit the American Museum of Natural History’s Collection Management Site.

Professionally trained conservators can restore your collection. Image courtesy of archives.gov.on.ca

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August 18th, 2011 by Monica Murgia

Fashion Fix

Pierre Balmain, Fall/Winter 1953-1954, Image courtesy of AP Photo/Indianapolis Museum of Art via Luxist.com

Economic recession.  The “New Economy”.  Unemployment reaches double digits.  Everywhere you turn, the news seems to broadcast the glum reality that having money is the new luxury.  Looking at your bank account can leave you wondering how you’re going to pay all the bills.  Where can you budget in your fashion fix?

Cheongsam by Elise Benjamin. Photo by Barton Bennison. Image courtesy of powerhousemuseum.com

It’s the perfect time to consult fashion collections to help re-evaluate your wardrobe.  Museums that exhibit fashion are the perfect fashion fix to inspire you to re-invent your current wardrobe.  And best of all, they are either free or of very little cost.  With all that historic inspiration, it’s much easier to create new styles and combinations of clothing you already own.

Sølve Sundsbø, Freja Beha Erichsen (Harper's Bazaar, March 2008). Image courtesy of icp.org

The Museum @ FIT has just released a comprehensive list of current and upcoming fashion exhibits around the world.  Please visit their schedule to find a museum near you.  Unable to visit any of the listed collections?  Visit Exhibiting Fashion, a gorgeous site dedicated to fashion exhibits.

 

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August 17th, 2011 by Monica Murgia

Spaniards in France

“Who is that incredible-looking woman in the big hat with feathers and frizzy orange hair?” I asked.

They laughed.  “That’s Ana de Pombo,” Casilda said.  “She’s a strange woman- she worked with one of the top dress houses in Paris and has just returned from several years in France.  The cellar of her apartment in Madrid is decorated in black, and she dances flamenco while her guests are served tea in the middle of the afternoon.  Can you imagine?  Flamenco in the middle of the afternoon!” (p.299-300, The Spy Wore Red by Countess Aline Romanones)

 

Ana de Pombo dancing. Image courtesy of Mi Ultima Condena by Ana de Pombo.

Many Spaniards fled to France at the onset of the Spanish Civil War in 1936.  As a result, there were many interesting artistic collaborations between citizens of the two nations.   The de Young Museum in San Francisco had quite a lineup of exhibitions this summer exploring the topic, including exhibits on couturier Balenciaga and painter Picasso.  While these are two monumental names in fashion and art, there were still other collaborations of interest.  Enter Ana de Pombo and Antonio Canovas del Castillo.

Ana de Pombo in her Marbella Boutique. Image courtesy of Mi Ultima Condena by Ana de Pombo

Ana grew up in Santander, Spain.  At the age of nine, she moved to Barcelona to study the piano and received the Primer Premio for her playing.  It was very apparent that Ana had boundless creativity, and she explored many creative outlets.  She danced, played the piano, and wrote poetry.  Fashion would come much later.  Years later, she married a man twenty years her senior and had two children.  Her son was assassinated during the uprisings prior to the civil war, and her husband was institutionalized in a sanatorium.

Her family in shambles, and the country becoming increasingly violent, Ana left for Paris.  With the help of four friends, Ana began designing clothes.  The salon was called Casa Elviana and was located at the Place de la Madeleine in Paris.  In her autobiography, Mi Ultima Condena, she recounts the difficulty of starting the business.

“Cuatro años que comienzan en el desconocimiento del oficio: yo no sabía coser y Elviana era una casa de costura.  Contraté a una tal Mme. Claire y la puse al frente de 20 obreras; la creadora era yo.” (Four years that started in a ignorance of the position: I did not know how to sew and Elviana was a house of dressmaking.  I hired a such Mme.  Claire and I put her in charge of  the 20 laborers; I was the creator.)

And so began Ana’s career in couture.   Elviana became a favorite among expatriate Spanish women after the Queen of Spain had Ana maker her a dress.  This favoritism brought Conde Koutosoff, the publicist director of Chanel, to recruit Ana to work for the famed couturiere.  Ana’s interview was with Chanel’s muse, Vera Bate, c. 1930.

Chanel with Vera Bate in Scotland, 1925. Image courtesy of Tcmtoo via Wikipedia.com

During the interview, the two dined at the Ritz.  Ana accepted the job with Chanel, on the condition that she close Casa Elviana.  Once the doors of Elviana were closed, Ana began the public relations campaign for Chanel.  Ana became enthralled with the world of haute couture.  She was in charge of finding clients, staging events, and became very close with Chanel.  But Ana’s friendship with Chanel was strained by Paul Iribe, the interior designer of Chanel’s salon on Rue Cambon.

Ana described Paul Iribe as: “ugly and the enemy”.

