Posts Tagged ‘fashion’
“The future belonged to the showy and the promiscuous”*…
Emily J. Orlando on the enduring relevance and the foresight of Edith Wharton…
If ever there were a good time to read the American writer Edith Wharton, who published over forty books across four decades, it’s now. Those who think they don’t know Wharton might be surprised to learn they do. A reverence for Wharton’s fiction informs HBO’s Sex and the City, whose pilot features Carrie Bradshaw’s “welcome to the age of un-innocence.” The CW’s Gossip Girl opens, like Wharton’s The House of Mirth, with a bachelor spying an out-of-reach love interest at Grand Central Station while Season 2 reminds us that “Before Gossip Girl, there was Edith Wharton.”
But why Wharton? Why now? Perhaps it’s because for all its new technologies, conveniences, and modes of travel and communication, our own “Gilded Age” is a lot like hers [see here]. For the post-war and post-flu-epidemic climate that engendered her Pulitzer-Prize-winning novel The Age of Innocence is not far removed from our post-COVID-19 reality. In both historical moments, citizens of the world have witnessed a retreat into conservatism and a rise of white supremacy.
Fringe groups like the “Proud Boys” and “QAnon” and deniers of everything from the coronavirus to climate change are invited to the table in the name of free speech and here Wharton’s distrust of false narratives resonates particularly well. Post-9/11 calls for patriotism and the alignment of the American flag with one political party harken back to Wharton’s poignant questioning, in a 1919 letter, of the compulsion to profess national allegiance:
how much longer are we going to think it necessary to be “American” before (or in contradistinction to) being cultivated, being enlightened, being humane, & having the same intellectual discipline as other civilized countries?
Her cosmopolitan critique of nationalist fervor remains instructive to us today…
Eminently worth reading in full (then picking up one of Wharton’s wonderful novels): “How Edith Wharton Foresaw the 21st Century,” in @lithub.
See also: “These days, the bigger the company, the less you can figure out what it does.”
* Edith Wharton, The Custom of the Country
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As we prize perspicacity, we might recall that it was on this date in 1884, in the midst of the Gilded Age, that Harper’s Bazaar proclaimed, “…it is not convenable, according to European ideas, to wear a loose flowing robe of the tea-gown pattern out of one’s bedroom or boudoir. It has been done by ignorant people at a watering-place, but it never looks well. It is really an undress, although lace and satin may be used in its composition. A plain, high, and tight-fitting garment is much the more elegant dress for the afternoon teas as we give them.”
Embraced by artists and reformers, the Aesthetic Dress Movement of the 1870s and 1880s was a non-mainstream movement within fashion that looked to the Renaissance and Rococo periods for inspiration. The movement began in response to reformers seeking to call attention to the unhealthy side effects of wearing a corset, thus, the main feature of this movement in women’s dress was the loose-fitting dress, which was worn without a corset. Artists and progressive social reformers embraced the Aesthetic Dress movement by appearing uncorseted and in loose-fitting dresses in public. For many that fell into these categories, Aesthetic Dress was an artistic statement. Appearing in public uncorseted was considered controversial for women, as it suggested intimacy. In fact, many women across the country were arrested for appearing in public wearing Aesthetic costumes, as authorities and more conservative citizens associated this type of dress with prostitution.
But for most wealthy women, the influence of the Aesthetic Dress movement on their wardrobes took the form of the Tea Gowns. Like most dresses that could be considered “Aesthetic,” Tea Gowns were loose and meant to be worn without a corset. However, they were less controversial than the Aesthetic ensembles of more artistic and progressive women. This is because they were not typically worn in public or in the company of the opposite sex. Tea Gowns were a common ensemble for hosts of all-female teas that were held in the wearer’s home. Thus, because no men were in attendance, Tea Gowns were socially acceptable in these scenarios. Mainstream magazines like Harper’s Bazar were not especially keen on the Tea Gown and cautioned their readers not to appear wearing one in public.
“Gilded Age Fashion”
For a sense of what was at stake, see “The Corset X-Rays of Dr Ludovic O’Followell (1908)“
“…there may be no forgiveness for polyester. On this one matter, Satan and the Lord are in agreement”*…
Polyester has had a roller coaster ride as a clothing fabric, but now it’s sitting pretty. As Virginia Postrel explains, thanks to advances in materials science, it reinvented itself so successfully that many people don’t even realize they’re wearing polyester today…
Fifty years ago, polyester seemed like a wonder fabric. It freed women from their ironing boards, and they poured into the workforce, feeling liberated in their double-knit pantsuits. Polyester held bright colors better than old-fashioned materials, making it ideal for psychedelic prints, disco attire, and sports teams clashing on color television. It was inexpensive, and it didn’t wear out. People loved polyester.
