Fashion, A-Z at The Museum at FIT

The Museum at FIT is one of my favourite fashion museums. With over 50,000 garments and accessories in their collection, Director and Chief Curator Valerie Steele and her talented staff have one of the largest collections in the world to draw on and they use this archive seem to come up with something fresh and innovative on a regular basis. 

Fashion, A-Z, Part II could have been a yawn, but it was not. Featuring highlights from their enormous collection, the full spectrum of design approaches and talents is presented in the upstairs history gallery.

Several of my favourite sculptural garments from their collection were on display, including: The Charles James Tree dress from 1955 in dusty rose stands as the penultimate body sculpture (pictured above); The Martin Margiela sleeveless jacket from sprint 1997 that evokes  a mannequin; and, a Madame Gres abstracted triangular black silk faille evening dress from 1967. 


Two designers that were previously unknown to me that I discovered in this exhibition included: a halter top and leggings from NOIR Spring 2009 by Peter Ingwersen which showed that sustainable design, fair trade practices, organic cotton can be turned into high fashion; and an ensemble constructed from five cardigan sweaters and pantyhose by XULY.Bet for FAll 1994. Sustainable practices can be exciting and fresh. 


What defies understanding is how this exciting museum of fashion can offer free admission to the public. It is always worth the trip to Seventh Avenue at 27th Street, and there will soon be a beautiful Taschen reference book featuring highlights of the FIT Museum. 

What I'm Reading (Part 1) ....

Summer is my time to read. I love to lay in the backyard on a chaise and catch up on my reading.... Hot off the press from Berg are two new titles that dovetail my research: Fashion and Art as well as Victorian Fashion Accessories. Although I intend to write in-depth reviews for academic journals, my initial reading of these two books suggest that they would appeal to general audiences as well.  

In Fashion and Art, editors Adam Geczy and Vicki Karaminas have compiled a selection of essays by leading scholars including Valerie Steele, Hazel Clark, Joanne Eicher and Diana Crane on the intersection of fashion and art. To date, papers on the topic were difficult to find and this book provides a comprehensive overview of the state of the discourse thereon. My initial review of this book indicates that Valerie Steele's essay on Fashion and Art in this book mirrors her comments in Milan as well as my interview with her for Fashion Projects. I am looking forward to digging deeper into these essays, especially since this is a topic that I am passionate about. 

In Victorian Fashion Accessories, Ariel Beaujot, who did her graduate studies at the University of Toronto, considers the history of women's fashion accessories such as the parasol, the glove and the fan during the Victorian era. Turning a phd thesis into a book that is accessible and interesting to non-academics is no small feat, and so far this book has been delightful, providing that necessary balance between scholarly research and general interest reading. In my own research on the paintings of James Tissot, I've noted that the glove and parasol figure prominently in his works, and I'm looking forward to understanding the nuances of meaning in the depiction of these accessories with the help of this book. 

Report from Milan Fashion Tales 2012

Dolci is the word I would use to describe my trip to Milan Fashion Tales 2012. It was three days of intense focus on fashion theory and I took it all in like a sponge. Funnily enough, many people said to me "You look familiar" and when I'd admit that I was the author of "Fashion is my Muse!", they would often laugh and said they had visited before. It seems that my slog (scholarly weblog) is a fashion academic's guilty pleasure.....

The Duomo in Milan, Photo by Ingrid Mida 2012

The conference was kicked off by fashion scholar Valerie Steele who gave a talk entitled "Is Fashion Art?". She had given a similar paper last summer but revised this talk to incorporate the quote from Muccia Prada used in the Costume Institute's exhibit on Schiaparelli and Prada: Impossible Conversations at the Metropolitan Museum of Art. Prada said: “Dress designing is creative, but it is not an art…. But to be honest, whether fashion is art or whether even art is art doesn’t really interest me. Maybe nothing is art. Who cares!”

Window of Alan Journo in Milan, Photo by Ingrid Mida 2012

Other highlights of the conference included featured papers by Sophie Woodward on "The Intersecting Narratives in Clothing", Peter McNeil on "Post colonial fashion: Easton Pearson", and Chris Breward on "Music, Image and Style: David Bowie". During the parallel sessions, my favourite papers included: Jeffrey Horsley from London on "Presenting the Body in the Fashion Museum" and Alexandra Cabral from Lisbon on "Art and Fashion". No doubt there were other fabulous papers in other parallel sessions, butI focussed on my interest in fashion and art.

Blumarine Window Milan, Photo by Ingrid Mida 2012

I'm pleased to say that my paper "The Metaphysics of Blogging" was received well to a standing room only crowd. I quoted Agnes Rocamora from the University of the Arts in London and she just happened to be the next speaker on my panel and spoke on "Instant Fashion, Time and Acceleration in the Fashion Blogosphere". Marco Pedroni presented "Fashion Blogs, A New Way of Telling Fashion" and it was suggested that these three papers be published together since they reflect the past, present and future of the blog.

