READing Your Style: Survey of Historic Costume (Part 3)

Vogue Editors, past and present. From Left: Jade Hobson, Babs Simpson, Phyllis Posnik, Carlyne Cerf de Duzdeele, Polly Mellen, Grace Coddington, Camilla Nickerson, Tonne Goodman

Last month, Vogue Magazine celebrated the magazine's 120th anniversary by releasing a documentary on HBO entitled, IN VOGUE: The Editor's Eye. In my fashion, it was an intriguing and insightful look into the world of Vogue, and thusly, the world of fashion. Vogue plays an integral part in the coverage of fashion history, and the influence of fashion trends. For me, I loved the film because it explained in detail certain paramount photo shoots that have produced some of the most controversial fashion images in American history, giving us a voyeuristic view of a half century of modern fashion—modern fashion which tells us so much about the past.

After watching the it I have gone to the library to view these photos in the magazine with my own eyes in the archived editions of Vogue, photographs of which I have accompanying this three part series. Last year, VogueArchives went live for individuals and businesses to gain access to every single issue of Vogue dating back to it's debut in 1892. For individual access it is $3,250 yearly subscription, so for now the library will suffice. I've been able to view the October 15, 1966 issue of Vogue that contained Polly Mellen's "The Great Fur Caravan" story shot by Richard Avedon, and the December 1966 issue that contained the beautiful spread set in India as described by Paris Editor, Susan Train, and shot by, Henry Clarke. As I myself flipped through the pages, I could just imagine being alive during those time periods of which I was reading, and receiving my issue of Vogue, feeling as though I was being completely transported through a whirlwind of fabulous world. In my fashion, looking through a magazine and that magic as you physically turn the pages of a fashion magazine is the best aspect of fashion to me. In my fashion, going into the year 2013, now that technology is this generations way of experiencing fashion, I feel it's important to retain this feeling in all that we do no matter how fast or digital we get. As Andre Leon Talley has said, "Be inspired by the past, but its so important to move forward."

All the international Vogue editors gathered together in Japan for the country's first-ever Fashion's Night Out

As I had said in my Editor's Letter, I took a Fashion History class in college that taught me, not just about what was worn by civilization's past, but WHY people worn the things they wore, and WHY we may wear certain things a certain way today; WHAT were differences in demographic tastes, and WHY different people of today like what they like; WHO wore certain pieces, and for WHAT reasons do certain people wear what they wear now; WHERE certain looks were worn, etc. As I mentioned last month, this generation is one that does not look to conform to traditional social constructs, and fashion is influenced, and embraced by many different cultures. The whole way that we look at fashion has shifted dramatically in time, and now that fashion is so fast now its important not to forget the past in the process of moving forward. I aim to look more into this month by sharing my drawings and what I learned in my fashion teachings. For my drawings I took inspiration from the textbook, Survey of Historic Costume by Tortora and Eubank. Stylist and editors create what's next, understanding the history of certain clothes is important because as the saying goes, "those who do not know their history, are destined to repeat the mistakes of the past."

BE SURE TO VIEW EVEN MORE PHOTOS OF SPREADS AND PHOTOS I LOVED FROM VOGUE FOR INSPIRATION STRAIGHT FROM THE PAST AT MY NEW TUMBLRPAGE!

The Italian and Northern Renaissance (1400 - 1600)

Exciting cultural changes began in Italy about mid-14th century when sculptors, painters, and writers began to identify with the ancient civilizations of Greece and Rome…The Renaissance could be viewed as a time of transition from the medieval to a modern view of man and the world….When the European economic revival began in the 11th century, Italy benefited first…The most common combination of garments for women during the Italian Renaissance was chemise worn as an under garment beneath a dress, and a second overdress on top....Lavish use of opulent fabrics for the dresses of upper class women gave garments of relatively straight cut a splendid appearance  By carefully manipulating the layers of camica, dress, and overdress and choosing contrasting fabrics for each layer, rich decorative effects were achieved...While northern European women covered the hair, Italian women arranged their hair elaborately, wearing a "token" head cover in the form of a small jeweled net set at the back of the head or a sheer, small veil...Houppelandes and fitted gowns were worn for most of the first half of the Renaissance, in which gowns gradually became fuller, with puffed sleeves and and slashes, and taking more of a Spanish influence in the latter part of the period with more rigid bodices, and V-shaped waistlines. 

By the beginning of the 16th century, northern Europe (Germany, Spain, England, and France) had experienced a gradual transition to participation in the new spirit of the Renaissance...The first part of the northern Renaissance was marked by fitted bodices usually with square necklines and long sleeves. Skirts long, full, and trained. Similar to late Medieval styles....The second phase of costume for women outside of Germany was marked by Spanish influence...Significant changes took place in the construction of dresses. Instead of an under dress and an outer dress, women wore a petticoat (an underskirt) and an over dress. The overall silhoutette was rather like an hourglass. Bodices narrowed to a small waistline. Skirts gradually expanded to an inverted cone shape with an inverted V opening at the front. In the last two thirds of the century more hair was visible. The hair was combed back from the forehead, puffed up slightly around the face, then pulled into a coil at the back of the head. Local differences arose. By the end of the period, skirts widen at the top; bodices elongate into a V-shape and ruffs grow exceptionally wide or high. 