Paul Iribe, described by Ana de Pombo as "ugly and the enemy". Image courtesy of magalerieaparis.files.wordpress.com

Ana worked at Chanel for four years, but the “enemy” had caused a hostile work environment:

Mi trabajo era el de alta costura, encontrar clientes, etc . . . en el Ritz tenía reservada, todos los días, una mesa en el grill.  Alquilé una casita, no lejos de Chanel, y allí hacía mi vida normal de una trabajadora, trabajadora entusiasta con su trabajo, sus creaciones y sus éxitos.  Y al cabo de cuatro años, por las intromisiones de Paul Iribe en nuestra amistad, decidí dejar a Chanel.  (My work was that of high fashion, to find clients, etc.  .  .The Ritz was reserved, every day, a table and grill.  I rented a little house, not far from Chanel, and there did my normal life of a worker, an enthusiastic worker, fascinated by the work, the creations, and the successes.  And at the end of four years, by the insertions of Paul Iribe in our friendship, I decided to leave Chanel.

After Chanel, Ana briefly worked for famed couturier Lucien Lelong.

Lucien Lelong era pequeño, delgado, ojos azules, como de treinta y ocho años, buenísima persona, exquisito en el trato, pero con un mal gusto que clamaba al cielo de Paris.  Un horror de costura.  (Lucien Lelong was small, thin, blue eyes, as of thirty-eight years, an excellent person, exquisite, but with a bad taste that clamored to the sky of Paris.  A horror of dressmaking.)

Needless to say, Ana left rather quickly . . .

Lucien Lelong. Image courtesy of 1000fragrances.blogspot.com

Finally, in 1935 Ana de Pombo arrives at the House of Paquin.  Jeanne Paquin (1869 – 1936) had opened her couture house in 1891.  Paquin herself remained an active couturiere until 1920, when she left the artistic direction to Madeleine Wallis.  Wallis was an extremely talented seamstress, and had been an asset to Paquin.

The two worked on the first collection together for winter 1935-1936.  Jeanne Paquin died in 1936, and Wallis left the house the following year in 1937.  This left Ana the artistic director and chief designer for Paquin.  She had entered the apex of her career at this point, and gained worldwide recognition for her creativity and expert handling of materials.

The New York Times noted her 1939 collection as follows:

Paquin’s slogan is youth, variety, and glamor.  This house introduces a different silhouette and color scheme for each type of woman.  Among the many hues shown are sweet pea, mimosa, and nasturtium.  They are introduced in tight and very brief boleros that melt into broad brilliantly colored belts.  A great variety of pleats is used in skirts’ especially interesting are reversed knife pleats which make a flaring paperdoll silhouette. (Paris Styles Shift to High Waistline.  New York Times.  Feb. 6, 1939, p10.)

Nasturtium is a type of flower that comes in a variety of colors. Image courtesy of Sallybernstein.com

Her 1939 collection showcased three types of evening silhouettes: spiral treatment construction, Empress Eugenie style gowns, and Egyptian draping variations.  Here you can see some of Ana de Pombo’s designs for Paquin that exemplify the New York Times’ description.

Quinze Robes, by Paquin. Illustrated by Christian Bérard, 1937. Image courtesy of HPrints.com

Paquin Evening Gown. Illustration by Eric, 1938. Image courtesy of HPrints.com

Evening Gown by Paquin. Illustration by Eric, 1939. Image courtesy of HPrints.com

Ana de Pombo in her own design. Image courtesy of Mi Ultima Condena, by Ana de Pombo.

Ana’s success spilled over into her other endeavors.  She began dancing under the pseudonyme Ana de España.  She performed dance recitals at the famous Salle Pleyel in Paris.  Her monumental successes in fashion and dance were cut short by World War II.  Ana returned to Spain in 1943, where she opened her own salon on Calle Hermosa 14 in Madrid.  Antonio Canovas del Castillo replaced her at Paquin.

She eventually allowed German troops to hide a radio in her salon, which is described in The Spy Wore Red by Countess Aline Romanones:

As I studied the sketches – which did not resemble even slightly the clothes I had seen on Gloria, my astonishment grew.  They appeared to be at least two seasons behind the style.  Ana de Pombo ran no dress house.  Her salon was fake. . .In the corner was a huge radio transmitter.  Overwhelming in comparison to anything we had.  What a find!  Not even the British had been able to locate a transmitter this size in the country.

And that was only ONE Spaniard in France!  Can you imagine the other stories?

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August 1st, 2011 by Monica Murgia

Southern Charm

Cheeky Vintage is Your Closet Away from Home!

Exploring a new city is the most exciting part of moving.  After moving to Houston a few weeks ago, I decided to check out the vintage offerings.  Low and behold, I found Cheeky Vintage.  Talk about Southern Charm!

