Art’s Influence on Fashion – Monica D. Murgia

Clyfford Still

January 29, 2016 / 3 Comments

Clyfford Still (1904-1980) is one of my favorite abstract artists. His massive scale, jagged forms, and raw use of color are so expressive to me. An extended stay in Denver allowed me to visit the eponymous museum. I was eager to see his paintings in person, since I’ve seen such a correlation to Still’s paintings and minimalist fashion. Both Abstract Expressionism and Minimalist Fashion simplifies the creative act to the most fundamental question – how does each of us relate to the energy and emotion of color and form?

(New to my site? You would like my previous post, Minimalist Fashion: Issey Miyake & Clyfford Still).

Still was an early figure in the Abstract Expressionists movement directly following WWII. He painted in New York City during much of the 1950s, but soon grew cynical of the art world there. He preferred to instead remove himself from the commercialism and stopped working with galleries. In 1961, he left New York for Maryland where he painted until his death in 1980. Still enjoyed his work from the periphery, and his estate included a 94% inventory of his paintings and drawings. This unusually robust collection was rooted in Still’s belief that every artist is best understood by viewing the entire body of their work on its own, not accompanied by the paintings and drawings of other artists.

This idea echoed through my mind as I walked through the galleries. As I passed from room to room, I felt that Still was a very sensitive person. Some rooms were a totally emotional experience for me. The amorphous shapes and rich color combinations were evocative of experiences outside of words and letters, like . . .

solemnity . . .

curiosity . . .

or pensiveness.

While these experiences have names, the words are merely empty shells until you have felt the experience yourself. Other rooms, instead, appealed to my memory. The canvases somehow told a story I knew, like:

a flock of birds taking flight at dusk . . .

water endlessly flowing through a waterfall . . .

the sun setting over a reed-covered lake . . .

or flames crackling and consuming the wood of a bonfire.

Still abandoned titling his work later in his career. He believed that the viewer should bring their own meaning and interpretation to his work. All of the paintings and drawings are tracked by an alphanumeric system based on the inventory photos of the collection.

Without names, the viewer can spontaneously see what they’d like to see, whenever they are ready to see it. What do you see?

Manhattan Medley by Wesley Simpson

January 4, 2016 / 1 Comment

Today’s post is courtesy of a reader named Kari. She recently purchased the scarf below. It’s called “Manhattan Medley”, and was printed by Wesley Simpson and designed by an artist named Cobelle. Intrigued by the label, she decided to investigate the origins and came across my blog.

(New to my site? You should check out my previous posts on Wesley Simpson)

Wesley Simpson (1903-1975) was an American textile manufacturer who was responsible for bringing many artist-designed textiles to the market after World War II. During the Great Depression, Simpson established his own business as a textile converter. This means that designs were produced in-house or via freelance artists, and then the actual printing was contracted to outside factories. Simpson was the chief stylist of his company, which came to be known as Wesley Simpson Custom Fabrics, Inc. The company operated from 1932 to 1950.

In the year’s directly following the war, the art market boomed as communication and trade between the U.S and Europe was restored. The economy improved, and the rationing of basic commodities ceased. Consumers wanted new, colorful additions to their wardrobes. Simpson offered moderately priced fabrics and scarves designed by many European artists of fill the demands for European flair and artistry in the fashion market.

Kari’s scarf features small sketches of neighborhoods and iconic scenes typical of Manhattan: the Statue of Liberty, strangers locking eyes in the street, buses, parades, the architecture of the city itself. In the lower right corner, the scarf is signed “Cobelle”.

This is the signature of the French artist Charles Cobelle (1902-1994). Cobelle was a painter and lithographer, who studied with Marc Chagall and apprenticed in the studio of Raul Dufy. He lived and worked in Paris until the 1920s, and made his way to America before World War II. He is best known for his depictions of cityscapes.

Arc de Triomphe by Charles Cobelle , c. 1970. Image courtesy of Artnet.com

What I find so sweet Cobelle’s work are how the loose lines, the punctuating dots and dashes, and small scribbles unfold into a recognizable scene. The use of color is also brightly hued and runs outside of the lines, giving the viewer an impression how the scene changes over time.

Montmartre – Paris by Charles Cobelle. Image courtesy of Artnet.com

After the war, Cobelle realized significant commercial success with his Parisian-infused style. He also illustrated for fashion magazines, created pottery patterns for kitchenware, and was commissioned for murals throughout the U.S.

Kari’s scarf is a great example of Cobelle’s work and Wesley Simpson’s knack for collaboration. Many thanks to Kari for sharing her beautiful images of her scarf for today’s post.

