Saturday, May 17, 2014
Friday, May 16, 2014
An Evening Event
Hello all.
So, last evening a dear friend and me went to an event called FashTech in San Francisco. It was touted as being a place where fashion and technology meet, and to an extent that was true. Though I was hoping to see a good deal of cutting edge technology as regards the actual design and production of clothing, what was primarily on tap was more apps to use on one's phone or pad to facilitate shopping. Also, the way things were presented was more along the lines of a trade show, than a seminar or more organized presentation. In fact, the only display there that could be called cutting edge was a demo of 3D printing by an SF based firm. It was fascinating to watch this tabletop printer building pairs of earrings, layer by layer.
That is not to say that there weren't a couple of interesting ideas being presented. The first of those was StyleLend.com. The notion here is rather like Air B&B for clothes. People with significant wardrobes can offer them for rental to those without the space or wherewithal for such gear. The garments are stored in a secure single location, and are insured against damage. So, if one needs a special occasion outfit, it becomes rentable for 40 or 50 dollars, as opposed to spending hundreds on purchase. And intriguing idea.
The second is an app for the iPad called StylSavvy that enables a shopper to shop all parts of an outfit at the same time, using a series of scroll across bars so you can see each element at once. Also, the app is able to allow for sorting of style, color, size, price, and maker, as well as garment type. The only drawback currently is that the app is not a portal. So, when your shopping is done, you still need to go to each vendors own site to make your purchase. But at least the selection process is completed.
There was of course a good deal of schmoozing going on, which is only to be expected. And I met a number of interesting folks, and made a few connections.
I have to say, though, that I was disappointed in how my fellow SF people turned themselves out for this. The organizer had particularly suggested people to really bring their style game on board. Sadly, most of the women in attendance looked more like they had just left the office. And the men in attendance, with a few exceptions, seemed to think they were on their way to a ball game.
Come on Stylish San Francisco, where were you hiding?
So for me and my friend Paul, it was an object lesson or two, and it did give me a chance to talk my talk to some new folk, which was good practice, if nothing else. (grin)
So, last evening a dear friend and me went to an event called FashTech in San Francisco. It was touted as being a place where fashion and technology meet, and to an extent that was true. Though I was hoping to see a good deal of cutting edge technology as regards the actual design and production of clothing, what was primarily on tap was more apps to use on one's phone or pad to facilitate shopping. Also, the way things were presented was more along the lines of a trade show, than a seminar or more organized presentation. In fact, the only display there that could be called cutting edge was a demo of 3D printing by an SF based firm. It was fascinating to watch this tabletop printer building pairs of earrings, layer by layer.
That is not to say that there weren't a couple of interesting ideas being presented. The first of those was StyleLend.com. The notion here is rather like Air B&B for clothes. People with significant wardrobes can offer them for rental to those without the space or wherewithal for such gear. The garments are stored in a secure single location, and are insured against damage. So, if one needs a special occasion outfit, it becomes rentable for 40 or 50 dollars, as opposed to spending hundreds on purchase. And intriguing idea.
The second is an app for the iPad called StylSavvy that enables a shopper to shop all parts of an outfit at the same time, using a series of scroll across bars so you can see each element at once. Also, the app is able to allow for sorting of style, color, size, price, and maker, as well as garment type. The only drawback currently is that the app is not a portal. So, when your shopping is done, you still need to go to each vendors own site to make your purchase. But at least the selection process is completed.
There was of course a good deal of schmoozing going on, which is only to be expected. And I met a number of interesting folks, and made a few connections.
I have to say, though, that I was disappointed in how my fellow SF people turned themselves out for this. The organizer had particularly suggested people to really bring their style game on board. Sadly, most of the women in attendance looked more like they had just left the office. And the men in attendance, with a few exceptions, seemed to think they were on their way to a ball game.
Come on Stylish San Francisco, where were you hiding?
So for me and my friend Paul, it was an object lesson or two, and it did give me a chance to talk my talk to some new folk, which was good practice, if nothing else. (grin)
Wednesday, May 14, 2014
Not So Frivolous
Human beings are amazing creatures. Faced with difficult conditions, we completely refuse to bow to the pressure to become nothing. In the most extraordinary places and times, the voice of Attire makes itself heard with an irrepressible delight and inventiveness; and an indefatigable spirit. We as a species seem hard wired to find delight in our darkest hours, and in the most deprived of states. Sure, when we express under such conditions, we may not do so with perfect taste, or sublime construction, or deep artistic goals. What we do, is give out our hearts. We place them literally on our sleeves. In fact our sleeves become part of the canvas on which we paint our truth.
