DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users Louise Dahl-Wolfe: A fashion photographer redefined Item Type text; Thesis-Reproduction (electronic) Authors Edwards, Jennifer Somerville, 1967- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 07:19:35 Link to Item http://hdl.handle.net/10150/291450 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 LOUISE DAHL-WOLFE: A FASHION PHOTOGRAPHER REDEFINED by Jennifer Somerville Edwards Copyright © Jennifer Somerville Edwards 1996 A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requriements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 1996 UMI Number: 1378990 Copyright 1996 by Edwards, Jennifer Somerville All rights reserved. UMI Microform 1378990 Copyright 1996, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED APPROVAL BY THESIS DIRECTOR thesis has been approved on the date shown below: /y*•H Keith McElroy — 1 Date Associate Professor of Art # 3 ACKNOWLEDGEMENTS I would like to thank: The art histoiy professors of the University of Arizona Art Department for sharing their knowledge and insights both in and out of the classroom. My special thanks to Keith McElroy and Sarah Moore for their guidance and assistance throughout the development of my thesis. The Center for Creative Photography for granting me the 1993-1994 Ansel Adams Internship which determined my initial interest for this study. Amy Rule, Archivist, and Leslie Calmes, Assistant Photographic Archivist, for introducing me to the Louise Dahl- Wolfe archive, my archival training, and their suggestions for how to organize both the collection and my thoughts about Dahl-Wolfe. Tim Troy, Librarian, for helping me find the sources I needed and overseeing the development of such an extensive and thorough photographic library. Irving Solero, Museum Photographer at the Museum at the Fashion Institute of Technology, for sharing his first-hand experience with and enthusiasm about Dahl-Wolfe as well as confirming some of my ideas about her life and work. To my parents, David and Shirley Edwards, and my husband, Patrick Coughlin, for their love, patience, and support throughout my graduate training and this project 4 TABLE OF CONTENTS ABSTRACT 5 I. INTRODUCTION 6 II. EARLY TRAINING AND INFLUENCES (1914-1929) 13 III. EARLY PHOTOGRAPHY CAREER (1930-1941) 19 IV. POST WORLD WAR H PHOTOGRAPHY (1946-1958) 37 V. CONCLUSION 56 APPENDIX A 63 APPENDIX B 65 ENDNOTES 155 REFERENCES 162 5 ABSTRACT Louise Dahl-Wolfe (1895-1989) is best-known as a fashion photographer, her photographic life encompassed a pattern of art and documentary ideas interwoven over a forty-year period. This thesis describes her early art influences and explores her photography career in regards to the historical and cultural developments from World War I through the 1950s. Dahl-Wolfe is compared with her contemporaries such as Consuelo Kanaga, Dorothea Lange, Edward Weston, Richard Avedon, and Henri Cartier-Bresson. The study reveals how Dahl-Wolfe's work reflects photography's evolution over a specific period and how traditional constructions affect the reception of commercial photographers. Conclusively, Dahl-Wolfe's oeuvre straddles such an array of constructed arenas that she virtually fell through the cracks and has been narrowly defined as a result of art historical definitions. 6 I. Introduction Photography is a visual form of expression which occupies an ambivalent place within the definitions of art, and its relationship to art has consistently been debated. The fact that photography can and usually does straddle both arenas of fine art and documentation is often overlooked. This discussion will examine how photography has been constructed and how Louise Dahl-Wolfe (1895-1989), one of its most innovative practitioners, has been narrowly defined and, as such, nearly excluded from the art and photographic historical canons. Dahl-Wolfe is best-known as a commercial photographer. It was her tenure at Harper's Bazaar from 1937 until 1958, a period when the journal was in the vanguard of drastically changing the style and content of women's magazines, which provided her one-dimensional notoriety as a fashion photographer. However, she also contributed to the history of photography on many different levels. Photography was considered different from traditional forms of "fine" or "high" art such as painting and sculpture for many reasons. First, the camera was viewed as a self- operating machine capable of producing an image without the presence of a creative hand. This view tied photography directly to the exterior reality and dismissed the internal world of the artist. Photography's mechanical and technological nature also meant that those who were not artists could, with practice, operate a camera and make images. This threatened the long-established myth of artistic genius.1 Along with questioning the role of the artist, photography also challenged the concept of a work of art as a precious object Many different photographs could be made for the cost of one commissioned painting and in much less time. Negatives yielded more visually-accurate images which could be replicated, thus defying one-of-a-kind imagery as well as supplanting the print as the more plentiful and cost efficient means of mass distribution. The medium has its own creative elements that are both independent of and dependent on traditional definitions of art. 7 The field of photography has been constructed on the basis of deliberate divisions and reactions. The development of "art photography" is one such example and is well explained in Ulrich F. Keller's 1984 article, The Myth of Art Photography: A Sociological Analysis. Keller's study begins with the well-known premise