Window of Valentino in Milan, Photo by Ingrid Mida 2012

Milan turned out to be a beautiful city that combines fashion, art and history in its own unique way, and although I seemed to get lost at least once every day, there was always something beautiful around the next corner. The  theme of the city as it relates to fashion came up throughout the conference and there were speakers from countries all over the world including such faraway places as Brazil, South Korea, New Zealand, and Saudia Arabia. The conference organizers are already planning ahead to Milan Fashion Tales 2014.

I "heart" Milan. Photo by Ingrid Mida 2012

God Save my Shoes

The Bata Shoe Museum hosted a preview of God Save My Shoes, a documentary film about women's passionate and often obsessive relationship with shoes. The film features top shoe designers Christian Louboutin, Manolo Blahink,  and Bruno Frisoni, as well as women shoe lovers/collectors from New York, Los Angeles, Paris and Milan, including Dita von Teese and Fergie. Experts, including Dr. Valerie Steele, Director and Curator of the FIT Museum, and Elizabeth Semmelhack, Senior Curator of the Bata Shoe Museum, give thought-provoking interviews on women's obsession with high heel shoes.

This movie looks at the reasons why 5-inch stilettos have become contemporary symbols of femininity, embodying pleasure and pain, sensuality and seduction, but also effectively hobbling women's gait and impeding their mobility. Elizabeth Semmelhack compared such shoes to the chopines worn by women in Renaissance Italy as well as to "hooker" shoes, showing actual examples thereof. Although some people might argue that high heels are a symbol of women's power, she suggested that if such shoes really represented power then men would also wear high heels.


Some of the quotes from the film:

"A shoe tells who you are."  Fergie

"These are S and M shoes. Stand and model only." Christian Louboutin salesman

"For me, a high heel can never be too high." Christian Louboutin

"Sexual commodification is an important part of high fashion today." Elizabeth Semmelhack

"There was a time in my life when I was really unhappy and the only thing that made me happy was a pair of new shoes." Beth Shak, Shoe Collector

The documentary DVD premiers in New York tonight - March 30th, 2012. See it if you can. It is a beautifully crafted and thought provoking film written by Julie Benastra.

Meet me in Milan at Fashion Tales 2012

The competition was fierce (with over 200 submissions), but I got the call and I'm on the roster of speakers. I'll be presenting my paper at the Fashion Tales 2012 conference in Milan on The Metaphysics of Fashion Blogging. Blogging will be reconsidered in the context of historic precedents such as Barbara Johnson's album of her wardrobe selections from the 18th century and as well as in terms of theorists Walter Benjamin and Michel Foucault as a tool of identity construction and conversational erudition. This international conference will be held at the Center for the Study of Fashion and Cultural Production of the Universita Cattolica and runs from June 7-9, 2012. Fashion gurus like Valerie Steele and Christopher Breward will be among the keynote speakers.  Shall we meet in Milan?

Details here.

A Conversation with Jeanne Beker about Fashion and Art

Jeanne Beker: AGO Collector's Series 2011

Jeanne Beker's personal art collection is whimsical, eclectic, and captivating - descriptors that can also be used for the woman herself. In a one-on-one interview with this fashion powerhouse, Jeanne and I had a lively conservation about fashion and art and she also gave me a tour of her favourite artworks now on display as part of the Art Gallery of Ontario's 2nd Annual Collector's Series Exhibition.

The Birthday Party by Marion Perlet

For Jeanne, each work of art in her collection evokes a memory. She said "They really serve as a kind of visual diary for me of my travels, certain stages I was going through in my life, of certain changing aesthetics I've had over the years." One of her favourites is an oil painting by Marion Perlet called "The Birthday Party" in which the artist painted her memories of her birthday party as a child. Jeanne said "This was a cherry pie but my girls always thought it looked like a pepperoni pizza. It sat right over our table in the kitchen of our old house and now it hangs in my dining room and it just makes me feel good. And yet, there is something about the look in their eyes, some of them look a little dysfunctional, or that they have their grudges or own stories to tell or their own feelings about themselves, their particular plight - they are your typical dysfunctional family I think."

Toller Cranston gave Jeanne her first artwork and encouraged her to start her collection. He told her to buy Canadian art and "just chose one artist that you really like and go with it." Jeanne followed that advice and has several pieces from Marion Perlet. She offers advice to other collectors and said "Just buy what you love. Don't buy as an investment."

