FIDM Museum Blog

Rudi Gernreich: Fashion Maverick

The following post was written by Christina Johnson, Associate Curator of the FIDM Museum.

FIDM Museum Rudi Gernreich Archive Storage, 2019.

Reorganizing and cataloging the FIDM Museum’s Rudi Gernreich Archive was one of the first projects I began after being hired as Collections Manager in 2003. Although at that point I was very much a nineteenth-century specialist, handling his pieces tempted me to venture a century beyond my beloved crinolines and black-and-white daguerreotypes, and onward to mini skirts, psychedelic colors, and a happening mid-century Los Angeles scene. Since then, I’ve had an abiding interest in this intriguing LA-based designer. I’ve spent hours poring over the FIDM Museum’s collections, as well as archives held by other institutions. I’ve also had the honor of connecting with people who were an important part of his world.

Los Angeles magazine, March 1968; Rudi Gernreich with model Léon Bing in pink dress surrounded by other artists; FIDM Museum Rudi Gernreich Archive, Bequest of the Rudi Gernreich Estate. 

I’m interested in the personal reasons curators decide to embark on certain exhibitions. I’m drawn to Gernreich because of his brilliant fashion designs, and the fact that many are held by the FIDM Museum. I’m also fascinated by the histories of my own backyard. Gernreich called LA home, and I was born here, as were my parents. I also tend to be mesmerized by the object trails people leave behind, and what this ‘stuff’ reveals about multi-faceted personalities. Gernreich is one of those people who left a massive amount of material for us to analyze.

Pattern sketch of dress worn by Léon Bing in Los Angeles magazine above, Resort 1967-68; Gernreich Archive, Bequest of the Rudi Gernreich Estate. 

Rudolf “Rudi” Gernreich (1922-1985) had an extensive output and his designs survive in collections across the United States. Major holdings include: the Costume Institute at the Metropolitan Museum of Art, the Indianapolis Museum of Art, Kent State University Museum, the Cincinnati Art Museum, and at our neighboring institutions, the Los Angeles County Museum of Art and UCLA Special Collections. Shortly after the designer’s death, his estate bequeathed his private archive to the FIDM Museum. We welcome all researchers to the archive who wish to explore Gernreich’s creative life. It includes runway samples, headwear, jewelry, footwear, prototypes, and Gernreich’s personal wardrobe. It also contains ephemera such as patterns, catalogs, sketches, and the publicity scrapbooks assembled by Layne Nielson, his Assistant Designer from 1964 to 1969. I give grateful thanks to Layne for his extensive oral histories in 2017 and 2018.

FIDM Museum objects in Fashion Will Go Out of Fashion exhibition, Neue Galerie, Austria, 2000; FIDM Museum Institutional Files.

Selections from the FIDM Museum archive have been loaned to numerous exhibitions, most recently Gender Bending Fashion at The Museum of Fine Arts, Boston (2019); The Museum of Modern Art’s Items: is Fashion Modern? (2017-2018); and LACMA’s Reigning Men: Fashion in Menswear 1715-2015 (2016), later traveling to the St. Louis Art Museum and the Powerhouse Museum, Sydney. Exhibitions of note focused solely on this designer’s work include: Rudi Gernreich: A Tribute, curated by Layne Nielson at Otis-Parsons Exhibition Center, Los Angeles (1985); Fashion Will Go Out of Fashion, organized by Brigitte Felderer at the Neue Galerie Graz in Austria (2000), later traveling to the Institute of Contemporary Art, University of Pennsylvania; and the Kent State University Museum’s Rudi Gernreich: Bold by Dr. Anne Bissonnette (2008-2009).

Gernreich with FIDM students and model, California Apparel News, November 5, 1982; Gernreich Archive, Bequest of the Rudi Gernreich Estate. 

Rudi Gernreich in Reigning Men

The FIDM Museum is always thrilled to be a part of fashion exhibitions at other institutions, especially when we can collaborate with our fellow Los Angeles museums! This spring, LACMA's incredible exhibition Reigning Men: Fashion in Menswear, 1715–2015 showcases the often-overlooked world of historic and contemporary menswear. The comprehensive exhibition features this graphic silk caftan, a striking design from our Rudi Gernreich Archive. Our Curator-on-the-Go Kevin Jones completed another installation job on our behalf (you can catch up on his trip to the de Young Museum here!).