that early art photography, otherwise know as Pictorialism, developed as a reaction against the products of commercial studios and popular snapshooting which had been made possible by the advent of the Kodak camera in 1888.2 This fact is important because it begins to illustrate how photography associated with popular and commercial enterprises inherited its second-rate status in relation to art photography. According to Keller, the art photography movement was elitist and prestige- oriented. Those who developed beliefs in fine craftsmanship, an earnest search for beauty, and artistic genius in photography wished to do so for their own personal notoriety and gain. To attain their privileged status, elite groups of photographers modeled their exhibition and publication activities after the high art establishment These endeavors included strictly judged exhibitions, press critiques, and dealers' investments. For photography, which lacked the need for years of training present in the high arts, the inaccessibility of these events served to promote a hierarchy. The photography industry also helped to broaden the gap between art and popular photography by capitalizing on the public's aspirations to join the elite ranks. Companies, such as Kodak, let amateurs know that if they invested enough in photographic products that they, too, could become artists. The companies' methods for delineating the artists from the mere snapshooters included staging exhibitions and providing publications spotlighting those who used the camera to make art.3 Art photographers' superiority also depended on separating themselves from those who earned a living by taking photographs. Members of the art movement were generally wealthy and they considered it improper to gain financially from photography. In 8 fact, this was so important that Alfred Stieglitz and Edward Steichen, his long-time associate at the 291 Gallery in New York, parted ways when the latter announced he wished to photograph commercially A The development of art photography is important to this discussion for several reasons.
Load more

Recommended publications
  • Weaverswaver00stocrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • 1960 National Gold Medal Exhibition of the Building Arts
    EtSm „ NA 2340 A7 Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/nationalgoldOOarch The Architectural League of Yew York 1960 National Gold Medal Exhibition of the Building Arts ichievement in the Building Arts : sponsored by: The Architectural League of New York in collaboration with: The American Craftsmen's Council held at: The Museum of Contemporary Crafts 29 West 53rd Street, New York 19, N.Y. February 25 through May 15, i960 circulated by The American Federation of Arts September i960 through September 1962 © iy6o by The Architectural League of New York. Printed by Clarke & Way, Inc., in New York. The Architectural League of New York, a national organization, was founded in 1881 "to quicken and encourage the development of the art of architecture, the arts and crafts, and to unite in fellowship the practitioners of these arts and crafts, to the end that ever-improving leadership may be developed for the nation's service." Since then it has held sixtv notable National Gold Medal Exhibitions that have symbolized achievement in the building arts. The creative work of designers throughout the country has been shown and the high qual- ity of their work, together with the unique character of The League's membership, composed of architects, engineers, muralists, sculptors, landscape architects, interior designers, craftsmen and other practi- tioners of the building arts, have made these exhibitions events of outstanding importance. The League is privileged to collaborate on The i960 National Gold Medal Exhibition of The Building Arts with The American Crafts- men's Council, the only non-profit national organization working for the benefit of the handcrafts through exhibitions, conferences, pro- duction and marketing, education and research, publications and information services.
    [Show full text]
  • DISENCHANTING the AMERICAN DREAM the Interplay of Spatial and Social Mobility Through Narrative Dynamic in Fitzgerald, Steinbeck and Wolfe
    DISENCHANTING THE AMERICAN DREAM The Interplay of Spatial and Social Mobility through Narrative Dynamic in Fitzgerald, Steinbeck and Wolfe Cleo Beth Theron Thesis presented in fulfilment of the requirements for the degree Master of Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. Dawid de Villiers March 2013 Stellenbosch University http://scholar.sun.ac.za ii DECLARATION By submitting this thesis/dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2013 Copyright © Stellenbosch University All rights reserved Stellenbosch University http://scholar.sun.ac.za iii ABSTRACT This thesis focuses on the long-established interrelation between spatial and social mobility in the American context, the result of the westward movement across the frontier that was seen as being attended by the promise of improving one’s social standing – the essence of the American Dream. The focal texts are F. Scott Fitzgerald’s The Great Gatsby (1925), John Steinbeck’s The Grapes of Wrath (1939) and Thomas Wolfe’s You Can’t Go Home Again (1940), journey narratives that all present geographical relocation as necessary for social progression. In discussing the novels’ depictions of the itinerant characters’ attempts at attaining the American Dream, my study draws on Peter Brooks’s theory of narrative dynamic, a theory which contends that the plotting operation is a dynamic one that propels the narrative forward toward resolution, eliciting meanings through temporal progression.
