tag:blogger.com,1999:blog-30691064072425515942024-02-20T08:14:55.669-05:00Fashion is My MuseCommentary on the intersection of fashion, art, books, history and life by Ingrid Mida.Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comBlogger606125tag:blogger.com,1999:blog-3069106407242551594.post-34157388093972511382015-11-03T11:08:00.004-05:002015-11-03T17:30:36.328-05:00My new website <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8T3QLl8ANW__7FaaVa89t9KVmRU8wvaYwynRBhleM_4mxq8h20EIibsHmaGPWphS-Iqe4fN6Reyfc-eoR2UcKDJyL2FrCugfe1vGk0hrYExP9w7ARcvkN8Ifm962WPRY_kQNEyPsYrL7a/s1600/Dress+Detective_Web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8T3QLl8ANW__7FaaVa89t9KVmRU8wvaYwynRBhleM_4mxq8h20EIibsHmaGPWphS-Iqe4fN6Reyfc-eoR2UcKDJyL2FrCugfe1vGk0hrYExP9w7ARcvkN8Ifm962WPRY_kQNEyPsYrL7a/s640/Dress+Detective_Web.jpg" width="489" /></a></div>
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With the launch of <a href="http://www.bloomsbury.com/uk/the-dress-detective-9781472580535/" target="_blank">The Dress Detective: A Practical Guide to Object-based Research in Fashion</a> set for 19 November 2015, I have decided to create a new website that better reflects my current research and interests. I invite you to visit me there and stay tuned for updates on upcoming speaking engagements and other projects.<br />
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New Website: <a href="http://www.ingridmida.com/">www.ingridmida.com</a>Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-37926845944085950392014-09-28T20:00:00.000-04:002015-02-05T15:40:53.519-05:00The end<span style="font-size: large;">Dear reader,</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The time has come to end this blog. I have moved onto other things, embarking on my PhD in art history at York University while also working part-time at Ryerson University as Collection Co-ordinator and Acting Curator of the <a href="http://www.ryerson-fashion-research-collection.com/" target="_blank">Fashion Research Collection</a>. One scholarly book is almost complete and due for release in fall 2015 (<b><i>The Dress Detective: A Practical Guide to Object-based Research in Fashion </i></b>by Ingrid Mida and Alexandra Kim for publication by Bloomsbury Academic in the UK), and another book with Bloomsbury Academic is in the proposal stage. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">I have enjoyed the time I spent on this blog. Not only did it create discipline for my writing, but it put me in touch with a whole range of wonderful people who also shared my love of dress history, fashion and art. Thank you to all that offered your comments and emailed me. I wish there were more hours in the day to stay in touch and to continue to write on this forum, but I think the time has come to say so long. I have debated about whether or not to delete this blog, but I think I shall leave it intact, as a testament to what you can achieve - if you truly are passionate about a subject. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Although I have taken an unconventional path to being where I am, I don't regret any of the twists and turns I have made. From my roots in architecture, through to finance, and then back into art, fashion and curatorial practice, I've harnessed my inquiring mind, powers of observation and analysis skills to absorb all that I can. Although one might imagine that there are no commonalities between finance and curatorial practice, both share a requisite high level of attention to detail. And between drawing and curatorial practice, both require that same level of focus to really see what is presented before you, whether trying to make an accurate drawing or to read the evidence in a dress artifact. So it has all been good.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And so dear reader, this is the end of my blog. <b>Of course, you can still find me on Twitter @Ingrid_Mida. </b></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">With my very best wishes,</span><br />
<span style="font-size: large;">Ingrid Mida</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b><i>From the end spring new beginnings. </i></b></span><br />
<span style="font-size: large;">Pliny the Elder</span><br />
<span style="font-size: large;"><br /></span>
Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-66739979959107741412014-08-16T14:00:00.000-04:002015-02-05T15:39:36.245-05:00My Mother/Myself<div class="MsoNormal">
<span lang="EN-US"><i>My Mother/Myself </i>is the title of a series of photographs that I created several years ago with some of my mother's dresses. In this series, I gave visual representation to my deep sorrow at having to bare witness to my mother's suffering from the later stages of Parkinson's Disease. </span></div>
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<span lang="EN-US" style="font-size: 20.0pt;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib37PseVksuxCrG512y_UMIQIFCN9rHeGrAndFqrfO5pSC4eAYoQP4bROtYh2mVkNqLtZ7Arb8Yc_ELw3j_pMUKcjoiiCB1J7e-UKbZT9N0XsQioXcq31Mw6MJRN7iuCRmYsJ1pFWSOIpi/s1600/Gold+dress+(WM%2Bcopy).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib37PseVksuxCrG512y_UMIQIFCN9rHeGrAndFqrfO5pSC4eAYoQP4bROtYh2mVkNqLtZ7Arb8Yc_ELw3j_pMUKcjoiiCB1J7e-UKbZT9N0XsQioXcq31Mw6MJRN7iuCRmYsJ1pFWSOIpi/s1600/Gold+dress+(WM+copy).jpg" height="640" width="451" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My Mother/Myself 1 by Ingrid Mida </td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">My mother Magdalene Masak passed away on August 13, 2014 and her obituary was published in <i>The Globe and Mail</i>. I take much comfort from the fact that her suffering has ended and that I was with her for the last hour of her life. </span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 20.0pt;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit_A6Ejmu3cweOFvA7ngj70A9N19vUwVEkW7BIi4NlsTRuYpQXZy4UwUvACFGnvodrxsVeF1muz39fJwEhhgekPkTP27SrbEWP5TKtoBQztU8T5LShXG4KdSFv2gFMVEVoOvsDn2FwQit9/s1600/Magdalene+Holzhaus+1943003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit_A6Ejmu3cweOFvA7ngj70A9N19vUwVEkW7BIi4NlsTRuYpQXZy4UwUvACFGnvodrxsVeF1muz39fJwEhhgekPkTP27SrbEWP5TKtoBQztU8T5LShXG4KdSFv2gFMVEVoOvsDn2FwQit9/s1600/Magdalene+Holzhaus+1943003.jpg" height="640" width="432" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Magdalene Holzhaus Masak (about 1950)</td></tr>
</tbody></table>
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<span lang="EN-US">This is the text from my tribute that I will give this afternoon at her memorial service:</span></div>
<div class="MsoNormal">
<br /></div>
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<span lang="EN-US"><i>I would like to begin by thanking everyone who came today to honour my mother as well as those who have sent their condolences. A special thank you goes to Reverend Claudine
for being here with me shortly after my mom passed away to give her blessings
on my mom’s journey to heaven, as well as for her beautiful service today. <o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><i>If you knew my mom
or spent any time with her, you knew that she was very particular and wanted
things to be just so…. I suppose I’ve inherited that trait from her, and it
doesn’t make us easy people to love. So a heartfelt thank you to all of you
that loved my mom and that were patient and kind to her. <span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><i>My mother was born
into difficult circumstances in Germany in 1931, but rarely spoke of the hardships she
knew as a child. She never knew her father and she grew up without her mother’s
presence or love, and suffered from both privation and starvation during the
war. She came to Canada with the hope of a better life and learned English while
working as a nanny to a family in Montreal. It was in Montreal that she met Frank
Masak at a dance and the rest is history as they say. <o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><i>Privation during
the war made my mom very thrifty. Nothing was ever to be thrown away if it
could be reused or recycled. She was green, before that even was a thing. <o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
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<span lang="EN-US"><i>Education was
especially important to my mom since she was denied the opportunity to go to
university. She remade herself at age 40 when went back to high school to earn
her diploma and then studied at Seneca College to become a library technician. She
paid Tom and Peter to cook dinner and we all adjusted to having a working mom. </i></span><i>After the arrival of her 7 grandchildren, my mother took a keen interest in their studies and loved to share the news when one </i><i>of them brought home a stellar report card or a
prize. She seemed particularly proud when I told her about my upcoming book and
that I would begin my PhD studies in art history this fall.</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><i>My mother loved
music. She took me to concerts as a child and we stood at the back of the
concert hall or up in the rafters listening to classical music whenever and
wherever we could. She took much joy in the musical accomplishments of her
grandchildren, in particular Jon, who played piano as well as cello for her
often. <o:p></o:p></i></span></div>
<div class="MsoNormal">
<span lang="EN-US"><i><br /></i></span></div>
<div class="MsoNormal">
<span lang="EN-US"><i>My mother’s life
was profoundly altered by Parkinson’s Disease. Sadly it was less than two years
after my father died of complications of Parkinson’s Disease that she was
diagnosed with the same cruel fate, and it robbed her of many joys that she
might otherwise have partaken with her beloved grandchildren. She was deeply
embarrassed by the tremors and she avoided joining in on family celebrations if
she was having a bad day. Mike, Jon, Conrad, Glen, Matthew, Gaby and Geneva
were deprived of her smile, even though she was feisty and spirited until the
end. <o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><i>There are so many
people that deserve a special thank you. This place, her final home, was a good
place – filled with people who showed her much kindness and patience. There are
so many of you who ministered to her with such love and tenderness, including Violet, Sangeetha, Angela, Fely, Emily, Citas, Isah and Lina. I bow my hat to you for being so gentle,
so kind and so tender with her. You were her angels on the ground – giving her the
special care that she needed and the love that she craved. <o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><i>I would also like
to give extend my deepest thanks to all those that helped support me through
this difficult journey with my mom, especially my dear friends Guela, Linda, Tracy and Maura. Thank you to my sons Mike and Jon, who were ever so patient with my
mom and would visit her on their own, something that brought her much happiness,
especially when Jon spoke or read to my mom in German, her native language. And I must
also thank the love of my life, my husband Dan, for loving me through it all and
holding me up when I did not think I could continue to bare witness to my mom’s
profound suffering. <o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><i>Not long after she
was diagnosed with Parkinson’s disease, I promised my mom that I would be there
for her in the end. I found that journey over 13 years to be very difficult at
times, but I am so grateful that I could be with my mom at the end for her last
hour of life here on earth. I read Psalm 23 and her other favourite passages that
she had underlined in her bible, and I whispered to her that we loved her and
that it was time to join Peter and my father in heaven. <o:p></o:p></i></span></div>
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<span lang="EN-US"><i>Her parting words to
me on Saturday were “I love you more than you know”. It is those words that I
share with you today, for although she might have said them sparingly, it was
love that lived in her heart and that is her legacy. Her love lives on in each
of us. </i><span style="font-size: 20pt;"><o:p></o:p></span></span></div>
Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-85209772866095364812014-04-30T08:32:00.000-04:002014-04-30T14:08:57.574-04:00Art as Therapy at the Art Gallery of Ontario <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUx9tw685Mxrgd5BmSEf1jM-SW4RxsdcgrgS9oMflLTM7KbuxOuCs0jtnnhb88Yi6KoKksKf6TghEEO1qaBCGohpH2E6M8vdjmTeYBVjYw33r0jVvVXgo379QGmGLqJaD10Gugg5YqcNVV/s1600/6844-ht500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUx9tw685Mxrgd5BmSEf1jM-SW4RxsdcgrgS9oMflLTM7KbuxOuCs0jtnnhb88Yi6KoKksKf6TghEEO1qaBCGohpH2E6M8vdjmTeYBVjYw33r0jVvVXgo379QGmGLqJaD10Gugg5YqcNVV/s1600/6844-ht500.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"I am half sick of shadows,' said The Lady of Shalott" (Alfred, Lord Tennyson, The Lady of Shalott, Part II), 1915 by John William Waterhouse (1849-1917) , Painting (oil on canvas 100.3 x 73.7 cm), , AGO Gift of Mrs. Philip B. Jackson, 1971. </td></tr>
</tbody></table>
It was a quiet opening. There was no press preview and no gala. And yet, the opening of the exhibit <i><b><a href="http://www.ago.net/art-as-therapy">Art as Therapy</a></b></i> by philosopher Alain de Botton and art theorist John Armstrong heralded in a new way of interpreting art and engaging audiences in museums.<br />
<br />
I have to admit my bias since I am a big fan of contemporary philosopher Alain de Botton's work, especially <i><a href="http://www.amazon.com/The-Architecture-Happiness-Alain-Botton/dp/0307277240/ref=sr_1_4?ie=UTF8&qid=1398857731&sr=8-4&keywords=Alain+de+Botton">The Architecture of Happiness</a>, <a href="http://www.amazon.com/Pleasures-Sorrows-Work-Vintage-International/dp/0307277259/ref=sr_1_11?ie=UTF8&qid=1398857731&sr=8-11&keywords=Alain+de+Botton">The Pleasures and Sorrows of Work</a>, <a href="http://www.amazon.com/The-Art-Travel-Alain-Botton/dp/0375725342/ref=sr_1_9?ie=UTF8&qid=1398857731&sr=8-9&keywords=Alain+de+Botton">The Art of Travel</a>, </i>and <i><a href="http://www.amazon.com/How-Proust-Change-Your-Life/dp/0679779159/ref=sr_1_10?ie=UTF8&qid=1398857731&sr=8-10&keywords=Alain+de+Botton">How Proust can Change your Life</a>. </i>Alain de Botton's writing is clear and to the point. He is also refreshing in his candour and willingness to take a fresh look at the world.<br />
<br />
The premise of the book <b><i>Art as Therapy</i></b> is that the conventional presentation of art in chronological format is too simplistic and didactic. In almost all cases, paintings and other forms of artwork are presented with a label that reveals the artist's name, date of production and provenance. This information does not help us interpret or engage with the artwork. Art as therapy suggests that a thematic presentation of the artwork - in terms of how it makes us feel - would offer a deeper layer of interpretation and engagement for the audience. Showcasing art in terms of its intent - whether political or religious or emotional - would bring the audience closer to the artist's intent for the work.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy5xfW74KJxw8J5vjrvNrnmel7F5FUWTRpFfnKC9GYIuQQaf9TWxiMdeReT-uF2hia0A6pKrrjV6bqS1bA_2X3zkp6EBc4aRHMjsj43Hj4Gb7NKYJdmssW8eldcTVYCffdfHEawKJSYAkH/s1600/6543-ht500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy5xfW74KJxw8J5vjrvNrnmel7F5FUWTRpFfnKC9GYIuQQaf9TWxiMdeReT-uF2hia0A6pKrrjV6bqS1bA_2X3zkp6EBc4aRHMjsj43Hj4Gb7NKYJdmssW8eldcTVYCffdfHEawKJSYAkH/s1600/6543-ht500.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Marches Casati by Augustus Edwin John (1878-1961), Painting (oil on canvas 96.5 x 68.6 cm) , AGO Purchase 1934,.</td></tr>
</tbody></table>
At the Art Gallery of Ontario, this premise has been used with selected works from the AGO collection chosen by John Armstrong and Alain de Botton defined by the themes of politics, sex, nature, love and money. The works include ones by Van Gogh, Gerard Richter, Andy Warhol, Kandinsky, John Waterhouse and many others. Installed in five different galleries linked by yellow arrows on the floor, visitors can "embark on a journey of discovery that will find them exploring different art, and a different part of themselves, in each space, or station". According to John Armstrong and Alain de Botton, art has a "powerfully therapeutic effect. It can variously help to inspire, console, redeem, guide, comfort, expand and reawaken us.”<br />
<br />
In walking through the installation, I was profoundly moved by the authors' interpretation of the artworks. In some cases, I was surprised to rediscover new interpretations of old favourites. I felt moved and challenged by the information offered on the labels. Sometimes I felt comforted and a little less alone. The work I saw felt more powerful than I had previously given it credit.<br />
<br />
Last night, Alain de Botton and John Armstrong also gave a talk about the premise of the exhibit and their experience in curating the work at the AGO. Alain de Botton was funny and self-deprecating in a way that made me wish he wouldn't stop talking. John Armstrong offered a quieter, more reflective analysis that gave depth to their unconventional approach to art curatorial practice.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8tqH-habDxaMjNC70YZzqiBK8m6PcyWo6GXMboPM4hBHk5xhQA6D9Pk-ra9CeWNvvzkFQalH7AP1V2LA54SzQTN18oypIHyK2-51vVR1rT76NOsjZy6RZwQKfObR7RK4I3gGhPUCzdl3S/s1600/578-ht500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8tqH-habDxaMjNC70YZzqiBK8m6PcyWo6GXMboPM4hBHk5xhQA6D9Pk-ra9CeWNvvzkFQalH7AP1V2LA54SzQTN18oypIHyK2-51vVR1rT76NOsjZy6RZwQKfObR7RK4I3gGhPUCzdl3S/s1600/578-ht500.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Les Sabots, 1768 by Francois Boucher (1703-1770), Painting (oil on canvas 62.2 x 52.1 cm) <br />AGO Purchase, Frank P. Wood Endowment, 1978. </td></tr>