Yves Saint Laurent by Andre Rau

Jeanne's collection also includes several exquisite photographs by David LaChapelle, Paul Alexander and Andre Rau that capture the intersection of the fashion and art worlds. Jeanne was surprised when I told her about my interviews with Valerie Steele, Chief Curator of The Museum at FIT and Matthew Teitelbaum, Director/CEO of the Art Gallery of Ontario on the relationship between fashion and art. She said "I just think it is old fashioned to not see fashion as art. Of course, I'm talking about a particular kind of fashion. Fashion with a capital F, not fashion put out there for mass consumption." 

Jeanne and I agreed that fashion and art have a complex relationship. She put it this way: "There are a precious handful of designers [that would quality as artists]. I'm certainly not intimating that all of fashion  is art, not by a long shot. But I do think that there are some fashion creators who are, without question artists, in terms of the techniques that they have learned, in terms of the statements that they want to communicate or in what they are saying in their impact of their creations on humanity. I don't know what the definition of art is, if it is not that."

In closing my interview, I asked Jeanne if there was anything left on her list of things she wanted to do given her long list of accomplishments to date as television journalist, as well as author and editor. She answered "I'd like to return to the places I've been to for work that I didn't get a chance to explore on my own, but really what I look forward to doing in this next chapter is to continue doing a lot of things that I have done, but just do them better. I want to continue to make great television - but better; I want to write more books - but better." When I told her that she must have a wicked perfectionist streak because so many people look up to her and admire her that I cannot imagine her having to do anything better, she said "Sometimes I feel like I've barely scratched the surface in terms of my potential. I am turning 60 next year and that only gives me another 20-30 years to go, but who knows. Diana Vreeland didn't start editing Vogue until she was 60".  I left utterly enchanted by Jeanne and her zest for life. 

The AGO's 2nd Annual Collector's Series
AGO Art Rental + Sales Gallery
481 University Avenue
Toronto, Ontario
November 30, 2011 to December 19, 2011

For more information, see the AGO website link here.

P.S. Jeanne Beker's interview of Harold Koda as part of the Bata Shoe Museum's Founder Series Lecture was published yesterday in the Toronto Star. The link is here.

A Conversation with Valerie Steele on Fashion and Art

Valerie Steele 2007 Photo by Aaron Corbett (Courtesy of Valerie Steele)

Dr. Valerie Steele is a renowned fashion scholar. She is the Director and Chief Curator of the Fashion Institute of Technology, editor of the journal Fashion Theory and has written numerous books including  The Corset: A Cultural History; Paris Fashion; Fifty Years of Fashion: New Look to Now; Fetish: Fashion, Sex and Power; and Women of Fashion: 20th-Century Designers. She has curated more than twenty exhibitions including the current exhibition at FIT called Daphne Guinness.

In August, I spoke with Valerie about the convergence of fashion and art as part of my series of interviews with curators on the topic. The transcript of that interview was published on Fashion Projects and can be found here.

It all started with Marie Antoinette

Marie Antoinette's Dress (Property of the Royal Ontario Museum)

Life is funny. If someone had told me that one day I'd be interviewing curators and that people in New York would be talking about a speech I'd given on the topic of Fashion and Art, I would have laughed at the improbability of it all. And yet, that is now my reality and it is all because of a dress.....

Back in 2008, I was new to blogging. All I knew at that point was that I wanted to write about fashion, art and books. It was a slow beginning. And then one day, I saw a dress at the Royal Ontario Museum that may have been worn by Marie Antoinette. It is probably the only such dress in existence and is believed to have survived because it was customary for royalty to give away their clothing after the season. The dress had been altered in the 19th century and was purchased by the ROM in 1925 by the ROM's first director, Charles Trick Currelly, from an antiques dealer in London, England.  I became obsessed with this dress and wanted to understand what it might have looked like before it was altered (actually I'm stilll obsessed with this dress and will soon begin to post about a creative project inspired by that dress).  I started reading everything I could about Marie Antoinette and 18th century dress and discovered a whole world of fashion scholarship that I had not even known existed. By immersing myself in the topic, I taught myself costume history. (The one thing I learned from my first master's degree was how to teach myself anything although I have since taken courses in costume history). And although fashion had been my muse in my art practice for several years before this juncture, I also began to make replicas of period dress in paper, in fabric and in mesh. I attended lectures and exhibitions about costumes and textiles. As I gained knowledge, I began to write about what I saw - at first for my blog, then for newsletters and then for journals and now for my masters of fashion thesis.

There was a time when I worked in finance that I had an unshakable confidence in what I was doing. They called me the Blonde Barracuda - probably because I was fearless in speaking my mind. But when I left that career to care for my sick little boy and tend to my dying father, my self confidence evaporated. It seemed that people no longer were interested in what I had to say because I was a stay at home mother.... And even after I forged a new career as a photographer and then as an artist, something still didn't fit. As much as I enjoyed the process of creation, I did not feel intellectually engaged or challenged as an artist and my days in the studio were too solitary. But what this immersion in art has done is helped me to understand the common visual vocabulary and processes shared by both art and fashion.