    [Show full text]
  • Dressing for the Times: Fashion in Tang Dynasty China (618-907)
    Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks.
    [Show full text]
  • Whole Document
    Copyright By Christin Essin Yannacci 2006 The Dissertation Committee for Christin Essin Yannacci certifies that this is the approved version of the following dissertation: Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 Committee: _______________________________ Charlotte Canning, Supervisor _______________________________ Jill Dolan _______________________________ Stacy Wolf _______________________________ Linda Henderson _______________________________ Arnold Aronson Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 by Christin Essin Yannacci, B.A.; M.A. Dissertation Presented to the faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2006 Acknowledgements There are many individuals to whom I am grateful for navigating me through the processes of this dissertation, from the start of my graduate course work to the various stages of research, writing, and editing. First, I would like to acknowledge the support of my committee members. I appreciate Dr. Arnold Aronson’s advice on conference papers exploring my early research; his theoretically engaged scholarship on scenography also provided inspiration for this project. Dr. Linda Henderson took an early interest in my research, helping me uncover the interdisciplinary connections between theatre and art history. Dr. Jill Dolan and Dr. Stacy Wolf provided exceptional mentorship throughout my course work, stimulating my interest in the theoretical and historical complexities of performance scholarship; I have also appreciated their insights and generous feedback on beginning research drafts. Finally, I have been most fortunate to work with my supervisor Dr. Charlotte Canning. From seminar papers to the final drafts of this project, her patience, humor, honesty, and overall excellence as an editor has pushed me to explore the cultural implications of my research and produce better scholarship.
    [Show full text]
  • Crucibles of Virtue and Vice: the Acculturation of Transatlantic Army Officers, 1815-1945
    CRUCIBLES OF VIRTUE AND VICE: THE ACCULTURATION OF TRANSATLANTIC ARMY OFFICERS, 1815-1945 John F. Morris Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2020 © 2020 John F. Morris All Rights Reserved ABSTRACT Crucibles of Virtue and Vice: The Acculturation of Transatlantic Army Officers, 1815-1945 John F. Morris Throughout the long nineteenth century, the European Great Powers and, after 1865, the United States competed for global dominance, and they regularly used their armies to do so. While many historians have commented on the culture of these armies’ officer corps, few have looked to the acculturation process itself that occurred at secondary schools and academies for future officers, and even fewer have compared different formative systems. In this study, I home in on three distinct models of officer acculturation—the British public schools, the monarchical cadet schools in Imperial Germany, Austria, and Russia, and the US Military Academy—which instilled the shared and recursive sets of values and behaviors that constituted European and American officer cultures. Specifically, I examine not the curricula, policies, and structures of the schools but the subterranean practices, rituals, and codes therein. What were they, how and why did they develop and change over time, which values did they transmit and which behaviors did they perpetuate, how do these relate to nineteenth- and early-twentieth-century social and cultural phenomena, and what sort of ethos did they produce among transatlantic army officers? Drawing on a wide array of sources in three languages, including archival material, official publications, letters and memoirs, and contemporary nonfiction and fiction, I have painted a highly detailed picture of subterranean life at the institutions in this study.