</tbody></table>
There was a question period afterwards and at least two of the questions seemed to have been framed in a hostile manner, but this did not fluster the presenters, who showed grace and good form in their responses. I honestly felt surprisingly star struck and was unable to ask my questions:<br />
<br />
1. Is it not possible that each person sees something different in an artwork?<br />
<br />
2. If galleries are grouped thematically, might it not prevent some people from engaging with that artwork if they thought they didn't need or care about love, sex or nature?<br />
<br />
3. Sometimes artists create works and don't know why they have made that particular piece. They might write an artist statement afterwards - adding theory or artspeak - to give the illusion of depth when in fact, it was something deep, powerful and unspoken inside that precipitated the creation. Does it matter what their intent is in the end?<br />
<br />
4. If it is true that we crave in art what we are lacking (in the world around us), why are "beautiful" paintings like that of Fantin Latour not more popular? The contemporary art world seems to look down on the creation of "pretty pictures" as lacking in depth and meaning, when, in fact, creating those pretty pictures might be salve for the soul.<br />
<br />
Despite the fact that this low key show requires some effort and self-reflection, this is a show worthy of a special trip to the AGO. It is an opportunity to consider what role plays in our lives and offers a much needed and refreshing re-examination of art curatorial practice. The show will also be presented in the Netherlands and also in Australia. Of course, there is also the <a href="http://www.amazon.com/Art-as-Therapy-Alain-Botton/dp/0714865915/ref=sr_1_5?ie=UTF8&qid=1398857731&sr=8-5&keywords=Alain+de+Botton">book</a>.<br />
<br />
<b><a href="http://www.ago.net/art-as-therapy">Art Gallery of Ontario </a></b><br />
Art as Therapy, May 3, 2014 - April 26, 2015.<br />
<br />
All images courtesy of the Art Gallery of Ontario<br />
<br />
Notes:<br />
Read my reviews of <b style="font-style: italic;"><a href="http://fashionismymuse.blogspot.ca/2009/03/architecture-of-happiness.html">The Architecture of Happiness</a></b> and <b><i><a href="http://fashionismymuse.blogspot.ca/2011/01/book-review-how-proust-can-change-your.html">How Proust can Change Your Life</a></i></b> by clicking on the titles.<br />
<br />Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comArt Gallery of Ontario, Toronto43.6536066 -79.39251230000002118.131572100000003 -120.70110630000002 69.1756411 -38.083918300000022tag:blogger.com,1999:blog-3069106407242551594.post-63537043624432533882014-03-31T19:02:00.001-04:002014-03-31T19:02:11.125-04:00Fashion in the Museum: Dries van Noten Inspirations "<i><b>I make clothes people can wear; I don't make art. There is no point to clothes that don't sell.</b></i>"<br />
Dries Van Noten<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVozT2G8fkV2sdJp4sbUBXJ3154pzkRkRP7iaLf-AgyFS0EQAnBJWwP3L_-tH7cbctVe_7hyu8WS3UAYfWo_6itT0DsenZHlNPGRH3DdWIT_G2PNDJU6hSA1uNpZV7zFpyjRWLxevv4mlv/s1600/IMG_1847_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVozT2G8fkV2sdJp4sbUBXJ3154pzkRkRP7iaLf-AgyFS0EQAnBJWwP3L_-tH7cbctVe_7hyu8WS3UAYfWo_6itT0DsenZHlNPGRH3DdWIT_G2PNDJU6hSA1uNpZV7zFpyjRWLxevv4mlv/s1600/IMG_1847_LR.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dries Van Noten Garden Inspirations</td></tr>
</tbody></table>
Where does the spark of inspiration come from? For Dries Van Noten, the sources of inspiration seem to be as varied as the multitudes of flowers that fill his garden (both real and imagined).<br />
<br />
The exhibition <i>Dries Van Noten: Inspirations</i> at the Musée Les Art Decoratifs offers a sensory immersion into the designer's oeuvre by presenting his garments alongside a selection of objects that he has either used or linked to his work. Those objects are varied and include paintings, film, video, sculptures, as well as garments from the museum fashion archives including selections by Christian Dior, Elsa Schiaparelli, Thierry Mugler, Paul Poiret, Callot Soeurs, and Chanel.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS-xVOWaXAX1nxh_q9Jhv0pY1Uh7SujdYKuT-FqqTSYp6gntir31oGmDSPAlthYSkLJP8Q67WGoHKzooM8epLRYbAWSD_I0rI4fKKkUz9ai4-LS6rVy4b6sSunK2xDZffSfJKPmxfe9XjY/s1600/IMG_1848_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS-xVOWaXAX1nxh_q9Jhv0pY1Uh7SujdYKuT-FqqTSYp6gntir31oGmDSPAlthYSkLJP8Q67WGoHKzooM8epLRYbAWSD_I0rI4fKKkUz9ai4-LS6rVy4b6sSunK2xDZffSfJKPmxfe9XjY/s1600/IMG_1848_LR.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dries van Noten Inspirations, Gallery Shot </td></tr>
</tbody></table>
The room is very dark and labelling is minimal, but is provided in both French and English.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr4j7Q0AhU_umczNQ5ONKO7kp5yYb6mhXAWSbdN8inBoP_caL-YwZzFgsGbHE-oodNMyvSm6tP7FhAucfGKtC14RuqpyeZzqJmK5jy5aVoqs5fs3JurkNkQvNqH99mx-o240v7TYPi5WpL/s1600/IMG_1854_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr4j7Q0AhU_umczNQ5ONKO7kp5yYb6mhXAWSbdN8inBoP_caL-YwZzFgsGbHE-oodNMyvSm6tP7FhAucfGKtC14RuqpyeZzqJmK5jy5aVoqs5fs3JurkNkQvNqH99mx-o240v7TYPi5WpL/s1600/IMG_1854_LR.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dries van Noten Inspirations, Gallery Shot</td></tr>
</tbody></table>
Some of the artworks presented in the exhibition included:<br />
<br />
Gorden Anthony <i>Portrait of Cecil Beaton in costume</i> (1937)<br />
Nick Cave <i>Bunny Boy </i>video<br />
Yves Klein <i>Blue Venus</i> (1966)<br />
Elizabeth Peyton <i>Silver Bosie</i> (1998)<br />
John Singer Sargent <i>Portrait of Gabriel Faure</i> (1889)<br />
Kees van Dongen <i>Portrait of Madame Jasmy Alvin </i>(1925)<br />
Anthony van Dyck <i>Portrait of a Man</i> (XVIII century)<br />
Victor Vassely <i>Opus III</i> (1976)<br />
Li Xiaofeng's <i>Porcelain Lacoste Polo</i> (2010)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkM1YMdiCJE32l-WHosGLHqOcvf6R_Z6fN4xWIw0g0QKyYTO1yUNil4_wHQ34kAa9qasCDjaiSc8dX1jtNdOYxoVnfpYFGpplE5pn6_HRv26LEwL9b-gsWa5PaPPGWVvmuRi9NMVwA5rOn/s1600/IMG_1843_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkM1YMdiCJE32l-WHosGLHqOcvf6R_Z6fN4xWIw0g0QKyYTO1yUNil4_wHQ34kAa9qasCDjaiSc8dX1jtNdOYxoVnfpYFGpplE5pn6_HRv26LEwL9b-gsWa5PaPPGWVvmuRi9NMVwA5rOn/s1600/IMG_1843_LR.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Singer Sargent Painting of Gabriel Faure from 1889 in "Foppish" Gallery</td></tr>
</tbody></table>
<div>
The exhibit is a joyful exploration of a living designer's work, offering visual links between inspiration and product. It was evident to me that Dries van Noten's garments are unique garments that are reflective of a post-modern design sensibility that dips in and out of time, mashing up imagery, silhouettes, textures and styles into a unique pastiche for the modern man and woman. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHC6X2NeG9N_8BWMf7AzUHaR4mGo__Th80hJyeLh4xDguD5hn4LQyqMQArNmTpyA3cSbwpB_muA5nptkJoGawCvX8lWxU_gIGQO6ddht0BmAsrHrB7PVjshvfs2YerDqv2dv323JHKglhg/s1600/IMG_1844_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHC6X2NeG9N_8BWMf7AzUHaR4mGo__Th80hJyeLh4xDguD5hn4LQyqMQArNmTpyA3cSbwpB_muA5nptkJoGawCvX8lWxU_gIGQO6ddht0BmAsrHrB7PVjshvfs2YerDqv2dv323JHKglhg/s1600/IMG_1844_LR.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dries Van Noten Inspirations, Garden Gallery</td></tr>
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<b>Exhibition Summary: </b><br />
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What: 180 garments by designer Dries Van Noten + 100 other artifacts (paintings, sculptures, videos and other objects) juxtaposed to showcase the links between inspiration and garment.<br />
<br />
Where: <a href="http://www.lesartsdecoratifs.fr/english-439/exhibitions/forthcoming-events">Musée des Arts Decoratifs; 107 rue de Rivoli, Paris.</a><br />
<br />
Curated by: Pamela Gobelin in conjunction with Dries Van Noten<br />
<br />
Premise: Seeking connections between the garments created by Dries Van Noten and the inspirational spark that fuelled his creative process, including paintings, film, video, and the work of other designers such as Balenciaga, Christian Dior, Jeanne Lanvin, Elsa Schiaparelli, Charles Frederick Worth.<br />
<br />
Organization: Thematic. Displays are grouped into galleries with titles like <i>Gold, Graphic, Uniform, Foppish, Iconoclast, The Garden</i><br />
<br />
Mannequins: Abstracted mannequin forms in black with no faces or hair. Many have articulated wooden arms with hands.<br />
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Displays: Behind glass cases with lighting emphasizing the forms.<br />
<br />
When: March 1st to August 31st, 2014.<br />
<br />
Price: <a href="http://www.lesartsdecoratifs.fr/english-439/exhibitions/forthcoming-events">8 Euros (Advance tickets available online). </a><br />
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Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-67577502930865353822014-03-13T16:00:00.000-04:002014-03-13T16:00:02.888-04:00Fashion in the Museum: Upcoming exhibitions for Spring 2014There can be no doubt that fashion exhibitions are in fashion, and the list of upcoming exhibitions of fashion in the museum is long. I've highlighted some the exhibits that I am keen to see in spring 2014. <div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNkr3CGQuLA1GzRww4SSD03pDsdTF8cvnlCcCJlsJU3JmoDvgkqmK_e4bKOGMWYpo7ebEZu58QFnJwWquFgBYdp-Jh1hTuTjCwDdp3YVIcJSLB6_sCjuCAQsLivWaYZ4uemQAV2hTDQJIn/s1600/costume-institute-charles-james02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNkr3CGQuLA1GzRww4SSD03pDsdTF8cvnlCcCJlsJU3JmoDvgkqmK_e4bKOGMWYpo7ebEZu58QFnJwWquFgBYdp-Jh1hTuTjCwDdp3YVIcJSLB6_sCjuCAQsLivWaYZ4uemQAV2hTDQJIn/s1600/costume-institute-charles-james02.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Charles James Gowns photographed by Cecil Beaton, 1948</td></tr>
</tbody></table>
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<div>
<b><i>Charles James: Beyond Fashion</i></b></div>
<div>
<a href="http://www.metmuseum.org/en/about-the-museum/museum-departments/curatorial-departments/the-costume-institute">Costume Institute at the Metropolitan Museum of Art in New York</a></div>
<div>
May 5 - August 10, 2014</div>
<div>
Curators: Harold Koda and Jan Glier Reeder</div>
<div>
Premise: “Charles James was a wildly idiosyncratic, emotionally fraught fashion genius who was also committed to teaching. He dreamt that his lifetime of personal creative evolution and the continuous metamorphosis of his designs would be preserved as a study resource for students. In our renovated galleries, we will fulfill his goal and illuminate his design process as a synthesis of dressmaking, art, math, and science.” (Harold Koda) </div>
<div>
On display: 75 notable garments created by James from 1920 until his death in 1978</div>
<div>
Exhibition Catalogue link <a href="http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Dstripbooks&field-keywords=Charles%20James%20Beyond%20Fashion">here</a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMnAApNC4kvQEscWlQKIzWqFP025D_We2QWX2hUwRbjYECO8jKhxh5e6dKcAAKWdMTYiTSIDJngVcQLIAyshnKW-uYfU_RvFzkEGtJUUrF81Pu3vv5lgJfSYbCw_gSO6ex1LM4z93w_vkx/s1600/jpeg.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMnAApNC4kvQEscWlQKIzWqFP025D_We2QWX2hUwRbjYECO8jKhxh5e6dKcAAKWdMTYiTSIDJngVcQLIAyshnKW-uYfU_RvFzkEGtJUUrF81Pu3vv5lgJfSYbCw_gSO6ex1LM4z93w_vkx/s1600/jpeg.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cover of <i>Dries van Noten - Inspirations</i></td></tr>
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<div>
<b><i>Dries van Noten -- Inspirations</i></b></div>
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<a href="http://www.lesartsdecoratifs.fr/english-439/exhibitions/forthcoming-events">Musée de Les Arts Decoratifs in Paris</a></div>
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March 1 - August 31, 2014</div>
<div>
Curator: Pamela Gobelin</div>
<div>
Premise: "about everything that sparks the creative process" (Pamela Gobelin) </div>
<div>
On display: 150 garments paired with 200 artworks, photographs, film clips "that have triggered the designer’s imagination throughout his life and career"</div>
<div>
Exhibition Catalogue link <a href="http://www.amazon.com/Dries-Van-Noten-Pamela-Golbin/dp/9401414742/ref=sr_1_1?s=books&ie=UTF8&qid=1394740173&sr=1-1&keywords=Dries+van+noten+inspirations">here</a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPGp-s4TjB7dW9aNWaRnSdkPA6j6zODujopib_hU2_Aa8KQHvPAHG1yqmH81DqlRiBI1aBxAK3D88iwx54hIoJumcSjV1SQmIVb7WaCYK7bVDCa7ZecY9tmBTd5kr202X_dVs9AY9mlOWN/s1600/jpeg-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPGp-s4TjB7dW9aNWaRnSdkPA6j6zODujopib_hU2_Aa8KQHvPAHG1yqmH81DqlRiBI1aBxAK3D88iwx54hIoJumcSjV1SQmIVb7WaCYK7bVDCa7ZecY9tmBTd5kr202X_dVs9AY9mlOWN/s1600/jpeg-1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cover of <i>Coming into Fashion: A Century of Photography</i></td></tr>
</tbody></table>
<div>
<b><i>Papier glacé or A Century of Fashion Photography at Conde Nast</i></b></div>
<div>
<a href="http://www.palaisgalliera.paris.fr/en/exhibitions/papier-glace">Palais Galliera, Musée de la Mode de la Ville de Paris</a></div>
<div>
March 1st to May 25, 2014</div>
<div>
Curated by: Foundation for the Exhibition of Photography, Minneapolis. </div>
<div>
Premise: thematically considers the links between photographers that have shaped the images of Vogue magazine</div>
<div>
On display: 150 original prints from leading fashion photographers from 1918 to today plus 15 ensembles of haute couture from the Palais Galliera</div>
<div>
Exhibition link <a href="http://www.amazon.com/Coming-Into-Fashion-Century-Photography/dp/3791347470/ref=sr_1_1?s=books&ie=UTF8&qid=1394740128&sr=1-1&keywords=A+Century+of+Fashion+Photography">here</a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_iwCKwclQm4cfOP5Wp4LoyvbOIh_xSaLP4EVxZuIi-812o5j-oZa8fSBOHGMX6rOOa8ng0qqHXrJrwsXFJlTeNUqWDwKssAegp3k4CzQQXqCewW66aLqevHvY_jowpVpkcuWBw0tdlgiy/s1600/jpeg-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_iwCKwclQm4cfOP5Wp4LoyvbOIh_xSaLP4EVxZuIi-812o5j-oZa8fSBOHGMX6rOOa8ng0qqHXrJrwsXFJlTeNUqWDwKssAegp3k4CzQQXqCewW66aLqevHvY_jowpVpkcuWBw0tdlgiy/s1600/jpeg-2.jpg" height="320" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cover of <i>Elegance in a Time of Crisis: Fashions of the 1930s</i></td></tr>
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<div>
<b><i>Elegance in a Time of Crisis: Fashions of the 1930s</i></b> </div>
<div>
<a href="http://www.fitnyc.edu/21912.asp">FIT Museum in New York</a></div>
<div>
February 7 - April 19, 2014</div>
<div>
Curator: FIT Deputy Director Patricia Mears and special consultant G. Bruce Boyer</div>
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Premise: "how clothing creators of the 1930s, despite the crippling financial crisis and dire political environment, spearheaded new stylistic ideas and wed them to emerging technologies"</div>
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On display: Womenswear and menswear from the 1930s</div>
<div>
Online exhibition link <a href="http://exhibitions.fitnyc.edu/fashions-of-the-1930s/">here</a></div>
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<div>
Exhibition link <a href="http://www.amazon.com/Elegance-Age-Crisis-Fashions-1930s/dp/0300204205/ref=sr_1_1?s=books&ie=UTF8&qid=1394740080&sr=1-1&keywords=elegance+in+the+age+of+crisis">here</a></div>
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Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-88348001506435498862014-01-26T09:30:00.000-05:002014-01-26T09:31:19.702-05:00Upcoming Lecture Series: The Social History of Dress in 19th Century Canada <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOeWJ-tgvjAKybXuAolUHQYbrOsvB0-ELm_25hkUaBQK5-PBHycwnetY7zES5aPvtiYzbOf6G3ENVZfdTyhwF6mBc5UmWPIcoREsh-Iji2-N5ycBhrjOVSSHbdO5BKD8wR7SGKWfFXSoxC/s1600/SocialHistoryofDress001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOeWJ-tgvjAKybXuAolUHQYbrOsvB0-ELm_25hkUaBQK5-PBHycwnetY7zES5aPvtiYzbOf6G3ENVZfdTyhwF6mBc5UmWPIcoREsh-Iji2-N5ycBhrjOVSSHbdO5BKD8wR7SGKWfFXSoxC/s1600/SocialHistoryofDress001.jpg" height="640" width="500" /></a></div>
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Do you have some old family photographs but don’t know when they were taken? Do you know some of the major fashion innovations and stylistic changes in the 19th century that can be of help in dating old photographs?<br />
<br />
If you want to learn more, please join me for this <a href="http://torontofamilyhistory.org/ai1ec_event/social-history-of-dress/?instance_id=">two-part lecture series</a> at the North York Central Library branch in Toronto. This course is intended as a primer on the social history of dress seen in 19th century photographs from the Victorian age to the Edwardian age, with a special emphasis on Canadian history.<br />
<br />
Victorian photography offers a glimpse into another time.