Cheeky Vintage has some of the most interesting and pristine vintage clothing I’ve seen.  The garments and accessories are absolutely stunning.  The intimate space and friendly staff made me feel like I was in my closet away from home.  Among my favorites was a breathtaking Nina Ricci green and white polka-dot evening gown and a glitzy white robe de style (no label but clearly a Lanvin!).

Interior of Cheeky Vintage

Owners Tina and Denise scour the country in search of the most delectable vintage, and offer everything from haute couture to accessories to bridal.  These ladies know their fashion history and only purchase the creme de la creme, leaving me weak in the knees every time I walk through the doors.

Full-on Vintage Glamour in Perfect Condition

Another delight was the amazing seamstress on premise. I purchased two dresses, and one needed some alterations.  The seamstress had the dress ready for me within a few hours and I was able to wear it the same day.   Vintage – on demand?  Have I died and gone to couture heaven?

Pristine Vintage on Demand

If you’re in Houston, be sure to stop by this amazing boutique.  It’s on 2134 Richmond Avenue.  They are open Tuesday – Saturday from 11:00am-6:00pm.  Not a Southern Belle?  You can shop some of their fabulous offerings on-line at: Cheeky Vintage

All images courtesy of Cheeky Vintage.
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June 23rd, 2011 by Monica Murgia

Color Semiotics: Unraveling Hidden Meaning of Color

A Visualization Of XKCD's Color Name Data by Stephen Von Worley. Image from datapointed.net

A few weeks ago, I participated on a conference on color.  Kaleidoscope: New Perspectives on the Humanities explored how color is interdisciplinary.  Color is used not only in artistic practices, but is a common theme in literature, design, politics, and communication.  While there, I met Maryam Mohammadzadeh Darrodi, an expert and PhD candidate in color semiotics.  Having studied literature, I was familiar with the concept of semiotics.

 

Maryam M. Darrodi, expert and PhD candidate in color semiotics

 

 

 

Semiotics is the study of signs and symbols as elements of communicative behavior – including language, gestures, and fashion.  But I had never really considered that colors have encoded, semiotic meanings.  Maryam is conducting a fascinating study on how we respond to color.   She graciously allowed me to interview her on color semiotics and her study.  (Please take 30 seconds to participate in Maryam’s study.  Visit Colour Semiotics)

 

Survey of color

 

 

Q) What is color semiotics?

I have to say using the word “colour semiotics” is just a more efficient way of describing colour emotions. As semiotics includes the concept of symbolization.  Colour has certain properties, which I would like to categories as colour preference, colour harmony and colour semiotics.  So it is clear that colour semiotics is not about liking a colour or not (colour preference), and not about finding its combination pleasant or not (colour harmony), but rather; how we feel about it.  Do we  feel that the certain colour is heavy or light, soft or hard and etc.

Color creates an emotional response.

Q) What are some of the ways color semiotics are used today?

Nature has been the first to teach us about colour semiotics: we know that a green tomato is not as ripe as a red one. So instantly, different meanings are communicated through colours. Nowadays, successful marketing has a crucial role in selling goods, on the other hand people make decisions about purchasing a product in less than 90 seconds which 60% of their decision is based upon colour. So there we go, it is very important to be able to build the right impression through colour semiotics.

Color indicates which tomato is ripe and which one isn't.

Q) Is color and the ways we respond to colors constructed by culture and society?  Or is it innate to the human experience?

Unfortunately it is both and even more, gender, age, culture, geographical location, season and many more parameters which are directly involved in the human psychology affect individual’s decisions about colour. This makes it more and more challenging for colour researchers which is why they often try to restrict the parameters to one or two.

Emotional responses to color are innate, but also constructed by society

Q) How did you become interested in color semiotics?

Well, I have a statistical background!  In the lectures they use to say that statistics is a science which has the ability to work in “All aspects”. I use to wonder how I can challenge my statistical skills towards a notion that nobody has ever done before.  Of course, with all the interest I had in colour, I thought colour semiotics, which is all about emotions; can be the best to become my subject or in other words a weapon for my battle with statistics.  And I must admit, up to now statistics has truly proved its effectiveness to me, by building a beautiful model that relates colours and emotions together.

 

A Visualization Of XKCD's Color Name Data by Stephen Von Worley. Image from datapointed.net

Q) Tell us about your survey – what is it, what are you hoping to achieve?

 
So for my research, I am carrying out an experiment which I wana see how all parameters effect the human response to colour semiotics.  But the thing is all the experiments up to now have been carried out in controlled conditions with few people but this experiment is novel in the sense that it involves all possible conditions which can be effective, such as cultural, age and gender differences. People around the world communicate and understand their emotions in different terms so that’s why I have also made this survey multi-lingual so people can be more comfortable.

 

The survey takes about 30 seconds to complete.  It will ask your primary language, age, gender, and a few other questions.  You will then be giving a color and asked to respond.  Screen shots of the survey are below.  Please take a few moments to participate.

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