Not exactly. The old saying “history repeats itself” can be applied to fashion without fail.  Save for those unexplainable and unsettling fads (i.e. jelly shoes and acid wash denim), nearly everything in fashion can be traced to a previous trend or inspiration.  The long-sleeved mini dresses on the Azarro and Jil Sander runways? Direct 60s references. Prada looked back to the 50s with knee-length skirts and feminine hues. On countless runways, polka dots – one of the most classic prints – were given a fresh, modern spin.

While none of this is “new,” we’re definitely seeing it in a new way.

Luckily, fashionphiles like me have an advantage when it comes to tracing trends: the IMA’s very own Material World exhibition.  From crystal-encrusted Dior gowns to ornate Cambodian pieces, Material World is chock full of the clothes that started it all. Seeing the exquisite craftsmanship, rich colors, and tiny details up close means spotting fashion influences is both easy and fascinating. In particular, a feathered Chanel cape, a Tibetan regalia, Chinese imperial robe, and a two-piece Chanel suit stood out to me, and to demonstrate their timeless appeal, I compared them to Fall/Winter 2011 runways:

CHANEL FEATHERED CAPE, 1925

VALENTINO, DSQUARED, & GUCCI, FALL 2011

The 1920s was an age of excess and luxury, exuberance and joy.  This feathered, camel-colored Chanel cape exhibits all of these sentiments, with the addition of Gabrielle “Coco” Chanel’s exquisite tailoring and craftsmanship, of course. Wearing feather-adorned clothing was both an exotic new design idea and a shameless display of wealth for upper class Americans of the Roaring Twenties.  Naturally Chanel, the premiere couturier, was among the first to turn out magnificently feathered pieces.  The dense application of feathers gives the cape a soft, plush feel, yet true to form, Chanel kept the colors natural and the shape sleek and simple. Nothing too gaudy or over-the-top for the original minimalist.

Today, we’re seeing modern interpretations of the feathered trend – and not just feathered pieces, but opulent fur pieces as well.  But modern styling and shapes make all the difference in the world; take the Valentino feathered jacket, for example: ultra-naturalized feathers on a 60s-inspired swing coat, complete with cropped sleeves and a rounded collar. The juxtaposition makes an impact far greater than the original shapeless Chanel cape. Similarly, fur has held its ground as a fabric of luxury, and the past few seasons have shown a fur resurgence.  Designers are playing with different treatments of fur; think full sleeves, thick textures, even psychedelic dyes like turquoise, red and pink.

TIBETAN REGALIA for BUDDHIST ORACLE, early 1900s & CHINESE IMPERIAL ROBE, 1775-1825

DRIES VAN NOTEN, MARY KATRANTZOU, & ETRO, FALL 2011

The Tibetan tradition of the oracle’s regalia is to emphasize his connection to the spiritual world, just as the Chinese imperial robe expresses an emperor’s oneness with God. And while fashion today isn’t exactly spiritual, it’s arguable that our ability to see runway shows online connects us to the fashion gods (aka designers). Religion aside, the inspiration of Tibet and China is unmistakable on some of today’s biggest runways, including Dries Van Noten, Mary Katrantzou, and Etro, which featured looks with boldly mixed patterns, draped fabrics, ornate decoration, and metallic threads.

While the prints and fabrics on the regalia and robe were partially chosen for aesthetic reasons, they serve a greater symbolic meaning. The multi-piece regalia was made with imported silk and metallic threads to create a sense of opulence, and the three eyes on the headpiece show the oracle’s two physical eyes and his third “inner eye” that symbolizes enlightenment and wisdom.  In the modern Dries Van Noten, Kantratzou and Etro looks, the styling errs on the aesthetic side – but the bold colors, collage of mixed prints, and luxe fabrics communicate a more complex, multifaceted woman.  By rejecting convention, they project a sense of luxury and beauty in a way that mimics the glorification of the ancient Tibetan oracles and Chinese emperors.

Katrantzou referred to her fall collection as being created for a woman surrounded by beautiful things, and to do so she “pushed prints to the limit.”  Similarly, Dries Van Noten used a collage of patterns from different time periods to create a type of synoptic image. Dries also executed an extreme attention to detail, using bright snakeskin or shimmery gold threads to add subtle impact and definition to the large patterns.  Etro’s look most resembles the Asian pieces, with a tapestry-esque pattern printed on a conservative two-piece ensemble.