Not long after photography was invented in 1839, the medium allowed families
and individuals to preserve their likeness in a matter of minutes. For the
first time in history, all classes of society could stop time, preserving the
reflected light of their image for generations to come. These images are
embedded with clues related to codes of dress and behaviour marking them as
mirrors of their age.<br />
<br />
The lectures will be illustrated and there will be handouts. Weather permitting, I hope to bring in a small selection of 19th century artifacts, such as fashion journals, garments and accessories, as well as examples of Victorian photographs including a daguerreotype, tintype, carte des visites, and cabinet cards. To close, there will be a discussion on best practices for
the care of old photographs and extant garments to assist with preserving
precious family artifacts.<br />
<br />
The lectures will be held on Tuesday, February 18th and 25th from 2-4 pm.<br />
<br />
Advance registration is required. For further information, email courses@torontofamilyhistory.org or visit the <a href="http://torontofamilyhistory.org/ai1ec_event/social-history-of-dress/?instance_id=">Ontario Geneological Society </a>website.<br />
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<!--EndFragment-->Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comNorth York Central Library, 5120 Yonge Street, Toronto, ON M2N 5N9, Canada43.767998 -79.414703918.2459635 -120.7232979 69.2900325 -38.106109900000007tag:blogger.com,1999:blog-3069106407242551594.post-66906876966783012512013-12-08T10:15:00.000-05:002013-12-09T07:09:07.622-05:00What's on the December Fashion Exhibition CalendarWith the holiday season in full swing, stepping into a museum can bring a dose of beauty and grace into an otherwise busy schedule. Here are my top three picks of museum exhibitions for December 2013.<br />
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<a href="http://www.fitnyc.edu/21027.asp"><b><i>A Queer History of Fashion</i> at FIT Museum in New York</b></a></div>
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<tr><td class="tr-caption" style="text-align: center;">A Queer History of Fashion, FIT Museum</td></tr>
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This exhibition celebrates the influence of gay and lesbian designers on fashion and traces the origins of cross-dressing to its historical roots. This exhibit, co-curated by Valerie Steele and Fred Dennis, literally blew me away by its originality and the depth of research that underpinned its creation. Since I had expected a show that was contemporary in focus, I was surprised to learn that there is a 300 year history to consider, going back to the 18th century when cross-dressing “mollies,” foppish “macaronis,” and “men milliners” challenged gender roles. "This is about honoring the gay and lesbian designers of the past and present. By acknowledging their contributions to fashion, we want to encourage people to embrace diversity," said Dennis on the FIT Museum site. With an innovative presentation format that I had not seen in the FIT gallery before which moved the focus to the centre of the gallery away from the walls, the exhibit is also visually stunning. The show closes on January 4, 2013, but is also accessible through an <a href="http://queerfashionhistory.com/">exhibition website</a>. </div>
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<b><a href="http://palaisgalliera.paris.fr/en/exhibitions/alaia"><i>Alaia</i> at Palais Galliera in Paris</a></b></div>
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<tr><td class="tr-caption" style="text-align: center;">Alaia with his creations<br />
Photo from NY Times</td></tr>
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During the span of his career of over 30 years, French designer Azzedine Alaia has kept a low profile on the fashion scene, choosing to present his designs in small gatherings at his atelier in the Marais district of Paris, if at all. For the first time, Alaia's work is being exhibited at a museum in the newly renovated galleries of Palais Galleria Musee de la Mode in Paris. Having stepped outside of the fashion system to make what Alaia calls "clothes, not fashion", Alaia's beautifully crafted, elegant and timeless dresses, suits and ensembles show the influence of his training as a sculptor as well as his affinity for the work of Charles James (which he discovered when visiting the FIT archives in the 1980s). This exhibit of about 70 garments is hauntingly beautiful in its presentation and was curated by Olivier Salliard. The exhibit closes on January 26, 2013. </div>
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<b><a href="http://www.carnavalet.paris.fr/fr/expositions/roman-d-une-garde-robe"><i>The Novel of a Wardrobe: The Parisian Chic from the Belle Epoque to the 1930s</i> at Musee Carnavalet in Paris</a></b></div>
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<tr><td class="tr-caption" style="text-align: center;">Robe du Soir<br />
Photo sourced from exhibition website</td></tr>
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It is a rare treat to see the wardrobe of one woman on display and this exhibition presents about 400 garments and objects from the wardrobe of Alice Alleaume (1881-1969), including some extraordinary pieces from the House of Worth, Lanvin and Cheruit. Covering a period in which fashion for women changed from highly restrictive and ornate long gowns in the late 19th century to the freeing flapper gowns of the 1920s and the romantic silhouettes of the 1930s, the exhibit also includes accessories like jewelry, hats, gloves, and wigs, as well as prints and photographs. Curated by the Musee Galliera, the host venue for the exhibit is The Musee Carnavalet in the Marais district of Paris, and is worth a visit even though the labelling is only provided in French. The exhibit runs until March 16, 2014. </div>
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<b>Notice of copyright: </b></div>
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<b>All text and images on this blog are the copyright of Ingrid Mida, unless otherwise noted. The copying of posts, images and/or text without proper attribution is violation of copyright and legal action will be pursued.</b></div>
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Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-61430850625586136722013-11-11T19:00:00.000-05:002013-11-11T20:58:29.604-05:00On Winning AwardsWhen this post goes live, I will be at <a href="http://www.holtrenfrew.com/">Holt Renfrew</a> about to deliver my speech at the Ryerson University School of Fashion Awards Night. I am not winning an award, but I am the guest speaker, which is typically chosen from the pool of alumni. I assumed it was my job to say some inspirational words, so I decided to share a bit of my own story.<br />
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I am not intending to read my remarks, so it might not come out exactly like this. I pre-cleared my speech with the Awards Committee and one of them suggested that maybe I should read it so I wouldn't "miss a syllable". Let's just hope that this is one of those times that my words sound golden.<br />
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<tr><td class="tr-caption" style="text-align: center;">Ingrid Mida with the Lanvin gown<br />
Photo courtesy of the National Post</td></tr>
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Here goes:<br />
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<i>I already had a graduate degree when I signed up to do the Master of Arts degree at Ryerson. But this is the degree I had to work the hardest for. For my MA in Fashion, I juggled the needs of my husband and two teenage boys, the responsibility for my elderly frail mother, work and many other commitments. I also had to deal with my insecurities and doubts about going back to school as a mature student. If truth be told, I almost dropped out at the end of first term, not because I couldn’t handle it, but because I wasn’t sure that it would make any difference in the end. With the encouragement of Dr. Kimberly Wahl, I stuck with it and earned a cumulative GPA of 4.220. </i><br />
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<i>Perhaps the best part of my story began on February 12, 2012 when Dr. Alison Matthews David opened an unmarked door for me on the seventh floor of the library. Behind that door was a dusty room, packed with boxes, bins, cupboards, and racks of clothing, accessories and fashion ephemera. While most of the other students were reviled by what they saw -- the dust, the mess and the smell -- I saw opportunity. I stepped forward and took on a project that was far bigger, messier, and more difficult than I ever imagined. </i><br />
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<i>This was not the first time I’d taken on a challenging project, and I’ll admit there have been more bumps in the road than I like to remember. I did not do it for thanks, for an award or for press. What drove me forward was the knowledge that most students do not have the curatorial connections that I do, or the financial means to go anywhere else to do object-based research. Behind that door in the library, there were gowns by Balenciaga, Balmain, Dior, Nina Ricci, Valentino and other designers. There were also Canadian success stories like Ruth Dukas, Claire Haddad, Alfred Sung, Marilyn Brooks and Canadian labels like Holt Renfrew, Eaton's Simpson's, and Morgan's. All of these items had been neglected and forgotten for several years. </i><br />
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<i>I think I’ve helped ensure that it will be forgotten no more. And, I’m pleased to say that the collection is now safely stored in renovated facilities in Kerr Hall West. The images that you see on the posters behind me are examples of some of my favourite pieces in the collection and I would like to acknowledge that these lovely photographs were taken by Jazmin Welch with the help of Kate O’Reilly. </i><br />
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<i>There are many more beautiful garments that were not photographed - including a stunning ruby red silk velvet jacket by Christian Dior that just today</i><i> I matched to a photograph in Harper's Bazaar from September 1949. </i><i>- and I want to invite you to come and visit the Fashion Research Centre if you would like to see more. Or if you don’t have time to come in, check out the <a href="http://ryerson-fashion-research-collection.com/">collection blog</a> and <a href="http://www.pinterest.com/fashionismymuse/ryerson-fashion-research-collection/">Pinterest</a> sites. Or follow me on <a href="https://twitter.com/Ingrid_Mida">twitter</a>. My aim is to be the antithesis of the cranky curator – to make the Fashion Research Centre a welcoming and friendly place where there is no such thing as a stupid question. </i><br />
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<i>I would like to close by congratulating all of you for your achievements and awards. You should savour this moment and be proud of yourself. Celebrate and enjoy tonight. I hope you will continue to follow your dreams and live your passions. Make your mark. </i><br />
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Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comToronto, ON, Canada43.653226 -79.38318429999998243.285985999999994 -80.028631299999986 44.020466 -78.737737299999978tag:blogger.com,1999:blog-3069106407242551594.post-17943664518552702322013-11-02T09:49:00.000-04:002013-11-02T09:49:06.801-04:00Book Review: The Wedding Dress, 300 Years of Bridal Fashion by Edwina Ehrman<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Cover image of The Wedding Dress by Edwina Ehrman</td></tr>
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Museum collections often receive many offers of evening or bridal wear, since these garments are emblems of the emotional ties that such special event clothing can have for the wearer. Wedding dresses, in particular, are loaded with symbolism and embody memories of that special day. In present times, a wedding gown is typically white and only worn once, but this wasn't always so. Unpacking the complex history of the wedding gown is a book by Edwina Ehrman, Curator of Textiles and Fashion at the <a href="http://www.vam.ac.uk/">Victoria & Albert Museum</a> called: <b><i>The Wedding Dress, 300 Years of Bridal Fashions</i></b>.<br />
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This meticulously researched book draws on the extensive collection of wedding gowns in the Victoria & Albert Museum collection, as well as paintings, fashion plates, photographs, letters, memoirs, newspaper accounts and genealogical records. Not only does this book consider the history of the white wedding dress from 1700 to the present day, it addresses the cultural factors that have influenced and refreshed the stylistic changes over time.<br />
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The key chapters are organized in chronological format as follows:<br />
Silver and White, 1700-90<br />
The White Wedding Dress, 1790-1840<br />
Commercializing the White Wedding, 1840-1914<br />
Towards the Modern, 1914-45<br />
Ready-to-Wear, 1945-90<br />
Choosing White, 1990s to the present<br />
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Books on wedding dresses fill the shelves and I've read several books on this topic before. What makes this book by Edwina Ehrman stand out is the comprehensive level of research she has undertaken on the topic, and the inclusion of detailed footnote notations which provide a mechanism for academics and university students to trace her work to original source material. Even so, the book is highly accessible to a broad audience with its engaging writing style. I especially enjoyed the case studies, such as the purple silk grosgrain bodice and skirt worn by Harriett Joyce in 1899 because at age 35, she "considered herself too old a bride to wear white" (96-97). It is stories like this that give the book texture and personality.<br />
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The book includes sumptuous photographs of wedding dresses and the end material includes a list of wedding garments in the V&A Museum. Published in advance of the upcoming V&A exhibition <a href="http://www.vam.ac.uk/content/exhibitions/wedding-dress-1775-2014/wedding-dress-1775-2014-about-the-exhibition/">The Wedding Dress 1775-2014 </a>which will be on display (3 May 2014 to 15 March 2015), this book is not only a beautiful exhibition catalogue, but one that can be enjoyed by both brides-to-be, academics, dress historians, and anyone else who might enjoy learning more about the tradition of the wedding dress. <br />
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Title: <a href="http://www.amazon.com/Wedding-Dress-Years-Bridal-Fashions/dp/1851775064/ref=sr_1_1?s=books&ie=UTF8&qid=1383398976&sr=1-1&keywords=the+wedding+dress+300+years+of+bridal+fashions">The Wedding Dress, 300 Years of Bridal Fashions</a><br />
Author: Edwina Ehrman<br />
Publisher: V&A Publishing, 2011.<br />
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Exhibition: <a href="http://www.vam.ac.uk/content/exhibitions/wedding-dress-1775-2014/wedding-dress-1775-2014-about-the-exhibition/">The Wedding Dress 1775-2014</a><br />
<a href="http://www.vam.ac.uk/">Victoria & Albert Museum</a>, London, UK<br />
3 May 2014 - 15 March 2015<br />
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P.S. I wore a cream wool and satin wedding suit by French designer <i>Thierry Mugler</i> for my wedding on November 8, 1991. That suit still hangs in the back of my closet, imbued with the memories of that special day.<br />
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<i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">Notice of copyright: </span></b></i><br style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;" /><i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">All text and images on this blog are the copyright of Ingrid Mida, unless otherwise noted. The copying of posts, images and/or text without proper attribution is violation of copyright and legal action will be pursued.</span></b></i><br />
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<br />Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-14124660554252236042013-10-27T21:15:00.000-04:002013-10-28T16:09:21.225-04:00On this and that... <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Dress Collection of the Lousiana State Museum<br />
Photo by Ingrid Mida 2013</td></tr>
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I don't usually ramble, but have not written on this blog in over two weeks. It feels like no time and a lifetime all in one. People often ask me how I get so much done, and yet I often wonder where does the time go?<br />