Woman of the Italian
Renaissance

Woman of the Northern
Renaissance 

 To the right is a Spanish influenced dressed which takes on the V-shaped waistline and a rigid bodice. The hair is pulled into a bun and she wears a token head cover which has a veil that hangs down her backside. Her sleeves are wider at the top, above the elbow and show her camisia from the elbow to her hands. She wears an under dress and over dress, the under dress which can be seen at the neckline. 
   To the left is Spanish influenced as well, as can be noted by the petticoat and overdress. The dress has many many details embroidered on it as well as pendants and necklaces to accentuate her upper body. The bodice is very rigid and her sleeves are also a Spanish influence, the shape of the dress is most likely held up by a farthingale. Their is a long chain that goes from around her waist and hangs down the middle of the inverted "V" the chemise is also visible through her sleeves. She also wears a medium size coif. 

Personally, one of my favorite periods in history would have to be the Renaissance--a time of which modern historians consider to be when Europe went through a chaotic change, a period of transition as medieval social and religious groups and institutions crumbled and a new individualistic society and culture began to appear. One can compare this change in society to postmodernization from the 1980s to now, whereas in fashion scholars saw a movement away from a single predominant fashion ideal toward a variety of fashion segments. Contemporary fashions illustrate some of the elements of postmodernization in the following ways: a rejection of authority, cultural or ethnic groups with irreconcilable differences, the appropriation or juxtaposition of elements from different styles, and the use of symbols without reference to their traditional meanings. The fashion system was no longer dictated by the haute couture, and a new fashion system was being established by three major categories of styles: luxury fashion design (i.e. the rise of fashion centers in New York, Milan, London, Tokyo, and the use of trunk shows), industrial fashion (i.e. Ralph Lauren, Liz Claiborne, Tommy Hilfiger), and street styles. Much of the action in fashion between 1980 and 2000 came from the ready-to-wear segment of the fashion industry and thus began the rise of corporate fashion. Now, with technology speeding up the exchange of ideas, fashion is constantly changing, and because different styles have different publics, there were no precise rules about what is to be worn and no agreement about a fashion ideal that represents contemporary culture.

Vogue, January 1983, "Go for the Best!—the Looks to Watch for '83" shot by Arthur Elgort

After the late 80s, men and women's garments for business were called power suits. In the 1980s the fashion press noted a dichotomy in women's clothing, with conservative, tailored clothing for working hours and glamorous, feminine, and sexy clothing for leisure time. Many observers saw changing gender roles as the reason for the appearance of many items of clothing for men and women that were interchangeable in appearance. The fashion press called such items unisex clothing.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, January 1983, "Go for the Best!—the Looks to Watch for '83" shot by Arthur Elgort

Some style tribes of mainstream fashion that arose during the 80s and 90s included: the new romantics, goths, preppies, fashion fetish or perves, grunge, hip hop, ravers, and cyber punks, retro, preps and yuppies...Motion pictures and television continued to influence fashion...Teen fashion trends owe much to the world of the music world...With the growth of the Internet, even those fans living in rural areas could obtain information easily about where to buy clothing like that worn by their favorite musicians and other fans...cocnerns were raised that the elevation of heroin chic models to high fashion status would encourage the use of drugs among young people.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, January 1983, "What Really Works...Fashion/Beauty for Active Women" shot by Denis Piel

Martin Margiela, a Belgian designer, became one of the best known of the deconstructionists, designers who made clothes with seams located on the outside, lining that were part of the exterior, or fabric edges left unhemmed and raw...The 1980s ushered in a period of greater interest in the body that continued into the new Millennium.Skirt lengths gradually decreased...Not only were many items made with cutouts or bare midriffs, but throughout the 90s lace and sheer fabrics were fashionable...Short skirts and miniskirts reappeared in the 80s...Long, straight skirts had long slits.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, November 1988, "Headlines from Paris; Haute  but not haughty"

Dresses for evening were among the most interesting of the designs produced in the 80s by a revived French couture. These designs influenced ready-to-wear formal clothing as well. The glamour of evening clothing contracted with the conservative clothing recommended for daytime wear for career women. Evening dresses had a great deal of glittering embroidery, sequins, and beading. Colors were bright and fabrics ornamented with vivid woven or printed designs. Around 1985 Christian Lacroix, designing for Patou, produced a design nicknamed Le Pouf. It had a wide, puffy skirt with a light airy appearance...Other wide-skirted, short styles were known as mini-crinolines. 

