Modern Girls at Play, East Village Eye, June 1979.

Rhonda, in clothes from East Village boutique Natasha.

East Village Eye – a magazine published between 1979 and 1987 – shows the medium’s power to encapsulate a moment and to convey the excitement of collaboration, in terms of its contributors and of the collages of text and images of art, music, fashion and life in general in ‘80s New York. Drawing on the cut-up aesthetic of fanzines and the pop culture graphics of comic books, it brings to mind Guy Lawley’s discussion of their role in crystallizing subcultural ideals: ‘In some important ways, the origins of punk itself are closely linked to the comics medium. By the winter of 1975-76, the new music coming out of New York’s CBGBs club (The Ramones, Television, Blondie, Patti Smith etc) was generating an intense local buzz, but little wider acclaim. People were calling it things like “street rock” until Punk magazine appeared in December of 1975 to give the scene a catchy name and (the appearance of) a unified identity. Indeed, it is claimed that The Eye was the first to use the term ‘hip hop’ – in an interview with rap pioneer Afrika Bambaataa – and these two subcultures dominate its pages, influencing art and pop culture in equal measures.

The Eye depicts the chaos of downtown and the possibilities that opened up for young artists – of all genres, who were able to rent cheap spaces in a part of the city abandoned by big commerce. The area quickly became the generator of new art, and home to a string of vintage and fashion boutiques that dressed its participants. It speaks to the significance of space and place in hot housing trends of various kinds, and of the vibrancy of street culture at the time – punk and hip hop intersect on its pages, and the influence and significance of Situationist art co-mingle with graffiti and New Wave.

With its recognizably ‘80s aesthetics, The Eye is a remnant of the recent past, but simultaneously projects a confusing – but fascinating – sense of actually being about the recent future, through its representation of art and fashion culture of the time: it’s gone, but it’s still here, over, but still suggesting something new. This is reflected in editor Leonard Abrams’ statement at the front of the magazine, which says:

East Village Eye is a new newspaper for new culture. Enjoying a mutually parasitic relationship with the East Village and surrounding areas, The Eye … promotes the new mutations of Positivist Futurism, put forth in the watchwords: “It’s all true.”

Inevitably, fashion is a significant component of this mix – a way to embody and perform the new ideals and become a living rendition of the artistic and subcultural manifestos expressed on the magazine’s pages. And it is now possible to examine these influences in detail, as several copies of East Village Eye are now available to download http://www.east-village-eye.com/issues-year.html, including the June 15 1979 edition with its retro-futurist style fashion supplement.

This edition’s cover and the ensuing pages cut and paste together fashion spreads and adverts that show the promiscuous combinations of periods and styles that somehow coalesced into a recognizably New Wave dress code. Its focus on Pop Art glamour – as seen through ‘40s Hollywood make-up, ‘30s rehearsal shorts and floral tea dresses, is balanced with classic ‘50s casual wear for men and sharp suits that recall ‘30s gangster films. Even the photographic style deployed is a combination of old and new – some are styled to look like Richard Avedon shots of poised elegance, others rehearse the ‘straight-up’ that i-D magazine would come to define a couple of years later.

The focus on second-hand stores and – in most cases – the anonymity of the clothes origins suggest individuality and creative freedom from the ‘official’ fashion world. However, the text recognizes that these same styles and periods were also influencing ready-to-wear. This is a reminder that, as Angela McRobbie has written: ‘Most of the youth subcultures of the post-war period have relied on second-hand clothes found in jumble sales and ragmarkets as the raw material for the creation of style.’ And yet: ‘not all junk is used a second time around. Patterns of taste and discrimination shape the desires of second-hand shoppers as much as they do those who prefer the high street or the fashion showroom.’

Film, literature, music, comics, the street – both of the current and earlier times become cyphers for styling the downtown art/fashion/music performer that The Eye spoke to and for. Download and be part of the recent future.

With thanks to Leonard Abrams for his generosity in giving access to issues of East Village Eye, and allowing us to reproduce these images.