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If you missed it, there was an article written by Nathalie Atkinson of the National Post about my work in editing the <a href="http://ryerson-fashion-research-collection.com/">Ryerson Fashion Research Collection</a> called "<a href="http://life.nationalpost.com/2013/10/19/lanvin-in-the-library-why-and-how-fashion-schools-maintain-archives-of-clothing/">Lanvin in the Library</a>". My elderly mother, who was once a librarian, loved the title, and finally understood what it is that I do - to her, I'm like a librarian for old clothes! I've also had lots of questions about whether I ever try on clothes in the collection, and that is something that is strictly forbidden by International Committee of Museums Practice Guidelines. Doing so would be considered highly unethical. I cannot say that I haven't been tempted to do so - who can resist a <i>Dior</i> after all - but I must resist and I do. I've never, ever done so and shudder with horror and yell out "THAT IS NOT ALLOWED" when someone looks like they are going to....<br />
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I couldn't be more pleased with the coverage for the Collection. A very generous and kind donor (who prefers to remain anonymous) offered to cover the cost of the cataloguing software for the collection. This the first step in helping to ensure its longevity. Funding at the university is very, very tight, and since all fundraising efforts must be co-ordinated by the Development Office, technically I am not even allowed to ask for money.... But, I believe so very passionately in what I do and just love to help students, and hope and pray that a generous donor will step forward to help ensure this collection lives on.<br />
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Besides the article, I've been writing weekly posts for the <a href="http://ryerson-fashion-research-collection.com/">Ryerson Fashion Research Collection</a> blog, working on the responding to the review comments for my book proposal for an academic publisher, as well as editing of the next issue of the <i>Costume Journal</i>. And of course, my Phd proposal will soon be demanding attention too!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-gQpf8iuGWIfO9GMZq63WdRkuNLYYXLNIDAw9njXobAZXDxdu3__GCsqDow8AUturDAo0X82pSnrhyphenhyphenBJkEkv9OhPgqNIlpMi00z27N7FA153SwqgpgTBwsS4u3EMBiV8bd1tpizkduwJh/s1600/LouisianaStateMuseum_IMG_1548_LRcopy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-gQpf8iuGWIfO9GMZq63WdRkuNLYYXLNIDAw9njXobAZXDxdu3__GCsqDow8AUturDAo0X82pSnrhyphenhyphenBJkEkv9OhPgqNIlpMi00z27N7FA153SwqgpgTBwsS4u3EMBiV8bd1tpizkduwJh/s400/LouisianaStateMuseum_IMG_1548_LRcopy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pair of shoes from 1760, Property of the Louisiana Sate Museum<br />
Photo by Ingrid Mida 2013</td></tr>
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Did I mention I was in New Orleans at the ITAA conference? One of the highlights was going behind the scenes at the <a href="http://www.crt.state.la.us/museum/collections/costumes_textiles.aspx">Louisiana State Museum: Costume, Textile and Carnival Collection</a>. This museum's collection dates back to the late 18th century including this lovely pair of silk shoes from 1760, with the majority of objects having a Louisiana provenance. I don't think I can ever tire of going behind the scenes.....<br />
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<i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">Notice of copyright: </span></b></i><br />
<i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">All text and images on this blog are the copyright of Ingrid Mida, unless otherwise noted. The copying of posts, images and/or text without proper attribution is violation of copyright and legal action will be pursued.</span></b></i><br />
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<br />Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-75241994813914108952013-10-12T09:30:00.000-04:002013-10-12T09:37:13.097-04:00Engaging Students with Objects <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcEYG8mKyL2bN5oa_pigeTcXaYbBsljKc6An6mrFgtCa-1ABvJHE09RwjWkXphrYsiSRqcDWv2h263bt3x_Zw6B3u3Cl95iHjH6A83ksGkhHicuZ1wbv3-Q-51Jjo4adPU0MPjuGlkbQzQ/s1600/FRC_ACC_Other_1989.02.0_FRT_Web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcEYG8mKyL2bN5oa_pigeTcXaYbBsljKc6An6mrFgtCa-1ABvJHE09RwjWkXphrYsiSRqcDWv2h263bt3x_Zw6B3u3Cl95iHjH6A83ksGkhHicuZ1wbv3-Q-51Jjo4adPU0MPjuGlkbQzQ/s640/FRC_ACC_Other_1989.02.0_FRT_Web.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Black silk parasol with cream cordwork embroidery, c.1900-1910.<br />FRC 1989.02.001</td></tr>
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The weather looks lovely in New Orleans for this coming week. I'll be flying down south on Tuesday afternoon to speak at the ITAA Conference on the topic of <b><i>Engaging Students with Objects: Preliminary Experiments in Reviving a Dormant Fashion Research Collection</i></b>.<br />
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Thanks to the support of Dr. Lu Ann Lafrenz, <a href="http://www.ryerson.ca/lt/grants/ltef/current/">a grant from the Learning & Teaching Office at Ryerson University</a>, and the work of two very talented students - Jazmin Welch and Kate O'Reilly - (who worked together to photograph 160 garments, accessories and other artifacts that I selected for this project), I have lots of beautiful images to chose from to illustrate my talk.<br />
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Here is the abstract:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2SC-sBNPDihNvt1oE1lI1c_V11T-kZHYfH40-oy3kqISQG4PAVkTYmJoeIbdwnBX_c9vlBShrmHhkPjC15zjH7yNRaOX1P5lK2huujAfNIFnW3O5wDH_4J-P02kZUkLMi9UW2MhWXW7C8/s1600/FRC_2pcEnsembles_1992.01.019_A+B_B34_Web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2SC-sBNPDihNvt1oE1lI1c_V11T-kZHYfH40-oy3kqISQG4PAVkTYmJoeIbdwnBX_c9vlBShrmHhkPjC15zjH7yNRaOX1P5lK2huujAfNIFnW3O5wDH_4J-P02kZUkLMi9UW2MhWXW7C8/s640/FRC_2pcEnsembles_1992.01.019_A+B_B34_Web.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Balenciaga Evening Gown, c.1957-1962<br />
FRC1992.01.019 A</td></tr>
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<b>Seeing a dress in a photo is a very different experience than feeling the weight of the fabric in hand, examining the details of cut, construction and embellishment, considering the relationship of the garment to the body or searching for evidence of how the garment was worn, used or altered over time. </b>Study collections offer students the opportunity to engage with actual objects, offering physical specimens for design inspiration and material culture studies. Susan Pearce conveyed the narrative power of artifacts when she wrote: “Objects hang before the eyes of the imagination, continuously representing ourselves to ourselves and telling the stories of our lives in ways which would be impossible otherwise”(1992).<br />
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The Ryerson Fashion Research Collection is a repository of several thousand items acquired by donation since 1981. Initially created as a teaching resource for the School of Fashion, the Collection was stored behind an unmarked door in the library, and for the past several years, lay dormant. In the past 18 months, I have undertaken the project to edit and re-establish this Collection as an accessible resource tool within the School of Fashion. In February 2012, when I commenced the project, the storage facility was in a state of disarray, stuffed with racks and boxes of clothing with no discernable method of organization. The database was degraded and the Collection was largely unknown by the student body. Since that time, the Collection has been substantially edited with a focus on identifying and retaining items that can be used to serve as examples of construction, design inspiration or material culture research and/or reflect the School of Fashion’s objectives of heritage, innovation, and diversity. This paper reflects on the preliminary experiments to encourage faculty and students to engage with objects from the Collection.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSN42PftKYlmL6tjSkE-bz2IKRDf8xpona32i8DxypAf_KA0tK6sp400BKbyL1wScIwlYzRHA8136wdoo5bBNauFe3OkoxgAdZsTa43KNZ9GqavtOncIPn9anl9GVttSBjixPY317qIjfN/s1600/FRC_Purses_2013.99.010_FRT_Web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSN42PftKYlmL6tjSkE-bz2IKRDf8xpona32i8DxypAf_KA0tK6sp400BKbyL1wScIwlYzRHA8136wdoo5bBNauFe3OkoxgAdZsTa43KNZ9GqavtOncIPn9anl9GVttSBjixPY317qIjfN/s640/FRC_Purses_2013.99.010_FRT_Web.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bakelite box purse, FRC 2013.99.010</td></tr>
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Engagement with objects is a long established pedagogy that can serve to mediate substantive meaning and context (Simpson and Hammond 2012). In fact, object-based learning used to be an integral part of learning in the 19th and early part of the 20th centuries (Chatterjee 2010). At Ryerson School of Fashion, objects such as textile samples, books of laces, patterns, drawings, historic dolls in period costume, fashion magazines and garments were actively used in the classroom from 1948 when the Fashion Department was first set up. In 1981, the Fashion Research Collection was formally established as a separate entity, but by the time this project was initiated in 2012, objects from the Collection were rarely used within the classroom setting.<br />
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In the face of budgetary pressures, the long-term viability of a university collection demands that the collection be actively used. Simpson and Hammond assert that in order to maintain material collections, it is “essential to extract the maximum amount of value from them in supporting the business of the university”. With a degraded database, layers of dust, and years of non-use, few people knew what was in the Ryerson Fashion Research Collection. Dr. Lu Ann Lafrenz and I applied for and received an internal Learning & Teaching Grant in order to photograph one hundred key artifacts as a first step in opening up access to the Collection.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYhRo6QdqW3FG59d-wKSG9pgVo-G-30Rav9oUff0NPKVQiMMnXh9ZCi-1I6r2TeuSfwxvOlduKj5V2bct5YjwtNPa2Xwlrdos3tVPV6J6W2snwmbFGd27WK9ODubpNcokMSfYyqxoYd7Hx/s1600/FRC_Shoes_1987.04.001_A+B_F&L_Web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYhRo6QdqW3FG59d-wKSG9pgVo-G-30Rav9oUff0NPKVQiMMnXh9ZCi-1I6r2TeuSfwxvOlduKj5V2bct5YjwtNPa2Xwlrdos3tVPV6J6W2snwmbFGd27WK9ODubpNcokMSfYyqxoYd7Hx/s400/FRC_Shoes_1987.04.001_A+B_F&L_Web.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cream satin wedding slippers, c.1889 FRC1987.04.001 A+B</td></tr>
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Artifacts are effective teaching tools, providing a tangible connection to the past. Documenting, categorizing, and photographing these pieces and uploading of the images to a database will allow faculty to use these images as real examples within the classroom and hopefully encourage students to seek out the real thing. However, for faculty to include objects into their teaching platform, they must have knowledge of what is in the collection and an online collection facilitates that. Digitizing the Collection places the user in the center of the process, making the artifacts available when needed. Users will be able to browse the available images and search records such as title, designer, label, country of origin, general description, date of origin, condition and curatorial notes.<br />
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In a parallel process, preliminary experiments to integrate objects into the classroom were conducted on a limited basis in order to assess pedagogic strategies to support object-based learning. These experiments included: creating a rack of garments for faculty to use in teaching first year construction methods course; selecting historic objects for an in class exercise in object-based analysis for graduate students; offering Collection access to costume history students required to recreate garments; facilitating master’s level research into Edwardian period garments; and supporting a wardrobe analysis assignment at the undergrad level.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLcUlU09gn07TsI7JcH6hQnCbjv5uwviR4jLGwK28NBMRvRbDPPlXEjtOVO-2ufPnyLTg6edjaaFgdis2q-CKvwNC33VrrykhkXnWDDjhqyQsLzPxIJHJNom53no2oTZuKmGYAntro1RzL/s1600/FRC_Coats_2006.01.023_BCK_Web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLcUlU09gn07TsI7JcH6hQnCbjv5uwviR4jLGwK28NBMRvRbDPPlXEjtOVO-2ufPnyLTg6edjaaFgdis2q-CKvwNC33VrrykhkXnWDDjhqyQsLzPxIJHJNom53no2oTZuKmGYAntro1RzL/s640/FRC_Coats_2006.01.023_BCK_Web.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rei Kawakubo for Comme des Garcons, Women's Tailcoat<br />
FRC2006.02.02</td></tr>
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Anecdotal evidence from these preliminary experiments suggests that many students, and even some faculty, demonstrate initial reluctance to engage with actual objects. Even when encounters were facilitated, many students lacked the close observational skills and the patience required to make sense of an unfamiliar object. <b>In an aesthetic discipline where nothing is new in the endless recycling of elements from the past, knowledge and respect for real objects is critical. T</b>his paper will elaborate on strategies used to overcome this deficit in the re-establishment of the Ryerson Fashion Research Collection.<br />
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Credits: Photos by Jazmin Welch and copyright of Ryerson Fashion Research Collection (2013).<br />
<b>This project was partially funded by a <a href="http://www.ryerson.ca/lt/grants/ltef/current/">grant from the Learning & Teaching Office at Ryerson University.</a></b><br />
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References:<br />
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Chatterjee, Helen J. (2010) Object-based learning in higher education: The pedagogical power of museums. <i>University Museums and Collections Journal. </i>3: 179-181.<br />
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Pearce, Susan. (1992) <i>Museums, Objects and Collections: A Cultural Study. </i>London: Leicester University Press.<br />
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Simpson, Andrew & Gina Hammond. (2012) <i>University collections and object-based pedagogies. </i>University Museums and Collections Journal. 8: 75-81.<br />
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<b>Collection Website:</b> <a href="http://www.ryerson-fashion-research-collection.com/">www.ryerson-fashion-research-collection.com</a><br />
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<b>Pinterest:</b> <a href="http://www.pinterest.com/fashionismymuse/ryerson-fashion-research-collection/">http://www.pinterest.com/fashionismymuse/ryerson-fashion-research-collection/</a><br />
<br />Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-54745417000958441162013-10-07T03:00:00.000-04:002013-10-07T07:20:53.438-04:00120 Years of French Lingerie at the Design Exchange<div class="separator" style="clear: both; text-align: center;">
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<b><i>Our mothers used to spend a lot of time and money on lingerie and I think they were right. Real elegance is everywhere, especially in the things that don't show. </i></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk3Ig7Gb1GP-6npjSgi7YQWM-OEKOIQxvyTgvmnSgXjd1ViEcZmTlPfcAs52gMqMeFG063XIrsXS1iXFwkqr0wClv-uSUBBz3TzlFafxTZGLyaEZdCcv-vV2jCbv8ypNXYFuL50t_wrXoI/s1600/Corset_IMG_0419_WM.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk3Ig7Gb1GP-6npjSgi7YQWM-OEKOIQxvyTgvmnSgXjd1ViEcZmTlPfcAs52gMqMeFG063XIrsXS1iXFwkqr0wClv-uSUBBz3TzlFafxTZGLyaEZdCcv-vV2jCbv8ypNXYFuL50t_wrXoI/s640/Corset_IMG_0419_WM.jpg" width="438" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">19th century corset<br />
Carolle Patrimony<br />
Photo by Ingrid Mida 2013</td></tr>
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Lingerie shapes a woman's body, creating curves or flattening them depending on the fashionable silhouette of the time. <span style="font-weight: normal;">In the exhibit of French lingerie at the Design Exchange, curator Catherine Orman combed the archives of French lingerie manufacturers to create a display that traces the history of women's undergarments from the later part of the 19th century to the present day. </span></div>
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<span style="font-weight: normal;">My favourite part of the exhibit was the opening vitrine which features a number of corsets from the 19th century. These rigid forms, which created the ideal hourglass shape of the period, are confections of lace, ribbon and whalebone. One interesting feature of these corsets is the </span>corset busk<span style="font-weight: normal;">, a small upside-down hook that </span><span style="font-weight: normal;">was used to anchor the waistbands of petticoats to prevent it from shifting and/or creating bulk at the waist.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj17uTIhyphenhyphent0iIdhwXZHVLXeUhe_iIrCfFT64Oi3w-m1G-n3hr1CxC2bYzGw5ymK5YPAWMsIDev3KSDmctqGi7whrKGHLAyzqMHOZaxKNN68z1yjButXt46Hpkg7vPCUZRvbyIwY1It3JC7l/s1600/Buskhook_IMG_1489_WM.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj17uTIhyphenhyphent0iIdhwXZHVLXeUhe_iIrCfFT64Oi3w-m1G-n3hr1CxC2bYzGw5ymK5YPAWMsIDev3KSDmctqGi7whrKGHLAyzqMHOZaxKNN68z1yjButXt46Hpkg7vPCUZRvbyIwY1It3JC7l/s640/Buskhook_IMG_1489_WM.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Busk Hook<br />
