Tag Archives: Dress

An Ode To Eurovision

May 10, 2022Posted by:

Truthfully, Eurovision has always appealed more to my mother and one of my brothers than it has me. Although, I think this is perhaps partly to do with my mother’s near-obsessive determination to learn (or at least be able to mumble, sorry Mummy) each entry’s chorus before the *big* day, which was an annual occurrence in our household. Or was it the twenty-minute blind panic – yes really! – when the box filled with feather boas and sequin ensembles in red, blue, and white would go ‘missing’…despite being kept in the same spot in the same cupboard for over a decade.

In fact, Eurovision has held more of a significant place in our family than anyone’s birthday or Christmas for as long as I can remember. In reality this meant that for at least two months of every year, the Eurovision CD would be the only music which we’d listen to (forcefully or otherwise), and is undoubtedly the reason as to why we still have our trusty twenty-year-old Sony CD player, which continues to take pride of place in our kitchen at home in Edinburgh. And I suppose it also explains why I still have a soft spot for the United Kingdom’s 2007 entry ‘Flying The Flag’ by Scooch and can still remember at least 90% of the lyrics. No word of a lie.

Eurovision is also how my mother remembers my due date, as it coincided with the date of the Eurovision Song Contest back in 1999. Had I been born that day I’m certain of the fact that I would have at least ended up with the winner’s first name as a middle-name – Charlotte Nilsson who won on behalf of Sweden with ‘Take Me To Your Heaven’.

As such, I think it’s only right that we should be looking my top five favourite Eurovision fashion moments ahead of its 66th competition. Even if Eurovision isn’t for everyone, it’s a wonderful excuse to inject a bit of sparkle into any wardrobe and a time to be grateful for autotune (just kidding, or at least sort of).

FIVE: JACQUELINE BOYER (1960)

Jacqueline Boyer performing ‘Tom Pillibi’ at the 1960 Eurovision Song Contest, Credit: YouTube

This below-the-knee cowl-necked dress worn by Jacqueline Boyer is at once subtle and eye-catching. The billowing skirt, complete with four frontal pleats work to accentuate the waist and the tutu fabric hidden from view helps the skirt retain its shape. Although relatively simple in design, the piping featured at the bottom of the dress and at the neckline help offer a chic touch.

Last to perform on the evening, Boyer’s Tom Pillibi at the Eurovision Song Contest in 1960, marked the first time that the winning song had closed the competition. Quite the feat aged just eighteen! Moreover, her father Jacques Pills had performed at the Eurovision Song Contest in 1959, as Monaco’s first representative, but his performance didn’t fare so well, and he placed last, a rather less enviable position…

FOUR: LAURA VALENZUELA (1969)

Spanish TV presenter Laura Valenzuela at the 1969 Eurovision Song Contest, Credit: Campúa

This next look was worn by Spanish TV presenter Laura Valenzuela for the 1969 Eurovision Song Contest. The high neck lace suit is chic as it is sophisticated, sexy yet understated. The high neck and long scalloped sleeves help ground the sheer fabric and the suit is tied together with a beige belt which looks to be made out of satin. The script and microphone for the evening form the host’s ‘accessories’ and a page is clearly earmarked for easy access. This lace jumpsuit recalls RTW S/S 20, specifically Look 19 at the Alexander McQueen show, which similarly features long frilled sleeves, a high neck and is tied together with a contrasting belt.

THREE: ABBA (1974)

ABBA performing ‘Waterloo’ at the 1974 Eurovision Song Contest, Credit: AFP

Of course, it wouldn’t be a Eurovision round-up without featuring the sensation that is ABBA. They graced us with their Eurovision presence in 1974, with their now-classic, karaoke or silent disco must-have song Waterloo, claiming the first-place prize – rightfully – as their own, despite the United Kingdom offering the song a scathing nul points back in 1974.

With icons come iconic looks and these outfits scream seventies. Metallic knee-high platform boots (a win!) are paired with tops which look like they’ve been attacked with a glue gun and are covered in glittery stars and diamanté studs, making it an easy fancy dress outfit to recreate. Just don’t get me started on Agnetha Fältskog’s lapis blue beanie…

TWO: SCOOCH (2007)

Scooch performing ‘Flying The Flag’ at the 2007 Eurovision Song Contest, Credit: AFP

Now for anyone who thought I was being harsh on ABBA’s look might think my review of Scooch’s 2007 outfits contradictory or hypocritical… Regardless, I will continue to fight for these airline outfits that look like they’ve come from a vacuum packed Smiffys costume set or a knock-off version of Britney Spear’s air hostess outfit from her ‘‘Toxic’ music video. Either way, my opinion is definitely influenced by nostalgia (and the aforementioned retention of the song’s lyrics), the hilariously noughties frosted tips and the tiny pink headpieces. It also serves as a reminder that at least half of the Eurovision Song Contest entries nowadays are less than serious. With that said, it was a bit of a rough landing for Scooch and they came 22nd out of 24 contestants.

ONE: DANA INTERNATIONAL (1998)

Dana International performing ‘Diva’ at the 1998 Eurovision Song Contest, Credit: Peter Bischoff

This outfit undoubtedly stole the show back in 1998, merging fashion with costume. It was worn by Dana International, representing Israel, for her winning performance of Diva and historical feat as the first transgender woman to win the competition. This dress is from the 1997 Jean Paul Gaultier Haute Couture collection, and the multi-coloured parrot feathered jacket featured as Look 70. The simple, refined black V-neck maxi dress clings beautifully to Dana’s body and the feathery jacket forms an extension of her body, exaggerating every movement.

Furthermore, Gaultier is ‘a self-confessed Eurovision obsessive,’ as quoted in an interview for The Cut and has dressed several other high-profile contestants over the years, including Dana during her 2011 performance.

Dana International celebrating her victory at the 1998 Eurovision Song Contest, Credit: Peter Bischoff

While I appreciate Eurovision mightn’t be everyone’s cup of tea, seeing how much joy it brings my mother can’t help but make me feel warmly towards Eurovision. But perhaps that’s why they say absence makes the heart grow fonder…because I no longer have to put up with listen to the Eurovision CD on repeat for two months each year.