Sources:

http://98bowery.com/return-to-the-bowery/millers-memorabilia.php

http://www.east-village-eye.com/news.html

https://ephemeralnewyork.wordpress.com/tag/east-village-eye/

http://hyperallergic.com/161064/the-east-village-eye-where-art-hip-hop-and-punk-collided/

http://www.nytimes.com/1988/08/04/garden/east-village-new-wave-of-creativity.html

Guy Lawley, ‘”I like Hate and I hate everything else”: The Influence of Punk on Comics,’ in Roger Sabin, ed., Punk Rock: So What? (London: Routledge, 1999)

Angela McRobbie, ‘Second-Hand Dresses and the Role of the Ragmarket,’ in Angela McRobbie, ed., Zootsuits and Second-Hand Dresses (London: Routledge, 1989)

50 YEARS OF HISTORY OF DRESS AT THE COURTAULD Alumni Interviews Part One: Aileen Ribeiro

January 30, 2015Posted by:

Rebecca Arnold

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Each month in 2015, we will post an interview with one of our alumni, as part of our celebrations of this year’s auspicious anniversary. The Courtauld’s History of Dress students have gone on to forge careers in a diverse and exciting range of areas. We hope you enjoy reading about their work, and their memories of studying here.

Aileen Ribero in the late 1970s. — Aileen Ribeiro in the late 1970s.

Alumni Interview Part One: Aileen Ribeiro, Emeritus Professor, Courtauld Institute of Art, MA (1971), PhD (1975), Head of History of Dress Department (1975-2009).

Aileen Ribeiro has lectured internationally and written widely on the history of dress, including Facing Beauty: Painted Women and Cosmetic Art (Yale: 2011), and Fashion and Fiction: Dress in Art and Literature in Stuart England (Yale: 2005). In addition, she has been a costume consultant to major portrait exhibitions in the UK and US, most recently Whistler, Women and Fashion at the Frick Collection, New York (2003).

Why the history of dress?

My first degree was in history, which I enjoyed on the whole, although in retrospect there was a sense of dissatisfaction in the predominance of political history rather than cultural history. It was very much with the feeling of being rescued from the desert when, a few years later, I finally engaged with ideas of putting a face on history, with what people looked like and what they wore, particularly as I became increasingly interested in the history of art.

When and where did you become aware it was something you could study at The Courtauld?

Fairly soon after I’d graduated, my husband and I (sorry, that makes me sound a bit like the Queen…) spent some time teaching in Zambia, which was when I realised I wanted to teach, a profession which I’ve enjoyed immensely. While in Africa, where I taught history and English, I wrote to the Courtauld Institute with the idea of studying art history, but the prospectus gave details of a postgraduate course in the history of dress, which had recently been set up, and which sounded intriguing, so I applied and was accepted.

What were your first impressions of The Courtauld? And of Stella Mary Newton?

The Courtauld Institute of Art was established in 1932 to offer the first degree in England in art history. Samuel Courtauld donated his collection of Impressionist and post-Impressionist works to the institute named after him, which was established in his town house, Home House, in Portman Square. By the time, in 1969, I arrived at the Courtauld, the art collections were housed in a separate gallery in Bloomsbury, but the Institute was still in Portman Square, a wonderful Adam house, although the library was sometimes difficult to use, particularly the collections in basements and cellars. As for the History of Dress Department, it was housed in the mews across the garden at the back of Home House, where Stella Mary also had her office. I remember being impressed by her elegance, stylish dress and jewellery, which wasn’t surprising as she had had a small couture house in London in the 1930s, and retained a great interest in fashion.

What was your favourite aspect of studying History of Dress with Stella Mary Newton?

The course – the first I think in the world – was established in 1965; Stella Mary Newton had been a costume designer in the theatre, with a particular interest in historical dress, and during the Second World War she had worked in the National Gallery in London, dating and identifying paintings through costume. Stella was my mentor – an inspirational teacher and self-taught scholar; she was the first to focus on the importance of clothing in art, that artists depict the dress of their time, either consciously or unconsciously.

What were your goals when you took on the role as course leader?

Through her [Stella Mary Newton’s] work I realised how important the links between art and clothing were and are. Which is why much of my career has been devoted to this aspect of the history of dress, both as a teacher (I became head of the History of Dress Department at the Courtauld in 1975), and as a writer. I never had any doubts when I first began to study the history of dress, that this subject had immense possibilities; it began in some respects as a kind of handmaiden to art/theatre/design history, but now it’s a discipline in its own right, with so many facets which it would take numberless lifetimes to explore.

