Rivas 1 Unknown Garment: Vera Maxwell Nicole Rivas Materiality of Fashion Professor Sarah Scaturro Final Paper 05/16/13 Rivas 2 Unknown Garment: Vera Maxwell In the twentieth century, during the wake of modernist experimentation across the visual and performance arts to which fashion was linked, designers projected images of themselves by establishing relationships to such categories as the ‘new’, the ‘classic’, and the ‘timeless.’ 1 Elizabeth Wilson explains, “fashion is dress in which the key feature is rapid and continual changing of styles. Fashion in a sense is change.”2 Because fashion was and is in a constant state of movement, the industry was in an ongoing orientation of the new. As its own enterprise, the innovation and changeability suggest the multifaceted temporality of fashion. Studying at the Metropolitan Opera Ballet in 1919, Vera Maxwell, born Vera Huppe, studied and danced on stage until her marriage to financier Raymond J. Maxwell in 1924. Movement, fluidity and comfort were primary elements to consider for the American fashion designer with her background in the arts. She modeled briefly and started designing clothes for Adler & Adler in New York before founding Vera Maxwell Originals in 1947. Her first collection featured after-ski clothes, tennis outfits and riding apparel. Most famous for her creations that reflected the sportswear and tailored clothes that were made popular at the turn of the mid twentieth century, creations such as “the original flight suit,” “speed suit” and the “weekend wardrobe” were just a few ensembles that emphasized the simple and easiness in her fashions. By the 1950s she also was designing evening wear, and by 1953, she won the Coty American Fashion Critics' Award. 1 Ilya Parkins, Poiret, Dior, Schiaparelli: Fashion, Femininity and Modernity (London, New York: Berg, 2012), 3. 2 Elizabeth Wilson, Adorned in Dreams: Fashion and Modernity, Revised ed. (New Brunswick, NJ: Rutgers University Press, 2003), 3. Rivas 3 Several years later, she was honored in 1970 with a retrospective exhibition at the Smithsonian Institution. 3 Using elasticized and stretchy fabrics in order for her dresses to “pull on over the head or up over the hips and there isn’t a sign of a button, a zipper, or a hook and eye,” the unknown garment proposes a contrasting approach.4 In 1971, Maxwell drastically purchased 30,000 yards of a new fabric called Ultrasuede produced by a company in Japan.5 As buyers were skeptical of the new material, why did Maxwell choose to create an entirely new collection using this fabric? And how did the designs still embody her signature easiness using such a thick fabric as Ultrasuede? Analyzing the construction of the garment, the waist is 15 inches- quite small for the average female clientele. The targeted audience for her design may presumably be for the youth market. According to the New School Parsons Archive, the accession number used to categorize the unknown garment reads “Vera Maxwell, American, 1980.48. 4a.” Because Maxwell did not incorporate Ultrasuede into her designs until 1971, and the garment was not archived until 1980, it is clear that the design was created in the 1970s. The wardrobe is designed with a dress vest that ends right above the knee at 35.8 inches (shoulder to hem), with a shoulder distance of 11 inches. The garment is combined with a long -sleeved double-knit nylon turtleneck. 3 4 5 Morris, Bernadine, "Fashion Retrospective at the Smithsonian for Vera Maxwell," in the New York Times, 2 March 1970. Sheppard, Eugenia, “Olympia Uniforms Inspire Vera Maxwell’s ‘Speed Suit,’” in The Blade, 11 March 1975. Ibid. Rivas 4 Fig. 1: Accession Number Fig. 2: Unknown Garment The fading maroon top has a tag that reads “Ban Lan ‘Double-knit’ by Fairmont RN 21618, 100% Du Pont Nylon.” The matching dress vest does not have any existence of a tag which may suggest these separates are not actually both designed by Maxwell. Notice in figure 2, there are a series of buttons to close the neutral dress vest. This is peculiar for Maxwell as her practice often incorporated simplicity. The effortlessness in dressing into this outfit is more difficult that the “pull over head” quickness in elastic fabrics. However, the technical construction of the series of eight panels suggests the intent in increasing movement for the wearer. The nylon long-sleeved turtleneck also allows the wearer to get dressed by pulling it over one’s head but, it still remains uncertain whether this actual piece was designed by Maxwell. The similarities