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, February 1990, "Ladies Day" shot by Patrick Dermarchlier

Culottes or divided skirts were worn on and off throughout the 80s...Pants were slender at the beginning of the 90s, then started to widen. By 1994 some pants had grown quite wide and had large cuffs...Early in the 1980s sweatskirts became a big fashion item. American designer Norma Kamali originated a line of clothes inspired by the knitted fabric used in sweatshirts and characterized by fanciful colors...Blouse styles of the mid-80s ranged from tailored designs used with business suits to blouses and sweaters...they owed their inspiration to the Gibson Girl.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, May 1993, "An Island Twist" shot by Ellen von Unwerth on the Caribbean Island of St. Lucia

"...hairstyles reflect diversity of current fashion" noted The New York Times on April 6, 1980...Both long, full, curly hair and frizzy, curly hair in longer and shorter lengths continued...By 1984 shorter hair was being seen more often, and by the close of the decade women wore hair short or long... Beginning in the mid-1980s, hat sales rose as much as 15 percent each year...Tousled hair was called "bed hair." Young girls tied their hair into ponytails at the back of the head, purposely allowing wisps and strands of hair to escape.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, January 2000, "Skin on Skin" shot by Steven Meisel

By the latter years of the 90s, influential designers who were called the minimalists were making styles in neutral or darker tones that had little ornamentation and good lines. After the turn of the millennium the minimalist tendencies declined, although some examples remained, and more colorful and dramatic styles could be seen. Overall trends seemed to be more evident in the fabrics and materials that were used than in particular silhouettes or designs...Tweed was a particularly popular fabric around 2000...A popular neckline style was the funnel neck, similar in appearance to a turtle neck, but wider.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, January 2000, "After Hours" shot by Mario Testino

Like skirts, pants showed considerable variability.  Bell bottoms revived from the 1960s were often made with a dropped waist. Other styles included spandex-containing tight-fitting pants, tailored pants with legs of moderate width, and in 2003, a style of pants made with ties or a belt at the bottom hem...In the late 1990s and early 2000s, pashmina shawls became an essential item for women who followed current fashion. Many women's garments of the years after 2000 had interesting necklines....By 2000, cargo pants had become an essential part of wardrobes of most young people. A major feature of styles in the 1990s and after was a bare midriff.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

   The dress to the right is a much shorter scale version of a women's outer dress. Similar to the Le Pouf design of Christian Lacroix, a tightly fitted bodice narrows into flared pleated dress. She wears full puffed sleeves as well as a long veil that is held up by a jeweled net on her head. The wedges she wears on her feet are to be reminiscent of the chopines worn during the Renaissance. In the early 90s, Vogue had declared that "pretty" was making comeback which inspired both of these feminine looks. 

   The dress to the left takes on many Northern Renaissances influences; from the German hat and hairnet, to the English inspired ruff, to the Spanish inspiredpetticoat and over dress with the inverted "V" shape over dress. She wears a large pendant necklace that creates a line down the middle of her body The spanish intricacies in design catch the eye's attention and make the outfit more interesting.

BE SURE TO VIEW EVEN MORE PHOTOS OF SPREADS AND PHOTOS I LOVED FROM VOGUE FOR INSPIRATION STRAIGHT FROM THE PAST AT MY NEW TUMBLRPAGE!

Style Maven: Haider Ackermann

I know I maybe kind of late, but this month I had the pleasure of viewing for the first time the movie, "Coco Before Chanel" which was released in 2009. It was actually a fitting time for me to catch it on television because looking back on fashion history this month, this certain portrayal of this Style Maven, gave me a new perspective of how Chanel so epically influenced modern fashion. By the end of the movie I understood the strength behind elegance, and what is meant by her quote, "Elegance is refusal." Her quest for happiness and financial independence is a marvel considering her humble beginnings. The growth of the Chanel brand as one of the most distinguished of fashion houses is such inspiration not just for us people infatuated with fashion, but for anyone who desires to build their own brand in whatever industry they choose. Her refusal to let others have control over what happened with her life, or what she stood for, is what helped her to create a brand with such distinctive quality, so distinctive that it helped to replace the furbellowed over-the-top sense of elegance that had existed pretty much since the European Renaissance which began almost five centuries prior to her success. To having been an abandoned orphan, to transforming herself into the most sought after couturière in  the turbulent period of war and economic recovery during the Great Depression, to today, in our post-modern era, her style maxims have further expanded the realm of elegance in ways never before conceived as elegant, and they helped to free women of their misogynistic past. Her concept of elegance based on simplistic design (i.e. Her use of knit jersey; the woolen Chanel suit; the little black dress; quilted purses and pockets) helped to establish the independent and active women of today which gave women utility and ease, as she put the women first, before the clothes. As Vogue outlined in their 2011 Best Dressed issue, her core paradoxes were between the feminine and the masculine, the ethereal and the tweedy, ornamentation and absence, and mystery and the body. She is quoted by Vogue  stating, "The life we lead is nothing, the life we dream of if the existence that matters, because it will continue after death." Karl Lagerfeld took over the helm in 1983 having been the creative director for Chloe, translating Chanel's legacy through "Marienbad-esque encounters of black and white, dissolving hems, crisp caressable contrasts in texture, and the grace note of a camellia." Coco Chanel has lived on through Lagerfeld's design, and his understanding of the Chanel woman, a woman whose nonchalance has become the epitome of luxury. Considering Lagerfeld has carried on Chanel's legacy for the past 30 years, it begs the question, who will be the successor to his position? When Numero Magazine asked him this question in 2010, he apparently was unhesitant to answer, Haider Ackermann. 

