Monday, November 25, 2019

The Manhattan Vintage Show - What Keeps Me Coming Back

I first attended the Manhattan Vintage show in 2011 when I went to New York to celebrate my 50th birthday.  I had seen photos from the show on the Idiosyncratic Fashionista's blog, and the idea of seeing so many beautiful vintage pieces in one place sounded like my idea of heaven.  Since 1992 the show has been a source for high-end vintage from 80 - 90 vendors from all over the United States.  It attracts designers looking for inspiration, hard-core vintage fans, and others who are looking for a statement piece for a special occasion.  You never know who you might see at the show - I've spotted Hamish Bowles, Lynn Yeager, Lea Delaria, and Bette Midler over the years.

After attending the fall show for several years in a row, I skipped a couple of years, and realized I missed the chats with the vendors and fellow vintage fans, so I made a point of scheduling my trip to coincide with this year's fall show.    I've written about the show several times, and many of the vendors recognize me, so it felt a bit like old home week when I walked in the show and immediate saw Justine at the Hollywood and Vine booth.  She was wearing a dress by American designer Claire McCardell that she was debating about purchasing.

Justine, in the Claire McCardell dress she ended up buying

I had followed House of Edgertor on Instagram for quite a while, so it was nice to meet Robin, the face behind the shop.  It was her first time as a vendor at the show.  Rag Riot Vintage, owned by Robin's friend Kat, (right) shared the booth with her.

I always look forward to re-connecting with Meika, owner of Another Man's Treasure.  Meika and her family have recently re-located to Los Angeles, and I was interested to hear how she was adjusting to West Coast life. 

Dr. Colleen Darnell, aka the Vintage Egyptologist, and her partner John were easily the best dressed couple I saw when I was at the show.  I've since started following her on Instagram, and her posts are a winning combination of exquisitely styled vintage gowns and fascinating facts about Egyptian history.

I spotted this woman from quite a distance away (how could you not?) and I wanted to know more about her.  Her name is Apryl Miller, and she's an artist who creates bold and colourful installations, collages, paintings and sculptures that have been showcased on MTV,  HGTV, and in national and international publications.  The necklace she's wearing is one of her pieces.

Earlier in the day, the woman on the left had stopped to talk to Valerie, and I was totally enthralled by her multi-layered denim outfit and silver jewellery.  When I saw her visiting with her friend Vivian Hill (aka 'Lady V', Life Coach and Vintage dealer), at Hill's booth, I took the opportunity to ask them for a photo.

I've featured displays from Lisa Victoria Vintage in many of my previous posts about the Vintage Show and for good reason - she always has some of the most beautiful pieces in the show at her booth.   Case in point - look at the detail (see below) in the cream embroidered robe between the two 1930's dresses in the above display.

Isn't the dragon spectacular?

This marvelous (and possibly uncomfortable) beaded bodysuit was available at Vintage With a Twist

Rag Riot has some beautiful capes in their booth, including this one

I was smitten with this bold black and white coat from Lofty Vintage

Each show features a special exhibit that focuses on a specific theme or designer, and for this show, the spotlight was on Claude Montana, cult figure, and one of the most celebrated designers of the 1980's.  Regina, owner of Vintage Le Monde had one of Montana's perfectly peachy mongolian lamb coats in her booth.

This exquisite beaded 1920's dress was at the RC Moore Vintage and Millinery booth

Just look at that beading!

Another fantastic piece from Vintage Le Monde - the Bird/Fish jacket is by Hella Rotthoff

The next Manhattan Vintage Show will be held January 31st and February 1st, 2020
at the Metropolitan Pavilion, 125 West 18th St., New York, NY

Sunday, November 3, 2019

The Futuristic Fashion of Pierre Cardin



Back in the summer when I was deciding whether or not to go to New York this fall, I saw that the Brooklyn Museum was having a retrospective of the designs of Pierre Cardin, and that made up my mind.   I love Cardin's futuristic clothing, so to have an opportunity to view it in person was not to be passed up.  The verdict?  The show is definitely worth a visit.