CHANEL 3-PIECE SUIT, 1964

MICHAEL KORS, YSL, & EMILIO PUCCI, FALL 2011

From the very beginning, Chanel emphasized elegance and polish on simple shapes, constructed womenswear with jersey fabric, and turned out innovative, striking designs for every day.  The women’s pantsuit was a premiere example of Chanel’s expert craftsmanship and thoughtful designs; what was once reserved for businessmen was now available to women who wanted a sleek, professional, and modern new look.  By using unexpected materials like brocade or boucle, Chanel was able to give women the “new uniform” of the ’20s while maintaining a sense of femininity.  This gold suit from 1964 displays the idea flawlessly: a fitted collarless jacket and slim pants becomes even more feminine when done in shimmering gold, silver, blue, and purple threads.  Luxurious details like braided edges and expensive fastenings also add to the elegant feel, while maintaining that sleek and unfussy look.

The fact that suits aren’t inherently feminine is perhaps what makes them so unexpectedly womanly, and we can certainly see this idea repeated in modern suits.  Women today still consider suits one of the most stylish ensembles (when done right, of course) and it’s those slight details that make all the difference.  In the drapey Kors suit, a deep V-neck, flowing jacket, and super-skinny pants lend some edge; YSL’s snug black suit features nautical buttons, puffed sleeves and cigarette style pants to enhance the female shape; and Pucci’s all-white look is both crisp and relaxed, for the fashion-forward, minimalist woman.  Suits are the original classic, and clearly they’re far from fading out.

You can see the results in use (and all of the fabulous clothes) in the Paul Textile Gallery and Fashion Arts Gallery until February 6, 2012.

What were your inspirations for the Material World typeface?

The grid-like mesh of natural elements like spider webs was an inspiration, as well as man-made things like chain-link fences. Both can feel either very clean and manufactured or organic depending on how they are viewed or manipulated.

How did you design this typeface? Did you make the whole alphabet?

Functioning typefaces are created with specialized software that allows them to be typed directly from the keyboard, and includes important  information about spacing, alternate weights, etc. Because we were only using these new letters to spell short phrases, and because of the time required to actually create a functioning font, I simply made the letters in Adobe Illustrator with the pen tool. Creating each letter isn’t difficult, but it can be time consuming, so I drew only the characters I needed for this exhibition.

Why did you design a typeface and not use one that already existed?

While thinking about what typography and imagery could be used to represent the intricate materials used in the exhibition, I did look at a number of pre-existing options. Ornate display type tends to be created to connote specific imagery—Victorianism, holidays, or the stereotypes of a foreign culture, for instance. I wanted something that felt contemporary and spoke to the physical construction of the garments, but also seemed organic as well. It didn’t take very long to realize that drawing my own letters was the most natural approach.

How does the design of Material World enhance a visit to the show?

The primary goal of any design is to enhance the content. The experience of shopping at a big-box grocery store is very different from visiting an expensive clothing retailer, and it’s not because of the objects for sale. By using dark colors and not using more light than necessary, we are trying to create a space that feels intimate and seductive when compared to other galleries. The typography, too—both in its design and its use in the show—is meant to accentuate the seductive nature of the work, as well as reference the intricate patterns and handwork evidenced in many of the pieces.

Material World, the latest exhibition in the Paul Textile and Fashion Arts Galleries, is comprised of tantalizing objects from around the world, each with its own set of installation needs. From court dresses to Imperial robes to ceremonial dance ensembles, the size and weight of the objects, vulnerability of materials, and the support needed vary from object to object. Some pieces demand heads for accompanying headdresses, while others require specific stances, or modified mounts.

Custom mount for woman’s belt.

Installed, the ring supports the belt allowing long fringe to hang freely.

In some instances, dresses slipped on mannequins with little adjustment, but in other cases the silhouette of the garment or weight and texture of the fabric prohibited the use of conventional dress forms. One example is a Chinese Palace Guard uniform worn by a sentinel in the Imperial army during the Qing Dynasty. The ensemble consists of eight pieces: an oversized coat, over-trousers split in the center covered with an embroidered panel, two shoulder ornaments made of heavy gilt bronze, and patches buttoning onto the jacket. The striking ensemble is made of heavy brocaded satin cloth with gold metallic threads enhanced by the addition of hundreds of bronze studs covering the surface of the fabric. Due to the weight of the fabric and size of the coat, the piece could not be exhibited on a mannequin in a pose with arms at the side. In addition, we had to account for the heavy epaulets on either shoulder, to ensure that each are supported without placing any strain on the fabric. Therefore, we enlisted the help of the IMA’s mount maker, Brose Partington. Brose removed the mannequin’s arms and created customized armatures that lock on.