And let’s keep our fingers crossed that the United Kingdom isn’t destined for another – pitiful – nul points this Saturday at the 2022 Eurovision Song Contest.

By Georgina Johnston-Watt

Bibliography:

https://assets.vogue.com/photos/5d924ac6c210350009cb1540/master/w_960,c_limit/_ALE0191.jpg

https://campuafotografo.es/2014/05/11/el-festival-de-la-cancion-de-eurovision-de-1969-en-madrid-ante-la-camara-de-campua/19690329_festival-de-eurovision-en-el-teatro-real-de-madrid047_web/

https://www.youtube.com/watch?v=RYxRIujyKgg&ab_channel=huelezelf

https://www.gettyimages.co.uk/detail/news-photo/swedish-pop-group-abba-performs-during-the-the-eurovision-news-photo/103813082

https://www.gettyimages.co.uk/detail/news-photo/the-group-scooch-of-britain-perform-their-song-flying-the-news-photo/74133998?adppopup=true

https://media.gettyimages.com/photos/picture-taken-in-1974-in-stockholm-shows-the-swedish-pop-group-abba-picture-id951902272?s=2048×2048

https://www.gettyimages.co.uk/detail/news-photo/dana-international-teilnehmer-f%C3%BCr-israel-sieger-beim-43-news-photo/179727513?adppopup=true

https://www.gettyimages.co.uk/detail/news-photo/dana-international-representing-israel-in-the-eurovision-news-photo/179730040

https://www.thecut.com/2013/05/gaultier-explains-the-eurovision-song-contest.html

https://www.vogue.com/fashion-shows/spring-1997-couture/jean-paul-gaultier

https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/alexander-mcqueen/slideshow/collection#1

Margaret Morris and her Merry Mermaids

May 3, 2022Posted by:

gjohnstonwatt

Dress in Focus Uncategorized No Comments

Miss Margaret Morris and her Merry Mermaids, BFI Newsreel.

As the 1920s and 1930s ushered in a new obsession with health, and the healthy body, women across the UK, the US, and beyond, began developing new techniques, regimes, and moves designed to create the elongated limbs and taut torso which was desired at the time. One of the most well-known groups to come out of this was the Women’s League of Health and Beauty, a group who encouraged movement as a way to achieve peace. The league held women-only classes, had uniforms and rules, and focused on synchronised, repetitive movement. This allowed the League to develop into something much more than just a weekly exercise class: it became central to friendships, romances, health, and for many women, life.

Another key player at the time was Margaret Morris Movement (MMM). Morris was born in London in 1891 and from a young age starred in plays and ballets. Through Raymond Duncan (Isadora Duncan’s brother), Morris learnt Classical Greek Dance, which through its focus on lyrical dance, she felt offered more freedom and movement than traditional ballet. In the early 1910s, Morris set up a hugely successful dance school, and her style of unbound movement was growing in popularity. By the mid 1920s, the school was opening branches in French, Scottish, and English cities.

Margaret Morris, video still from ‘Miss Margaret Morris and her Merry Mermaids’, BFI Newsreel.

Women dancing on Harlech Beach, video still from Miss Margaret Morris and her Merry Mermaids, BFI Newsreel.

A 1923 newsreel courtesy of the British Film Institute shows a group of MMM students performing their dance moves on Harlech beach, in North Wales. Appearing under the title ‘Miss Margaret Morris’ Merry Mermaids’ the women and girls dance along the waters’ edge with fervent energy. The dancers simultaneously appear to be free, flowing, and natural in their movements whilst also clearly performing a choreographed and synchronised set of movements. The women then form a circle through their joint hands and run around in this formation on the damp sand. This frame feels familiar in the way that it is reminiscent of Henri Matisse’s 1910 painting, ‘The Dance’. Matisse’s painting depicts five figures holding hands and dancing in a circle on the grass, with a blue sky behind them.

Henri Matisse, The Dance, 1910, The Hermitage, St Petersburg.

I highly recommend watching the full clip on the BFI, it’s under three minutes long! BFI link: https://player.bfi.org.uk/free/film/watch-miss-margaret-morris-merry-mermaids-1923-online

By Rosie Dyer

Bibliography:

https://player.bfi.org.uk/free/film/watch-miss-margaret-morris-merry-mermaids-1923-online

https://www.margaretmorrismovement.com/about/margaret-morris

https://www.irenebrination.com/irenebrination_notes_on_a/2015/04/margaret-morris.html

https://sheroesofhistory.wordpress.com/2017/06/08/margaret-morris-pioneer-of-movement/

https://www.istd.org/dance/dance-genres/classical-greek/

https://www.henrimatisse.org/the-dance.jsp

Zooming In On Margaret Bourke-White

February 22, 2022Posted by:

gjohnstonwatt

Commentary Dress in Focus Female Photographers Uncategorized No Comments

A little while back, I stumbled across Margaret Bourke-White whilst looking up 20^th Century female photographers, discovering her work among others such as Germaine Krull and Grete Stern. It goes without saying that each of these women were respectively brilliant at working behind the lens, and each are deserving of a writeup, but I was especially drawn to Bourke-White’s photographs of Marina Semyonova (fig. 1).

Taken at the Bolshoi Theatre in Moscow, this photo shows Semyonova – the first Soviet-trained prima ballerina – preparing herself ahead of a ballet performance. Semyonova’s body is folded into itself, revealing the physical contortions and movement required of her in order to reach and tie her ballet shoes. Her posture is considered, and the chair acts as a prop to help elongate her body and better display her ballet shoe all the while creating a tension between her body and the billowing tutu which surrounds her and presses upon the back of the chair. Semyonova is artfully staged, and her pose emulates the exaggerated stillness of the photographic form, reinforcing the expectation for ballerinas to always appear elegant, not just during a performance. Her left leg is deliberately aligned in a nod to her profession, recreating one half of the en pointe position and her outstretched arms provide an extension of the en pointe motif. This creates a clear shot for which Bourke-White could effectively capture Semyonova, allowing Bourke-White to play with light to illuminate Semyonova’s body and project a shadow onto the far wall.

