July 1st, 2015
Interview with Bridget Donahue of Bridget Donahue Gallery
by Mae Colburn
Gallery view, Susan Cianciolo’s ‘if God COMes to visit You, HOW will you know?…,’ Bridget Donahue Gallery, New York City
Bridget Donahue Gallery, which opened in Chinatown in February 2015, can definitely claim a two-for-two. The New York Times described the Gallery’s inaugural show, Lynn Hershman Leeson’s ‘Origins of the Species’ (February-April 2015) as ‘prophetic’ and the New Yorker named its current show, Susan Cianciolo’s ‘if God COMes to visit You, HOW will you know? (the great tetrahedral kite)’ (May-July 2015), ‘enchanting’ and the gallery ‘terrific.’ Congratulations are in order, both to the artists and to the owner, Donahue herself.
Meanwhile, the show goes on. Donahue describes opening and closing the gallery five days a week, flipping on the lights and clipping the little flower. During this interview, which took place over Jessi Reaves’ ‘No Reason Work Table’ (2015), a delivery arrived, a pair of shoes to be placed among the costumes, quilts, and kits (which Donahue describes below) that comprise Cianciolo’s show. The shoe’s bag, an actual shoe bag, was noted. Only Cianciolo, Donahue smiled, would have one on hand. In the kits, most of which are boxes, are slippers, sketches, sneakers, and much more. A film, played on a laptop peeking out of a cardboard box, presents conversations about fashion, some with Cianciolo’s former students. Fashion is here, but it is bundled and wrapped, stitched, transformed. Cianciolo is a constellation artist and fashion is one of her many stars.
Mae Colburn: Let’s start with the gallery. What prompted you to open this space?
Bridget Donahue: I told people I never wanted to have my own gallery. I thought you had to be a rich person to do it. I really respect galleries, the tradition of it, and I learned from people who take it seriously. That was the hardest thing about the transition – I actually loved where I worked. It was my dream job in many senses.
My three jobs were Gladstone Gallery, D’Amelio Terras, and Gavin Brown’s enterprise. And Cleopatra’s, but that wasn’t a paycheck. That was me tithing my own wages with a group of people.
There are different models, but if you stand to make money from an artist, in my opinion you should be working for that 50% and constantly promoting them. That’s the biggest contribution I can make, is the fact that I do run my mouth pretty energetically when I’m into something. With a gallery, you invest in things, you help produce artworks, you help move them around, you photograph them, et cetera.
MC: You really support your artists. It sounds like you’re moving into the market with a lot of integrity.
BD: That’s the hilarious reality is that the first couple shows here are not particularly easy sells, the joke being that my commercial gallery starts off being wildly anti-commercial. But I believe in them so much that it doesn’t matter. And things are paying for themselves. There’s a great tradition at Gavin Brown’s enterprise of doing seemingly non-commercial shows, but he’s just this incredible person who can actually turn that around.
This [space] is a little more of a humble comparison, but it’s funny too. Sometimes people come to this show [‘If God COMes to visit you...’] and are like ‘Ok, is anything here for sale?’ They can’t believe that Susan would be willing to part with some of this stuff. It’s so meaningful and impossible to make again or get back. She’s cared for these things for sometimes up to twenty years and part of the whole exhibition is about that letting go, which blows my mind.
When Alex Fleming, who curated the archival work in the back and the costumes [in front], introduced me to Susan, he thought I would be interested in the photo archives. And I think this is absolutely part of the story, but I never for once saw an exhibition of framed photos, framed watercolors, and framed paintings. And at the same time I never saw an exhibition with clothing.
It was the second I saw those boxes that I was blown away. And then when I found out that the kits were actually part of her fashion line and that she actually continues to organize and think about and collect things in these tailored boxes, I was like, ‘we have to show these, they’re unbelievable.’ It was that idea that the paintings and pictures and archival clothes and all these other precious things are just taped together.
Susan Cianciolo, Large Doll Box, 1995-2015, Photo by Katya Reily
MC: That’s the thing. Both of the artists you’ve shown work across media: paintings, photographs, cardboard, tape. How do you approach the labels that often accompany these different ways of working?