The result is impressive. Not only does the pose alleviate strain on the fabric (had the arms been used, the sleeves would have bunched and crushed under the arms on either side) but the domineering uniform can now be viewed in its entirety.

Modified male mannequin in mount room.

On view in Material World.

Another case – a true labor of love, – was a customized mount made to scale for an Ethiopian cape and matching crown.  The cape and crown, composed predominately of lions’ skin and manes, were components of a warrior’s formal attire, most likely worn by a military or civilian official.  I liken this project to a quilt, completed in a quilting bee, where several sets of hands work on one piece. The design and pattern for the mount was created by Kathleen Kiefer; the IMA’s Senior Textile Conservator, while the ethafoam pieces were cut out, shaped and adhered by me. The padding, layered to mimic the shape of a man’s chest, was applied by Kathleen and our intern, while Paul Siebenthal (the IMA’s new mount maker) designed a base. Here is the breakdown of the process step by step.

Step 1) Pattern traced onto ethafoam sheets:

Step 2) Cutting the pieces out:

Step 3) Gluing the two forms together:

 Step 4 & 5) Padding and sculpting the torso with polyester needle punched batting:

Step 6) Lopping off the chin of a pre-made ethafoam head & shaving it down with sand paper – the chin was too pointy:

Step 7 & 8 ) Covering the torso and head with black cotton knit:

Voila! On view in Material World:

The armatures for the male mannequin will be removed after the exhibition closes (February 6, 2012) so the mannequin can be reused, while the mount created from ethafoam will be stored and used when the cape and crown are exhibited again.  To see all this handiwork in person, be sure to visit Material World soon!

Emilio Pucci, scarf, "La Caccia," 1959. Gift of Murph Damron (2009.26)

Fashion designer and Italian aristocrat, Emilio Pucci is perhaps best known for his brilliant, sinuous prints. Inspired first by the atmosphere on the Island of Capri, Marchese Emilio Pucci di Barsento (1914-1992) began designing clothing for women in 1949, opening a small shop a few years later. Preoccupied with the absurd constraints popular clothing of the time imposed on women; he re-conceptualized menswear for women, as resort wear. Loose fitting shift dresses, palazzo pants and blouses, created out of luxurious hand-painted silks. The instantly recognizable Pucci brand was highly sought after for much of the 1950s and 1960s.

Emilio regularly looked to his heritage for inspiration; his ancestry can be traced back to both Lorenzo de Medici and Catherine the Great.  “Possibly the greatest misconception about Emilio Pucci is that the prints that made the brand famous are abstract. In fact, they are drawings, often simply inspired by objects, or Pucci’s home surroundings…” (Pucci: Fashion Story, 2010, pg. 107)

Considered a Renaissance man by many , he was “… fascinated by his roots, and art and architecture; you can actually see it in his work. On my honeymoon in Capri in 1953, I remember going to his shop and being struck by how much the designs resembled Florentine mosaics. It was really extraordinary, although I don’t think a lot of people realized it.” –Rosita Missoni (Pucci: Fashion Story, 2010, pg. 42)

In 2009, the IMA acquired a silk scarf by Emilio Pucci, titled La Caccia or The Chase from his Botticelliana Collection, 1959.  The motif for the scarf is inspired by the Stories of Nastagio degli Onesti by Sandro Botticelli.

Silk twill cocktail dress featuring the caccia motif. From the Botticelliana Collection, Spring/Summer 1959. Photo © Giulio Guzzoni/Emilio Pucci Archive, Florence. Image scan: (Pucci: Fashion Story, 2010, pg. 133)

In 1483 Sandro Botticelli was hired by the Florentine nobleman Antonio Pucci (a 15th century relative of Emilio’s) to create a series of paintings in celebration of the marriage of Pucci’s son Giannozzo to Lucrezia Bini. The paintings illustrate a tale from Boccaccio’s Decameron (1353), a collection of stories related by a group of characters over the course of ten days to amuse themselves as they fled Florence to escape from an outbreak of the plague.

Botticelli’s paintings tell the story of Nastagio degli Onesti, related by the character of Filomena on the fifth day of the Decameron. Nastagio is a young man from Ravenna who has fallen in love with a woman but been rejected. Despondent, he heads to the outskirts of the city to lick his wounds.

