Tuesday, October 28, 2014
Beloved American fashion designer Oscar de la Renta passed away on October 20, 2014 at the age of 82. GMD has a collection of 77 de la Renta garments; the 20 shown here testify to his playful, colorful, and diverse design aesthetic. To find out more about these and more Oscar de la Renta garments, visit our collection database and search for "Oscar de la Renta."
-By Natasha Thoreson, Lila Bath Collections Assistant
Tuesday, October 21, 2014
Bob Mackie is considered one the most outrageous of designers, creating some of the most spectacularly outré costumes of the last 55 years. Remember the feathered headdress and skimpy, sparkling halter top Cher wore to the 1986 Oscars? Or the hilarious curtain rod dress Carol Burnett wore in her parody of Gone with the Wind? Both were created by Mackie. It is fitting, then, that one of the most sensational objects in GMD's collection bears his signature.
Bob Mackie [born 1940], Jacket, 1988, silk, feathers. Gift of Emily Willard 2005.001.015
Constructed from yellow silk faille and trimmed with silver braid, this bolero jacket makes a humorous play on the shoulder angel and devil convention. Both horses are embroidered with chenille yarn; their manes created with long, fluttering black and white feathers. Whimsical details include rhinestone buckles on each bridle and three-dimensional stand up embroidered ears.
Mackie has famously declared that "A woman who wears my clothes is not afraid to be noticed." Emily Willard, the jacket's generous donor, made a career of being noticed. As an elegant - and tiny! - ballerina living in New York, Willard amassed a large collection of flamboyant 1980s fashions, including this gorgeous evening gown embellished with bugle beads, rhinestones, and a huge iridescent burgundy bow.
Bob Mackie evening dress, bugle beads, rhinestones. Gift of Emily Willard 2005.001.016a-b
Willard wore her jacket with a simple black wool crepe sheath with spaghetti straps, similar to the one featured in this Vogue fashion spread from September 1988. The text explains that this one "striking accessory" was enough to "make" any look. Note, however, the Vogue model's oversize black and white star-shaped earrings and permed and teased hair - the 80s were an era when more was definitely more!
"Something Different Is Happening This Fall." Vogue 178, no. 9 (September 1, 1988), 633.
Wednesday, October 15, 2014
After weeks of preparation, the day arrived.
Rushing around, trying to get every detail taken care of, an entire apparel design class readied their designs, their models, and themselves for the WAM Collective's 2014 Elements: Design Competition and Runway Show.
The prompt for this fashion show was to design a piece that both embodied the life and culture of Siberia and addressed the idea of sustainability. Elizabeth Bischoff's design, a full-length coat with upcycled beaver fur, two different upholstery fabrics, and a lining fabric won honorable mention award. Bischoff described the coat materials as connecting strongly to the Taiga forest in Siberia, while the design and lining color suggest the Mongolian culture indigenous to Siberia.
The apparel design class took on this project as a lesson in designing for a theme and also handling the preparation and stress of a runway show. All of Bischoff's classmates who submitted a design won a spot in the show. They participated in a rehearsal where their personal music selections were played through while the models walked. Some chose to model their own work and some recruited models. Bischoff recruited her good friend, Casey Casella. To make sure the night of the show would go smoothly, they ran through the hair and makeup schedule during the rehearsal.
The show (check it out the video below) went off without a hitch, Bischoff took home a gift certificate to Treadle Yard Goods and she showcased her coat at GMD's Legendary Lake Design benefit (where she also showed a suit coat and a pair of pants) this past September. We hope to see more of her designs popping up on the runway soon!
Wednesday, October 8, 2014
The purses featured included a number of styles - some, like this early-20th century beaded handbag that are rarely seen today. Others still frequently pop-up under women's arms at various special occasions.
Consider the red carpet. Women aren't toting oversized satchels. No, they are carrying the often constant companion to the evening dress: the clutch. The small, generally strapless, underarm bag emerged during the 1920s. It replaced more ornate purses and signified a rejection of the opulence of the Edwardian period. A frequent feature of the flapper's ensemble, the clutch also symbolized the modern woman's
increasingly public roles in society.
Small and sleek in design, purses like the art deco-styled clutch suited the woman on-the-go.
The simple, angular shape typified the modernist style. However, as Caroline Cox points out in The Handbag: An illustrated History the clutch reflected a "faux functionalist aesthetic." The clean, streamlined design is contrasted by the bag's impracticality. Without a handle or strap, the clutch must constantly be held or tucked under one's arm, hampering the active lifestyle it was originally meant to accompany.
Despite its functional shortcomings, the clutch remains a fixture in women's wardrobes. While most 21st century women carry much larger, handled bags from day to day, the clutch is still favored for special occasions. Perhaps the petite purse reflects contemporary women's desires to momentarily set aside their busy lives and celebrate.
Thursday, October 2, 2014
Laureen is a first-year PhD student in the Apparel Studies track of the Design program, with a concentration in Dress, History and Culture. She recently finished her MA in Human Development at Saint Mary's University, which concluded with a paper on the dress of the women in the Bond films (Yes, she watched all 23 Bond films at least once). Her MA program focused on how women's dress signifies cultural definitions of femininity and built on her undergraduate studies of costuming and literary theory at Concordia University in Saint Paul. Just a bit more about Laureen - she loves sewing, her favorite place in the Twin Cities is the polar bear exhibit at Como Zoo, and she livse in Saint Paul with her husband, Cristopher, and their corgi, Elvis. She is very excited to get to know everyone at the Goldstein and looks forward to working with all of you.
Abbey is in her first year as a graphic design MFA graduate student. Before landing at McNeal Hall, she formed a co-operative printmaking studio & artist collective with her art school buddies from her undergrad years (in printmaking and journalism), worked at City Pages, worked as an independent contractor in art and design, and taught printmaking and surface design at community arts non-profits like ArtiCulture and Minnetonka Center for the Arts.
One of her favorite graphic design projects was creating an identity and logo for local startup, Foster Art Company. Some of her students' work can be found on her Pinterest, "Creative Selves" and she's working on creating an online portfolio at: www.dropr.com/akleinert.