#its giving mary quant
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happy march yall
mod girl eridan because i love dumb fashion concepts and i will be doing more hopefully before the end of march
and once again without the paper effect
#i love her#shes so slay#its giving mary quant#as it should#homestuck#homestuck art#homestuck fanart#eridan#eridan ampora#march eridan#obligatory cronus bashing#mod fashion#60s fashion#mod girl eridan#my art
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Blog #1: Museum at FIT
On Wednesday I visited the Museum at FIT to view their current exhibition, “Designing Women: Fashion Creators and Their Interiors”. Every previous exhibition I have seen at the Museum at FIT has been incredible, so I was excited to discover this one. According to their mission statement, The Museum at FIT, is a unique academic museum which ethically collects, conserves, documents, exhibits, and interprets aesthetically and historically important examples of dress and fashion from around the world. The exhibition’s purpose is to show how modern female fashion designers incorporated interior decoration into their professional and personal lives. Through garments and artworks from the 1890s to the 1970s, the exhibition allowed me to fully grasp the beautiful connection between these two disciplines.
While I was at the exhibition I took photographs of pieces that stood out to me and found aesthetically pleasing. I will be sharing and describing four of these photographs I took, to give a further visual encapsulation of the exhibition. The first image features a dress and cape from the late 1890s- early 1900s, both designed by Jeanne Paquin. Paquin’s designs epitomize the luxurious Belle Epoque era. Between the two garments hangs a beautiful painting by Henri Gervex which showcases Paquin’s designs. The second image features a dress and coat from 1935, designed by Elizabeth Hawes. Elizabeth Hawes is known as a fashion rebel and made clothing that combined comfort and function with clean lines and strong colors. Besides her creations is a portrait of Hawes in her showroom. The portrait is very powerful due to its contrasting colors with the garments. The third image highlights a nightgown from 1907 which was made by a mother for her daughter. This dress connects to the theme of the exhibition since it is made to be worn inside. The fourth image features two dresses from the 1960s, designed by Mary Quant and Mila Schon. Quant and Schon were both pioneers of the youthquake and mod fashion movements of the 60s and both of their designs resemble interiors of the time. Not to my surprise, the “Designing Women” exhibition was yet another inspirational exhibition by the Museum at FIT and I am glad I am able to share my favorite parts of it.
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press days are always a little more chaotic than she’d like ----------------- and while she’s somewhat gotten used to the push and pull that goes along with them ( being able to withstand block after block of the same shallow questions one after another until she feels as if her brain is about to toss it’s figurative hands up in protest and check out on her has to be somewhere in her supe skillset, she’s sure of it ), the simple fact that she and @antisupe are pulled in opposite directions these days still feels a bit raw -------------- especially when knowing that stan’s the one who insists on signing off on the final schedule before the day’s itineraries are distributed.
which means the slower - than - usual pace in which she’s getting herself ready this morning is extremely deliberate; and the fact that leon’s decided to use her suite for his own pre - press base camp certainly isn’t going to motivate her to hurry either one of them along in the slightest. still, despite her best efforts to channel their peer ‘the human sloth’ she’s a little further along than he is -------- reappearing in her bathroom to watch herself pull the zipper up the length of her catsuit while he’s still occupied on his half of the mirror making sure the edge of his beard is sharp enough for her to cut herself on the next time she decides to press her lips against it.
she reaches around him with a hum for her makeup kit, the hand she places on his hip to steady herself itching to grab hold of the towel he’s got wrapped around his waist and give it a good tug ------------------- but doing so will only result in a highspeed chase back to the bedroom and an all - but - guarantee that they’ll both be no - shows for the rest of the day. instead, she has to at least pretend that her little bag of tricks has her complete attention; rummaging around the contents until she pulls out her much loved tube of mary quant and leans in towards the mirror ( once again, taking as much time as she can ) to paint on a pair of bright red lips.
the tip of her finger traces along the line of her bottom lip a few times when she’s done; partially out of necessity for a clean line, and partially because she can see him sneaking a look in the mirror’s reflection. she straightens back up eventually, pressing her lips together a few times and re - checking the line; going about it all like she hadn’t noticed him watching her little routine. “linda’s probably on her way to come collect me, i should get going.” the tube of lipstick gets tossed back in with the rest of her kit with a bit of a flourish ( the kind that makes it obvious she did notice him noticing her ), before she pivots on her toes and heads back into her adjoining bedroom ------------- but only for a moment.
“oh! i almost forgot to blot,” she announces her reappearance in the bathroom with a lilt in her voice and a ‘silly - little - me’ grin now in a ruby - colored frame. but instead of reaching for a kleenex or a square of toilet tissue she comes up on his left and reaches up for his chin. the first kiss catches the side of his neck, just below his freshly trimmed five - o - clock shadow, the second finding the edge of his jaw ------------ both leaving red heart - shaped marks on skin and stubble alike; two places she knows he won’t be able to wash off in what little time he’s already got to get himself in his suit and down to the lobby for payback’s latest appearance.
not that she wants him to be able to --------------- its a nice little way to say ‘mine’ without needing to shout it from the rooftop of vought tower.
“tell barbie i said hi, hm?”
#antisupe#��� ◟ answered. ⁞ 𝚒𝚗𝚋𝚘𝚡.#✬ ◟ antisupe. ⁞ 𝚌𝚕𝚘𝚜𝚎𝚍 𝚟𝚎𝚛𝚜𝚎.#✬ ◟ your heart is a weapon the size of your fist. ⁞ 𝚍𝚢𝚗 ♡ 𝚊𝚗𝚝𝚒𝚜𝚞𝚙𝚎.#alexa play the boy is mine by brandy and monica#we both know she's petty enough to do this#and he'd go in there and sell TF out of it
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Meet the Midi -The Dress of The Moment
Even though the midi dress made its first appearance during the 1940’s, it was the late swinging 60’s and early 70’s when this ankle-length stunner really took off. Designers like Mary Quant and Andre Courreges made the look famous, and women the world over embraced it. Why? The midi came right on the heels of the mini skirt which had outworn its welcome. Women were looking for a more flowing, sophisticated take on the dress as a wardrobe staple, and they got it.
Today we’re seeing a resurgence of popularity for this tea-length creation. Even style icons like Princess Kate and Taylor swift embrace the look.
What makes the midi so amazing?
The length and classic skirt work on just about every shape and body type. You can grunge it up with sneakers or hiking boots for a modern look. Or, you can pair the midi with sandals, flats, or heels for more dressy occasions. And don’t be put off by the length. The midi comes in mid-calf lengths or ankle lengths. It comes with sleeves and without, with sexy slits and without. It can be work to work, to weddings, family get togethers and important dates. It’s one of the most versatile looks and—no surprise—the midi is seeing vast popularity in 2023. See above image - just one irresistible version.
