By Tiffany Mott-Smith
Queer Fashion History Exhibit: The Museum at FIT, 2013
Last weekend, I had the opportunity to attend the Queer Fashion History Symposium. I spent six and half hours preparing for this event. Three minutes checking in with my editor for the event, 55 minutes looking for my press badge, two minutes watching my boifriend find my press badge hanging from my doorknob, 30 minutes dropping off my favorite pair of boots at Phillips Shoe Repair, 30 minutes spilling the tea with my favorite shoe repairman’s wife, 30 minutes re-adhering crystals to my favorite pair of boots, four hours deciding on approximately three outfits to match my favorite pair of boots. In case you are wondering, yes dear, these boots are everything!
Arriving at the symposium with my boots and badge in tow, I scanned the room with an immediate furrowed brow. I had imagined wild hair under elaborate chapeaus, statement necklaces and new romantic inspired street fashion. Instead I saw almost exclusively plain shoes, muted colors and dulled accessories- perhaps foreshadowing the day to come.
I am a loyal reader of various fashion magazines. I love flipping through the pages, reading the various articles and fashion tips, but most importantly seeing the most beautiful clothes and the gorgeous women that wear them oh so well. Although the representation of african american models can be quite scarce, I can still get a glimpse of some of the cocoa brown beauties that have the opportunity to grace the pages and the runways of major publications and fashion houses. That is certainly more than I can say for my ancestors before me. Seeing a black face on the runways or inside the magazine issues were unheard of until the beautiful Dorothea Towles Church gracefully made her way into an industry, that at the time saw no place for her kind beauty.
Dorothea Towles Church became the first successful black model in Paris is the 1950’s.
Mrs. Church originally set out to become in actress, however…
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Why I Am Thankful: Survival, Fashion, Language and Family
Read more at http://indiancountrytodaymedianetwork.com/2013/11/26/why-i-am-thankful-survival-fashion-language-and-family-152449
Egyptomania is part of a broader afromania within my cultural imagination, but I will be focusing more on “black Africa” for the book. Nevertheless my recent perusing has revealed a much deeper and richer vein of unexposed and unstudied material that warrants further research and reflection. Unfortunately, there is so much that will be left on the cutting room floor when Afrochic is published. Here, therefore, is another tidbit that I wanted to shine a little light on – one day I may get to explore fin-de-siècle Egyptomania more thoroughly:
While touching upon dress I only mention that we have a little Egyptian figure whose dress is “accordion pleated” from throat to feet; it also wears a little “accordion-pleated ” cape. So the fashions and arts of dress come round.
“Art.” by Mrs. Emily Crawford.
Publication: Eagle, Mary Kavanaugh Oldham, ed. The Congress of Women: Held in the Woman’s Building, World’s Columbian Exposition, Chicago, U. S. A., 1893.. Chicago, ILL: Monarch Book Company, 1894. pp. 87-89.
Since we were talking about black models:
Posted: 11/21/2013 4:04 pm EST | Updated: 11/21/2013 4:37 pm EST
There’s something about old ads that make us long for days gone by — and we’re not just talking about the low retail prices. There was a level of sophistication that we rarely see these days. It seems like women with perfectly coiffed and wearing chic gowns have been replaced with half-naked, photoshopped wannabes .
But thanks to the internet, we’re only a click away from reliving the glory days or advertisements. We did some digging on our favorite Tumblr page, Vintage Black Glamour , and unearthed a few swoon-worthy ads for your view pleasure.
Happy Throwback Thursday (#TBT)!
A 1969 Revlon ‘Colorsilk’ advertisement.
A 1976 advertisement for a fragrance called Noir.
A 1970s Ultra Sheen advertisement.
Whitney Houston in a 1980s Max Factor ad.
Iman in a 1976 Avon advertisement. She is wearing a dress by Giorgio Sant’ Angelo.
Helen Williams in a 1960 Helene Curtis ad.
Beverly Johnson in a 1970s Max Factor advertisement.
A 1965 Ultra Sheen ad.Aren’t you glad these vintage ads don’t look like this...