Until they didn’t. A decade later, polyester was the faux pas fiber. It pilled and snagged. It didn’t breathe. It stank from sweat. And it represented bad taste. ‘It became associated with people of low socioeconomic status who didn’t have any style’, an advertising executive told the Wall Street Journal in 1982.
That year, prices fell by more than 10 percent, as polyester fiber consumption dropped to its lowest level since 1974. Profits plummeted. Plants closed. Industry polls showed a quarter of Americans wouldn’t touch the stuff – with resistance fiercest among the young, the affluent, and the fashion-conscious. For polyester makers, the miracle threatened to become a disaster…
Four decades later, polyester rules the textile world. It accounts for more than half of global fiber consumption, about twice that of second-place cotton. Output stands at nearly 58 million tons a year, more than 10 times what it was in the early ’80s. And nobody complains about polyester’s look and feel. If there’s a problem today, it’s that people like polyester too much. It’s everywhere, even at the bottom of the ocean…
On the past and future of a ubiquitous fiber: “How polyester bounced back,” from @vpostrel.
* “He paused, twisting his goatee, considering the law in Deuteronomy that forbade clothes with mixed fibers. A problematic bit of Scripture. A matter that required thought. ‘Only the devil wants man to have a wide range of lightweight and comfortable styles to choose from,’ he murmured at last, trying out a new proverb. ‘Although there may be no forgiveness for polyester. On this one matter, Satan and the Lord are in agreement’.” – Joe Hill, Horns
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As we contemplate clothing, we might send inventive birthday greetings to Ron Popeil; he was born on this date in 1935. An inventor and entrepreneur, he developed dozens of best-selling products and pioneered the direct-response infomercial form of sales.
At the age of 17, Popeil moved to Chicago and went to work for his father to learn the trade from him. Popeil’s father, Samuel J. Popeil, was an inventor as well, and some of Ron’s earlier famous creations were based on his father’s gadgets. He also discovered a flea market in Chicago called Maxwell Street that helped boost his career considerably. He also demonstrated his products at Woolworths’ in Chicago where he earned in excess of $1000 per week. After acting as his father’s distributor for a few years, Popeil eventually opened up his own company named “Ronco” in 1964.
When Popeil was working for his father, one of the products he undertook to sell was a vegetable chopper called “Chop-O-Matic”. Priced at $3.98, this was one of the bestselling products of his company and sold over 2 million units. The only problem was that salesmen could not carry enough vegetables with them to demonstrate the chopping process at each house. The solution was to record a video demonstrating the use of the gadget. This led him to think about advertising these videos as a commercial on television. Television commercials and Popeil were an instant match. Popeil’s natural selling skills could now reach crowds of millions and further sales began to pour in.
Ron had a long list of bestselling products with his company Ronco. One was a device called the “pocket fisherman” that is a small tackle box with hook, line, and sinker all in one. He called it “the best fishing invention since the fishing pole and only for $19.95”. Another invention was “Mr. Microphone” – a low powered FM modulator and radio transmitter that would broadcast using an FM radio. Another of his bestsellers was the “Showtime Rotisserie” oven for cooking chicken and BBQ. In his infomercials he used the line “Set it, and forget it!” to pitch the product to audiences. Other products include smokeless ashtray, drain buster, bottle cap opener, electric food dehydrator, egg scrambler, hair formula to cover up bald patches, Dial-O-Matic, and a pasta maker.
Famous Inventors
And Popeil was also hugely impactful in the ways that he sold his products, helping to develop and establishing a number of the norms and tropes of the infomercial, including the now-standard catchphrases “But wait, there’s more” and “Operators are standing by.”
“The method preferred by most balding men for making themselves look silly is called the comb over”*…
Balding has been the constant scourge of man since the beginning of time, and for millennia, our best solution was the comb-over. Brian VanHooker tells the story of how its once-ubiquitous popularity thinned, receded, and then got pushed to the side…
For decades now, having a comb-over to cover one’s baldness has been generally seen as unacceptable. There may be exceptions, but men with prominent, noticeable comb-overs are often regarded as desperate — instead of aging gracefully, they’re seen as hopelessly clinging to a time when they had a full head of hair. Worst of all, for people with advanced hair loss, the comb-over is entirely ineffective. Instead of disguising a man’s baldness, it only accentuates it, thus laying bare their lack of hair and, even worse, their insecurity.
This wasn’t always the case. For at least a couple thousand years, comb-overs were perfectly acceptable and worn by the most powerful men in the world. It was only during the latter half of the 20th century that it all came crashing (flopping?) down…
From Julius Caesar to Donald Trump, a tonsorial trip through time: “The Rise, Flop, and Fall of the Comb-Over,” from @TrivialHistory in @WeAreMel.
* Dave Barry
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As we resist the urge, we might send scandalous birthday greetings to Giacomo Casanova; he was born on this date in 1725. A Venetian adventurer and author, he is best remembered– as a product both of his memoir and of other contemporary accounts– as a libertine, a womanizer who carried on complicated and elaborate affairs with numerous women.
At the same time, he associated with European royalty, popes, and cardinals, along with intellectual and artistic figures like Voltaire, Goethe, and Mozart. His memoir (written toward the end of his life, while he served as librarian to Count Waldstein) is regarded as one of the most authentic sources of the customs and norms of European social life during the 18th century.
Casanova preferred a wig to a comb-over.
“I’ve always thought of the T-shirt as the Alpha and Omega of the fashion alphabet”*…
Haruki Murakami on the semiotics of casual accumulation…
I’m not particularly interested in collecting things, but there is a kind of running motif in my life: despite my basic indifference, objects seem to collect around me. Stacks and stacks of LPs, so many I’ll never listen to them all; books I’ve already read and will probably never open again; a ragtag assemblage of magazine clippings; dinky little pencils, so worn down they don’t fit into a pencil sharpener anymore. All sorts of things just keep on piling up.
T-shirts are one of those things which naturally pile up. They’re cheap, so whenever an interesting one catches my eye I buy it. People give me various novelty T-shirts from around the world, I get commemorative T-shirts whenever I run a marathon, and when I travel I often pick up a few, instead of bringing along extra clothes. Which is why the number of T-shirts in my life has skyrocketed, to the point where there’s no room in my drawers anymore and I have to store the overflow in stacked-up cardboard boxes.
Whenever I go to the U.S., after I leave the airport and get settled in town I invariably find myself wanting to go out and grab a hamburger. It’s a natural urge, but you could also see it as a kind of ritual I go through. Either one’s O.K.
Ideally, I go to a hamburger joint around one-thirty, after the lunch crowd has left, plunk myself down at the counter, and order a Coors Light on tap and a cheeseburger. I like the burger cooked medium, and I always get raw onions, tomatoes, lettuce, and pickles. Plus an order of French fries and, like an old buddy I’m visiting, a side of coleslaw. Critical partners in all this are mustard (it’s got to be Dijon) and Heinz ketchup. I sit there, quietly sipping my Coors Light, listening to the voices of the people around me and the clatter of dishes, attentively imbibing the atmosphere of this different land, as I wait for my cheeseburger to emerge. Which is when it finally hits me that, yes, I really am in America.
This T-shirt has a straightforward message: “i put ketchup on my ketchup.” Now, that’s the statement of somebody who is seriously in love with ketchup. It kind of teases those Americans who put ketchup on everything, but I find it interesting that one of the companies that distribute these shirts is none other than Heinz. A little self-deprecatory humor going on here, but you can’t help feeling the American spirit in it, the optimistic, cheerful lack of introspection that says, “Who cares about being sophisticated! I’m gonna do what I want!”
When I walk around town in this shirt, Americans sometimes call out, “Love the shirt!” The ones who do this usually have that “I love ketchup” look about them. Sometimes I feel like coming back with a “Hey, don’t lump me in with you guys,” but usually I just give a cheerful “Yeah, pretty nice, huh? Ha-ha.” This kind of T-shirt communication does a lot to liven things up. You’d never find that happening in Europe. For one thing, Europeans by and large hardly ever eat ketchup.
How (and why) @harukimurakami_ amassed more T-shirts than he can store (and more examples): “An Accidental Collection,” from @NewYorker.
* Giorgio Armani
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As we slip it on, we might send stream of consciousness birthday greetings to William Cuthbert Faulkner; he was born on this date in 1897. A writer of novels, short stories, poetry, essays, screenplays, and one play, Faulkner is best remembered for his novels (e.g., The Sound and the Fury, As I Lay Dying, and Light in August) and stories set in “Yoknapatawpha County,” a setting largely based on Lafayette County, Mississippi, where Faulkner spent most of his life. They earned him the 1949 Nobel Prize for Literature.
The past is never dead. It’s not even past.
From Requiem for a Nun, Act I, Scene III, by William Faulkner
“Slang is a language that rolls up its sleeves, spits on its hands and goes to work”*…
For example…
The slang of 19th century scoundrels and vagabonds: browse it in full at invaluable Internet Archive, “Vocabulum; or, The Rogue’s Lexicon.”
* Carl Sandburg
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As we choose our words, we might send fashionable birthday greetings to George Bryan “Beau” Brummell; he was born on this date in 1778. An important figure in Regency England (a close pal of the Prince Regent, the future King George IV), he became the the arbiter of men’s fashion in London in the territories under its cultural sway.
Brummell was remembered afterwards as the preeminent example of the dandy; a whole literature was founded upon his manner and witty sayings, e.g. “Fashions come and go; bad taste is timeless.”
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