Paris based designer, Haider Ackermann

Now, if you are the type of person that keeps up with the things that Karl Lagerfeld reports to the press, you would know that the next Spring in 2011, he retracted this statement to say Ackermann would most likely do better at Givenchy. About replacing him at Chanel he said, "Its not his world I don't think." In my fashion, his first suggestion wasn't too bad of an idea. Ackermann has been rumored to be good fit for multiple brands in the past few years, but regardless of whether he decides to become head designer for any one of the fashion world's most coveted brands, or never sways away from his own self-entitled line, the talent is obviously there for him to succeed in the fashion world as a pioneer for the look of women in future years, with savvy business acumen withstanding. When Lady Gaga wore one of his deconstructed dresses on her first cover for the March 2011 issue of American Vogue, he got an amazing response which is one sign of his upward moving path in the fashion industry. I, personally, connect with Ackermann on a number of levels in regards to fashion, and his views on life in general. Reading his interviews conducted by W Magazine, I found that his perspectives correlate with how I, too, feel about how fashion relates to all of us. Like my own childhood, Ackermann led a very diverse and nomadic childhood which lends the ability to fit in everywhere. When asked why he became a fashion designer, he responded, "We’re all in search of something. My search is for beauty, and that’s very important nowadays. My father works for Amnesty International, and of course we need people like him, but we also need people who are searching for beauty." In my fashion, the most beautiful thing to see on anyone is a pure, and unrestrained smile. For him, what he loves about fashion is that people always smile when you talk about it, which is one of my main reasons for my interest in fashion—to see people smile. Having so many people come and go from my life living as a military brat, I find helping people smile is the greatest gift I can leave behind for the people that I encounter. In my fashion, it is the one thing that leaves the biggest impression upon a person, and people remember the things that make them smile. To me, having been exposed to so many different cultures, I find that at the end of the day, the things that bring people happiness are the only things that really matter in life, no matter where you live. 

I adore the type of women Ackermann designs for, as well as his concept of "a luxury that’s a bit négligé, that can be rich but doesn't look rich." He continues to explain in one W Magazine interview from January 2011 that, "The collection is quite hard. You need to have a kind of attitude to wear it. An attitude more than anything else makes a woman beautiful." Ackermann believes in a discreet type of attitude, which is contrary to the bold and in-your-face attitude typically associated with a confident women. You can tell through his avant garde, yet nonchalant appealing design that the women he designs for would rather observe whats going on around her than to be in the spotlight, but in her own way she is just as much noticed as the women who commands attention as she sweeps through the room. The sexy type of women he designs for speaks to a woman’s "manly" side, and I think it's fascinating how he describes what exactly he means by the word "manly", considering he doesn't consider it androgynous sense : "I think that a woman standing strongly, fighting to be desired, is very sexual." He also says that, " To show yourself is rather violent. But while she is in the light, she can be silent," which I find to be profoundly deep when you think about it. In my fashion, reading his philosophies on design and the way they tie into life, is like reading the ingredients of a dream. Like many fashion and beauty experts, his view on life is very influenced by the films of the Italian director, Luchino Visconti: In Visconti movies, people suffer but look fantastic doing it. "Those are two important aspects of life. We have heavy hearts sometimes, but we still want to be desired." 

Haider Ackermann Fall 2012 and Spring 2012 Collection looks

In my fashion, Ackermann's poetic view of life would poise him to be an integral part of fashion's future. As for taking over at Chanel, I would hope to one day see this come to pass for it would definitely shake things up a bit. But alas, at the moment, Ackermann seems set on staying true to who he is, and his view of how a women should live in this life. If you continue reading the rest of this post you will find more in depth examples of the things and people in life that have heavily influenced him over the years. In my fashion, the following responses from his interview in the August 2012 issue of W Magazine reveal aspects of life of which I think we all can relate to. The wisest thing I learned from this interview was learning the meaning of "Errance—losing yourself by escaping to an unfamiliar place or just dreaming," which, in my fashion, is something we should practice daily, using fashion as a mechanism to do so. Read on to see where Ackerman finds errances in life, and see for yourself if you can concur with my opinion on whether Ackermann would fit for Chanel, or another brand like Givenchy. I'm dying to hear your opinions, so don't hesitate to comment. For those who understand the needs of the Chanel women in regards to design, in my fashion, a future with Ackermann at the helm will yield most positive results for the continuance of the Chanel brand.

Bit-O-Inspiro 30

Fashion is Aspiration! Are you on a path of "Upward Momentum"?

READing Your Style: Survey of Historic Costume (Part 2)

Vogue Editors, past and present. From Left: Jade Hobson, Babs Simpson, Phyllis Posnik, Carlyne Cerf de Duzdeele, Polly Mellen, Grace Coddington, Camilla Nickerson, Tonne Goodman

Last month, Vogue Magazine celebrated the magazine's 120th anniversary by releasing a documentary on HBO entitled, IN VOGUE: The Editor's Eye. In my fashion, it was an intriguing and insightful look into the world of Vogue, and thusly, the world of fashion. Vogue plays an integral part in the coverage of fashion history, and the influence of fashion trends. For me, I loved the film because it explained in detail certain paramount photo shoots that have produced some of the most controversial fashion images in American history, giving us a voyeuristic view of a half century of modern fashion—modern fashion which tells us so much about the past.