FAQ’s
Can I wear a midi if I’m short?
Yes. Just pair the dress or midi skirt with a pair of high heeled shoes or boots. What makes the midi so universal is that, if you never felt you had the legs for a mini, the midi and a pair of tall boots with a heel will create a whole new you! FAB.
How versatile is the midi?
What sets the midi apart is its versatility. It caters to diverse body types. You can pick from different silhouettes, fabrics, and styling options. Whether you like form fitting sheaths, flowy A-line styles, or structured wrap dresses, the midi length gives you endless possibilities.
Is the midi here to stay?
Yes, yes, a hundred times yes. The history and evolution of the midi from WWII to the 60’s, 70’s and its reemergence in 2,000 is proof that the midi has cemented its place as a beloved garment in women’s fashion.
See La Jolie MLN’s portfolio of midi dress looks such as the Ariana Tulle Midi Dress; flowy, fuchsia midi with puff sleeves. Gorgeous!
Shop Our
Midi Dress Collection…
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Mini Skirt Revival: Modern Twists on a Classic Favourite
Remember the revolution sparked by the mini skirt in the swinging 1960s? That iconic garment changed the fashion game and symbolised women's liberation and empowerment. Fast forward to today, and the mini skirt is experiencing a remarkable revival. This article'll delve into modern mini skirts, exploring how they've evolved and continued to captivate fashion enthusiasts across generations.
The Iconic Mini Skirt: A Brief History
Ah, the mini skirt—the brainchild of British designer Mary Quant, who introduced this daringly short piece of clothing that challenged conservative fashion norms. A spirit of rebellion and change marked the 1960s, and the mini skirt became an emblem of the era. Beyond its fashion statement, the mini skirt was intertwined with feminism and empowerment. It was more than just fabric; it was a message of breaking free from tradition.
Mini Skirts Today: A Comeback Story
If you thought the mini skirt had faded into history, think again. Like a phoenix rising from its ashes, the mini skirt has resurfaced in contemporary fashion trends. Designers have embraced this timeless piece and given it fresh twists to suit modern sensibilities. The mini skirt is no longer confined to a single style; it has transformed into a canvas for creativity, allowing fashion enthusiasts to experiment and express themselves.
Variety in Lengths: The Rise of the Black Maxi Skirt
But wait, isn't the mini skirt supposed to be short? That's the beauty of fashion's evolution—it's all about bending the rules. Enter the black maxi skirt—a stunning contradiction to the mini's traditional length. This elegant garment combines a maxi's sophistication with a mini's edginess. It's a match made in style heaven, offering comfort, versatility, and a touch of mystery.
Flirty and Playful: The Allure of White Ruffle Skirts
Picture this: a sunny day, a gentle breeze, and you stroll in a white ruffle mini skirt. The mere thought evokes a flirty playfulness that's hard to resist. White ruffle skirts have found their way into modern wardrobes, bringing a touch of whimsy and femininity. With every step, the ruffles dance, adding charm to your ensemble. Who said fashion couldn't be a celebration?
Lemon Blouse and Mini Skirt: A Perfect Summer Combo
When life gives you lemons, why not wear them? The mini skirt finds a perfect partner in crime—the lemon blouse. This vibrant pairing captures the essence of summer, radiating freshness and vitality. The lemon blouse adds colour, while the mini skirt keeps things breezy. It's like wearing sunshine and embodying the season's spirit.
Elegance in Simplicity: The Timelessness of the White Blouse
Speaking of timeless, let's not forget the white blouse—an effortlessly chic classic. When paired with a mini skirt, it creates a clean, sophisticated, and adaptable look. The white blouse complements the mini skirt's flair with its simplicity, allowing you to exude elegance without trying too hard. It's a combination that transcends trends and speaks volumes.
Effortlessly Chic: The Knotted Shirt Dress Revolution
The knotted shirt dress is a revelation for those who adore comfort without sacrificing style. This ingenious piece merges a shirt's appeal with a dress's charm. Imagine a mini skirt brought to life as a dress, casually knotted at the waist. It epitomises effortless chic—a look that transforms from daytime casual to evening allure effortlessly.
Modern Accessories: Enhancing Mini Skirt Outfits
Accessories are to outfits what seasoning is to food—they elevate the experience. Regarding mini skirts, the right accessories can take your ensemble from great to sensational. Ankle boots, with their edgy vibe, contrast beautifully with the femininity of the mini skirt. Statement belts cinch the waist, adding structure and intrigue. And oversized sunglasses? They're not just a shield from the sun but a statement of style.
A Burst of Confidence: How Mini Skirts Empower
Can a piece of clothing empower you? Absolutely. The mini skirt, once a symbol of rebellion, continues to empower individuals. It's a declaration of confidence, a refusal to conform, and a celebration of one's body. When you slip into a mini skirt, you're not just wearing fabric but embracing a burst of confidence that radiates with every step.
Embracing Individuality: Styling Mini Skirts for You
Choosing the right mini skirt involves more than just the latest trends; it's about embracing individuality. Whether you're petite, curvy, or somewhere in between, a mini skirt is tailor-made for you. Experiment with different styles, lengths, and fabrics until you find the one that speaks to your taste. Don't be afraid to add unique touches that make the outfit truly yours.
Mini Skirts for All Ages: Timeless Appeal
There's a common misconception that mini skirts are only meant for the young and the bold. But fashion knows no age limits. It's all about how you style it. The mini skirt might mean vibrant colours and playful patterns for younger wearers. As the years go by, the focus can shift to sophisticated prints and elegant cuts. The mini skirt is a canvas that evolves with you, ensuring timeless appeal.
Iconic Pairings: Footwear and Mini Skirt Combinations
The right pair of shoes can make or break an outfit, and mini skirts are no exception. Sneakers inject an unexpected casual vibe, turning a mini skirt into a statement of calm coolness. Heels elongate the legs, adding a touch of allure to your look. And let's not forget sandals—they effortlessly transition a mini skirt from day to night. The possibilities are as diverse as your shoe collection.
Breaking Norms: Rethinking Fashion Guidelines
Fashion rules were made to be challenged. The idea that age dictates what you can wear or that mini skirts have an age limit It's time to toss those notions aside. Fashion is about self-expression, and self-expression has no expiration date. Embrace the mini skirt with open arms, regardless of your age. It's a symbol of breaking norms and embracing your authentic self.
Conclusion
The mini skirt is a beacon of consistency and creativity in a world where fashion trends come and go. Its revival in various forms—the black maxi skirt, the white ruffle skirt, or the knotted shirt dress—is a testament to its enduring allure. This classic favourite inspires and empowers us, inviting us to celebrate our bodies and embrace our style without hesitation.