15 Nov ’13
When you are costuming the biggest franchise release of the year and creating a capsule range to run alongside it for a major online retailer, it is clear a normal approach to the task is not going to work. Ex-stylist and one time assistant for Michael Kaplan, Trish Summerville, one of the fastest rising names in the industry, has purposely sought out what many costume designers shy away from: co-collaborations with new and established fashion designers and, in several cases, pulling clothes directly from the runway. Summerville is smart and savvy with a feel for contemporary trends, though by not designing and making key items for The Hunger Games: Catching Fire personally she may attract the scorn of her peers. But perhaps this is the new way for costume design, the future of the industry? While those around her fight to retain what they consider is the essence of their craft, i.e. direct authorship, Summerville is leading the way for a new era of costume design, that of the costume ‘director’.
The narrative purpose of clothing in Catching Fire is obvious to even the untrained eye. Those in the Capitol parade 1980s inspired, fussy and extravagant fashion, while those in the districts wear practical and functional garments made to last. The difference is rich and poor, privileged and exploited. Yet Catching Fire is a sci-fi story (based on novels by Suzanne Collins) set in a post-apocalyptic future. Even the ordinary we expect to look somewhat unusual. Summerville has been careful to communicate that, although we may relate to the clothing seen in the districts, it is only familiar in so much as it is different. Right from the film’s first scene we can see the contrast. Protagonist Katniss Everdeen (Jennifer Lawrence) wears a cowl neck scarf, purposeful with a homemade air, but still a quirk on its contemporary appearance. It is intended to be noticed, as with every costume in Catching Fire, and wowed over.
Elizabeth Banks as Effie Trinket. Banks wears several wild costumes and teetering heels throughout. Her butterfly, pink, and lilac ruffle dresses are actual Alexander McQueen selected from the runway.
Every close up reveals how much effort Summerville has undertaken adjusting details to establish setting in the districts or draw attention to the frivolity of clothing in the Capitol. An inverted collar here, an off-centre placket there, skewed button placement, fly-fronts… and this is before we have even considered Effie Trinket (Elizabeth Banks). District clothing is basically pure function. Although, take Katniss’ sleeveless siren suit seen at the Reaping. Realistic in a contextual sense, but still tight and interesting enough to be catwalk ready in real life. Summerville had two jobs on Catching Fire: design for the story and design for the high street; the more of Summerville’s original creations that could be adopted for Net-a-Porter the better. Believable and desirable within the story, yet practical for mass production – not an easy task at all.
This is the crux of the costume/fashion debate, that not everything we see in Catching Fire is designed by Trish Summerville, at least not directly. Possibly due to time constraints, possibly due to studio pressure, possibly due to her own ingenuity, Summerville employed the services of those she admired and respected to collaborate with – 150 garments were created by luxury leather brand Cerre alone (they also made Rooney Mara’s biker jacket for The Girl With The Dragon Tattoo). More than a designer she directed her role on the film, delegated not micro-managed. Ultimately the final picture is her vision funnelled through other creatives. It is a genuine collaboration in every way that Black Swan was not.
Jena Malone as games winner/contestant Johanna Mason. Johanna is from the lumber district so her introductory costume reflects this by having actual pieces of tree bark scanned onto the fabric. Rather hilariously, Johanna actually hates the outfit.
Although Summerville is not the first costume designer in recent years to work in this way, Catherine Martin and Muccia Prada on The Great Gatsby are another example, she seems to be only one to get the balance just right. Catherine Martin was mentioned in articles about Gatsby, but really it was all about Miucca Prada, “What did she design? How many dresses?” Read articles about The Hunger Games, even in publications that do not generally carry costume pieces, and Summerville’s name is right up front. They are just as interested in what she has created herself as what has been ‘farmed out’ to other designers.
Part of this interest stems from The Hunger Games product, which is bigger than any garment or designer, and part of the appeal comes from Trish Summerville. In interviews she is warm and receptive, clued-up and not shy about giving away details. It’s not “I designed Katniss’ wedding dress”, it’s “I asked Indonesian fashion designer Tex Saverio to design Katniss’ wedding dress”. Humility goes a long way, and shows confidence in her own ability to deputise. It does not hurt that Summerville is cool and gorgeous either. That should not have anything to do with it, but in a world based on image or the perception of image, this facet only adds another tick in her box.
The unusual Maria Dora scarf seen on Katniss (Jennifer Lawrence) during the film’s early scenes. The scarf is ideal in context because although quirky it appears homemade and almost random by design.