Vogue’s new book,
“The Editor’s Eye,”

After watching the it I have gone to the library to view these photos in the magazine with my own eyes in the archived editions of Vogue, photographs of which I have accompanying this three part series. Last year, VogueArchives went live for individuals and businesses to gain access to every single issue of Vogue dating back to it's debut in 1892. For individual access it is $3,250 yearly subscription, so for now the library will suffice. I've been able to view the October 15, 1966 issue of Vogue that contained Polly Mellen's "The Great Fur Caravan" story shot by Richard Avedon, and the December 1966 issue that contained the beautiful spread set in India as described by Paris Editor, Susan Train, and shot by, Henry Clarke. As I myself flipped through the pages, I could just imagine being alive during those time periods of which I was reading, and receiving my issue of Vogue, feeling as though I was being completely transported through a whirlwind of fabulous world. In my fashion, looking through a magazine and that magic as you physically turn the pages of a fashion magazine is the best aspect of fashion to me. In my fashion, going into the year 2013, now that technology is this generations way of experiencing fashion, I feel it's important to retain this feeling in all that we do no matter how fast or digital we get. As Andre Leon Talley has said, "Be inspired by the past, but its so important to move forward."

All the international Vogue editors gathered together in Japan for the country's first-ever Fashion's Night Out

As I had said in my Editor's Letter, I took a Fashion History class in college that taught me, not just about what was worn by civilization's past, but WHY people worn the things they wore, and WHY we may wear certain things a certain way today; WHAT were differences in demographic tastes, and WHY different people of today like what they like; WHO wore certain pieces, and for WHAT reasons do certain people wear what they wear now; WHERE certain looks were worn, etc. As I mentioned last month, this generation is one that does not look to conform to traditional social constructs, and fashion is influenced, and embraced by many different cultures. The whole way that we look at fashion has shifted dramatically in time, and now that fashion is so fast now its important not to forget the past in the process of moving forward. I aim to look more into this month by sharing my drawings and what I learned in my fashion teachings. For my drawings I took inspiration from the textbook, Survey of Historic Costume by Tortora and Eubank. Stylist and editors create what's next, understanding the history of certain clothes is important because as the saying goes, "those who do not know their history, are destined to repeat the mistakes of the past."

BE SURE TO VIEW EVEN MORE PHOTOS OF SPREADS AND PHOTOS I LOVED FROM VOGUE FOR INSPIRATION STRAIGHT FROM THE PAST AT MY NEW TUMBLRPAGE!

Ancient Greece and Rome (1100 B.C. - 400 A.D.)

The garment called the tunic heretofore was called a chiton by the Greeks…Full-length chitons were woven to the same size no matter how tall or short the person was to wear the garment….over the chiton Greek men and women placed shawls and cloaks…Greek art and literature indicate that the chiton underwent a number of changes over time; variations in the type of chitons worn by men and women occurred at various times between 800-300 B.C (i.e. chitoniskos, doric peplos, ionic, doric, hellenistic, and exomis chitons)…In the Archaic period, women wore their hair long in curling tresses with small curls arranged around the face. In the classical period, it was pulled into a knot or chignon at the back of the head...Fillets, scarves, ribbons, and caps were used to confine the hair.

The tunic was the basic garment for women in Rome and had much the same appearance as the Greek chiton. It served as a night dress and was worn alone in the privacy of the home….A draped shawl was placed over the outer tunic ; for outdoor wear women wrapped themselves in cloaks…Roman literary sources speak of the stola as a garment reserved for free, married women (a most sought after status for women at the time)…Roman writers ridiculed the custom of elaborately dressing the hair…women’s hairstyles become simplified, with braids or locks doubled up in back and pinned to the top of the head…instead of hats, women tended to pull the palla or scarf over the head, wearing fillets and coronets.

Ancient Greek Woman

Ancient Roman
Woman

The sketch to the right depicts a Grecian women wearing a Hellenistic chiton, belted beneath the bosom and made out of silk. The hair is pulled back into a knot with small curls around the face.

The sketch to the left depicts a Roman women tunic in an under tunic and a palla. Her hair is pulled back into an intricate braid. She wears a simple gold bracelet and earrings.

The reason why I compare the 1970’s to the Ancient Greek and Roman periods is because this was a period where the word for women, was “FREER”. With more women working and becoming independent, The New York Times declared that women had the right to wear any length dress they choose. With ready to wear collections becoming more prevalent, fashion was more accessible to consumers than ever before. By the mid-70’s clothes had become much more relaxed and fluid, with the Paris couture houses reporting in the Times in 1978 that “length was not much of an issue” and that most designers were covering the knee. As in Ancient Greek and Roman times, dresses were draped, long and languid, a fitting look for a time when social movements were yielding positive results.