After attending the Costume Society of America mid-west conference last weekend, I feel like I have found my people... I speak the language of fashion academia and I'll be reshaping my speech into an article to submit for publication. Who knows maybe one day I'll actually be brave enough to actually talk to Hamish Bowles and Anna Wintour ....

P.S. I received permission from Valerie Steele and Harold Koda to publish the transcripts of our conversations on fashion and art on Fashion Projects.

When Does Fashion Become Art?

Alexander McQueen Jungle 1997-1998

This is the abstract for my Keynote Address at the Costume Society of America Mid-West Conference presented on October 14, 2011 at 4 pm at the University of Northern Iowa:

When Does Fashion Become Art?  by Ingrid Mida

Clothing can be a visual mirror of our inner selves. We each get dressed in the morning and make choices how to present ourselves to the world. We construct our identity with our choice of clothing and accessories and signal our belonging or not. This expression of identity through dress makes it a ready subject for artistic practices and interpretation and both artists and designers have considered notions of the body and identity as articulated through fashion. 

There has been much debate about whether fashion is art. Fashion scholars such as Sung Bok Kim, Sandra Miller, Anne Hollander and Elizabeth Wilson have considered the question. In my interviews with four museum directors/scholars, including Matthew Teitelbaum of the Art Gallery of Ontario, Nathalie Bondil of the MMFA, Valerie Steele of FIT and Harold Koda of the Metropolitan Museum of Art, there was no consensus. This was not surprising given that fashion designers themselves do not agree on whether fashion is art.

It was an instinct – as a result of my work as an artist - that led me to frame the question in a different way. Instead of asking “Is fashion art” it seemed to make more sense to ask “When does fashion become art?” After all, both fashion and art require the translation of an idea into another form. Both disciplines share a visual vocabulary and process-oriented development. Both fashion and art also have commercial aspects driving their conception and both can include multiples in a series or collection.

But, not all fashion is art. What falls into the realm of fashion is just too broad for that statement to be true, especially when fashion can include both garments of haute couture and trendy mass-produced items.

Changing the question to “When Does Fashion Become Art?” leaves open the possibility that some fashion might be considered art. This is especially true when contemporary art is defined by the expression of an idea or a concept. The object – whether painting, sculpture, video, installation or clothing – is important, but only in terms of the manifestation of the idea. In our post-modern world, the boundaries have blurred and the conception of what is art has changed.

Ideas expressed in terms of fashion are accessible to audiences in a way that contemporary art often is not. One does not have to be a fashion scholar or understand the complex and divergent theories of how fashion works to decipher the language of clothing. We do it unconsciously every day and to me, it is this quality that makes fashion as art such a powerful statement. 

Some curators have embraced the concept of fashion as art. Recent noteworthy exhibitions of this type have included The Concise Dictionary of Dress at the Blythe House, London in May 2010, Rodarte, States of Matter at Museum of Contemporary Art Los Angeles in March 2011, McQueen: Savage Beauty at the Metropolitan Museum of Art in New York in May 2011 and The Fashion World of Jean Paul Gaultier at the Montreal Museum of Fine Art in June 2011. 

Within each of these exhibitions, fashion was presented as a means of conveying a specific conceptual premise. This premise was not just a source of inspiration, but was a message or statement about society, identity or the body. And it is this aspect of fashion – when the form of expression is based on a thematic premise -- that defines for me the point at which fashion becomes art.

Notes:

To read the transcripts of my interviews with Nathalie Bondil and Matthew Teitelbaum, please visit Fashion Projects (www.fashionprojects.org). I have requested the permission of Harold Koda and Valerie Steele to post the transcripts of our conversations there as well. This will be my last post about the conference as it is time to move on to other things...

The Keynote

Fiona dress by Judith & Charles

I have had so many ideas for posts but no time to write them.... Between caring for my family and cooking Thanksgiving dinner for my extended family, doing course work, reading, research, studying for a test, yoga, practicing and re-writing my keynote address for the Costume Society of America conference later this week, there hasn't been much time for anything else....

Of course, there was one thing I absolutely had to make time for and that was picking out a dress to wear for the keynote. I wanted something to signify confidence.... and this red dress was it! Made by the Canadian label Judith & Charles, it makes me look like I know what I'm talking about. And after nearly 6 months of thinking about my keynote, 5 drafts of my speech, 4 interviews with curators Nathalie Bondil, Matthew Teitelbaum, Valerie Steele, and Harold Koda, 3 long practice sessions with my slides, 2 sleepless nights and 1 red dress,  I think I'm finally ready!!!