Caftan
Rudi Gernreich
1970
Bequest of the Rudi Gernreich Estate
G85.331.17

Dressing garments for installation is an art form. It is so much more than putting clothes on a mannequin or dress form. Think of it as the difference between a department store display and a museum exhibition; in museums, we adjust the mannequin to fit the clothing, not the other way around. We add layers of padding to a mannequin in order to build a de facto body that properly fits the garment and reflects the silhouette of a particular time period. This meticulous process is worth the effort - it's what makes the ensemble come to life in an exhibition. Don't be fooled by the seemingly simple design of this Rudi Gernreich caftan...when it comes to dressing a mannequin, nothing is as straightforward as it appears! 

Intern Report: Rudi Gernreich's Kimono Dress

 

In today's blog post, former intern Mari Ogino uncovers the political implications of Rudi Gernreich's Kimono dress. She traces the ways in which the undefined shape of the kimono helped liberate western women's bodies from confining garments in the late 19th century and ties this into Gernreich's interest in physical and mental liberation. Thanks for a great post, Mari!

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People will try to say that I want to make women look masculine. To me, the only respect you can give to a woman is to make her a human being. A totally emancipated woman who is totally free.—Rudi Gernreich¹

Rudi Gernreich openly shared his socio-political views and reinforced his politics through his designs. His infamous Monokini is a pair of briefs with a strap that attaches from the front of the brief and wraps over the shoulders, revealing the wearer’s breasts. Through this garment, Gernreich attempted to address the stigma of a naked body, to "cure our society of its sex hang-up."² Gernreich's caftan addresses gender equality by covering up the body, making it difficult to discern whether the wearer is male or female.

Kimono Dress
Rudi Gernreich
Spring 1968
Bequest of the Rudi Gernreich Estate
G85.331.9

The Monokini and unisex caftan were bold in both design and cultural statement. Another provocative Gernreich design was the Kimono dress, which was equally daring, if not quite as controversial. A Kimono dress at the FIDM Museum falls above the knee, and is made of a variegated yellow fabric printed with Japanese motifs such as cherry blossoms, fans, chrysanthemums, and seigaiha (geometric wave patterns). The long sleeves end with vinyl gold and black lamé cuffs. The waist is covered with the same gold and black lamé to match the cuffs; above that is a thin black belt made of vinyl. The black and gold lamé over the waist is meant to resemble the obi (sash) of the traditional kimono and the thin black belt resembles the obijime, which helps hold the obi in position. See here for a diagram of the kimono, including the obi and obijime.

Waist detail-G85.331.9

How does a moderate, less radical outfit, like this dress, continue Gernreich's proposed dialogue of liberating the female body and creating equality between the sexes? It is through the appropriation of, or "edit" (as Gernreich liked to say), of the kimono that he explored the ideal of equality.³ Since its introduction into Western wear, the kimono has been a symbol of Japanese culture, however, its appropriation into Western wear subtly carries a legacy of liberating the female body.

The kimono was first introduced to Europe and the United States in the late nineteenth century. At that time, women's range of motion was limited by bustles, corsets, and large skirts. During the same period, the Arts and Crafts Movement gained momentum in England. The Arts and Crafts movement aspired to create handmade works that embodied simplicity, utility, and comfort. A new silhouette was developed during the 1870s that embodied all these ideals, known as Artistic Dress. These new garments were inspired by the kimono and its use of long modular panels, loosened sleeves, and waist.⁴ This loosened fit reduced physical restrictions normally caused by corsets, tight bodices, bustles, and floor-length skirts. The women associated with the Arts and Crafts movement were freed from the confines of their clothing and were able to move about independently.