With that said, what I found most appealing about this photo, is despite this photo having an editorial-like feel, the loose threads on Semyonova’s ballet shoes offer a reminder of the countless hours of practice required to become a ballerina, displaying the real-life implications of such a profession. This suggest that whilst Semyonova displays poise and elegance, these attributes have been mastered over time. However, the loose threads could also be linked to the USSR in relation to its second five-year plan which sought to prioritise agricultural and self-sufficiency ahead of consumer goods and frivolity, and the loose threads thereby reveal the unravelling of previous political and cultural practices.

Through considering such a beautiful photo, I wanted to discover more about Bourke-White’s work, particularly as this photo was taken during the political unease of the Soviet Union. My research revealed that Bourke-White excelled as a photographer and whose accomplishments were plentiful. Born in 1904, Margaret Bourke-White would go on to set up her own photography studio in 1928 in Ohio, but her work would soon take her abroad, namely to the likes of Russia, South Korea, India and Pakistan where she was commissioned to document moments of political divide, wars and social unrest.

To name but a few of her impressive feats, Bourke-White was the first US photographer to enter the Soviet Union, the first US accredited female war photographer during WWII and responsible for the first cover for LIFE Magazine (fig. 2).

Life — Figure Two: Cover of ‘LIFE’ Magazine (23 November 1936). Photo: ‘LIFE’ Magazine Archives via Google Books.

This cover highlights Bourke-White’s unique ability to take an imposing architectural structure and create a striking and an arresting image. She was commissioned to photograph this multi-million-dollar project of the Columbia River Basin and the construction of its impressive dam. The angle at which Bourke-White captured this photo and its emphasis on the symmetry of each of the concrete structures makes them appear – at least in my mind – as gigantic chess pieces bearing a similarity in shape to the ‘Rook’, with the two individuals symbolically positioned as pawns within this almighty chess board. The vibrant orange of the cover contrasts with the black and white image, at once cropping and framing the two individuals stood at the foot of the structure. The shot appears to reinforce the idea that these structures are in fact man made, with the two individuals attesting to the labour required to build such structures, and yet conveys the structures as colossal, unnatural, and otherworldly. Indeed, the editors notes that in commissioning Bourke-White they unexpectedly received, ‘a human document of American frontier life which, to them at least, was a revelation.’ This very observation highlights the talents of Bourke-White, and her ability to capture life within an otherwise intimidating concrete structure. This style of photography also calls to mind El Lissitzy and his photomontages for the SSSR na stroike (trans: USSR in construction) in 1932, with the overall global emphasis on self-sufficiency, driven by its workforce, who become the centre of El Lissitzy’s photomontage (fig. 3). This theme is echoed in Bourke-White’s photography, and the two share similar aims in trying to establish the strength of their respective cities and nations. To this effect, Bourke-White’s photography could be considered an artistic response to Constructivist periodical layouts and El Lissitzy’s earlier work.

Figure Three: Photomontage of SSSR na stroike (trans: USSR in contruction) by El Lissitzky. Issue 10 (1932). Photo: Bookvica.

The final photograph I would like to discuss is a self-portrait, rumoured to be Bourke-White’s favourite self-portrait, made with the U.S. 8^th Air Force in 1943 (fig. 4).

In a similar vein to Bourke-White’s cover for LIFE Magazine, this photo marries machinery and industrial elements with humanity. While the airplane’s jets have been switched off, this photo conveys the necessity to be on constant standby, responding to any changes quickly and efficiently. Bourke-White has a tight hold of the large camera, figuratively and literally held down by the camera, and carries her flying helmet and goggles in her other hand with comparative ease. To this effect, this photo is suggestive of the precarity of the war and the need to be on constant alert as well as Bourke-White’s role to document the events. This is further reinforced by the inclusion of the plane in the frame – its proximity reinforces the fact that it is only a matter of time before this unit needs to reembark the plane.

At the same time, Bourke-White’s stance is relaxed yet upright, smiling as the wind blows through her hair. The tongues of her shoes are flopped over, giving the impression of a rare moment of respite, reinforced by the fact that their surroundings appear bare and uninhabited, suggesting a minimised threat or danger. The aviator jacket is fit with shearling trimmings, and complete with matching trousers, also lined with shearling, featuring leg-long zips and stained with a white powder residue. The crease patterns, particularly on the trousers, suggest the cramped conditions of the plane and it would appear as though Bourke-White has barely stepped off the plane. While her stance is relaxed, and she is surrounded by an expansive empty landscape, the trousers act as her ‘second skin’ and become a reminder that she did not have the luxury of space a few moments ago, and the trousers have not yet and will not likely get the chance to mould to their new surroundings, complete with the luxury of space, or Bourke-White’s standing pose.

Sadly, Margaret Bourke-White contracted Parkinson’s disease in 1953 and completed her last assignment for LIFE in 1957. With that said, she displayed great determination in trying to overcome the symptoms of her Parkinson’s, undergoing risky surgeries, and in true documentary photographer style, publicised and documented her fight against the disease, cementing her status as a formidable character and individual (fig. 5). She sadly passed away in 1971 but while her career was cut short by Parkinson’s, Bourke-White was rightly recognised in her lifetime as a true pioneer in documentary photography, particularly as a female photographer for her ability to uniquely capture people and places in and amongst periods of great change, showcasing their struggles and strengths.

By Georgina Johnston-Watt

Sources:

https://books.google.co.uk/books?id=N0EEAAAAMBAJ&printsec=frontcover&hl=fr&source=gbs_ge_summary_r&cad=0#v=onepage&q=margaret&f=false

https://www.bookvica.com/pages/books/1291/el-lissitzky-and-his-photomontages-sssr-na-stroike-i-e-ussr-in-construction-10-for-1932

https://www.life.com/history/great-lady-with-a-camera-margaret-bourke-white-american-original/

https://www.life.com/lifestyle/parkinsons-disease-life-magazine/

Three Beautiful Films: A 50s, 60s and 70s Film You Must Watch Purely for the Visual Pleasure:

February 15, 2022Posted by:

gjohnstonwatt

Commentary Dress in Focus Fashion Now Review Uncategorized No Comments

** This blog post contains spoilers for Mad About Men (1954), La Piscine (1969) and Mahogany (1975) **

Sometimes I want to watch a film, not really for the plot, but for either the fashion, the cinematography, the set design or even just the general aesthetic. So, just in case anyone else has the same penchant for beautiful films, I’ve comprised a short list of three recommendations from the 50s, 60s and 70s respectively.

