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thercbray · 5 years

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Final Essay: Susan Sontag’s Image-Glut

I took an english composition course during undergrad with Professor Brie Bouslaugh; for the final paper I examined the idea of image-glut. Proposed by Susan Sontag in her 2002 New Yorker article, “Looking at War”, image-glut is the concept of becoming desensitized through repeated exposure to graphic and disturbing images.

Throughout this essay professionals in their various fields were used to support the idea that war, and violence at large, cause a desensitization. With all of the information, statistics, and opinions given it causes one to think how, then, does one reverse the status quo.

In the 21st Century we are surrounded by media. From the moment we turn on the television to catch the morning weather, to the streaming radio playing on our way to work, to the Instagram accounts we check while bored at work; media is an ever present force in our lives whether we like it or not. With all of this exposure to television, video games, social media, movies, etc people — particularly youth — begin to manifest the behaviors, messages, and ideas received through media. By examining the inundation of violent images in media, we can see a desensitization to violence in youth, which is important because society as a whole becomes numb to the reality of violence and more sadistic as a whole.

The word war is an abstract noun, it has several meanings depending on the context in which it is used. The Merriam-Webster Dictionary defines war as a “state of usually open and declared armed hostile conflict between states or nations” or “a struggle or competition between opposing forces or for a particular end” (Merriam-Webster Dictionary). Though war can be a struggle within oneself, the external and armed definition of war will be examined. Taking a closer look at the first definition Merriam-Webster provides, war is “a state of…declared armed hostile conflict between states or nations” (Merriam-Webster Dictionary). This definition is more pedagogical and tends to pigeonhole war as something formal, clearly defined, and between states or countries. As author Alexander Moseley proposes in his article The Philosophy of War, “If war is defined as something that occurs only between states, then wars between nomadic groups should not be mentioned, nor would hostilities on the part of a displaced, non-state group against a state be considered war” (Mosely). The Oxford Dictionary addresses this by utilizing a broader definition of war by describing it as “a state of competition, conflict, or hostility between different people or groups” (Oxford Dictionary). This allows for conflicts between various entities armed or otherwise such as the Yugoslav Wars, which was a war between ethnic groups within the same country, to be considered. For the purpose of this essay both definitions will be combined and used to define war as an armed conflict between two opposing entities.

War is not a new concept. In 1964, professor and anthropologist Fred Wendorf found what is believed to be the earliest archeological indications of an armed conflict near the northern border of Sudan (Wendorf, 954). Known as Cemetery 117, it is the location of about 60 bodies that feature arrows embedded in their bodies indicating their lives came to a violent end (Cockroft, Griffiths). The first recorded armed and organized conflict dates back to the mesolithic era and is believed to be a result of the invention of bows and other weaponry and depicts groups of men holding weapons arranged in offensive formations (Keeley, 45). As man began to make agricultural innovations the precursors for war were laid and the first officially recorded war happened around 2700 BC between Sumer and Elam. Since then war has undergone many changes — different weaponry, tactics, causes, and outcomes — what remains the same is one unchangeable byproduct: violence.

Since a working definition of war has been established it is imperative to also define violence, which — in a broad sense — is “behavior involving physical force intended to hurt, damage, or kill someone or something” (Oxford Dictionary). The World Health Organization (WHO) goes a step further in The World Report on Violence and Health and says “the intentional use of physical force or power, threatened or actual, against oneself, another person, or against a group or community, which either results in or has a high likelihood of resulting in injury, death, psychological harm, maldevelopment, or deprivation" is considered violence (WHO, 5). This means violence is not limited to physical force as the Oxford Dictionary might suggest, but also includes power as it “broadens the nature of a violent act and expands the conventional understanding of violence to include those acts that result from a power relationship, including threats and intimidation” and “also serves to include neglect or acts of omission”, therefore violence “include[s] neglect and all types of physical, sexual and psychological abuse, as well as suicide and other self-abusive acts” (WHO, 5). Throughout the essay both war and violence at large will be examined since war produces violence.

In 1925 conscientious objector Ernst Friedrich published a pamphlet entitled Krieg dem Kriege! (War Against War). This pamphlet consists of 180 photographs chronicaling the effects of war and was published as a response to World War I (WWI). American writer and filmmaker Susan Sontag gives a synopsis of his work in her book Regarding the Pain of Others, “the book starts with pictures of toy soldiers, toy cannons, and other delights of male children everywhere, and concludes with pictures taken in military cemeteries” (Sontag, Regarding, 14). This was the first photographic documentation of WWI to surface and was published with translations to English, German, Dutch, and French with the hope that once the international community saw, through photographs, the devastation and pervasiveness of war they would call for an end to militarism (Kellner). German critical theorist Douglas Kellner states in his essay Ernst Friedrich's Pacifistic Anarchism that, “Friedrich's rhetorical strategy in War Against War is to reproduce shocking pictures of the atrocities of war,” and then explains that Friedrich accomplished this by, “[juxtaposing] the official patriotic and militarist propaganda images and rhetoric of the period with illustrations of what this discourse produced” (Kellner). Throughout the collection of images Friedrich highlights the contradiction between the idea of war and its reality. By beginning with the toys and ending with graves, Friedrich illustrates what early exposure to violence can produce; it sends a message that children are introduced to violence at a young age and that exposure to violence continues as they reach adulthood and with time become conditioned to violence. As one examines the world in which we live today, “[Friedrich’s] perspective takes on even more importance and relevance in our own nightmarish Nuclear Age” (Kellner).

War and its atrocities are no longer a figment confined to photographs or stories heard from its survivors. Dubbed “television’s first war”, the Vietnam war was the first war to ever receive television coverage and boasted the third largest concentration of reporters, behind New York and Washington D.C. according to Daniel Hallin in his Encyclopedia entry “Vietnam on Television” (Hallin). For the first time ever “It [network television] brought the ‘horror of war’ night after night into people's living rooms” inundating them with violent images such as in the summer of 1965 when “CBS aired a report by Morley Safer which showed Marines lighting the thatched roofs of the village of Cam Ne with Zippo lighters” (Hallin). Essayist Erin McLaughlin elucidates how integrated the war coverage was in people’s daily lives in her essay "The Media and the Vietnam War”, “For almost a decade in between school, work, and dinners, the American public could watch villages being destroyed, Vietnamese children burning to death, and American body bags being sent home.” (McLaughlin). Television coverage of the Vietnam War brought war “introduced the home front to a new intimacy with and destruction” (Sontag, “Looking”, 86). To be fair, this was not typical news coverage of the Vietnam War because reporters were often not close enough to the combat to capture video. However, this was the start of the introduction of violence and war into the home.

Regular exposure to violence started with the Vietnam War in 1965 and is now featured on television and in video games. To understand the saturation of violence in the lives of youth, one must look at how often a child is exposed to media in general. In 2010 a child aged 8-18, on average, spent seven hours and thirty-eight minutes a week on television, video games and the computer (Rubin). To those that believe violence is a part of life or that it is not as pervasive as some may believe, here are some statistics: “80 percent of ‘R’ rated movies, 70 percent of restricted video games, and 100 percent of music with ‘explicit content’ warning labels were being marketed to children under 17” resulting in the average child witnessing at least 200,000 acts of violence and 16,000 murders by the age of eighteen (Katz). The numbers alone indicate children are overexposed to violence because witnessing that many violent acts cannot be natural. All this exposure to violence is bound to affect the psyche of children.

As has been established, children are surrounded media and violence for a portion of their day. Though some argue exposure to violence has little to no effect on children, I disagree. According the American Psychological Association (APA), the Surgeon General's Scientific Advisory Committee on Television and Social Behavior (in 1969), and the National Institute of Mental Health (1982) “children may become less sensitive to the pain and suffering of others” with constant exposure to violence (American Psychological Association). A scientific study of the brain’s response to stimuli conducted by Bruce Bartholow, Brad Bushman, and Marc Sestir was published in the Journal of Experimental Social Psychology and links exposure to violence with aggressive behavior and desensitization. Violent images no longer have the same sobering effect; similarly Sontag declares, “images shown on television are, by definition, images of which, sooner or later, one tires” (Sontag, “Looking”, 96). Kellner agrees, stating, “exposure to media violence can desensitize people to violence in the real world” (Kellner). The result of regular exposure to violent images causes children — and thus adults they become — to become numb to it in the future.