Dressing Gown
1906-1910
Exchange: Transfer from Petterson Museum of Intercultural Art
2010.930.1

For a while, these artistic dresses were only worn by women of the movement and were perceived as grotesque by women outside the group.⁵ Eventually the corset-less Artistic dress went mainstream as an indoor-only tea-gown, eventually making its way into the public scene. Beginning in the 1910s, wearing tea gowns outside the home became a more widely accepted practice, though still very avant garde. Designers like Mariano Fortuny borrowed from the kimono in his designs. Thanks to the kimono, the female body was not limited to small movements anymore.⁶ The image above, featuring an embroidered dressing gown, clearly demonstrates the freedom of movement available to women who wore Artistic-style garments.

Back to Gernreich and his agenda with his Kimono dress. Whether intentional or not, the Kimono dress carries a lineage of liberating the female body and continues its legacy. Gernreich's Kimono dress is unfitted, with an adjustable belt at the waist, and short enough to allow for easy movement. As fashion scholars have noted, "dress carries moral and political meanings."⁷ This is exemplified by the appropriation of the Japanese kimono in the late nineteenth and early twentieth century, and continues with Rudi Gernreich's designs of the 1960s and 1970s. Gernreich's Kimono dress promotes functionality and simplicity, through which women's bodies were freed, ultimately decreasing the gender gap.

Interested in seeing other examples of Rudi Gernreich's politically-informed designs? See more of his work here.

 

1. Johannes Porsch and Tanja Widdman, "I'm not in a humorous mood about clothing" in Rudi Gernreich: Fashion Will Go Out of Fashion, (Philadelphia, University of Pennsylvania, Philadelphia, 2001), 77.
2. Ibid., 77.
3. Ibid., 76.
4. Nancy Corwin, "The Kimono in American Art and Fashion, 1853-1996" in The Kimono Inspiration: Art and Art-To-Wear in America, ed. Rebecca A.T. Stevens and Yoshiko Iwamoto Wada, (Rohnert Park, Pomegranate Artbooks, 1996), 54.
5. Patricia A. Cunningham, "Artistic Dress in England: Visions of Beauty and Health" in Reforming Women's Fashion, 1850-1920: Politics, Health and Art, Patricia A. Cunningham, (Kent, The Kent State University Press, 2003) 115.
6. Akiko Fukai et. al, Fashion: A History from the 18th to the 20th Century, Volume II: 20th Century, (Kyoto, Taschen and The Kyoto Costume Institute, 20020, 361.
7. Amy De La Haye and Elizabeth Wilson, Defining Dress: Dress as Object, Meaning, and Identity, (Manchester, Manchester University Press, 1999), 3.

 

Fashion Birthday: Rudi Gernreich

 

Rudi Gernreich was born on this day in 1922! August 8, 2014 would have been his 92nd birthday. Born in Austria, Gernreich immigrated to the United States in 1938. After settling in Los Angeles, the fledgling designer produced his first collection in 1949. Intent on creating liberating designs, Gernreich would provoke and titillate the fashion industry and fashion consumers until his death from lung cancer in 1985.

The FIDM Museum is fortunate to have an extensive collection of Gernreich garments, patterns, and other ephemera. Together, these objects comprise the Rudi Gernreich Archive. We've featured Gernreich garments on our blog many times. To see other examples of Gernreich's work, revisit these archived posts.

Embroidered caftan
1970-75
Bequest of the Rudi Gernreich Estate
G85.331.2

Though this embroidered caftan bears an interior label reading "Rudi Gernreich," it wasn't designed by Gernreich himself. Based on the embellishment, we surmise that this multi-colored garment was purchased during a year-long sabbatical. In 1969, feeling fatigued by deadlines, Gernreich opted to take time off for "travel and rest."¹ As he told a reporter in late 1968: " 'I don't have cancer or a brain tumor or any incurable disease. I just want to refresh myself.' "² His first stop was reportedly North Africa, though this caftan suggests he also ventured to India.

Covered with embroidery, this caftan features shishadar or mirrorwork. This technique uses embroidery stitches to affix small bits of mirror to a durable base fabric and was likely developed as a way to mimic the alluring gleam of textiles embroidered with gold or silver thread. Shishadar probably originated sometime during the 17th century in the region now encompassed by Western India, Pakistan, and Afghanistan. Even today, it is used to decorate both garments and interior textiles. Though we don't have Rudi Gernreich's sabbatical itinerary, he probably purchased this caftan somewhere in western India, most likely in Gujarat.³ 

G85.331.2-detail. Note the mirrorwork at the top and right of this image.

The body-obscuring silhouette of this eye-catching caftan probably appealed to Gernreich's interest in liberating the body from constraining silhouettes. During his career, Gernreich designed many cocoon-like caftans. While on sabbatical, he purchased at least one other embroidered Indian caftan. Housed at the Kent State University Museum, it is extremely similar, but features different embroidery patterns. Like the caftan pictured here, it has a "Rudi Gernreich" label. He may have purchased them as gifts, or to retail under his own label as an embodiment of his ideas about clothing and its relationship to the body.

G85.331.2-Side view

 

1 Morris, Bernadine. "Gernreich Taking a Year Off 'to Rest' " New York Times (Oct. 16, 1968) 42.
2 Sheppard, Eugenia. "Rudi Gernreich Plans Year Off: Designer to Take Holiday From Fashion Deadlines." The Washington Post (Oct. 18, 1968) C6.
3 Whitley, Lauren. Hippie Chic (Boston: MFA Publications, 2013) 99.

 

Rudi Gernreich garments featured in A Queer History of Fashion

We're delighted that two Rudi Gernreich garments from our collection are featured in A Queer History of Fashion: From the Closet to the Catwalk at the Museum at FIT. Open through January 4, 2014, A Queer History of Fashion explores the "significant contributions to fashion made by LGBTQ (lesbian-gay-bisexual-transgender-queer) individuals over the past 300 years." Including approximately 100 ensembles ranging from 18th century menswear to 21st century high fashion, this exhibit honors the numerous, and often hidden, contributions of gay and lesbian designers. It has been getting wonderful press, so if you're in New York, don't miss it!

Rudi Gernreich (1922-1985) wasn't publicly out during his lifetime. Like many other well-known designers, Gernreich kept his sexual orientation hidden from the public. In private life, however, Gernreich was involved in important efforts to de-stigmatize homosexuality. In 1950, Gernreich became romantically involved with Harry Hay. Hay had been formulating an idea for an secret society supporting gay men, and was seeking like-minded men to join his group. Gernreich supported Hay's radical plan, and together with a small group of friends, they founded the Mattachine Society. The first branch of the Society was based in Los Angeles, though off-shoots soon emerged in other urban centers. With its emphasis on reducing isolation, and promoting common cause among gay men, the Mattachine Society was one of the earliest gay rights groups in the United States.

Caftan
Rudi Gernreich
1970
Bequest of the Rudi Gernreich Estate
G85.331.17

This caftan (one of two Gernreich caftans we loaned to A Queer History of Fashion) is the ultimate expression of Gernreich's dislike for fashions that confined movement. As a designer, Gernreich worked to liberate the body. His No-Bra bras, unlined bras offering a natural look, and the famous breast-baring monokini, demonstrate this effort. Though many of Gernreich's designs emphasized youthful bodies, with this caftan Gernreich proposed a unisex uniform for the elderly.

Created for Expo 1970, held in Osaka, Japan, this silk caftan was designed for maximum comfort. Instead of emphasizing the body, it was designed to abstract the body. In Gernreich's words, "If a body can no longer be accentuated, it should be abstracted."¹ To distract from the body, Gernreich enlisted both the voluminous silhouette and the colorful, abstract pattern. 

Like many of Gernreich's later designs, these caftans were intentionally unisex. To complete the unisex look, Gernreich recommended that both men and women shave their heads so that their gender was less recognizable. The designer's interest in unisex clothing can be considered another expression of his interest in sartorial liberation; dressing without regard to gender would allow both men and women to express themselves more fully, without regard for societal limitations.

See both of our Rudi Gernreich caftans in A Queer History of Fashion at the Museum at FIT through January 4, 2014. Hope you have a chance to see this exhibit! If you do, drop us a line and let us know what you think of Gernreich's unisex caftans.

1 "Fashion for the '70s." Life (Jan 9, 1970), 118.