Mad About Men (1954):

Mad About Men is the charming sequel to the 1948 comedy film Miranda in which a lonely mermaid captures a young man and only offers to release him on the basis that he will take her to London. In Mad About Men, set in Cornwall, Miranda Trewella (Glynis Johns) returns and convinces her distant relative and doppelgänger Caroline Trewella (Glynis Johns) to let her take her place whilst Caroline goes on a biking excursion with a friend. In order to do this, Caroline fakes an accident which leaves her wheelchair bound, explaining Miranda’s inability to walk and need to keep her ‘legs’ covered with warm blankets. The pair also hire Nurse Carey (Margaret Rutherford), who knows Miranda is a mermaid and helped her in the first film too. However, even though Caroline is engaged back in London to the dull but stable Ronald Baker (Peter Martyn), Miranda playing as Caroline cannot help herself when she meets some of the town’s most handsome men, and she flirts, dates and kisses both Jeff Saunders (Donald Sinden) and Colonel Barclay Sutton (Nicholas Phipps). When Ronald comes to visit ‘Caroline’ in Cornwall, Miranda takes an immediate dislike to him and ends up pouring cold fish soup over his head. The Colonel’s wife is suspicious of ‘Caroline’ and ends up discovering her secret, so, in a plot to expose her, she agrees to let ‘Caroline’ sing at a charity concert and plans to reveal her mermaid tail on stage. However, Caroline gets back from her trip and takes Miranda’s place on stage whilst the Nurse feeds the microphone down to the cove where Miranda lives so her siren-esque singing voice can still be heard. The film ends with the real Caroline and Jeff Saunders sharing a kiss whilst Miranda is safely back in the Cornish Sea.

Despite mentioning earlier that plot isn’t important when watching for purely aesthetic reasons, this film is so fun and light-hearted it is difficult not to enjoy the story and fall in love with Miranda whilst you watch it. However, where this film really shines is in highlighting the wistful and whimsical beauty of Miranda and the more prim and proper styling of Caroline. Joan Ellacott’s costuming and Glynis Johns’ acting allows for viewers to differentiate easily between the Trewella girls. Here are some of the best style/aesthetic moments…

MAM — Caroline Trewella on the train from London to Cornwall. Still from Mad About Men (1954).

MAM — Caroline and Miranda’s first meeting. Still from Mad About Men (1954).

MAM — Caroline’s charity concert dress. Still from Mad About Men (1954).

MAM — A full length view of Caroline’s concert dress. Still from Mad About Men (1954).

La Piscine (1969):

If you’re craving some warmth, you must watch 1969’s La Piscine, a film where the Southern French sunshine seems to seep through the screen. This film is the epitome of ‘embodied viewing’ where you can feel the sun and water on your skin, and you can smell the heat in the air. La Piscine is set in a villa on the French Riviera where a couple, Marianne (Romy Schneider) and Jean-Paul (Alain Delon) are enjoying the summer. After finding out Marianne and Jean-Paul are nearby, the couple’s old friend Harry (Maurice Ronet) and his daughter Penelope (Jane Birkin) come and stay. Whilst this initially consists of old friends catching up and new memories being made through extravagant parties, tensions soon begin to rise when Jean-Paul realises that Marianne and Harry were once lovers. The situation further complicates itself when Jean-Paul decides to seduce Harry’s 18-year-old daughter Penelope. The two men, whilst drunk, end up getting into a fight which culminates with Harry falling into the swimming pool. From here, instead of helping him out, Jean-Paul proceeds to drown him and then stages the scene to look like an accident. Marianne eventually finds out what Jean-Paul did but both continue to lie to the police and eventually the case is closed with Harry’s death being marked as an accident. The film ends with Penelope returning to her mother and Jean-Paul seemingly forcing Marianne to stay with him at the villa.

This film is beautiful all-round. The French Riviera location, the impressive villa, the cast and, perhaps most importantly the dressing and undressing of bodies. The theme of the body is central throughout this film, with long, toned and sun-kissed limbs filling the poolside shots. Here are some of the most beautiful outfits, shots and scenes…

Jane Birkin’s Penelope wearing the dreamiest gingham poolside cover-up. Still from La Piscine (1969).

Penelope’s fabulously oversized sunglasses. Still from La Piscine (1969).

Jean-Paul’s combo of an open shirt tucked into blue jeans is giving me lots of Spring/Summer inspo. Still from La Piscine (1969).

Penelope wearing maybe the shortest dress ever worn to a funeral ever? Stylish though! Still from La Piscine (1969).

The calm before the storm… Marianne and Jean-Paul enjoying the swimming pool. Still from La Piscine (1969).

Mahogany (1975):

First things first, the men in this movie are awful. Truly, every single one of them is just unbearable. But with that aside, Mahogany is firm favourite in every fashion lovers’ movie list. The film stars a post-Supremes Diana Ross as fashion student and department store secretary Tracy Chambers. Set in Chicago, the film shows Tracy living in the ‘slums’ of Chicago’s South whilst working at a high-end department store and harbouring dreams of becoming a high fashion designer. Tracy meets and begins dating Brian Walker, an activist fighting against the demolition of housing in primarily black neighbourhoods. Brian, whilst seemingly having a good heart and high ambitions for himself routinely brushes off Tracy’s goals as trivial and devoid of real meaning, insisting fashion is unimportant compared to his work within the neighbourhood. This means that when Tracy meets and befriends the renowned photographer Sean McAvoy who sees her as having real potential as a model, Tracy jumps at the chance to find an in to the industry which means so much to her. After a fight with Brian, Tracy moves to Rome to pursue modelling with Sean, who gives her the stage name Mahogany. A classic movie montage shows Mahogany’s modelling career take off and her charm and charisma capturing both the wider fashion world’s attention as well as Sean’s, who is interested in pursuing her romantically. Sean becomes increasingly possessive and struggles with Tracy’s free-spirited nature and inability to be controlled. Brian visits Tracy in Rome and gets into a fight with Sean involving a gun; Brian leaves Rome alone. At their next fashion shoot in which Tracy is posed inside a sports car, Sean is trying to ‘capture death’ and ends up getting into the car and begins driving erratically. Eventually, with Sean at the wheel, the car crashes leaving Tracy badly injured and Sean dead. In the aftermath of the accident, a wealthy count lets Tracy recover at his villa and sets up a design studio for her there. Instead of feeling fulfilled by finally reaching her dream career, she is left feeling frustrated, lonely, and unhappy despite the huge success of her first official collection. Tracy realises that success means nothing without Brian by her side and she returns to Chicago to be with him.

