If faced with a lack of reading material on a long journey, I think
it would be nice to have a skirt in toile fabric - but with the
print upside-down, so that seated, I could view the scenery
right-side-up. As entertainment then, armed with felt markers (and
white-out, in place of an eraser), I would bring the scenery to life.
I have yet to create a Toile de Jouy Coloring / Travel Skirt, but in the Autumn of 2011, did create and color a toile trilby hat with embroidery - and you can see it here. In designing the toile trilby, my inspiration was a toile ottoman cover I wanted to repurpose. You will also notice the red brim-trim, which is part of a vintage Pierre Cardin tie.
For its stories and its long history, fabric in the Toile de Jouy style charms me, though I simply refer to it as "toile".
Seeing a humorously-bad rendition of toile fabric prompted this post entry. Shopping with my mother, I discovered a pair of elastic-waist pants - white, with toile-de-jouy style scenery printed in black. Having the appearance of a poorly-traced pastoral print, the scenes featured shepherds carrying amorphous blobs instead of sheep - and shepherdesses petting amorphous blobs instead of sheep.
At its best though, I adore toile because it is fabric that tells a story. Dates of toile origin vary from seventeenth to eighteenth century, but its scenes are based on true stories, historical literature and opera, and mythological legends. Many toile prints feature countryside landscapes and figures. It has been said that the subject matter is a romanticized version of rural life perceived by French aristocracy.
Historically in the U.S., toile fabrics had their heyday in Colonial times. However, it seems toile - with so many thoughts and images to convey - will always find favor.
In researching the history of toile, I found it very interesting to learn that the original Toile de Jouy factory was established near La Bievre river, because its water held mineral-properties conducive to washing and processing of the fabric.
To see a variety of toile fabrics, try searching "images for history of toile de jouy fabric", or simply "images for toile fabric".
For clarification, I should note: My blog is named Toile La La not because of toile fabric, but because I like to
sew, therefore the "toile" of Toile La La refers to a rough-draft garment or "toile",
created to test style, fit, and construction-technique.
Toile de Jouy references from Musee de la Toile de Jouy website, Fabrics and Paper website, and "toile" Wikipedia entry.
ART FASHION CREATION: Blog research of Fashion Design, Origin of Trends, Creative People, ART of the Past and Future.
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Monday, October 1, 2012
Sense of Otherness and Fashion Trend Archives.
Posts of the previous week have opened a window into the development of my own fashion archives. Since the archive will be incorporated into a larger project, I have shared only a fraction of its contents. However, the following filing system might be of interest to others - like myself - who notice trends and analyze their origins.
As mentioned in one of the earlier posts, one of my main categories has been: "Sense of Otherness" - a term I give to what is shockingly new or so different as to be considered avant garde. My Sense of Otherness file entries bridge a gap between great and bizarre. With time, I realized that what shocked my senses initially would very often begin to look quotidien. Individuality is often mimicked, so - very predictably - styles that shocked frequently became trends.
Aside from that main category, here are some other file-headings I kept pre-1980 to post-2000:
As mentioned in one of the earlier posts, one of my main categories has been: "Sense of Otherness" - a term I give to what is shockingly new or so different as to be considered avant garde. My Sense of Otherness file entries bridge a gap between great and bizarre. With time, I realized that what shocked my senses initially would very often begin to look quotidien. Individuality is often mimicked, so - very predictably - styles that shocked frequently became trends.
Aside from that main category, here are some other file-headings I kept pre-1980 to post-2000:
- vintage
- textiles
- scot-irish
- spanish toreador
- sports
- russian
- old west
- orient
- nautical
- interesting personalities
- haberdashery
- gypsy
- floral / fauna / nature
- fashion history
- fashion articles
- eye-catching advertisements
- dance/fitness
- breakthroughs/innovations
- africa
- accessories
Wednesday, September 12, 2012
Booty-Shaking, Pop and Lock, All-Night Dancing: What to Wear.
