“Like Some Cat From Japan”

David & Ziggy, lifelong friends and collaborators. Photo credit: Mick Rock

Honoring the Creative Legacy of Kansai Yamamoto

(February 8, 1944-July 21, 2020)

The Fashion and Costume world has lost an Icon. Just like the death of the man with whom he is most frequently associated with, David Bowie, Kansai Yamamoto’s death has left a void in the Creative Matrix much like Bowie’s passing left a void five years ago.

It could be safely said that Kansai Yamamoto was just as responsible for creating the Persona of Ziggy Stardust as was Bowie himself or as was Angela Bowie, his first wife. Bowie evolved from a mid 60’s Mod, to a Mime performer, then a Dylanesque style folk singer, Major Tom/Clockwork Orange Droog, until finally coming into his own as Ziggy Stardust. With the creative input of Yamamoto, his persona jelled into that otherworldly androgyne with the help of his creations. “Costumes were the best medium for David to express his music” he said in an interview. “Color is the oxygen we are both breathing in the same space”, was another recounting of his collaboration with the Star Man.

The Jean Genius: David onstage wearing Kansai’s creations and Kansai with his best known creation for Bowie: The Tokyo Pop Jumpsuit. (Credits: L&R Mick Rock, Center: Alberto Garcia, Brooklyn Museum)

Kansai Yamamoto was born in Yokohama, Japan in 1944 and by all accounts was the product of a very unhappy childhood. He began his career as a Civil Engineer and then following the footsteps of many other engineers such as Giorgio Armani and Bill Blass, he transitioned into the world of Fashion and Costume Design. Mostly self taught, he apprenticed with costume designer Junko Koshino before striking out on his own. In 1971 he presented his first collection in London. He was the first Japanese designer to present a collection outside of Japan and for this he paved the way for the “Japanese Invasion” of the 70’s and 80’s. Thanks to his pioneering efforts, Kansai Yamamoto paved the way for other Japanese such as Hanae Mori, Kenzo,  Rei Kawakubo of “Comme des Garçons”, Issey Miyake, Yohji Yamamoto (no relation) and yes, even his early mentor: Junko Koshino.  All of this attention caught the eye of David Bowie, who at the time was in the Genesis of his career. His people called Kansai’s people and the rest is history.

Basara versus Wabi-Sabi

Yamamoto drew his influence from Japanese culture, in particular the traditional Kabuki performers. David Bowie loved all things Japanese so from a creative standpoint, they were a perfect fit. But Kansai was also influenced by the costumes of Oskar Schlemmer from the Bauhaus movement of 1930’s Berlin. This was obvious in his creation of the black and white “Tokyo Pop” or “Keyhole” costume and the jewel tone duplicate he wore in the “1980 Floor Show”.  It could be said that David’s orange mullet haircut was inspired by the “Lion Wigs” of the Kabuki performers.

The Makeup and The Mullet: Bowie’s hair and makeup were inspired by the “Lion Manes” of Kabuki. (Credits: Kabuki faces: Eva de Martino, David: Mick Rock)

According to my research there are two schools of Japanese aesthetics: “Basara” and Wabi-Sabi. “Basara” being the colorful and flamboyant aspect of Japanese art and Wabi-Sabi being the minimalist ascetic aspect. Kansai chose the former with a vengeance; his garments were a riot of exuberant color playing upon the traditional Japanese festivals and serving as an inspiration for the culture of Hara-juku and Kawaii trends on the streets of Tokyo today.

After his initial success with David, Kansai continued to design seasonal collections. One of his watershed presentations was at the Fashion Institute of Technology in 1982. One small footnote to this event was, at that time I was enrolled in the College and was participating in the ‘“work/study” program for underprivileged students like myself. The assignment was to intern as a dresser for the show. Even though this was not my first time dressing a runway show, it was my first time dressing a runway show for Kansai Yamamoto. To say that the energy was frenetic was an understatement and would not do justice to the show. The event featured the “Who’s Who” of the modeling world, some of the Glamazons that I helped to dress were: Iman, Sayoko and Pat Cleveland. What impressed me about Iman in particular was that at the time she was married to Spencer Haywood from the New York Knicks. She and Spencer, along with their family, had recently experienced a major traffic accident in which Iman had sustained serious injuries. This was confirmed when she limped into the dressing room. “OMG, (I thought to myself), how will she ever be able to strut on the Catwalk?” 

The Trifecta of 80’s Glamazons. L-R: Pat Cleveland, Iman and Sayoko. Notice Kansai lurking in the back! (Images courtesy of the Fashion Institute of Technology)

But Iman did not disappoint: Once she stepped on the Runway, her limp miraculously disappeared and she dazzled the audience with her Power Walk. Another little stray thought entered my mind at the time and that was of Bowie himself. I knew that Kansai and Bowie shared a creative relationship and at the time Bowie was a NYC resident. So I was a bit surprised that he did not pop in to wish his friend well. Especially since a few years later David and Iman would become lifelong Soulmates. But alas, David was busy preparing for his “Serious Moonlight Tour” so any chance I had of playing Cupid was dashed. Oh well.

Aside from the over the top presentation was the fact that Kansai was dressed all in black and was an integral part of the show: As the models walked on the runway, he would be right there with them, calling stage directions and adjusting their clothing. A classmate who also happened to be Japanese, was interning alongside me, explained that he was acting as a “Kurogo”. An important component of classical Kabuki Theater.  “They are supposed to be invisible” she said, “that’s why they are dressed in black”.  This blending of  Kabuki sensibilities with High Fashion was something that had been never seen before and I am sure served as a precursor to his  future “Super Shows”.

“Kurogo”: Another image from Kansai’s show at FIT. Notice Kansai disguised as a Kabuki “Kurogo” standing behind Sayoko. It was to be a foreshadowing of his future “Super Show” (image courtesy of Fashion Institute of Technology)

In 1992 Kansai designed his last collection under his own label. However, that did not mean that he stopped designing altogether. He instead took the more lucrative route and entered the field of licensing his name for anything from sunglasses to home products. This allowed him to focus on a new concept of his called the “Super Show” in which he combined multi disciplinary elements of music, dance and Japanese aesthetic to showcase his avant guard concepts. In these extravaganzas he would be a willing participant, commenting on his pieces, interacting with his models or again as a classical “Kurogo”, dressed in all black and serving as an assistant to the performers.

The “Super Shows” were to become major cultural and entertainment events. His first show was in 1993 in Moscow’s Red Square. Each subsequent show was to achieve an increasing sense of cultural and historical importance. For example, in 2012, at the invitation of the Chinese government, he presented a “Super Show” that commemorated the 40th anniversary of the normalizations of Japan-China relations and in 2013 he was honored by the Victoria & Albert Museum in London as part of their “Fashion in Motion” series.