BD: I’m thankful that I don’t see such categories existing – that could be in part because craft education was one of the first art-education experiences I had – via the social sciences, I studied Anthropology, within that category, craft is art. A more euro-centric, academic appreciation of Art helps me to understand a socialized history of forms and predecessors but it does not aid me in understanding when I feel work is important.
Nothing about this project is about trying to import craft or fashion or design into an art context. I’m not thinking, ‘this is where craft meets art.’ I’m not interested in that position. It’s like if you label anything, like when somebody says they’re vegan and then somebody busts them for wearing a leather belt. I don’t want to say, ‘I’m just going to show good things that I care about,’ because that sounds almost self-righteous or even naive, but that is more genuinely what I want to do. It will be interesting to see what I’m interested in, but it will take a while to define that.
For now, with Lynn and Susan, as much as people want to assume the program has a strategy, it was also an easier reality. I got the space and moved in in October 2014 and opened in February 2015 and it’s really hard to ask an artist to make a show in that amount of time. It’s easier to show people that have existing work and are a little more confident in what that work is, and also that are eager and willing to participate. That’s a huge thing. It’s about collaborating with a really exciting, relevant person in my mind and learning from them.
MC: Is there anything you would like to add about this show, maybe in the context of Fashion Projects?
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Posted in Exhibitions, Performance, Textiles
May 9th, 2015
‘Alternative Fashion Strategies’
by Mae Colburn
Indigo dyeing workshop at the Arnold and Sheila Aronson Gallery. Photo: Chris Hyun Cho
‘Alternative Fashion Strategies: Design Incubator with Green Eileen’ (March 30-April 5, 2015) in the Sheila C. Johnson Design Center at The New School’s Parsons School of Design was a little like a game of Twister. Students, designers, farmers, and members of the public maneuvered around a portable loom, a knitting machine, an industrial sewing machine, and various other hand-crafting implements stationed throughout the gallery to examine the interplay between industrial manufacturing and local production, testing areas of contact and overlap. Throughout the week, design samples accumulated on walls, tables, drying racks, and even on the radiators, whether de- and re- constructed sweaters, needle-felted fleece, or indigo dyed garments. Some were made in advance of the exhibition and others at workshops held throughout the week on topics ranging from fiber processing to bengala dying to machine knitting. A sense of purpose coursed through the exhibition, and so did a sense of excitement, the kind that emerges when people and materials meet. Laura Sansone
, first interviewed on Fashion Projects in 2013, curated the exhibition. Our conversation shuttled between the work she does with fiber farmers in the Hudson Valley and with designers in New York City, tracing what she envisions can become a tight-knit local supply chain.
Mae Colburn: Let’s start with some of the broader ideas at work. What motivated you to put on the exhibition?
Laura Sansone: Well, I’m interested in this interplay between industrial manufacturing and local production, specifically agrarian businesses, and specifically how those things can work together […] I think it can really help to create economic diversity and grow these smaller enterprises. That’s what motivated me to do this project and what motivates me in my own work as well. […] It’s not always appropriate for them to work together, but I think that it’s a way to start to see a shift, those moments when these two entities can come together – it can shift the economic power and be a good way to rethink how things are structured.
MC: And the idea to shape this into the ‘Design Incubator’?
LS: This started off as a partnership between Eileen Fisher and the students here at Parsons. The Green Eileen program is an initiative with Eileen Fisher where they take back clothing from their consumers, so they have people send back clothing and they resell it in green Eileen stores but the secondhand clothing that they can’t resell they call ‘third life’ and they ask designers to repurpose it. So I had been working on that, and in my quest to repurpose her clothing, I was mixing it with materials from the Hudson valley, from Upstate New York, […] so I started using those materials in combination with the repurposed secondhand clothing, and that became the parameter for the course I teach at Parsons, and also for this partnership. That’s really where this all began.
Eileen Fisher sweaters dyed with indigo and unraveled to be re-woven. Photo: Chris Hyun Choi
MC: So, there were prototypes on display and workshops. There was also a printed material on the walls. How did all of this come together?