For more information, please read this exhibition review on Charles Cobelle.

Does Fashion Make Sense?

December 16, 2015 / Leave a Comment

Several months ago, I was contacted by a journalist based in London. Josh writes for Pigeons & Peacocks, a fashion magazine produced by University of the Arts. Issue #8, which is now available for purchase, explores sensory perception and how it impacts fashion. For his article, Josh was exploring synesthesia and sensory overload in terms of psychedelic drugs, and it’s correspondence with fashion, art and design.

Pigeons & Peacocks Issue 8. Image Courtesy of University of the Arts London.

The result of several week of correspondences is a great article, An Ayahuasca Sense of Fashion. While LSD was a fashionable drug during the 1970s to induce expanded forms of consciousness and creativity, ayahuasca is currently gaining popularity. A tea made in the Amazons, ayahuasca induces an experience that merges the senses together, much like synesthesia.

Article by Josh de Souza Crook, courtesy of University of the Arts London.

An Ayahuasca Sense of Fashion_De Sousa Crook_Pigeons & Peacocks

I hope you’ll take a moment to read the article. Issue #8 has several wonderful articles on synesthesia, fashion, and sensory perception. You can view several of the articles online. You can also listen to an accompanying soundtrack that illustrates how “fashion makes sense” Soundcloud.

Living Art

May 14, 2015 / 2 Comments

2015 has been an incredible year of growth for me both personally and professionally. It has been a year of healing and stepping out of my comfort zone. My last painting series was a major breakthrough. It brought to light a repetitive cycle of negative, limiting thoughts. (New to my site? You should take a look at Ineffable: Fantasy & Reality, which showcases this painting series and my reflections on the work.) I’ve received so much positive feedback from this series of paintings that it lead me to a very special collaboration with Kelly Dooley. She is launching The K-Do Alliance, a non-profit for survivors of abuse and domestic violence. Her organization provides financial resources and emotional support to allow these survivors to escape toxic relationships and rebuild their lives. I was honored to participate in the photo shoot for such a noble cause.

There were 8 of us present for this photo shoot. The concept was for each of us to be nude, covered in body paint. This represented that vulnerability is strength; that we each have learned to be comfortable in our own skin by overcoming suffering. Each of us had a different story, but everyone had experienced pain. Growing up, addiction was very prevalent in my family. I never felt able to communicate effectively in this environment. It was erratic and extreme. This made other relationships really difficult for me, especially how I related to myself. As a teen and young adult, I was attracted to partners that were emotionally unavailable and abusive. I couldn’t understand why this was happening to me. I knew something wasn’t right, but I continued to repeat the pattern that was most familiar to me.

When I was 25, I entered a serious romantic relationship with a man who I would later find out was diagnosed with narcissistic personality disorder. The mental and emotional abuse was very subtle at first, but progressed rapidly. He was very controlling, manipulative, and would consistently sabotage my career and artistic practice. He discouraged me from painting and drawing. Over time, I became a shell of myself and felt little meaning was left in my life. I was isolated and withdrawn. I finally left him after 3 years in 2011, because I felt my spirit dying. I did not feel the joy, enthusiasm, and inspiration that was part of my very essence.

As an outsider, it is easy to dismiss abusive relationships. People tend to say “why don’t you just leave?” in a rather condescending manner. It is difficult to leave because your self confidence becomes eroded. We each have an inner critic; a cycle of thoughts that we aren’t good enough, attractive enough, or smart enough. When you have a partner that magnifies those fears, the results are paralyzing. You really start believing that you are not – and never will be – enough.

It took me a long time to correct my thinking after leaving that relationship. I realized how much I had sacrificed my own self-care and happiness by allowing someone else to magnify my fears. Slowly, I started to repair my relationship with myself. I started to be nicer to myself. I began painting and drawing. Daily meditation and yoga helped me recognize and break the vicious and self-defeating loop of thoughts that replayed in my mind. I began to understand that reality is predicated on thoughts and beliefs, so I must constantly think in a positive and happy way. Joy and peace started to return to my life. The pursuit of happiness led me to realize a few truths:

I no longer have to focus on the misfortunes of the past or on judging myself.
Each moment, I can direct my focus towards the pursuit of happiness instead of tearing myself down.
It takes courage to be the person what I want to be, but I believe in myself.
In finding the courage to believe, anything is possible.

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Photo courtesy of CATM NY

As the photo shoot progressed, I felt like I was living a major moment in art history. All of those books I read about my favorite movements, like Impressionism and Pre-Raphaelite art, were swirling around me. I was living art. Finally, I was proud of who I was. Everyone around me was living art, too. It was so liberating to see each person as who they really were – a beautiful soul in the artwork of their own body. There was no shame or judgement. There was only appreciation and joy. And that is the only way I choose to live.