Some examples of Kansai’s designs over the years. Note his innovative use of color and textures. (Credit Kansai Yamamoto Foundation)

Kansai Yamamoto continued a life long friendship with David Bowie until his death in 2016. Ironically they had always talked collaborating together again. Kansai was in the process of producing a “Super Show” with Bowie which unfortunately, was cruelly cancelled with the untimely passing of our beloved Star Man. Kansai’s concept for this show was to have Bowie descend from the skies in a hot air balloon as he sang his greatest hits. Much like the first time he saw Bowie descend onto the stage from a disco ball during a performance at Radio City Music Hall way back in 1972.

Unapologetically over the top: His designs were inspired by the colorful and vibrant “Basara” aesthetic (credit: Kansai Yamamoto Foundation)

In spite of his age and failing health Kansai continued to produce his Super Shows and even briefly contracted with Louis Vuitton to create a series of hand bags based on the “Basara” traditions of Japan. His last “Super Show” was presented in Tokyo on July 31, 2020 just a few days after his death. His daughter, Mirai Yamamoto tearfully thanking his assistants and fans for their lifelong support.

I would like to think, that if there is such a thing as an after life, that Kansai and David are reunited in Heaven. Where they can now unlimitedly collaborate and create for our collective consciousness. Unencumbered by the macrocosmic constraints of the mundane. Breathing that colorful oxygen that we all share.

Above: Highlights from the Fashion In Motion Super Show at The Victoria & Albert Museum in London

Click Here to read more about Kansai’s costumes at the David Bowie Is exhibit.

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Custom Made Fantasies from the Historical to the Hysterical©

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Pssst…Wanna Get A Bum Roll?

This is a Bum Roll and it’s one of the most versatile costuming accessories out there.

Ok you pervs, it’s not what you think it is!

A “Bum Roll” is an article of clothing that originated in the Renaissance. The “roll” which sat on the “bum” or butt was a crescent shaped padding with ribbons at either end that would be tied around the waist and worn under the skirt so that it enhanced the curves giving the wearer a bit of a “bump” in the “bum”. This accessory continued to be used in the upcoming centuries and morphed along the the changing female silhouette. Eventually, these “underpinnings” took on a life of their own becoming “paniers” in the 18th cc and then “bustles” in the 19cc. But the humble “Bum Roll” persisted; becoming one of the most practical accessories for the serious costumer.

It’s possible to achieve 3 different silhouettes from 3 different centuries thanks to the humble Bum Roll!

A Bum Roll can adapt itself to achieve almost any type of silhouette from the High Renaissance to the 19th cc “Gilded Age” silhouette. It’s a versatile accessory for the serious costumer and practical too: there’s no need to resort to wearing a “cage” panier or a “cage” bustle when one can just as easily achieve the look by using these pads.

Let’s begin by examining the history of the “Bum Roll” and it’s progression through the centuries:

Renaissance Bum Roll

The Bum Roll worn as it was originally intended: padding in the back to give the wearer a slight curve on the backside.

As you can appreciate here, this is the Bum Roll worn as it was originally intended, tied around the waist with the padding in the back. Towards the end of the 15th cc and beginning of the 16th cc, the Spanish Farthingale was all the rage. This was a skirt that was a simple cone and looked a bit severe, so the Bum Roll was introduced in order to give the Farthingale a bit of an “oomph”.  As you can see from the image on the right, the back padding gives the wearer a more pronounced curve on the backside.

Panier Bum Roll

The Bum Roll pulling “Double Duty” in the 18cc. This gave the wearer better mobility than the restrictive “Cage Panier”.

Now we travel into the 18th century. Wide hips were all the rage and women resorted to wearing something called the “Cage Panier” with was literally two structures in the shape of a semi circle cage that straddled either side of the hips. Well, this might have worked well if your name happened to be “Marie Antoinette” but for the rest of us mortals something a bit more practical was needed, so in steps the Bum Roll and this time it’s two rolls strapped on either sides of your hips. No one will know the difference unless they happen to look up your skirt!

Bustle Bum

Again with the cages! Towards the end of the 19cc “Cage Bustles” were all the rage but  not always practical. Along comes the Bum Roll to the rescue!

As the late 1800s rolled around the ladies silhouettes began to once again take a life of their own. The “Cage Bustle” was invented and it was a type of collapsible caboose that once again served to bring attention to the backside of the wearer. Wealthy followers of fashion were able to commission fancy collapsible cage bustles that literally gave the appearance of a train caboose attached to the wearer’s butt. Once again, the Bum Roll to the rescue! Here we strapped two bum rolls and layered them on the back. Much more practical and comfortable than wearing a “cage”.

Wanna Buy a Bum Roll?

Our Bum Rolls are versatile, comfortable to wear and easy to maintain. They are made from from lightweight foam and batting then covered with 100% cotton. Just wash them in cool water/gentle cycle and air try. The dimensions are 6 1/2” W X 25”L. The widest point is 6 1/2” but it tapers off to 0” at the ends. Twill tape ribbons are attached so you can accommodate them to your waist circumference.

Buy a Single Roll for $20.00 or add a second Bum Roll to make a Pair for only $10.00 more ($30.00 total).

I strongly recommend purchasing them by the pair. You will be glad you did!

Shipping & Handling: $15 for a Pair.

Click Here to Purchase

Please Note: All orders are custom made. Please allow two weeks for your order to be fulfilled. Are you interested in a specific fabric or color? Need expedited shipping? We can do that! Email me at costumesbyantonia@gmail.com

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Meet The CRÜE!

Meet The CRÜE Tribute Band!

On Saturday January 18, 2020, The CRÜE made their debut at the BFE Club in Houston. This Mötley Crüe Tribute Band delivered a stunning performance to the delight of screaming fans. With a meticulous attention to details and a priority for authenticity, we were able to recreate the look and sounds of this iconic 80’s Glam Metal Band.

This inspired me to take a trip down Memory Lane:

Way back in 1983, in a different time, in a different world, I was a young 20 something winding down their studies at the Fashion Institute of Technology in New York, when I was conscripted by the F.I.T. Job Bank to intern for a project with a well known designer. The project involved assisting in the creation of dancer’s costumes for an entirely new concept known as a “Music Video”. So novel was the concept that the lady from the job bank said that music was meant to be heard, not watched! Remember at that time, MTV was just a fledgling second tier cable station that could not even get the broadcast rights in Manhattan! The fact that Strap Hangers in the Bridge & Tunnel communities were able to enjoy this cool new station but not the Manhattan trendsetters, sparked such an outrage that it spawned that ubiquitous ad campaign starring the top musicians of the day screaming: “I WANT MY MTV!”