Unique FAQs
Can older women confidently wear mini skirts?
Absolutely! Age knows no boundaries in fashion. Choose styles that reflect your personality and comfort, and confidently rock that mini skirt.
How do I choose the right mini-skirt for my body shape?
Consider your body type—pear-shaped, hourglass, or athletic. Opt for styles that flatter your proportions and make you feel confident.
What shoes go best with a flirty ruffle mini skirt?
Ruffle skirts exude playfulness. Pair them with ankle boots for an edgy look or sandals for a carefree vibe. Sneakers also add a fun twist to the ensemble.
Is it okay to mix patterns when styling mini-skirt outfits?
Mixing patterns can be stylish if done right. Opt for patterns that share a colour or visual element, keeping one pattern more subdued to avoid overwhelming the look.
Where can I find sustainable mini-skirt options?
Look for ethical and sustainable fashion brands prioritising eco-friendly materials and ethical production. Many brands offer stylish mini skirts with a conscience.
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Anné Pliska (Anné Pliska)
Historically, the definition of "woman" has undergone so many tweaks, tuneups, and makeovers, I'm surprised the dictionary entry doesn't run to three pages. Virgin, whore, maid, mother, crone, diva, devil-girl, cougar-- the litany goes on and on.
Today, I'm thinking about the Sweet Pea-- a young woman who sidesteps adulthood by adopting the appearance and mannerisms of a little girl. Clad in adorable, shapeless togs, beguiling us with wide, innocent eyes, she conceals herself behind an infantile aesthetic in order to ward off both responsibility and conflict. I'm harmless, her behavior assures us. I won't get in your way.
She's lying.
The Sweet Pea is nothing new-- in a way, she's always been in fashion. During my lifetime, Mary Quant and Biba juvenilized her in minis and bib dresses, while during the '80's, designers sent her back to kindergarten in saggy-assed cotton jumpsuits and Jellies. For a brief moment during the '90's, Courtney Love threatened to turn her into a Babydoll-From-Hell, but she quickly reasserted herself (if it can be called that). Her voice -- breathless, halting, too cute to be believed -- is in perpetual danger of being muted altogether before it can say all it has to say.
To sustain the axiom that honey attracts more flies than vinegar, every year's crop of Sweet Peas require equally sweet fragrances. The market is flooded with princess perfumes that smell candy-coated, syrup-soaked and smothered with buttercream frosting. There is nothing sophisticated, nothing mature in this trend. In a manner of speaking, it's no country for old women.
I know, I know... I'm supposed to be 'young at heart', or indulge my 'inner child', or somesuch. But as long as admitting to age is not admitting to defeat, I'll say it straight: I'm no kid. And I have no stomach for all this sugar.
It's sad to think that Anné Pliska might be responsible in part for today's candy tidal wave. Horrors like Gucci's Flora (which uses the same orange-candy accord, then unloads a dump truck full of sugar on top of it) had to get their inspiration from somewhere. But part of me believes that the sins of the daughters shouldn't be visited on the mother... and at least Anné Pliska wasn't the first fruity floral. That would be one hell of a legacy to live down.
Launched in 1987 -- the year I turned eighteen and entered this fragrance's target audience -- Anné Pliska is a very conventional vanilla amber with a huge orange Kool-Aid heart. I don't spend enough time around children to claim total familiarity with their tastes. But I was a child once, and I can state with confidence that orange flavoring in anything -- soda, candy, cereal, ice cream, popsicles, juice drinks, gum -- tends to go over like gangbusters with the pre-adolescent set.
Anné Pliska's orange note is nothing found in nature. It's not the fruit; it's not the juice; it's neither the peel nor the flower. It's a plateful of orange jelly candies, the kind that come encrusted in a sparkling layer of sugar. Artificially-flavored though they may be, they taste wildly optimistic at any age-- but never more so when you're eight or nine and haven't yet endured the dentist's drill. To combine this note with amber may not be a first, but provided you pull it off, it's no crime to be unoriginal.
Anné Pliska is a pleasant, inoffensive fragrance for girls of all ages. It's undoubtedly an oriental, but its Orient is the local theme park version -- a set piece of gauze and sequins, with a sunset crudely painted in big, enthusiastic swathes of color. While it gives most headshop ambers a run for their money, it's modest enough not to cross the finish line too far in front of the pack. It's good, but not brilliant. Nothing wrong with that.
And yes, it's kid stuff. But isn't kid stuff happy and uncomplicated?
If I could, I'd wrap this scent up in ribbons and present it to all the little girls I know. I think it may satisfy their present Sweet Pea cravings while contributing to good choices later in life. If they can figure out for themselves the difference between a humble, well-crafted fragrance like this and the bottled liquid glucose Vera Wang and Juicy Couture pass off as perfume, that abstract entity known as quality might take root in their lives.
Of course, when they're grown, they'll look back on Anné Pliska with fond forbearance and scoff, "Oh, that? When I was that age, I suppose I liked it..." But the truth, I believe, will be found in the fragrance they're wearing while they say it.
Scent Elements: Bergamot, amber, patchouli, geranium, musk, vanilla
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BOLD COLORS AND PRINTS IN FASHION
Bold hues and patterns are an ongoing fashion trend.
One of the most dramatic and bold fashion trends that has had a big influence on the fashion industry is the use of bold colours and designs. This trend has been adopted by designers, celebrities, and fashion enthusiasts alike and features bold graphic designs and brilliant colours. Since the 1960s, it has been a foundation of fashion, and its recognition has only increased over time. We'll look more closely at the vivid colours and patterns trend in this piece and how it's changed through time.
Bold Colors and Prints in Fashion: An Evolution
The 1960s and the pop art movement are when the desire for vibrant colours and prints first emerged. Fashion designers began to emulate the brilliant colours and striking designs that painters of the time were experimenting with. A generation of fashion enthusiasts were inspired by this time by designers like Mary Quant and André Courrèges, who became well-known for their vivid and daring creations.
The strong colour and pattern trend persisted throughout the 1970s, and fashion designers started experimenting with new processes like screen printing and tie-dye. Bold graphic prints, which drew inspiration from the music and art sectors of this decade, also became quite popular.
As designers started incorporating aspects from other cultural and creative traditions in the 1980s, the vivid colours and patterns trend started to take on a more diverse and broad aesthetic. Designers like Jean Paul Gaultier and Thierry Mugler rose to fame during this decade for their daring, extravagant creations that included both conventional and contemporary elements.
Bold colours and designs have gotten more refined in recent years as the trend has developed. Bold designs are increasingly being incorporated by designers into more understated apparel like jackets, skirts, and dresses in order to create a statement without overpowering the wearer. In addition, individuals are now more eager to experiment with vivid hues, which has made the trend more accessible to a larger audience.