Inevitably, given that the history of dress is situated in the most famous place for the study of art history, what we can ‘read’ in a work of art and how clothing can illuminate these works of art in themselves, and can reveal a wide range of aspects of society and of individuals, is an important aspect of our study, but one of the aims of our subject is to look at the history of dress within the context of social and cultural history, to analyse and interpret clothing from extant objects, documentary and literary sources, as well as from the visual. And I want to impress how important it is for students of the history of dress to be open to a wide range of possibilities, to study the subject from the earliest periods, and not just to concentrate on the 20^th century and contemporary fashion.

What was your favourite aspect of teaching History of Dress at The Courtauld?

One of my pleasures in teaching the history of dress was to see how students were enthused by particular eras, topics, themes from classical antiquity onwards. So much research needs to be done in the areas of classical, medieval, Renaissance and the early modern periods; I think Stella Newton thought I was too ‘modern’ in choosing the 18^th century for my PhD!

How did your teaching change over your time here?

It’s an interesting question, to contemplate how one’s teaching evolves over time, and not always easy to determine; sometimes it changes in response to students’ interests, and perhaps it’s more evident in writing. My concern has always been to teach and write in a way that’s accessible, and to avoid the opaque and often pretentious jargon of much academic discourse, particularly when it moves away from the object, but – because dress like art, is often full of signs, of ambiguities, and sometimes contradictory impulses – it needs de-coding if it is to have meaning. This is never-ending, and makes the history of dress/clothing, fashion, constantly surprising and illuminating.

24/1/2015

Documenting Fashion: A Dress History Blog is now on Instagram!

January 29, 2015Posted by:

Mollie

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Follow us @documentingfashion_courtauld for daily snippets of dress history, fashion photography, contemporary style, and to keep up with the Courtauldians!

Cosmetics: Women’s Freedom in a Tube

January 27, 2015Posted by:

Rosie

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Elizabeth Arden advertisement, Pinpoints, 1939. — *Elizabeth Arden* advertisement, Pinpoints, 1939.

The inter-war period signalled a time of change for many women as they were granted more responsibility within society. As more women inhabited the office as a place of work during the 1930s, a new sense of freedom was also occurring. Women were now smoking in public, going to parties at weekends without a chaperone and increasing numbers were using makeup. As a result, the interwar period was a turning point for women, with regards to their changing appearances as well as role within society.

Women were wearing and purchasing makeup on a wider scale to change and perfect their appearances during the 1930s. Although widespread availability of make up and other beautification products were available during the flapper era of the 1920s, by the 1930s makeup had become integral to self-expression. Furthermore, as Kathy Peiss highlighted, makeup also contributed to the belief that identity was a ‘purchasable style.’ The number of cosmetic advertisements dominating the pages of fashion magazines during the inter-war period contributes to this idea of a purchasable identity. In the Courtauld’s History of Dress archive, there is a rare fashion journal from 1939 called Pinpoints. The magazine’s first issue documented how its inception was based upon the need to widen the ‘closed circle of fashion,’ as well as the aim to ‘prove itself as an independent, amusing and original step towards the ideal.’ In this respect, the ‘ideal’ woman embraces the necessity of using and purchasing makeup. The accompanying image is an Elizabeth Arden advertisement from 1939. The image is a black and white illustration portraying a fragmented sculpture of the head and neck. What is especially unique about this specific advertisement is how the viewer can physically interact and engage with it. The reader is encouraged to turn the wheel on the page behind the advert in order to display alternative colour groupings of rouge and lipstick, altering the colour combination shown. There is a sense of what the vital ingredients for constructing a fashionable and proper identity of the face are in Elizabeth Arden’s eyes. In this respect, the aim of the advertisement is to reach out to Arden’s target market by highlighting how separate looks can be constructed with different coloured groupings of cosmetics. The missing pieces of the sculpture highlight the fragile nature of faces and consequently reinforce the need for a beauty regime, which will preserve and take care of the face’s appearance. The fragmented sculpture also aligns ideas of craftsmanship and construction with the use of makeup on the face. Women have the freedom to build a lasting identity for themselves by purchasing cosmetics.