LS: The prototypes were from students, and then we added to them during the exhibition. We had lots of workshops going on, and as we generated work we would hang it – so it was kind of an incubator where things were growing. The printed matter came from someone that I had met at the Textile Society of America conference in 2014, Helen Trejo, who is a PhD student at Cornell University and is writing her dissertation about the feasibility of a Fiber Shed in New York State. So we’ve been exchanging information over the past year and I asked her for permission to display some of her research and so a lot of the diagrams that were included in the exhibition were from her. She had some really great maps that showed where the mills and fiber farms are in New York, so that sort of located those for people who came into the gallery to see the work.
MC: What was a highlight of the exhibition for you?
LS: One highlight for me during this exhibition was having people from the farming community come and actually speak to the students about their experiences as farmers and fabric producers. We were talking about the supply chain and one of the farmers who came actually said, ‘I’m going to start right at the beginning of it, and I’m going to tell you what I feed my sheep,’ and I thought that was so incredible to have fashion and design students sitting there and listening to this and making that connection, that it starts with the fiber that comes from the animal, that it starts with the diet, and how that effects the quality of the fiber and the form – I think that’s a great lesson.
MC: To encourage designers to consider other variables beyond say, color and drape?
LS: That’s right. So for me, waste is essential. It’s something that I’ve always cared about and wanted to consider as a designer. Like, where do my cutoffs go? If I’m generating product, what kind of impact does it have? And with the natural dyes as well, we use the waste from farms, we use the carrot tops and concord grapes that you can’t sell – there’s this link to the origin of where things come from, and how that can be integrated into the design process. […] So [at the workshops] a lot of students were deconstructing sweaters and we were re-knitting them and I thought that was really exciting. I also have students who are working deconstructed sweaters into felted pieces, which is really great – mixing the fleece with the Eileen Fisher’s mohair and merino and cashmere materials.
Map of New York State Fibershed showing fiber farms and mills. Helen Trejo Fiber Science & Apparel Design, PhD Student, College of Human Ecology, Cornell University.
MC: I thought it was interesting that the word ‘sustainable’ didn’t appear in any of the material related to this exhibition.
LS: I was trying not to because what happens is that if things get overused – language – they become diluted and people start to dismiss it as something that isn’t important. So I think it’s really useful to always be rethinking things and reframing them. I think that’s part of growth in general. […] I was also trying to steer away from this word ‘artisanal’ because I think that’s also becoming diluted, but that it’s actually really important because ‘artisanal’ can talk about a smaller way to produce things, you know. It can talk about localizing things.
MC: But you did use the word ‘fashion’?
LS: Of course, absolutely, because I really want the fashion industry to play a critical role in changing things. I think it’s so important, because they’re responsible for a lot of the waste that we see in the supply chain – where we’re diminishing value where we could be increasing it. So yes, but I also see what I do as being completely cross-disciplinary. It’s dealing with fashion. It’s dealing with interiors. It’s dealing with architecture – we’re starting to think about how wool can be used as insulation, wool that is waste wool.
MC: So how do you envision the project moving forward?
LS: Well, I would like some designers, especially those who are located in New York and who are on this large-scale level, to build ties with some of these local artisans. They’re doing it globally, but I would really like to see it happening here in the U.S. So that’s something that I would like to see, and for me as a professor, I try to get my students to take on the responsibility of educating consumers. I think that trying to encourage them to design ethically and then to sort of take on this role of educating – I think it’s really necessary for designers: to take on this big task of shifting consumer behavior. You know it’s huge; in a capitalist system, it’s a huge thing to take on and designers need to take on that role.
Posted in Designers, Exhibitions, Fashion & Technology, Research/University Programmes, Sustainable Fashion, Textiles, fashion + Sustainability: Lines of Research Series
April 20th, 2015
A Review of the Exhibition “Fashioning the Body”
by Rachel Kinnard
Double panniers with pockets. France, 1775–80. Photographer: Patricia Canino.
“There is no natural body, but rather a culturally-defined body that reflects the social requirements of the period in which it exists,” Curator Denis Bruna notes in the accompanying exhibition texts to “Fashioning the Body: An Intimate History of the Silhouette.” The exhibition, at the Bard Graduate Center, tells the history of western fashion through the undergarments that provided its foundation. The collection includes such varied items as 400-year-old “Spanish doublet,” corsets for children, and the contemporary push-up bra. During the curatorial tour for the show, Bruna insisted that the exhibition was about “the body–not fashion.” While the exhibition narrates the history of the western body through shaping undergarments, “Fashioning the Body” brilliantly demonstrates how fashion and the body are inextricable from each other. This is an exhibition about the fashion and the body.
