Tag Archives: 1930s

5 Minutes With… Ipek Kozanoglu

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We’ve been busy working on our dissertations, so we’re taking the opportunity to get to know the current MA Documenting Fashion students. Here, Ipek discusses the construction of the modern Turkish women, Grace Kelly, Wiener Werkstatte designs and a special red velvet dress.

What is your dissertation about?

My dissertation is about the modern Turkish women of the 1930s, how she reinvented herself through fashion in 1930s Turkey, a period when the Turkish Republic had just been established and the country had been under a very drastic social change, a modernisation period. Through my deep dive into the archives, I have found a variety of amazing magazines as Fashion Album and Seven Days from 1930s Turkey with illustrations and photographs of tailors and designs that gave an idea of how fashions of the West were reinterpreted by the Turkish women in a quest to take control over their self-fashioning.

I guess my interest in this topic first and foremost stemmed from the fact that I never got a chance to study this subject at school as it was quickly brushed over to move on with the curriculum, which often is the case in high school. But also, after studying the Western fashions and history for a year I started to think of how my culture compares to the developments in the West and how did it respond. It was incredibly interesting to analyse a completely different ideology and thought processes that surrounded fashion in Turkey.

Turkey is often thought of in an Orientalist and ‘exotic’ fantasy context which stemmed from various Orientalist painters of the West from the 1800s as Delacroix and John Frederick Louis often discussed in art history. However, although the West is often regarded as the centre of thought, fashion and all else, the meanings that fashion spurs differ greatly in different cultures. For the modern Turkish women, it was an opportunity to harmonise both symbols of Turkish culture with the fashions of the ‘modern’ West to carve out her silhouette, establish her now empowered status in Turkish society after being veiled and thus physically, metaphorically invisible and absent from society for far too long.

The image below is one of many photographs that show the newfound confidence of the modern Turkish woman in her self-fashioning. Here students of the Istanbul City Theatre hold on tightly to one another whilst getting out of class, confidently walking across the gardens of the theatre, displaying their unveiled hair and highly fashionable dresses.

Figure 1: Kurt and Margot Lubinski, Drama Students of Istanbul City Theatre, 1930s, National Geographic  Bogazici University Archive.

Do you have an early fashion memory to share?

I guess I can trace it back to New Year’s evening of the year 2000. It is probably also the earliest memory that I have. I was 4 years old. The whole family had gathered at my mom’s uncle’s house to celebrate the evening and it was most likely the biggest party that I had ever been to up until the age of 4. I distinctly remember that my mother wanted me to look extra ‘chic’ for that night so she dressed me in this gorgeous red velvet dress that had a bow pinned at the back. I still remember the texture of the smooth velvet against my skin. I felt so incredibly special in this dress with my matching red shiny shoes, a matching red bow on my hair and I knew in my heart that it was going to be a special evening. It turned out to be nothing less than that as I remember it to this day. Although my feet hurt, it was way past my bedtime, and the bow’s pin started to jab my back a bit towards the end of the night, I felt like a star and it was all worth it as many relatives complimented the dress and ‘my impeccable style’. What more can a 4-year-old girl ask for other than going to bed past bedtime hours (which was 08:00 pm), eat as much cake as she likes and sit in a gorgeous red velvet dress while everyone complements her? It was a night to remember for sure. Sadly, I have outgrown that dress and although the dress was given to a younger cousin to enjoy, I’ve kept the shoes, like Cinderella and it still reminds me of that night and how I felt. This photograph of me from that night, staring at the cake while fidgeting with the buttons of my cuff as everyone stares at the camera, probably shows my two true passions in life: chocolate cake and dress.

Which outfit from dress history do you wish you could wear?

Old Hollywood has a timeless quality, grace and elegance that I find myself thinking about often as it’s an essence that seems to be lacking in the 21st century. There are so many iconic fashion moments in any movie featuring Grace Kelly but I have absolutely loved this blue chiffon dress from Alfred Hitchcock’s To Catch a Thief (1955) where Kelly stars opposite Cary Grant. This movie was probably how my obsession with the fashion of Old Hollywood started.

There is something so otherworldly about this dress. The way the chiffon almost floats about, the additional liveliness that different shades of blue bring to the dress, creates an astounding effect. For me, Grace Kelly always was and still is a true fashion icon and epitome of elegance. I felt like this dress made her look like a Greek Goddess and who wouldn’t want to look like a Greek Goddess on any given day of the week? Especially now when I’m dressed in comfortable loungewear writing my dissertation, far from displaying any ounce of elegance.

Figures 2: Screen Capture, Grace Kelly in To Catch A Thief (1955)

What is your favourite thing that you’ve written/worked on/researched this year?