Yet, by purchasing additional cosmetics, a woman’s identity can also be altered in order to keep up-to-date with changing and seasonal trends. In this respect, the altering of identity is demonstrated through how women chose to decorate their faces with cosmetics. As a result, women changing and controlling their appearances through the use of cosmetics demonstrated their newfound freedom in the 1930s.

Sources

Peiss, K. Hope in a Jar: The Making of America’s Beauty Culture (Metropolitan Books, 1998).

Sustainable Style: an Interview with Cora Hilts, Co-founder of rêve en vert

January 23, 2015Posted by:

Mollie

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Reve en vert — The *rêve en vert* website.

Cora Hilts is co-founder of rêve en vert, a clothing company which sells and designs sustainable and ethical clothing from its Shoreditch studio. They promote and stock designers who are committed to using local products and fair trade manufacturing practices. She also happens to be one of my oldest friends, so I was more than happy to meet for a catch up!

Johnstons of Elgin recycled lambswool blanket and shopping bag from rêve en vert. — *Johnstons of Elgin* recycled lambswool blanket and shopping bag from *rêve en vert*.

Where did your interest in fashion come from?

I would say my interest in fashion was really born and cultivated during my five years living in Paris-it was the first time in my life I saw women that were dressed so elegantly and yet so simply. It was also where I learned that a small closet full of beautiful, curated things would always be preferable to an overflowing one full of less considered fashion.

What was the inspiration behind rêve en vert?

Having grown up on the seaside in Maine, I was always very connected to nature. But as I was getting my Master’s degree in Environmental Politics and Sustainability at King’s College London I was in a class where the professor mentioned that second only to energy, fashion was the most polluting industry in the world. It was at that moment I knew that I deeply wanted to see that change.

What do you mean by ‘sustainable,’ especially in relation to fashion?

We have identified four pillars of sustainability at rêve en vert: local, independent, sustainable and ethical. We thought these four words covered the remit of what we wanted to see in our designers whilst keeping it easy enough for them to produce without so much sacrifice. Mainly we want to see designers producing clothing in ethical and fair circumstances, manufacturing with an awareness of environmental impact and humanitarian concerns. With rêve en vert, oftentimes it’s also just the mantra of “less is more.”

What are the difficulties in selling and producing entirely sustainable clothing?

It’s much more expensive than the clothing you would find on the high street, and with people’s love of a bargain and expectation now that fashion should be incredibly cheap it’s hard to change their minds into buying more investment pieces. Consumers need to understand that to pay people a living wage, to use quality materials, and to reduce waste supply chains the way they shop will need to alter and they will need to spend more on less. At the end of the day, it’s a pretty straightforward message and one that I wholeheartedly believe in, but I also know this will take time and more and more awareness of the problems.

What are your plans for the future of rêve en vert?

We are planning on expanding our own designing more and more-with a resort wear line launching this year and expanding beauty and home wear. After that comes men’s wear, and after that a concept store in Paris with an organic cafe attached!

www.revenvert.com

In Conversation With…

January 20, 2015Posted by:

Imani

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Our History of Dress MA class in conversation with Dr. Olga Vainshtein and Ksenia Gusarova via Skype

On the 3^rd December last year, Dr. Olga Vainshtein, a Senior Researcher, and Ksenia Gusarova, a Ph.D. student and fellow lecturer from the Russian State University for the Humanities, joined our History of Dress MA class via Skype for our very first international conference. Taking advantage of modern technology, we were able to overcome geographic location and difference in time to take part in an in-depth discussion with fellow fashion historians.

Having set up the first Fashion Studies Centre in Russia, Dr. Vainshtein and Ksenia brought many thought-provoking points of discussion; presenting themes of photography, image and media to our class. With discussion of the role of image in fashion, what truly constitutes and image, and how this can then applied to the history of dress, amongst other academic topics, the discussion proved to be a challenge to us students new to voicing our opinions so directly.

Despite our initial nervousness, it was a fascinating experience and exciting opportunity to exchange ideas and thoughts with our fellow fashion historians, and is hopefully the first of many exchanges with the International History of Dress community.

***

Having set the bar high with our International Fashion Conference, we continued our precedent for eminent guests by being joined by celebrated curator of dress and exhibition-maker Judith Clark. Judith is also a Professor in Fashion and museology at the London College of Fashion, and Director of the Fashion Curation MA, so we were lucky enough to turn to an expert for advice for our upcoming Virtual Exhibitions. She also kindly listened to our areas of interest, promoting discussion, advice and possible avenues for further research, something we were all very grateful for.