One has only to look at social media to see how desensitized we have become to violence. Twitter, Facebook, Instagram, and a host of other social media sites allow users to share their lives, opinions, and whatever else they may choose in the form of words, photographs, or videos. Sometimes the subject may be a baby’s first steps or a practical joke played on a coworker. Social media also allows us access to violence and the aftermath of violence. In July 2014, Malaysian Airline MH17 was shot down and crashed in Ukraine. The availability of uncensored gruesome images of corpses maimed and contorted flooded the timelines of many social media users. As suggested by the APA, the constant exposure to these gut wrenching sights eventually made people numb to the images. As the investigation continued and more people became numb to the images of wreckage, fewer people were moved by the coverage and took interest only to feed a dark, perverse desire for violence. It is also evident in the coverage of the tornado that hit Joplin, Missouri in 2011. Claiming the lives of more than 160 people, America rallied around Joplin and pledged support. In her editorial, Roshni Jain discusses what happened, “the media soon moved on, and over time it seemed as though the American public and the government had, too” (Jain). Sontag explains the process like this: “[suffering] is registered by cameras, it flares up, is shared by many people, and fades from view” this sounds like almost every hot topic on social media (Sontag, “Looking”, 86). Jain proposes the cause for this by referencing neuroscientist/neurobiologist Antonio Damasio, “[Damasio] found that constant exposure to social media and news updates — the norm in American society — can lead to desensitization” (Jain). The cause for this desensitization, Damasio proposes, is these “stories and events receive little-to-no processing time in the individual’s mind before a new blast comes barreling through” (Jain). This constant flow “does not result in the anxious arousal that would be expected from seeing such imagery” and “for some people, watching violence in the media becomes enjoyable” (Kellner). The inability to feel genuine concern coupled with an urge to satisfy a desire to view graphic images explains why both people and the media latched on to the Malaysian crash so fiendishly and why they quickly moved on to the next “hot story” after the Joplin tornado. Social media breeds an obsession with likes or views and a detachment to violence because it always exposes the viewer to a whole new situation with the click of a mouse or swipe of a finger.

The desensitizing effects can be seen even outside of social media’s ream and in one’s daily life. As one becomes numb to violent images on social media they carry that indifference with them into the “real world”. In their research report professors and psychologists Brad Bushman and Craig Anderson tested the hypothesis that exposure to violent media reduces the likelihood that those exposed would help someone in need. This is their experiment:

In Study 1, participants played a violent or nonviolent video game for 20 min. After game play, while completing a lengthy questionnaire, they heard a loud fight, in which one person was injured, outside the lab. Participants who played violent games took longer to help the injured victim, rated the fight as less serious, and were less likely to ‘‘hear’’ the fight in comparison to participants who played nonviolent games. In Study 2, violent and nonviolent movie attendees witnessed a young woman with an injured ankle struggle to pick up her crutches outside the theater either before or after the movie. Participants who had just watched a violent movie took longer to help than participants in the other three conditions. (Bushman, Anderson)

This is astounding evidence! Critics often argue that violence in media has practically no effect on its viewers, but clearly Bushman and Anderson’s study prove otherwise. As violence continues to permeate the media to which we are exposed, it will continue to desensitize. If left unchecked it can lead to a breakdown of social norms and human traits such as compassion.