Sandro Botticelli, "The Story of Nastagio degli Onesti: The Encounter with the Damned in the Pine Forest," 1483. Tempera and oil on panel, 83 x 138 cm. Museo del Prado, Madrid.

The first painting shows Nastagio in the forest, where he sees a nude woman being chased by dogs and a man on horseback.  The man, Guido del Anastagi, fell in love with the woman but, like Nastagio, was rejected by her.  He was so shattered by her rejection that he committed suicide. Nastagio is witnessing the duo’s eternal punishment—Guido sinned by committing suicide, and his beloved sinned by rejecting his love. They are condemned to repeat a “caccia infernale” (infernal hunt)—Guido chases her down and disembowels her, and feeds her heart and entrails to his dogs. The hunt is repeated over and over again, without end.

Sandro Botticelli, "The Story of Nastagio degli Onesti: The Infernal Hunt," 1483. Tempera and oil on panel, 82 x 138 cm. Museo del Prado, Madrid.

In the second painting, Nastagio flees from the violent scene as we see the hunt begin again in the background.

Sandro Botticelli, "The Story of Nastagio degli Onesti: The Banquet in the Pine Forest," 1483. Tempera and oil on panel, 84 x 142 cm. Museo del Prado, Madrid.

Nastagio is horrified by the violence he has seen, but at the same time inspired—he realizes that he can use the other couple’s punishment to convince his own beloved to end his torment.  In the third painting, Nastagio has invited the object of his affection and her family to a banquet in the forest, knowing that it will be interrupted by the damned lovers’ chase. Nastagio’s beloved, to the left in a white dress, is understandably traumatized.  After witnessing the violent torment rewarded to the woman who had rejected Guido’s love, she changes her mind about Nastagio. On the right, her servant tells Nastagio that his beloved will accept his proposal.

Sandro Botticelli, "The Story of Nastagio degli Onesti: The Wedding Banquet," 1483. Tempera and oil on panel, 82 x 142 cm. Private collection, Florence.

The final painting shows their sumptuous wedding banquet, with fashionably-dressed women seated on the left and the men on the right, while servants carry in platters of food. Portraits of Antonio Pucci and his patron Lorenzo de’ Medici are included amongst the men, and the Pucci, Medici, and Bini coats of arms are displayed above, along with branches of myrtle to symbolize love.

To a modern audience, the story of Nastagio seems like a rather gruesome and off-putting wedding gift for Giannzzo Pucci and Lucrezia Bini. It is perfectly in accord, however, with Renaissance notions of decorum, and familial and civic duty.  In patriarchal Florentine society, Nastagio’s beloved was wrong to reject his suit, showing arrogance and independence which were not admirable qualities in a woman. The story reveals the importance of marriage in ensuring an organized society—neither man nor woman is meant to live in an unmarried state, and both should accept their respective roles in society, whatever their personal sacrifices may be, for the stability of their families and of Florence.

In 1967, Emilio purchased the painting upon learning The Wedding Banquet, 1483, was to be sold at an English auction house, and brought it back to Florence.

“He had been talking about that painting since we got married. I think it was probably his greatest achievement: to get back what his family had sold.  To bring it home.” -Marchesa Christina Pucci

(click to enlarge)

Like Botticelli’s paintings, Pucci’s story of La Caccia is divided into four sections. Although less gruesome, this version also depicts a chase, but in Pucci’s tale the prey is a stag or deer, rather than the ill-fated lover of Guido del Anastagi. In the first scene, lords, hunting dogs and horses prepare for a long journey into the hills of Italy. The horn sounds and the hunt begins.

(click to enlarge)

In the second scene, the once unsuspecting, feeding deer become alarmed and try to escape, but the lords and hunting dogs are adept.

(click to enlarge)

This scene portrays the victorious hunters ambling home with their game in tow.

(click to enlarge)

The final scene, much like Botticelli’s fourth painting, The Wedding Banquet, depicts lords and ladies at an elaborate banquet in the woods feasting on the day’s kill. Servants attend to the couples while others prepare the leftovers. Note the Pucci coat of arms, on the table, center front, also visible in Botticelli’s paintings, The Banquet in the Pine Forest, and The Wedding Banquet, and the castle in the background, perhaps a reference to the Palazzo Pucci in Florence.

