Powerhouse Museum

Total Page:16

File Type:pdf, Size:1020Kb

Powerhouse Museum The information below describes objects being borrowed by the Museum of Applied Arts and Sciences (Powerhouse Museum): Display in 'Reigning Men: Fashion in Menswear, 1715-2015' exhibition, 1 May 2018 - 14 October 2018 Date of Publication to MAAS Website: 12 February 2018 Latest Revision Date: Unrevised Lender: Los Angeles County Museum of Art L5442/1 Object lent by Los Angeles County Museum of Art (LACMA) as part of 'Reigning Men: Fashion in Menswear, 1715-2015' Exhibition. Data received from LACMA as follows: Exhibition Theme: 1. Revolution / Evolution Exhibition Subtheme: 1.1 Macaroni Ensemble Ref: RM.1, Object Number: M.83.200.1a, c Title: Man's Coat and Breeches Place: Italy, probably Venice Date: circa 1770 Artist/designer/design house/maker: Unknown Medium/Materials: Silk plain weave with supplementary warp and weft patterning Dimensions: Coat center back length: 35 3/4 in. (90.81 cm); Breeches length: 24 1/2 in. (62.23 cm) Provenance Notes: Acquisition Details: Costume Council Fund Acquisition Date: 1983 Provenance History: Vendor: Galerie Ruf AG. Publication History: Takeda, Sharon Sadako, Kaye Durland Spilker, and Clarrisa M. Esguerra. Reigning Men: Fashion in Menswear, 1715-2015. Los Angeles: Los Angeles County Museum of Art; Munich: DelMonico Books-Prestel, 2016. Web Address: http://collections.lacma.org/node/247916 L5442/2 Object lent by Los Angeles County Museum of Art (LACMA) as part of 'Reigning Men: Fashion in Menswear, 1715-2015' Exhibition. Data received from LACMA as follows: Exhibition Theme: 1. Revolution / Evolution Exhibition Subtheme: 1.1 Macaroni Ensemble Ref: RM.1, Object Number: M.2007.211.688a Title: Man's Waistcoat Place: France Date: circa 1770 Artist/designer/design house/maker: Unknown Medium/Materials: Silk satin with metallic-thread embroidery Dimensions: Waistcoat center back length: 26 in. (66.04 cm) Provenance Notes: Acquisition Details: Purchased with funds provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao, and Lenore and Richard Wayne Acquisition Date: 2007 Provenance History: Vendor: Galerie Ruf AG/Martin Kamer; Vendor Source: Art Market, London. Publication History: Takeda, Sharon Sadako, Kaye Durland Spilker, and Clarrisa M. Esguerra. Reigning Men: Fashion in Menswear, 1715-2015. Los Angeles: Los Angeles County Museum of Art; Munich: DelMonico Books-Prestel, 2016. Web Address: http://collections.lacma.org/node/215303 L5442/3 Object lent by Los Angeles County Museum of Art (LACMA) as part of 'Reigning Men: Fashion in Menswear, 1715-2015' Exhibition. Data received from LACMA as follows: Exhibition Theme: 1. Revolution / Evolution Exhibition Subtheme: 1.1 Macaroni Ensemble Ref: RM.1, Object Number: M.85.85.3a-c Title: Sword with Chatelaine Place: France Date: late 18th c. Artist/designer/design house/maker: Unknown Medium/Materials: Steel, gilt-silver, wood, reptile skin Dimensions: a) Sword length: 39 5/8 in. (100.65 cm); b) Case length: 31 1/2 in. (80.01 cm); c) Chatelaine length: 2 3/4 in. (6.98 cm) Provenance Notes: Acquisition Details: Gift of Mary H. and Martin B. Retting Acquisition Date: 1985 Provenance History: Donor: Mr. and Mrs. Martin B. Retting. Publication History: Chrisman-Campbell, Kimberly. "Reigning Men." Ornament 39, no.1 (2016): 34-39. Takeda, Sharon Sadako, Kaye Durland Spilker, and Clarrisa M. Esguerra. Reigning Men: Fashion in Menswear, 1715-2015. Los Angeles: Los Angeles County Museum of Art; Munich: DelMonico Books-Prestel, 2016. Web Address: http://collections.lacma.org/node/250157 Museum of Applied Arts and Sciences | PCOL Object Publication List Page 1 of 72 L5442/4 Object lent by Los Angeles County Museum of Art (LACMA) as part of 'Reigning Men: Fashion in Menswear, 1715-2015' Exhibition. Data received from LACMA as follows: Exhibition Theme: 1. Revolution / Evolution Exhibition Subtheme: 1.1 Macaroni Ensemble Ref: RM.1, Object Number: FIC.7758.1003a-b Title: Men's Pair of Shoe Buckles Place: Europe Date: circa 1750 Artist/designer/design house/maker: Unknown Medium/Materials: Steel Dimensions: Overall: 3 x 2 3/4 x 1 3/8 in. (7.62 x 6.99 x 3.49 cm) Provenance Notes: Acquisition Details: found in collection Acquisition Date: unknown Provenance History: Unknown. Publication History: Takeda, Sharon Sadako, Kaye Durland Spilker, and Clarrisa M. Esguerra. Reigning Men: Fashion in Menswear, 1715-2015. Los Angeles: Los Angeles County Museum of Art; Munich: DelMonico Books-Prestel, 2016. L5442/5 Object lent by Los Angeles County Museum of Art (LACMA) as part of 'Reigning Men: Fashion in Menswear, 1715-2015' Exhibition. Data received from LACMA as follows: Exhibition Theme: 1. Revolution / Evolution Exhibition Subtheme: 1.1 Macaroni Ensemble Ref: RM.2, Object Number: M.2007.211.798a-c Title: Man's Three-piece Suit (Habit la franaise) Place: England Date: circa 1760 Artist/designer/design house/maker: Unknown Medium/Materials: Silk velvet Dimensions: A) Center back length: 42 1/4 in. (107.315 cm); B) Center back length: 21 in. (53.34 cm); C) Inseam length: 16 1/4 in. (41.275 cm) Provenance Notes: Acquisition Details: Purchased with funds provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao, and Lenore and Richard Wayne Acquisition Date: 2007 Provenance History: Vendor: Galerie Ruf AG/Martin Kamer; Vendor Source: Art Market, London. Publication History: Takeda, Sharon Sadako, Kaye Durland Spilker, and Clarrisa M. Esguerra. Reigning Men: Fashion in Menswear, 1715-2015. Los Angeles: Los Angeles County Museum of Art; Munich: DelMonico Books-Prestel, 2016. Web Address: http://collections.lacma.org/node/214506 L5442/6 Object lent by Los Angeles County Museum of Art (LACMA) as part of 'Reigning Men: Fashion in Menswear, 1715-2015' Exhibition. Data received from LACMA as follows: Exhibition Theme: 1. Revolution / Evolution Exhibition Subtheme: 1.1 Macaroni Ensemble Ref: RM.2, Object Number: M.2007.211.73a-b Title: Pair of Man's Shoe Buckles Place: France Date: late 18th c. Artist/designer/design house/maker: Unknown Medium/Materials: Metal Dimensions: Length each: 2 3/4 in. (6.98 cm) Provenance Notes: Acquisition Details: Purchased with funds provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao, and Lenore and Richard Wayne Acquisition Date: 2007 Provenance History: Vendor: Galerie Ruf AG/Martin Kamer; Vendor Source: Art Market, London. Publication History: Takeda, Sharon Sadako, Kaye Durland Spilker, and Clarrisa M. Esguerra. Reigning Men: Fashion in Menswear, 1715-2015. Los Angeles: Los Angeles County Museum of Art; Munich: DelMonico Books-Prestel, 2016. Web Address: http://collections.lacma.org/node/213865 Museum of Applied Arts and Sciences | PCOL Object Publication List Page 2 of 72 L5442/7 Object lent by Los Angeles County Museum of Art (LACMA) as part of 'Reigning Men: Fashion in Menswear, 1715-2015' Exhibition. Data received from LACMA as follows: Exhibition Theme: 1. Revolution / Evolution Exhibition Subtheme: 1.1 Macaroni Ensemble Ref: RM.3, Object Number: M.2010.69a-d Title: Man's Suit Ensemble (jacket, vest, breeches, shirt), from the 'Cut and Slash' collection Place: England, London Date: 1991 Artist/designer/design house/maker: Vivienne Westwood, born 1941, design house/label: Vivienne Westwood Medium/Materials: Silk satin with photographic floral print Dimensions: a) Coat center back length: 34 in. (86.36 cm); b) Waistcoat center back length: 28 1/2 in. (72.39 cm); c) Shirt center back length: 34 1/2 in. (87.63 cm); d) Breeches inseam length: 19 in. (48.26 cm) Provenance Notes: Acquisition Details: Purchased with funds provided by Louise and Brad Edgerton, Edgerton Foundation Acquisition Date: 2010 Provenance History: Vendor: Kerry Taylor Auctions. Publication History: Takeda, Sharon Sadako, Kaye Durland Spilker, and Clarrisa M. Esguerra. Reigning Men: Fashion in Menswear, 