Situated in the Bard Graduate Center Gallery’s six-story townhouse, the exhibition spans three floors connected by a spiral staircase. Considering the prudish nature of the items’ original owners, the intimate gallery setting feels appropriate for examining garments that were never meant for public view. The show traveled to New York City from the Musée des Arts décoratifs in Paris. It was originally shown in 2013 under the title “La Mécanique des dessous,” which translates to “The Mechanics of Underwear.”
Displayed on mannequins hidden under black velvet, these shells from past bodies seem to float in mid-air. The exhibition design is perfect, allowing an unusual intimacy between viewer and object. A whalebone stay is displayed at the particular angle which reveals its internal architecture, the side that was once pressed up against its wearer’s flesh. It’s a rare chance to see the complex skeleton of these bodily casings usually seen only from the exterior.
The ancient underpinnings are brought to life through animated reconstructions placed throughout the galleries. Deliberately displayed on white, full body mannequins to differentiate them from historical garments, the mechanized reconstructions serve as ghostly tour guides wearing self-animated clothing. An articulated panier slowly collapses onto the mannequins hips, demonstrating how a woman would flatten her wide silhouette to pass through a narrow doorway or board a carriage. On another reconstruction, a hoop skirt rises from the floor to encase the frozen mannequin’s lower half.
Bridal corset. United States, ca. 1860–70. Photographer: Patricia Canino.
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Posted in Exhibitions, Fashion & Technology, Museums
January 12th, 2015
A Review of “David Bowie Is”
by Jay Ruttenberg
Striped bodysuit for Aladdin Sane tour, 1973. Photo: Masayoshi Sukita. © Sukita / The David Bowie Archive 2012.
“David Bowie Is,” the museum retrospective of the singer that recently concluded its run at the Museum of Contemporary Art in Chicago, featured virtually every artistic medium imaginable. Included works extended to music, film, video, fashion, and, in Bowie’s portraits of his Berlin running buddy Iggy Pop, painting. One display case featured the star’s long-retired cocaine spoon—a redundancy, considering the exhibition’s inclusion of his “Life on Mars?” video.
The show originated at London’s Victoria and Albert Museum and made its sole U.S. stop in Chicago, where it was greeted with the crowds and fanfare of a blockbuster. The outpouring of interest seems sensible: Absent from public performance for nearly a decade, Bowie is pop’s missing man. His mark remains everywhere; he is nowhere. “David Bowie Is,” which was produced with the subject’s cooperation, if not curatorship, made a resounding case for his significance. To view the exhibition’s many rooms detailing his work in the 1970s was to peak into the 1980s. The phlegmatic British vocals that would dominate a corner of ’80s pop and the nervous mutability of music and media that would define Madonna (to say nothing of Gaga) have roots here; arguably, so does Michael Jackson’s cheesy white Thriller suit. In one displayed video, 1979’s “Boys Keep Swinging,” Bowie appears as his own backup singers, garbed in the elaborate gowns and wigs of female drag. What seems shocking about the video, however, is the main image of Bowie ostensibly as himself, clad in the dark suit of a prototypical mid-80s yuppie. It’s this look—which, for the record, predates Bret Easton Ellis’s debut by six years—that appears to be the video’s true act of drag.
A museum show about a pop star inevitably runs into limitations. In an exhibition of a painter, visitors directly confront the subject’s primary source: the painting is the ultimate art. Even for a multidisciplinarian such as Bowie, the true art lies in his records and performances; the stuff inside display cases can seem secondary, if not trivial. But the aim of this exhibit, where headphone-clad visitors roamed as an army of enthralled zombies, was immersion. It was presented with high-minded care and, at least when covering the years that matter, the exhaustiveness of a box set. Over 400 items were on hand: photographs, handwritten lyrics, a monstrous set of keys from the musician’s Berlin apartment, even an old pocket map for the West Berlin subway. There were also more than 60 stage costumes, most fetchingly the pear-like black-and-white jumpsuit that Kansai Yamamoto designed for the Aladdin Sane tour. Even all these years on, we discover new sides to the pop star: Meet Ziggy Stardust, the world’s most glamorous hoarder.