Blink and you’ll miss it! Those are some badass leg warmers there!

The video was for a then unknown band who went by the unlikely name of Mötley Crüe. Or at least that was the name taped to the “Ditty Bags”. I had never heard of them nor did I ever meet the band members. Even if they did walk through Mr Legaspi’s studio, costume shop protocols dictates that anyone below the status of designer, could not speak or look at the performers, unless they were spoken to first.  Remember, the “costumes” were to be for dancers that had not even been cast yet. But the band’s name stuck and from then on my fellow internee and I would refer to each other as the “The Motley Crew”. Once my week long internship was over, I collected my mere pittance of a stipend and got on with my life. Several months later, Manhattan Cable tired of hearing the screaming demands of their audience, added MTV to their lineup. That, and another curiosity called a “24 hour news channel”, CNN. So imagine my surprise when I am sitting in my living room watching the latest “Haircut 100” video, or whatever. All of the sudden a “Premiere Video” began playing called “Looks That Kill” by non other than “Mötley Crüe”! YOWZA! I began screaming at my roommate: “LISA COME DOWN HERE! IT’S THAT VIDEO I TOLD YOU ABOUT!!!”. We watched the video together and it was really quite stunning in it’s look and presentation. It was the first time I had seen a band combine Glam and Metal and hence a new genre was coined: “Glam Metal”. Oh yes and I caught some brief glimpses of the leg warmers on the dancers that were cut and sewn by yours truly. I was a part of Rock’nRoll History. How ‘bout that?

Calling Dr. Stanislavsky! We have a serious case of over-acting here!

More importantly, who knew that nearly 36 years later I would be commissioned by a representative of “The Crüe”, a Tribute Band, to recreate their iconic Glam Metal costumes for a whole new generation! It was one of my most fun and challenging projects as I collaborated with the band members to bring back the sights and sounds of a previous era. By studying early concert footage and an abundance of images provided by The CRÜE, the original costumes were brought to life. And no, I did not have to cut and sew any leg warmers this time. Like I said, the project was challenging in the sense that many of the fabrications and embellishments were difficult to source. In particular because I live in a city that is lacking the infrastructure and skilled labor pool to support this type of business. So most of the materials had to be ordered in and finding reliable contractors to assist in the completion of the project was nearly impossible. Thankfully I was blessed to find the services of “Twisted Arrow Goods”, amazing leatherworkers here in Houston, who were able to lend their assistance to the completion of the project. Thanks to their enthusiasm and the enthusiasm of the band members, the baby was delivered in good health.

The Diligent Workers at Twisted Arrow Goods

So I would like to take you on a quick journey on the making of the Mötley schemata’s based on the original designs and given a modern twist for comfort and wearability. The authenticity of the costumes served to back up the strong performance they delivered last Saturday. The CRÜE’S masterly musicianship and spot on choreography, backed by the costumes helped to nail a killer performance, bringing us all back to those heady early days of Glam Metal.

“Vince Neil”

Doppelgänger, Vince Neil Costume

Vince’s costume was perhaps one of the most challenging to recreate. What appears to be a skimpy little harness with a codpiece and tight pants is really a miracle of engineering. Watching some of the original concert footage of the actual band, it was a bit painful to see all of the wardrobe malfunctions occurring as the real Vince sang and danced onstage. I was determined to not allow that to happen on my watch, so I made it my imperative that every component of this costume was securely anchored in place. Another challenge of this costume was finding the appropriate studs and nail heads. In particular the triangular pyramids which were sourced from a supplier in New York City. Seeing the final outcome is like seeing a the original come back to life. It’s said that in life we all have a doppelgänger and I think that Vince has found his.

“Mick Mars”

Looks that Kill, Mick Mars costume

Mick’s was probably one of the easiest to recreate as you can see the design is pretty straightforward in keeping with the artistic sensibilities of the artist. The CRÜE guitarist is  an excellent musician (actually they ALL are excellent) and so comfort was the number one priority here. My goal here was to create a costume that was totally authentic but at the same time allow the wearer to apply his art on stage to the thrill of the adoring fans.

“Tommy Lee”

Cute Dimples! Tommy Lee costume

Even though, I had seen the “Looks that Kill” video hundreds of times, I was still bedazzled by the amount of work on his pectoral and the complexity of the design. My approach was to break down the design, section by section then putting it all together. Our biggest challenge here was to reproduce the “dimpled” studs along the lower row of the pectoral. Remember, these original costumes were built way back in 1983 and some of these embellishments no longer exist. By employing a technique called “peening” we were able to recreate the “dimple” effect from a regular domed stud. It’s a pity Tommy has to sit behind the drum kit because the audience is denied seeing his cool costume. But he is a solid drummer and his tight beats leads the rest of the musicians through the set with stunning precision! 

“Nikki Sixx”

Hey Nikki you’re so fine! “Nikki Sixx” costume

Who can forget can forget Nikki with his under eye black stripes? Here, we recreated his 2 epaulets and a bias strapped body harness which was anchored to a double cross belt. It was important that every aspect of this costume be balanced, in particular because the larger epaulet was extremely heavy and sat on the right shoulder of his playing hand, it was crucial that this component sit securely  on the shoulder but not interfere with his guitar playing.

Would you like to see more?

Click here to see their debut performance at the BFE Club

Click on the image above to be directed to my YouTube Channel and you can see for yourself how their excellent musicianship and attention to detail served to nail an unforgettable performance. (Plus the costumes aren’t bad either!)

The CRÜE says: Follow this link to like us on FB!

To follow The CRÜE and their upcoming concerts please click here to be directed to their Facebook Page.

Did you enjoy this post? Please visit my website: costumesbyantonia.com your place for “Custom Made Fantasies From The Historical To The Hysterical”©

 

 

 

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The Taurean Villain

                                                           Adam Taurus Custom Made Costume

Adam Taurus Villain

Creating a costume that has never been done before is one of my favorite challenges. That’s why I was so exited when a new client contacted me earlier this year, inquiring if it would be possible for me to create a costume based on the notorious Anime villain, Adam Taurus. Naturally I jumped at the opportunity because converting something from a one dimensional image into a three dimensional article worn by a human is always a worthy challenge. An animator’s illustration may be a beautiful work of art but it can’t always translate into a wearable garment.

Challenges like this always serve to help the costume designer hone their crafting and construction skills while at the same time respecting the integrity of the original design. This particular project reminded me of the “Bard” project that I created for another client last year. 