Fast forward four years, (five? I can’t keep track,) and a legitimate scene has developed in Indianapolis. Maybe it’s the hubbub surrounding the Big Game (you know the one), but things are abuzz.

First, there were a few blogs I started to see references to everywhere. I can’t decide if they were simply made more visible to me by social media, but all of a sudden, stylists, photographers, make up artists, dealers, and aficionados started coming out of the woodwork.

Fountain Square and beyond flowered with new, fantastic vintage/local shops like IndySwank, Homespun and Harloh’s. Indy’s own beauty blog, PrettyIndy started – another facet of  a good general style scene.

Then, this past year, the Indianapolis Fashion Collective was founded, to “unite, empower, showcase, and grow the Indianapolis area fashion industry through collaboration, education, and awareness.” I saw recently that they have started a discussion about shared studio space for local designers, a great resource when trying to get a small business off the ground and your basement isn’t cutting it.

Then, at a recent Indy fashion meetup, I heard about Midwest Fashion Week (how have I missed this?) and learned an international style maven moved to Bloomington. We even have a brand new street style blog. It was fun to meet local enthusiasts, designers, stylists and editors all working towards the same passion: advancing Indianapolis’s position on the fashion map.

Now, with intrepid curators Niloo Imami-Paydar and Petra Slinkard at the helm, the IMA has joined the chorus with the Fashion Arts Society, a group for true lovers of Fashion as high art.

Everyone came out for one of the falls most exciting events, the Project IMA Fashion Unbound Runway Show, and stayed to people watch at the Behind the Seams after party, sponsored by FAS.

If you love fashion as I do, consider finding a way to get involved. Join FAS, or the Fashion Collective, or submit to the Midwest Fashion week. It’s the involvement of many individuals that make it something we all want to be a part of. I’ll see you all for the opening of Material World!

The Fashion Arts Society was founded in 2010 as well, with great response. The organization hosted their first fundraiser for the department, an after-party for the IMA fashion show Project IMA: Fashion Unbound titled Behind the Seams. The event went off without a hitch, and enjoyed by all who attended. FAS membership is growing steadily and the FAS calendar for 2011 will not disappoint.

In November the exhibition, Read My Pins, the Madeleine Albright Collection opened at the IMA with great success. The installation is beautiful and the catalogue accompanying the exhibition is a delight.
Dr. Albright visited the museum in early November, for a book signing and lecture, which was one of the most enjoyable experiences I’ve had to date. Dr. Albright is as witty as she is smart and I think I am not alone in saying that everyone left the Toby that evening smiling.

This year the department also acquired about 45 new acquisitions, two of which is a dress (1972) by Halston (now on view on the IMA’s 3rd floor just outside the entrance for the Fashion Arts Gallery) and a complete Rudi Gernreich Japanese schoolboy ensemble (1967).

ensemble; ‘Japanese schoolboy’, 1967 by Rudi Gernreich (2010.205a-f) Caroline Marmon Fesler Fund

All of the museum’s recent acquisitions are featured on the IMA’s dashboard. However, here are just a few.

dress, 1966 by Rudi Gernreich (2010.71) Mr. and Mrs. William B. Ansted, Jr. Art Fund

The dress is a companion piece for this coat acquired by the IMA in 2008. coat, 1966, by Rudi Gernreich (2008.199) Lucille Stewart Endowed Art Fund

In 1966, Gernreich created a line featuring animal patterns of which this tiger print dress and coat are examples.  It was a Coty Award winning line.

dress, 1986 by Zandra Lindsey Rhodes (2010.74A-B) Gift of Alfred Shands

The print for this dress, style number 86/6, named ‘Peacock godets’ was inspired by a trip Rhodes took to India.

quilt; ‘Morning Glory’, 1912 by Marie D. Webster (2010.79) Webster Collection, Gift of Katherine Webster Dwight

The IMA has several of Marie D. Webster‘s quilts and patterns in the collection already. Morning Glory was published in a 1912 issue of Ladies Home Journal and the pattern for this quilt is also housed in the IMA’s permanent collection (S7289.91a-e).

purse; ‘milk carton’, 1990s by Franco Moschino (2010.213) Textile Arts Fund

The image of the cow not only indicates the symbolic contents of the bag, “milk” but it was also one of the memorable faces used to launch Moschino‘s publicity campaigns. The purse includes an “ingredients list” promoting love, peace, fun and friendship, the “recipe” and an illustration instructing the wearer to not throw the bag away.

