Hello students, this class will now meet in Fine Arts 239, second floor of the fine arts building.
Hello students, this class will now meet in Fine Arts 239, second floor of the fine arts building.
Dandy: a man unduly devoted to style, neatness, and fashion in dress and appearance.
Oscar Wilde: Apostle of Aestheticism,” became a celebrity in America during his 1882 lecture tour, due in part to his effeminate persona. Wilde moved into marginal (and feminine) modes of fashion, creating himself, like the aesthetic woman who was part of the “assemble of the drawing-room,” as an object d’art in aesthetic space.
Black Dandyism the black dandy crosses and re-crosses boundaries of class, gender, sexu ality, race, and nation.
Julius Soubise black companion of the Duchess of Queensbury “Fashioned a social debut in his own style” Made himself over from a black in fops clothing to a fop who was black.
Sartorial expression as a form of self-representation.
Second Lines – expressing the Burlesqued Dandy
The question of transvestite fashion (dated statement) is, as Marjorie Garber has noted, the essence of theater, role playing, costume, and boundary experimentation, the qualities so evident in the aesthetic celebrity in such people as Oscar Wilde.
In 1882 one of the highly praised and best-paid minstrel star was the female impersonator Francis Leon, who boasted that he owned three hundred dresses and a great deal of jewelry.
In vaudeville, female stars appeared as Oscar Wilde (“silk stockings, knee-breeches and a velvet coat”), an indication that the experiments within aesthetic iconography (theater, self-creation, and new personal presentations) were extending into an arena of popular entertainment.
Male drag is a staple of theatrical and cinematic tradition. Examples range from the famous stage performances of Sarah Bernhardt as Hamlet and (more recently) Pat Carroll as Falstaff, to the operatic convention of travesti or “trouser roles” in which mezzosopranos sing male roles, to the memorable presences in male attire of movie actresses as varied as Clara Bow, Greta Garbo, Marlene Dietrich, Katharine Hepburn, and Julie Andrews. Some entertainers, such as blues singer Gladys Bentley, who sang about “bulldaggers,” while dressed in tails and tuxedo, sexualize the cross-dressing. Although cross-dressing always has a potential to destabilize assumptions about gender and sexuality, the impersonation of men, even by black lesbians, has usually not been seen as threatening when presented as entertainment. Consequently, drag kings are usually greeted with enthusiasm even by predominantly heterosexual audiences.
CARPA Scheduled press briefing to be held at the following time and place:
Saturday, Feb. 24th, 2018
The Craft Advanced Research Projects Agency (CARPA) invites the press and the public to a briefing on recent project developments. The briefing will be held in conjunction with the College Art Association Annual Conference and will take place during the reception for Critical Craft Forum.
CARPA is a central state agency of the United States Department of Defense. It is responsible for the development of new craft technologies. The focus of CARPA is the strategic advancement of craft in order to shape and sustain conditions for stability and progress. CARPA sponsors revolutionary, high-payoff research that bridges the gap between fundamental discoveries and their craft use. Bringing craft out of the studio into an extreme environment, CARPA subverts the normal bucolic setting of craft practices in order to highlight the urgency of craft security in the United States and the Free West.
After introductory remarks by CARPA directors Carole Frances Lung and Sara Clugage, agents will present recent findings and developments in American craft strategy:
Steven Frost, artist and media studies instructor, will describe how the firearms industry successfully marketed to female consumers by adopting the “pink it and shrink it” strategy.
Lauren A. Ross will give a short history on drone catching and update CARPA agents on pivotal developments in Drone Catcher Technology (DCT). Critical issues of surveillance and spectatorship will be addressed in relation to net making and survivalist culture.
Jennifer Moon will present an experiment merging quantum physics with trauma and shame to collapse identities into black holes, queer possibilities, and the impossibility of observation.
Jemima Wyman will analyze the latest camouflage technology used by protesters and how they gain power through stealthy uses of masks, garments and patterns. She will ponder aloud: what the military could learn from these DIY tactics?
For more information about CARPA, please visit craftresearchagency.com or email Sara Clugage, Director of CARPA’s Strategic Media Office, at firstname.lastname@example.org.
What is Feminism?
“One is not born, but rather becomes, a woman”
Simone de Beauvoir .
Women’s Liberation Movement (WLM), or ‘second wave feminism’, from the late 1960s that would have the greatest impact on the writing of women’s history
She’s beautiful when she’s angry – as you watch / write descriptions of the history dress you see women wearing, and post on your blog.
bust improvers. 1887, cup-shaped wire structures.
The spirit of costume, anticipating the Edwardian period, changed in character, and the new epoch began in 1897. The influence of sport spreads taste for more comfortable clothes in daily life, and the top hat and frock coat were becoming a specialized uniform for particular occasions. Feminine underclothes developed a degree of eroticism never previously attempted. They invented a silhouette of fictitious curves, massive above, with rivulets of lacy embroidery trickling over the surface down to a whirlpool of froth.