Pietro Cardin was born in Italy in 1922, and in 1924, his family moved to France to escape fascism.   One of Cardin's various part-time jobs included one with a local tailor, and at the age of 18, he left home to pursue his dream of becoming a couturier.  His apprenticeship with a tailor in Vichy was interrupted for wartime service. After the war, he moved to Paris and worked as a tailor for Maison Paquin, followed by a stop at Elsa Schiaparelli's atelier, and finally landing a job as the first employee at Christian Dior's new fashion house in 1946.   In 1950, he left Dior and started his own Pierre Cardin company which created costumes for European masquerade balls.


The coat in the above photo was part of Cardin's earliest collection, in 1952, which was an immediate success.  The original coat and suit designs in the collection were praised for the cut, inventiveness, generous use of fabric and attention to detail.

The exhibit includes 170 pieces, including both contemporary and historical haute couture, accessories, photographs, videos, furniture and home decor.  The majority of the items are displayed in groupings around a particular theme. 

 

Innovative Materials

Cardin has been quoted as saying "When I design a dress, I don't design it around a woman's body, I design the dress, and then put the woman inside it".  This is certainly true for many of the piece in the show.   His childhood fascination with the American and Soviet Space programs inspired him to experiment with unconventional materials and shapes to create sculptural, space-age designs.
  

The dresses above are examples of the innovative materials Cardin used in his designs.  The dress on the far right is from a 1968 collection of 3-D molded dresses made from Cardine, the designer's own Dynel fabric.  Cardin also used vinyl (left) and plexiglass (center) as dressmaking materials.


L:  Bandeau and skirt made of vinyl and plastic from 1968;  R:"porthole" dress made from wool crepe and silver leather, also from 1968

 

Geometric Shapes


Throughout his career, Cardin's interest in geometry has shown up in his designs.  His most frequently used shape is the circle.  He also began working with the parabola (technically, a symmetrically mirrored U-shape) in the 1950's.   

L: cocktail dress with "parabolic" cap sleeves from 1990; R: suit with "parabolic" sleeve detail on jacket from 1991

The use of stretch fabrics and hoops allowed for amplified parabolic shapes in Cardin's designs.  Some of Cardin's "Parabolic" fashions collapse flat and are easily packed

L: velvet evening gown from 2010 embellished with painted styrofoam balls; R: satin "pendulums" form the skirt of the dress from 2019

four pairs of linen men's pants from 1972, two of which incorporate a circle shape and a "target" design

 L: two-piece suit from 2015; centre: cocktail dress from 2013; R: outfit from 2018

Cardin's designs from the last decade (as seen in the above photo) show that his love of circles persists.

 shelving unit (no year), "circle" coat from 1988, "Balance" lamp from 1977

The exhibit contained a few pieces of Cardin's furniture designs.  He used traditional woodworking and lacquer techniques to create handmade cabinets, tables, dressers, and chairs which he described as "Couture Furniture".  The circular shelving unit in the photo above is a stunning example of his striking designs which, like his clothing, often incorporated a circular motif.

 

Unisex Dressing

 

 Designs from Cardin's "Cosmocorps" collection

Cardin and other Western designers such as Rudi Gernreich began showing gender-neutral collections in the 1960's.  Cardin's "Cosmocorps" collection from 1964 was his earliest experimentation with unisex dressing. The base garment was a black body stocking over which was then layered neck pieces, vests, codpieces, skirts, tunics, belts and aprons.  Fashion forward men like Truman Capote, Salvador Dali and Rudi Gernreich worn the suit designs.

"Parabolic" jumpsuit from 2010

Suit from "Cosmocorps" featuring the rolled collar and decorative zippers that appeared frequently in that collection

 Bold Shoulders

A revival of the "bold shoulder" began in the 1970's as other elements of men's suits (lapels, ties) also grew wider.  Cardin's extreme shoulder silhouettes gave the wearers the appearance of a superhero.

L - R:"American Football" suit from 1980, coat and turtleneck from 1991, "Origami Suit" from 1981

Cardin's men's leather jackets featured "American Football" shoulders (above left) and his first trip to China in 1978 inspired a coat with shoulders imitating the shape of Chinese pagodas, and  "origami shoulders" with complex fabric folding.