But the exhibition’s showstopper was drawn from nobody’s closet. Rather, it was the famous video of Bowie performing “The Man Who Sold the World” on Saturday Night Live, in the waning days of the 1970s. The video deserved greater prominence at the MCA, if not an entire museum to call its own; it also would have benefited from the other two songs recorded for the episode. Nonetheless, the clip could move mountains. Bowie is accompanied by Klaus Nomi and Joey Arias, vanguard figures from the nocturnal club world, both clad in monochromatic Thierry Mugler dresses. The men carry Bowie to his microphone as if he is a children’s toy. Wearing a cardboard tuxedo that was designed by the singer and Mark Ravitz under the spell of 1920s Dada, Bowie sings with the bemused detachment of a Martian. Space alien analogies always fit Bowie—after all, we are talking about the Man Who Fell to Earth—but they seem particularly apt for the SNL appearance. At the taping, he was newly returned from self-imposed exile in West Berlin, introducing irrefutably avant-garde notions to a mainstream arena. (Not for nothing did Kurt Cobain cover this song in Nirvana’s MTV Unplugged set.) The ’80s—which thwarted the world’s rock stars where no drug or label chicanery ever could—were mere days away. Bowie seemed intent on ending his decade of dominance in spectacular style. The appearance is not an act of subversion so much as it is a sterling media performance—pop as art and back again.
Jay Ruttenberg is editor of The Lowbrow Reader and of its book, The Lowbrow Reader Reader. He has written for The New York Times, The Boston Globe, and other publications.
Album cover shoot for Aladdin Sane, 1973. Photo: Brian Duffy. © Duffy Archive & The David Bowie Archive.
Posted in Exhibitions, Film, Museums, Performance
September 20th, 2014
Off the Runway: Print as Performance in Contemporary Fashion
Marin Margiela SS1990 Show photographed by Bill Cunningham for Details
Coming up on Friday, September 26th, I will be speaking together with K8 Hardy and Susan Cianciolo on a panel about art, fashion and independent publishing at the New York Art Book Fair taking place at MoMa PS1. The panel runs from 12:30 to 2:00pm. The talk is organized by James Mitchell and Susan E. Thomas, who will moderate.
Below is the full description:
“The fashion industry has long used publications as a means of marketing, typically in glossy magazines and coffee table books. Throughout the 20th century these print forms embodied complicated relationships among artists and designers, the fashion industry, and publishers. The punk wave of the 70s and the later rise of lifestyle magazines like The Face, i-d, and Paper Magazine marked a shift from presenting fashion for the affluent to promoting the anti-fashion of youth subcultures. By the end of the century, new serial publications like Visionaire and Purple had dispensed with any obligation to present fashion, per se. They adopted the techniques of artists’ books and zines to make print objects that investigated fashion subjects. At the same time, individual fashion designers and artists produced print publications and worked as guest editors or art directors for magazines. Other book artists have parodied the fashion industry. This session explores the intersection of art, fashion design, and independent publishing.”
Posted in Designers, Lectures, Performance, Publications
July 25th, 2014
New Journal: International Journal of Fashion Studies
The first issue of the International Journal of Fashion Studies was recently published. Edited by Emanuela Mora (Università Cattolica di Milano), Agnès Rocamora
(London College of Fashion) and Paolo Volonté (Politecnico di Milano), it presents an innovative publishing model, by allowing articles to be submitted and peer-reviewed in a number of languages besides English. This approach acknowledges the scope and geographical breadth of the field and allows for a greater range of scholarship to be widely read, as the accepted articles are translated and published in English—which has become (for better or worse) the lingua franca of academia.
The first issue presents a diversity of approaches fully aware of the complexity and multi-disciplinarity of fashion studies. A few years back, I wrote an article on the topic for Fashion Theory, and thus found the introduction co-written by Mora, Rocamora and Volonté particularly interesting and an important addition to these discussions. Among other topics, the introduction makes evident the anglo-phone bias of the field (not unlike most academic fields) and calls for a post-colonial fashion studies.