Although it was a tough project for me, I loved working on my virtual exhibition. It was such a unique assignment as surprisingly I’ve realised how I don’t think about what goes into the organisation of an exhibition or how difficult it is to choose pieces of artwork to fit into the theme of an exhibition when I visit an exhibition which this assignment made me think about.

My exhibition was on Wiener Werkstatte and Reform Dress of the 1910s. I have first come across this subject when I visited Neue Galerie in New York last summer and saw a few drawings made by different designers of the group. I never would have thought that it would inspire me to write my virtual exhibition on it. However, I was so fascinated by the variety of artistic hand-made objects produced from dresses to the various artworks, illustrations, postcards, and jewellery that these dresses inspired and the lack of any focused exhibitions on this subject made me want to analyse it further. The Werkstatte believed that transforming objects of everyday and thus surrounding oneself with design objects would elevate and transform the mundane reality of everyday life. They named this concept ‘gesamtkunstwerk’ which translated to ‘total artwork’. Although the establishment and growth of the group coincided with both World Wars their success and popularity that stemmed from their constant production of innovative designs saved them from facing an early demise even though the group was experiencing severe economic hardships. It was one of the biggest design movements in history that eventually inspired Bauhaus in Germany. They also further developed the reform dress which was initially established by Gustave Klimt and Emilie Flöge. A baggy dress that completely hid the female figure by eliminating the corset coincided with and was further fuelled by women’s emancipation movements that were taking place around the world. I loved curating this ‘virtual exhibition’ where I got to bring together dresses, fabric samples and various artworks and jewellery that were inspired by these dresses in one space and see how each artist responded to one another, further fuelling this hub of creativity. I loved studying this pivotal period in fashion where the elimination of the corset fashion broke another boundary and entered a new age in the West.

 

Figure 3: Madame D’Ora, Wiener Werkstatte Dress, c.1920s

What is your favourite dress history photograph?

I don’t know whether it’s because I have really enjoyed writing about her for my second essay or because it’s summer (2nd of June as I’m writing this) and I’d rather be sunbathing than cooped up in my bedroom studying, but I adore this photograph from Harper’s Bazaar’s June 1950 issue of Natalie Paine by Louise Dahl-Wolfe and I’m hoping to look as fashionable sunbathing as her in a few weeks’ time. This photograph was from a shoot that Dahl-Wolfe did in Morocco and in true Dahl-Wolfe fashion her impeccable mastery over light and shade and her precise knowledge of colour theory once again shines through this photograph. Dahl-Wolfe often used geometry and divided her photographs into planes and patches of colour to draw attention to the model’s flexible body and the wonders of American sportswear. The patches of colour here from the green bathing suit, the model’s bright red lips and matching nails, to the fruit basket all juxtaposed against a monochrome setting, white moucharaby (a Moorish style enclosed closed balcony with the enclosure made up of carved wooden latticework), beige ground, exactly does that and directs the eye to the model and the horizontal axis of colour that is created with the model and the fruit basket. I was wondering why I was instantly drawn to the gorgeous vibrant green bathing suit and very quickly found out that it was a design by Clare McCardell who I have become obsessed with throughout my studies at Courtauld and was disappointed how little information existed on her and her designs. Dahl-Wolfe and McCardell often collaborated as Dahl-Wolfe found McCardell’s dresses to be incredibly photographable and who wouldn’t agree with that statement as the photograph speaks for itself? I love the clever and unexpected placement of a map with a star placed on it just under Paine’s head, as if she is already planning her next getaway and is ready to hit the road for someplace else any second, which is a mentality that we should have at all times.

Figure 4: Louise Dahl-Wolfe, ‘Afternoon in Moucharaby’, Harper’s Bazaar June 1950

As I was writing this blog and went through the various research that I’ve conducted over the course of a year, I’ve realised how I’m much more conscious of dress and its power of making a statement, constructing an identity and reflecting the spirit and culture of a society. Every day we make a choice of presenting a different version of ourselves to the world around us. Whether it’s a conscious decision or not, it is a silent yet powerful declaration regarding who we are or who we want to be in this world.

 

By Ipek Birgul Kozanoglu

Jeordy on MoMA and Muriel King

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At the end of February, Documenting Fashion’s MA class took a study trip to New York. Homecoming for some and the first time in America for others, these few days were outstanding, and we are excited to share our highlights with you. 

Our study trip to New York City was a whirlwind. As a native Californian, it was fascinating to visit a part of the United States I had never seen before in the company of my English classmates. It was a strange in-between state, where I was among my countrymen and women, but in an entirely alien environment, mentality, and culture. Once I overcame the uncanniness and aggressive atmosphere of NYC, I enjoyed myself greatly. Of particular interest were the Good Design Exhibit at MoMA, and the collection of Muriel King’s design sketches.