The Advantages of Wearing Bold Prints and Colors
Wearing vibrant hues and patterns gives you the opportunity to show your individuality and make a statement, which is one of their key advantages. This style enables you to stand out from the crowd and demonstrate your uniqueness, whether you're carrying a dress with a graphical design or a pair of vibrantly coloured shoes.
Wearing vibrant hues and patterns can also assist to improve your mood and give you a stronger sense of yourself. Wearing vibrant colours can assist to improve our mood and confidence because they are proven to have a favourable impact on our mental health.
Finally, wearing vibrant colours and designs may also help you keep current with fashion trends. You can always find something fresh and fascinating to wear because this style is continuously changing and growing.
How to Dress in Vibrant Prints and Colors
It might be difficult to know where to begin if you are new to the trend of vibrant colours and designs. To help you incorporate this style into your wardrobe, consider the following advice:
Start small: It may be wise to start small if you are not accustomed to wearing vivid colours and designs. You may start by adding subtle hints of this style to your clothes, such a scarf with a striking design or a purse with a vivid colour.
Try out several prints: There are many different kinds of prints, including floral and animal designs as well as graphic prints. Try out various prints to see which ones suit you the best.
Combine strong designs with simple hues
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Introduction to the swinging sixties:
The 'Swinging Sixties' remain Britain's quintessential decade. In just ten years, London had evolved from a dismal, conservative city still reeling from the devastation of WWII to the world's capital, full of freedom, optimism, and promise. It was the epicentre of all excitement; the city where everything was possible. By the 1960s, the first teenage generation in Britain was free of conscription. Young people were finally given a voice and the freedom to pursue their dreams. The parents of the Sixties adolescent generation had spent their youth fighting for their life in WWII and wanted their own children to be able to enjoy their youth and have more enjoyment and freedom. By the 1960s, the first adolescent generation in Britain was free of conscription. Young people were finally given a voice and the freedom to pursue their dreams. Parents of the Sixties adolescent generation had spent their youth fighting for their lives in WWII, and they wanted their own children to enjoy their youth and have more pleasure and freedom. By the early 1960s, teens were already drastically different than those of a decade previously. Music was one of the most important and defining characteristics of the 1960s. Although rock and roll began to have an impact on Britain in the 1950s, it wasn't until the early 1960s, with the rise of 'British Invasion' bands like The Beatles, that music truly began to undergo revolutionary transformations. The Beatles are an outstanding illustration of how music affected young Britons' lives. Although they continued the 1950s rock and roll genre for the first half of the decade, by 1967 Sgt Pepper's Lonely Hearts Club Band had become a watershed moment in music, inspiring other musicians such as The Beach Boys and The Rolling Stones to experiment with new sounds and create innovative pieces of music.
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Although Britain was not physically involved in the Vietnam War, British singers such as John Lennon brought the conflict to the attention of British people through anti-war rallies. Songs like 'Give Peace a Chance' exposed the horrors and futility of war, and fans followed in their idols' footsteps to seek peace and freedom. This became one of the most prominent characteristics of the 'hippie' movement. People began to question and confront authority, which would have been unthinkable for a decade before. Many of the societal developments of the Sixties were mirrored in fashion during the decade. Mary Quant rose to prominence by popularising the tiny skirt, which became the acme of 1960s fashion. The mini was supposed to be loose and empowering for women, allowing them to "run and leap". Her fashion designs included basic geometric forms and colours, giving women a fresh sense of elegance. Women were able to dress in more whimsical, young outfits that would have been considered outlandish ten years before. By the late Sixties, psychedelic designs and brilliant colours began appearing on apparel as the hippie movement gathered steam. As more occupations were accessible to young women in the 1960s, feminism became a more powerful ideology. This enabled them to move away from home and become more self-sufficient. The contraceptive pill became legalised for all women in 1967 and provided them the ability to widen their ambitions and dreams well beyond motherhood and marriage. When 850 women went on strike in 1968 at a Ford factory in Dagenham, asking for equal pay with their male coworkers, the Women's Liberation movement was in its infancy. This effort led in the enactment of the Equal Pay Act of 1970. In addition, women were getting more interested in politics.
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The advancements in technology of the 1960s significantly altered how individuals spent their free time. The growth in factory jobs and money allowed people to spend more on leisure activities. People could spend their leisure time listening to music and watching TV thanks to colour television and portable transistor radios. Every adolescent had a transistor radio, which allowed them to listen to pop music while on the go. The microwave oven cut the amount of time women spend in the kitchen. By the end of the decade, Neil Armstrong and Buzz Aldrin had accomplished the unthinkable by being the first men to set foot on the moon in 1969. It concluded the decade with a sense of hope and the ability to aspire for something larger and better.
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Fashion in the 60s
At the dawn of the 1960s, young people’s incomes were at its highest since the end of the Second World War. Increased economic power fuelled a new sense of identity and the need to express it. The fashion industry quickly responded by creating designs for young people that no longer simply copied ‘grown up’ styles. The Beatniks and the Mods (abbreviation of ‘Modernists’) were particularly influential in the early decade.
New shops were introduced such as boutiques, they were small, self-service shops set up in London by designers who wanted to offer affordable fashions to ordinary young people. Designers, such as Mary Quant and John Stephen were the pioneers of this new form of retail. Within just a few years the boutique scene has exploded. These now-iconic shops sold affordable separates suited to a busy, urban lifestyle.
The mini-skirt, which was popularised by Mary Quant, quickly earned its place as the decade’s most iconic look.
The 1960s loved man-made materials. They exploited the potential of modern plastics and synthetic fibres- Perspex, PVC, polyester, acrylic, nylon, rayon, Spandex etc. This was to create easy-care outfits that were eye-catching and fun.
In the late 1960s, style had became theatrical. Fashion sanctioned for longer hair for both men and women, as well as a flared outline for trousers. The ideas and mix-and-match aesthetic of California’s hippy movement crossed the Atlantic, giving people free rein to ‘live different’ and to sport clothing from a range of non-Western cultures. Fashion leaders began to sport long, loose and layered outfits, these were inspired by second-hand or ‘vintage’ styles.
This new direction was reflected in the fashions of :
- Zandra Rhodes
- Foale and Tuffin
- Yves St Laurent
Harvard Referencing
V&A. (N/A) An introduction to 1960s fashion. [Online] Available from: https://www.vam.ac.uk/articles/an-introduction-to-1960s-fashion. [Accessed: 10th December 2022].
Fig 1. FRENCH, J. (1964) Model wearing a Mary Quant dress, 1964, England. [Photograph] Available from: https://www.vam.ac.uk/articles/an-introduction-to-1960s-fashion. [Accessed: 10th December 2022].
