FIDM Museum Blog

Sketch to Screen exhibition at the Oklahoma City Museum of Art

As we told you in this post, eight costumes from the FIDM Museum collection are currently on exhibit in Sketch to Screen: The Art of Hollywood Costume Design at the Oklahoma City Museum of Art. Consisting of more than 85 original garments and accessories, the exhibition highlights the work of influential Hollywood costume designers, including Gilbert Adrian, Walter Plunkett, Edith Head and Travis Banton. Sketch to Screen closes on August 15, 2010, so you'd better visit soon if you haven't already!

For our readers who can't make it to Oklahoma City, we offer you the next best thing: installation photos of the FIDM Museum pieces accompanied by relevant segments of the audio tour. Narrated by our curator Kevin Jones, these short, informative segments are part of the Sketch to Screen audio tour. To listen, click on the link. Enjoy!

Kevin Jones discusses the gown worn by Marlene Dietrich in A Foreign Affair

Paisley strapless evening gown worn by Marlene Dietrich in A Foreign Affair
Irene/Edith Head
1949
HC 3633
Department of Recreation and Parks, City of Los Angeles, FIDM Museum
Photo by Jim Meeks, Oklahoma City Museum of Art

Kevin Jones discusses the "Suit of Lights" worn by Rudolph Valentino in Blood and Sand

"Suit of Lights" jacket worn by Rudolph Valentino in Blood and Sand
Natacha Rambova
1922
HC 4001
Department of Recreation and Parks, City of Los Angeles, FIDM Museum
Photo by Jim Meeks, Oklahoma City Museum of Art

Evening glamour, c. 1922

Evening dress
c. 1922
Gift of Laura Stoneman
96.657.2

During the 1920s, nightlife was an important aspect of popular culture. In the United States, the Prohibition of alcohol led to the rise of speakeasies, where patrons could dine, dance and drink in an atmosphere of illicit pleasure. Glamorous evenings required eye-catching garb, such as the beaded velvet evening dress pictured here. As described in this post on the 1920s silhouette, the favored silhouette for both day and evening wear was slim and straight, uninterrupted by the curves of the body. Dresses were reduced to two simple panels of fabric, joined at the shoulders and side seams. For evening, these flat panels became canvases on which beading, sequins, embroidery and other embellishments created abstract or pictorial imagery.   

Texture in fashion

Color and pattern are usually the first aspects of a garment to catch the eye, closely followed by silhouette. But what about texture? Though texture might not be the first thing we notice, it plays an important role in establishing the mood of a garment. Would a roughly woven cotton textile be appropriate for a glamorous evening gown? Maybe, but it would take a talented designer to offset the rustic, outdoorsy mood of the textile and craft it into a glamorous evening ensemble. A smooth and glossy silk textile would seem equally out of place on a weekend camping trip.

Like colors and silhouettes, textures go in and out of fashion. Slippery, synthetic textures dominated the late 1970s, while starched cottons and stiff silks were popular in 1950s fashions. Do popular textile textures affect the spirit and culture of the era in which they are popular? Though it's impossible to directly pinpoint this relationship, it's certainly an intriguing train of thought. With that in mind, take a look at this selection of different textile textures from the FIDM Museum!

Evening or wedding gown (bodice detail)
1852-54
Gift of the Helen Larson Estate
2001.31.6

Sailor suits

Beginning in the mid-nineteenth century, young boys and girls were often dressed in sailor suits. Worn as both school uniforms and everyday dress, the popularity of the style was sparked by this 1846 Winterhalter portrait of Albert Edward, Prince of Wales. About 5 years old when the portrait was painted, Albert Edward wears a scaled down version of the newly standardized white and blue uniform of the Royal Navy.¹ Throughout the nineteenth century, the Royal Navy was the most powerful navy in the world, a symbol of the United Kingdom's colonial empire and position as a world power. By dressing Albert Edward and her other sons in naval uniforms, Queen Victoria indicated her aspirations for her children and her country. As royalty were the trend-setters of the day, the fashion for sailor suits soon spread across Europe and the United States. National versions of the sailor suit varied, depending on the specific naval uniform of individual countries.

The Little Black Dress

During the nineteenth century, black clothing was usually worn to signify a special status, i.e. mourning, religious piety, extreme poverty or a position of economic and social authority. Because many professional men adopted black suit coats after 1850, black clothing was also associated with masculinity. Though women certainly wore all-black on some occasions, these ensembles were usually worn for specific activities, such as mourning or equestrian pursuits. Black slowly began to enter the realm of fashionable dress in the late nineteenth century when it was adopted by a few daringly audacious women for day and/or evening dress. The infamous black dress worn by Virginie Gautreau in John Singer Sargent's 1884 painting Madame X, though shockingly revealing for the 1880s, is a prescient vision of what would become one of the twentieth century's most iconic garments, the little black dress.