in its petite measurements of an un-stretched 8.5-inch waist compared to the 15 inch waist of the dress vest also suggests the ideal clientele targeted for a youth market. With a shoulder distance of 10 inches and the inseam of its sleeves at 13.9 inches, the minute design is able to configure with various body shapes projecting a body conscious fit. Though it remains uncertain, I hypothesize that the Rivas 5 turtleneck is in fact part of the wardrobe due to it being the only aspect of elasticity, and the signature simplicity that Maxwell was known for. The silhouette of the dress vest imitates the signature bell-shape or triangular shape that was often presented within the trends of its time. During the 1970s, specifically transitioning from 1969 to 71, Twiggy was iconic fashion figure that exemplified the idealized body shape, silhouette and attitude in dress. Her youthful features and waif body-type coexisted with the radical changes occurring in fashion. Referring to figure 3, we can determine the transitioning popular silhouettes that exemplify the modified shapes of the garments from the mid nineteenth century to the mid twentieth century (specifically 1950s). Analyzing the construction of the dress vest, it is clear to pinpoint that the 15-inch waist and 32-inch (horizontal length) hemline (71-inches unbuttoned), suggest the bell or triangular shape that was popular at the time. Fig. 3: Fashion Silhouettes Fig. 4: Twiggy 1965-70 Observing the lining placed along the interior of the hemline, a deteriorating use of pellon is discovered within the design. The non-woven fabric was created in 1950, as it was made popular Rivas 6 within the apparel industry emphasizing the resilent, lightweight and lint free lining that sustained the shape of the garment. The use of pellon during the late 60s and early 70s were a great use for adjusting the hemlines of skirts. With the latest craze on mini-skirts, it was a very common use for reappropraiting one’s wardrobe. If we refer to the image of Twiggy, we can recognize the signifant distance from the hemline to the knee. Because Maxwell’s hemline ends right above the knee, it is quite longer than the youthful trend of the mini-skirt. She was not necessarily targeting the current youth market, but rather supplying her on-going ageing customers in adaption to developing a design in reflection of the current time. Fig. 5: Pellon Magazine Ad, 1956, Good Houskeeping Fig. 6: Pellon Magzine Ad, 1969 In Valerie Mendes and Amy de la Haye’s Fashion since 1900, they explain Maxwell was amongst the leading New York-based sportswear designers. Within the survey, they clarify “Although Paris remained at the centre of the fashion world, Milan and New York went on Rivas 7 asserting their considerable fashion strengths.” 6 The authors emphasize the attitude during the 1970s as an ‘anything goes’ climate in which designers were open to experimentation. Considering the transitioning aesthetic Maxwell developed within this period, in order to achieve this triangular shape, the garment demonstrates intriguing solutions. Observing the inside construction of the dress vest, the obvious slash marks are made in order to curve the shape of the course fabric of Ultrasuede, and thus, demonstrating the curvilinear presentations of the bell-shape silhouette. The clean stitch lining determines that this garment was machine sewn. In order to finalize the construction, Maxwell used a series of eight panels to increase the movement and ease of the garment. All slashed at the upper level where the distances decrease. The complex non-woven dress vest is a neutral-toned kaki with two front non-functional pockets used as decorativeness. Fig. 7: Garment Sketch 2013 6 Fig. 8: Garment Sketch (Interior) 2013 Valerie Mendes and Amy de la Haye, Fashion since 1900, (London: Thames & Hudson, 2010) 192. Rivas 8 Analyzing the structure of the turtleneck, it is also non-woven. With its double-knit machine construction, it presents an intriguing manufacturing process. Though there are several different types of machine knitting tools, ranging from simple spool or board templates, the complex mechanisms produce various types of knitted fabrics. In the case of our unknown garment, it seems the stitching pattern may have been constructed with an industrial machine with either flat or circular beds that produce a plain rib fabric. In contrast to hand knitting, machine knitting works through an entire row of loops in a single movement rather than each stitch being manipulated individually across