Plugging into Electro-Funk 80's music turned me into a dancing machine. One 11-hour night, I tore up the dance floor with my dance partner of two first names - Billy Freddie. For a fund-raising Dance-A-Thon, with only 10-minute breaks on the hour, we unleashed all our uninhibited moves: the bird, the smurf, and a dance all our own that looked like rotating and spanking ourselves... sometimes we moon-walked. Slow-dancing was not our cup of tea. When Billy Freddie and I danced, we meant business and we burned calories. It's only fair though - to admit that my key to success on the dance floor that night must be attributed to the jumpsuit.
From experience, it was evident some dances didn't fit the look of a skirt or dress. Heels were out of the question for this kind of dancing. Big, jumbled piles of heels always grew on the outskirts of the dance floor.
Your realize, if you aren't new to exercise, that perspiration is a part of energetic activity. If you dance fanatically (acquiring a great pore-cleansing sweat), then you cool down very quickly and chill. To burn the midnight oil and showcase all your best moves, you need clothes that move with you, without constricting, and without looking bedraggled after a few hours... and a jumpsuit met all the requirements.
A girl in the dorm loaned the loose-fitting jumpsuit to me. It was made by Esprit I think - of either cotton or a synthetic parachute-type material. The neck was wide and the sleeves and legs narrow, but long - so that I could roll them and they stayed in place. It was sand-washed olive green and buttoned up the front.
With the jumpsuit I wore red pointy-toed flats (also borrowed... and by the way, it's a good idea to have a change of shoes if you plan to dance 11 hours, because your feet will appreciate the switch).
Double-belts were in style at this time and I wore my red one loose and low. Enormous red plastic earrings were probably involved - but I'd like to forget those.
Billy Freddie's dance-steps were familiar to me and he knew mine as well. Frequently one of us would invent a new move - the other would notice and try it out.
By 5 AM only one other couple still danced. We stopped, they danced a few minutes more. I trotted back to the dorm and slept thirteen hours.
On a quest to pinpoint this type of jumpsuit, I found a 1985 Simplicity Esprit sewing pattern 7007 that seems very similar. Of the same cut are Simplicity 6394 and even a vintage Pierrot costume by Advance.
Want a little music to send you into jumpsuit dancing mode? Here are three links:
From experience, it was evident some dances didn't fit the look of a skirt or dress. Heels were out of the question for this kind of dancing. Big, jumbled piles of heels always grew on the outskirts of the dance floor.
Your realize, if you aren't new to exercise, that perspiration is a part of energetic activity. If you dance fanatically (acquiring a great pore-cleansing sweat), then you cool down very quickly and chill. To burn the midnight oil and showcase all your best moves, you need clothes that move with you, without constricting, and without looking bedraggled after a few hours... and a jumpsuit met all the requirements.
A girl in the dorm loaned the loose-fitting jumpsuit to me. It was made by Esprit I think - of either cotton or a synthetic parachute-type material. The neck was wide and the sleeves and legs narrow, but long - so that I could roll them and they stayed in place. It was sand-washed olive green and buttoned up the front.
With the jumpsuit I wore red pointy-toed flats (also borrowed... and by the way, it's a good idea to have a change of shoes if you plan to dance 11 hours, because your feet will appreciate the switch).
Double-belts were in style at this time and I wore my red one loose and low. Enormous red plastic earrings were probably involved - but I'd like to forget those.
 |
Billy Freddie's dance-steps were familiar to me and he knew mine as well. Frequently one of us would invent a new move - the other would notice and try it out.
By 5 AM only one other couple still danced. We stopped, they danced a few minutes more. I trotted back to the dorm and slept thirteen hours.
On a quest to pinpoint this type of jumpsuit, I found a 1985 Simplicity Esprit sewing pattern 7007 that seems very similar. Of the same cut are Simplicity 6394 and even a vintage Pierrot costume by Advance.
 |
| Simplicity 6394. Ditch the tie-dye, add a loose belt, roll the cuffs, you're ready to dance all night. |
 |
| Ultimate jumpsuit freedom. |
- Morris Day and The Time - The Bird (with video, so you too can learn some wing-flapping moves).
- The Egyptian Lover - Egypt Egypt.
- These Boots Are Made For Walking - Lee Hazlewood/Nancy Sinatra original remixed by BrianPOP 2008.