As 2010 draws to a close, we are preparing for the spring 2011 opening of Material World, an exhibition that will feature extravagant ornamentation of textiles and personal adornment from cultures around the world.

Here’s to another productive year!

After reading a previous blog about museum storage, we thought it would be fun to share the fine work of our Packing & Storage Department. John Ross, one of our Storage & Packing Technicians, created a beautifully-crafted housing to store the headdress of an African dancer’s costume. This costume is of the Poro Society – a society mainly found on the Western coast of Africa. The term Wenilegei means “bird man,” so I guess one could say that John contained the “bird man!”

If we had thought of this earlier, we would have taken images of John hard at work in the beginning stages developing the housing. What we do have are great images showing the final outcome! Like much of our collection resting in permanent storage, developing its housing required a number of considerations:

• What is needed to protect it from dust?
• How can we minimize light exposure?
• What type of housing will minimize unnecessary handling?
• Will this housing be understood by the next art handler?
• Overall: What do we need to best protect it?

In addition to those thoughts, our Storage and Packing Technicians also need to accommodate existing storage space, which is rather limited. Some considerations that affect the type of housing are:

• Where are similar objects housed and is there room for this to join them?
• When will it be accessed in the future?

For permanent storage, this headdress and cloak will be stored separately due to limited space in storage and having different storage requirements.

This headdress requires a customized base to accommodate the chin strap, so it is not forced to bend sharply – potentially causing it to break off over time. To do this, a raised circular shape was built for the headdress to “lock onto” while grooves were cut to create a smooth slope for the chin strap. After John took detailed dimension after dimension, he created the below archival base (nice, huh?).

John regularly uses Ethafoam and Volara, archival quality materials, to create tailored storage housings. The open cell Ethafoam functions as a stable base while the smooth, closed cell Volara is added to provide a smooth surface for the headdress to come into contact. The Ethafoam and Volara are somewhat pliable, which allowed him to create a snug fit without unintentionally abrading the surface of the headdress. This type of customized housing also prevents the headdress from shifting or moving while being handled.

Once the base was taken care of, we needed to address the dust and light exposure issue. John created a Foam core box for the Ethafoam base to slide in to. This will prevent dust from gathering on the feathers over time. The easily-opened front flap allows us to see the headdress without unnecessary handling or movement. The label also aids us by providing information without having to open the box at all.

Like many other pieces in storage, the mount for this headdress required a good deal of planning, designing and attention to detail – something our Storage & Packing staff are no strangers to. With the help of Jesse, Rob, and John, we are able to create unique housings for our wide range of collections. Thank you, John, for your hard work! We (and the “bird man”) appreciate it! To see this headdress with its cloak in person, be sure to visit the next Textile Arts exhibition, “Material World” in the Spring of 2011.

The audience choice award, a $250 Saks Fifth Avenue gift card also went to a local designer, Amanda Helmsing, for her ensemble made from fabric she designed herself from antique photographs and chicken wire.

To see some of the incredible designs presented on Friday, visit the Project IMA set on Flickr. Is your favorite dress not pictured? You can add your photos from the event to the Flickr group pool for Project IMA. As the week goes on, designer names and the materials utilized will be added. And for additional information, check out Nuvo’s review of the event.

After the shows- the designers rocked out at the “Behind the Seams” after-party sponsored by Fashion Arts Society with the generous support of American Surety Company. Guests and artists alike mingled, posed for GotShot and grooved to the sounds of Beta Male.

I hope everyone had a good time- I know I did. Thank you to all the designers, models, hair and make-up talent who volunteered their time in making Project IMA: Fashion Unbound an unforgettable event. We could not have done it without you.

It is really quite exciting; allow me to share just a few reasons why.

While researching the American textile collection, I delighted in studying our 1930s and 1940s textiles, a few of which were designed and produced as part of the Milwaukee WPA Handicraft project. This was a highly successful WPA venture that provided work for under-skilled people. The project engaged workers in a multitude of handcraft practices, instructed by designer- technicians drawn from graduates of the Milwaukee State Teachers College art department.

In the IMA’s collection, we have two examples of textiles that were produced as the result of this highly successful project; both designed by Florence Kawa.

The Reapers, Florence Kawa (39.41)

The Workers, Florence Kawa (39.42)

Other noteworthy 1930s and 1940s textiles in the collection (not associated with the WPA movement) were designed by Ruth Reeves, an illustrator and textile designer, known for her Art Deco imagery, as well as Dorothy Trout and Tom Lamb. Examples of their work were included in the 1931 publication, ANNUAL OF AMERICAN DESIGN.