    [Show full text]
  • Tape ID Title Language Type System
    Tape ID Title Language Type System 1361 10 English 4 PAL 1089D 10 Things I Hate About You (DVD) English 10 DVD 7326D 100 Women (DVD) English 9 DVD KD019 101 Dalmatians (Walt Disney) English 3 PAL 0361sn 101 Dalmatians - Live Action (NTSC) English 6 NTSC 0362sn 101 Dalmatians II (NTSC) English 6 NTSC KD040 101 Dalmations (Live) English 3 PAL KD041 102 Dalmatians English 3 PAL 0665 12 Angry Men English 4 PAL 0044D 12 Angry Men (DVD) English 10 DVD 6826 12 Monkeys (NTSC) English 3 NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian 4 PAL 6016 13 Conversations About One Thing (NTSC) English 1 NTSC 0189DN 13 Going On 30 (DVD 1) English 9 DVD 7080D 13 Going On 30 (DVD) English 9 DVD 0179DN 13 Moons (DVD 1) English 9 DVD 3050D 13th Warrior (DVD) English 10 DVD 6291 13th Warrior (NTSC) English 3 nTSC 5172D 1492 - Conquest Of Paradise (DVD) English 10 DVD 3165D 15 Minutes (DVD) English 10 DVD 6568 15 Minutes (NTSC) English 3 NTSC 7122D 16 Years Of Alcohol (DVD) English 9 DVD 1078 18 Again English 4 Pal 5163a 1900 - Part I English 4 pAL 5163b 1900 - Part II English 4 pAL 1244 1941 English 4 PAL 0072DN 1Love (DVD 1) English 9 DVD 0141DN 2 Days (DVD 1) English 9 DVD 0172sn 2 Days In The Valley (NTSC) English 6 NTSC 3256D 2 Fast 2 Furious (DVD) English 10 DVD 5276D 2 Gs And A Key (DVD) English 4 DVD f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French 4 PAL X059D 20 30 40 (DVD) English 9 DVD 1304 200 Cigarettes English 4 Pal 6474 200 Cigarettes (NTSC) English 3 NTSC 3172D 2001 - A Space Odyssey (DVD) English 10 DVD 3032D 2010 - The Year
    [Show full text]
  • Maine Campus November 12 1942 Maine Campus Staff
    The University of Maine DigitalCommons@UMaine Maine Campus Archives University of Maine Publications Fall 11-12-1942 Maine Campus November 12 1942 Maine Campus Staff Follow this and additional works at: https://digitalcommons.library.umaine.edu/mainecampus Repository Citation Staff, Maine Campus, "Maine Campus November 12 1942" (1942). Maine Campus Archives. 2644. https://digitalcommons.library.umaine.edu/mainecampus/2644 This Other is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Maine Campus Archives by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. Dorms Inaugurate Naval Enlistment Meatless Tuesdays The Maine Campus Board Will Visit Starting This Week Campus Nov. /9-2/ Published Weekly by the Students of the University of Main* Vol. XLIV Z 265 Orono, Maine, November 12, 194 2 Number 3 Plaisted's Band Bowdoin's Donahue Streaks For End Zone To Score .. Fourteen Students Are Provides Music Cast in First Production At Military Ball Three Understudies Also Named For Ban on Name Bands Masque Closely Observed Comedy Show Early In Dec. By Scabbard, Blade By Martin Scher Fourteen students have been cast and three understudies named 1,Ves Plaisted and his orchestra will for the Maine Masque Theatre's forthcoming production of "Arsenic play for the Military Ball on Friday, and Old Lace," a mystery comedy scheduled for production early Nov. 27, according to an announce- in December. ment this morning by Richard Pierce, Isabel! Ansell, a sophomore in the college of president of Scabbard and Blade, hon- arts and sciences, and Elizabeth Clough, a transfer from orary military society.