Despite Tracy’s life being littered with frustrating men who seem desperate to keep her potential hidden away, she does look incredible throughout the film. As a little sidenote, Diana Ross actually designed a lot of Tracy’s outfits as she trained in dressmaking before her career took off! Here are some of her best looks…

By Rosie Dyer

Bibliography:

https://www.whowhatwear.co.uk/diana-ross-style

https://www.imdb.com/title/tt0047199/?ref_=ttfc_fc_tt

https://www.imdb.com/title/tt0064816/?ref_=ttmi_tt

https://www.alamy.com/mad-about-men-1954-nicolas-phipps-anne-crawford-donald-sinden-glynis-johns-ralph-thomas-dir-moviestore-collection-ltd-image243659713.html

2022: A year of #NoNewClothes

February 8, 2022Posted by:

gjohnstonwatt

Commentary Dress in Focus Fashion Now Uncategorized No Comments

Truthfully, I’m rarely one for New Year’s resolutions and if I ever do commit to making a change, it’ll just so happen to be something which I’m already willing to reduce or eradicate in its entirety. This year, however, I’ve decided to truly revamp my attitude – and wardrobe! – by committing to only buying second-hand clothes.

For the last few years, I have made a concerted effort to buy a maximum of three garments which could be categorised under the term ‘fast-fashion’ a year and thus the goal seems attainable; however, this would invariably creep up to five or so items having fallen for the countless marketing ploys à la Black Friday and during other heavily advertised sale periods.

ON TRENDS

During the first few months of our MA, we have studied how people are drawn to buying clothes, often not out of necessity, but rather due to numerous social factors. Individuals, quite willingly, can be seduced through the socially acceptable (and usually passive act) of following a trend and statements such as ‘because they’re in fashion’ may be offered as a legitimate explanation for adopting any one of more items of clothing. Indeed, the wearer themselves might not even claim to know why they are wearing any one garment beyond this very reason. Such attitudes can create a unique position whereby those who subscribe to blindly following trends also police others to see who is adhering to any specific trend, passing judgement based on what they see. Furthermore, it is largely accepted that clothing forms a large part of the first impression we make on others; indeed, as a cohort, we each expressed the heightened considerations regarding our outfits and additional pressure placed for the first day of our MA, offering as it did for the majority, the first time meeting one another in person.

Such considerations in fashion – at least for me – evoke the much-quoted and adored cerulean blue scene in The Devil Wears Prada where Miranda Priestly (played by Meryl Streep) quite literally gives Andrea (Andy) Sachs (played by Anne Hathaway) a dressing down after she shows her contempt for the fashion world, claiming to be ‘exempt’ from fashion (fig. 2). Priestly’s speech serves to suggest that Andy’s choice of jumper is the prime example of a trend being spotted at fashion shows and then trickling down to high-street retailers. In other words, people are unable to be removed from fashion and thus (sub)consciously make specific choices and associative statements with what they choose to wear. As philosopher Gilles Lipovetsky writes: ‘With fashion, human beings begin observing each other endlessly, appreciating each other’s looks, evaluating nuances of cut, colour, and pattern in dress.’ Moreover, it is this constant observation that has become all the more heightened through social media, and this is especially true of platforms that focus on the dissemination of images.

Indeed, my resolution to buy ‘nothing new’ relates to this constant observation, and perhaps unsurprisingly as a student of History of Dress, my desire to stand out and communicate specific messages in what I wear. Therefore, for me, buying vintage and second-hand is about making considered purchases, often over a period of a few months or even a year. It presents a new opportunity to literally trawl through vintage shops in the hopes of finding something incredible with expectations that may crumble upon seeing the fifth moth-ridden jumper in a row but can instantly be restored as soon as I’ve spotted the perfect jacket (fig.3 aka the dream jacket). Buying second-hand and vintage can certainly be a frustrating process, too, such as when an item you’ve been eyeing up is no longer available; or, the gut-wrenching moment when someone outbids you on an eBay listing in that *last* second, coupled with the misplaced confidence in thinking you were the only one who was going to bid on the item.

Figure 3: 1970s Biba Lamé Jacket. Photo: V&A

Moreover, where possible, I love reaching out to the buyer to see if they can offer any anecdotal information surrounding the garment to construct a complete mental image and history, ‘revealing the wearer’s identity, character or physiognomy,’ as analysed by Kitty Hauser. Without a doubt, one of my favourite vintage purchases included a beautiful hand-written note from its previous owner which outlined how treasured it had been, but also how it ‘will have another chapter in its fashion life’ which I think perfectly sums up the special feeling one might have when buying something second-hand.

Recently, I’ve found that compliments relating to clothes between friends and strangers alike are more increasingly being met with the following explanations: ‘It’s vintage’; ‘I’ve had it for [insert length of time]’; and, ‘I got it from a charity shop for a fiver’. Each of these explanations suggests a new way of justifying past and present purchases as individuals are becoming abundantly aware of the environmental implications of their purchases and want to alleviate guilt or the notion of being ‘part of the problem’. However, it also creates an issue that goes against the very origins of the second-hand clothes market, dating back to the 1700s, which was set up to help people purchase clothes at more affordable prices, something that Barbra Streisand’s Second Hand Rose notes as rendering it less desirable, an attitude which has greatly changed in recent years (fig. 4). Today’s appetite for vintage pieces can see prices skyrocket as specific eras and garments are (re)interpreted as trendy, once again creating the issue of affordability which has long defined – and plagued – the fashion industry.