Wooden Shelving Unit and Chairs, Good Design exhibit, MoMA

‘Good Design is not a label or a price tag
Good Design is international in both origin and appeal
Good Design is a statement and not a gadget
Good Design need not be costly
Good Design is neither a book of etiquette nor a social register
Good Design is one that achieves integrity
Good Design depends on the harmony established between the form of an object and its use.’

The Good Design style of the 1940s and 1950s highlighted function, form and aesthetics. It encompassed the design of everything from coffee pots to the Fiat car. I was fascinated to see exhibits like the one above, which contextualised midcentury clothing for me.

Muriel King sketches, 1930s, FIT Special Collections Archive

Sketches by American designer Muriel King also caught my attention. Muriel King became a name-known designer in the 1930s; she designed for films and socialites alike, including the notorious fashionista Hattie Carnegie. I find her designs remarkably imaginative and modern, even by today’s standards. Our guide at the archive informed us that Muriel King had no knowledge of sewing or pattern making, thus necessitating that she sketch both the front and back of each outfit as to express her deigns with the utmost clarity. Our guide also suggested that her originality and creativity derived from her said lack of sewing knowledge, as she was not intimidated by complex or challenging designs.

Muriel King sketches, 1930s, FIT Special Collections Archive

I took pictures of dozens of these sketches, in the vain hope that I may one day have the resources to have them made up for myself. How many vibrant and boldly patterned dresses can I have before it’s too many?

 

All photographs taken by author.

More information on Good Design: https://www.moma.org/calendar/exhibitions/5032?locale=en

Learning About 1930s Style

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Recently, as part of the Documenting Fashion MA, we visited the Night and Day: 1930s Fashion and Photographs exhibition at the Fashion and Textile Museum. The exhibition features many glamorous evening dresses set out in tableaux and a number of colourful day outfits laid out thematically, from holiday wear to work wear. I previously had little knowledge of 1930s styles as, in my experience, they have often been eclipsed in the popular consciousness by the more famous 1920s Flapper fashions or the ‘New Look’ hourglass designs of the mid-twentieth century. 1930s styles were simple and elegant, yet bold and playful, which is perhaps why many elements of fashion from this period have endured. At the exhibition, I was struck by how much of the day wear contained features which were previously, in my mind, associated with the 1970s; yellow, brown and orange colour combinations, floating fabrics, long skirts and fluted sleeves. Apparently, I was told by my course mates, this is because in the 1970s there was a popular trend towards vintage – particularly 1930s – clothing and styles. One garment which highlights this interrelation between 1930s fashions and later styles is a long summer dress made of fine, white cotton or chiffon, decorated with brightly coloured polka dots. The layered skirt and ruffled sleeves are striking yet elegant, and it is possible to see how such elements were reinterpreted in 1970s fashions. Furthermore, the delicate fabric and stylish pattern would not be out of place among summer garments today.

What also struck me about the 1930s dresses, particularly the evening gowns, was how figure-hugging they were, with silks – as well as newly invented synthetic silk-like fabrics, such as rayon – closely skimming the shape of the body. We were told by our guide that these garments were so tightly-fitted that no underwear could be worn with them as it would have shown through the thin silk and ruined the elegant sweep of the dress. It is unsurprising, therefore, that this trend for figure-hugging evening wear coincided with a vogue for fitness and health, which encouraged women to work towards the ‘ideal’ sporty body. This close-fitting style appears sensual and noticeably revealing even to the modern eye, displaying an attractive and alluring silhouette.  I love many of the garments in the exhibition, but one of my particular favourites is a beautiful, bright yellow silk gown with a subtle ruffle of fabric around the shoulders and bust. The colour is strikingly modern, reminiscent of the currently fashionable ‘Gen-Z Yellow’, and stands out even among the array of brightly coloured dresses. Another favourite is a peach gown which makes great use of the bias cut, popular in the 1930s, which meant that the fabric would have rippled gently down the body. The cut-out detailing on the back is reminiscent of Art Deco geometric patterns which were in fashion, particularly for home wear, during this period.

The 1930s fashions we saw in this exhibition are elegant, colourful and glamorous. They have a definite air of chic refinement but also utilise bold patterns and innovative styles which give them a sense of vibrant modernity. This fusion may be why elements of these styles have endured for nearly 100 years yet still appear modern today.

Photos by Lily-Evelina England and Jeordy Raines with permission from the Fashion and Textile Museum.