The issue is a beginning toward the fulfillment of that wish with a number of contributions from Latin America alongside those from the U.K., Finland, the U.S., France and New Zealand.
To find out more, you can read the first issue, free of charge, on the Intellect site
Posted in General, Publications, Research/University Programmes
March 1st, 2014
Fashion Projects # 4 on Fashion Criticism — Out Now!
We are thrilled to announce the publication of Fashion Projects #4, available for purchase here and in specialized newsstands and bookstores.
This issue is devoted entirely to the subject of fashion criticism—the first such study devoted to the cultural field. It features extended interviews with leading practitioners of fashion criticism including W editor Stefano Tonchi, International Herald Tribune critic Suzy Menkes, The New Yorker’s Judith Thurman, New York Times writer Guy Trebay, and Robin Givhan, the first fashion critic to receive a Pulitzer Prize.
Table of Contents
Transdisciplinary Practices: An Interview with Stefano Tonchi
by Francesca Granata
Fashion Criticism—A Critical View: An Interview with Robin Givhan
by Michelle Labrague
This Is Not a Fashion Critic: An Interview with Guy Trebay
by Jay Ruttenberg
“Women’s Work”: An Interview with Judith Thurman
by Francesca Granata
Bill Cunningham Multimedia Man
by Jay Ruttenberg
Fashion Criticism as Political Critique: An Interview with Lynn Yaeger
by Sarah Scaturro
The Critic as Artist: An Interview with Mariuccia Casadio
by Marco Pecorari
On Fashion Futures: An Interview with Suzy Menkes
by Lucy Collins
Posted in Issue #4, Publications
February 24th, 2014
The young and inspiring fashion scholar Monica Sklar recently completed her first book. Titled Punk Style, it takes a wide look at the punk movement, following the 40-year subculture through its various manifestations beyond its 1970s origins. Fashion Projects discussed the book with Dr. Sklar.
What inspired you to write on this topic?
I started high school in the fall of 1991, a year often referred to as “the year punk broke.” Although punk predated this by over 15 years and had seen crossover success before it reached a new level in this era. The underground and mainstream were blurring in music, fashion, and ideas. This grabbed me and impacted how I would shape my adolescence and adulthood. My career paths always related to this intersection and as I went on to become an academic I wanted to explore it in depth, particularly the fashion and its meanings.
The music and fashion of punk have always developed simultaneously and in conjunction as part of an overall lifestyle developed by communities of individuals who think along the same lines. However the body of literature mostly covers the music and its personalities with fashion as an afterthought, or sometimes, the fashion as trend and not “important.” Also much of the literature isn’t thorough or is out of date. I wanted to fill some of those voids.
It turned out to be complicated to study because punk style has simultaneously maintained some of its relevance and original subcultural intent, it has also developed mainstream appeal and cache. This begs the question whether dressing punk means a person is punk, and/or, whether a person can be punk without dressing punk. Further muddying the waters is that punk is an esoteric and amorphous concept that is not easy to define and not all of those who self-identify as punk share the same perspectives. Through its 40 year history and various incarnations, as well as through personal experiences of the participants there are many ideas about what punk is and that made it fascinating to dive into.
Another reason I wanted to study it was to give the research the energy and perspective I felt it deserved. As someone who self-identifies with the punk subculture, I felt my voice positively affected how the interviewees for this research addressed me and it was reflected in my ability to understand the language and symbolism as well as know the background to add context. I wanted to then pass this hopefully thorough approach to readers who are not familiar with the subject and also to have accesses to the scene in ways an outsider academic might not have. I worked hard to step back and holistically unite ideas to answer the research questions as a scholar of dress, design, and social theory.
How your view of it changed from when you first approached it to the end of your research?
Since it is something I feel personally connected to and have my own experiences with I wouldn’t say I had great changes of mind over the years of research, however I did learn things in more depth and explored some ideas that were new to me.
It was interesting to learn about the differing perspectives of the UK (and some other global regions)and the US. The UK has the idea that commitment to punk means fully dressing the part and highlighting one’s efforts. The US has the idea that commitment means it is no ingrained it’s natural and should appear effortless and more subtle or coded. Also since the UK apparel was (mostly) initiated by artists and fashion designers it is more flamboyant than the US which was initiated by musicians and street kids.