We do not know what happened behind the scenes with Catching Fire, just as we do not know what happened with The Great Gatsby, not entirely. Thanks to Amy Westcott’s brave refusal to have someone else take credit for her work, we do know what happened with Black Swan . Catching Fire seems to be a harmonious project. Summerville was really up against it, however, with an entire 146 minute movie to costume, not just principals but extras and crowds too, plus designing the tie-in line with Net-a-Porter. The decision to employ fashion designers makes sense, certainly in regards to the wedding/mockingjay dress and Katniss’ cowl scarf and other knitwear by Maria Dona. But taking McQueen pieces (under Sarah Burton) directly from the catwalk for Effie is a risky choice. Apart from seeing actual garments available now in a futuristic setting, which could potentially take us out of the movie and spoil the illusion, there is the added message that high fashion may well be art but, as with Effie herself, is also vacuous and trivial.
Everything about The Hunger Games has been heightened for Catching Fire. A new director, new costume designer, new cinematographer; it is the same world reinterpreted with a touch more razzmatazz. Continuing Judianna Makovsky’s template, respectfully adhered to by Summerville, the overall colour palette is subdued with only the Capitol – primarily through Effie – providing any flashes of colour. As the setting is now grounded enough in our minds, more detail can be prescribed to specific areas. The districts, although only briefly seen, each have their own look, the textile district being arguably the richest in texture and ambience. What Trish Summerville has achieved with Catching Fire represents possibly a new methodology for costume designers, whether they like it or not. Costume is not fashion, but that line is blurring fast and audiences are becoming ever more receptive to the crossover. The future of fashion and costume design may be more intertwined than we ever envisaged.
The Hunger Games: Catching Fire is released on 21st November.
Further reading: Interview with Trish Summerville at The New York Times
© 2013, Christopher Laverty . All rights reserved.
“Who needs cashmere?”
So said the legendary Halston on June 7, 1983, as he made his way through the racks of pieces he had designed for Halston III, his lower-price line for J.C. Penney. Looking back, the pact made Halston a pioneer in the world of high-low fashion , but it was ruinous for him personally. At the time, though, he sounded quite optimistic.
Though his dresses had appeared on Studio 54 regulars such as Liza Minnelli and Bianca Jagger, Halston now had his eye on the Everywoman. “When I think of these clothes, I think of my family,” the Iowa-born designer said. “I have a sister in Little Rock [Ark.] and a sister-in-law in Gainesville, Fla., and they’re dying for these clothes to come out.”
Prices ranged from $24 for a casual shirt to $200 for a coat, and included splashy items such as an ostrich-trimmed velvet jacket. In keeping with the venture’s populist spirit, Halston made appearances on “Phil Donahue” and “Good Morning America.” White- and chrome-fixtured Halston departments were built in the individual stores to house the line. “The idea is to display the merchandise to its best advantage, without things like Dynel wigs taking away from them,” the designer quipped.
But would selling at J.C. Penney hurt his cred with the Beautiful People? “I haven’t had that much flack from the stores,” Halston insisted. “I have a big public, which has been conditioned to buy my things for the past 30 years.”
In a separate story that day, several top retailers shared their reaction to Halston III. According to Bloomingdale’s Kal Ruttenstein, the line “is so much lower-priced [that it] will not hit the same customer.” Phillip Miller, then president of Neiman Marcus, agreed: “I don’t think this will have any adverse effect on Halston’s top line.…It’s a totally different market.”
In fact, the effect was disastrous. Bergdorf Goodman dropped Halston’s main line immediately, and a year later, he would lose the rights to his company and name. Still, in his vision of high-end design for the mass market, Halston anticipated the trend that Target, Kohl’s and other big-box retailers would mine two decades later.
Hoping to tap into the burgeoning consumer market of the postwar era, Siegel launched the company’s first brand, H.I.S (a play on his father’s initials [Henry I. Siegel]), in 1956. The company’s line of branded casual wear targeted teen and college-aged baby boomers with denim jackets, corduroy pants, shorts, sportcoats, and suits. By the mid-1960s, Siegel ranked among the nation’s top manufacturers of sportswear for young men. Sales multiplied from $18.5 million in 1956 to $42.1 million in 1964, with the H.I.S brand contributing three-fourths of revenues by the latter year. Though the creation of a national brand allowed the company to command higher profit margins than it had generated with private-label goods, Siegel continued to concentrate on making clothes for middle-market customers. See http://www.fundinguniverse.com/company-histories/chic-by-h-i-s-inc-history/