“Dare to love yourself as if you were a rainbow with gold at both ends.” ― Aberjhani

Many thanks to Kelly Marie Dooley, Phil Valy, CATM NY, Savage Haus, Contra Studios, & each of the wonderful models that participated in the shoot.

Photo Diary: Conviction

July 14, 2014 / Leave a Comment

“Life has taught me that one’s most precious asset is the spirit of ‘independence at all costs’ . . . the constant disposition to risk all in the interests of a conviction.” – Charles James

Ineffable: The Beauty of Nature

April 22, 2014 / 2 Comments

There is nothing I enjoy more than spending time outdoors. I savor the quiet time, at first getting lost in thought and then letting them all fade away. Being in nature always makes me calm and serene. When I come back from long hikes or runs, people often remark that I look happier. There is something transformative about this time alone in the wild.

A Field in Denver, Colorado. January 2014.

It’s difficult to put into words what I see and how it makes me feel. For many years, I tried to capture my experience with photography. Today, however futile my attempt may be, I feel the need to speak about what the experience is like for me.

An Alleyway in Pennsylvania. March 2013.

Walking alone gives me time to observe the external world. Most of the time, I want to be outdoors to escape the thoughts in my mind. It’s so easy for me to get swept away by worry and doubt. Lately, my concerns have been focused on money. It feels like I’m always scraping to get by. I scrutinize every dollar I spend. My social life is far from the glitzy fantasies that a Manhattan address may evoke.

The Last Leaves. February 2014.

Like so many other people, I wonder how I’ll every pay off my student loans. I criticize myself for not having understood what I was doing to my financial future at 22, when graduate school was so appealing and the economy was more stable. Thankfully, I have a wonderful job and a plan to fix the mistakes that I’ve made. But staying positive can be challenging. The smallest event can carry me far, far away on a trail of self-loathing and doubt.

Evening. March 2013.

Worrying doesn’t change the situation. It doesn’t make my payoff date come closer. Instead, it takes me away from the peace I can experience now. We’ve all done this. We’ve somehow told ourselves that happiness, peace, and success are only allowed after completing some far off task. But experiencing peace is really a daily choice. It shouldn’t be delayed.

A Walk in Central Park. April 2014.

Being outdoors reminds me of what is really important. It reminds me how precious time is. I notice how everything changes based on the time of day. The amount and intensity of light changes through the day. This makes the environment change colors. The way I feel in the environment in the morning versus dusk is so different.

Seeds of Spring. December 2013.

My walks start out very simply. I just try to listen to as many noises as possible. The sound of my feet hitting the ground. The whisper of my own breath. Birds chirping. The wind rustling through the trees. The focus on sound inevitably brings my attention to the beauty of my surroundings.

Blossoms. April 2014.

I take the time to look at all the details around me. The way the light hits a flower. How an overcast sky turns pastel as I gaze up at a tree in full bloom. Seeing delicate petals flutter in the cool breeze of a spring day.

Delicate Petals. April 2014.

Seeing this way starts to spill over into my ordinary day. For my 30th birthday, I went to Colorado to visit friends and family. It was such a wonderful trip. The weather was perfect. I was happy to spend time with people who are important to me. We spent half a day skiing in Vail. Every view was exhilarating. But the really special moments had something in common: something very subtle would catch my eye, like:

Skiing in Vail, Colorado. January 2014.

a flickering light . . .

Snowfall in Central Park. February 2014.

a gust of wind that blew powdery snow on my shoulder . . .

Snowfall in the Forest. March 2014.

the warm feel of the sun hitting my cheeks on a winter day. These small queues snap me out of routine and thought. I shift my attention. Then I grab my camera as fast as I can to capture the moment. How I feel in the moment has no words. But the picture can capture it more completely.

The Reservoir in Central Park. February 2013.

Now that spring has finally warmed up to us, I’m feeling optimistic. The beauty of nature reminds me that problems are temporary, just like the seasons. It seems like a great time to stop doubting, to believe in something new. Forget about time, go outside, and take flight.

Flight. October 2012.

Happy Earth Day!

Ineffable: Knowing When to Stop

April 4, 2014 / Leave a Comment

“If you don’t know what you are making, how do you know when to stop?” That’s a reasonable question. Yet it’s difficult to answer. Maybe I can answer it with a personal story. I started a new job at the end of August 2013. It’s in a completely unrelated industry – a real suit and tie type of place. When I went on my initial interview, we arrived at the question and answer portion. I brazenly asked if I could remove the existing art work and replace it with my own. (How’s that for bold?)