Adam Taurus RWBY Anime Villain

In the case of Adam Taurus, there already exist many ready made costumes that are  available online, but not surprisingly, they are lacking in quality. As for his magical mask, well, forget about it. I was going to have to really work my own magic on this puppy. My client was concerned with quality and durability since he was wanting to wear his costume over and over again. So we would have to find materials that were unusual but practical. 

The suit itself was relatively simple; think of a sort of samurai cassock only that the hemline was unusual in the sense that it was asymmetrical with a sort of a ‘mudflap’ panel attached to the front left of the suit. My concern was the selection of fabric. I did not want to select conventional men’s suit fabric because it can be hot and heavy. He was going to have to be wearing this inside convention halls where the room temperatures can get pretty high sometimes due to all the other people in costume milling about. 

I wanted something that was light weight, looked sharp and had that ‘futuristic’ sheen to it. Polished Cotton was the fabric of choice. Yes, that old throwback from the 70’s and 80’s is making a comeback in this new century. It had nice hand to it and had excellent body. But at the same time it was lightweight enough for comfort. It was an easy fabric to work with and in the areas that needed build up I used light weight wadding to give shape to the shoulders and collar. For his bright red lining, I had originally thought about using silk Habotai which is traditionally used for lining. But I opted instead for microfiber polyester because again, it was breathable and the slight gabardine weave gave the overall look of the garment a good shape. 

                                            Construction Details for Adam Taurus Costume

Once the garment was assembled, it was time to work on the appliqués. As you can see from the pictures, the design is quite complex: trying to decipher the pattern was an impossibility. So instead of trying to draw it out freehand, I captured some screenshots then put the images in photoshop where I tweaked them then enlarged them to match the dimensions of the garment. Once that step was completed, I took the jpegs over to a local printing shop that had a wide format printers to have them printed out. Voila! Instant pattern!

For the actual appliqués I chose a bright red ultra suede fabric. Another throwback from the 70’s! Ultra suede is a synthetic material with suede like qualities on one side but is actually a woven fabric on the other side. So like suede, it can take on some pretty bright colors, but it can also behave like conventional fabric in the sense that the colors won’t bleed like the real thing. Plus I liked the contrast of the textured red against the glossy black fabric. I think it worked quite well, don’t you? 

                                                       More Details for Adam Taurus Costume

As mentioned earlier, the mask was my biggest challenge of all. According to the storyline, Adam Taurus was blinded and so had to wear the mask to not only hide his face but to be able to see. My goal was to make it as close to the original as possible while still allowing the wearer to be able to retain his peripheral vision. My solution was to use a heavy mylar sheet and painting it with a translucent paint that would look opaque from the outside but still allow the wearer to see. Piñata Paints by Jacquard did the trick! The overall effect worked quite well. I purposely lightened the paint application around the eye area but from a distance the mask looks almost completely opaque. 

The same Piñata Paints were used to enhance his accessories as it gave the sword and holster a nice iridescent sheen. Overall the project turned out quite well and it gave me the chance to once again work with unconventional materials, designs and concepts. Onward and upwards! 

 Ready to create your own villainous costume?

Please visit my website: costumesbyantonia.com

Call: 832-652-9180

email: costumesbyantonia@gmail.com

 

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The World’s Most Dangerous Profession

Emperor Maximilian I of Mexico. Click on image to see the costume inspired by this image. Photo courtesy of Miramare Foundation

Let’s face it folks:

Fashion and Costume & Design can be a very dangerous profession. When I think of all of the creative notables (and those in their periphery) who have come to an untimely end whether by their own hand or by another form of tragic demise, the list is staggering:

Alexander McQueen (suicide)

Isabella Blow (suicide)

Jay Sebring (Manson Family victim)

L’Wren Scott (suicide)

Kate Spade (suicide)

Wallis Franken (death by defenestration-look it up)

Gianni Versace (assassinated)

Ossie Clark (murdered)

Gianpaolo Castellani (trampled to death by an elephant during a safari)

Irene Lentz (suicide)

And then there’s this guy:

Emperor Maximilian I of Mexico (death by firing squad)

Why is there such a high death rate within this profession? More than likely because of the fact that clothing design is a hybrid between art and commerce, a hybrid that is not always a harmonious one.

Take a volatile creative personality and force them to answer to the suits in the boardroom and it can easily drive a sensitive person to a violent end. Of course each case has its own subconscious triggers but the results are the same.

The Mardi Gras Krewe King costume inspired by the subject of this post.

And then there are those who die violent deaths; Being a high profile person unfortunately attracts those who wish to do them harm, as in the case of Gianni Versace or Ossie Clark. Then there is the subject of our Blog, The Emperor Maximilian I of Mexico. I was inspired to write this post after being commissioned by a Mardi Gras Krewe to design the costume for their King. The inspiration was drawn from an official portrait of the Emperor Maximilian I of Mexico. As I worked in the creation of the King costume, I was also inspired to do a little research on this misunderstood monarch. What does he have in common with the others on this list? Plenty, please read on:

Maximilian and Carlotta in happier days. Image courtesy Fundación Chapultepec

In the U.S. we have appropriated the Mexican holiday, Cinco de Mayo and turned into an excuse to guzzle Margaritas and eat Mexican food without a clue as to the history behind this celebration. So widespread is the ignorance around the holiday that someone once actually wished me a “Happy Cinco de Mayo” assuming that because I had a Spanish surname I would be celebrating the holiday. I can still see the embarrassment in their face when I patiently explained that it was a Mexican holiday and I was actually Cuban-American! Oh well..

But even those who may be slightly familiar with the history behind the holiday will say that it celebrates the expulsion of the French from Mexico and the execution of the evil, incompetent Emperor Maximilian. But peel back the onion layers of history and you will find that Max was a tragic figure, who was a pawn between several superpowers of the time. A person who was a bundle of contradictions, naive, idealistic, creative and in the end: heroic in the face of tragedy. Oh yes and he designed the costumes for the army of his adopted country. 

Our subject’s story begins in the Austro Hungarian Empire. He was the younger brother of the Emperor Franz Josef and like most second sons he wound up playing second banana in domestic geopolitics. But in spite of that, he had a successful career in the Austrian Navy and later became Governor of the Lombard/Venetian Kingdom. It was here that his creative streak began to emerge when he set out to build his new home in Trieste, named Miramare Castle. He was heavily involved in the design and landscaping of the property and the result is a beautiful fairy tail palace that still exist today:

Beautiful Miramare Castle in Trieste, Italy. Image courtesy of Museo Castelo Miramare

He was doing well for himself and for his wife Carlotta, when all of the sudden the fickle finger of fate intervened and sucked him into a political whirlwind that let to his tragic demise. Unbeknownst to him his older brother Franz Josef and Louis Napoleon III of France were hatching a plot to put a figurehead ruler in Mexico so that they could control the country’s silver mines and use the bullion to prop up France’s currency. However, there was a minor detail in that there was already a democratically elected president in place: Benito Juarez. He had confiscated these silver mines and other properties belonging to the oligarchical landowners of the country. Juarez had become an inconvenient person much like Allende in Chile had been to the CIA. So the two superpowers took it upon themselves to depose Juarez and install a useful idiot who would do their bidding in running the country. Sound familiar?