1715-2015. Los Angeles: Los Angeles County Museum of Art; Munich: DelMonico Books-Prestel, 2016. L5442/8 Object lent by Los Angeles County Museum of Art (LACMA) as part of 'Reigning Men: Fashion in Menswear, 1715-2015' Exhibition. Data received from LACMA as follows: Exhibition Theme: 1. Revolution / Evolution Exhibition Subtheme: 1.2 Revolution and Anarchy Ensemble Ref: RM.4, Object Number: M.2010.33.1-.4 Title: Man's Ensemble (Coat, Vest, Breeches, and Bicorne Hat) Place: France Date: circa 1790 Artist/designer/design house/maker: Unknown Medium/Materials: .2) Silk plain weave (taffeta); .3) Silk satin and silk cut and uncut velvet ; .4) Cotton twill with silk satin stripe; .1) Wool felt with silk plain weave ribbon Dimensions: .2) Center back length: 44 1/2 in. (113.03 cm); .3) Center back length: 18 1/2 in. (46.99 cm); 4) Inseam length: 34 in. (86.36 cm); .1) Overall: 6 1/2 x 19 1/2 x 7 3/4 in. (16.51 x 49.53 x 19.685 cm) Provenance Notes: Acquisition Details: Purchased with funds provided by Michael and Ellen Michelson Acquisition Date: 2010 Provenance History: M.2010.33.1 - Vendor: Galerie Ruf AG/Martin Kamer; Vendor Source: private collection, Burgundy, France. M.2010.33.2-4 Vendor: Galerie Ruf AG/Martin Kamer; Vendor Source: Art market, Paris, France. Publication History: Chrisman-Campbell, Kimberly. Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette. New Haven: Yale Univesity Press, 2015. Chrisman-Campbell, Kimberly. "Reigning Men." Ornament 39, no.1 (2016): 34-39. Takeda, Sharon Sadako, Kaye Durland Spilker, and Clarrisa M. Esguerra. Reigning Men: Fashion in Menswear, 1715-2015. Los Angeles: Los Angeles County Museum of Art; Munich: DelMonico Books-Prestel, 2016. Web Address: http://collections.lacma.org/node/221554 http://collections.lacma.org/node/221559 http://collections.lacma.org/node/221574 http://collections.lacma.org/node/221543 L5442/9 Object lent by Los Angeles County Museum of Art (LACMA) as part of 'Reigning Men: Fashion in Menswear, 1715-2015' Exhibition.
Recommended publications
  • C H R I S T Y &
    C h r i s t y & C ooC Since 1773 History and Legacy by Irra K With special thanks to The Stockport library and hat museum FamilyFamily Six reigns of Royals, and Eight generations of the Christy family have forged the brand of Christys London since it’s foundation by Miller Christy in 1773, 237 years ago Following his apprenticeship to a Hatter in Edinburgh, Miller Christy created a company that would survive for generations, outliving thousands of hat makers across the former British Empire: by 1864 for example there were 53 hatting firms in Stockport alone. Throughout hundreds of years, the factory was still managed by direct descendants of the founder of the Firm ValuesValues 1919 Christys readily registered their own The Christy Collection in Stockport is appreciation testament to the influence the company of workers’ had. At its height, it employed 3000 excellent local people leaving a valuable legacy service < - During World War II, hats were not rationed in order to boost morale, and Christys supported the effort within their family-run company, effectively running it like an extended family Celebrating Victory as well as mourning the fallen at the -> end of World War I Trade MarksTrade Marks The Stockport Collection With business of Christy Papers includes a expanding to 500 page booklet detailing foreign lands, trade marks registered safeguarding around the world at the the insignia in height of the British Empire. all it’s forms These involve registering the full name, letters 'C', it’s became vital – insignia, shape, and colours as we shall see In the early days, < - several variations - > of company marks and insignia were circulated, later consolidating into the Christy crown and heraldry which is now recognised the world over Trade Marks iiiiTrade In many territories, Trade Marks were either disputed or had to be re-registered.