Vouge, February 1977, "Hair and Make-Up News" 

The longuette, coming to mid-calf length, was a sharp change from the mini and micro-miniskirts being worn at the time. Although the stores stocked large numbers of midi skirts, the majority of women either continued to wear short skirts and also some of the full-length skirts, called maxi skirts, or some version of pants. Long pants were worn as part of pantsuits, for casual wear, and for formal evening dress. Knickers were popular, as were gaucho pants. Some young women wore very short shorts, called hot pants by Women’s Wear Daily.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue,  March 1977, "Look What's Happening to Skirts" 

In spite of the resistance to the midi and the continuation of mini as fashionable dress, mainstream fashions continued to evolve. The prevalent silhouette of the mid- and later 1970s has been described by fashion writers as “fluid,” “an easier and more casual fit.” At the same time the use of softer fabrics molded the body and displayed body curves. An emphasis on fitness made the long, lean, trim, and well-exercised body the ideal of feminine beauty.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, May 1977, "Summer Changes: The differences for town" shot by Bob Richardson

In 1973 fashion writers spoke of a “classic revival.” Most dresses were belted or had clearly defined waistlines. Lines were soft, with shaping that followed and revealed the body contours. By mid-decade skirts had lengthened, and often flared gradually from waist to hem...By mid-1970s and after, skirts had more fullness, tended to flare out and covered the knee by at least several inches.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, June 1977, "The New Un-Dressing Dressing" shot by Arthur Elgort

Skirts that wrapped around the body and tied into place and the swirl skirt, made from bias-cut strips of multi-colored fabrics that were often from India, were part of the ethnic styles that appeared periodically.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, March 1977, "The Scarf is It—Tie it, You'll Like It" shot by Richard Avedon

For most of the 70s, blouses were of soft fabrics, often knit. Shoulder lines followed the natural curve of the shoulder. Many knit tops fell somewhere between a blouse and a sweater. Short or long-sleeved, made of narrow ribbed knits, they fit the body closely and ended a short distance below the waistline.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, February 1977, "The Mood has Changed—The Best of New York Collections" shot by Irving Penn

The film “Annie Hall” (1978) had a strong impact on current fashion. It helped to popularize not only the combination of layers of separates, including the aforementioned large shirts worn with men’s vests, but also pantsuits, and men’s hats for women.

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Post-Modern
Grecian Woman

Post-Modern
Roman Woman

If the look to the left doesn't say "FREER" I don't know what does. This airy garment is based off a Grecian women's chlamydon, in which the pleated band raps around the body and forms a short pleated skirt. A light, but rigid, transparent skirt comes from under the skirt pleats and ends above the knee. This is my modern interpretation of a Grecian inspired dress that could very well be worn now, or in the 70's. A risque look that reveals the contours of the body with light pleats that cover in all the right places which would hang lightly off the girl and flow gracefully as she walked. 

The sketch to the right is also form fitting and curve revealing. The black jumper is my version of a body hugging under tunic in which the slouchy knit skirt and hood are representative of the stola and palla of which Roman women commonly wore. Covered from head to toe, contrary to the draped looks of the matriarch's of Roman society, this layered winter look emphasizes a "fit" womens curves so prevalent in the look of women in the 1970s.

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Serious Style: Oh To Be Young

As we all know, The Great Recession these past few years has been a big problem, especially for us people who have graduated from high school. Being a young adult today has proven different than any other generation in history. We are reaping the benefits of what our ancestors worked so hard to build, and as it would seem, we are having a hard time trying to figure out what to do with all these options. I was reading the November 2012 issue of ELLE Magazine, and Amanda FitzSimmons' essay "Oh To Be Young", reminded us of a experiment most of us would remember from high school psych class: the jam experiment, in which it was shown that consumers were less likely to buy jar of jam if given a wide variety of flavors to choose from. This experiment exposed the concept of "choice overload" in that when faced with too many options, the brain becomes overwhelmed and, like a computer with too many windows open, freezes.

As this article showed, twentysomethings, also known as millenials, are experiencing the jam experiment on a far greater scale in life. In my fashion, what our generation lacks is direction. But not the strict, regimented direction our parents would drill into our heads as children: get good grades, go to college, get a job. In our day and age, there are many avenues to success and many definitions of success. Regardless of the direction we take in life, our moves should always be upward and positive. But how does one stay positive in order to keep on that upward moving track. We set up mechanisms for ourselves that help us to focus on our goals. 

Think about this: Mechanisms are put in order to force things to happen; things that otherwise you might not be able to make happen at all. Individuals should always have a core purpose, and mechanisms reinforce that purpose. Its about converting that purpose into action and making things happen in your life. In my fashion, fashion is a sort of mechanism! I can attest to the dreaded "quarter-life" crisis FitzSimmons describes of developmental psychologist, Erik Erikson's theory of the eight existential dilemmas that mark the human life span. In between college graduation, and my first job out of college my confidence was dwindling because I had no idea where to go in my life. Thankfully, one thing that has always kept me positive and looking forward to working for success was fashion. In these hard times, fashion has always been my mechanism to keep positive and looking forward to living each day fully. 