the row by hand. It is difficult to determine what source of dye or pigment was used for the top, however, understanding that it is made with synthetic fiber and projects a significant fading appearance, it may perhaps have been colored with a synthetic dye. In 1970, the Smithsonian Institute greeted Maxwell with a retrospective exhibition. The majority of the featured looks consisted her most signature wardrobes that included the ensembles from her earliest practice. With the celebration of her past works, it was a moment in time where Maxwell was able to embrace and develop a new ‘timeless’ design. Comparing her past designs with this unknown garment, we can recognize the similar freedom in movement through her collections. Though getting dressed in these ensembles may differ, the quality in construction, fluidity and movement remains the same. For instance, examining one of her original works in this image produced by Frances McLaughlin-Gill in 1952, we can recognize in figure 9 the similar horizontal closure through a series of buttons. Known for designs that fastened the time for woman getting dressed, this particular outfit presents a similar construction to the unknown garment. The tedious task in buttoning the ensemble may have been in contrast to other Maxwell designs, however, it is apparent the unknown garment exemplifies something new and timeless. The designer referred to her earlier works as sources of inspiration. Rivas 9 Maxwell used the signature construction but adjusted its silhouette, hemline and fabric to adapt to the current trends of the time. Fig. 9: Vera Maxwell Ensemble, 1952, Photographed by Frances McLaughlin-Gill Fig. 10: Tennis Ensemble, 1976, Metropolitan Museum of Art Exploring her later works, the tennis ensemble shown in figure 10 demonstrates her aesthetic after creating the 1971 unknown garment. In this wardrobe, she is also referring to her prior designs, particularly her first 1947 collection that featured after-ski clothes, tennis outfits and riding apparel. According to the Metropolitan Museum of Art, the description of this piece is possibly from her "Good Sports" line that was introduced in 1976. It has several of Maxwell's design elements, “the jersey top, which is leotard-like, making it easy to take on and off; the use Rivas 10 of Ultrasuede, which was used abundantly in her seventies collections; and its combination of pieces, making it practical and fashionable.”7 Overall, the unknown garment is a significant object. It is a day ensemble that reflects a moment in time where Maxwell began to produce designs that reflected her earlier aesthetics. However, in order to develop a collection in relation to the current trends, she took the risk of incorporating an unknown synthetic fabric called Ultrasuede. Though she was known for the easiness of her garments when getting dressed, the unknown wardrobe still sustains the vital components for a Vera Maxwell design which includes movement, fluidity and easiness for the body. Emphasizing the effortlessness in construction, the combination in subtracting zippers and including buttons and a shorter hemline, interplays with the influence of her past designs created for the present day ageing clientele. “Tennis Ensemble,” in Metropolitan Museum of Art (2009), under “Brooklyn Museum Costume Collection,” http://www.metmuseum.org/Collections/search-the-collections/80096928?rpp=20&pg=1&rndkey=20130516&ft= *&deptids=62&who=Vera+Maxwell&pos=1. html (accessed March 14, 2013). 7 Rivas 11 Bibliography Eugenia, Sheppard. “Olympia Uniforms Inspire Vera Maxwell’s ‘Speed Suit.’” The Blade March 11 1975: 140. Lewis, S. A Machine Knitter's Guide to Creating Fabrics. Sterling Publishing Company, 1986. Mendes, Valerie and Amy de la Haye. Fashion since 1900. London: Thames & Hudson, 2010. Milbank, Caroline Rennolds. New York Fashion: The Evolution of American Style. New York, 1989. Morris, Bernadine. "Timeless Fashions at a Vera Maxwell Retrospective." New York Times Dec 12 1980: B.6. ProQuest. 17 May 2013 . Parkins, Ilya. Poiret, Dior, Schiaparelli: Fashion, Femininity and Modernity. London, New York: Berg, 2012. Wilson, Elizabeth. Adorned in Dreams: Fashion and Modernity. Revised ed. New Brunswick, NJ: Rutgers University Press, 2003. ______. “Tennis Ensemble,” in Metropolitan Museum of Art. Under “Brooklyn Museum Costume Collection.” (2009). http://www.metmuseum.org/ Collections/ search-the collections/ 80096928?rpp=20&pg=1 &rndkey=20130516&ft=*&deptids=62&who =Vera+Maxwell&pos=1. html (accessed March 14, 2013).