    [Show full text]
  • The Morgue File 2010
    the morgue file 2010 DONE BY: ASSIL DIAB 1850 1900 1850 to 1900 was known as the Victorian Era. Early 1850 bodices had a Basque opening over a che- misette, the bodice continued to be very close fitting, the waist sharp and the shoulder less slanted, during the 1850s to 1866. During the 1850s the dresses were cut without a waist seam and during the 1860s the round waist was raised to some extent. The decade of the 1870s is one of the most intricate era of women’s fashion. The style of the early 1870s relied on the renewal of the polonaise, strained on the back, gath- ered and puffed up into an detailed arrangement at the rear, above a sustaining bustle, to somewhat broaden at the wrist. The underskirt, trimmed with pleated fragments, inserting ribbon bands. An abundance of puffs, borders, rib- bons, drapes, and an outlandish mixture of fabric and colors besieged the past proposal for minimalism and looseness. women’s daywear Victorian women received their first corset at the age of 3. A typical Victorian Silhouette consisted of a two piece dress with bodice & skirt, a high neckline, armholes cut under high arm, full sleeves, small waist (17 inch waist), full skirt with petticoats and crinoline, and a floor length skirt. 1894/1896 Walking Suit the essential “tailor suit” for the active and energetic Victorian woman, The jacket and bodice are one piece, but provide the look of two separate pieces. 1859 zouave jacket Zouave jacket is a collarless, waist length braid trimmed bolero style jacket with three quarter length sleeves.
    [Show full text]
  • My Father's Fortune
    You loved your last book...but what are you going to read next? Using our unique guidance tools, Lovereading will help you find new books to keep you inspired and entertained. Opening Extract from… My Father’s Fortune A Life Written by Michael Frayn Published by Faber & Faber All text is copyright © of the author This Opening Extract is exclusive to Lovereading. Please print off and read at your leisure. michael frayn My Father’s Fortune A Life First published in 2010 by Faber and Faber Ltd Bloomsbury House 74–77 Great Russell Street London wc1b 3da Typeset by Faber and Faber Ltd Printed in England by CPI Mackays, Chatham All rights reserved Michael Frayn, 2010 The right of Michael Frayn to be identified as author of this work has been asserted in accordance with Section 77 of the Copyright, Designs and Patents Act 1988 A CIP record for this book is available from the British Library isbn 978–0–571–27058–3 2 4 6 8 10 9 7 5 3 1 Contents Homburg 1 part one 1 Smart Lad 9 2 House of Straw 19 3 Duckmore 38 4 Furniture and Fittings 55 5 Quick / Slow 74 6 Fire Resistance 91 7 A Glass of Sherry 104 part two 1 Childcare 129 2 Top to Bottom 148 3 Skylark 169 4 Chez Nous 186 5 Black Dog 203 6 Closer 222 7 Legatees 236 List of Photographs 255 Homburg The handle of my study door softly turns. I look up from my typewriter, startled. The two older children are at school, my wife’s out with the baby, the house is empty.