This extraordinary way in which we face our world, cannot be sundered from us or beaten away from us for long. We grow back together and rise from that beating, showing our new inner strength with what we clap on our backs.
At times that strength has made itself seen with a simple armband, a badge or a set of colors. We have time and again fought against those who oppress and demean us, often first with the subtle language of Attire. Or, when faced with a long period of deprivation, we burst forth to new expressive life with abandonment and a delicious playfulness.
One of the many things that draws me to Attire as a language, and makes it such an important part of my day, and too, why I must share it with you all, is this thing about us that will not be squashed, trampled or broken. Our essential spirit, the thing that makes us "US" is something that will not bow down for long. Despots may reign. Fascists may seize power. Oligarchs might shove down on the majority, but in time, like a small seedling, the nature of Humans springs forth again. And it does so first in this quiet, hard to codify language I call Attire.
During the reign of Henry the Eighth, the Catholic multitudes who decried the closure of abbeys and seizure of properties donned red during the Pilgrimage of Grace. The people who fought for the French Revolution wore cockades of the French flag's colors, sabot shoes and pantalons. In the 30s the popularity of Surrealism signaled more than just a fashion; it was also a method of throwing off the strictures of the Depression.
During the Second World War, women took whatever they had to hand and made the wildest, most inventive hats ever, to fight against the darkness and fear of their time. The Beats of the 50's wore unrelieved black to show their disapproval of the cultural norm, and their desire to change our way of thinking. The counter-culture folk of the 60's and 70's showed their disdain for the old ways; and their need for a new way of living, in their rejection of popular culture and mass market clothing, adorning themselves in the clothes of by gone eras, or modifying clothes beyond recognition. And the gaining momentum of the black civil rights movement saw people wearing the clothing of their native heritage, picking their hair out into afros, and braiding their hair in the manner of their forebears, and all to say, I am ME, and cannot be denied. I will not be you, no matter what you want.
No discussion of this process would be significant without the contribution of the women's movement. Those women who burned their bras and started wearing pants to work took the language of Attire and made it a horn blast, a call to arms. Similarly, the Gay rights movement took their stance as outsiders and ran with it. Sure, there were those who tried to gain acceptance by seeming "normal". But it was the queens, bull dykes and leather boys who pushed the envelop and forced people to listen.
So, among the many ways that Attire expresses in our world, there is a way of speaking this language that is about social change, dissidence, and a kind of stubbornness, born of our innate unwillingness to be denied for long.
Just now, we seem to be going through a phase where these manifestations are quieted. But who knows where and how they will spring forth again?
This extraordinary way in which we face our world, cannot be sundered from us or beaten away from us for long. We grow back together and rise from that beating, showing our new inner strength with what we clap on our backs.
At times that strength has made itself seen with a simple armband, a badge or a set of colors. We have time and again fought against those who oppress and demean us, often first with the subtle language of Attire. Or, when faced with a long period of deprivation, we burst forth to new expressive life with abandonment and a delicious playfulness.
One of the many things that draws me to Attire as a language, and makes it such an important part of my day, and too, why I must share it with you all, is this thing about us that will not be squashed, trampled or broken. Our essential spirit, the thing that makes us "US" is something that will not bow down for long. Despots may reign. Fascists may seize power. Oligarchs might shove down on the majority, but in time, like a small seedling, the nature of Humans springs forth again. And it does so first in this quiet, hard to codify language I call Attire.
During the reign of Henry the Eighth, the Catholic multitudes who decried the closure of abbeys and seizure of properties donned red during the Pilgrimage of Grace. The people who fought for the French Revolution wore cockades of the French flag's colors, sabot shoes and pantalons. In the 30s the popularity of Surrealism signaled more than just a fashion; it was also a method of throwing off the strictures of the Depression.