I got the job, and it was quite a transition. I’m the only woman in the office (keep in mind that my previous work environments were the reverse – mostly or entirely female). I’m also the only aesthete. Making something for this shared space really preoccupied my thoughts. It had to be appealing to an audience I knew very little about, and one that would have only one real strong opinion about the work – if they didn’t like it.

This made me try doing a series of small studies on paper. I used all kinds things, just doodling all over the page. I used crayons, and colored pencils and markers, and pens, and ink. When I started with ink, I used a brush to draw circles all over the paper. Then I made circles with different colored markers. Finally, I traced the circles with water and a brush. The effect? The colors started to bleed out. All of the sudden, I saw rain drops hitting a puddle. That’s when I knew to stop. When I start to see something – like seaweed or rain drops – the picture is complete. A feeling of finality washes over me. (New to my site? You should read my previous post – the first in the series of explaining the unexplainable.)

So I had an idea with I approached this canvas. This allowed me to complete the painting very quickly. I applied the blue base coat. Then, I swirled silver paint onto a brush, and whipped the handle in little circles. I’d have to dip the brush into the can of paint and pull it out quickly – this lets more paint settle on the brush than taking it out slowly. I mixed black oil paint to a thin consistency and did the same thing.

I let it dry for a week and half. It still needed something, so I decided to spatter yellow paint on the surface. One of the guys commented: “Hey! It looks great with yellow.” That was another sign I knew this version was complete – someone so far removed from art could judge it favorably. A man that I did not know well that had no previous interest in art liked the painting. I’d say that’s a good point to stop.

It took another few weeks to decide where to hang it, and which type of frame would look best. Here’s the finished product:

Grace Kelly & Fashion Illustration, Part II

January 26, 2014 / 1 Comment

Today’s post is a summary of a talk I gave at the Michener Museum a few weeks ago. So I suppose the big question is, why fashion illustration? This was the only method of distributing fashion information for centuries. Paintings, prints, and drawings were the only visual methods of documenting fashion until the 1850s, with the advent of the modern camera. Photography was problematic for several decades after this. Exposure times were long, forcing people to sit very still for several minutes.

Illustration for the House of Paquin, 1907. Image courtesy of the V&A Museum.

Photography progressed slowly through the early 20th century. Prices went down. The process became better and faster. Color photography was soon possible. Magazines started to incorporate more photography, along side with illustrations. As the 1930s progressed, photography became the preferred media for covers and fashion editorials. Vogue and Harper’s Bazaar added in-house photographers to their the art departments.

Left: July 15th, 1936 Vogue cover. Photo by Edward Steichen. Image courtesy of We Heart Vintage. Right: November 10th, 1930 Vogue cover. Image courtesy of Baba Yaga.

World War II impacted the fashion industry in many ways, including the duel between illustration and photography. The most common materials were rationed for the war effort, including textiles, cosmetics, and the chemicals used to develop film. Illustrations continued through the war. Editorials that used photographs focused on showing patriotic fashions and how to “make do and mend” existing items. Staged studio photography was deemed inappropriate and unpatriotic during this time.

Left: Rene Gruau illustration of a Christian Dior evening dress, c. 1948. Image courtesy of Indulgy. Right: “Venus” dress by Christian Dior, 1948. Image courtesy of the Metropolitan Museum of Art.

The Post-War period ushered in glamorous silhouettes and unbridled use of fabrics and trim. 1947 was a pivotal year in fashion, in which Christian Dior created the “New Look”. This collection featured skirts were much longer and fuller than were available during the war. Waists were nipped in with corsets and girdles. The newly instated trappings required women to buy new garments. This was initially met with some resistance. Dior teamed with fashion illustrator Rene Gruau (1909-2004) to promote his sophisticated garments. Gruau was one of the most prolific fashion illustrators of the Post-War era. (New to my site? You should read my previous post, Rene Gruau.)

Left: Rene Gruau illustration of Christian Dior’s Bar Suit, 1947. Image courtesy of Design Museum. Right: Photograph of Christian Dior’s Bar Suit by Willy Maywald, 1947. Image courtesy of Contemporary History.

Gruau’s had a clearly recognizable illustration style, which included:

stark outlines
the use of negative space throughout the composition
sensitivity to color used to contour figures with highlights and shadows
curvilinear compositions

During this time, America’s most prominent fashion illustrators were Hollywood costume designers. It is often easy to dismiss costume designers’ contributions to fashion history, since the focus tends to be primarily on New York. Helen Rose (1904-1985) was an extremely influential costume designer that worked closely with Grace Kelly on and off the set.