    [Show full text]
  • Claire Mccardellmccardell
    ClaireClaire MM cC cC ard ard ell ell FounderFounder ofof AmericanAmerican ReadyReady--toto--WearWear BackgroundBackground ¾¾BornBorn onon MayMay 2424th 19051905 inin FrederickFrederick MarylandMaryland ¾¾SheShe studiedstudied atat Parson’sParson’s SchoolSchool ofof DesignDesign ¾¾HerHer careercareer startedstarted byby workingworking asas aa modelmodel andand assistantassistant designerdesigner forfor RobertRobert Turk.Turk. ¾¾LaterLater onon sheshe designeddesigned clothesclothes underunder thethe labellabel TownleyTownley FrockFrock byby ClaireClaire McCardellMcCardell.. PhiPhilosophylosophy onon StyleStyle ¾¾HerHer casual,casual, butbut sophisticatedsophisticated clothesclothes withwith functionalfunctional designsdesigns reflectedreflected thethe lifestyleslifestyles ofof thethe AmericanAmerican womanwoman inin thethe 40s40s andand 50s.50s. ¾¾McCardellMcCardell pioneeredpioneered casual,casual, comfortablecomfortable AmericanAmerican sportswearsportswear forfor women.women. PhiPhilosophylosophy onon StyleStyle ¾¾SheShe believedbelieved thatthat women’swomen’s clothesclothes shouldshould bebe durable,durable, versatile,versatile, comfortable,comfortable, flattering,flattering, andand easyeasy toto carecare for.for. ¾¾ “I’ve“I’ve alwaysalways wonderedwondered whywhy women’swomen’s clothesclothes hadhad toto bebe delicatedelicate –– whywhy theythey couldn’tcouldn’t bebe practicalpractical andand sturdysturdy asas wellwell asas feminine.”feminine.” InfluencesInfluences ¾¾WhileWhile studyingstudying forfor aa yearyear inin ParisParis sheshe
    [Show full text]
  • Mitsuko Shitara.Pdf
    PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP MITSUKO SHITARA 1960’: Nova Iorque, Londres, Paris e São Paulo Mestrado em História São Paulo Abril de 2010 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP MITSUKO SHITARA 1960’: Nova Iorque, Londres, Paris e São Paulo Mestrado em História Dissertação de Mestrado apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Mestre em História, sob a orientação da Profa. Dra. Yvone Dias Avelino. São Paulo Abril de 2010 Banca Examinadora: ______________________________ ______________________________ ______________________________ Para Kanoe, com muita saudade. Agradecimentos No caminho percorrido entre o início da pesquisa e o depósito desta dissertação, pude contar com o auxílio precioso de diversas pessoas, que me estenderam a mão e emprestaram seus ombros, seus livros e seus conhecimentos, de formas tão diferentes, nos mais diferentes momentos, todos eles muito especiais e essenciais. Antes de mais nada, gostaria de deixar registrada minha eterna gratidão e admiração por Yvone Dias Avelino, que aceitou o desafio de orientar este trabalho. Ao longo dos anos, pude contar com sua compreensão, tolerância e paciência, sua imensa bondade e generosidade bem como a atenção e o jogo de cintura com que tratou minhas limitações de tempo. Quantas e quantas vezes incentivou-me nos momentos em que fraquejava, fortalecendo-me com seus ensinamentos. Sou-lhe eternamente devedora. Agradeço também a meus professores do programa de Mestrado da Pontifícia Universidade Católica de São Paulo (PUC-SP), que tiveram a capacidade de fazer uma ex-engenheira entender melhor o ofício de historiador e despertaram em mim um interesse mais profundo pela investigação histórica.
    [Show full text]
  • Looking Back at Mccardell: It's a Lot Like Looking at Todayi4
    58 L-f THE NEW YQRK TIMES, WEDNESDAY, MA\ Y 24,1972 — yamily /ood fashions' /iirntshirigs: Looking Back at McCardell: It's a Lot Like Looking at Todayi4 . By BERVADilME MORRIS The Paris fashion world has Chanel as its monument. New 1 ^Yorlc has_CJaire McCardehV "Both- women, though de­ ceased, have influenced the current casual mood of fash­ ion. Chanel invented the sweater, McCardell invented the American Look. » It was born in the Depres-' sion-ridden nineteen-thirties-, flourished during the war •yeara of the forties, felLoff at the end of the fifties (McCardell died in 1958), and all but disappeared, in the sixties, when_Paris regained^ center-stage" with swinging , London close behind. "Now that sportswear, the crux of the American Look, . has: become the dominant- • trend-on Seventh Avenue and other satellite fashion cen­ ters, the Fashion Institute of. Technology felt the time was -rightfor. a McCardell retro- • apettlve. • • • • • ' —• Tt.wasjhcld Monday night In the school's auditorium, 227. West 27th Street, fol­ lowed by a $125-a-person black tie supper dance in the lobby. Like a Premiere Seventh Avenue, which supports the state-run col­ lege, came out in droves. Stu­ dents lined up outside trie *"scTibo1"to cheer arrival fit tlie limousines carrying such per­ sonalities as Lynn Revson (whose- husband,' ChBrles, heads Revlon) in her sequin- sparkling red jacket over a black dress by Norman No- rel);—Beth Levine, the shoe designer, in her Halston caf­ tan, and Jerry Silverman, the., manufacturer, with Pauline Trigdre, in herTrigore. It had all the earmarks of a Hollywood premiere, way hack when.
    [Show full text]
  • Introduction
    THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work.
    [Show full text]