Photo by Ingrid Mida 2013</td></tr>
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<span style="font-weight: normal;">This brassiere from 1918 is made of elasticized knit, rubber, and cotton, and has an underwire of whalebone. Brassieres were a new form of undergarment after women cast off their corsets, and more than one person has claimed to have be the inventor. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjot57mFHBdegrDAFEL4dpHdqLHIgiU2JHh7irK1rr00m8BMC5TFK22320Wt1oqL4eixginwodDCKqJyg6VA_lJE5l-h9bYKDDjQtTAdgwDxdBlmXDNMPnuqqneSGsPtMT-jDxcb6JqsQ9h/s1600/Bra_1918_IMG_1492_WM.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjot57mFHBdegrDAFEL4dpHdqLHIgiU2JHh7irK1rr00m8BMC5TFK22320Wt1oqL4eixginwodDCKqJyg6VA_lJE5l-h9bYKDDjQtTAdgwDxdBlmXDNMPnuqqneSGsPtMT-jDxcb6JqsQ9h/s640/Bra_1918_IMG_1492_WM.jpg" width="476" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bra 1918<br />
Chantelle<br />
Photo by Ingrid Mida 2013</td></tr>
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<span style="font-weight: normal;">This bra from 1933 by Lejaby (shown below) has no cups, and supports the breasts from underneath. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVx8OuCldsulq2ZjZOf_5TCuEnLzCl7LomsjKSQyVXsdtrIPMBSw02SGX3DkC870eW0GKShLhdwQBpTL-GVOT7iQdSbHusUf2NXfQ4u2skrzEHf2yTTjX-nW2q1JrYW4bk7bTy7sYIfJuH/s1600/Bra_1930s_IMG_1495_WM.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVx8OuCldsulq2ZjZOf_5TCuEnLzCl7LomsjKSQyVXsdtrIPMBSw02SGX3DkC870eW0GKShLhdwQBpTL-GVOT7iQdSbHusUf2NXfQ4u2skrzEHf2yTTjX-nW2q1JrYW4bk7bTy7sYIfJuH/s640/Bra_1930s_IMG_1495_WM.jpg" width="520" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bra 1933<br />
Lejaby<br />
Photo by Ingrid Mida 2013</td></tr>
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<br /><span style="font-weight: normal;">Christian Dior brought back the hourglass silhouette with his New Look which demanded more structured undergarments such as this white long-line bra and petticoat set (shown below). </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSBin8w7iEXqmm2Sfs0PCSXwX4xgxM_2KP7GsU5OXs4L9C4QAAmbrdXBNMErbpY5NRXR0epN7EdgKuM7ObRKs5Ok_ilV3V0B9m31ev_KuMx5_RlzrfjdqiAjjbKYGPzf9FlGokoEYl2-09/s1600/1950s_IMG_1499_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSBin8w7iEXqmm2Sfs0PCSXwX4xgxM_2KP7GsU5OXs4L9C4QAAmbrdXBNMErbpY5NRXR0epN7EdgKuM7ObRKs5Ok_ilV3V0B9m31ev_KuMx5_RlzrfjdqiAjjbKYGPzf9FlGokoEYl2-09/s640/1950s_IMG_1499_LR.jpg" width="344" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1950s Longline bra and petticoat<br />
Photo by Ingrid Mida 2013</td></tr>
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<br /><span style="font-weight: normal;">This pink gingham bra and panty set from the 1960s seems like it might have been inspired by Bridget Bardot. </span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpLgskZO5dDVbftuZT2-cPlxHqmjxOeNK1xy0mGdXxLFKJF7PcBG3dG5HGbjOjQI4oI5jZGploRRCpET6q4NfI5bX0zauSzDeSCKs5syxbr_HrR959BAE8Z1DfZBbfKFjlXr1HVQRiUFpP/s1600/Bardot_IMG_1502_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpLgskZO5dDVbftuZT2-cPlxHqmjxOeNK1xy0mGdXxLFKJF7PcBG3dG5HGbjOjQI4oI5jZGploRRCpET6q4NfI5bX0zauSzDeSCKs5syxbr_HrR959BAE8Z1DfZBbfKFjlXr1HVQRiUFpP/s640/Bardot_IMG_1502_LR.jpg" width="274" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pink gingham bra, panty and garter set, c.1960s<br />
Photo by Ingrid Mida 2013</td></tr>
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<span style="font-weight: normal;">The 1970s introduced a range of colours and more sporty styles into the lingerie wardrobe. </span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcG-CP_Ypc6nqNQyDv-9vu4fCEjsVuObVOKKDQQ9nEv0wmhTHI7qoxQsfWjGZDH3SDAuVVkzg33axivvGKL9GgKl-k4QTCGFrOGs9xau2Fkl0Ktbv3L4ZUeMTLYpq80Aqp6v74XuTQxNqx/s1600/1970s_IMG_0413_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcG-CP_Ypc6nqNQyDv-9vu4fCEjsVuObVOKKDQQ9nEv0wmhTHI7qoxQsfWjGZDH3SDAuVVkzg33axivvGKL9GgKl-k4QTCGFrOGs9xau2Fkl0Ktbv3L4ZUeMTLYpq80Aqp6v74XuTQxNqx/s640/1970s_IMG_0413_LR.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1970s Lingerie<br />
Installation Shot Design Exchange<br />
Photo by Ingrid Mida 2013</td></tr>
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<span style="font-weight: normal;">Today, fashionable lingerie includes scraps of lace to more structured shape-wear that compresses the body into smooth lines. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8utXCth_KQ8uozSFl9Gk665AG7gXwLT5omt2nm_1yvFIw4HKgMNT9jMYbJm7VUaY4XJNujqsDwJ_VPQxpvwBBpeX93Q7m21PVP9EVL2JRK-vGshz4-VNwAHe_irxBY2PnzeGgk3i9rPiS/s1600/InstallationShot_IMG_0412_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8utXCth_KQ8uozSFl9Gk665AG7gXwLT5omt2nm_1yvFIw4HKgMNT9jMYbJm7VUaY4XJNujqsDwJ_VPQxpvwBBpeX93Q7m21PVP9EVL2JRK-vGshz4-VNwAHe_irxBY2PnzeGgk3i9rPiS/s640/InstallationShot_IMG_0412_LR.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1980s-1990s Lingerie<br />
Installation Shot Design Exchange<br />
Photo by Ingrid Mida 2013</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrsfqMBDI52FCYt0D_VYWenPsgNb_r1zngnjjIYiedOfya3197miVopeAZucz-iwFoQzhwbi3qIthS5G1NcsU6LkK-T2crqCRN6P93GVSmlJK-dJeWWlooSgg9M-ZWflqFR7gtghMDjeFq/s1600/Installation_IMG_0404_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrsfqMBDI52FCYt0D_VYWenPsgNb_r1zngnjjIYiedOfya3197miVopeAZucz-iwFoQzhwbi3qIthS5G1NcsU6LkK-T2crqCRN6P93GVSmlJK-dJeWWlooSgg9M-ZWflqFR7gtghMDjeFq/s640/Installation_IMG_0404_LR.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A Selection of Contemporary Lingerie<br />
Installation Shot Design Exchange<br />
Photo by Ingrid Mida 2013</td></tr>
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<span style="font-weight: normal;">This exhibit gave me pause that I should revisit some recent acquisitions of lingerie for the <a href="http://www.ryerson-fashion-research-collection.com/">Ryerson Fashion Research Collection</a>. The two lingerie examples shown below are salmon pink, a common colour for lingerie prior to 1950. Both feature lacing that allowed for size adjustment, but which was no doubt very time consuming to fasten and unfasten. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZXQdjNyYksPbu04ZqTnCpZaPcmHTcsU46RUKyko4HWxmpvX6ANraPAsIDLsP0gyGWSNyliw57kYOeWAO5-RGBYav-Wi3Kx4hdchnbE8lP4DwVv463tjkKIL9HAlaTFVpjC55HbUzJP5TK/s1600/Lingerie_IMG_0400_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZXQdjNyYksPbu04ZqTnCpZaPcmHTcsU46RUKyko4HWxmpvX6ANraPAsIDLsP0gyGWSNyliw57kYOeWAO5-RGBYav-Wi3Kx4hdchnbE8lP4DwVv463tjkKIL9HAlaTFVpjC55HbUzJP5TK/s640/Lingerie_IMG_0400_LR.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lingerie at the Ryerson Fashion Research Collection<br />
Photo by Ingrid Mida 2013 </td></tr>
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The French Lingerie Exhibit runs until October 16, 2013 at the<br />
<a href="http://www.dx.org/index.cfm?pagepath=Exhibitions/Current_Exhibitions&id=47464">Design Exchange</a>, 234 Bay Street, Toronto. Admission is free.<br />
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Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.com234 Bay Street, Toronto, ON M5K 1B2, Canada43.6477551 -79.379955818.125720599999998 -120.6885498 69.1697896 -38.071361800000005tag:blogger.com,1999:blog-3069106407242551594.post-8227244313631929422013-09-28T08:45:00.001-04:002013-09-28T22:39:03.708-04:00Fashionable Lingerie and the Lingerie Française Exhibit at the Design Exchange<h2 style="text-align: center;">
<b>"Your frocks cannot hang perfectly unless your lingerie is cut to fit you perfectly underneath. Lovely lingerie is the basis for good dressing."</b></h2>
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Christian Dior</h4>
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Toronto's <a href="http://www.dx.org/index.cfm?pagepath=Exhibitions/Current_Exhibitions&id=47464">Design Exchange</a> hosts <b>Lingerie Française</b>, a retrospective covering over <b>100 years of French lingerie</b> from eleven renowned French lingerie manufacturers — Aubade, Barbara, Chantelle, Empreinte, Implicite, Lise Charmel, Lou, Maison Lejaby, Passionata, Princesse tam.tam and Simone Pérèle. Presented chronologially, the exhibit includes 125 artifacts of luxurious lingerie from corsets to matched bras and pantysets.<br />
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This travelling exhibition, which has included stops in Paris, London, Shanghai, Dubai, Berlin and New York, is intended to <b>convey the influence lingerie products have been exerting on society from the late nineteenth century up to the present day</b>. The exhibition is sponsored by French association PROMINCOR and Défi-La Mode de France.<br />
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<tr><td class="tr-caption" style="text-align: center;"> Catherine Orman examining the Balmain gown<br />
(That's my hand and hair just visible on the left)<br />
Photo by Robert Ott, 2013</td></tr>
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Yesterday, I had the great pleasure of having the curator of this exhibit <b>Catherine Orman</b> come to visit the <a href="http://www.ryerson-fashion-research-collection.com/">Ryerson Fashion Research Collection</a>. Although I was so tired (from several very late nights working on my book proposal) that I was barely coherent, we chatted about two recent corset acquisitions for the Collection, as well as some of my favourite gowns, including a Pierre Balmain couture gown called Marie Antoinette from 1955-1959 as well as a Lanvin wedding gown from c.1925-35.<br />
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<b>The exhibit at the Design Exchange is on now until October 13, 2013. Admission is free. </b><br />
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<b><a href="http://www.dx.org/index.cfm?pagepath=Exhibitions/Current_Exhibitions&id=47464">Design Exchange</a>, 234 Bay Street, Toronto. </b><br />
<br />Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comDesign Exchange, 234 Bay Street, Toronto, ON M5K 1B2, Canada43.6477126 -79.38022440000003118.1256781 -120.68881840000003 69.1697471 -38.071630400000032tag:blogger.com,1999:blog-3069106407242551594.post-47115564508217227242013-09-19T10:30:00.000-04:002013-09-19T10:48:31.342-04:00Memories of a Dress From London to Chicago.... it feels like a whirlwind. This weekend, I will be attending the Costume Society of America Mid-west conference in order to present my project: <b><i>Memories of a Dress. </i></b><br />
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<tr><td class="tr-caption" style="text-align: center;">Peach and cream silk evening gown c.1910-1915 <br />Ryerson Fashion Research Collection<br />Photo by Ingrid Mida 2012</td></tr>
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Here is the abstract for my talk:<br />
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<b>Clothing is material memory, carrying the imprints of our body, absorbing sweat and stains, and straining with the stress of wear, especially at seams, hems and closure points. </b>Although museums and study collections generally seek to collect items in near-perfect condition, there are stories hidden in the marks and stains of living. In a poetic essay, Peter Stallybrass describes how the clothes of his late colleague Allon White triggered sensory memories. “He was there in the wrinkles of the elbows, wrinkles that in the technical jargon of sewing are called ‘memory’; he was there in the stains at the very bottom of the jacket; he was there in the smell of the armpits” .<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
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The <a href="http://www.ryerson-fashion-research-collection.com/">Ryerson University Fashion Research Collection</a> is a repository of several thousand garments and accessories acquired by donation, with the oldest garments dating back to 1860. For several years, this collection was dormant and largely unknown by the student body, and in editing the collection I examined each and every item within the storage facility. <b>It was during the process of handling of each piece that I was haunted by the traces of the makers in the hand-stitching and the turns of the hem, and by the traces of the owners in the faint sweat stains under the arms and the worn patches at the elbows. </b>There is such poignancy in these pieces, because they are still beautiful, but not to a pristine, museum-like standard. Some of these garments are in an advanced stage of decomposition, literally crumbling into dust due to the presence of weighted silk, and embody a duality of beauty and decay, life and death, emptiness and nostalgia, memory and transience. These fragments, which mirror the fragmentary nature of the records, became the source of my curatorial obsession.<br />
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In this project called <i>Memories of a Dress</i>, I created a series of photographs focusing on the rare historic garments in the Collection, and manipulated those images to suggest narratives that evoke the concepts of memory, fragility and transience. <b>Roland Barthes in <i>Camera Lucida</i> defined photography as an artistic medium that was intimately linked with death as “a witness of something that is no more”, and this project fixes the process of decomposition in time, marking a moment that has already passed as the items continue on their trajectory into dust. </b>Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-44170153946941560912013-09-13T07:00:00.000-04:002013-09-14T07:41:22.022-04:00Introducing the Ryerson Fashion Research Collection Blog <div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">CN Tower Jumpsuit, c.1970s<br />
Ryerson Fashion Research Collection<br />
FRC2013.99.003</td></tr>
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As you may know, I am the Acting Curator/Collection Co-ordinator for the Ryerson Fashion Research Collection and <b>recently started a Collection blog</b>. This new blog at <a href="http://www.ryerson-fashion-research-collection.com/">www.ryerson-fashion-research-collection.com</a> is part of the effort <b>to create a digital portal into the Collection </b>and was supported by a grant from the Learning and Teaching Office at Ryerson University. I invite you to visit the blog and subscribe by email if you wish to receive the posts that way. I'll be rolling out the 100 key artifacts over the course of the year. Here are some of my favourite dresses, although truth be told there are many more....<br />
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<tr><td class="tr-caption" style="text-align: center;">Pumpkin yellow taffeta evening ensemble, c.1930s<br />
Ryerson Fashion Research Collection<br />
FRC1993.03.002 A+B</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Cream and red silk jersey bias cut evening gown, c.1930s<br />
Ryerson Fashion Research Collection<br />
FRC1995.02.001</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlPR8x6LGOygLdi8o9hfUAupwESyTgH6WZZ_xpseRAa5Jjgwdlk3omDzANIwQP3bELbSoIiBtBxjaWth2Jh_p2Zp3TA8mqm7ea-d32ipfFVy0QtgSLU4mBzoJ8F5QbpEkQuWZ_FbwiDajA/s1600/FRC_HistPieces_2003.10.002_FRT_Web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlPR8x6LGOygLdi8o9hfUAupwESyTgH6WZZ_xpseRAa5Jjgwdlk3omDzANIwQP3bELbSoIiBtBxjaWth2Jh_p2Zp3TA8mqm7ea-d32ipfFVy0QtgSLU4mBzoJ8F5QbpEkQuWZ_FbwiDajA/s640/FRC_HistPieces_2003.10.002_FRT_Web.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1920s Flapper Dress with Art Deco inspired beadwork<br />
Ryerson Fashion Research Collection<br />
FRC2003.05.004</td></tr>
</tbody></table>
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<br />Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comRyerson University, 350 Victoria Street, Toronto, ON M5B 2K3, Canada43.6576889 -79.37823329999997743.6519449 -79.38831829999998 43.6634329 -79.368148299999973tag:blogger.com,1999:blog-3069106407242551594.post-87331795681763768102013-09-10T10:00:00.000-04:002013-09-14T07:41:50.593-04:00Fashion Postcards<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPc4LEKgnwuHuAVs7JFNXzXAKIGc8cqmC0_GaUJTqQeU8rxt7YrT6OITiW7VYHP20kNci9T_AvmVjTsjG9AZ4CqfaKZlthrLAPEkcDVn3j90T2kCI-j8hi2GVbEOzhC9y2DOOcUlr4CIJL/s1600/Postcard2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPc4LEKgnwuHuAVs7JFNXzXAKIGc8cqmC0_GaUJTqQeU8rxt7YrT6OITiW7VYHP20kNci9T_AvmVjTsjG9AZ4CqfaKZlthrLAPEkcDVn3j90T2kCI-j8hi2GVbEOzhC9y2DOOcUlr4CIJL/s400/Postcard2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">18th Century Gowns in Store from the Museum of Costume in Bath</td></tr>
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<b>When I visit an exhibition of fashion in the museum, I am often tempted to buy the exhibition catalogue</b>, but sometimes they are so heavy that I know that it will tip my luggage into the overweight category. At those moments, <b>I often will buy a handful of postcards</b> - just to remember the highlights. I have a box full of them and I also occasionally get one in the mail (like the beautiful one from the Museum of Costume in Bath, which I have yet to visit).<br />