During the Second World War, women took whatever they had to hand and made the wildest, most inventive hats ever, to fight against the darkness and fear of their time. The Beats of the 50's wore unrelieved black to show their disapproval of the cultural norm, and their desire to change our way of thinking. The counter-culture folk of the 60's and 70's showed their disdain for the old ways; and their need for a new way of living, in their rejection of popular culture and mass market clothing, adorning themselves in the clothes of by gone eras, or modifying clothes beyond recognition. And the gaining momentum of the black civil rights movement saw people wearing the clothing of their native heritage, picking their hair out into afros, and braiding their hair in the manner of their forebears, and all to say, I am ME, and cannot be denied. I will not be you, no matter what you want.
So, among the many ways that Attire expresses in our world, there is a way of speaking this language that is about social change, dissidence, and a kind of stubbornness, born of our innate unwillingness to be denied for long.
Just now, we seem to be going through a phase where these manifestations are quieted. But who knows where and how they will spring forth again?
Tuesday, May 13, 2014
Monday, May 12, 2014
Obfuscation
We humans are a strange and diffident lot. We manage somehow to hold entirely opposing opinions in our heads on a regular basis, and we often have a way of expressing ourselves through dress that is wildly divergent from our own reality. We routinely, and I think most often unconsciously misrepresent ourselves, to ourselves, and to others. We refashion ourselves in a more compelling, or appealing image.
Perhaps its our inborn ability to maintain very different positions on things that encourages this behavior in us. Perhaps its a desire to aspire that most of us possess to a significant degree; or perhaps its a simple dissatisfaction with the mundane realities of life. However that may be, the result is that we do indeed manipulate the facts when we dress ourselves to meet our fellow humans.
Now I'm not going to moralize about the rightness of this, especially since nearly all of us do it, me included. I just want to take a look at it, and wonder some wonderings; perhaps to find an answer or two.
When we pull on "that" pair of pants, the ones we know sculpt our rear especially well, we may not do so with any forethought. Nor could we be certain that choosing a particular set of earrings means anything other than"they go with this outfit". But the mere act of choosing to dress in one way over another, of selecting this garment over that one, is a choice we are making not only to direct our own feelings and thoughts in a particular way, but to subtly, (or not so subtly) direct the thoughts and feelings of others.
You see, there are very few of us who are so complete in their self security that they have no problem with showing the bare facts of themselves to the world. Nearly all of us want to tweak that image a bit this way and that. To put our best foot forward, in whatever way we can, is our oft unstated goal. We want to be seen to be attractive and sexy, accomplished and intelligent, worldly and erudite, powerful and significant, kindly and approachable; any combination of these, and often, with varying degrees of success, all of them at once.
Now, where things get really interesting is when the obfuscation is entirely deliberate. Ceremonial or work attire, like a surgeons scrubs, a policeman's uniform or the robes of a zen monk, are requirements of those positions, so they carry a particular meaning that is imposed from outside the person wearing them. But go to any place where single adults gather to mingle and you'll see the obfuscation process in full force. In such an environment, everything is chosen with a thought to maximizing attractiveness, and especially sexual attractiveness. In general clothes tend to be tighter, and more intensely colored than otherwise. And when we are going to a job interview, we likely will show up in the most business appropriate clothes we own, rather than board shorts and an OP t shirt.
Some people dress deliberately to shock or challenge us, to actively state a political or moral position, or to make certain we are aware of how creative they are. Each of these goals requires us to think more carefully about what we wear and why. And to that end I think this sort of conscious obfuscation leads us, potentially, to a good place. Being more readily aware of what one wears and what its effect is on others can be a helpful thing, not only to oneself, but to our larger society.
As our global culture becomes more complex due to greater and greater interaction between different peoples, this need for clarity on first sighting one another will only grow. Now I surely don't advocate any sort of restrictions on anyone's choices, only that over time we begin to make better use of this tool we have to hand.
Perhaps its our inborn ability to maintain very different positions on things that encourages this behavior in us. Perhaps its a desire to aspire that most of us possess to a significant degree; or perhaps its a simple dissatisfaction with the mundane realities of life. However that may be, the result is that we do indeed manipulate the facts when we dress ourselves to meet our fellow humans.
Now I'm not going to moralize about the rightness of this, especially since nearly all of us do it, me included. I just want to take a look at it, and wonder some wonderings; perhaps to find an answer or two.