THE NEED TO ACT

Recent conferences such as COP26 have put pressure on the need to truly change our consumer habits, particularly as statistics show that the fashion industry emits about the same quantity of greenhouse gases a year as the entire economies of France, Germany and the United Kingdom combined. This was reported in a recent McKinsey and Co report which found that the fashion industry alone had emitted a mind-blowing 2.1 billion tonnes of greenhouse gases in 2018.

Moreover, people in the United Kingdom buy more clothes per person than any other country in Europe. In sum, the amount of clothes that many people in the UK own is nothing near a ‘normal’ amount as fewer people buy to last, the expectation that an item of clothing’s lifespan is limited to a mere few months, or a singular outing is a bleak state of affairs indeed. This is partly driven by the fact that 69% of new clothes are produced from synthetic fibres and plastics, set to reach an alarming 75% by 2030.

The statistics are alarming, and our desire to consume fashion leads to some of the worst working conditions, only exacerbated by fast-fashion retailers such as Pretty Little Thing introducing a mind-blowing 100% off during last year’s Black Friday in a bid to get rid of excess stock and drum up publicity and excitement with its consumers (fig. 5).

In order to help track the individual impact of reducing our clothes consumption, initiatives such as the Count Us In ‘Wear Clothes to Last’ pledge work to calculate the estimated reduction in an individual’s carbon pollution throughout the year. At the time of writing, 1,709 people have signed the pledge.

Figure 5: Screenshot of the @OfficialPLT tweet advertising 100% off discounts. Photo: Screenshot from Twitter

Let us now turn our attention now to some of the solutions which have helped reduce my desire to buy new clothes.

HOW TO RESIST THE TEMPTATION

Unfollow brands and individuals who promote a fast-fashion lifestyle, especially if they are being sponsored by fast-fashion conglomerates to do so.
Tailor your cookies or use ad-blockers to help reduce the number of pop-up adverts you receive.
Unsubscribe from unnecessary marketing emails from fast-fashion brands
Actively search for sustainable alternatives.

HOW TO SHOP

Buy to last (and take care of your clothes!)

Donate/repurpose/sell unwanted clothes

Second hand, both online and in person

Vintage Shops and kilo Sales (details often found on Facebook)
Local Charity Shops
eBay; Etsy; Depop (@5thSeasonVintage is a personal favourite)
Vestiaire Collective; HEWI – premium brands

By making my pledge public, I am hoping to be held accountable by friends and family for any purchases I make throughout the year.

By Georgina Johnston-Watt

Sources:

Hauser, Kitty, 2005, ‘The Fingerprint of the Second Skin,’ in Christopher Breward and Caroline Evans, eds., Fashion and Modernity, pp. 153-170

Lipovetsky, Gilles, 1994, ‘The Enchantment of Appearances,’ in The Empire of Fashion: Dressing Modern Democracy pp. 18-54

http://changingmarkets.org/wp-content/uploads/2021/07/SyntheticsAnonymous_FinalWeb.pdf

https://collections.vam.ac.uk/item/O120586/jacket-biba/

https://www.dazeddigital.com/fashion/article/54904/1/pretty-little-thing-fast-fashion-plt-black-friday-sale-free-clothes

https://www.greenpeace.org.uk/news/the-uks-fast-fashion-habit-is-getting-worse-and-its-destroying-the-planet/

https://www.mckinsey.com/industries/retail/our-insights/fashion-on-climate

https://www.proquest.com/magazines/view-everything-old-is-new-again/docview/879279559/se-2?accountid=10277

https://twitter.com/OfficialPLT/status/1465440440409378822?s=20&t=4AJWD-GfG51zDgfKVbhXjw

https://www.youtube.com/watch?v=CaPmNly54gA&ab_channel=WestHwood

https://www.youtube.com/watch?v=Ja2fgquYTCg&ab_channel=Movieclips

5 Minutes with…Jessica Akerman

September 9, 2016Posted by:

Liz

5 minutes with... Uncategorized No Comments

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We caught up with Jessica Akerman – artist and research forum events co-ordinator – to discuss her wardrobe. In her spare time, Jessica has been dressing for London Fashion Week (Mary Katranzou last year, Paul Smith and Topshop this year), helping the models with the quick turnaround in between shows. She obviously has an avid interest in dress and fashion, whether she realises it or not, and follows the style instagrams @vonsono and @susiebubble, in between sourcing interesting pieces from carboots, charity shops, sample sales and vintage stores.

On the sunny Thursday lunchtime that we met, Jessica was wearing a fabulous corduroy pinafore from the shop Mint in Stoke Newington, bright blue sandals from Miista in Shacklewell Lane, and a collection of jewellery that included gold bird earrings bought in Westcliff-on-Sea (in a ‘fantastic second-hand shop’); a fun Swatch watch (‘I love Swatch, I love the designs, the colours’); plastic chunky rings; and a beautiful art-deco style pendant that contained strands of hair belonging to her two children. She was obviously suspicious about the prospect of being interviewed, and had brought along a change of clothes – her 1980s ‘jazzy shirt’ – but settled on the pinafore, which had its own interesting story to tell:

‘We were having our kitchen done up, and we didn’t have a washing machine, so I was spending most of my weekends in the laundrette – waiting for the washing to finish, wearing a tracksuit and a Friends of the Earth man’s anorak. I went and found this couple of really nice Cord pinafores in the sale space of Mint, put them aside, and went back to get some money out and check on the washing. When I went back to the shop, someone had put them back on the rack, and I nearly started crying. But the man who was working there took me around all of the rails, looking for the dress and looking on the arms of all the women in the shop. And then he found it, and sort of gently wrestled it off this girl, who gave it up begrudgingly… but he told her he would give her some money off her own purchases at the till. The thing is that I never buy clothes for myself, and I can never find anything that suits me, and I was feeling like a right trugger because I was in a tracksuit, and I’d been at the launderette… but it was a happy story in the end’.