The most important thing I learned is about how punk style is embedded in the wearer’s perspective. The wearer dictates that something is punk, less so than the viewer defines them. This relates to another thing I really took away from the research about how individuals grow with the style and transform it with age. Since it’s a 40 year subculture I was able to research people at different points of life and I could see how it is not only a passion of youth. Punk style morphs with age and lifestyle changes and many people have developed ways to incorporate it into their maturation. However for some that means the visuals become less relevant as they enact the ideas they were trying to get across visually in other aspects of their lives such as jobs and manner in which they maintain a household and family. This validated that the style is symbolic of a larger lifestyle choice, and not a passing fancy. Some I researched felt the cliché notion that punk died whenever their version of it moved on (or they got older), however often those same people will explain how the lifestyle they now lead is related to the way they dressed in the past. Also something about punk is so flexible and accessible that new generations keep picking it up and making it their own and feel valid in their interpretation.
Monica Sklar has a Ph.D. in Design-Apparel Studies from the University of Minnesota, focused on Socio-cultural and behavioral aspects of dress; 20th/21st century design history, theory, and criticism; aesthetics, innovation & creativity; retailing and consumers,
with Supporting Areas of Study including: Social movements, subculture, popular music, deviance, and visual culture.
She has taught numerous college level courses in dress and retailing, worked in art and design museums/galleries in multiple capacities, done many projects in fashion and art journalism and wardrobe styling, and worked on endless retail floors
Posted in Publications, Research/University Programmes
September 9th, 2013
An Interview with Margaret Maynard
by Nadia Buick
Cover of Margaret Maynard’s Out of Line: Australian Women and Style.
Associate Professor Margaret Maynard is one of Australia’s most respected dress historians. She has published widely in the field and taught for decades at The University of Queensland (UQ) at a time when dress and fashion subjects were few and far between. She continues to hold an Honorary Research Consultant position at UQ in the School of English, Media Studies and Art History. Maynard has contributed greatly to publishing on Australian dress and fashion. Her book Fashioned from Penury re-evaluated Colonial dress in Australia, debunked previously persuasive myths about the impact of the British Empire, class and gender while arguing for institutional acquisition of everyday clothing rather than ‘high fashion.’ In Dress and Globalisation she was one of the first to discuss clothing and sustainability and cross-cultural dressing practices. She also edited the Australia, New Zealand and the Pacific Islands volume of the Berg Encyclopaedia of World Dress and Fashion.
Margaret Maynard and I are both based in Brisbane (arguably quite far removed from the ‘centres’ of fashion) and I have been fortunate to work with her on a project about fashion in Queensland called The Fashion Archives. We spend a lot of time chatting via email and I recently took the time to ask her these questions…
You are a dress historian whose work has also occasionally examined fashion. What is your working definition for these terms?
Fashion for me is the highly volatile aspect of attire and behaviour—the latest look and comportment at any one time. It is a transformative concept or social ideal (not necessarily just reflective). Shaping and reshaping the body, it is an active and material demonstration of change, the nature of its visibility inextricable from social and cultural experiences. The other point is that fashion is inseparable from the industry in which it is made and more recently the commercialisation of its marketing and promotion.
For me fashion is a form of dress, so the term dress encompasses all attire, irrespective of economic factors or class. My view is that one can’t fully understand the workings and nature of fashion unless one takes into account wider processes of dressing. In fashion photography, for instance, one should bear in mind technical processes and the whole marketing structure of the industry. It has been said that fashion is where ‘costume’ and ‘dress’ converge but I don’t think that fashion should be thought of in this way. There are also degrees of fashionability dependent on class and economic circumstances as well as aspirations to look stylish.
Is ‘dress studies’ no longer fashionable?
Yes, I agree that ‘dress studies’ has the lower rating at the present time. Fashion studies today have cachet largely because they have become almost professionalised by the academy and the obsession with dense kinds of theory has lent to a sense of superiority amongst some practitioners. There are also convenient links to contemporary interests in design and lifestyle. And there is no doubt fashion benefits from its association with visual pleasure, aesthetics and artistic creativity.