Fig 2. TOWNSEND, P. (1960s) Interior of the Biba store, High Street Kensington, 1960s. [Photograph] Available from: https://www.vam.ac.uk/articles/an-introduction-to-1960s-fashion. [Accessed: 11th December 2022].
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Significant Events 1960-1975 that could’ve effected branding.
1956 Japan becomes member of the UN.
1960′s - UK - For the first time, virtually all houses had electricity.
1960′s - UK - The first supermarkets opened – mainly in town centres. Now you could buy all your food in one shop.
1960s popular music began to diversify and more sub-genres emerged as the worlds of R&B and Rock 'n' Roll became more profitable.
1961 Soviet Cosmonaut Yuri Gagarin becomes the first person in space. One month later, Alan Shepard becomes the first American in space.
Live trans-Atlantic satellite television via the Telstar satellite was made possible in 1962.
1962 The first computer video game, Spacewar, is invented.
1962 The Beatles release their first single, "Love Me Do," in the United Kingdom.
1962 Sam Walton opens the first Wal-Mart store in Arkansas.
1963 United States President John F. Kennedy is assassinated by Lee Harvey Oswald.
The Beatles began their career. They leapt to fame in 1963 with 'Please, Please Me'.
1963 U.S. Civil Rights Leader Martin Luther King Jr. gives is famous "I Have a Dream" speech.
1964 The first successful Minicomputer, Digital Equipment Corporation’s 12-bit PDP-8, is marketed.
1964 NASA's Mariner 4 space probe successfully approaches Mars and becomes the first spacecraft to take images of a planet from deep space.
1964 The Ford Motor Company begins to produce and sell the Ford Mustang.
1964 Tokyo hosted the Olympics, marking the first time the Games were held in Asia.
BBC 2 went on air in 1964 and was the first channel to have colour in 1967.
1965 Sony markets the CV-2000, the first home video tape recorder.
1965 The Vietnam War escalates and opposition to it begins to mount as anti-Vietnam protests become more common.
1965 Mary Quant designs the mini-skirt in London and it becomes a fashion craze.
1966 The first episode of the popular television show "Star Trek" airs.
1966 The Soviet Union's Luna 9 unmanned spacecraft lands on the Moon.
1966 All cigarette packets in the United States must carry the health warning "Caution! Cigarette smoking may be hazardous to your health."
1967 Rolling Stone publishes its first magazine issue.
1968 The first public demonstration of the computer mouse, video conferencing, teleconferencing, email, and hypertext.
1968 The first manned Apollo mission, Apollo 7, is launched by NASA.
1968 Japan surpassed West Germany to become the second largest economic power in the world.
1969 Arpanet, the research-oriented prototype of the Internet, was introduced.
1969 Neil Armstrong and Buzz Aldrin become the first men to arrive on the Moon during NASA's Apollo 11 mission.
1969 The Woodstock music festival takes place in New York and features such acts as Janis Joplin, Jimi Hendrix, Jefferson Airplane, and The Who.
1969 The popular children's television show "Sesame Street" debuts.
1969 Student protests against the Vietnam War and American use of bases on Japanese soil culminated in a short-lived takeover of Tokyo University.
1960′s - UK - Most homes had televisions by the end of the decade.
By the 1970s Japan ascended to great power status again. Japan had record high economic growth during the Japanese economic miracle.
The best-selling car of 1970s was the Ford Cortina.
Pocket calculators and digital watches first went on sale in the 1970s. By the end of the decade, they were cheap enough for most people.
It was only by the middle of the 1970s that more households had a telephone than did not. Even in 1979 only just over half of households had a family car.
1980 Japan became the biggest motor vehicle producing country in the world with 11,042,884 motor vehicles compared to the USA's 8,009,841.
1983 The domestic North American video game market crashes, allowing the Japanese industry to take America's place as the world's largest video game market.
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#720: ‘The Haunting’, dir. Robert Wise, 1963.
Robert Wise's The Haunting was the first adaptation of Shirley Jackson's The Haunting of Hill House, only three years after the novel was first released. SInce its production, it has developed the kind of reverence that gets it discussed in the same hushed whispers as Rosemary's Baby. Steven Spielberg reportedly told Wise that it was the scariest film he'd seen, and several years ago Martin Scorsese put it at the top of his list of scariest horror films.
Spielberg and Scorsese are wrong about The Haunting.
This film was made in the same year as Hitchcock's The Birds, for example, and while The Birds is also not the scariest film ever made, it soars miles above The Haunting. So what happened? Why is this film so renowned despite being incredibly ineffective?
The Haunting of Hill House was Wise's choice of adaptation when it came to a film to honour the legacy of Val Lewton, the eminent producer of horror films for RKO. The crucial feature of the horror Lewton produced stemmed from his belief that the scariest monsters in horror were the ones you did not see - that way the audience was able to fill the blank space with the scariest thing they were capable of imagining. Anything displayed on the screen, no matter the buildup, would inevitably be a letdown to the viewers. Wise's film plays this maxim straight, treating the viewer to some tense sequences built around sound effects, and a few visual effects towards the end that indicate something of great strength lurking in Hill House, attempting to invade the space of the characters.
What it might be lacking, in my opinion, is any real sense of threat. The most unsettling elements of the film come in the performance of Julie Harris. As Eleanor Lance, Harris has to occupy two registers at once: the physical performance within the real, physical house, and the mental performance, chiefly made available to the viewer through her voice-over narration. It's unclear for a lot of the film what is happening to Eleanor. She feels an obvious affinity for the house, and starts to consider it her new home, but even before she arrives at Hill House for the first time her voiceover discusses it as though she's taking permanent residence there, not merely attending a weekend of paranormal investigation.This creepiness seems to stop, however, at the edges of Eleanor's self. What everyone else experiences at Hill House is a set of unexplained cold patches and some thumpings in the night. These are creepy, sure, but they don't actually seem to be malevolent. Without any ongoing sense of threat it's hard to find the film terrifying, even for a self-confessed horror wuss like me.
It seems like Wise might have been unable to buy into the paranormal aspects of the film himself: despite being reassured by Shirley Jackson that the novel was really about the supernatural, Wise and the screenwriter, Nelson Gidding, introduced a subtext of mental breakdown into the film's script. Strangely, by introducing this ambiguity, the film becomes even less horrifying. If Eleanor is merely hallucinating a haunting that exists entirely within her own mind, then it remains confined there - it doesn't bleed out into the world and imperil the other characters. If the haunting is real, then it clearly only threatens people with Eleanor's weak constitution. Either way, the viewer is safe.