Evening Essential: Grace’s family’s 1930s Minaudière

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This past week, the Courtauld had its annual winter ball, a chance for students to dress up in their fanciest evening wear and celebrate the end of term. During the 1930s, minaudières became a staple of women’s evening wardrobes. Defined as jewellery, these were miniature oblong cases which acted as purses or bags for cosmetics and other items considered essential for a smart evening out. In 1934, Van Cleef and Arpels patented the design and created luxury metal versions, finished with beautiful stones or lacquer. Even though they were beautiful and highly decorative, these cases were also functional – aimed at optimising space whilst carrying necessary items. Studying these items as dress historians proves most interesting because they reveal what were considered the essentials for an evening out in the 1930s.

This minaudière, which has been passed down the line of women in my family, appears to be from the years following the 1930s. An inscription on one of the clasps shows it is made by L.S. Mayer for ‘Park Lane Deluxe.’ The exterior is in an art deco style faux shagreen, a beautiful pebble green colour with a speckled pattern, and a gold metal frame. It has a chain which would have been worn round the wearer’s wrist whilst dancing at the balls, also making it fulfil the role of a decorative bracelet. In the first section inside there features a very generously sized mirror which runs the entire length of the minaudière, and opposite that there are two compartments which include rouge and powder, complete with the puffs to apply them. There is a fold up tortoiseshell hair comb, and a section at the bottom for a bullet of lipstick or perhaps cigarettes. Each aspect of the design has been carefully thought through to make do with the small space and to maximise its functionality.

On the reverse of the minaudière, there is another mirror and a notepad and pen with a holder. There is also a hidden compartment below this which flaps up to reveal a long and narrow case, which could have contained alcohol or was a cigarette lighter. What makes this minaudière stand out from the rest is that it differs greatly from any usual accessory, because it features a notepad and pen. As my grandmother says, this could have been for women to write down the names of their partners to dance with at the ball. Either way, it asserts the active role women had at the time in terms of fashioning their own identity. The minaudière is also interesting when compared to modern day clutch bags used on nights out such as the Courtauld’s Winter Ball. Usually there is at the very most a tiny zip pocket in clutch bags, and the rest is an empty space. On the one hand, the 1930s minaudières were genius in that they planned out each and every thing that might be needed, and catered for it within the case. On the other hand, nowadays we have much more freedom in choosing which items we consider as essentials in our individual clutch bags, and therefore how our evenings will be defined.

By Grace Lee

All photos author’s own

Dissertation Discussion: Yona

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The finale of ‘Billy Rose’s Aquacade’, 1939. Romano Archives.

What is your title?

Billy Rose’s Aquacade & The Search for American Identity

The ‘Aquagals’ dressed as the Statue of Liberty, 1939. Romano Archives.

What prompted you to choose this topic?

For my dissertation, I am looking at American identity in the costumes of ‘Billy Rose’s Aquacade’, which performed during the 1939 and 1940 New York World’s Fair. Not being aware of the Aquacade’s existence until recently, I came across this topic by chance. During the past year, I have spent considerable time researching American fashion and identity and knew I wanted to continue exploring the subject. When looking for an American film clip archive, I came across the Prelinger Archive, which was founded by Rick Prelinger in 1982 in New York City and consists of around 60,000 ephemeral films. The archive contained amazing amateur films of the New York World’s Fair, which also showed the Aquacade. The Aquacade was the most extraordinary show that I had come across for a long time. Its vast array of different acts included synchronised swimming, diving, dance, skating, fashion, clowns, and performances by important athletes of the time, including Esther Williams and Johnny Weissmuller. Due to its extravagant declarations of Americanness, the Aquacade provides invaluable insight into American identity around the start of World War II.

A birds-eye view of the Aquacade, 1 September 1939. Vogue Archive.

Most interesting research find so far?

One of the most exciting parts of my research has been analysing the use of the American flag and American symbols as an expression of American identity in the Aquacade. During the first New York World’s Fair season, World War II broke out in Europe. Even though the United States did not enter the war until 1941, the American government realised that the US needed a defined identity to be able to unite its people in patriotism. As the US did not have strongly embedded traditions and copied European ideas and design styles until well into the 20th century, identity had to be based on something other than traditions that could be considered unequivocally American. Therefore, American identity focussed on history and symbols, including the American flag and the Statue of Liberty. The Aquacade incorporated the colours, stripes and stars of the American flag in its costumes and props, and even showed 48 dancers dressed as the Statue of Liberty – one for each state (Alaska and Hawaii only became states in 1959).

Four of Billy Rose’s ‘Aquabelles’ stage a fashion show of the past, present and future bathing suit styles at the New York World’s Fair, July 4, 1939. Getty Images.

Favorite place to work?

Even though I am writing on an active performance with important athletes, I have barely moved myself since starting my dissertation work. I have always preferred writing at home as I like the comfort and endless supply of tea and prefer not to have any distractions. As such, I have been living like a hermit, only leaving my room for food and tea.