Black dresses slowly gained ground through the early years of the twentieth century, earning the nickname "little" as the elaborate embellishment of late nineteenth century dress gradually dropped away. A November 23, 1906 society feature in the New York Times titled Society Women Wear Black indicates that all-black dress was fashionable but was still considered novel enough to inspire comment. During World War I, mourning dress was so widespread that black dresses were, almost necessarily, created in tune with the latest fashions. For the many women who worked outside the home during World War I, black garments were also a practical choice for everyday dress. Black also entered the fashionable lexicon via the work of Chanel, who presented a collection consisting primarily of black dresses in 1919. Others, including Poiret, Lanvin and Fortuny were also experimenting with the potential of black during this same period. By the late 1920s, the little black dress had become a wardrobe essential.

The images below feature a selection of little black dresses from the FIDM Museum collection. When looking at these images as a group, an impressive continuity is apparent. Despite slight differences in silhouette the primary characteristics of a little black dress, simplicity and an understated elegance, remain the same from decade to decade.

Evening dress
Silk taffeta
1927-29
Transfer from the Museum at FIT
2004.291.21

Hand painted silk ensemble, c. 1925

Child's "Dainty Blossom" Ensemble
Daisy Stanford
Hand-painted silk
c. 1925
Museum Purchase
2003.5.24A-C

Hand-painted novelties, including dresses, scarves and ribbons, enjoyed a burst of popularity in the teens and twenties. A Paris fashion report from 1913 stated that "hand-painted dresses...are said to be the coming craze at fashionable Summer resorts."¹ This was despite their high price, "which is said to be 40 per cent in excess of the ordinary figure."² In 1924, "painted things," including gowns, gloves, stockings and scarves, were declared "in perfect harmony with the mode of the day and very smart."³

1920s cloche

Some of you are probably wondering why we didn't discuss the close-fitting cloche hat featured in our most recent post, 1920s silhouette. Given its iconic status as the IT hat of the 1920s, we thought the cloche deserved its own entry. Though the term cloche was first used to describe a hat with a deep, bell-shaped crown, it soon came to designate all of the streamlined, tight-fitting hats that emerged in the early 1920s. Worn low and straight on the forehead, nearly obscuring the eyebrows, the cloche accentuated and reinforced the streamlined silhouette of the 1920s. Throughout most of the 1920s, the cloche had only the most minimal brim, what one fashion reporter described as "an apology for a brim."¹ 

Cloche
c. 1925
Gift of the Oregon Shakespeare Festival
91.789.3

1920s silhouette

The slim, youthful silhouette of 1920s fashion signaled the emergence of a new ideal of feminine beauty. Unlike her predecessors of the late 19th century, who favored the silhouette of a mature, well-endowed woman swathed in layers of fabric, the 1920s woman dressed in a style that emphasized her youth. Lightweight daydresses for adult women were designed to expose bare arms and lower legs, parts of the body typically covered by all except young girls. Elasticized undergarments de-emphasized the breasts and hips, creating what is often described as a "boyish" silhouette. The appearance of masculinity was reinforced when women bobbed or cropped their hair.

Daydress
c. 1926
Gift of Santa Monica City College
95.622.1

Masculine dress?

In the early 20th century, women who chose to wear bifurcated garments (i.e. trousers) outside of the gymnasium or off the playing field risked public censure. Though women had been wearing full, almost skirt-like trousers for sporting activities since the late 19th century, these bifurcated garments escaped condemnation only because they were functional, not fashionable. Full trousers of this type were often called "bloomers," after Amelia Bloomer, leader of a controversial attempt to popularize bifurcated garments as everyday dress for women during the early 1850s. Worn for activities such as bicycling, cricket, light calisthenics and swimming, bloomers allowed for freedom of movement, while obscuring the contours of the leg and lower body.

Bloomers
c. 1920
Gift of the Manlove Family
2006.870.76

FIDM Museum garment inspires The Wild Party costume

Today's post by Katy Werlin describes how a garment in the FIDM Museum collection inspired a costume for the musical The Wild Party. Katy interned with us during the summer of 2009, while on summer break from her studies at the University of North Carolina at Chapel Hill. Katy is currently a junior, majoring in dramatic arts with a minor in music. Katy recently started a fashion history blog, which you can visit here.

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When I was asked to costume design Andrew Lippa’s musical The Wild Party for the UNC Pauper Players, I could barely wait to get started. The Wild Party is set in the 1920s, and is the story of two seedy vaudeville performers who decide to throw a huge party. Things get completely out of control- there’s drugs, an orgy, and murder. Although there are some great song and dance numbers that will, trust me, get stuck in your head very easily, this is definitely not your typical lighthearted musical. As the costume designer, I was very eager to play with the sparkle and glamour of 1920s fashion versus the sketchiness of the characters. While I wanted the pizazz of the roaring ‘20s, I also wanted the costumes to look cheap, disgusting, and kept in mind that these people either have no taste, or can’t afford to have taste.

The Wild Party with Katy's FIDM Museum inspired costume at center front