This type of ambiguity provides a lot of loose ends that don't build into anything stronger. Eleanor's history with the house, for instance, is also ambiguous. At one point she wakes to the sound of rapping at the walls, seemingly the presence of the old woman who once lived in the home, desperately seeking attention from the live-in nurse. We know from the film's opening that Eleanor's mother also died recently, and when Eleanor wakes she tells the noises that she's coming. Is this Eleanor temporarily lapsing into her own real history, forgetting her mother is already dead? Or has she been cast in the role of the nurse for a moment, who also died in the house? There isn't a firm answer provided to this, or much else in the film. Wise likes the ambiguity present here, and it's an effective ploy... just not a terrifying one.
There is one thing that makes this film well worth a watch, and it's the visual style of it. I'm giving this film a lot of flak for not being scary, but it is a gorgeously-constructed film overall. The setting for the house (Ettington Park for the exterior shots) is appropriately ominous at night, and the rooms are consistently filmed from an unusually low angle, making ceilings loom overhead. The house, fittingly for a ghost story, is a character: faces in the carvings are given prominence, and shots are frequently framed with pieces of architecture and furnishing filling spots where humans would typically be.The camera also moves a lot, which would make cutting for spatial continuity enormously challenging - shots track, pan and tilt with the characters. Where the continuity is broken, the effect is suitably disorienting. At one stage, Eleanor trips on a spiral staircase, and we cut to a wide shot of her on the second landing. She starts to climb again, another twenty steps or so, and then when we next cut to that wider frame, she's still on the second landing. Parts of individual scenes are clearly shot at different times of day. Are these continuity errors? Most likely. But they really reinforce the sense that Hill House is a place with its own laws, that ignores the logic of the outside world.
The Haunting is an unusual film, and at first I dismissed it as boring, as a horror film that isn't horrifying. It's far more likely to provide moments where you say 'That was cool, how they did that', rather than moments of terror. What has stayed with me from it, though, is how modern it feels. The Netflix adaptation has the threatening aspects that make it a horror, but a lot of those aspects are here, just in a tame, embryonic form. This is a film with a lesbian character dressed in stylish Mary Quant clothes, as out as possible in a film from the 1960s. It uses some of the same practical effects as you'd see down the line in John Carpenter's horror films. I think that those proclaiming it to be the scariest thing they've ever seen are seeing the reflections of The Haunting's children in its eyes.
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Terence Conran, Designer and Retail Magnate, Is Dead at 88
An entrepreneur of mercurial moods and missionary zeal, he created an empire to market his designs and later opened restaurants in London, Paris and New York.
Terence Conran, a London designer and retailing magnate who eased the gloom of postwar British austerity with stylish home furnishings affordable on a teacher’s salary, and then suffered financial reverses before reinventing himself as an international restaurateur and doyen of modern design, died on Saturday at his country home in Berkshire, England. He was 88.
His family confirmed the death in a statement, without specifying the cause.
Blind in one eye since childhood, Mr. Conran was an entrepreneur of mercurial moods and missionary zeal who created an empire to market his designs, stores known in Europe as Habitat and in America as Conran Shops. After his business declined, he opened restaurants in London, Paris and New York — notably Guastavino’s, a dining cathedral under the tiled terracotta arches of the Queensboro Bridge in Manhattan.
He wrote scores of books on design, cooking and other subjects; turned a London warehouse riverfront into a fashionable South Bank commercial development; founded the Design Museum, Britain’s only museum for contemporary products and architectural designs; and was knighted by Queen Elizabeth II. He also married four times, had five children and collected wildflowers, butterflies, old master paintings and Bugatti pedal cars.
Detractors called him a cynical self-promoter who sold simplistic ideas to the masses, like “democratized luxury,” and struck it rich with a sure thing: the inevitable desire of Britons to climb from grinding wartime privations into a consumer class that could afford to replace the threadbare old sofa with something seen as “modern” and in “good taste.”
But admirers said he tried, with remarkable success, to revolutionize the sensibilities of a rising British middle class, offering not just better food but an idea of what a sunlit breakfast on Sunday should be; not just mod touches for the drab suburban semi detached but a taste of la dolce vita: Scandinavian furniture, Italian lighting, French cookware, Bauhaus-style modular shelving and splashes of Pop Art on the walls.
In a career that spanned six decades, he had only one actual job: At 19, he worked briefly for an architect who helped design the 1951 Festival of Britain, a national exposition intended to give Britons a sense of recovery from the war. It also gave him a frank look at a people weary of shortages, and a glimpse of the future of commercial design.
“They came along in their dreary wartime mackintoshes, gas-mask cases filled with Spam sandwiches, and found bright cafes, music, flowers, modern furniture and a spirit of something that none of them had ever experienced in their lives,” Mr. Conran told The Daily Telegraph, the British newspaper, in 2011.
Over the next decade, he designed simple furniture and sold it in an arcade in Piccadilly; opened his first restaurant, a sandwich-and-salad bar called Soup Kitchen that had one of London’s first espresso makers; and created new lines of fabrics and moderately priced, functional home furnishings.
In 1964, he opened his first Habitat store in Chelsea. Its staff had uniforms by Mary Quant and hairstyles by Vidal Sassoon.
By the late 1980s, after acquiring other chains, he owned 900 stores in Britain, Europe, Japan and America, selling furniture, housewares and clothing. His company, the Storehouse Group, had 35,000 employees and billions in revenues.
But overexpansion — including additions to the upscale Butler’s Wharf on the Thames, where he installed his Design Museum in 1989 and lived in a glass penthouse — corroded his empire. So did his failure to integrate interests reaching into publishing, office products, architecture and real estate. He resigned as chairman in 1990. Storehouse was dismantled, and Habitat was taken over by Ikea, the Swedish furniture giant.
Mr. Conran kept some Conran Shops and recovered in the 1990s, opening many theatrically dazzling restaurants, including Le Pont de la Tour and Mezzo in London, Alcazar in Paris and Berns Salonger in Stockholm. In New York, he and his partner, Joel Kissin, opened Guastavino’s in 2000 under the Queensboro Bridge. The site was dramatic but out of the way, and a few years later became a catered event space.
In 2005, he was named the most influential restaurateur in Britain by CatererSearch, the website of Caterer and Hotelkeeper magazine, and his resurrected fortune was estimated at more than $100 million.
Terence Orby Conran was born on Oct. 4, 1931, in the London suburb Kingston upon Thames, to Gerard and Christina (Halstead) Conran. His father was a businessman. His mother, who had a taste for art, nurtured Terence’s creative talents. When he was 13, his left eye was permanently blinded by a sliver of metal that flew up from a lathe he was using.
He attended Bryanston, a private school in Dorset, and the Central School of Arts and Crafts in London. He did not graduate, but a teacher there, the sculptor Eduardo Paolozzi, became a lifelong friend and mentor.