The drawers and pants. similar materials to undervest. pants were ankle-length or mid-calf, drawers were either just below the knee or just above.
the combinations. vest and pants in one.
the pajamas. replace the night shirt.
A wish for dainty underwear is a desire for cleanliness.
the chemise. for day fine linen, batiste or lawn. For evening of lawn or silk.
the combinations. knicker and camisole combinations with lace, made of wool and silk and wool.
the corset. the stays are straight and forward but leave the figure graceful and supple; whilst narrowing the back in a most surprising manner. Chest expands. Gibson Girl silhouette.
the petticoat. always flimsy; not more than two were worn, the top one, particularly when colored was referred to as an underskirt.
the drawers. nainsook knickers with frills of muslin embroidery; french drawers of mull muslin or washing silk, with flounce and three rows of insertion, threaded with baby ribbon, worn under lace or silk petticoat.
the camisole. corset covers – petticoat bodices, under clothing becomes thinner and thinner.
bust improvers. bust fashioned on Venus de Milo. The Neena bust improver.
the bust bodice. worn above the corset
the nightclothes. flimsier materials and elaborately trimmed.
the trousseaux. ladies undergarments.
Simplification in dress. Underclothes were permitting freer movement, growing inclination to reduce the layers which covered the body. Slowly realized that in the active life of the modern world so much clothing was unnecessary and a relic of obsolete ideas.
progressive increase in the variety of articles available.
the shirt. long fronted white or printed shirt is now obsolete.
the business shirt stiff 10″ front, detachable cuffs, for day the white shirt was being steadily displaced by the soft-fronted, made of flannel in winter and of cambric in summer. Pleated and tucked fronts. Day tie, four-in-hand, or bow knot.
the vest. long or short sleeves; made of unbleached cotton, white gauze or net for summer, and of meriono.
the drawers and pants. unbleached cotton, calico, gauze and merino.
the combinations still being worn.
the nightclothes. Longcloth shirts and pajama’s
the new silhouette, with a skirt of 1 1/2 yards round the hem, left little space for expansive underclothing.
the chemise. square-cut with narrow shoulder straps.
the combination. replaces the chemise and skirt-knickers by skin fitting combinations and silk pantalettes.
the corset. corsets whether back or front lace, boning was all important, the strain on the garment was terrific. 1912 clock-spring steel covered with hard rubber or celluloid was adopted and whalebone never recovered.
the petticoat. Princess petticoat 1911. 1915 expands
the Brassiere. 1916 a new undergarment which takes place of camisole.
the chemi-knickers. 1917 new under slip, worn over the corset, helping to reduce the number of undergarments; a button and loop can be put at the lowest hem to catch the skirt together in divided skirt fashion.
the knickers. french with wide frilled legs. skirt knickers.
the nightclothes. pre-war the nightdress. Pajama suit has a growing interest.
new attitude of mind towards the function of clothing and underclothing.
“skin worship” devotees tanned their bodies by sunlight, real or artificial, or by stains; women improve their faces with paints, lotions and skin foods containing hormones. Focus on the face they cut off their hair. glorification of youth.
Prince of Wales, publicly condemned “the boiled shirt” Garish colors in dress was the new spirit.
the shirt. for day wear. oxford shirt with white collar and cuffs. the dress-shirt single stud, white pleated front. the sports shirt, cotton or wool taffeta, turn collar.
the combination. derived from America, one piece suit for underwear in place of a vest and pants.
the shorts and trunks. made with lastex wasitbands, generally worn by 1930.
the singlet. jersey necks and quarter sleeves, low neck, sleeveless displaced in vest in 1930’s.
the pajamas. light weight in a wide choice of materials.
no period in history has presented a great variety of underclothes and though so much reduced in bulk, they developed a new importance and complexity. Many materials employed, artificial silk in various forms dominated, and was available for all classes.
the garments were divided into two headings: single and composite.
the chemise. “the vest”
the undervest. wool was unfashionable garment
the combinations. close fitting woven garment, becoming almost tights during the 1930’s
the camisole. disappeared as a separate garment towards end of 1920s
the brassiere. becoming the bra in 1937. Developed from the bust bodice and in the 1920’s becomes very tight, compressing the breasts to produce the straight, shapeless form then fashionable.
the corset. wrap-around rubber corsets to compress the buttocks. corsets to produce a slenderizing effect on the figure.
the belt. substitute for the corset, varied from abdominal supports to light suspender belts with or without bones.
the knickers. french drawers with open legs, and closed knickers. 1924 shortened into panties.
the petticoat. becomes the princess slip.
the cami-knickers .
the nightclothes. reflect the spirit of the dress of the period.
some fun facts about the Bra: