Bridge 3/Museum Post

19th Century Japan

Object 1

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This is Sleeping Cat (Numeri Neko) that was made in the 1890’s (The Meiji Period). It is satsuma-ware (porcelain) and it was an incredibly popular motif found in Japanese culture. Many of these sleeping cat statues, like this one found at The Japan Society, were made for export to western countries. Many foreigners that visited Japan in the 19th century took these statues with them as souvenirs as well. They became so popular for export that that is why they were made out of satsuma-ware, which is a material that the Japanese made specifically for export items.

This informs my research on Japan in the 19th Century because my research surround Japan’s opening up of their market to the rest of the world during that period of time. I am interested in Japan’s influence in western fashion due to this and the fact that the Japanese were creating items, in any art form, specifically for export to western market helps me to ask more questions about why Japan opened up to the rest of the world and the extent of it’s influence.

 

Object 2

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This is a Japanese inspired vase made by Tiffany and Co. in the 19th Century. Edward C. Moore worked for Tiffany and Co. at the time and was an avid Japanese art collector. He was the head designer and supervisor of the silver plant of Tiffany and Co. for the whole second half to the 19th century. The content and form of this design is specifically inspired by Japanese design. This is an example of the influence of Japan on American decorative arts.

Once again, this informs me in my research about Japan’s influence on the West during its opening to the rest of the world in the 19th century. This shows the major extent of the influence on American products and what was considered in trend and fashion of the time. This vase can be found at The Metropolitan Museum of Art in the Asian arts collection even though it is an American piece of art. I think this exemplifies Japan’s influence if an American piece can be included in the Asian arts collection at The Met.

 

 

FIT: Halston and Yves Saint Laurent/ Lauren Becall

Yves Saint Laurent/ Halston

1. Draw or sketch any pieces that are inspiring to you.

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2. Note three moments in the timeline for each designer that would be interesting to further research.

Yves Saint Laurent – 1958, Laurent shows his first couture collection at Dior dubbed the “trapeze,” 1971, Laurent shows his vintage-inspired “Forties” collection to great criticism from the press, 1975, Laurent continues to grow his business but is increasingly reclusive with a close-knit circle of friends, colleagues, and muses.

Halston – 1959, Halston leaves Lily Dache and starts working for Bergdorf Goodman in the custom millinery salon where he will meet many of his most prominent clients, 1972, Halston launches his ready-to-wear line “Halston Originals” and shows the first ultra suede shirtdress in its debut collection, 1980, Halston goes on a world tour to promote American fashion, visiting China with all of his “Halstonettes.”

3. Name the Jewelry designer that collaborated with Halston: JC Penny

4. What Music is playing in the exhibition? Disco Music!

Lauren Becall

1. Draw or sketch any pieces that are inspiring to you.

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2. Note three moments in the timeline that would be interesting to further research.

Her time as a new movie star in 1944, her influence in fashion in the 60’s, and her ongoing influence as she got older in 2011 in the fashion world.

3. Note an accessory designer mentioned in the exhibit: Gucci

4. Note any films that Becall starred in that seem interesting to you: To Have and Have Not, Sex and the Single Girl

Protest Through Clothing: The 60’s

Interview with my father, G. Douglas Swinford on the 1967 Summer of Love in San Francisco.

How old were you then?

“I was 16 years old. I had turned 16 in August.”

 

Where were you living, and what were you doing?

“I was living in Merrillville, IN and I was in high school going into my junior year. Getting my driver’s license was a big deal. I was going to public school, going out with my friends to cruise in the car and hang out at the McDonalds. I could not wear blue jeans in school except on casual Friday, and I had to wear a belt. I could not have hair that went over the top of my ears. I was also in summer school that summer for English because I had flunked and I was in Driver’s Education. I remember class started at 6am but I was done with everything at noon.”

 

How did you hear about the events in San Francisco (if at all), and what was your reaction at the time? Were your impressions of the hippies positive, negative, or some combination of the two — and do you now think those impressions were justified?

“I heard about it on the news on TV. I remember it being told as some party or something going on. There were only 4 channels on the TV. The pictures I saw were college students with long hair and interesting clothes. The opinion was a negative opinion I guess, I didn’t really care, they seemed like they were partying to me and I knew they were doing drugs. I wasn’t offended by it, but I was like “well okay..” thats all the way in California. You sort of looked at hippie’s like whats your deal? What are you going to do when you get older? I thought it was a little stupid, but I didn’t let it bother me since they weren’t hurting anyone. Woodstock in 1969 happened right after I graduated high school. I had registered for college, but I had to go down and register for the draft. I heard about this giant concert happening in upper state NY and I heard about all the amazing rock performers there for free and I wish I had seen that but my parents wouldn’t have let me go. The Charles Manson murders also happened that summer. I don’t know if my impressions were justified. A lot of these hippies have now become positions of authority and some of them like government programs now and I think thats strange. I didn’t have anything really against hippies, they were nice and peaceful people, I just didn’t really identify with them. They were the liberal, peaceful protesters and I understand why they were protesting Vietnam, and they didn’t trust the government. I still have my fringe jacket and my belt with the peace sign on it from that time. Vietnam was just a debacle, Johnson messed that up, it wasn’t right. I knew guys who went over to Vietnam and they told me stories when they got back. I had decided that if I got a draft number that I would enlist because I didn’t want my parents to pay for college for me and then possibly have to go over after and die. I got number 295, so I didn’t get drafted.”

If someone had offered you a ride to San Francisco to join the hippies that summer, how might you have responded?

“Uhhh sorry my parent’s won’t let me go. I definitely would have considered it but my parents would not have let me go. It was not up for discussion. I did let my hair grow a little past my ears after high school which was a small rebellion.”

Protest Through Clothing

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Diana Vreeland Assignment

Diana Vreeland – Vogue Editor in Chief

Vogue Fashion Editorial of Choice

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Clarke, Henry, Vogue’s Eye View: Summer in the City of Dreams — Udaipur. Photograph. From: Vogue. New York: Conde Nast Publications, Jun 01, 1967. Pages 84 – 109.

Vogue Fashion Editorial Photographed by Richard Avedon

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Avedon, Richard, Fashion: Cher-Okee: The New Indian Territory in Fashion. Photographed: Cher. From: Vogue. New York: Conde Nast Publications, Aug 15, 1970. Pages 76 -81.

Vogue Editorial with “Space Age’ as a Trend

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Vreeland, Diana, Fashion: Paris Fashion: The Editor’s Report. Photograph. From: Vogue. New York: Conde Nast Publications, Mar 01, 1965. Page 104-105.

 

Diana Vreeland – Harper’s Bazaar Fashion Editor

Cover of Choice

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Avedon, Richard, “Cover: Harper’s Bazaar.” Photograph. From: Harper’s Bazaar. New York: Hearst Magazine Inc., January 01, 1952

Editorial of Choice

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Dahl-Wolfe, Louise, “The Home Front,” Photograph. From: Harper’s Bazaar. New York: Hearst Magazines Inc., May, 1943. Pages 38-44.

Harper’s Bazaar “Why Don’t You…”

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Vreeland, Diana. “Why Don’t You…” Photograph. From: Harper’s Bazaar. New York: Hearst Magazines Inc., September 01, 1936. Pages 82-83.

Diana Vreeland: The Eye Has to Travel notes

 

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