His first marriage, at the age of 19 to the architect Brenda Davison, lasted six months. He and his second wife, the novelist Shirley Pearce, had two children, Sebastian and Jasper, designers who held various professional and executive positions with their father’s enterprises over the years; they were divorced in 1962. He and his third wife, the food writer Caroline Herbert, had three children, Edmund (known as Ned), Tom and Sophie, and were divorced in 1996. He married his fourth wife, Victoria Davis, in 2000.
He is survived by his wife and his children, as well as 14 grandchildren, one great-grandchild and a sister, Priscilla, a designer and restaurateur.
Mr. Conran became a disciple of Elizabeth David, whose books Europeanized British cooking. Besides design and cooking, his own books explored home furnishings, textiles, gardening and other subjects. An authorized biography, “Terence Conran,” by Nicholas Ind, was published in 1995.
In addition to his 145-acre estate in Berkshire, Barton Court, Mr. Conran had an apartment in London.
From 2003 to 2011, Mr. Conran was provost of the Royal College of Art in London. Besides his 1983 knighthood, a title he said he used only to make reservations, his honors included the Minerva Medal, the highest award of the Chartered Society of Designers, and the Prince Philip Designers Prize for lifetime achievement.
Daily inspiration. Discover more photos at http://justforbooks.tumblr.com
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The Mini Skirt: Welcome to the 60s
(part one)
Hello! This blog has picked up a little bit since I introduced myself, so I just wanted to say hi to all the new fashion history lovers that are here! If you have anything/anyone you want me to write about, or to just say hey, message me! I have a big post about makeup in the 50s planned, but I have a presentation about the mini skirt tomorrow (last week of high school! yay!) so I thought it would be cool to talk about that! It’ll be in 3 parts, so stay tuned!
The invention of the mini skirt is credited equally to the designers Mary Quant and André Courrèges who both brought the skirt to the public eye in the early 60s, though they weren’t the only ones experimenting with shorter hemlines at the time. The skirts fell about an inch or so above the wearer’s knees, far shorter than the midi skirts of the previous decade, but a far cry from the tiny pencil skirts of the 90s we picture when we think about mini skirts. The style was accepted by the youth nationwide, seen as a groovy new way for young women to express their sexual identities freely, much to the chagrin of the older and more conservative generation.
While it may have gotten its start in fashion magazines and storefronts, the mini skirt was inspired by the youthful street fashion taking over the mainstream. Mary Quaint commented on this, claiming “It wasn’t me or Courrèges who invented the miniskirt anyway—it was the girls in the street who did it.” Regardless of where the skirt came from, it did have a sort of poster child in the media: Early supermodel Twiggy. Twiggy is seen by many as the face of fashion in the 60s, and she wore the mini skirt so naturally she could have been born in one. Only 17 at the time, she was pretty much the perfect representation of the movement that the mini skirt was trying to capture.
I don’t think that it’s a coincidence that the mini skirt was popularized concurrently with the birth of second-wave feminism, though much like the invention of the style, the subject is complicated. Some historians see the mini skirt as Feminism merging into the mainstream, giving the new generation of young women a sexy and empowered look, but some feminists at the time found the style degrading. Sex was still a very taboo topic in the 60s, and the more professional side of second-wave feminism that represented women’s entrance into the workplace was split on how to interact with the hypersexualized skirts.
I’m going to get into the skirts relationship with feminism and its impact on the style of today in my next post, so stay tuned!
#fashion#vintage fashion#fashion history#Fashion Blog#mini skirt#feminism#feminist#intersectional feminism#Retro#retrostyle#vintage#twiggy#history#Vogue#1960s fashion#1960s#1960s style#70s fashion#60s Fashion#1960s mini skirt
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logos:
i like how the logo uses an image rather then others that use letters. the image Versace uses isn’t something i’d instantly l associate them with making it an interesting choice. it resembles medusa which gives a powerful, wealthy look to the brand.
https://logo.com/blog/the-backstory-and-history-behind-the-versace-logo
While the Versace brand started in 1978, Gianni did not release a logo for the company until 1980, at the time only featuring the name Gianni Versace. Gianni Versace was responsible for designing the Versace Logo. It was in 1993 when he came up with the idea of having the Medusa's head as the main focus of the logo.
the simplicity of the logo gives it a classic look and not complicated. when you see this logo you know who it is, it’s a very well know brand and not overly used in their products.
https://www.clickedstudios.com/6-top-luxury-brand-logos-with-meaning-explained/#chanel
The double C Chanel logo was designed by Gabrielle Channel in 1925. From a technical standpoint, the logo is easy to recognize and works well no matter what its displayed on. Knowing though that Chanel often focused on simpler, functional designs for women it makes sense that she would design a minimalistic logo like this to reflect that aspect about her brand.
i think the vivienne westwood logo can represent many things such as the royal sovereign’s orb which gives the idea that the brand is wealthy, cares about the products and how their choices affect others just like the royal families. also at first glands is looks like a planet e.g. saturn suggesting a sorts of responsibility.
https://www.crfashionbook.com/fashion/a33482698/gen-z-vivienne-westwood-shopping-vintage/
First created in the late '80s, the emblem is a hybrid of the sovereign's orb and the rings of Saturn. Combining royal British iconography and outer-space symbolism, it represents the importance of the past while nodding towards the future.
this is another iconic logo. the logo is misleading as the bunny implies that the company is sweet, feminine and innocent. the bow tie is a more masculine take and adds some sort of sophisticated elements which i like.
https://blog.logomyway.com/hugh-hefner-and-the-history-of-the-playboy-logo/
Speaking on why a rabbit was chosen as the magazine's logo, Hugh Hefner said that, “The rabbit, the bunny, in America has a sexual meaning; and I chose it because it's a fresh animal, shy, vivacious, jumping – sexy. A girl looks a lot like a bunny, playful and joking.
the mary quant logo is unusual compared to other designers logos. it’s simple yet bold. she used the patterebbe that she made as her logo so right away people know what she did which was a very smart choice for a logo.
https://www.maryquant.co.uk/company/profile.html
The daisy that has become our brand's icon was born from the doodles of a young Mary Quant. She would draw the daisy whilst making her sketches in order to let her ideas flow.
the juicy couture is cluttered and tacky but that’s what i like about it. the crown could link to royalty suggesting that their products are high quality. the dogs add a more loveable aspect to the logo.
https://1000logos.net/juicy-couture-logo/amp/
The playful and glamorous mood characteristic for Juicy Couture is reflected in its logo. The iconic Juicy Couture logo is instantly recognizable across the globe due to its cool gothic-style typeface, which has never been changed since the date of the fashion brand establishment.