President Benito Juarez- Image courtesy of Museo de Arte Popular, México

According to historians, our friend Maximilian was duped by his older brother and the Emperor of France into believing that he had actually been democratically elected by the Mexicans and so accepted the offer to be their King. This might sound completely unbelievable today, but remember that news did not travel so fast back then. There was no 24 hour news cycle and sometimes it would take months for news to travel from one end of the world to the other.  So it’s totally plausible that the naive and idealistic Max would have believed this.

So he packed his bags and took his wife Carlotta along with mercenaries from the French army and set his sights on Mexico. During the month long journey to his new country, he did not engage with his ministers to learn the policies of Mexico, but chose instead to focus his energies on designing the military uniforms of his new army. Really. He also focused his energy on learning about the indigenous culture of Mexico and its flora and fauna. Evidently Maximilian had cancelled a long planned trip to Brazil to study their botany but obviously he found this new adventure to be much more challenging.

Mexican Army Uniforms designed by Maximilian. Courtesy Fundación Chapultepec

One he was established in his new country, Maximilian proved to be much more liberal and egalitarian than he was made out to be by his European sponsors. For starters, he upheld many of the reforms that had been implemented by Juarez. He championed the cause of the Campesinos and refused to return the confiscated lands to the Church and forget about the silver mines! Maximilian had barely steeped off the boat and he was already making some powerful enemies.

Unfortunately such highbrow idealism also came with a smattering of ignorance and arrogance. Even though he upheld President Juarez’s reforms, he also invited him to be a part of his new Imperial Cabinet which only served as a major insult to Juarez since he was the democratically elected leader of a sovereign nation. This was something Juarez would deeply resent and no doubt encouraged him to order his execution later on. To add to the mess, Mexico’s neighbor to the north, the US was involved in their own Civil War; As the Union began to gain the upper hand, many Confederate soldiers and their families fled to Mexico seeking asylum. (The irony here is not lost.) Maximilian welcomed them and even allowed them to keep their slaves. This is a bit oxymoronic for the man wanted to abolish the system of peonage but gave refuge to slave owners from another country. 

So as you can see, Maximilian although well intentioned, fell far short of what would be required of a person in that unenviable position. He was making enemies from all angles and the powers that be were out to teach him a lesson. But in spite of the political intrigue and betrayal that surrounded him, Max still pursued his creative bug by redecorating what would become his Imperial residence: Chapultepec Castle. Just as he did with Miramare, he worked closely with the architects and designer to create a lovely Neo-classical  style palace of unsurpassed beauty. In fact it is the only castle in North America to have been inhabited by an actual sovereign.

Chapultepec Castle- Image courtesy Atlas Obscura

To recap, the powers that be were out to get our artistic Monarch and his sensual world would collapse around him like dominoes in a southeast asian theater of war. The French never really succeeded in pushing Benito Juarez out of Mexico, he was just biding his time on the American border. The Americans in turn, invoked the Monroe Doctrine and ordered the French troops out of Mexico. Louis Napoleon had by now grown tired of his disappointing Protege and was only too happy to oblige. Besides, he was too busy invading Egypt. To top it all off, Empress Carlotta suffered a major nervous breakdown and wound up being institutionalized. And you thought you have problems?

The ill-fated Carlotta of Mexico-Image courtesy of Kunsthalle Museum, Mannhiem, Germany

The French withdrawal from Mexico gave Juarez’s army the chance to take back what had been lost earlier, the turning point being the Battle of Puebla on May 5, 1862, hence the holiday. Maximilian and his few remaining soldiers where eventually surrounded at the city of Santiago de Querétaro. After a short siege, the city fell and Maximilian surrendered to his victors where he was summarily courtmartialed and executed by firing squad on June 16, 1867. Witnesses said that he displayed the quality of “noblesse-oblige” to the end. As he marched towards his death, he tipped his his executioners and ask that they aim for his heart, not his face so that his mother would recognize him in death. His last words were: “I forgive everyone, and I ask everyone to forgive me. May my blood, which is about to be shed, be for the good of the country. Viva México!” Noblesse-Oblige indeed.

Execution of Maximilian by Édouard Manet-Courtesy MOMA, NY

Thus ends a very cautionary tale about the dangers of idealism, betrayal and how one person’s obsession with aesthetics made him unable to balance cultural pursuits with Realpolitik, causing him to wind up on the roster that was presented at the beginning of this post. 

Signature of Emperor Maximilian I-Courtesy Bettmann Archive

 

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She’s Like A Rainbow

The Enigma of Elizabeth I’s Rainbow Portrait.

Elizabeth I “Rainbow Portrait” ca 1600 Artist Unknown. Courtesy of Hatfield House, UK

She is one of the most ubiquitous Queens in our collective consciousness: Elizabeth Tudor has been portrayed in films, books, plays, television series and so on. Every actress worth her salt wants to play her. The whole concept of the modern day Renaissance Pleasure Faire revolves around her court. We are all familiar with her appearance from art history classes and museum visits. Our whole concept of who she was and what she represented has been inculcated into our heads by endless exposure from all intellectual angles. In her portraits we see her wearing beautiful gowns, gazing down on us with her enigmatic visage and none of these portraits is more mysterious than the quirky “Rainbow Portrait”.

Let’s start with a little bit of background here: I’m not going to get into details about her family history because all of that has been covered ad nauseam by Hollywood and historians alike. But what I want to focus on instead was her almost anal retentive  obsession with her image and how she wanted to be seen by her public. According to her biographers, Elizabeth was surrounded by a public relations apparatchik that would put a Hollywood publicist to shame. This resulted in many representations of her that are heavily embedded with symbolisms. Portraits of her could only be commissioned by approved artists and they would be given an “authorized” stencil of her face which would be used a template in order for the artist to reproduce her face. This accounts for the almost identical visage in almost every single painting. Official portraits of the Queen where usually commissioned to commemorate an official event such as her coronation or the defeat of the Spanish Armada. The provenance of the Rainbow Portraits remains as much of a mystery as the cryptic symbols embedded within it.