Sontag address the issue of image-glut — or the inundation of violent media — in her essay “Looking at War”. Succinctly, she believes “that in a world saturated, even hyper saturated, with images, those which should matter to us have a diminishing effect: we become callous” (Sontag, “Looking”, 96). By examining work in her previous book, Regarding the Pain of Others, Sontag establishes that at one point by “showing something that needed to be seen, bringing a painful reality closer, was bound to goad viewers to feel — feel more”, but she now realizes “this naive relations to poignant scenes of suffering is much less plausible” when the images are used for the wrong purpose — as they often are (Sontag, “Looking”, 94). More often than not networks, game producers, etc use violent images to their advantage — be it increased sales or viewership — because they know violence in any form will attract the masses or, to use Sontag’s words, “voyeur” in us. To illustrate how sadistic people have become Sontag uses an art exhibit held in the year 2000. The exhibit, held in New York displayed photographs of American lynchings, which were made into souvenirs and eventually published as a book. This illustrates the voyeuristic nature of man expressed through his sadistic tendencies developed by image-glut; Sontag observes this “cater[s] to voyeuristic appetites and perpetuates images of black victimization” or that it “simply numb[s] the mind” (Sontag, “Looking”, 95). Sontag is correct on both accounts for man has become sadistic based on his constant exposure to violent images as supported by the APA, yet at the same time has become desensitized to its effects as Jain and Kellner also suggests. To see the numbing effects of image glut to which Sontag refers, one needs to only reference the studies conducted by Bartholow, Bushman, Marc Sestir or the experiment administered by Barholow and Anderson.

Throughout essay “Looking at War”, Sontag drives the point home that consumers “need to be restimulated” and that “content [media] is no more than one of those stimulants” resulting in the “leaching out of content [which] is what contributes most to the deadening of feeling” (Sontag, “Looking”, 96). Her opinions are reflected and echoed throughout time and across disciplines by French poet Baudelaire in the 1860s to neuroscientist Brad Bushman in the 21st Century. Throughout this essay professionals in their various fields were used to support the idea that war, and violence at large, cause a desensitization. With all of the information, statistics, and opinions given it causes one to think how, then, does one reverse the status quo. The short (and obtuse) answer is to stop portraying so much violence, but in reality that is not really an option as society has become so accustomed to seeing it on prime time, in cartoons, video games, etc that its absence, however beneficial, would be perceived as a detriment. Unfortunately, a sound answer is not readily available at this time. Regardless, one thing is certain: if things go unchanged, society will become so desensitized to violence that it could lead to a breakdown in social structures as humans will find it increasingly difficult to relate to one another.

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thercbray · 5 years

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Course Project: Hermès Textiles

During my sophomore year at FIT I took a textiles course with Professor Suzanne Cora. It was a general study of textile materials and covered factors that produce successful fabrics in the marketplace, fibers, yarns, construction, color, and finish. The final project was a practical application in which I was to look at a range of products made for the same label or retailer by selecting two different types of garments, describing them, and analyze why the fabrics were used for particular garments. The purpose of this final project was to ensure we learned the textile knowledge essential to a fashion career. The following is my submission, for which I received an A and was encouraged to send to Hermès.

Within all industries companies find their niche and can become well known for their uniqueness. Some gain notoriety for innovation, while others become leaders in their industry for providing a great value. In the technology, Apple is known for being on the cutting edge and making products that merge form and function. Within the fashion industry, Hermès is one of the few companies unanimously agreed upon as a true purveyor of luxury and artisanal craftsmanship; this French company is the very epitome of elegance and opulence. For this reason I chose Hermès for my final project.

Founded in 1837 by Thierry Hermès, his namesake company began as a harness workshop dedicated to European nobleman. His work was so astonishing he won first prize in 1855 and 1867 at the Expositions Universelles in Paris. In 1880, under the helm of his son, Charles-Émile, the brand relocated to their present day flagship at 24 Rue du Faubourg Saint-Honoré. From there the company began selling their products retail and expanded into other equestrian related product categories. In the 1920s the brand added accessories and ready-to-wear under the leadership of Charles-Émile’s son, Émile-Maurice. Since then the company has become preeminently known for their silks and leathers, though all of their product offerings are of the highest quality available in the market.

Hermès is a very profitable company; even during the Great Recession (December 2007 - June 2009) Hermès posted gains in sales and profits. The key to their success is an unwavering dedication to their brand DNA and marketing strategy. The company’s target market are those with a net worth at least in the millions, though their narrowest target audience are billionaires. Their customer demands luxury, quality, artisanal craftsmanship, and exclusivity — and is willing to pay for it. The Hermès client is an individual with an appreciation for equestrianism, the arts, culture, and/or exotic destinations.