"Origami Suit" from 1981

"Computer" jacket from 1981 with intricately pleated back

Accessories

Accessories were an important element of Cardin's designs.  Hats were created to accompany most daywear looks, and those outfits that did not include hats often incorporated over-sized plastic sunglasses or masks made of leather and clear plastic.  The exhibit featured several pieces of enormous silver metal neckpieces from the late 1960's which could be worn today.

Articulated necklace from 1969

 Evening dress with metal collar, 1968, shown next to a photo of model Penelope Tree wearing same dress

leather and plastic masks from 1982

L - R:  Two examples of red leather and metal shoes from 1967, along with a patent leather and metal pair from 1969

Statement metal and leather belt (no year given)

The Wall of Hats

The hat was an important element in Cardin's silhouettes.  In the 1960's he introduced new shapes such as the helmet and "halo" (worn with the 1968 "Cardine" dress).  His hat designs in the 80's and 90's often obscured part of the wearer's face, suggesting armour, hijabs or burkas.  Later shapes were often large in scale, and whimsical or surreal in shape.

One of Cardin's more recent surreal hat designs


In the late 1960's, Cardin began to license his name to a series of products to be sold in department store chains in England, Germany, Japan and Argentina.  This was an unusual thing for a couture designer to do at that time, and to ensure that the quality of the goods remained high, Cardin's company employed managers who supervised the design and manufacturing process.  Each product had a visible Pierre Cardin logo.  Over the years, his logo would appear on over 850 licenses, in over 110 boutiques around the world.  The success of his licensed products gave him creative freedom in his couture designs and allowed him to pursue other interests, such as the purchase of Maxim's Restaurant in Paris.   He even got into car design beginning in 1969; in 1981 he redesigned the Cadillac Eldorado Evolution, which featured virgin wool carpeting, mahogany and walnut dash, hand-tooled leather seats and a thirty-layer lacquer paint finish similar to that of his "Couture Furniture".


Cardin, captured above by photographer Michel Boutefeu in 1982, with his three "Golden Thimble" awards which were given to French couturiers.   He was made a Chevalier des Arts et des Lettres in 1983, and in 1992 Cardin became the only designer to be given a seat in the Academie des Beaux-Arts.  Cardin is 97 years old, and still working.

Over all, I thoroughly enjoyed the exhibit, but I would have liked to have seen a few more pieces from the 1960's, and I thought the labels describing individual pieces were very small, contained minimal information, and were often hard to locate.    Cardin's day wear looks were definitely more interesting in terms of colour and shape then the evening wear looks that were included in the retrospective.

an evening gown from 2017 definitely lacked the youthful, modern charm of his day wear

I'll leave you with a photo of myself, and my exhibit companion, Jean (one half of the Idiosyncratic Fashionistas) in front of the hat wall.....

I'm wearing a vintage velvet and silk Oscar de la Renta tunic dress I found at a thrift store 

Jean in not-so-basic black accessorized with leopard print headpiece


Pierre Cardin:  Future Fashion is on at the Brooklyn Museum until 
January 5th, 2020  

Monday, September 23, 2019

Hail To The Queen (of CanLIt)


Queen Margaret, of course

 

 
Photo by Tim Walker - source

Canadian author Margaret Atwood is everywhere these days, including the New York Times, and the Sunday Times (UK), which featured the fabulous photo above.  The publication of her 17th novel, The Testaments,  a sequel to her 1985 dystopian bestseller, The Handmaid's Tale, has made her the current media darling.   Never mind that she's also written 15 other novels, 8 books of short fiction, 15 books of poetry, 10 works of non-fiction, 2 graphic novels and 7 books for children.