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Here are some of my favourite fashion postcards.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrkhzr31lrMhPXRUREvXHzNkF4C3yTklEMeWhRhkghBSoqWCrmwHnqH7-UDcQtFNwlzNPhGXzq4MVeX5znklFJ34inyMZCxtztgmj3fjpqCTjeaRaK-UD4sdw-B7wOXxlLs7Z4U1U-OBNO/s1600/YSL+Postcard001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrkhzr31lrMhPXRUREvXHzNkF4C3yTklEMeWhRhkghBSoqWCrmwHnqH7-UDcQtFNwlzNPhGXzq4MVeX5znklFJ34inyMZCxtztgmj3fjpqCTjeaRaK-UD4sdw-B7wOXxlLs7Z4U1U-OBNO/s400/YSL+Postcard001.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">YSL from YSL Foundation in Paris</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM3oixdDg7e7LvQgVJAmoJueia2-AlI50EwNd2yWzJo-Ro1m7I4pa23IDIDd6Va_Eqq0dqpxxAl6wd-zXyzcWw9GSk12VW-sU2nOLiHc4cB_s5QzBCBOGA3QW0UpXOtvQDj5KaL147UpHD/s1600/Viktor&Rolf+Postcard001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM3oixdDg7e7LvQgVJAmoJueia2-AlI50EwNd2yWzJo-Ro1m7I4pa23IDIDd6Va_Eqq0dqpxxAl6wd-zXyzcWw9GSk12VW-sU2nOLiHc4cB_s5QzBCBOGA3QW0UpXOtvQDj5KaL147UpHD/s400/Viktor&Rolf+Postcard001.jpg" width="281" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The House of VIktor&Rolf, Barbican Gallery in London</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtzvXNJBIovKc_1gZfhZqXnRfnj2_9QQsO8C8zEI6TDv5D3zKIKfVEtqIMcmKXa025jmqocWF-uwYqu8SPjjSzP5N22OPkmpaXYpGwHlilujtAj24NTV2i2PhIdJzDtIPK76WQhccBxC5c/s1600/Postcard4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtzvXNJBIovKc_1gZfhZqXnRfnj2_9QQsO8C8zEI6TDv5D3zKIKfVEtqIMcmKXa025jmqocWF-uwYqu8SPjjSzP5N22OPkmpaXYpGwHlilujtAj24NTV2i2PhIdJzDtIPK76WQhccBxC5c/s400/Postcard4.jpg" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Renior's La Parisienne</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4LnAmFBK-fymuyn1ggLl8Ut1ktDCClKhxCX8gIHDINuleQC4TueiQ2L6Al6LrNZ2gu9i0rlqgDpDb_tCGtYxlCa6hraohI8pKEva1Yl2ckLPVUF5IzCY40wzNRU6B328lIcDCTdhlt4Bm/s1600/V&A+Postcard001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4LnAmFBK-fymuyn1ggLl8Ut1ktDCClKhxCX8gIHDINuleQC4TueiQ2L6Al6LrNZ2gu9i0rlqgDpDb_tCGtYxlCa6hraohI8pKEva1Yl2ckLPVUF5IzCY40wzNRU6B328lIcDCTdhlt4Bm/s400/V&A+Postcard001.jpg" width="281" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dress Collection of Victoria & Albert Museum, London<br />
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</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia2RwhKNv8yd2MMyPH7aswd89dmMbSEo4nFsVWX3V37g7jGopTfD20w8SJb0ZWd-AodrL-6UsOx-uG-sJFqzntlE5fC18riWxI1j9PjQWdGKh4yraTM_JEufR5p7FcN4mM7_IGLwFqdko4/s1600/Postcard1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia2RwhKNv8yd2MMyPH7aswd89dmMbSEo4nFsVWX3V37g7jGopTfD20w8SJb0ZWd-AodrL-6UsOx-uG-sJFqzntlE5fC18riWxI1j9PjQWdGKh4yraTM_JEufR5p7FcN4mM7_IGLwFqdko4/s400/Postcard1.jpg" width="275" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ball Gown 1939 by Charles James<br />
Brighton Collection</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqmTpiLlDMN8U1CtbvS9pUneieqI5qumUHTASCs1jFTrH54zhlx13O5ZlYEAEJkbAU8rI5Fuk4-Bhw43O8N7fvQX-TH-1hDg8OheF3tRq5JG-aEd95K02vNVNG0-pTnunBPe1lYZzPq_v9/s1600/Postcard7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqmTpiLlDMN8U1CtbvS9pUneieqI5qumUHTASCs1jFTrH54zhlx13O5ZlYEAEJkbAU8rI5Fuk4-Bhw43O8N7fvQX-TH-1hDg8OheF3tRq5JG-aEd95K02vNVNG0-pTnunBPe1lYZzPq_v9/s400/Postcard7.jpg" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Press invite to Mannequin Le Corps de la Mode<br />
Musee Galliera </td></tr>
</tbody></table>
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Getting a real piece of mail is such a rare and wonderful treat that the last time it happened, I posted it on Facebook! It is so much easier to write a note on email or send a message on Facebook or Twitter, but nothing compares to the beauty of a handwritten note or postcard. Anyone want to be my fashion postcard pen pal?Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-15570860303597358822013-09-05T11:00:00.000-04:002013-09-14T07:42:18.964-04:00A Summary of Fashion Exhibitions <div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz2xPZdKZSqJZgk-qJpvbyNtMyvw3qEP1u96UDX-I40K5plfhlOvhar2voITY4_aXAF3wndgdIN10ico71b7buKKTVtWM7eWCuwsOe_wZaAevFb74sZbaiJdtdWJS2_5aFCCT8eP10cRdB/s1600/11.McQueenAW2002-03OysterDress.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz2xPZdKZSqJZgk-qJpvbyNtMyvw3qEP1u96UDX-I40K5plfhlOvhar2voITY4_aXAF3wndgdIN10ico71b7buKKTVtWM7eWCuwsOe_wZaAevFb74sZbaiJdtdWJS2_5aFCCT8eP10cRdB/s400/11.McQueenAW2002-03OysterDress.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Oyster Dress<br />
Alexander McQueen, Savage Beauty<br />
Photo by Solve Sunsbo Studio courtesy of the Metropolitan Museum of Art</td></tr>
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I recently wrote an essay on <i><b>Fashion + Curatorial Practice</b></i> for an upcoming book called <b><i>Fashion + X - The Medial Interactions of Clothing</i></b> edited by Dr. Rainer Wenrich. In attempting to figure out how to approach the topic of fashion in the museum, I looked back at the many fashion exhibitions that I've visited and written about since 2008. I thought it would be fun to revisit those here. The links are active and will take you back to my review and more pictures!<br />
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<b><i><a href="http://fashionismymuse.blogspot.ca/2008/09/fashion-is-my-muse.html">Yves Saint Laurent Retrospective, 1962-2002</a></i></b></div>
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Montreal Museum of Fine Art, May 28 - September 28, 2008. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnuMkC8t0WxJHfqL3xE_fz53slKrcaJYCGdoqtjjzkNHaDq_d8CSTbNlKapCUHcZ5bKNJwZ2QNxv-AyJvNZgiplCRB3KZej6XTD3kyhfmTlV3YF7B5a0cPiutu2oR2PXQNkqhT5JFW4k2q/s1600/House+of+Victor+and+Rolf+-+1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnuMkC8t0WxJHfqL3xE_fz53slKrcaJYCGdoqtjjzkNHaDq_d8CSTbNlKapCUHcZ5bKNJwZ2QNxv-AyJvNZgiplCRB3KZej6XTD3kyhfmTlV3YF7B5a0cPiutu2oR2PXQNkqhT5JFW4k2q/s400/House+of+Victor+and+Rolf+-+1.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Flowerbomb Gallery, The House of Viktor&Rolf<br />
Installation Shot by Ingrid Mida 2008</td></tr>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2008/07/house-of-viktor-and-rolf-at-barbicon.html">The House of Viktor & Rolf</a></i></b></div>
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Barbican Art Gallery, London. June 18 - September 21, 2008.</div>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2009/04/court-costume-exhibition-at-versailles.html">Costume of the Court and Royal Ceremonies in Europe 1650-1800</a></i></b></div>
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Palace of Versailles, March 31, 2009-June 28, 2009.</div>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2009/08/isabel-toledo-fashion-from-inside-out.html">Isabel Toledo: Fashion from the Inside Out.</a></i></b></div>
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FIT Museum, June 17 - September 26, 2009.</div>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2010/05/on-pedestal-at-bata-shoe-museum-part-i.html">On a Pedestal</a></i></b></div>
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Bata Shoe Museum, April - September 20, 2010. </div>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2010/06/exhibition-review-concise-dictionary-of.html">The Concise Dictionary of Dress.</a></i></b></div>
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Blythe House, London. April 28 - June 27, 2010.</div>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2010/05/enchanted-palace.html">The Enchanted Palace.</a></i></b></div>
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Kensington Palace, London. April 2010 - January 2011. </div>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2010/05/grace-kelly-style-icon.html">Grace Kelly, Style Icon.</a></i></b></div>
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Victoria & Albert Museum, April 17 - September 26, 2010.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7RqzNO1YjT2URYPGyXXIFaLkM8RQJY2mL_c6pwsKytRf8olvNNcxnZ36ozKNrr2LR2RT3N-dRQnyk3hluHbtpKKyTOa7wICjN0L4Lme3wZefxq2w9nqQQN4ZNbjqB78XIMVMafzx3ccmV/s1600/ZRhodes_MG_2365.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7RqzNO1YjT2URYPGyXXIFaLkM8RQJY2mL_c6pwsKytRf8olvNNcxnZ36ozKNrr2LR2RT3N-dRQnyk3hluHbtpKKyTOa7wICjN0L4Lme3wZefxq2w9nqQQN4ZNbjqB78XIMVMafzx3ccmV/s640/ZRhodes_MG_2365.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zandra Rhodes: A Lifelong Affair with Textiles<br />
Installation Shot by Ingrid Mida 2011</td></tr>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2011/03/zandra-rhodes-lifetime-affair-with.html">Zandra Rhodes: A Lifelong Affair with Textiles.</a></i></b></div>
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Mingei Museum, San Diego. October 3, 2010 - April 3, 2011. </div>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2011/03/pulp-fashion-art-of-isabelle-de.html">Pulp Fashion: The Art of Isabelle de Borchgrave</a></i></b></div>
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Legion of Honour, Museum of Fine Art, San Francisco. February - June 2011. </div>
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<b><i><a href="http://www.fashionprojects.org/?p=2056">Rodarte, States of Matter.</a></i></b></div>
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MOCA Pacific Design Centre West, LA. March 4 - June 5, 2011.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSS0hIKxGT27L14C1J5KJviK8GHScBJqeQ5xyiT-hpCXJyaCeiYRh5OGhJ79oCi4VslZIlVem6BDKjELDtED-f-0ZgIIvvLHrmZov57L8Xr1YlfRvw5I1MeYsAH6KJWV63RWJkr4GrGkEU/s1600/DSCN0666.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSS0hIKxGT27L14C1J5KJviK8GHScBJqeQ5xyiT-hpCXJyaCeiYRh5OGhJ79oCi4VslZIlVem6BDKjELDtED-f-0ZgIIvvLHrmZov57L8Xr1YlfRvw5I1MeYsAH6KJWV63RWJkr4GrGkEU/s640/DSCN0666.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fashioning Fashion: European Dress in Detail<br />
Installation Shot at LACMA by Ingrid Mida 2011.</td></tr>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2011/03/out-of-crate-fashioning-fashion-at.html">Fashioning Fashion: European Dress in Detail, 1700 - 1915.</a></i></b></div>
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LACMA, Los Angeles. October 2 - March 27, 2011.</div>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2011/04/roaring-twenties-at-bata-shoe-museum.html">The Roaring Twenties: Heels, Hemlines and High Spirits</a></i></b></div>
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Bata Shoe Museum, Toronto. April 13, 2011 - March 2012. </div>
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<b><i><a href="http://www.fashionprojects.org/?p=2282">Alexander McQueen: Savage Beauty</a></i></b></div>
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Costume Institute, Metropolitan Museum of Art, May 4 - July 31, 2011. </div>
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<b><i><a href="http://www.fashionprojects.org/?p=2648">The Fashion World of Jean Paul Gaultier: From Sidewalk to Catwalk</a></i></b></div>
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Montreal Museum of Fine Art, June 20 - October 2, 2011.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMmL_guKjR7FihWlpG-J6cXbaElmWBO9Tafx8CROdTfOjvp7WlWmxQSuzPgq9oJieQ_x1x2MmX0yysm07CaP41OXPmXePF46EsJ702omurEcUhJcHjLg6GZA_ToFW3yogLgrSllGFVjrK9/s1600/Madame+Gres+Evening+Gowns+%2528WM%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMmL_guKjR7FihWlpG-J6cXbaElmWBO9Tafx8CROdTfOjvp7WlWmxQSuzPgq9oJieQ_x1x2MmX0yysm07CaP41OXPmXePF46EsJ702omurEcUhJcHjLg6GZA_ToFW3yogLgrSllGFVjrK9/s640/Madame+Gres+Evening+Gowns+%2528WM%2529.jpg" width="497" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Madame Gres: Couture at Work<br />
Photo by Ingrid Mida 2011</td></tr>
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<b><i><a href="http://www.fashionprojects.org/?p=2462">Madame Gres: Couture at Work</a></i></b></div>
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Musee Bourdelle, Paris. March 25 - July 24, 2011.</div>
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<b><i><a href="http://www.fashionprojects.org/?p=3904">Prada & Schiaparelli: Impossible Conversations</a></i></b></div>
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Costume Institute at the Metropolitan Museum of Art, NYC. May 10 - August 19, 2012. </div>
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<tr><td class="tr-caption" style="text-align: center;">Balenciaga Installation Shot<br />
Photo by Ingrid Mida 2012</td></tr>
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<b><i><a href="http://www.fashionprojects.org/?p=4308">Cristobel Balenciaga: Collectionneur de modes</a></i></b></div>
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Musee Galliera, Paris. April 13 - October 28, 2012. </div>
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<b><i><a href="http://www.fashionprojects.org/?p=4308">Comme des Garcons, White Drama.</a></i></b></div>
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Musee Galliera, Paris. April 13 - October 28, 2012. </div>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2012/09/creative-process-journal-reading.html">Ivy Style.</a></i></b></div>
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FIT Museum, September 14, 2012 - January 5, 2013. </div>
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<tr><td class="tr-caption" style="text-align: center;">BIG Installation Shot by Ingrid Mida 2012</td></tr>
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<a href="http://fashionismymuse.blogspot.ca/2012/11/big-in-rom-costume-and-textile-gallery.html"><b><i>BIG</i></b>.</a></div>
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Royal Ontario Museum, November 3, 2012 - Fall 2013</div>
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<a href="http://modeconnect.com/exhibition-fashioning-fashionparis"><b><i>Fashioning Fashion: European Dress in Detail, 1700 - 1915.</i></b></a></div>
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Les Arts Décoratifs, Paris. December 13, 2012 – April 14, 2013</div>
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<a href="http://modeconnect.com/fashion-technology-exhibition-fit-museum-new-york"><b><i>Fashion & Technology</i></b></a></div>
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FIT Museum, NYC. December 4, 2012 - May 8, 2013. </div>
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<a href="http://modeconnect.com/shoe-obsession-fit-museum-exhibition"><b><i>Shoe Obsession</i></b></a></div>
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FIT Museum, NYC. February 8 - April 13, 2013. </div>
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<a href="http://modeconnect.com/out-of-the-box-rise-of-sneaker-culture-bata-shoe-museum"><b><i>Out of the Box: The Rise of Sneaker Culture</i></b></a></div>
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Bata Shoe Museum, Toronto. April 25, 2013 – March 30, 2014.</div>
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<tr><td class="tr-caption" style="text-align: center;">Punk: Chaos to Couture Installation Shot<br />
Photo by Ingrid Mida 2013</td></tr>
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<b><i><a href="http://www.wornthrough.com/2013/05/09/fashion-in-the-museum-punk-chaos-to-couture-at-the-metropolitan-museum-of-art/">Punk: Chaos to Couture</a></i></b></div>
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Costume Institute at the Metropolitan Museum of Art, NYC. May 9 - August 14, 2013. </div>
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<b><i><a href="http://fashionismymuse.blogspot.ca/2013/06/viktor-rolf-dolls-at-royal-ontario.html">The Dolls of Viktor & Rolf</a></i></b></div>
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Royal Ontario Museum, Thorsell Gallery, Toronto. June 2013. </div>
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<b><i><a href="http://modeconnect.com/exhibition-christian-louboutin-design-exchange-toronto">Christian Louboutin</a></i></b></div>
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Design Exchange, Toronto. June 21 - September 15, 2013. </div>
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<b>And these are just the exhibitions I've written about!!!</b> There have been many others that I've attended prior to 2008 and others that I've seen since then but chosen not to write about for one reason or another. Sometimes I do not write about exhibits I do not care for. Other times, I might visit an exhibit close to the end of the run, and not write about it. This is what happened with the wonderful exhibition <b><i>Impressionism, Fashion and Modernity </i></b>which I LOVED and which I saw in both Paris and New York, and will see again in Chicago later this month. </div>
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Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-24066316188750588782013-09-01T04:07:00.002-04:002013-09-28T09:07:10.890-04:00What's on the Fashion Calendar in September 2013? <b>Other than the rollout of Fashion Weeks around the world, there is a long list of fashion-related events and exhibitions on the calendar for September 2013. My picks for the month include:</b><br />
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<tr><td class="tr-caption" style="text-align: center;">Interwoven Globe<br />
Courtesy of the Metropolitan Museum of Art</td></tr>
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September 16, 2013: The Opening of <b><i><a href="http://www.metmuseum.org/exhibitions/listings/2013/interwoven-globe">Interwoven Globe: The Worldwide Textile Trade</a>, 1500-1800 </i></b>at the <b><a href="http://www.metmuseum.org/visit">Metropolitan Museum of Art</a></b>, <b>New York City</b>.<br />