Once she had listened to our ideas, we were then able to listen to Judith discuss her awe-inspiring career, past exhibitions and future projects. As aspiring fashion historians with limited experience in curating, it was fascinating to hear Judith’s methodology to fashion curating, her unique approach to representing dress in an exhibition format, and her past exhibitions that are celebrated for their distinct style and aesthetic. Having organised major exhibitions at the V&A, MoMU in Antwerp, and the Palazzo Pitti in Florence, we could only listen in awe as she told us about her past and present projects. To say we were inspired by her visit was an understatement, and we definitely all took her advice on board for our research projects.

Fashion and Commerce: An Overview of Edward Steichen

January 20, 2015Posted by:

Brianna

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Edward Steichen (1930) — Edward Steichen, Marion Morehouse and unidentified model wearing dresses by Vionnet, 1930.

Focusing on the aesthetic innovation of Edward Steichen during his tenure at Condé Nast, a conference hosted by the V&A, substantiated Steichen’s progressive image of fashion photography and portraiture that was at all times corresponding to a particularly American brand of identity. The collaborative conference was organised and held in light of recent exhibitions at the Photographers’ Gallery, In High Fashion: The Condé Nast Years 1923-1937 and Inventing Elegance – Fashion and Photography 1910-1945 at the V&A. Speaker and co-curator of the Photographers’ Gallery exhibition William A. Ewing provided the best summation of Steichen’s vision as distinguished from the trajectory of other contemporary photographers such as Cecil Beaton, Martin Munkasci, Gerge Hoyningen-Huene and Horst P. Horst. By establishing the ‘metaphoric bridge between old and new’, Steichen facilitated the pivotal shift that allowed photography to escape the confines of documentation and broach the new frontier of the crossing between art and commerce.

The photographer’s role in becoming both the ‘maker and producer of art’ is particularly evident in the Vogue photographs throughout the ‘High Fashion’ exhibition, at once uniting the medium that casts a modern spotlight on refined simplicity and clarity, with the literal spotlight on the designs themselves, such as those by Poiret, Lanvin, Vionnet and Schiaparelli. The imbued value system that negotiates the space between fashion image as art, and fashion image as function, attests to what Alistaire O’Neill terms a ‘buttonhole complex’, in order that the consumer is clearly able to see each and every detail of the garment that is not corrupted or enhanced by photographic embelishment. In this light, the prominence placed on the reassurance of craftsmanship is symptomatic of the social insecurity intangible with new deal America, whilst at the same time responds to a conscious call for quality and truth, which the photographs stand to demonstrate exist in America. As a result, the total fashion image constructs an outlet that transforms ideals into reality, therefore strengthening, if not re-constructing a modern identity.

As has been explored, a dominant theme throughout both the High Fashion exhibition and Inventing Elegance conference, is the way in which Steichen’s photography functions under the duality of an explicitely ‘American’ and ‘Fashion’ framework. The exhibition presents photographs from Vogue alongside those from Vanity fair, clearly distingushing the image of both publications via their respective preoccupations, thus fashion imagery and portraiture. It could be argued therefore, that the role of the consumer that the fashion image relies upon is perhaps not as instrumental to the role of portraiture, as the commercial value is not intrinsic to it’s existence as art.

The portraits of Chinese-American actress Anna May Wong and Mexican-American actress Armida Vendrell however call into question the commercial value of identity. In a room full of sportswear signalling the ‘American woman’, both subjects are presented in attire emblematic of their heritage, that even though born and raised in America, assume the identity of ‘other’. It is for this reason questionable whether the presentation of exoticism is itself a function of commerce that much like their roles as actresses invariably sells a foreign identity to an American audience, thus replicating the role of fashion imagery, or whether the photographer is relying on such social understanding of foreigners, in order that those who do not immediately fit the confines of an American look are deemed viable subjects of beauty befitting a public portrait.