Tuesday, September 11, 2012
Rosanna Orlandi: Intelligent Beauty.
 |
| Rosanna Orlandi photo by Leslie Williamson for Dwell July/August 2012. |
Rosanna's look was unlike any other look. I had to know more about the owner of those eyes, who wears big silver cuffs - and I discovered... this explains the look... Rosanna was once a knitwear designer, but has for more than 10 years now turned those incredible eyes to assessing and selecting works for her Milanese design gallery Spazio Rosanna Orlandi.
What do they seek, those eyes of Rosanna? "Honest" designs, according to The New York Times. (Julie Lasky, April 25, 2012)
In a How To Spend It article, Rosanna reveals: "... I never think consciously from a commercial point of view. Something catches me because it’s amazing. I fall in love and I have to touch things. I’m always curious, always learning. When you feel that you’re constantly learning, you can only improve.” (Jenny Dalton, Jan.6, 2011) Orlandi's gallery selections do indeed seem to be one-of-a-kind and sometimes upcycled - leaning more toward functional art - catering less to commercially-driven manufacturing.
"To add humor to a home", Rosanna tells The Wall Street Journal, "you have to have courage in your choices.... You have to be daring and find things that make you say 'wow'". (Jackie Cooperman, Sept.24, 2011) Orlandi's own look is proof that the right amount of daring is wowing and her advice might easily apply to fashion as well as furnishings.
Listen to Rosanna, as she invites you into her design gallery and speaks of the useful and very-often artful works of her design "family" - here.
(Above video link from crane.tv "Spazio Rosanna Orlandi's Magical Space" at youtube)
Monday, September 10, 2012
Hime Lolita Marie Antoinette: Chanel at Versailles.
Imagine Marie Antoinette, healthy and unscathed, frolicking into an eighteenth century time portal and landing upright in 2013. Unbiased by any sensibilities but her own, she might immediately gravitate toward Lolita fashion. Of the various Lolita styles, the Hime or Princess Lolita, the Sweet Lolita, or the Country Lolita would align with her tastes.
Without having to search farther, Marie Antoinette could slip right into one of Karl Lagerfeld's Chanel Cruise 2013 ensembles and carry on with life - this time in some pink trainers, to quickly run from danger.
Interested in Lolita styles, read more here. For more Chanel Cruise 2013 see this Vogue link with Sarah Mower collection review.
Looking for other Lolita/Chanel Cruise 2013 references, I noticed the blog Hello Tailor had also made the connection and provided a youtube link for the actual fashion show. It's especially grand to see Karl Lagerfeld appear at show's-end - waving, blowing a kiss, assessing his admirers and regally strutting to the beat. Here's the youtube link.
Without having to search farther, Marie Antoinette could slip right into one of Karl Lagerfeld's Chanel Cruise 2013 ensembles and carry on with life - this time in some pink trainers, to quickly run from danger.
 |
| Chanel Cruise/Resort 2013 at Versailles. Image Vogue.com runway collections. |
 |
| Marie Antoinette, artist unknown. Museum of Fine Arts Boston collection. |
Wednesday, September 5, 2012
Clothes Looking for a Script: Comme des Garcons Fall 2012 RTW.
See this Kawaii Kakkoii Sugoi blog link for full-length videos of Rei Kawakubo's Comme des Garcons Fall/Winter 2012/2013 Men's and Women's Collections, then contemplate with me.
First of all, I think Kawakubo's clothing literally creates thought. That cannot be said for all designers. No matter what your opinion of these collections, I believe you will notice you cannot prevent yourself from thinking strong thoughts about what you see on Kawakubo's runway.
All Flat-Stanley and paper-doll references aside, some of the womenswear coat shapes have a fresh appearance and lend the models a youthful look. Seeing the models present the womenswear, I felt some of Kawakubo's looks were at times inspired by Tavi Gevinson, then later by the paper-cutout artwork of Matisse. I could easily visualize the "dress-within-a-dress" silhouette looks being minimized to figure-flattering styles.