For an art piece that has been so over analyzed, there is very little known about its aforementioned provenance. The artist is unknown and it’s not sure how it came into the possession of its first owners, the Cecils, father and son who where ministers to the Queen. It’s believed it may have been commissioned by the son to commemorate her visit to Hatfield House, the Cecil family seat.  Another curious detail is that when this painting was believed to be created, she was already pushing 70, towards the end of her life. But she is represented as a young maiden with long, flowing auburn locks cascading down her shoulders. Again, the official face template being put to good use and for good effect. Nonetheless, it’s one of the last known portraits made of Queen Elizabeth before her death in 1603.

Let’s have a closer look, shall we?

Starting from the top and working our way down, she is wearing a crown toped off by a crescent moon believed to represent Diana, Virgin Goddess of the Hunt. Diana, also represented the warrior and steward of the land, two responsibilities that were shared by Elizabeth in her lifetime.

Detail: Crescent moon toping off her crown.

Moving our eyes down along her costume, we can appreciate that it is dripping with pearls, a symbol of purity and another subtle reference to her virginity as she was known to be “The Virgin Queen”.

Detail: Multitude of pearls on her stomacher and elsewhere.

To her right, next to her face, there is a bejeweled gauntlet attached to her gorget. This represents the loyalty of her male courtiers and their willingness to throw down their gauntlet in order to defend her honor. 

Detail: Jeweled gauntlet on her gorget.

Her back collar has been stiffened with starch and fashioned into the shape of wings resembling angel or fairy wings. “Glorianna” was one of her official titles and also the title character of an opera composed by her contemporary, Henry Purcell: “The Fairie Queene”. 

Detail: Glorianna Wings

Her left sleeve is embellished with a brocaded snake holding a ruby red heart in its mouth: The wisdom and temperance of the snake holds in check the compassion and emotion of her heart. Above the snake’s head is an Orb, representing the Monarchy. Balance is maintained between the two qualities that are so important to a successful Monarch.

Detail: Snake, Heart, Orb

In her right hand she holds a rainbow and above her in Latin the words: “Non Sine Sole Iris” which translates to “No Rainbow without the Sun”. Meaning that if one wants peace and prosperity, then compromises must be met. 

Detail: No Rainbow without the Sun.

Finally, and perhaps the most curious is the cloak with the multiple eyes and ears embroidered all over. What could this mean? “I am all knowing and all seeing?” For most of her reign she fought and won against all odds. 

Detail: I see all and hear all

For Elizabeth, it was not how she was seen, but how she wished to be seen. And how she wished to be seen was as a ruler who consolidated authority, transcended time and defied the ravages of aging. As one historian explained, the imagery of “The Rainbow Portrait” represents the three pillars of her reign:

“Divinity, Virginity, Power”.

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And The Winners Are! 2019 Edition

Nominees for Best Achievement in Costume Design.

The Votes are in and here are the nominees in a category that is very close to my heart: Best Achievement in Costume Design. This year the nominees are all veterans of the awards season. There are two former recipients and perennial nominees.

And the Winners Are 2019

Ruth E. Carter: Black Panther

Ruth E. Carter has been active since the early 80’s and her body of work encompasses the costumes of almost every film genre. A multiple Oscar nominee, she has worked with top notch directors such as Spike Lee, Ava DuVernay and Steven Spielberg. This body of work has reached its zenith with her innovative designs for the film “Black Panther”. 

The genre of science fiction is one that I personally feel is unfairly over looked when it comes to recognition from The Academy. Not to disparage the other nominees, because their efforts also merit recognition. But, Oscar nominations tend to favor historical dramas and it always pains me when I see science fiction or fantasy films get passed over in that category. Because for a historical costume drama one only needs to look at a history book for the interpretation of the characters through design. But for a science fiction or fantasy film, the costume designer relies only on their imagination. And believe me, that can be a tall order. Francis Coppola said once that a costume designer tells the story through the wardrobe and when the story is purely hypothetical, that’s where real creative genius kicks in.

Mary Zophres: The Ballad of Buster Scruggs

Mary Zophres is also a multiple Oscar nominee and “The Ballad of Buster Scruggs” is her 14th collaboration with the Coen Brothers. Their films all have “a look” about them and it’s obvious that the entire Art Department works very hard to create a cohesive vision. Like some of her previous efforts such as “The Big Lebowski”, “The Ballad of Buster Scruggs” displays all of the quirky costuming conceits associated the Coen Brothers films. 

Here, the characters are defined by the costumes they wear. To quote Ms. Zophres: “This was like designing for six different leads with six different backgrounds”. She was particularly challenged in the creation of an amputee costume for one character. The character was not an amputee and the Coen Brothers do not always rely on CGI for special effects. So she cleverly created a shirt with four sleeves to give the illusion of being armless and allowing the actor to hide his limbs without resorting to “Cinema Verité”. 

Alexandra Byrne: Mary, Queen of Scots 

Alexandra Byrne, a former Oscar winner (Elizabeth, The Golden Age) and perennial nominee, brings a touch of fantasy to an equally fantastical film. I try to avoid movies dealing with the relationship between Mary Queen of Scots and Elizabeth II. Mostly because of their inaccuracies. Yes, it’s a screenwriters wet dream to write a script featuring these two hellcats chewing up the scenery. The fact is they never met! And unfortunately this film steps into the same historical dog pile with the hems of the costumes dragging though.

I am not sure if the following fabric choice was due to budgetary and/or creative license, but all of the costumes were built from denim. A fabric that did not even exist at that time!. I applaud the Art Department by trying to be edgy, but honestly, it does not work. The use of this fabric as a base for all the costumes winds up giving the movie a dreary, monotonous look. 

One last abuse of creative license with really has nothing to do with costumes but it’s something that always burns my toast: Yes, Mary Stuart was born in Scotland, yes, she was queen of this country. But her Mother (Marie de Guise) was French and Mary was sent to live at the French court at the age of 5, where she lived for 14 years. More than likely her first language would have been French. So why, why, why is she always portrayed speaking with a thick Scottish Burr? So if anything, she probably would have spoken English with a French accent, n’est-ce pas? Oh yes and Memo to the Hair & Makeup Department: Mary Stuart had brown eyes, not blue. Saoirse Ronan has lovely baby-blues and perhaps they wanted to match the denim.

In short, if this movie is awarded in this category, I will stab myself in the eye with a fork and broadcast it on this blog. 

But I don’t want to waste this post by trashing her work. Alexandra Byrne also designed the costumes for the popular “Dr. Strange” for which she was passed over in 2016. This only reinforces my theory about the shortsightedness of the Academy and the way that science fiction and fantasy are ignored. 

Sandy Powell: Mary Poppins Returns & The Favourite

 

Once again, Sandy Powell pulls double duty with a double nomination for “Mary Poppins Returns” & “The Favourite”. Statistically speaking, this double nomination will also increase  her chances to grab the statue, as was the case with her double whammy nomination in 2000 for “Velvet Goldmine” and “Shakespeare in Love” and then again in 2015 for “Carol” and “Cinderella”. She has won the prize for “Shakespeare in Love”, “The Aviator” and “The Young Victoria”. 

In “Mary Poppins” she employs whimsical techniques such as hand painting the costumes for the CGI scenes in order to achieve a more even color palette. For “The Favourite” she relies on a muted palate to echo the elegant interiors of the baroque era. 

Of all of this year’s nominees, she is probably the most accomplished. Sandy Powell is one of those creative artists whose creations are so visually powerful, that sometimes they can overpower the actor’s performance. I’m thinking specifically of Jonathon Rees-Meyers playing the “Bowie” role in “Velvet Goldmine”. Anyone who had the privilege to see Bowie perform in his lifetime knows that Bowie was a natural performer who wore his costumes with panache. In “Velvet Goldmine” is appeared as if the costumes were wearing Jonathan Rees Meyers. Thankfully, the strong performances of Emily Blunt in “Mary Poppeins” and the female Trifecta in “The Favourite” worked well with the beautiful costumes. 

Sandy Powell’s creative inspiration sees her on the fast track to inherent the double crowns of the late Eiko Ishioka and Edith Head. 

All Nominees are Winners but for my money the Oscar should go to: 

Ruth E. Carter, “Black Panther”.

~*~*~*~

THEY WERE ROBBED!

“ A Wrinkle in Time”

Why was this movie not nominated?

The film showcases the beautiful femcentric designs of Paco Delgado.

Memo to the Academy: 

Please get your collective heads out of your asses 

and nominate more science fiction/fantasy movies!

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The Bard’s Final Fantasy

Enter the Fantasy Portal.

Are you ready to be a Warrior of Light and defend your Empire?

I loved working on this project! As a designer there is nothing more challenging or satisfying than bringing a costume to life which has never been made before.

Often times an artist may create a sketch of a character without thinking how this can translate onto the human body.

The challenge was to create something wearable and functional but to retain the “character” of the Bard and I was deeply honored to bring her Fantasy Bard’s costume into reality.

Front View among the materials used were Silk Noil, vintage Peau de Soie and wool challis

So here is the story of how I brought the Bard to life!

Back View detail

 
My client and I worked closely to bring her Bard’s costume to life for her to wear at the FanFest in Las Vegas.
The Bard’s costume featured a series of organic and inorganic fabrications that help bring her character to life.
Sleeve detail
For the organic effect I selected some unusual and hard to find fabrics including silk noil, trimmed with vintage Peau de Soie and wool Challis.
There fabrics which are very hard to find or no longer manufactured. I coupled this with more contemporary futuristic materials such as holographic Mystique spandex for the appliqués.
At her fitting. The fantasy unfolds!
 
Much attention was placed on the details in order to replicate the character’s costume as accurately as possible. 
She found the Lodestone!
 
Yes, the Bard found the Lodestone and I am sure the costume helped!”
 
~*~
Find out how I can create a custom costume fantasy for you too!
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costumesbyantonia@gmail.com
 
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Bohemian Rapture!

When Zhandra Met Freddie

A meeting of the minds. In this blog post we will examine the creative collaborations between designer Zhandra Rhodes and the iconic rock group, Queen.

I will be completely honest: I have not yet seen the film “Bohemian Rhapsody”, the new biopic about singer Freddie Mercury and the band Queen. Having been fortunate enough to have seen Queen in concert during the mid 70’s, I know that my opinion will be clouded by preconceptions and comparisons to the real deal. When I saw them in concert, it was at a relatively small venue that accommodated maybe 500 people as opposed to the later performance venues consisting of football stadiums that could fit 100,00 plus souls. It was a time when Freddie still sported that sexy shag hairdo that gave him the air of a sensuous  Persian Prince and not the obnoxious crew cut and mustache which gave him the air of a convenience store employee working the night shift at 711 or a leather cruiser at the Catacomb Club of San Francisco.

A colorful portrait of Dame Zhandra Rhodes

But the story I am about to tell, no doubt transpired during this time; Since it was at this performance that Freddie was sporting onstage a fashion confection that was a result of a creative collaboration between himself and another product of London’s early 70’s glam scene: Fashion Designer Zhandra Rhodes.

Now a bit about Dame Zhandra first: She is one of these creative dynamos who moved back and forth seamlessly between the wearable art world and high society fashion. She was a textile artist who first came into the public consciousness by designing the engagement  dress of Princess Anne (Charles’ Sister, Prince Harry’s Aunt). This was really quite an accomplishment at the time. Zhandra Rhodes was a product of London’s Swinging 60’s, while the Princess Royal still used her Mother the Queen’s couturier. So her choice of designers  for the most important day of her life was nothing short of a youth quake and the result was an ethereal fashion fantasy which still holds up today. 

Princess Anne wearing her engagement dress designed by Zhandra Rhodes. Are those spurs on his shoes?

From there Dame Zhandra went on to design costumes for early glam rock stars like Mark Bolan, then for operas, other royalty, celebrities etc etc. On personal note, I had briefly seen Ms Rhodes at an opening night performance of ‘Giocconda’ at the San Francisco Opera in 1979. She was wearing a lampshade on her head and her hair was dyed purple. Really. Quite a sight to behold. I had also seen several years later, her costumes for the San Diego Opera’a ‘The Magic Flute’. Her use of color and texture were a feast for the eyes but in no way upstaged Mozarts beautiful music.

But I digress: thanks to Dame Zhandra’s zig zagging professional trajectory, it was only natural that her path crossed with Freddie Mercury’s. According to her, it all began when the phone rang at her studio. It was Freddie saying  that he and Queen guitarist Brian May needed costumes. They met up at her studio later that evening, where she had Freddie and Brian try on a variety of tops, having them moving about to get a feel for how the garments would translate onstage. Freddie was drawn to one particular gown which was meant to be a wedding dress for another client. He loved how the pleated fabric draped on his body as he moved. So Zhandra, in a thunderbolt of inspiration, took a pair of scissors to the waistline and Voila! The gown became a tunic and Freddie said yes to the dress!

Queen guitarist Brian May wearing one of Zhandra’s confection. I love the detail on the fabric and how the sleeves of the tunic were engineered in such a way that it did not interfere with his guitar playing.

Brian May also benefitted from Zhandra Rhodes’ sartorial creativity, she confected a very colorful custom painted tunic whose sleeves we engineered in such a way that it would not interfere with his virtuosic guitar playing. Thinking about this heady collaboration between these two iconic entities, it got me to think why she never collaborated with that other Glam Icon: David Bowie. I did a pretty extensive internet search with no results, so one can only speculate as to what might have been.

Another pleated tunic created by Zhandra Rhodes for Freddie Mercury. This time in violet!

So yes, that night in 1976, in that small crowded theater in San Francisco, I was fortunate enough to see Queen make their US debut. It was a blindingly theatrical show featuring strobe lights, special effects and of course, Freddie’s pleated tunic. Freddie had a stage presence almost like Bowie’s. According to Ms Rhodes, the tunic has since been banished into the costume food chain and is now experiencing a second life as a rental piece at an Oklahoma costume warehouse. Considering the way costumes are refurbished at those place, I fear that Freddie’s tunic is only a shadow of its former self and no longer viable.

Her sketch of the tunic.

But, Dame Zhandra did collaborate with “Bohemian Rhapsody” costume designer Julian Day, to reproduce the infamous tunic. She even reproduced several copies to be exhibited in theatre lobbies around the world. So please enjoy these images and perhaps now that I have published this post, I may actually go out and see the movie after all. Pre-conceptions optional! 

Zhandra Rhodes wears one of the reproductions of the iconic tunic that she made in collaboration with “Bohemian Rhapsody” designer Julian Day.

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Woman’s Work

Welcome to the Dinner Party
Welcome to the Dinner Party

 

“The Dinner Party” by Judy Chicago

An overview of the complete Dinner Party installation by Judy Chicago. Each panel represents women who history has forgotten. Beginning with the mythical and ending with the contemporary
An overview of the complete Dinner Party installation by Judy Chicago. Each panel represents women who history has forgotten. Beginning with the mythical and ending with the contemporary

Another highlight of my visit to the David Bowie Is exhibit was the fact that the Brooklyn Museum is also home to the iconic installation by Judy Chicago called ‘The Dinner Party’. This groundbreaking example of feminist art had been on my bucket list since its debut in 1979. Since it’s premiere, the art piece made the rounds of all the famous museums of the world and somehow I would always keep missing it. In 2002, the installation finally found a permanent home at the Brooklyn Museum, so being that it coincided with the DBI exhibition I was doubly motivated to attend.

Artemisia Gentilleschi, Renaissance Manerist artists whose hands where broken by the Inquisition. Once they healed she resumed painting.
Artemisia Gentileschi, Renaissance Manerist artists whose hands where broken by the Inquisition. Once they healed she resumed painting.

This is one of those installations that is so spiritual and so moving, it felt like I was visiting the Sistine Chapel or some other holy place of great importance. The story of this work is virtual dinner party attended by important women who had been overlooked by history. Each setting represented one of these women and on the tiled floor where written in swirling letters the names of other women who were somehow related to the invitee. For example below the place setting for the author Mary Wollstonecraft was the name of her daughter Mary Shelley.

Mary Wollstonecraft, 18th cc feminist and author of "Vindication of the Rights of Women".
Mary Wollstonecraft, 18c feminist and author of “Vindication of the Rights of Women”.

Although Judy Chicago was a classically trained artist with an MFA from UCLA, she desired that this particular work of art be created using materials and techniques traditionally and condescendingly referred to as “Women’s Work”. Sewing, embroidery, pottery, weaving were used to create each place setting in a beautiful presentation. Ironically, these skills are still looked down upon by the patriarchal mindset of the art world and it is something that I have personally experienced in my career as a designer. Its always been my opinion that if women were mechanics and men were seamstresses, a pair of jeans would set you back 30k while an automobile would be sold for clearance at Walmart for $19.99! So kudos to Judy for elevating these skills to a high art form that is respected and appreciated. The irony was not lost on me as I took in the exhibit that in another room in the same building they were honoring the costume makers who helped to create the persona of David Bowie.

Eleanor of Aquitaine, Queen of France and England, Warrior, Mother of Richard Couer de Lyon. Also invented the fireplace.
Eleanor of Aquitaine, Queen of France and England, Warrior, Mother of Richard Couer de Lyon. Also invented the fireplace. Busy Lady!

This opus started as a labor of love for Judy, she was inspired to create art that would not only honor the memory of these forgotten women but to also, as mentioned previously, elevate women’s skills that had been relegated to the category of ‘crafts’, to the realm of fine art. It was a process that took years to create, thanks to the efforts of 400 volunteers who worked tirelessly to create this epic. When it finally premiered in 1979, it was universally panned: one misogynistic wind bag (who also happened to be a well known art critic whose name will not be mentioned) crudely dismissed it as “vaginas on a plate”. After the show closed she was $30,000 in debt and the laughing stock of the art world. But out of every crucifixion comes a great resurrection and over time the installation began to tour all over the world to mounting critical acclaim. Until it finally found a permanent home at the Brooklyn Museum.

Hypatia of Alexandria. Neoplatonist philosopher, mathematician, astronomer and the last librarian at the Library of Alexandria. She was murdered by a christian mob before the library was destroyed.
Hypatia of Alexandria. Neoplatonist philosopher, mathematician, astronomer and the last librarian at the Library of Alexandria. She was murdered by a christian mob and the library destroyed.

Each dinner setting features the name of the guest and her plate is in the shape of a vulva. Like the vulva, each plate is unique and no two are alike as are the richly embroidered table cloths underneath. The guests include actual historical figures like Eleanor of Aquitaine and Margaret Sanger, but also mythical ones such as the Primordial Goddess and Kali. I honestly wish that I could show pictures of each and every one of those place settings because of their unique beauty and detail, but alas, after my altercation with the security guards and the Bowie exhibit, I was trying to stay on my best behavior.

Margaret Sanger, sex educator and founder of Planned Parenthood
Margaret Sanger, sex educator and founder of Planned Parenthood.

I have highlighted some of guests who resonated with me personally. But I encourage all of those reading this to take the time to see this exhibit and bring a daughter, a sister, a mother. They will thank you for it. In the mean time you can find out more about the exhibit by clicking the link here.

A few more guests:

Empress Theodora of Byzantium. Started here career as a circus performer and wound up Empress of the Byzantine Empire. Way to go!
Empress Theodora of Byzantium. Started her public career as a circus performer and wound up Empress of the Byzantine Empire. She advocated women rights that were codiciled into the Justinian Code. 
Snake Goddess of Crete. Well, we all know how I feel about snakes. it was only fitting.
Snake Goddess of Crete. Well, we all know how I feel about snakes. it was only fitting.
Primordial Goddess, honoring our original Mother.
Primordial Goddess, honoring our original Mother.

I hope that you enjoyed this post. For more information about my costume services. Please visit my website www.costumesbyantonia.com

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