Jessica has also had her hair recently re-dyed to its natural colour, and had painted her nails gold. We felt that this was important to mention, since she pointed these details out to us, and obviously has a keen awareness (as we dress historians do) of fashion not solely in terms of items of clothing, but all of the additional modifications that we attach to or adapt our bodies with. She was also enthusiastic to tell us about her Urban Outfitters brown leather bag, which was the product of some extensive (online) research, and brought over from the U.S. by her partner, taxes in addition. Unfortunately, she was somewhat disappointed by the quality, since the lining had already begun to tear. [If you are reading this, @urbanoutfitters, then please do get in touch and we can organise getting a replacement to Jessica]

When quizzed as to how she might describe her style, Jessica responded with the usual ‘hmmmm… I don’t know really’, ultimately settling on ‘eclectic’. I asked her how she negotiates ‘off-duty’ and ‘on-duty’ clothing – combining outfits for the Courtauld, doing the school run and being creative in her Ridley Road studio in Dalston. ‘I look for practicality mostly… I suppose it doesn’t differ too much between home and work, although I wear less make-up at home, and definitely dress up less’.

One of the favourite pieces that Jessica has ever owned is a 1980s dress with ruffled sleeves in green and black that she bought for £1 at a car boot sale in Somerset. ‘I was 8 months pregnant at the time, so I didn’t actually know if it would fit. But when Kit was about 4-months old I was able to go out, and that was very exciting… it was like I’d won a prize, especially because it was so inexpensive’.

Thank you very much Jessica, it was great to hear some stories from your wardrobe. If you’d like to find out more about Jessica’s creative work please go to: jessicaakerman.com

H.R Haweis, The Art of Beauty (1878)

June 17, 2015Posted by:

Lauren

Commentary From the Collections No Comments

Summary

In The Art of Beauty (1878), English writer H.R Haweis synthesises a series of previously published articles centred on the importance of beauty, dress and physical appearance. The work can be characterised as an ardent apology for the significance of dress and, simultaneously, an advice manual targeted exclusively at women that both encourages and teaches them to take pride and care in their appearance.

At the outset, Haweis announces her central argument and writes, “[t]he culture of beauty is everywhere a legitimate art.” She attempts to remedy dress and beauty’s maligned reputation as frivolous by claiming its exalted status as a dignified art form. To defend her declaration, she classifies dress as akin to other established varieties of art, such as sculpture, painting and architecture, all of which, she believes, ought to be governed by principles of form, colour, shade and proportion. She takes an evaluative approach to beauty and adheres to the Ruskinian tradition that praises truth to materials and nature. She favours clothing and accessories that accentuate, rather than falsify, the natural self. For example, she expresses vehement disdain for overly high heels that strain the spine and for stays that distort the natural lines and proportions of the figure, preventing internal organs from functioning properly.

The work is divided into four books. ‘Beauty and Dress’ focuses on proper and ideal forms of clothing, ‘Beauty and Headdress’, outlines principles governing head accessories, ‘Beauty and Surroundings’ explains the role interior décor plays in enhancing one’s appearance and, finally, ‘A Garden of Girls’, catalogues a variety of women who may appear hopeless, but whom she assures the reader can achieve beauty so long as they heed her advice.

Response

The Art of Beauty occupies an important position within the history of dress, as it constitutes one of the first literary attempts to apply aesthetic principles to modes of self-presentation. Haweis transcends the conventional women’s magazine mandate to promote the latest fashions in Victorian England and, instead, praises clothing for its artistic truth. Her serious tone and scrupulous attention to historical detail justify her authoritative statements and render her text cogent and sophisticated.

Although Haweis’ work was published in 1878, her concerted effort to reform the way people thought about beauty and ameliorate its status remains relevant to the contemporary discourse of fashion. A plethora of publications have contributed to a rich corpus of scholarship on dress, however, the area of research is oftentimes undeservedly perceived as trivial and unworthy of scholarly inquiry. Haweis’ text, while comprehensive and argumentative, is not officially scholarly insofar as she assumes an expressly evaluative approach to dress, claiming outright that it must be classified either as good or bad depending on its adherence to certain artistic principles. Her assertion that dress and beauty is tantamount to art rests on the assessment of formal qualities alone. Despite its limitations, The Art of Beauty can be seen as paving the way for future writers to explore the importance of dress and modes of appearance. Current scholars diverge from Haweis insofar as they favour analysing the socio-political and cultural dimensions of dress, rather than solely formal qualities, yet connect with her in their endeavor to assert the value of beauty and dress.

Luke Limner, Madre Natura versus the Moloch of Fashion (1847)

June 16, 2015Posted by:

Mollie

Commentary From the Collections No Comments

Summary

This ‘social essay’, published in 1874, documents the author’s views about the dangers of following fashion. The author, Luke Limner, starts by condemning the luxury and excess of fashion, and criticizing the wealthy classes’ taste when choosing to wear the latest styles.

Limner’s main concern is fashion’s utter disregard of, and attempt to better, nature. He comments that modern dress is becoming increasingly independent of climate or season, stating that ‘the English lady suffers in her corset and tight bottines in the tropical heat of Calcutta.’

The bulk of the essay charts his disapproval of modifications of the body. He comments that clothing, instead of fitting itself to the human form, demands that the body adapt itself to fit the garments. He feels that this ‘authority of fashion is a gross imposition on mankind,’ and specifically focuses on the corset. He believes that fashion is deforming natural bodies, with great health risks, that he outlines in detail. He is very knowledgeable about human anatomy, commenting on the impact of the corset on the lungs and liver, which serves to provide epistemological evidence and support to his claims, which may otherwise seem somewhat empty. He urges modern women to ‘aid Mother Nature to abolish that type of body bondage and cursed contrivance.’

Response

Limner’s concerns about the dangers of the excess of fashion, as well as attempts to modify the natural forms of the body are common themes in fashion writing. Particularly during this period, but even as late as the twentieth century, there is a concern about the frivolity of fashion and the impact, both physical and moral, that it has on women. As is the case with a lot of fashion writing, there is a somewhat sexist tone to Limner’s essay. He expresses a concern that women’s heads are filled with ‘flounces and furbelows, ribbons and gauze’ and that female vanity is ultimately leading to the downfall of society. However, there also seems to be a genuine concern about the risks to women’s health as a result of following fashion too strictly, and he appears to blame the fashion industry more than the women themselves. He sympathises that fashion’s ever-changing demands make it increasingly difficult for women to adhere to trends. That is the main contradiction of this essay: Limner accepts that the fashion industry makes unrealistic demands of women’s bodies, but then also seems to blame female vanity for accepting these demands.