Despite the practicality of offering a place to rest one's hands, the pannier extensions of Kawakubo's Fall 2012 collection would present a predictable kerfuffle when worn through airport security - not to mention difficulties in the daily office cubicle. These are designs requiring a certain place, a certain time, and a certain mode of transportation. Imagine wearing one of the pannier dresses, riding a bicycle - in a gust of wind... off you'd go, like a kite.
Or, in the instance of the above garment - a gentle breeze might send the wearer pirouetting prettily, whirling like a maple-seed helicopter.
The shiny metallicized dresses seem like an excellent idea - maximum effect bling. Think of all the bandage-sized night-on-the-town dresses that exist - not much bling for the buck. Kawakubo's shiny dresses are big, startlingly-shaped, and shiny. If you didn't have time for the videos, there's a link to the Vogue runway collections here.
But to see the inspiration for this post title: Clothes Looking for a Script, you really should see the Kawaii Kakkoii Sugoi link above. Rei Kawakubo's Fall 2012 menswear inspired me to imagine a short movie script. Here it is:
Ministers of Music - Happening perchance to discover a trunkful of items stored on a Hollywood backlot, contemplative time travelers find solace in assembling eclectic ecclesiastical ensembles. Donning their diverse "thinking caps" the ministers of music find they have a prediliction for crewel embroidery, Chanel wool, and cabbage rose chintz. Offering services free of words, the ministers of music stroll, contemplate, and meditate their next destination.
First of all, I think Kawakubo's clothing literally creates thought. That cannot be said for all designers. No matter what your opinion of these collections, I believe you will notice you cannot prevent yourself from thinking strong thoughts about what you see on Kawakubo's runway.
All Flat-Stanley and paper-doll references aside, some of the womenswear coat shapes have a fresh appearance and lend the models a youthful look. Seeing the models present the womenswear, I felt some of Kawakubo's looks were at times inspired by Tavi Gevinson, then later by the paper-cutout artwork of Matisse. I could easily visualize the "dress-within-a-dress" silhouette looks being minimized to figure-flattering styles.
Despite the practicality of offering a place to rest one's hands, the pannier extensions of Kawakubo's Fall 2012 collection would present a predictable kerfuffle when worn through airport security - not to mention difficulties in the daily office cubicle. These are designs requiring a certain place, a certain time, and a certain mode of transportation. Imagine wearing one of the pannier dresses, riding a bicycle - in a gust of wind... off you'd go, like a kite.
 |
| Rei Kawakubo Comme des Garcons F/W 2012/2013 RTW. Image from Collections at Vogue.com. |
The shiny metallicized dresses seem like an excellent idea - maximum effect bling. Think of all the bandage-sized night-on-the-town dresses that exist - not much bling for the buck. Kawakubo's shiny dresses are big, startlingly-shaped, and shiny. If you didn't have time for the videos, there's a link to the Vogue runway collections here.
But to see the inspiration for this post title: Clothes Looking for a Script, you really should see the Kawaii Kakkoii Sugoi link above. Rei Kawakubo's Fall 2012 menswear inspired me to imagine a short movie script. Here it is:
Ministers of Music - Happening perchance to discover a trunkful of items stored on a Hollywood backlot, contemplative time travelers find solace in assembling eclectic ecclesiastical ensembles. Donning their diverse "thinking caps" the ministers of music find they have a prediliction for crewel embroidery, Chanel wool, and cabbage rose chintz. Offering services free of words, the ministers of music stroll, contemplate, and meditate their next destination.
Friday, August 31, 2012
French Fashion Dolls in Washington and New York.
To learn the exquisitely-dressed fashion dolls of the Theatre de la Mode exist here in the United States was thrilling to me. (Although I have still only seen them in books and online.)
The Theatre de la Mode fashion dolls live at Maryhill Museum of Art in Goldendale, Washington. I have older post links with in-depth history and details, which you'll see in a link below. But, to continue - after reading about the creation of Theatre de la Mode, I coincidentally (without looking for it) found a book called Two Centuries of French Fashion, created and published by the Brooklyn Museum.
Astonishingly, the dolls in Two Centuries of French Fashion, seemed to be the same "ladies" from Theatre de la Mode (but in different attire). I wrote a post about Two Centuries of French Fashion, which you can see there at the link.
Recently, I pulled another book from the library shelf - High Style: Masterworks from the Brooklyn Museum Costume Collection at The Metropolitan Museum of Art - and discovered the same French fashion mannequins again. Reading High Style, the mystery became solved.
In summary, the Theatre de la Mode was a travelling exhibit created by many talented people chosen from fashion, textile, art, and theater industries under the supervision of the Chambre Syndicale de la Couture Parisienne. The purpose of the exhibit was to promote French fashion, but that is not what makes Theatre de la Mode so impressive - its significance lies in the WWII conditions under which it was produced and in the beauty and precision that are evident in the display, despite the hardship its creators endured.
The fashion dolls acquired by Brooklyn Museum (and now housed at The Metropolitan Museum of Art in New York) were created as gifts of appreciation from the people of France to the United States for its relief efforts following WWII. In 1947, these fashion dolls arrived on a "Gratitude Train", full of gifts. At that time, the Brooklyn Museum had opened a new Design Lab for fashion, so in 1949 the Chambre Syndicale deemed it the proper home for the Gratitude Train fashion dolls. It seems The Metropolitan Museum of Art acquired the Gratitude or Merci dolls in 2009.
According to the book High Style, (Jan Glier Reeder, Metropolitan Museum of Art, 2010, p.222), the Gratitude Train fashion dolls were based on the design of those created for Theatre de la Mode - so both groups of dolls were created by French illustrator Eliane Bonabel and Spanish sculptor Joan Rebull.
Learn more about both exhibits at the blue Two Centuries of French Fashion link above. The Gratitude Train fashion mannequins may be viewed at this Metropolitan Museum of Art link.
The Theatre de la Mode fashion dolls live at Maryhill Museum of Art in Goldendale, Washington. I have older post links with in-depth history and details, which you'll see in a link below. But, to continue - after reading about the creation of Theatre de la Mode, I coincidentally (without looking for it) found a book called Two Centuries of French Fashion, created and published by the Brooklyn Museum.
Astonishingly, the dolls in Two Centuries of French Fashion, seemed to be the same "ladies" from Theatre de la Mode (but in different attire). I wrote a post about Two Centuries of French Fashion, which you can see there at the link.
 |
| "1900 Doll" from the Gratitude Train of 1947. High Style, Metropolitan Museum of Art, p.225. |
Recently, I pulled another book from the library shelf - High Style: Masterworks from the Brooklyn Museum Costume Collection at The Metropolitan Museum of Art - and discovered the same French fashion mannequins again. Reading High Style, the mystery became solved.
In summary, the Theatre de la Mode was a travelling exhibit created by many talented people chosen from fashion, textile, art, and theater industries under the supervision of the Chambre Syndicale de la Couture Parisienne. The purpose of the exhibit was to promote French fashion, but that is not what makes Theatre de la Mode so impressive - its significance lies in the WWII conditions under which it was produced and in the beauty and precision that are evident in the display, despite the hardship its creators endured.
The fashion dolls acquired by Brooklyn Museum (and now housed at The Metropolitan Museum of Art in New York) were created as gifts of appreciation from the people of France to the United States for its relief efforts following WWII. In 1947, these fashion dolls arrived on a "Gratitude Train", full of gifts. At that time, the Brooklyn Museum had opened a new Design Lab for fashion, so in 1949 the Chambre Syndicale deemed it the proper home for the Gratitude Train fashion dolls. It seems The Metropolitan Museum of Art acquired the Gratitude or Merci dolls in 2009.
According to the book High Style, (Jan Glier Reeder, Metropolitan Museum of Art, 2010, p.222), the Gratitude Train fashion dolls were based on the design of those created for Theatre de la Mode - so both groups of dolls were created by French illustrator Eliane Bonabel and Spanish sculptor Joan Rebull.
Learn more about both exhibits at the blue Two Centuries of French Fashion link above. The Gratitude Train fashion mannequins may be viewed at this Metropolitan Museum of Art link.
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