Dress studies on the other hand seem intellectually less demanding and its subjects can give an impression of being mundane even drab. It is often downgraded as mere social or working-class history compared to fashion. It is interesting that second-hand dress rates more highly perhaps due to its association with self presentation as a creative form. The media loves fashion as allegedly newsworthy, with its links to the latest upmarket designs. Thus most newspapers have columns on ‘fashion’ where they seldom have on dress. The term ‘costume’ used to have the same low standing but somewhat upgraded now it has become the accepted term for theatrical performance attire.
Many theorists and critics interested in dress and/or fashion have observed the field’s relationship to women and femininity, and suggested that this close link is the reason that dress and fashion studies have often been overlooked. Have you also found this to be true? Do you think this is something that continues to happen?
I think that the association of dress/fashion with women’s interests was prevalent until the later 20th century. Historically fashion has been associated with vanity and folly, thus contributing to the perception it is not a serious study. The topic has been disparaged, written about defensively and considered frivolous. But this has certainly not been the case in the last decade or so. In academic circles the subject is flourishing. Publishers like Bloomsbury have catalogues saturated with books on the topic. This said exhibitions of women’s fashions are huge drawcards, suggesting women are still objects of desire as opposed to subjects of analysis. Countering this are the many women who have in recent times written seminal studies on the complexities inherent in dress/fashion and forged new pathways for the study
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Posted in Interviews, Publications, Research/University Programmes, Sustainable Fashion
July 2nd, 2013
A Review of “Silks and Prints from the Abraham Archive – Couture in Colour” at MOMU
by Philip Warkander
Hubert de Givenchy, Winter 1971/72. Photo: Gian Paolo Barbieri. Gazar Brodé Chenille, Winter 1971/72. Silk and entamine, shantung appliqué. Abraham Archive.
In1982, sociologist Howard S. Becker published the book Art Worlds, in which he argued that art is not the production of single individuals – artists – but rather the result of a number of interactions among people and materials, together constituting the contexts in which art works can be defined as such. According to Becker, art is not the result of one person’s work, but is a value constructed according to specific settings, or art worlds. This perspective has become hugely influential in art theory while also having an impact in fashion studies, most notably through sociologist Yunyia Kawamura’s Fashion-ology: An introduction to Fashion Studies (2004). Explaining how fashion comes into being, Kawamura aligns herself with Becker by claiming that fashion should not be understood as the product of designers working in creative isolation in their studios, but instead as the effect of an entire system of interactions, based on the negotiations between designers, stylists, magazine editors, PR consultants, retailers as well as a number of other actors.
Currently on view at the Fashion Museum in Antwerp is an exhibition exploring the effects of this theoretical perspective on the textiles, prints and fabrics manufactured by the Swiss company Abraham Ltd. The exhibition was originally produced by the Swiss National Museum in Zurich, but the Antwerp version (in the museum’s own words) “recaptures and expands” the original version. Placing the materiality of the fabrics and the print designs at the center of the exhibition, the process of producing prints is explained in detail, not only making for a pedagogical but also for an aesthetically advanced display. For example, the exhibition shows how a rose pattern, which was one of the company’s trademark prints, required nine stencils to print nine colors in nine separate print runs. The fabrics produced by Abraham Ltd. were so intricate that they became – due to the high cost of production – often reserved for haute couture, thus establishing intimate interconnections between the Swiss company and French couture houses such as Dior, Balenciaga, Givenchy and Yves Saint Laurent. As a result, Abraham Ltd. became one of the key players in the high fashion industry of the twentieth century, their patterns and textiles shaping much of what is otherwise generally assumed to have been designed within the couture houses.
Installation with 20 Abraham scrapbooks, 2010. Abraham Archive
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Posted in Designers, Exhibitions, Fashion & Technology, Museums, Textiles
About Fashion Projects
Fashion Projects began in New York in 2004, with the aim to create a platform to highlight the importance of fashion — especially “experimental” fashion — within current critical discourses. Through interviews with a range of artists, designers, writers and curators, as well as through other planned projects and exhibits, we hope to foster a dialogue between theory and practice across disciplines.
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