As FitzSimmons proclaimed in ELLE, she wishes there was a better way to understand and negotiate this time in our lives  (a sentiment most of us 'millenials' probably feel at the moment). #IMFblog seeks to find ways in which we can do this. Using fashion, as I have expressed before, is a perfect way to stay positive and keep moving forward in life. Like Julia Roberts once said in Vogue, "Once I started dressing differently, suddenly I was different." Make sure to dress for the day, and carpe diem!

Look over some of the tid-bits of the article I picked out below, and see if you can relate to these observations about our current twentysomething generation.

READing Your Style: Survey of Historic Costume (Part 1)

Vogue Editors, past and present. From Left: Jade Hobson, Babs Simpson, Phyllis Posnik, Carlyne Cerf de Duzdeele, Polly Mellen, Grace Coddington, Camilla Nickerson, Tonne Goodman

Last month, Vogue Magazine celebrated the magazine's 120th anniversary by releasing a documentary on HBO entitled, IN VOGUE: The Editor's Eye. In my fashion, it was an intriguing and insightful look into the world of Vogue, and thusly, the world of fashion. Vogue plays an integral part in the coverage of fashion history, and the influence of fashion trends. For me, I loved the film because it explained in detail certain paramount photo shoots that have produced some of the most controversial fashion images in American history, giving us a voyeuristic view of a half century of modern fashion—modern fashion which tells us so much about the past. 

Vogue’s new book,
“The Editor’s Eye,”

After watching the it I have gone to the library to view these photos in the magazine with my own eyes in the archived editions of Vogue, photographs of which I have accompanying this three part series. Last year, VogueArchives went live for individuals and businesses to gain access to every single issue of Vogue dating back to it's debut in 1892. For individual access it is $3,250 yearly subscription, so for now the library will suffice. I've been able to view the October 15, 1966 issue of Vogue that contained Polly Mellen's "The Great Fur Caravan" story shot by Richard Avedon, and the December 1966 issue that contained the beautiful spread set in India as described by Paris Editor, Susan Train, and  shot by, Henry Clarke. As I myself flipped through the pages, I could just imagine being alive during those time periods of which I was reading,  and receiving my issue of Vogue, feeling as though I was being completely transported through a whirlwind of fabulous world. In my fashion, looking through a magazine and that magic as you physically turn the pages of a fashion magazine is the best aspect of fashion to me. In my fashion, going into the year 2013, now that technology is this generations way of experiencing fashion, I feel it's important to retain this feeling in all that we do no matter how fast or digital we get. As Andre Leon Talley has said, "Be inspired  by the past, but its so important to move forward."

All the international Vogue editors gathered together in Japan this week for the country's first-ever Fashion's Night Out

As I had said in my Editor's Letter, I took a Fashion History class in college that taught me, not just about what was worn by civilization's past, but WHY people worn the things they wore, and WHY we may wear certain things a certain way today; WHAT were differences in demographic tastes, and WHY different people of today like what they like; WHO wore certain pieces, and for WHAT reasons do certain people wear what they wear now; WHERE certain looks were worn, etc. As I mentioned last month, this generation is one that does not look to conform to traditional social constructs, and fashion is influenced, and embraced by many different cultures. The whole way that we look at fashion has shifted dramatically in time, and now that fashion is so fast now its important not to forget the past in the process of moving forward. I aim to look more into this month by sharing my drawings and what I learned in my fashion teachings. For my drawings I took inspiration from the textbook, Survey of Historic Costume by Tortora and Eubank. Stylist and editors create what's next, understanding the history of certain clothes is important because as the saying goes, "those who do not know their history, are destined to repeat the mistakes of the past."

BE SURE TO VIEW EVEN MORE PHOTOS OF SPREADS AND PHOTOS I LOVED FROM VOGUE FOR INSPIRATION STRAIGHT FROM THE PAST AT MY NEW TUMBLRPAGE!

The Ancient Middle East (3500 - 600 B.C.)

"The Mediterranean basin possesses a warm climate in which draped clothing is more comfortable than fitted clothing. The oldest textile discovered was linenWith a few notable exceptions, garments of the region consisted of a draped length of square, rectangular, or semicircular fabric. When fastening was required, these draped garments were closed with pins or by sewing...These draped garments can be further subdivided into loincloths, skirts, tunics, shawls, cloaks, and veils. The skirt, in the ancient world, began at the  waist or slightly below and hung loosely around the body. Skirts were worn by both men and women and varied inn length...in the earliest period these were probably made of sheepskin with the fleece still attached (known as a kaunakes)...Tunics were simple one-piece and often T-shaped garments with openings for the head and arms. Tunics were usually long enough to cover the torso and, like skirts, were made in many different lengths..."

Ancient Sumerian Women

Ancient Egyptian Women

These sketches are based off costume of royal Ancient Sumerian and Egyptian women. The Sumerian women wears a kaunake that has been dyed green, and decorated with a yellow fringe.  She wears a tunic underneath her kaunake, and as one can see, the end of the draped fabric comes over her left shoulder. She wears elaborate jewelry: an elaborate gold and jeweled crown and necklace, with gold bracelets. 