Fashion Birthday: Rudi Gernreich

Rudi Gernreich was born on August 8, 1922; today would have been his 91st birthday. As a fashion designer, Gernreich was interested in freeing the body from physical and psychological constraints. His interest in experimentation was sometimes shocking. Gernreich's most infamous design is the breast-baring 1964 monokini swimsuit, which challenged commonly accepted notions regarding physical decency.

The FIDM Museum is extremely fortunate to house the Rudi Gernreich Archive, an extensive collection of Gernreich garments, accessories, patterns, furniture, scrapbooks, and other miscellanea. The Archive demonstrates Gernreich's wide-ranging creativity and includes nearly 1,000 objects. Most of the objects in the archive were donated to the FIDM Museum soon after Gernreich's death in 1985. This graphic ensemble, which was designed by Gernreich in the late 1960s, is an important part of the Archive.
Tunic Ensemble
Rudi Gernreich
Fall/Winter 1967-68
G2005.5.42A-C & G2006.5.23
Museum Purchase

Born in Vienna, Austria, Gernreich fled to Los Angeles in 1938 to escape escalating tensions caused by Adolf Hitler's rise to power; he would spend the rest of his life immersed in the Southern California art scene. In 1942, he joined the Lester Horton Dance Theater, where he performed modern dance and designed stage costumes. Gernreich left the troupe to focus on fashion, producing his first ready-to-wear line in 1952. Gernreich's early stage experience provided years of inspiration; his designs always combined ease of movement with theatrical flair. In 1967, he said: "Fashion has become play acting, spooking, wild, and charming. A woman can look like anything she wants—a schoolboy, a kindergartner, a gangster."¹

This look, nicknamed "Japanese Schoolboy," exemplifies the late-1960s fashion scene and its interest in androgyny. It consists of the same Breton-style hat, tunic, shorts, and knee socks first worn as school uniforms by boys in post-World War II Japan; clients could even purchase a matching knapsack. Gernreich's creation coincided with unrest in the Japanese educational system that culminated in the violent 1967-68 student protests.

1 Morris, Bernadine. "From Gernreich: The Belted Neckline" New York Times (May 10, 1967): 76.

 

Rudi Gernreich mini dress

Minidress
Rudi Gernreich
1967-68
Bequest of the Rudi Gernreich Estate
G85.331.1

Rudi Gernreich is probably best known for his most provocative creations, such as the monokini or this military ensemble. Though Gernreich was definitely interested in pushing fashion boundaries, some of his more light-hearted designs indicate an interest in non-Western dress. A specific focus on Asia reveals itself in the kabuki, kimono and Japanese schoolgirl dresses, all of which are loosely abstracted versions of garments worn in Japan. Gernreich also produced collections based on Chinese opera costumes and traditional garments of Thailand.

Transforming the Rudi Gernreich Archive

If you read this post, you'll know that the FIDM Museum houses an extensive Rudi Gernreich Archive. The Archive numbers nearly 1,000 items and includes not only garments and accessories, but patterns, furniture, scrapbooks and other miscellaneous items. We received the objects that now comprise the Rudi Gernreich Archive soon after Gernreich's death in 1985. At that time, the objects were placed in a separate storage area, away from the bulk of the FIDM Museum collection. Though intentions were good, objects were not always stored with an eye to long-term preservation.

Pages from one of the Gernreich swatch books.

Rudi Gernreich

 

California-based designer Rudi Gernreich (1922-1985) was no stranger to inciting controversy. Often called America's most avant-garde designer, Gernreich pushed fashion into new arenas rather than mining its past for inspiration. Gernreich's most notorious design, the 1964 topless bathing suit, bared the breasts of the wearer and was reportedly banned from beaches and retail stores. In early 1970, he introduced the Unisex look, which consisted of clothing intended to be worn interchangeably by both men and women. Gernreich was also an advocate of the Total Look, wherein hair, makeup and clothing were carefully coordinated to harmonize with each other.

Military ensemble
Rudi Gernreich
1970
Bequest of the Rudi Gernreich Estate
G85.331.3A-D