The company traditionally appealed to wealthy Caucasian women with ample disposable income to purchase their beautiful, yet conservative products. When Jean-Louis Dumas, grandson of Émile-Maurice, took the reigns in the 1980s Hermès began to court younger women. He featured an advertisement of a woman in jeans wearing a scarf. In short: Dumas ushered in a new era at Hermès. No longer was the company just for the Kelly-toting 50 year old woman looking for a scarf to accessorize her Chanel suit. In the 21st century the company expanded their advertising efforts to 20 and 30 year olds in hopes of securing their positioning for future generations. To do this the company continues to partner with young photographers, producing graffiti print scarves, and more recently brining in designer Nadège Vanhee-Cybulski to inject a more modern feel into the ready-to-wear collection.

Though the themes of their campaign’s change from season to season the brand DNS remains constant: their equestrian heritage and a joie de vie. This season Hermès’ instagram was flooded with short videos for their men’s campaign centered around the flânerie — more or less a French dandy — that featured interesting graphic tricks and a very carefree, relaxed, and colorful mood. This goes back to the brand’s aim of holding the attention of younger generations with quirky advertisement campaigns.

The first garment I chose is a long belted cardigan. Featuring a three-quarter length sleeve this cardigan is perfect for the spring when temperatures tend to fluctuate. The belt adds a lovely touch allowing the wearer to decide between a more loose, almost sack like fit with the belt purely for form or even tied to the back. Alternatively, the wearer can use the belt to cinch the waist to create a nipped, hourglass silhouette. The buttons are black, which lend a streamlined and understated look. This is a knit featuring a plain weft knit construction at the body and a cable knit construction around the shoulders and back yoke, permitting more mobility and elasticity. This cardigan was fabricated in cotton and polyester. The cotton fibers appear to be two-ply allowing for a more durable product, without being too heavy so one can wear it comfortably in warmer weather. Given the manufacturer’s undying commitment to quality, this piece is likely yarn dyed. The only embellishment is the belt made of polyester with an authentic calfskin leather tip. This creation was birthed in Italy. To clean and care for this garment dry cleaning is the only recommended method. Based on the quality of fabric, which is likely a superior cotton fiber (possibly a supima cotton), the different methods of knitting (both a weft and cable knit), the artistry that went into making such a magnificent cardigan, along with the leather tipped belt, and the multiple construction methods used, this piece retails for $3,000 USD.

The fabric choice for the cardigan was a clever idea. Cotton is a very versatile fabric and easy to maintain. Known for it’s strength, comfort, and abrasion resistance this is a solid choice for a cardigan because it adds strength to the garment. Polyester, a filament or manmade fiber, is known for having very good strength and abrasion resilience — further reducing the chance of piling since it will rub against the body and chairs. This piece was most likely treated with a resin to prevent shrinkage when laundering as it is a natural fiber and therefore susceptible to shrink when cleaning. The only thing I would change is the fabrication of the belt, instead of constructing it of polyester it should have been made of leather or silk-polyester blend to further validate the price and elevate the design.

By using superior cotton to construct this cardigan Hermès stays true to its brand identity of providing only the very best. The hand of the of this garment is absolutely divine and would meet even the most discerning client’s expectations. In my opinion the garment does justify the price as it features are higher quality fabrics and there are a very limited number available worldwide.

The second item I chose is truly a work of art. It features both a knit and woven construction in one! Made of cashmere and silk, this piece is a part of a running tradition Hermès started of creating garments that feature both a woven and knit portion in the same design. From season to season the combination piece changes to keep the collection fresh. This secret style of combing two completely different fabrics into one item is heavily guarded. Featuring an asymmetrical open in the back, this shirt has minimal utilitarian use other than to look beautiful and make it’s wearer dazzle. This work of art features two natural fibers — silk and cashmere — combined as one. The bottom or silken half of the top is a silk twill that was screen printed and dip dyed. It is apparent the silk is printed as the design on the backside of the fabric is lighter than it is on the face of the fabric. The dip dying process leaves the silk extremely soft to the touch and acts as a counterbalance to the slight stiffening of the fabric after it has been screen printed. The cashmere and silk used to make this beautiful top are both natural fibers, though painstakingly harvested to ensure no damage is done to the length of the fibers before they are assembled to make this creation. As with all Hermès items, quality is most important so this garment was crafted in Italy, though designed in France. As neither the silk nor cashmere were given waterproof finishes or treated to be washable, it is required that this top only be cleaned by a professional dry cleaners. This piece retails for $2200.

I think the selection of fabrics is absolutely genius. As a brand that is well known for it’s silks, Hermès invented a way to take something for which they are renowned and use it in other clever ways. The silk used at the bottom rather than the top allows for an elegantly free-flowing and breezy drape and the luster is opulence personified. It is possible the silk was also treated with a Schreiner calendering as it has a low, soft luster. The top half of the shirt is in a plane weave cashmere. To justify the higher price point cashmere instead of wool serves as the perfect alternative. It is has a soft, luxurious hand, is absorbent, and has body temperature regulating properties to keep the wearer as comfortable as possible. No better fabric combination could be selected for this piece because the combination is both sophisticated enough to permit night wear yet casual enough to wear during the day.

The use of the an actual scarf makes this garment appealing to women that may not have previously considered owning Hermès’ ready-to-wear. The use of cashmere with its butter soft hand and pleasing texture support the idea that the company only use the best materials to produce the best merchandise. The fabric choice would likely exceed the customer’s expectations as this is such a novelty piece that few would expect to see a creation so unique. Considering the cost of both their scarves and cashmere sweaters coupled with the secret construction techniques and its inherent exclusivity this retail price for this piece is definitely justified.

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thercbray · 5 years

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Course Paper: Ghiberti’s Baptistry Doors

During my study abroad I took a course titled Renaissance Art in Florence in which I learned firsthand about Renaissance art with a focus on Florentine art. From a prior art history course I took my freshman year I became intrigued by the early 15th Century competition for Florence’s Baptistry doors, particularly Ghiberti and Filippo Brunelleschi‘s submissions. They are so different, yet both are masterful works of art. Interestingly the two depictions of the famous sacrifice of Isaac are vastly different. One of my assignments was to analyze a work of art, so naturally I chose Ghiberti’s Baptistry doors. Below is a paper written for Professor Elisabetta Digiugno with the inclusion of relevant images taken during my study abroad.

1. Artwork

Lorenzo di Bartolo, called Ghiberti (1378-1455)

Battistero di San Giovanni East Doors, called "Gates of Paradise"

1424-1452 CE

506 cm x 287 cm

Florence, Museo dell'Opera del Duomo

Gilded bronze

Reliefs

Characterized by depiction of Old Testament scenes, an early example of purely Renaissance work, use of one point perspective, low relief, and divergence from use of quatrefoils

2. Artistic facts

Early Renaissance, Humanism

Florence was a prosperous city that made its wealth in textiles such as wool and leather. By the end of the Dark Ages (1300s) Florence was also one of the wealthiest cities in Europe with approximately 10,000 inhabitants. As the city flourished they wanted to show the world their wealth as a testament to God showing their city favor. As this belief gained more and more momentum wealthy individuals, such as the Medici family, began to purchase and/or commission works of art to decorate the city. Coupling the burgeoning Florentine patriotism with the rediscovery of ancient ideologies, which lead to the transition from the stoic artistic styles of the dark ages to the Renaissance with its more human like forms.

Andrea Pisano orchestrated a competition on behalf of the cloth merchants that were going to finance the southern Baptistry doors. It was set to feature John the Baptist, Florence's patron saint. To ensure all seven competitors were given a fair chance, they were required to submit a bronze relief of the "Sacrifice of Isaac" - the biblical story of Abraham's devotion to God as shown through his willingness to sacrifice his son Isaac. The two major competitors were Filippo Brunelleschi and Lorenzo Ghiberti. However, Ghiberti won the competition for several reasons: composition, elegance, and practicality.