When we pull on "that" pair of pants, the ones we know sculpt our rear especially well, we may not do so with any forethought. Nor could we be certain that choosing a particular set of earrings means anything other than"they go with this outfit". But the mere act of choosing to dress in one way over another, of selecting this garment over that one, is a choice we are making not only to direct our own feelings and thoughts in a particular way, but to subtly, (or not so subtly) direct the thoughts and feelings of others.
You see, there are very few of us who are so complete in their self security that they have no problem with showing the bare facts of themselves to the world. Nearly all of us want to tweak that image a bit this way and that. To put our best foot forward, in whatever way we can, is our oft unstated goal. We want to be seen to be attractive and sexy, accomplished and intelligent, worldly and erudite, powerful and significant, kindly and approachable; any combination of these, and often, with varying degrees of success, all of them at once.
Now, where things get really interesting is when the obfuscation is entirely deliberate. Ceremonial or work attire, like a surgeons scrubs, a policeman's uniform or the robes of a zen monk, are requirements of those positions, so they carry a particular meaning that is imposed from outside the person wearing them. But go to any place where single adults gather to mingle and you'll see the obfuscation process in full force. In such an environment, everything is chosen with a thought to maximizing attractiveness, and especially sexual attractiveness. In general clothes tend to be tighter, and more intensely colored than otherwise. And when we are going to a job interview, we likely will show up in the most business appropriate clothes we own, rather than board shorts and an OP t shirt.
Some people dress deliberately to shock or challenge us, to actively state a political or moral position, or to make certain we are aware of how creative they are. Each of these goals requires us to think more carefully about what we wear and why. And to that end I think this sort of conscious obfuscation leads us, potentially, to a good place. Being more readily aware of what one wears and what its effect is on others can be a helpful thing, not only to oneself, but to our larger society.
As our global culture becomes more complex due to greater and greater interaction between different peoples, this need for clarity on first sighting one another will only grow. Now I surely don't advocate any sort of restrictions on anyone's choices, only that over time we begin to make better use of this tool we have to hand.
Sunday, May 11, 2014
The Great Inflation
After the crisis of the French Revolution caused an instant deflation in the physical volume and level of ornament in clothing for women, a period of roughly a decade and a half occurred that, though not devoid of expressiveness, was a more severely edited version of women's apparel than had existed since the Dark Ages. For over a thousand years women's clothing had been a matter of stiffness, increasing volume, and abundant elaboration.
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Suddenly, it was all gone,...
The desire to be perceived as democratic, enlightened and modern supplanted all other considerations. So for the next bunch of years, women's clothes retained a slim, high breasted, and demure silhouette. Shoes were simple flat slippers. And the primary locations for whimsy and inventiveness were the neck and the head. Collars and hats were often quite unique and quirky.
By 1820 though, something began to happen. A subtle inflation began. First it expressed itself in a slight belling out of the skirt. Instead of being entirely vertical, the skirt shape became slightly conical, and trimmings of all sorts began to festoon hemlines, drawing the eye downward to this increasing space.
Along with this, the sleeves, which had been cut close to the arm, or existed as vestigial puffs, gained in both elaboration, and in volume. Sleeves were gathered, pleated, ruched, puffed, stuffed and picked out with contrasting trimmings to compliment the growing focus on the skirt hem.
Part of this was simply because after a over a decade the simple shape of the predominant look had been wrung dry of fresh inspirations. The other reason was there had been enough time elapsed that more obvious displays of wealth and taste were no longer deemed inappropriate. So, faced with a design idea they had worked to death, the only choice was to push the shape outward, literally.
In addition to the shape of the clothing, the hair dress styles would soon become not only more inventive, but without question some of the more outre' hair fashions in history. Styles of hair bore out-jutting wings and panels, bunches of curls, fountaining sprays and ornaments of every sort. The millinery began to do the same thing, growing in size and elaboration as the decades progressed.
This inflation would continue for over 40 years before technology could no longer support any further increases, but it began here, in the 1820s. Its almost as though, after the frenzied extravagance of the 18th century, we all needed a bit of time to catch our breath before plunging into the fray again.
So, the short time between 1800 and around 1820 was a calm point, soon to be swept aside by our relentless need to express ourselves.