It is very telling of attitudes of the period that, despite the fact that women were generally accepted as the main consumers of fashion, it is men who are trusted to write about fashion in a critical way. There is much debate in dress history, about whether fashion is a liberating or enslaving force. When reading essays such as Limner’s, it is hard to imagine that it can be anything other than a subjugating, oppressive industry. However, in the twentieth century, when women started to be respected as designers and later writers and curators, the tables turned and fashion became a means of female emancipation and expression of creativity.

Fanny Bury Palliser, History of Lace (1869)

June 12, 2015Posted by:

Rosie

Commentary From the Collections No Comments

Summary

Fanny Bury Palliser’s History of Lace traces the development of needlework from its earliest references in the Old Testament to those in the late nineteenth century. The author documents the inception of lace as primarily an extension of needlework and embroidery, before noting how lace was differentiated according to country and region, as well as placed in a hierarchy, in order of preference by the Monarch in power at the time.

At the time of print, 1869, little information could be gathered from secondary sources, because earlier research scarcely existed. As a result, Palliser argued that ‘wardrobe accounts, household bills, and public Acts were the most truthful guides,’ to use in order to trace the history of lace. In light of this, the book is filled with public documents that Palliser had been granted access to in the Imperial and Records archives. Accompanying the text are black-and-white and coloured engravings, which highlight the existing variations of lace, and demonstrate how lace was incorporated within the composition of a person’s clothing. Therefore, dress is attended to within the content of the text through the featured engravings.

The front cover – a gold-coloured engraving of a woman in a heavily embroidered gown from 1676, indicates how the book relates lace to dress and femininity. Palliser clarified that, although needlework was not solely confined to females, ‘every woman, had to make one shirt in her lifetime.’ As demonstrated by the engraving, the woman created her own embroidery as well. This engraving reinforces how lace has been considered in the past, as well as the present, as a favourite embellishment and decorative trimming to add to clothing.

Response

Palliser’s History of Lace can still be considered relevant to dress history now, because it is the first to provide the reader with such a rich and varied historiography of embroidery, and therefore demonstrates how far needlework had evolved over earlier centuries. For example, Palliser explained in the text how past laces had derived from the name and function of passament. As the workmanship was improved and the passament became enriched with various designs, the resulting development became what we now refer to as lace.

Examples of this evolution are depicted within the beautifully clear engravings used throughout the book. These designs not only afford the reader an encounter with visual samples, but ultimately serve to present a comparison between the different variations of needlework that exist, and how these can be identified and considered, based upon the distinctions between region or country of manufacture.

Although the book only follows the chronology of the design up until its year of publication in 1869, the in-depth account is still hugely relevant for research purposes today, because of the vast historical period it covers. Palliser’s research identifies the Industrial Revolution as the main turning point for lace manufacturing. This period saw profound change, most notably, the introduction of ‘machinery lace’ in Nottingham. This brought lace within the reach of a wider range of classes and, remains the main method of its production today. Therefore, The History of Lace is still an important text for dress historians, because it charts the production of lace up to the point when it switched from a handcraft to one powered by machinery.

5 Minutes with… Harrison Goldman

March 6, 2015Posted by:

Liz

5 minutes with... No Comments

Harrison 01 — Harrison hard at work in the Courtauld Slide Library.

Detail of Harrison's jacket. — Detail of Harrison’s jacket.

Detail of Harrison's sleeve. — Detail of Harrison’s sleeve.

Harrison is a second year undergraduate at The Courtauld, currently specialising in 20th Century Modernism and Renaissance Mannerism. When he is not studying, he can often be found hard at work in the Gallery, the Research Forum, Public Programmes or the Slide Library. Harrison was the BA1 Representative for the Students Union last year, in addition to playing the role of Malvolio in the Courtauld’s first play, Twelfth Night. Beyond the Courtauld, he works as an Antiques, Collectables and Vintage Consultant, advising clients on buying and selling objects of all genres.

What are you wearing today?

Today I am wearing a navy double-breasted boating blazer, an Austin Reed pinstripe shirt, pale blue chinos and Barker shoes.

How would you describe your style?

Eclectic, vintage, traditional, sartorial.

Have you always dressed like this?

Would you believe it, no! My style emerged and developed when I discovered a love of all things old-fashioned and traditional about 5-6 years ago.

Where do you look for inspiration in how you dress?

I’m quite active in the London ‘vintage’ scene, and have met some amazing people who put real passion into their outfits. But if I see something that I like I’ll try and source one, rather than emulate an entire look.

Harrison participated in the Tweed Run on 17th May 2014, photographed here at Somerset House.

How does your interest in antiques inform your style?

When handling wonderful items, in stunning settings (not to mention dealing with customers) it would be rude to wear a tee-shirt and tracksuit bottoms.

Do you have a particular dress code for the Courtauld and how does this translate when you are ‘off duty’?

We are so privileged to study in such an amazing location, steeped in history. But as I work both in and outside the Courtauld, I often need to be smartly dressed. I did however turn up in a jeans and tee-shirt for a lecture the other day, which a friend was somewhat disturbed by!

What does your look say about you?

Well that is probably in the eye of the beholder! But I hope it would suggest I take pride in my appearance.

Where do you like to shop?

Vintage shops, eBay, and the family wardrobe. I’m sometimes given things, but when buying new I try and stick to long established quality outfitters such as Cordings, Hackett, Wolsey, Jaeger etc.

Any other comments or clothing secrets?

‘Why dress down when you can dress up?’

A small part of Harrison's Gladstone bag collection. — A small part of Harrison’s Gladstone bag collection.

Documenting Fashion

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5 Minutes with…Jessica Akerman

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Fanny Bury Palliser, History of Lace (1869)

5 Minutes with… Harrison Goldman