Left: Helen Rose’s illustration of Grace Kelly’s wedding dress. Right: Grace Kelly in the wedding dress designed by Helen Rose.

Born in Chicago, Rose attended the Chicago Academy of Fine Arts and began her career designing costumes for nightclubs and theaters. During this period, she mostly worked for vaudeville acts, including the Lester Costume Company. In 1929 she left for Los Angeles and began costuming for films. She worked for Twentieth Century Fox from 1940-1943 and later became chief costume designer for MGM.

Left: Helen Rose’s illustration of Grace Kelly’s costume for High Society, 1956. Image courtesy of Gracie Bird. Right: Grace Kelly in her costume designed by Helen Rose. Image courtesy of Equally Wed.

From 1947 to 1966, Rose costumed over 200 films and worked with Elizabeth Taylor, Lana Turner, grace Kelly, Deborah Kerr, and Esther Williams. Rose designed Grace Kelly’s 1956 wedding dress for her marriage to Crown Prince Rainier III of Monaco. Rose also designed her civil ceremony outfit was a full-skirted suit of dusky rose pink taffeta with beige Alenson lace overlay (currently on view at the Michener Museum). Many of Rose’s illustrations survive, particularly those made for Grace Kelly’s role in the film High Society.

Left: Helen Rose’s illustration of Grace Kelly’s costume for High Society, 1956. Image courtesy of Live Auctioneers. Right: Grace Kelly in her costume designed by Helen Rose. Image courtesy of IMDB.

Edith Head (1897-1981) also worked very closely with Grace Kelly. Born in San Bernadino, Head earned a Master’s degree in romance languages from Stanford before switching to illustration. She took classes at Chouinard Art college, and in 1924 was hired as a costume sketcher at Paramount Pictures.

Left: Edith Head illustration for Grace Kelly’s costume in Rear Window. Image courtesy of A Lovely Being. Right: Grace Kelly in costume. Image courtesy of December’s Grace.

Some of the most wonderful costumes Head designed for Grace Kelly were from the 1954 Hitchcock film Rear Window. Grace Kelly plays the role of Lisa Freemont, a society fashion consultant.

Left: Edith Head illustration for Grace Kelly’s costume in Rear Window. Image courtesy of A Lovely Being. Right: Grace Kelly in costume. Image courtesy of Daily Mail.

As you can see from the illustrations and photographs, the costumes are a perfect character construction. The costumes lend an air of elegance, sophistication, and refinement of someone “in the know” about fashion.

Left: Right: Edith Head sketch and costume for Grace Kelly in Rear Window, 1954. Images courtesy of Classiq and Glamour Daze. Right: Sketch by Edith Head. Image courtesy of A Lovely Being.

Find of the Week: Toile de Jouy by Wesley Simpson

December 17, 2013 / 1 Comment

Wesley Simpson scarves are one of my favorite things to collect. Simpson (1903-1975) was an American textile manufacturer who was responsible for bringing many artist-designed textiles to the market after World War II. World War II had an enormous impact on both the fashion industry and art market in America. First, it liberated American designers from simply making copies of Parisian couture. But it also allowed a new genre of artist to emerge, most of whom were in New York. Abstract expressionism was very popular right after the war. People had a renewed interest in the arts and the economic means to purchase. Artists hoped to capitalize on this, and teamed with textile producers to make fabrics and accessories. The marketing strategy was to bring art to everyday life.

You can only imagine my delight at finding this 1948 scarf by Simpson called Toile de Jouy,in my favorite color! The scarf tells the history of toile, an 18th century French scenic pattern usually printed on cotton, linen, or silk in one color on a light ground. It reads:

In 1784, Mr. Jean-Baptiste Huet, an artist employed by the Oberkampf works located near Jouy, France etched this design. This type of copperplate print, known as Toile de Jouy illustrates the various processes used in printing textiles.

The Metropolitan Museum of Art has a similar scarf in their collection. And the Vintage Traveler has the original ad from 1948. The ad reads:

Wesley Simpson presents a group of new scarfs from his collection of designs by famous artists. Included are scarfs by Marcel Vertes and Salvador Dali.

This is a great example of how various artists, with completely different styles, made an attempt to be more commercial after the war. (New to my site? You should take a look at my other posts on Wesley Simpson.) It seems especially fitting that the subject matter of this scarf is textile printing. Each vignette depicts a different stage of creating the toile print on fabric.