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This is the first major exhibition to <b>explore the global circulation of design through the trading of textiles from the 16th to the early 19th century through the medium of textiles. </b>This exhibition features 134 works in order to tell the visual history of design, exploring the interrelationship of textiles, commerce, and taste.<br />
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September 18, 2013: The Opening of <b><i><a href="http://www.textilemuseum.ca/apps/index.cfm?page=exhibition.detail&exhId=351">Farandole: Perspectives on Western Metis Culture</a></i></b> at the <a href="http://www.textilemuseum.ca/"><b>Textile Museum of Canada</b></a>.<br />
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This show, a combination of textile art, fashion and art installation, promises to be a visual feast -- <b>combining the couture garments</b> crafted by French fashion designer and embroiderer Pascal Jaouen <b>adjacent to a room-sized embroidered textile installation</b> by Franco-Manitoban visual artist Colette Balcaen.<br />
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September 20-21, 2013:<a href="http://www.costumesocietyamerica.com/regioniii/event_workshop_sym.htm"> <b><i>Uncommon Beauty</i></b></a>, The CSA Mid-west Conference in <b>Chicago</b>.<br />
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At this annual conference of the mid-west section of the Costume Society of America, I will present "<i><b>Memories of a Dress</b></i>".<br />
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September 25, 2013: <b><i><a href="http://www.ago.net/david-bowie-is/">David Bowie</a></i></b> at the <b><a href="http://www.ago.net/">Art Gallery of Ontario</a></b> in <b>Toronto</b>.<br />
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On its first stop on its world tour, this exhibition from the Victoria and Albert Museum celebrates the David Bowie's collaborations in the fields of fashion, sound, theatre, art and film. presenting more than <b>50 stage costumes</b> plus music videos, set designs, photographs and excerpts from films and live performances. Organized thematically, the show immerses visitors in a spectacular and interactive trip through Bowie’s numerous personae and legendary performances, with particular attention paid to his artistic influences. (And of course, if you have not seen it yet, combine your visit with a tour of <a href="http://fashionismymuse.blogspot.ca/2013/08/fashioning-world-into-art-ai-weiwei-at.html" style="font-style: italic; font-weight: bold;">Ai Weiwei: According to What?</a><b style="font-style: italic;"> </b>also at the AGO<b style="font-style: italic;">).</b><br />
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September 28, 2013: <b><i>Alaia</i></b> at the <b><a href="http://parismusees.paris.fr/en/exhibition/alaia">Palais Galliera</a></b>, Musee de la Mode de la Ville de <b>Paris</b>.<br />
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After being closed for several years, curator Olivier Saillard will reopen the newly renovated galleries of the Palais Galliera with a <b>retrospective of the work of designer Azzedine Alaia</b>. On display will be <b>70 garments</b> tracing the trajectory of the designer's career set amongst a scenography by designer Martin Szekely. Alaia is known for his highly sculptured dresses that hug every curve, articulated through his mastery of cut.<br />
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<b style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">Notice of copyright: </b><br />
<b style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">All text and images on this blog are the copyright of Ingrid Mida, unless otherwise noted. The copying of posts, images and/or text without proper attribution is violation of copyright and legal action will be pursued.</b><br />
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<br />Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-75761720073829934692013-08-28T09:00:00.000-04:002013-08-28T09:20:40.290-04:00College Fashions in Vogue, August 1937 <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Cover Vogue, Inccorpoating Vanity Fair August 15, 1937</td></tr>
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<b>Fashion magazines have used the back to school theme as inspiration for their August issues for many years.</b> I recently found an issue of <i><b>Vogue</b></i> <b>dated August 15, 1937</b> with <b>College Fashions</b> as the theme. 1937 was a turbulent year in history with the Spanish Civil War, the Hindenburg disaster, the disappearance of Amelia Earhart and the rise of Stalin. In spite of the unrest, all was rosy on the fashion front.<br />
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Published twice a month, there were three Vogue magazines at the time- American, French and British. Edna Woolman Chase was Editor-in-Chief of all three. </div>
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The August 15, 1937 issue of the magazine was 166 pages and features a model wearing a green and red plaid wool dress that is "reminiscent in style of the Grossman jersey dress, adopted by the emanticipated woman of 1918", but with the "casual chic of youth in its pleated skirt and white pique collar." </div>
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The magazine features college themed advertisements as well as editorials on topics like: </div>
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<i>Voted most popular</i></div>
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<i>College endowment</i></div>
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<i>Compulsory for campus</i></div>
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<i>Cut out for college</i></div>
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<i>School directory</i></div>
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<i>Autumn landscape colours</i></div>
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<i>Puzzle parties</i></div>
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<i>Most likely to succeed</i></div>
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<i>Professor Shop-hound</i></div>
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As well, there are also articles about fashionable society covering <i>The Duke and Duchess of Kent, The Directoire ball in Paris,</i> and <i>The Duchess of Westminster's house</i>, plus fashion advice for the non-college set such as articles on: <i>Temperamental waist-lines, Caracal and Persian lamb, and Autumn hats. </i></div>
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My favourite feature is one called "<b>We foresee</b>" which predicts the fashion trends for fall 1937. <b>There is the merest allusion to the world unrest in the wording of the piece.</b> For example:</div>
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<i><b>An unrest in hem-lines. A slight uprising in day skirts and an erratic up-in-front movement in evening skirts. Some dance skirts at calf-length. A swing downward in suit jackets to the 1910 length. And a plurality of short fur coats.</b></i></div>
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<i><b>History-making coalitions of fur and fabric for coats; new liaisons of fabric and leather; unusual pacts between velvet and tweed. </b></i></div>
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<i><b>No usurping of the dictatorship of black. </b></i></div>
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<i><b>Some unbridled spending by the economic royalists. Such prodigality as a thousand yards of ruching on a black tulle dress. </b></i></div>
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<tr><td class="tr-caption" style="text-align: center;">Vogue, August 15, 1937 page 83</td></tr>
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But back to college. <b>What did the fashionable college bound senior want in 1937?</b> That was answered quite succinctly in a single paragraph about contestants who applied to Vogue's second "Prix de Paris" contest. They apparently <i>all</i> wanted:</div>
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"<i><b>plenty of sweaters and scarfs: that they have a wholesome respect for good tweeds, cry for camel's hair coats, can't do without a rain-cat, and like simple knitted or wool dresses to vary the eternal triangle of sweater, skirt, and scarf. That they want three evening dresses, two dinner-dresses, and a long velvet evening-wrap "probably furless" (an eye on the budget!). That they sleep in silk, lounge in flannel, do wear girdles, and want about eight pairs of shoes, four of five pairs of gloves and at least five hats."</b></i> (Vogue, August 1937, page 78). </div>
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It's quite a list for a college-bound gal on a budget. I wouldn't mind three evening dresses and a long velvet evening wrap myself!</div>
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Reference: Vogue incorporating Vanity Fair, August 15, 1937. </div>
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<b>Notice of copyright: </b><br />
<b>All text and images on this blog are the copyright of Ingrid Mida, unless otherwise noted. The copying of posts, images and/or text without proper attribution is violation of copyright and legal action will be pursued.</b></div>
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Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-54623057225830036572013-08-26T11:00:00.000-04:002013-08-26T19:49:20.031-04:00Back to School, Back to Blogging <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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Sleeveless dress with Matching Cropped Jacket<br />
Bill Blass for Maurice Rentner, c.1963,<br />
FRC1986.01.01 A+B</td></tr>
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<b>I think this dress and jacket ensemble by Bill Blass for Maurice Rentner would be the perfect outfit for me and back to school. </b>The colour is vibrant and the jacket could come off for those warm fall days still to come. Unfortunately, it can never be worn again as a museum artifact, but I love the timeless elegance of early 1960s looks and it makes me smile on what is a dark and rainy day in Toronto. <br />
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<b>The scent of fall is in the air.</b> The days are shorter and the nights cooler. I am starting to yearn for the cozy comfort of my cashmere sweaters and wraps.... It must be time to get back to school, back to work.<br />
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<b>My summer was busy, with nary a moment of rest or relaxation.</b> I did manage to steal away from work for a few sunny afternoons reading fiction in my backyard, but otherwise I spent many days in the windowless rooms of the <b><a href="http://pinterest.com/fashionismymuse/ryerson-fashion-research-collection/">Ryerson Fashion Research Collection</a></b>. Not only did I move the entire collection from the seventh floor of the library, but, among other things, I also supervised two students who photographed about 100 key artifacts in the collection. <br />
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It felt like I had no time to write on this blog, especially since I am editor of the <i><b><a href="https://www.facebook.com/CostumeSocietyofOntario?ref=hl">Costume Journal</a></b></i>, have a bi-weekly column for <i><a href="http://www.wornthrough.com/contributor-ingrid-mida/"><b>Worn Through</b></a></i> and also have been writing exhibition reviews for <i><b><a href="http://modeconnect.com/author/ingrid-mida">Modeconnect</a></b>, </i>and am supposed to be working on the <b><i><a href="http://ryerson-fashion-research-collection.com/2013/08/26/opening-the-door-to-the-ryerson-fashion-research-collection/">Fashion Research Collection Blog</a></i></b>. Admittedly, I still have some hesitation about writing on this platform after that distressing discovery last fall that much of my content had been copied elsewhere. And yet, <b>it seems that I should be making this blog my priority -- even though many, if not most, of my colleagues in academia dismiss personal blogs as folly. </b><br />
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<b>This summer I've had two very interesting opportunities present themselves as a result of this blog.</b> One was an <b>invitation to submit a scholarly essay to a book on fashion and art called Fashion +.</b> Some of the other invited scholars include people like <b>Andrew Bolton, Harold Koda, and Ulrich Lehman</b>. I'm not actually sure I deserve to be included in the midst of these intellectual giants, but I was honoured by the invitation, (and for those readers in academia, the opportunities to publish anything are seemingly few and hard to come by). <b>The other opportunity was an invitation to write a proposal for a book on fashion for a UK publisher,</b> who liked my accessible writing style and my approach to fashion. <b>These two opportunities are dreams come true - and both came to me because of this blog. </b><br />
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Before the "theft" of my posts, I was attracting about 30,000 visitors a month to this site. My following is much, much less now and it is probably a long road back. Although I have a myriad of other commitments, and writing in other forums takes time, but in the end, it seems like <i><b>FASHION IS MY MUSE</b></i> is the origin of many of the most exciting opportunities that have come my way. <b>I'm back baby, I'm back!</b><br />
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<b>Notice of copyright: </b><br />
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<b>All text and images on this blog are the copyright of Ingrid Mida, unless otherwise noted. The copying of posts, images and/or text without proper attribution is violation of copyright and legal action will be pursued.</b><br />
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<br />Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-53879736736162602262013-08-14T14:55:00.000-04:002013-08-14T18:45:44.698-04:00Fashioning the world into art: Ai Weiwei at the Art Gallery of Ontario <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihpI2XPh3zrY2HxXH8wr6ag6xRcpD50PaJuaBUCnPW2Z4evhnjns6Opn2eyFD_C7vCxY50aR9oN1MZONbcU8FP8b2bKSwjTUkT5s-nvtnBxV3UpwXdIYi1wzSBqX764toCcw7RCmRxfXO8/s1600/Ai+Weiwei+portrait.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihpI2XPh3zrY2HxXH8wr6ag6xRcpD50PaJuaBUCnPW2Z4evhnjns6Opn2eyFD_C7vCxY50aR9oN1MZONbcU8FP8b2bKSwjTUkT5s-nvtnBxV3UpwXdIYi1wzSBqX764toCcw7RCmRxfXO8/s640/Ai+Weiwei+portrait.jpg" width="513" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Portrait of Ai Weiwei,<br />
Courtesy of the Art Gallery of Ontario </td></tr>
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<b>Ai Weiwei is an artist unlike any other of our time, crafting transgressive installations, assemblages and sculptures that address the complexities of human existence. </b>His artwork is deeply personal and yet universal in meaning in its distillation of culture, politics and power. Although Ai Weiwei invokes social media as part of his creative practice, his sculptural and installation work is imbued with powerful emotions that cannot be conveyed through photos. <b>This is art that you need to be in the same room with to truly appreciate the subtleties thereof. </b><br />
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<b><i>Ai Weiwei: According to What? </i></b> opens at the <b><a href="http://www.ago.net/aiweiwei/">Art Gallery of Ontario</a></b> in Toronto on August 17, 2013 as its sole Canadian venue. <br />
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In writing this review, it might appear that I am ignoring my self-imposed rule that an exhibition relate to fashion in some way, and yet it is a little known fact that <b>Ai Weiwei moved to the USA in 1981 to attend Parsons The New School of Design</b>. It was during this New York sojourn, where he found inspiration in the works of Jasper Johns, Andy Warhol and Marcel Duchamp. Off to one corner and easy to overlook is one of Al Weiwei's early works called <b><i>Château Lafite</i></b> from 1988. This sculpture is made from a pair of Chinese shoes strapped to an empty bottle of Chateau Lafite wine as a play on the word "feet". In my own reading of it, I might offer that this sculpture could also be read as a critique on the adoption of the western symbols of status by the ruling class of China.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6saDI3QY7wm64xuO9T9QGh98NeVYmsJahbwtF2Qjyv7U_pWS1cWnfmYl2QcaaRnJdYDNCTOsbtkhlx3oXYkqpMmkryhLhl_7BRSSUTJmZ-LiFyqJc4CJqDlBVy1cpTi0HeIHKSTyyjpyz/s1600/Chateau_IMG_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6saDI3QY7wm64xuO9T9QGh98NeVYmsJahbwtF2Qjyv7U_pWS1cWnfmYl2QcaaRnJdYDNCTOsbtkhlx3oXYkqpMmkryhLhl_7BRSSUTJmZ-LiFyqJc4CJqDlBVy1cpTi0HeIHKSTyyjpyz/s1600/Chateau_IMG_LR.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Château Lafite", by Ai Weiwei 1988, Chinese slippers and Empty Bottle of Wine<br />
Photo by Ingrid Mida 2013</td></tr>