Readdressing Black Photographic History in Victorian Britain

January 16, 2015Posted by:

Liz

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Last week I accompanied my ‘Fashion and Photography: viewing and reviewing global images of dress over the last one hundred years’ undergraduate class to see the recent exhibition, co-curated by Renée Mussai and Mark Sealy MBE, at Autograph ABP, who are based at Rivington Place in Shoreditch. Black Chronicles II displays over two hundred never previously exhibited or published studio portraits of black subjects, including visiting performers, missionaries, students, dignitaries, servicemen or as of yet unidentified Britons, throughout the late 19^th and early 20^th century. The exhibition thus resurrects an unacknowledged archive of black photographic history in glass plate negatives and carte-de- visites held by the London Stereoscopic Company that have been buried in the Hulton Archive. Victorian Britain is re-presented in hauntingly beautiful and visually rich blown-up photographs, produced in a monochromatic palette and through a critical lens inspired by the influential writings of Jamaican born academic Professor Stuart Hall (1932-2014).

Highlights include portraits of Kalulu, the young companion to British explorer Henry Morton Stanley, and over thirty group and individual images of members of The African Choir (South African performers who travelled around the UK between 1891-3). Whilst these photographs reference Britain’s imperial and colonial past, and it would be easy to interpret them in terms of exotic ethnographic ‘types’, they unequivocally demonstrate black subjectivity through the self-assured styling of the sitters. Identities are fashioned through the use of props, accessories and fabrics, and the crispness and clarity of the reportage highlights these various textures. Gestures and poses are also employed to enable the sitters to consciously and thoughtfully engage with the photographer’s gaze. So, whilst it is important to understand the social, cultural and political conditions within which the photographs were produced, it is also vital that we readdress the images in terms of the subjects’ self-fashioning and self-presentation in order to fully understand the shifting asymmetries of power at play in black portraiture, then and now.

How Ginger Got the Job!

January 13, 2015Posted by:

Lauren

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When researching American fashion advertising in the interwar period, I came across a J.C. Penney advertisement located in a 1939 edition of McCall’s Style News. The ad employs a comic book format, synthesising text and image to relay a narrative promoting the department store’s affordable, yet stylish fabrics. Readers are introduced to Ginger, a young woman who is initially portrayed as a pathetic character, a conventional trope of the tremendously popular comic book genre. After failing at her job interview, a defeated Ginger sorrowfully cries to her friend: ‘Oh Peg… What’s the matter with me?’ Peg proceeds to denounce Ginger’s dowdy dress and introduces her to the materials at J.C. Penney’s which Ginger uses to fabricate a stylish outfit for a second interview that she managed to get. Ginger is later pictured wearing her new patterned dress paired with a hat and bag, having successfully secured a job. The narrative ends with a neat resolution in which a newly confident and employed Ginger expresses her joyful realisation of the potential for fashion to elicit happiness and bolster confidence.

This advertisement sheds light on women’s shifting roles during the period and underscores the importance for women from all ranks of society to make sound fashionable choices. On the one hand, the advertisement affords women with power in that it situates women as viable and active participants in the working world, a realm previously associated exclusively with masculinity. The context of the Great Depression, along with the increasing visibility of women’s rights movements are two of several factors that resulted in more women needing to work. On the other hand, the advertisement problematically associates women’s success and happiness with outward appearance as opposed to ability and intellect. According to the advert’s narrative, Ginger failed to succeed in landing a job because of the dowdy nature of her clothing rather than a poor interview performance. Once she remedied her unfashionable appearance, she secured a job. Moreover, Ginger derives her newfound confidence not from the accomplishment of employment, but rather from her fashionable clothes, she expresses: ‘I never realized before how much confidence a smart outfit gives a girl!’ Additionally, she revels in the idea that she can be the ‘best dressed girl in the office’, as opposed to performing the best.

While fashion advertisements and comics are often deemed trivial, they play a hand at engendering, cementing and disseminating societal norms. Adverts such as the J.C Penney comic associate female success and happiness with appearance and, as a corollary, nourish the essentialist conception that women are merely ornamental. Although this advertisement dates back to the late 30s, the immense pressure for women to resemble beauty and fashionable ideals has persisted to the present day.