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SCRIVENDO D’AMORE
Scrivennu ca d’amuri attia pensu
ceccu paroli, frasi ad effettu
chi ponnu ridari tuttu u sensu
i quant’ haiu nta stu me pettu
Ma tu, nun hai bisognu di paroli
p’ inchiri u cori i filicità
pi dacci tuttu chiddu chi voli
ca to biddizza e simplicità
Eccu, vidi, basta chi cà mi brazzi
chi peddu ogni tinta malanova
chi tutti i mali pinseri mi strazzi
e mi brisci na junnata nova.
Si comi u mari quannu u vaddu
e peddu i me lastimi e peni
tutti i duluri i pigghiu e mpaddu
comi si d’acqua dà mi farria beni
Si comi u cielu ghiaru i mazzu
quannu sghiuviu e l’aria è chiù fina
i duluri chi mi faciunu pazzu
fineru nta so luci cristallina
Tu si comi u ciauru da notti
quannu s’aprunu janchi i gissumini
e jo mi scoddu ogni malasotti
tutti i me duluri e casini
Si tuttu chistu e otru assai
picchi pi quantu jo scrivu e dicu
tu sempri, na cosa i chiu mi dai
pi chistu ti amu e binidicu
Scrivu i tia senza mai finiri
incu paggini i baci, e ciuri
tu vinci tuttu quantu pozzu diri
cu to surrisu e cu to sapuri
Scrivendo qui d’amore penso a te, cerco parole, frasi ad effetto, che possano ridare tutto il senso di quanto ho dentro il mio petto.
Ma tu non hai bisogno di parole per riempire il mio cuore di felicità, per dargli tutto quello che vuole, con la tua bellezza e semplicità
Ecco vedi mi basta che abbracci, che perdo ogni peggior maledizione, perché tutti i brutti pensieri li stracci e mi nasce un nuovo giorno
Sei come il mare quando lo guardo e perdo i miei lamenti, le mie pene, tutti i miei dolori li accartoccio come se quell’acqua mi facesse bene
Sei come il cielo chiaro di marzo quando spiove e l’aria è più fina, ed i dolori che mi facevano pazzo, finiscono nella sua luce cristallina
Sei come il profumo della notte quando si aprono bianchi i gelsomini ed io mi dimentico ogni sfortuna, tutti i miei dolori e casini
Sei tutto questo e ancor di più perché per quanto io scriva e dico, tu mi dai una cosa in più per questo ti amo e benedico
Scrivo di te a mai finire, riempio pagine di baci e fiori, tu vinci tutto quello che posso dire, con il tuo sorriso ed il tuo sapore
Writing here of love I think of you, I look for words, phrases to effect, which can give back all the sense of what I have inside my chest.
But you do not need words to fill my heart with happiness, to give it all you want, with your beauty and simplicity
Here you see, all I need is hugs, that I lose every worst curse, because all the bad thoughts rags them and I am born a new day
You are like the sea when I look at it and I lose my complaints, my pains, all my pains crumple them as if that water did me good
You are like the clear sky of March when it spies and the air is finer, and the pains that made me crazy, end in its crystalline light
You are like the scent of the night when the jasmines are white and I forget all misfortune, all my pains and troubles
You are all this and even more because as much as I write and say, you give me one more thing for this I love and I bless you.
I write of you to never finish, I fill pages of kisses and flowers, you win everything I can say, with your smile and your taste
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The V&A’s Next Blockbuster Show Will Celebrate African Fashion – & It Wants Your Help
The Victoria & Albert Museum is globally renowned for its blockbuster fashion exhibitions, having taken a deep dive into subjects as varied as handbags, kimonos and underwear, and hosting retrospectives on the likes of Christian Dior, Frida Kahlo, Balenciaga and Mary Quant. Today it announces that its next major show will be a celebration of African fashion.
Opening June 2022, Africa Fashion will be “celebrating the irresistible creativity, ingenuity and unstoppable global impact of contemporary African fashions as dynamic and varied as the continent itself.” Curated by Dr Christine Checinska, curator of African diaspora fashion, over 250 objects sourced from the personal archives of contemporary African creatives will sit alongside the V&A’s in-house collection of textiles and photographs – many of which will be on display for the first time ever.
“Our guiding principle is the foregrounding of individual African voices and perspectives,” Checinska said in a statement from the museum. “The exhibition will present African fashions as a self-defining art form that reveals the richness and diversity of African histories and cultures. To showcase all fashions across such a vast region would be to attempt the impossible. Instead, Africa Fashion will celebrate the vitality and innovation of a selection of fashion creatives, exploring the work of the vanguard in the twentieth century and the creatives at the heart of this eclectic and cosmopolitan scene today. We hope this exhibition will spark a renegotiation of the geography of fashion and become a game-changer for the field.”
Focusing on the first generation of African designers to gain global attention – from Shade Thomas-Fahm and Chris Seydou to Kofi Ansah and Alphadi – the exhibition will “trace their rise and impact, their creative process and inspirations, brought to life by real stories from those who loved and wore their distinctive designs.” Much like the Mary Quant exhibition, the V&A is issuing a call-out for the general public to submit their garments and personal testimonies to bring the show to life. Items the museum is looking for include:
• Rare and early designs by Shade Thomas-Fahm, Chris Seydou, Kofi Ansah and Alphadi.
• 1980s experimental garments in bògòlanfini by Chris Seydou.
• Twentieth century kente, bògòlanfini, khanga and commemorative cloths from the independence and liberation years that connect to personal stories.
• Family portraits and home movies from the independence and liberation years showing African and African diasporic fashion trends of the day.
• Made-to-order garments, including aso ebi, co-created by local tailors, dressmakers and their clients, worn at festivals or to mark significant personal milestones, from 2010 onwards.
• Copies of Drum Magazine from 1950-1970.
“Help us tell this visually compelling story of unbounded creativity, agency and self-fashioning,” Checinska says. “Check attics, trunks, family photo albums and home movies for the chance to feature in our exhibition.”
Though it’ll be some time until we’re able to visit galleries and museums safely, news of the thrilling Africa Fashion exhibition is giving us something to look forward to.
The call-out for Africa Fashion is launched today and will run until 1st May 2021. Anyone with objects that fit the description is asked to get in touch by email at [email protected], and to share their pictures and memories using the hashtag #AfricaFashion.
Like what you see? How about some more R29 goodness, right here?
The V&A's New Handbag Exhibit Has It All
The Instagram Account Celebrating African Fashion
Farfetch & The Folklore Are Teaming Up
The V&A’s Next Blockbuster Show Will Celebrate African Fashion – & It Wants Your Help published first on https://mariakistler.tumblr.com/
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