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<b>Just as there are fashions in clothing, there are fashions in art.</b> The work of Ai Weiwei might be in fashion, but it is one that will endure the test of time. <b>Thoughtful, powerful and hauntingly beautiful, each piece resonates with the power and emotion of human existence. </b>Three of my favourites included:<br />
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<b><i>Kippe (2006)</i></b> is an assemblage of pieces of ironwood from demolished temples from the Qing Dynasty (1644-1911) packed within the bars of a parallel bar set. There is a subtle scent emanating from the wood that seems to compress history into a rectilinear form, and the sculpture expresses aspects of the artist’s childhood memories. According to Ai, “during the Cultural Revolution, there was always a set of parallel bars and a basketball hoop in every schoolyard.” The other memory relates to the time his family lived in the Xinjiang region and neighbours would stop to admire the beautifully stacked firewood outside his family’s home.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgITX8prru8BR1vvwIRGPGGu897uB6EVlwpKTwey9fZJmMiX4DpdyHuYyLgGILU0yXtcU56Ph3yKBDHyL8l7Ym3UnxziL8ZS2MPE-nOuHn1PpFuHdRJyBopc9IUL1923r0Cfq_ZiBAutUBs/s1600/Kippe_IMG_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgITX8prru8BR1vvwIRGPGGu897uB6EVlwpKTwey9fZJmMiX4DpdyHuYyLgGILU0yXtcU56Ph3yKBDHyL8l7Ym3UnxziL8ZS2MPE-nOuHn1PpFuHdRJyBopc9IUL1923r0Cfq_ZiBAutUBs/s640/Kippe_IMG_LR.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Kippe" 2008 by Ai Weiwei<br />
Photo by Ingrid Mida 2013</td></tr>
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For <b><i>Straight (2008-2012)</i></b>, thirty-eight tonnes of steel rebar recovered from collapssed schoolhouses in the Sichuan earthquake disaster have been arranged on the floor. Each twisted rod has been carefully straightened in a laborious process and laid into a sea of rods, unbroken except for a singular rift that represents the gulf between the values of Chinese society. Ai Weiwei's said: <b>"A tragic reality of today is reflected in the true plight of our spiritual existence; we are spineless and cannot stand straight". </b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOnsFS_vB8c7oT-aipC5a52PmdGLeEJ33YwGDRgm7CbIflcqCYaHguHBIT9zrGkHGDlLl1Sco7NPP_bew7Nt60BfqtwhpzmRG-0l5exeVAGFnb_zNKZJU3pGaK9axBjxW1acG8_Oufoh2e/s1600/Straight_IMG_1406.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOnsFS_vB8c7oT-aipC5a52PmdGLeEJ33YwGDRgm7CbIflcqCYaHguHBIT9zrGkHGDlLl1Sco7NPP_bew7Nt60BfqtwhpzmRG-0l5exeVAGFnb_zNKZJU3pGaK9axBjxW1acG8_Oufoh2e/s640/Straight_IMG_1406.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Straight" by Ai Weiwei 2008-2012<br />
Photo by Ingrid Mida 2013</td></tr>
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In the series, <b style="font-style: italic;">Coloured Vases (2007-2010), </b>Han Dynasty vases were dipped into industrial paint in bright colours reminiscent of plastic toys. <b>This series challenges the viewer to reconsider the role of authenticity and originality in artwork, and is one of the core questions related to the nature of Ai Weiwei's creative practice. </b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivNlmCv2a-IGQPTXlGsQS9NQkxjPLNLa_o231lADXOhp3Kyin9xd2THD3RMOO1ZFC607jjzdmq6xgxHL0Y1WYhLrI-bcqetP83hAGbkOFDLRz3L039j15AsJGUhA7y_WEUmD-g1lR1A9pQ/s1600/ColoredVases_IMG_LR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivNlmCv2a-IGQPTXlGsQS9NQkxjPLNLa_o231lADXOhp3Kyin9xd2THD3RMOO1ZFC607jjzdmq6xgxHL0Y1WYhLrI-bcqetP83hAGbkOFDLRz3L039j15AsJGUhA7y_WEUmD-g1lR1A9pQ/s640/ColoredVases_IMG_LR.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Colored Vases" by Ai Weiwei with triptych "Dropping a Han Dynasty Urn" in background<br />
Photo by Ingrid Mida 2013</td></tr>
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This exhibition led me to rethink the definition of art, something that I've been mulling over for a while in relation to whether fashion can be considered art. <b>Whatever the form it takes, whether it be an object, a photo, a film, or an act of performance, art moves us and changes how we see the world. </b>In Matthew Teitelbaum's introduction of the exhibition to the press, he said: "It's not often you get to talk about art and the world at the same time."<b> </b>Perhaps this is why Ai Weiwei's is such an important artist --<b> Ai Weiwei is literally a prisoner in his own studio, making art that speaks about the world to the world. For Ai Weiwei, the world is his art, the art his world. </b><br />
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<b><i>Ai Weiwei: According to What?</i></b><br />
<b>Opens August 17, 2013 </b><br />
<b><a href="http://www.ago.net/aiweiwei/">Art Gallery of Ontario</a></b><br />
<b>317 Dundas Street West, Toronto, Ontario, Canada M5T 1G4</b><br />
<b>www.ago.net</b><br />
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Although the artist is not permitted to leave China, he will be interviewed by Matthew Teitelbaum via Skype on September 5, 2013. As well, there are a number of events and performances related to this installation. For more information, see the listing at<a href="http://www.ago.net/aiweiwei-events/"> http://www.ago.net/aiweiwei-events/</a><br />
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<b></b><i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">Notice of copyright: </span></b></i><br />
<i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">All text and images on this blog are the copyright of Ingrid Mida, unless otherwise noted. The copying of posts, images and/or text without proper attribution is violation of copyright and legal action will be pursued.</span></b></i><br />
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Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comArt Gallery of Ontario, 317 Dundas St W, Toronto, ON M5T 1G4, Canada43.6536066 -79.39251230000002118.131572100000003 -120.70110630000002 69.1756411 -38.083918300000022tag:blogger.com,1999:blog-3069106407242551594.post-45018947757741036812013-07-05T08:00:00.000-04:002013-07-05T08:20:14.757-04:00Book Review: Astor Place Vintage<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPamAnBlAnXy93wr9f-Z2JubzlTqJV_xmM3a40S-Sr4rco06gN-BWDXcGxf_yyqiPeD3wOBihbd7T_YVM1bnxSIjL9r9EHlPYph76o9sIpwikMPKnhCZAwIa8xDwtQU7kRUsNexiDqDRX/s570/Astor+Place+Vintage001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPamAnBlAnXy93wr9f-Z2JubzlTqJV_xmM3a40S-Sr4rco06gN-BWDXcGxf_yyqiPeD3wOBihbd7T_YVM1bnxSIjL9r9EHlPYph76o9sIpwikMPKnhCZAwIa8xDwtQU7kRUsNexiDqDRX/s1600/Astor+Place+Vintage001.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cover of Astor Place Vintage Paperback</td></tr>
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Within a few pages of beginning to read the novel <i><b><a href="http://www.amazon.com/Astor-Place-Vintage-A-Novel/dp/1451682050/ref=sr_1_1?ie=UTF8&qid=1373026142&sr=8-1&keywords=Astor+Place+Vintage">Astor Place Vintage</a></b></i>, I was captivated and unable to tear myself away from the interwoven stories of Amanda and Olive. <b>Written in alternating chapters, the book begins with 39-year old Amanda, a vintage clothing dealer who visits an elderly client and comes across Olive's journal in a trunk of clothing from the early 1900s. </b>As Amanda's own life begins to unravel, she finds comfort within the pages of Olive's journal from 1907, especially since she, like Olive, wants to be independent and self-supporting. Although more than a century separates their lives, Olive and Amanda share a love of New York City and the backdrop of the city's history becomes another character in the story.<br />
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<b>The depth of research underlying this complex story is impressive, with the specificity of details of early 20th century dress, etiquette, social norms, and landmarks adding authenticity to the tale. </b>(Given the nature of my work in researching costume history, my standards are high!) The inclusion of the tragic but true love triangle of Stanford White, Harry Thaw and Evelyn Nesbit added another layer of historic accuracy, and by the end of the book, I felt like Amanda and Olive might be real.<br />
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It has been a long while since I've had time to read fiction. <b><i><a href="http://www.amazon.com/Astor-Place-Vintage-A-Novel/dp/1451682050/ref=sr_1_1?ie=UTF8&qid=1373026142&sr=8-1&keywords=Astor+Place+Vintage">Astor Place Vintage</a></i></b> was engaging and well-researched and one of those books that I wished would never end (even though I stayed up late to get to the end). <b>This book is the perfect summer read and would be especially appealing to costume historians, vintage clothing details and history buffs. </b><br />
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Title: <b><i><a href="http://www.amazon.com/Astor-Place-Vintage-A-Novel/dp/1451682050/ref=sr_1_1?ie=UTF8&qid=1373026142&sr=8-1&keywords=Astor+Place+Vintage">Astor Place Vintage</a></i></b><br />
Author: <a href="http://www.stephanielehmann.com/">Stephanie Lehmann</a><br />
Publisher: Touchstone, A Division of Simon & Schuster, Inc.<br />
Year: 2013<br />
Price: US$16.00, Canada $18.99<br />
ISBN 978-1-4516-8205-2<br />
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<i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">Notice of copyright: </span></b></i><br />
<i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">All text and images on this blog are the copyright of Ingrid Mida, unless otherwise noted. The copying of posts, images and/or text without proper attribution is violation of copyright and legal action will be pursued.</span></b></i><br />
<br />Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comtag:blogger.com,1999:blog-3069106407242551594.post-6958996455557941292013-06-21T07:30:00.000-04:002013-08-14T18:15:07.783-04:00Decentralizing the Museum <div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Art Gallery of Ontario </td></tr>
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As I review my <a href="http://www.discursivespace.com/participant/ingrid-mida-ryerson-university-guela-solow-ark/">upcoming talk</a> at the <b><a href="https://tickets.ago.net/purchaseProductSP.aro?sum=Discursive+Space">Art Gallery of Ontario</a></b> this afternoon for the <b><a href="http://www.discursivespace.com/">Discursive Spaces Conference</a></b>, I came to the realization that the passions of my life - art, architecture, photography, fashion and the museum - have finally converged. Although it has felt like I have been toiling in obscurity for years, maybe this is exactly what was meant to be....<br />
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If you would like to read more about my talk "Decentralizing the Museum", I've posted the extended abstract on <b><i><a href="http://www.wornthrough.com/2013/06/20/fashion-in-the-museum-discursive-spaces/">Worn Through</a></i></b>. Btw, day passes are still available on the <a href="https://tickets.ago.net/purchaseProductSP.aro?sum=Discursive+Space">AGO website</a>.<br />
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<br />Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.comArt Gallery of Ontario, OCAD University, 317 Dundas Street West, Toronto, ON M5T 1G4, Canada43.6536766 -79.39233939999996918.131642099999997 -120.70093339999997 69.1757111 -38.08374539999997tag:blogger.com,1999:blog-3069106407242551594.post-35330500865346351982013-06-16T08:50:00.001-04:002013-06-16T11:48:13.702-04:00The Costume Journal: Oh Canada!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcbMGlhYTJDT3ryThQjlNRhaX1sGCvpWxw5lPaz9kK-Po37I1yH0nuQd0zBbHPCVIsnmLNNmxNMrsYr3heXv-8Uu3Stsq0HdMffA1DFoK5MtEmg6OjfV749KeMEvvYYHEkeB4LG3MI8V7n/s1600/CSO_Cover002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcbMGlhYTJDT3ryThQjlNRhaX1sGCvpWxw5lPaz9kK-Po37I1yH0nuQd0zBbHPCVIsnmLNNmxNMrsYr3heXv-8Uu3Stsq0HdMffA1DFoK5MtEmg6OjfV749KeMEvvYYHEkeB4LG3MI8V7n/s640/CSO_Cover002.jpg" width="489" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cover of the Costume Journal, Issue 43, Number 1<br />
Art Directed by Marta Kowcun, Photo by Lawrence Cortes, Dress by Some Kong, Model Mikaela M. of Elite Models</td></tr>
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Last fall, I agreed to take on the role as editor of the <b><i>Costume Journal</i></b>. Although I had more than enough to juggle, it seemed like an opportunity that I could not let pass me by. <i>The Costume Journal</i> is a publication of the <b><a href="http://costumesociety.ca/wordpress/" target="_blank">Costume Society of Ontario</a></b>, an organization that was founded in 1971 by<b> Eileen Collard</b>, <b>Alan Suddon,</b> and a passionate cadre interested in dress history. Although the circulation of this publication is relatively small, there are 14 museums and institutions around the world that subscribe to it, including the <b><a href="http://www.rom.on.ca/en" target="_blank">Royal Ontario Museum</a>, </b>the<b> <a href="http://www.mccord-museum.qc.ca/en/" target="_blank">McCord Museum</a>,</b> and the <b><a href="http://library.ryerson.ca/" target="_blank">Ryerson University Library</a></b>.<br />
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After becoming the editor, I read the entire archive of the Journal from its beginnings in 1971, and was surprised to discover that <b>the CSO used to regularly publish original research on dress</b>, including articles by curators at the ROM and other dress historians. This seemed like a golden opportunity to revisit the Journal's roots. As well, there is a void in research on topics relating to Canadian dress and thus the theme of <b><i>Oh Canada! </i></b>was born.<br />
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<b>In undertaking this redesign, my aim was to make the journal more relevant and modern, finding a niche between an academic journal and a mainstream fashion magazine, and while doing so, still honouring the Costume Journal’s roots.</b> Up-to-date exhibition and event listings are now provided on the <a href="http://costumesociety.ca/wordpress/" target="_blank">CSO website</a> and <a href="https://www.facebook.com/CostumeSocietyofOntario?ref=hl" target="_blank">Facebook</a> page, and also circulated through membership emails.<br />
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<b>This special keepsake issue is a celebration of Canadian fashion and features articles by invited fashion scholars.</b> <b>Julia Pine</b> writes about the concept of national fashion identity or fashionality and also considers the use of iconic symbols of Canada by artists exploring that liminal space between fashion and art. <b>Jenifer Forrest </b>writes about humour as an element of in Canadian design identity. <b>Alexandra Kim</b> analyzes the use of the maple leaf motif by British couturier Norman Hartnell in the royal wardrobe. <b>Ashely Sivil</b> dissects the performative aspect of gender in the Spring/Summer 2013 collection by Denis Gagnon. As well, we offer a reprint of an article from Volume 8, Number 1, June 1978 by <b>Michelle McMillan</b> called “A Woman’s Work: Art and Industry” about the ornamental possibilities of beadwork.<b> In addition, I compiled a list of key texts on Canadian fashion in the hopes of inspiring new scholarship in the topic. </b>The cover features the work of <b>Marta Kowcun</b>, a recent Ryerson Fashion Communications graduate, whose art direction in the photographic series called <i>Dress Toronto</i> caught my eye at MassExodus 2013. This photograph features model <a href="http://www.elitemodel.com/details.aspx?navbtn=1&city=TO&modelid=624757&pic=029.jpg&subid=4742&mainsubid=4742&io=&indx=2" target="_blank">Mikaela M. from <b>Elite Models</b></a> in Toronto wearing a dress by Ryerson Fashion Design student <b>Some Kong</b> in front of the <a href="http://www.rom.on.ca/" target="_blank">Royal Ontario Museum</a>.<br />
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<b>Being an editor is akin to the work of an orchestra conductor, and I saw it as my job to wave my baton to bring out the best from each contributor. </b> I aimed to make each voice sing, which was harder than I expected. It took over two months of dedicated work to make this 32-page issue happen and this redesign would not have been possible without the superlative skills of <b>Jazmin Welch</b>, a third year Ryerson Fashion Communications student. who translated my vision into reality. Jazmin undertook the challenge with enthusiasm and a keen eye for detail and I offer her my deep gratitude for that as well as her patience and good humour. Unfortunately, this journal is currently available only to paid members, but perhaps at some date in the future the journal will be available for purchase online via the <a href="http://costumesociety.ca/wordpress/" target="_blank">CSO website</a>.<br />
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<i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">Notice of copyright: </span></b></i><br style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;" /><i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">All text and images on this blog are the copyright of Ingrid Mida, unless otherwise noted. The copying of posts, images and/or text without proper attribution is violation of copyright and legal action will be pursued.</span></b></i>Ingrid Midahttp://www.blogger.com/profile/03609389355426171504noreply@blogger.com