Observations from Several Sides of the Lens: on Women, Fabric and Space in Maria Kapajeva’s Photographs

January 9, 2015Posted by:

Alexis

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Maria Kapajeva, from the 'Interiors' series — Maria Kapajeva, from the ‘Interiors’ series

Women and space are frequent points of inquiry for London-based artist Maria Kapajeva. In her series entitled Interiors from 2012, she manipulates amateur photographs of Russian women in sexualised poses, and replaces their skin and bodily features with the bold pattern of surrounding wallpaper. Viewers’ sense of haptic visuality is roused by the tactility of the pictured textiles of home furnishings and clothing, including crushed velvets and synthetic satins. Pattern and texture intertwine so that space engulfs and integrates women subjects, while bodily absence paradoxically serves to remove their subjectivities from the image.

When I met Maria on 23rd May 2014 to discuss her work, she admitted that she chose the photographs for their post-Soviet interiors—easily recognisable through the wallpaper and bed covers’ prominent patterns—that she knew in her native Estonia. Yet the dated styles of the photographs’ interior decoration belie their more recent time of photography. This stylistic retrogression mirrors that in women’s lives. Wallpaper in lieu of skin serves to show the extent to which women in certain Eastern Bloc countries must still conform to a “domestic ideal.” Even as they attempt to stand out and become visible through poses in states of undress, they fail to escape the domination of their environment. In these absurd, integral images, objectified women are equated with domestic settings.

Maria explores women’s roles and the notion of integrality in different ways in her ongoing series A Portrait of the Artist as a Young Woman, in which she photographs women in their work environments. She explains that “[m]ost of these women have moved to a new country, as I have, not to get married, but to realize their own potential in whatever they do: write, draw, paint, photograph or invent. Working in collaboration with them, I try to find the ways to photograph each of them as a unique and strong personality in her own working environment.” The subject of one photograph, Elena, is thus defined as an artist by her studio space yet she stands out as an individual against its blurred details. Maria draws on such details—stacks of papers, folds of clothing, bric-a-brac—to shape the composition of these images. These minutiae also inform and complicate the construction of the sitter’s identity, but do not dominate as in Interiors.

Helena, from the 'A Portrait of the Artist as a Young Woman' — Elena, from the ‘A Portrait of the Artist as a Young Woman’ series

Eugenia, from the 'A Portrait of the Artist as a Young Woman' series — Eugenia, from the ‘A Portrait of the Artist as a Young Woman’ series

Maria prefers that the sitters dress as they would normally in their ‘natural’ environments, and clothing varies as widely as their diverse personalities. As opposed to the original viewers or photographers of the Interiors series, she withdraws herself from the equation. The image is untouched and raw, in the sense that she does not use supplemental lighting, filtering or cropping techniques. And the subject is meant to dress for no one but herself. Eugenia, for example, who wears a garment of her own design, stands in the open space of a London rooftop. As the wind blows her voluminous collar it comes into contact with her face. Her body is the site of narrative and identity, informed by the interaction between dress and exterior.

During our conversation I sensed that Maria, who believes that too much importance is placed on specific dress codes, did not want to broach the subject of clothing. She likes that, as a photography lecturer at the University for the Creative Arts (Farnham), she can dress as she wishes. But this freedom poses its own problems.

My experience as Maria’s most recent sitter for the Portrait of the Artist series in October replicated my own research into the use of dress and its representation in the construction of identity, and the relationship between dress, ideas of appropriateness and how this relates to specific space.

Alexis, from the 'A Portrait of the Artist as a Young Woman' series — Alexis, from the ‘A Portrait of the Artist as a Young Woman’ series

Like Maria’s raw photos, clothes on the body leave bare a host of personal paradoxes, details and foibles. My relationship with the black linen shirt I wore during my portrait, paired with black trousers, is complex. As is my connection to the space in which I was photographed—my bedroom—where personal and professional lines are blurred. The shirt’s long, well-worn life is evidenced by its loose weave in some places. Yet its history is concealed by its simplicity. Knowing that I loved to write about its designer, a dear friend found it for me at a Paris flea market. It is thus a piece of evidence and resource, and a link to people and places, yet its early life is a mystery. These elements, contained within the coarse fabric, are my secret, and constant reminders at each touch against my skin. As captured in Maria’s image of me, my clothing and surroundings combine to inform my ideas of self. Her photograph exposes these connections and foregrounds the emotional links we have to our dress, and the ways we use them to negotiate our presence.

Source:

Kapajeva, M. ‘About A Portrait of the Artist as a Young Woman’, http://www.mariakapajeva.com/a-portrait-of-the-artist-as-a-young-woman/