The Circus, Ruth Reeves for Morley Fletcher, Ltd. (48.32)

Ruth Reeves, design for a children’s room (47.173)

Dorothy Trout (47.179)

(Note Dorothy’s signature)

Tom Lamb (47.180)

The IMA also houses textiles manufactured by the Waverly Division of F. Schumacher & Co., a fifth generation, family-owned interior design company founded in 1889. Waverly is a division of F. Schumacher & Co. launched in 1923.

One example, designed by William Domaratius is entitled MidSummer. Note the swatches attached at the top, providing alternate colorways or complimentary designs. As the company grew they added a wallpaper line, as well as commissioned works from famous European designers such as, Lalique, Brandt, Seguy, Follot and Poiret.

MidSummer, William Domaratius for F. Schmacher & Co., Waverly Division (TR1700)

The last examples I will share are by Jullian Tomchin and Margaret King (who also designed for F. Schumacher). Jullian Tomchin designed this piece to commemorate the birthday of fashion designer, Norman Norell. Along the selvage note the stamp that reads “Designed especially for A PARTY FOR NORMAN on October 23, 1967”.

Jullian Tomchin (S6587.87.1)

King’s design, entitled Cross Country, depicts 8 historic landmarks throughout the state of Indiana, manufactured by F. Schumacher & Co. for L.S. Ayres & Co.

Indiana buildings featured: Soldiers & Sailors Monument, Indianapolis; Indiana University Student Building, Bloomington; Whitcomb Riley’s birthplace, Greenfield; a covered bridge, Raccoon; Lincoln Village, Rockport; First State Capital, Corydon; Old Mill at Spring Mill Park; George Rogers Clark Memorial, Vincennes

The IMA houses additional versions of this design in blue and beige, as well as a sample of the matching wall-paper.

Cross-Country, Margaret King for F. Schumacher & Co. (47.193b)

]]> http://www.imamuseum.org/blog/2010/10/13/the-american-textile-collection/feed/ 3 The Reapers, Florence Kawa (39.41) The Workers, Florence Kawa (39.42) The Circus, Ruth Reeves for Morley Fletcher, Ltd. (48.32) Ruth Reeves, design for a children�s room (47.173) Dorothy Trout (47.179) (Note Dorothy�s signature) Tom Lamb (47.180) MidSummer, William Domaratius for F. Schmacher & Co., Waverly Division (TR1700) tr1700-6_cur_2010-06-18_v02 Jullian Tomchin (S6587.87.1) Jullian Tomchin (S6587.87.1) Jullian Tomchin (S6587.87.1) 47-193b_cur_2010-06-30_v01 http://www.imamuseum.org/blog/2010/09/15/strike-a-pose/ http://www.imamuseum.org/blog/2010/09/15/strike-a-pose/#comments Wed, 15 Sep 2010 15:03:49 +0000 Petra http://www.imamuseum.org/blog/?p=14070 So here we are, in the midst of Fashion Week (Have you been paying attention?) and even though we in Indianapolis are safely out of the way of all the hustle and bustle of tent life in New York, we are in the midst of preparing for a little hustle of our own.

Marc by Marc Jacobs Photo: Slaven Vlasic/Getty Images

The call for artist participation for Project IMA: Fashion Unbound closed August 27, and I am pleased to announce that over 40 designers and artists with over 50 pieces were selected. Some designs proposed are just kernels that will pop into shape, while others entered projects that are already constructed and are just waiting to be served… to you, that is.

So mark your calendars for a delightful feast of design and ingenuity to be presented to you on the Toby stage on October 22 at 7 pm or 8 pm.

You can purchase tickets here: http://www.imamuseum.org/projectima

But that’s not all!– for all of you who just can’t get enough, come to the official Project IMA After Party, sponsored by the newest IMA affiliate group, the Fashion Arts Society. Get a glimpse Behind the Seams, with a chance to meet designers and view their pieces off the stage and in person. Live entertainment, cash bar and light hors d’oeuvres will be served. The ticket for the after party also includes admission to the runway show, prêt-ty nice…

Oh! And don’t forget to dress your best for the fête, showing off your own creativity.

Just because you’re not on the runway doesn’t mean you can’t look like it. Looking forward to seeing you there!