    [Show full text]
  • Accessories for Men: a Must-Read Guide
    Accessories for Men: A Must-Read Guide Author : Swara Segal By Swara Segal A gentleman’s wardrobe defines his personality. Though men spend most of their time selecting the best outfits for various occasions, it is accessories that have the power to enhance a person’s overall look, adding class and detail to his wardrobe. With the countless selection of men’s accessories and the diverse styling options available these days, finding the right set of accessories can be an extremely challenging task for men. 1 / 9 If you want to look and feel dapper on all occasions, here are seven useful and time-tested tips that will set you apart from other men. 1. Wear a Watch with Style Besides telling you the time, watches reveal your personality and lifestyle. Consequently, when collating your outfit for any occasion it is critical that you take time to consider the type of watch you will wear. Select a timepiece that matches the formality of the occasion. For instance, analog and dress watches look classic and formal and can be worn for a business meeting or a date. On the other hand, digital watches are casual and can be worn along with smart casual or workout attire. 2 / 9 Watches with metal bands and leather straps are versatile and can be worn on almost any occasion. Unless you want to attract undue attention, stick with a good wristwatch brand with a conservative design. It is also wise to match your watch strap with the material and color of your shoes and belt.
    [Show full text]
  • The Old War Office Building
    MINISTRY OF DEFENCE The Old War Office Building A history The Old War Office Building …a building full of history Foreword by the Rt. Hon Geoff Hoon MP, Secretary of State for Defence The Old War Office Building has been a Whitehall landmark for nearly a century. No-one can fail to be impressed by its imposing Edwardian Baroque exterior and splendidly restored rooms and stairways. With the long-overdue modernisation of the MOD Main Building, Defence Ministers and other members of the Defence Council – the Department’s senior committee – have moved temporarily to the Old War Office. To mark the occasion I have asked for this short booklet, describing the history of the Old War Office Building, to be published. The booklet also includes a brief history of the site on which the building now stands, and of other historic MOD headquarters buildings in Central London. People know about the work that our Armed Forces do around the world as a force for good. Less well known is the work that we do to preserve our heritage and to look after the historic buildings that we occupy. I hope that this publication will help to raise awareness of that. The Old War Office Building has had a fascinating past, as you will see. People working within its walls played a key role in two World Wars and in the Cold War that followed. The building is full of history. Lawrence of Arabia once worked here. I am now occupying the office which Churchill, Lloyd-George and Profumo once had.
    [Show full text]
  • An Excerpt from the TILTED WORLD.Pdf
    Sobel Weber Associates, 146 E. 19th, New York, NY 10003 An excerpt from THE TILTED WORLD by Tom Franklin and Beth Ann Fennelly Prologue April 4, 1927 Dixie Clay was squelching through the mud along the creek’s swollen banks, using her hat to shoo mosquitoes, when she saw a baby coffin bobbing against a sycamore snag. For a second the idea that her son Jacob, buried two years back, might have come home nearly collapsed her. She dropped her hat and her rifle and plunged into the stream. She was crashing hip-deep through the foamy, coffee-colored water when she got hold of herself. It wasn’t Jacob in the coffin. Wasn’t, in fact, a coffin; she slowed and trudged closer and saw that the box had rivets on metal bands, that it was a small steamer trunk, a hat trunk. She was so focused on reaching it that she’d been hearing men’s voices for a few moments before she realized what they were. Sounds could carry for miles, echo weirdly, in the wooded hollows around her house, but for these to reach her over the hissing, fumbling stream meant the men were yelling. Her husband, Jesse, wasn’t supposed to be at the house this afternoon. No one was. She reversed direction in the swirling creek and fought equally hard to reach the bank and stumbled out, waders filled with water. It was a quarter mile back to the house and she ran it, glad she’d borrowed an old pair of Jesse’s trousers and glad too that she’d brought the Winchester.
    [Show full text]
  • Fun Fashions for Fellas by Pegge Blinco
    Fun Fashions for Fellas By Pegge Blinco With the hope of urging our gentlemen into fashions of our era, I offer suggestions for doable clothing – off the rack – simple, easy and uncomplicated. One of the best items a fella should have in his closet should be a light, putty-colored Docker pant or light colored washable linen slack. Add a white or pin-striped long sleeve shirt, a four-in-hand tie or bow tie – or no tie, suspenders or belt. For footwear, saddle shoes, two-toned wing tips or cap toes, light colored canvas shoes with rubber soles or buckskins … but NEVER athletic shoes!! A driving cap or straw boater completes the outfit. When the weather got warm, sleeves were rolled to and above the elbows, as short sleeves did not exist on men’s shirts until late 1931. To kick this up a notch, use the same light slacks and shirt, unroll the sleeves, add a blazer, preferably dark colored, single or double breasted, a bow tie, or four-in-hand tie – length was short – 45”, same shoes, straw boater or Panama hat, and he’s suitably dressed for lunch or afternoon party. 2006-03.doc Page 1 Revised 2/23/06 We are all familiar with the sports attire of knickers or plus fours, generally used for golfing, hiking and/or motoring. The home seamstress can create a pair by cutting 13-14” off wide trouser pants. This will allow for enough blouse to be 4” below the knee when finished. If this doesn’t work for you, contact www.tbarryknickers.com.