Suddenly, it was all gone,...
The desire to be perceived as democratic, enlightened and modern supplanted all other considerations. So for the next bunch of years, women's clothes retained a slim, high breasted, and demure silhouette. Shoes were simple flat slippers. And the primary locations for whimsy and inventiveness were the neck and the head. Collars and hats were often quite unique and quirky.
By 1820 though, something began to happen. A subtle inflation began. First it expressed itself in a slight belling out of the skirt. Instead of being entirely vertical, the skirt shape became slightly conical, and trimmings of all sorts began to festoon hemlines, drawing the eye downward to this increasing space.
Part of this was simply because after a over a decade the simple shape of the predominant look had been wrung dry of fresh inspirations. The other reason was there had been enough time elapsed that more obvious displays of wealth and taste were no longer deemed inappropriate. So, faced with a design idea they had worked to death, the only choice was to push the shape outward, literally.
In addition to the shape of the clothing, the hair dress styles would soon become not only more inventive, but without question some of the more outre' hair fashions in history. Styles of hair bore out-jutting wings and panels, bunches of curls, fountaining sprays and ornaments of every sort. The millinery began to do the same thing, growing in size and elaboration as the decades progressed.
This inflation would continue for over 40 years before technology could no longer support any further increases, but it began here, in the 1820s. Its almost as though, after the frenzied extravagance of the 18th century, we all needed a bit of time to catch our breath before plunging into the fray again.
So, the short time between 1800 and around 1820 was a calm point, soon to be swept aside by our relentless need to express ourselves.
Saturday, May 10, 2014
Scatter#4
Its Scatter time!
First out of the gate this time is this interesting look at 3 versions of a dress from the same designer. The top left image was designed by couturier Lucille as a stage costume in 1915. In the Fall of 1916 it was introduced in her couture line as a dress called "Happiness". Take note of the slight design change where the lace hem has been deleted. And finally the hand colored photograph of a young lady wearing another version, this one with long sleeves.
I know that satin is currently going through a phase of being less popular, mostly, I'm sure, because it has to be perfectly handled, and most manufacturers haven't the work force to bring it off. This deliciously plummy purple satin day dress is from the 1840s is simple in style, and beautifully constructed, allowing the fabric to do most of the work. Love this. Its part of the Met's collection.
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Most likely I'm going to hear about this one. I love the play of textures and the soft draping of this look. The ease and comfort of it is beguiling. Its Alexej Ballach, from his F/W 2014-15 collection.
A friend sent me images of some antique batik stamps she got Here's a couple of them. They give a window on how those astounding batik patterns are created. Carved in wood or made out of metal they are amazing pieces of art all on their own.
I love this because sometimes the simplest answer is the best. Sometimes a cape is the only way to go. Sometimes THAT blue has to be deployed. Its also just a great fashion image. We get to see the clothes in motion, and clearly. My idea of perfect presentation.
Next a bit of something from the glass atelier of Rene' Jules Lalique. This sand blasted gray metal brooch is from 1900, and is a design bridge between the Art Nouveau, and the Art Deco, which will be arriving in 20 years or so. As such this piece is a step forward in time, since it both uses the naturalistic forms common to Nouveau, but with a kind of linearity that speaks the coming design voice.
And for the final note today the handsome, and outrageously bedecked Raj Rishi Shri Sawai Maharaja Jai Singh Virendra Shiromani Dev Bharat Dharam Prabhakar of Alwar. (whew) Look at all those jewels and pearls. Yes please. I admit to being a hopeless magpie. I want more men to dress like this, me especially.
Th-th-th-That's all, Folks!
First out of the gate this time is this interesting look at 3 versions of a dress from the same designer. The top left image was designed by couturier Lucille as a stage costume in 1915. In the Fall of 1916 it was introduced in her couture line as a dress called "Happiness". Take note of the slight design change where the lace hem has been deleted. And finally the hand colored photograph of a young lady wearing another version, this one with long sleeves.
Hey Marc, come out and show the folks what you're up to. What do you mean you're shy? Cummon,...
Yep, that wacky Marc Jacobs is up to it again with this advert for LV. Of course it doesn't hurt that he's rather ridiculously handsome. And its a witty take on the famous YSL men's perfume ad from the 1960s.
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