The Egyptian women wears a closely fitted sheath dress with a wide, faience collar. Over top of her dress, I would fashion her with a bead-net dress that would add extra decoration to her white linen dress. She too wears a gold crown.

If you notice the following photographs below that come from issues of Vogue from 1965, Egypt was a heavy influence as far as what was considered à la mode at the time. These photos come from the October 1, 1965 issue, when Vogue was published bi-monthly. The first two photos taken in the ancient city of Jeresh in the country of Jordan, just northeast of Egypt, reflect a free and liberated women, especially in the context of what was occurring at the time as women transitioned from The New Look. Chanel's cardigan-style suit was back. The sixties was a time of movements: college student protests, civil rights, environmental, and hippie movements. Feminism was at an all time high as changes in the American family were occurring where divorce rates were up and marriage was down. Women became heads of households forcing them into the work force, Roe v. Wade on abortion, "the pill", and the rise of style tribes and street style changed the way the fashion system operates. The Mods, the Hippies, punk rockers, and "Black Pride", became prominent style tribes, as well as the adoption of jeans as a symbol of solidarity with working people. 

Vogue, October 1, 1965, "Match Me Such Marvel! A Rhapsody on Middle Eastern Times
 shot by Henry Clarke at Jeresh, in Jordan

After World War II, fashionable dress might be compared to a tree trunk that continually divided into more and more branches, each branch representing a different segment of the buying public...In the mid-1960's, after becoming established in the haute couture, most of these designers expanded in the direction of ready-to-wear (or as the French call it, prêt-à-porter)...Violation of established norms in dress can cause individuals or groups to feel threatened, especially if the "radical" new styles are adopted by groups that question existing social values or seek to challenge the status quo...Design inspiration came from a variety of sources such as India, from traditional Eastern European folk costume, and from the aforementioned African-inspired styles. 

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, October 1, 1965, "Match Me Such Marvel! A Rhapsody on Middle Eastern Times shot by Henry Clarke at Jeresh, in Jordan

For the first years of the decade of the 1960's, styles showed some uncertainty. Skirts shorted gradually, a trend that had begun in the late 1950's...Gradually short-knee in the United States in 1966. The term miniskirt was coined to describe these skirts, and the term micro mini was applied to the shortest of the short skirts...By the end of the 1960's, the fashion industry introduced the maxi, a full-length style, and the midi (the longuette), a skirt that ended  about mid-calf. However, these styles were not widely worn, and the transition to new length and silhoiette was still several years away in the mid-1970's. 

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, October 1, 1965, "The Sweet Success: Silk at Night" shot by Gordon Parks 

Some of the fashion developments in the late 1960's and the 1970's have been viewed as symbolic of changes in women's roles. Examples cited are the acceptance, especially by young people, of garments for men and women that are similar such as blue jeans and T-shirts and pantsuits, which became an important component of women's wardrobes in the 1970's, and the changes in undergarments...One of the ideas described as central to the Mod fashion concept was the notion that males as well as females were entitled to wear handsome and dashing clothing. The Mod fashion statement was "elegance, long hair, granny glasses, and Edwardian finery".

Be sure to view even more photos of past Vogue spreads and photos I loved at my new TumblrPage.

Vogue, October 1, 1965, "The Sweet Success: Silk at Night" shot by Gordon Parks 

Political leaders often became style leaders. Mrs. Kennedy became a major influence on styles. The press paid close attention to her inaugural ball gown. Bouffant hairstyles, pillbox hats, A-line skirts, low-slung pumps, empire style evening dresses, and wraparound sunglasses were some styles associated with her...In the years since this radical alteration was made in the operation of some of the couture houses, the Paris pret-a-porter group has become so important that the fashion press goes to Paris not only for the regular shows of the haute couture but also for the opening of the pret-a-porter collections. The successful  ready-to-wear industry in the United States had provided a model for a new business venture for the French couture designers. In turn, the pret-a-porter provided a new source of fashion ideas for the American fashion industry. 

 Post-Modern
Mediterranean Women

Post-Modern
Egyptian Women

    For my designs of an #IMFblog Post-modern Women, variations in skirt lengths are mixed with the ethnic design inspirations of the ancient Middle Mast. The Mediterranean women wears a mini skirt with similar detail to the above kaunake. Instead of a basic tunic, I designed a more feminine tank top that incorporates the over the shoulder wrap design of their draped garments. She wears gold stilettos for a opulent edge, and simple gold jewelry accentuate her natural beauty which which work well for an easy elegance needed in the hot climate of the region. 

      The Egyptian women wears a maxi-styled dress, that is very body hugging and sumptuous. As far as the feathered wing design, I was inspired by the Egyptian's use of symbolism in that a Hawk was a prominent symbol of the sun God. Imagine being safely secure in the wings of a mother hawk whose wings wrap comfortably around your entire body. Elegant birds are often associated with beautiful women, so what more prefect way to reflect that in your look and paint that picture clearly for onlookers. 

BE SURE TO VIEW EVEN MORE PHOTOS OF SPREADS AND PHOTOS I LOVED FROM VOGUE FOR INSPIRATION STRAIGHT FROM THE PAST AT MY NEW TUMBLRPAGE!