    [Show full text]
  • Hats On, Hats Off
    Cultural Studies Review volume 22 number 1 March 2016 http://epress.lib.uts.edu.au/journals/index.php/csrj/index pp. 118–43 © Clair Hughes 2016 Hats On, Hats Off CLAIR HUGHES INDEPENDENT SCHOLAR A certain amount of eccentricity in dress is allowed, even expected, in artists, poets and assorted bohemians. Their hats tend to be particularly eccentric. ‘Funny, isn’t it,’ Mr Bolder observed to his friend Fred Willis, the hatter, ‘that people who paint pictures think it’s proper that they should act barmy? Hats like horses wear in summer.’1 A floppy felt or straw, when Victorian manhood was ramrod-stiff in top hats or bowlers, was unconventional, but hardly threatening. The upper-middle- class Forsytes, however, in John Galsworthy’s Forsyte Saga, worry about June Forsyte’s fiancé, architect Philip Bosinney. He pays a duty call on her aunts ‘in a soft grey hat—not even a new one—a dusty thing with a shapeless crown. “So extraordinary, my dear, so odd!” Aunt Hester had tried to shoo it off a chair, takinG it for a stranGe disreputable cat.’2 While etiquette manuals outlined its codified rules, novels and autobiographies record the lived experience of hat-wearinG as well as the adventures of those who break the rules. Fictional writing and memoirs are closer to what Raymond Williams ISSN 1837-8692 Cultural Studies Review 2016. © 2016 Clair Hughes. This is an Open Access article distributed under the terms of the Creative Commons Attribution 4.0 Unported (CC BY 4.0) License (https://creativecommons.org/licenses/by/4.0/), allowing third parties to copy and redistribute the material in any medium or format and to remix, transform, and build upon the material for any purpose, even commercially, provided the original work is properly cited and states its license.
    [Show full text]
  • The Cultivation of Class Identity in Max Beckmann's
    THE CULTIVATION OF CLASS IDENTITY IN MAX BECKMANN’S WILHELMINE AND WEIMAR-ERA PORTRAITURE by Jaclyn Ann Meade A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History MONTANA STATE UNIVERSITY Bozeman, Montana April 2015 ©COPYRIGHT by Jaclyn Ann Meade 2015 All Rights Reserved ii TABLE OF CONTENTS 1. INTRODUCTION……...................................................................................................1 2. BECKMANN’S EARLY SELF-PORTRAITS ...............................................................8 3. FASHION AND BECKMANN’S MANNERISMS .....................................................11 Philosophical Fads and the Artist as Individual .............................................................27 4. BECKMANN’S IDENTITY AND SOCIAL POLITICS IN HIS MULTIFIGURAL WORK ............................................................................................33 5. BECKMANN AND THE NEW OBJECTIVITY..........................................................45 BIBILIOGRAPHY ..........................................................................................................125 iii LIST OF FIGURES Figure Page 1. Max Beckmann, Three Women in the Studio, 1908 .............................................2 2. Max Beckmann, Die Nacht, 1918 ........................................................................3 3. Max Beckmann, Self-Portrait with a Cigarette, 1923 .........................................3 4. Max Beckmann, Here is Intellect, 1921 ..............................................................3
    [Show full text]
  • Hat Chronicles” the Hat Chronicles Blog Mission Is to Inform and Entertain
    Hats Plus Announces the Launch of its New Hat Enthusiast Blog: “Hat Chronicles” The Hat Chronicles Blog Mission is to Inform and Entertain CHICAGO, IL, April 21, 2011 – Retailer Hats Plus announced today the launch of its new hat enthusiast blog “Hat Chronicles.” Want to know about the hat Don Draper wears in “Mad Men”? Curious about how the homburg hat was invented? Wondering just how to fit the proper topper? Dying to know which celebrity was spotted sporting the latest Stetson fedora? “Hat Chronicles” is the hottest new blog offering answers to these burning questions and much, much more. Hats Plus – a bustling brick and mortar hat store in Chicago bolstered by an extensive ecommerce website – recently launched the new blog to entertain, educate and engage headwear enthusiasts and the hat curious alike. “Whether you have worn hats for a long time or not, we hope you will find something to interest you in our new blog,” said owner Martin Mann, who was named Hat Retailer of the Year in 2009 by the Headwear Association. "If you look back in history, people have always worn hats. Hats are here to stay. Hats are about lifestyle; people wear them for warmth, solar protection, fashion, personality, stage performances and many other reasons." The blog offers articles across five main categories: Hollywood Hatties, Hat University, Welcome to Our World, Get it While it’s Hot and Beyond the Brim. Celebrity Hats “Hollywood Hatties” looks at the hats worn by the stars in the movies and TV shows of today and yesterday. From Leonardo DiCaprio’s fedora in “Shutter Island” to Oddjob’s steel-rimmed bowler hat in “Goldfinger,” there are plenty of great examples of hats playing a feature role in Hollywood over the years.
    [Show full text]
  • 1 Perhaps No Article of Attire Is More Debated Over Than the Head
    Perhaps no article of attire is more debated over than the head covering for Messianic men. People are usually passionately against it or passionately for it. There are few who sit in the middle. What is it about this little cloth dome that adorns the head of Jewish men that ignites so many positive and negative responses within the wider Messianic community? 1 This issue of the kippah, when you put the subject under the microscope, is simply a reservation to be associated with Jews. It can range from antisemitism to a fear of wearing it because the person fears what other people might think, say or do. There is no serious debate over the issue of wearing head coverings for men that are not typically Jewish. We just don’t see churches or Messianic communities renouncing the wearing of baseball caps or hats in general. Early Church Fathers wore some sort of head covering, whether it was a turban or some sort of religious hat. The custom to remove hats indoors or at cemeteries came from an ancient tradition of taking off the helmet when no danger is at hand. A man takes off his hat to show that he dares stand unarmed in someone else’s presence. Knights removed helmets in the presence of a king as a display of vulnerability and trust that the king would not kill them. Knights also removed helmets in church as an expression of security in one's sanctuary. 2 Head Coverings Were a Part of Normal Attire, Even Among the Goyim Photo’s of the 1900 Melbourne Cup depict the majority of people in attendance wearing hats and bonnets.
    [Show full text]
  • Men's Formal Attire, Here Comes the Groom!
    Men’s Formal Attire, Here Comes The Groom! By Janet Gundlach When most people think of formal wear, we tend to think of evening events-parties, the opera, or a formal dinner. Men also wore formal attire for building dedications, ceremonies and political functions but probably the most common event for men’s formal attire were weddings. The April, 1929 issue of the Ladies’ Home Journal suggests that the groom should dress up to the bride, because a well-dressed bridegroom sets off the bride to the best advantage. The man’s attire is determined by the formality of the bride’s costume. Mens_Formal_Attire.doc Page 1 Rev. 9/9/07 Men’s Formal Attire, Here Comes The Groom! For the formal day wedding the bride is dressed in a traditional gown of white with a long trailing veil and the man’s attire “has been prescribed by many years of tradition from which no deviation is permissible.” The groom wears a conventional cutaway coat in black or oxford gray cheviot with the edges that may or may not be bound in braid, but as of this date, they state that not being bound in braid is the “smarter”. The trousers may be of a black & white or black & gray striped worsted or a fine black & white checked that gives the impression of gray. These stripes are very subtle. For spring weddings a waistcoat (vest) could be a different color than the jacket. It could be fawn color, gray cloth or white linen. Again, they state that if the spats match the color of the vest, it is a very “smart touch”.
    [Show full text]