Augusta Auctions, Part II

November 12, 2013 / Leave a Comment

After work, I passed by Augusta Auctions preview of tomorrow’s New York sale. Tomorrow at noon, 422 swoon-worthy lots will go on the block. Sometimes people ask me how I amass my personal collection. Once you really delve into a specialty, like American couture or a weak spot for Lanvin-Castillo, you begin to make all kinds of discoveries. Like a vintage store in Houston. Or a kindred spirit with an amazing blog. You start to develop all sorts of relationships when you share your interests with other people. Earlier this year, I took my fashion forecasting class to see the April sale preview offered by Augusta Auctions. I can assure you that if you are a serious fashion collector, this auction is a must attend.

Lot 282: Paco Rabanne Coat & Helmet, c. 1965-67. Image courtesy of Augusta Auctions.

Everyone should attend at least one auction in their life. Bidding on a coveted item is a unique experience. It’s a lot like gambling or playing the stock market. It’s a mix of adrenaline, sweat, fear, and lust. Questions flurry your mind and you only have seconds to make a decision: What if someone outbids you? How much is too much? What is the real or perceived value of the item? Is it a solid investment? Your mind is in overdrive and the auctioneer is crooning to get a higher price. You’re all of the sudden unsure what hurts more, your purse strings or your heartstrings.

Lot 77: James Galanos Silk Day Dress, c. 1955. Image courtesy of Augusta Auctions.

Augusta Auctions always has really amazing pieces. Much of this is because they represent museums. Museums have limited storage space. They can only store so many objects safely. New acquisitions and donations mean that space dwindles. Curators can either re-organize the storage environment, or decide to edit the collection. (De-accessioning is when the museum decides to remove items from their collection and sell them on the market.)

Lot 376: 19th Century Matador Cape. Image courtesy of Augusta Auctions.

The de-accessioning process is what makes the auction so fun. There is such a rich variety of objects available for purchase. I was absolutely over the moon for this 19th Century matador cape. It was a faded light sage green satin with gold gilt raised embroidery. While signs of wear were apparent, it was such a beautiful piece.

The 1920s were well-represented. There must have been two dozen beaded flapper dresses. They were in such great shape they could be worn out on the town today.

Magazines from the time period were also on display.

Another beaded dress I couldn’t take my eyes off of was this Edwardian ballgown. Beaded objects generally need to be stored flat because of their weight. The weight of the beads can tear the fabric over time.

Lot 308: Gold Beaded Ballgown, c. 1908. Image courtesy of Augusta Auctions.

And the rest of the images are just items I thought were beautiful. Take a look. (And if you’d like to bid on anything, register for the auction on Live Auctioneers. Good luck!)

Lot 189: British Consul’s Court Bicorn, c. 1799. Image courtesy of Augusta Auctions.

Lot 118: Two Brimmed Cloches, 1930s. Image courtesy of Augusta Auctions.

Dress by James Galanos. Image courtesy of Augusta Auctions.

Various Hermes Scarves. Image courtesy of Augusta Auctions.

Passion for Fashion at Kelly Taylor Auctions

November 6, 2013 / Leave a Comment

There is nothing quite like a good fashion auction. I’ve written about Augusta Auctions, Christie’s auction of Elizabeth Taylor’s estate, and Thierry De Maigret. Another drool-worthy set of fashion and accoutrements are set for the auction block in London on December 3rd at Kelly Taylor Auctions.

Diaghilev’s Ballet Russe Scheherazade Costume for Young Man. Designed by Leon Bakst, 1910. Image courtesy of Kerry Taylor Auctions.

It was difficult not to squeal with delight flipping through the virtual catalog. Aside from the beautiful curated offerings, photographs, and descriptions – the focus of the sale has a Russian spin. There are several costumes from Diaghilev’s Ballet Russe available. I have a big soft spot for the Ballet Russe, which was only intensified after my trip to the National Gallery this summer. (New to my site? You should check out my previous post, Diaghilev and the Ballet Russe)

Ossie Clark/Celia Birtwell Printed Chiffon Evening Gown and Cape, c. 1976. Image courtesy of Kerry Taylor Auctions.

Costumes aside, there are some serious designers represented in the lot. From Worth to McQueen, you’ll be able to find something to pine over. I was delighted to see this Ossie Clark and Celia Birtwell evening gown with a cape. This power couple virtually created the fashion scene in England during the 1960s and 1970s. Celia designed textiles while Ossie made garments for famous clients including: the Rolling Stones, the Beatles, Jimi Hendrix, Pink Floyd, Bianca Jagger.

Madame Gres Black Silk Jersey Evening Gown, c. 1935-1944. Image courtesy of Kerry Taylor Auctions.