When I was in high school, I was fortunate enough to have an amazing English teacher, Mrs. Tiffin, who believed that Canadian writers were every bit as talented and engaging, if not as famous, as those from the United States.   Mrs. Tiffin had been Alice Munro's English teacher, (another much-loved and lauded Canadian author) when Munro attended the same high school in Wingham, Ontario, 30 years before me.  It was in Mrs. Tiffin's class that we were introduced to the writing of Margaret Lawrence, Timothy Findley, and Margaret Atwood.  Because I enjoyed English class the most of all my courses, and did well in it, I decided to make it my degree major when I attended University.  There I was able to take a class that focused on Canadian literature, and I remember discovering Margaret Atwood's poetry, including "The Journals of Susanna Moodie".  The poem that made the biggest impression on me is probably her shortest, but says everything about Atwood's wit and sensibility in only 4 lines:

you fit into me
like a hook into an eye

a fish hook
an open eye 

It is still a favourite of mine, and for the early part of my adult life, pretty much summed up how I felt about relationships. 

I discovered a love for the writings of other Canadian authors, such as Robertson Davies, Timothy Findley and the aforementioned Alice Munro, whose works still hold a place of honour on my bookshelves.  But I had never read a voice like Margaret Atwood's before.  "The Edible Woman" may not have been the easiest choice for my introduction to Atwood's novels; it was certainly one of the strangest books I had read up until that point in my life, but I was immediately drawn to the dark humour and surreal plotline.  As a budding young feminist, I liked that she centered her narratives around female characters who were trying to figure out their place in the world, and in their relationships with men, which was basically what I was trying to do at that point in my life.

 
    
That is indeed me in the photo above, wearing a beige sweater (!!??), getting my copy of Lady Oracle signed by Ms. Atwood when she visited Western University in the early 80's.

As I read more of Atwood's novels, my admiration of her grew and I became a true fangirl.   On one visit to Toronto in the 1980's, as I was walking down Queen Street West (which was the hip hangout for musicians, writers and other artists back then) and I spied  Atwood sitting at a table through the window of Le Select Bistro.  I wasn't planning on having lunch, but I marched right in there and got a table close to hers from where I proceeded to eavesdrop on her conversation while trying not to stare at her too much.  Unfortunately, I couldn't hear much of the conversation she was having with her lunch companion, but just being in such close proximity with one of my favourite authors was thrill enough.

At one point I have owned almost every book she has written, but through several purges of my bookshelf, I've whittled my collection down to the ones below.
  

I still have my pristine, first edition copy of The Handmaid's Tale, given to me as a gift by my then room mate.   In 1985 when it was published, critics reviews were mixed.   New York Times book critic Christopher Lehmann-Haupt wrote the following:

"...it is a political tract deploring nuclear energy, environmental waste, and antifeminist attitudes
But it so much more than that - a taut thriller, a psychological study, a play on words. It has a sense of humor about itself, as well as an ambivalence toward even its worst villains, who aren't revealed as such until the very end. Best of all, it holds out the possibility of redemption. After all, the Handmaid is also a writer. She has written this book. She may have survived"

But it was also dismissed as "undistinguished" and "ordinary" in the same newspaper by writer Mary McCarthy:

“The writing of The Handmaid’s Tale is undistinguished in a double sense, ordinary if not glaringly so, but also indistinguishable from what one supposes would be Margaret Atwood’s normal way of expressing herself in the circumstances. This is a serious defect, unpardonable maybe for the genre: a future that has no language invented for it lacks a personality. That must be why, collectively, it is powerless to scare.” 

Since that time The Handmaid's Tale has become a frequently studied classic of dystopian fiction, and in the era of Trump it has taken on a new cultural resonance.  It has been made into a film, and in 2017 was adapted into a Hulu series starring Elizabeth Moss as the Handmaid Offred.  And now, Atwood has published a sequel, titled, The Testaments.  

What a difference 35 years make; the release of The Testaments was a literary event.  Atwood launched the book with a sold-out live event at London’s National Theater that was broadcast at around 1,000 cinemas around the world.  Fans lined up for blocks at the midnight of its release, the reviews have been uniformly positive, interviews with Atwood have appeared in every major media outlet (including a fantastic photo shoot with legendary British fashion photographer Tim Walker for the Sunday Times) and the novel has been shortlisted for the Booker Prize.  On a sad note, Ms. Atwood's longtime partner, author Graeme Gibson, passed away while accompanying Atwood on her current book tour.

Personally, I'm thrilled that Atwood is being treated like the Canadian Literary Queen she is - long may she reign.

Photo by Tim Walker - source