There is a beautiful Madame Gres available. The Grecian draping is always perfection. In black, it’s timeless.

Madame Hayward Bridal Gown for Regina de Bittencourt, 1914. Image courtesy of Kerry Taylor Auctions.

The 1910s are represented with this gorgeous wedding dress. It belonged to Chilean heiress Regina de Bittencourt. The dress is accompanied by primary source articles, wedding photos, and an impressive provenance.

Ceil Chapman Mint Green Taffeta Evening Gown and Coat, c.1954-58. Image courtesy of Kerry Taylor Auctions.

I pegged this evening dress and coat as Dior, but read that it was Ceil Chapman. Chapman was an American fashion designer active in New York during the 1940s-1960s. (She definitely merits an upcoming post!) Grace Kelly was photographed wearing a similar coat.

Junya Wantanabe for Comme des Garcons. Denim dress, 2001. Image courtesy of Kerry Taylor Auctions.

And my last favorite is this denim dress by Junya Wantanabe for Comme des Garcons. The spiraling panels of denim and seam-work are too beautiful for words. If I bought this, I’d never take it off!

close up Junya Wantanabe for Comme des Garcons

See what else is available on the December 3rd auction via the virtual catalog.

Grace Kelly & Fashion Illustration

November 4, 2013 / Leave a Comment

Pennsylvania always seems to produce fashion icons. I know so many stylish, entrepreneurial women from this state. The Michener Museum is celebrating one of Pennsylvania’s most famous fashion icon, Grace Kelly (1929-1982). The exhibition From Philadelphia to Monaco: Grace Kelly Beyond the Icon is running from October 28th, 2013 – January 26th, 2014.

Illustration of Grace Kelly’s Wedding Day, 1956. Illustration by Helen Rose. Image Courtesy of Patterned History.

Grace Kelly was from Philadelphia, and became a famous actress during the 1950s. The exhibition traces the unique path Grace Kelly took from Philadelphia to Monaco, highlighting her personal style and journey toward becoming a princess in 1956. Many wonderful objects are on loan from the Palace of Monaco and the Grimaldi Forum, including: letters, photographs, awards, couture fashion, film clips, playbills.

Illustration of Grace Kelly’s Costume for High Society by Helen Rose. Image Courtesy of Patterned History.

Throughout the month of November, the museum is offering lectures and workshops that explore Grace Kelly and the fashion of her era. I will be giving a talk and workshop on Sunday, November 24th on fashion illustration from the 1940s-1960s. Here is an abstract of the program:

Illustration was a major component of the fashion industry during the 1940s, 1950s, and 1960s. Everything from advertisements, magazine articles, to design concepts was the product of illustrators of the day. This lecture will explore the importance of fashion illustration during these three decades. A focus will be on analyzing the style and career of major illustrators Rene Gruau, Christian Berard, and others. Following the lecture, a workshop will be given on drawing the fashion figure.

Illustration of Grace Kelly’s costume for Rear Window. Illustration by Edith Head. Image courtesy of C Sebastion.

We will take a closer look at major illustrators of the era, with special focus on those that created work for Grace Kelly. New to my site? You should read my previous post on fashion illustrator Rene Gruau

To purchase tickets, please visit: The Michener Museum

Currently Reading: The Non-Objective World

September 15, 2013 / Leave a Comment

All my favorite books have pictures. While I enjoy reading and writing immensely, sometimes words are insufficient. How do you describe a perfect sunset? Or that moment you realize that you’re in love with someone? Of course there are wonderful adjectives that can help explain the experience to another person, but somehow that magic moment is inexpressible with words. I find myself in this situation often. It’s frustrating to be unable to share a feeling or experience with someone because you can’t describe it. This frustration is what leads me to draw or paint.

When I enjoy the work of other artists, I’m curious as to what they are trying to express. Looking at art always makes me feel something. It stirs up my emotions and thoughts. So I’m eager to see if what I feel is what the artist was hoping to express.

Cosmos by Kazimir Malevich, 1917. Image courtesy of Wikipaintings.

A few weeks ago, I wrote a post about Russian abstract painter and costume designer Kazimir Malevich. His work really fascinated me, initially because his experience as a costume designer influenced his later path as a painter. So, I started to look at his artwork.

Mystical Suprematism (Black Cross on Red Oval) by Kazimir Malevich, c. 1920-7. Image courtesy of Malevich Paintings.

Malevich is most known for starting the art movement Suprematism. He conceived the idea of Suprematism around 1913, which focuses on basic geometric forms painted in a limited range of colors. Malevich believed that the true power of art was it’s ability to evoke emotion in the viewer. By using simple geometric forms, there was no way for political or social meanings to be imparted on the work of art. I loved the ideas behind his work. He saw painting as a way to make people feel something that could not be manipulated or placed out of context.

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Mystical Religious Rotation of Shapes by Kazimir Malevich. Image courtesy of Wikipaintings.

Lucky for me, Malevich wrote a manifesto on what his artwork was trying to make people feel. He traveled to Berlin in the 1920s to exhibit his work and network with the faculty at Bauhaus. (New to my site? You should read my previous posts on the Bauhaus.) His manifesto, The Non-Obective World, was published as book 11 in the series Die Gegenstandslose Welt. (A friend told me this title translates to something like “a spirit without products” or “the spirit of the abstract”)

Formula of Suprematism by Kazimir Malevich. Image courtesy of Wikipaintings.

NYPL had a copy of The Non-Objective World, and I’m reading it now. The introduction was really powerful. It explains that, according to Malevich, art is eternally powerful because it originates from a feeling. Artists are inspired to create something because of an almost mystical experience. The urge to make something and share it with others is what makes an art object beautiful.

He insisted that art and the feelings which generate it are more basic and meaningful than religious beliefs and political conceptions. Religions and the state, in the past, employed art as a means to further their aim. The usefulness of works of technology is of short-lived but art endures forever. If humanity is to achieve a real and absolute order this must be founded on eternal values, that is, on art.

Tantric Art

August 24, 2013 / 1 Comment

Always read the fine print. It’s an easy lesson to forget. Considering how accelerated the pace of life has become, it can be a challenge to stop for a few moments of observation. It sometimes seems that the moments of our lives are judged on the quantity rather than the quality of our output. Over the past few months, I’ve felt so busy that time seemed immeasurable. One moment flowed seamlessly into the next, only demarcated with the jingling cries of:

“Hurry up! What took so long? This deadline is coming up! Did you get that email?”

Despite the telescoping demands of the outside world, it’s so important to schedule time for yourself. I have discovered that if I consistently schedule time for my own interests and rest, the quality of my work for others is much better. Yesterday’s post on Kazimir Malevich was an attempt to have some “me time”. While I was gathering images, I came across this work of art:

Tantric painting of Kali’s “28 dazzling tongues.” Image courtesy of the New York Times.

My instincts told me it wasn’t by Malevich, although it was certainly modern-looking. I could have dismissed the painting, and went along my merry way. But curiosity got the best of me. I clicked the link. It turns out that the work of art is a modern interpretation of Tantric art.

Shiva Linga, 2002. Image courtesy of Feature Inc.

Tantra definitely has a very steamy reputation in the West. The very name generally conjures up sexually explicit images in most people’s minds. Yet reducing Tantra down to a practice of mastering the Kama Sutra is an incomplete picture.

The Purity of Consciousness, 2007. Image courtesy of The New York Times.

Tantra is a Hindu form of meditation and ritual that started in the Fifth Century. So what does that mean, exactly? Like all sects of Hinduism, Tantraic philosophy explains that life is nothing more than a manifestation of divine energy. Everyone – everything – is created from the same energy. Life, with it’s ups and downs, can distract us from this universal truth. Much in the same way that external demands can prevent us from scheduling time to relax, the experience of life can make us forget our divine nature. Tantra uses meditation and ritual as a way of allowing practitioners to remember this truth.

Untitled Tantric painting, described as a “meditation on the possible and necessary balance of things”. Image courtesy of The New York Times.

Much like Buddhist art, Tantric paintings are used as a meditation tool. (New to my blog? You should check out my previous post, Looking at Buddhist Art.) The simple shapes and colors in Tantric art are visualization tools for calming the mind during meditation.

The Three Gunas: Matter, Energy, Essence, 1990. Image courtesy of Feature, Inc.

The images in this post are from Tantra Song: Tantric Paintings from Rajasthan, a book by Franck AndrÃ© Jamme. Jamme came across similar paintings, and completed a 20 year search for communities that still produce Tantric art. After an epic, and somewhat unfruitful expedition, Jamme finally found a community in Rajasthan that produces these images in this tradition.

Dance of Energy, 2001. Image courtesy of Feature, Inc.

The art is created on found paper. The artists are all anonymous and discard the art after the meditation or ritual is performed. The artist will create a piece based on what they are seeking. Each shape has a certain meaning. Triangles refer to Shakti, or divine energy. Circles and ovals refer to wholeness and totality.

Night and day – spiral of energy at center of each, 1998. Image courtesy of Feature, Inc.

I found it very ironic that the message behind this art is to promote reflection and meditation. Isn’t it curious how the universe works?

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