Ghiberti's entry is a more gripping representation of the material world than that of Brunelleschi, which featured less natural elements such foliage or terrain. While Brunelleschi's "Sacrifice of Isaac" is more raw in the emotion it conveys, it is more rugged and angular than that of Ghiberti's entry, and thusly presented no new artistic ideas. One can see the more imposing nature of Brunelleschi's work through the arrangement of the servants and donkey at the bottom, which serve as a base on which the rest of the composition is built. Conversely, Ghiberti uses the space differently by dividing the quatrefoil into two sections with the action taking place on the right side and the left side used to display his skill at portraying the material world. Ghiberti's reference to antiquity through his depiction of Isaac in a more natural pose also contributed to his triumph. Certainly the citizens of Florence would gravitate toward the beauty of lithe figures Ghiberti used. Another reason for Ghiberti winning the completion was the practicality of his doors, which used less materials than that of Brunelleschi. There is debate as to whether Ghiberti won the competition outright or if there was a tie. Either way, Ghiberti would go on to create the first doors for the Baptistry, the success of which allowed him to create the Gates of Paradise.

In 1425 Ghiberti began the construction of the northern doors to the Baptistry. By this time Ghiberti received much acclaim for his work on the first doors of the Baptistry (1403-1424) and as such could dictate his own style. The Gates of Paradise, the eastern gates, are almost completely divergent from his previous set of doors. He used square panels rather than quatrefoils, which are found on the first doors. Not only was the space in which the scenes were depicted changed, but so were the artistic techniques. Ghiberti employed one-point perspective, recently discovered by Brunelleschi. One can see throughout his work the use of all lines within each of the ten panels converging to a single point, this assisted in expressing depth. The tenth and last panel depicts the meeting of Solomon and Sheba, it is a perfect example of Ghiberti’s use of one-point perspective. One can see the archways converge onto a single point becoming smaller, as if fading into the horizon, thus creating the illusion of depth. Also employed to create depth is the use of relief. One can find high relief, or the projection of figures in a pronounced manner so that they seem almost separate from the doors, in the figures positioned in the foreground of the sixth panel, which tells the story of Joseph in Egypt. The foreground figures protrude from the panel so much that one would naturally think they were applied to the panel rather than a fixed part of the panel's construction. Anther form of relief Ghiberti employed was bust relief as well by using himself as the figure for the doorknobs. The last type of relief Ghiberti used was stiacciato (or low) relief. This was a new technique developed by Donatello, which was a more subtle and used to play off the way the gilded doors would shine in the light.

The Gates of Paradise were significant because it was a direct result of shifts in ideologies and one of the earliest examples of purely Renaissance art. Florence was making the shift from scholasticism to humanism. Scholasticism was the prevailing intellectual practice of the medieval times, characterized by the education of only a select few. As society moved closer to the Renaissance, education and contemplation was appreciated by even the common man. Ghiberti's decision to depict the stories of the Bible in an easy to understand manner placed him staunchly between the two schools of thought. He likely understood that not every viewer was learned, thus his reason for depicting scenes like a comic book. The composition and manner in which the scenes are depicted indicate his understanding that viewers wanted to be intellectually challenged, which is why he used one-point perspective to highlight the importance of the viewer and their intellectual stimulation from viewing works of art. Ghiberti also employed the use of narrative in his panels; each panel tells a story that allows the viewer to connect with the story to understand the majesty and humanity of Christ. The use of geometric shapes rather than the quatrefoils references the renewed interest in classical architecture, who's hallmark was order, structure, and straight lines.

There were also many symbols and allusions within the narratives of the panels. The last panel, Solomon and Sheba, exemplifies Ghiberti’s adroit use of symbols. The reception of Sheba by Solomon represents the reception of the Church by Christ. The formation of figures in the foreground reference the Magi coming to visit the Christ child. Ghiberti decided to use gilded bronze for the construction of the doors as it would catch the rising sun every morning casting a majestic golden shower on all who stood near the doors.

Ghiberti was born in Florence in 1378 and was trained as a goldsmith and sculptor, explaining his ease with bronze and relief. His greatest works were the doors of the Baptistry, though he would go on to create statues and other works. He was also the source of one of the earliest surviving artist autobiographies.

Ghiberti is also connected to several artists. Brunelleschi and Ghiberti competed against one another for the opportunity to build the Baptistry doors. Though Brunelleschi lost he would ultimately go on to build the roof of the Duomo and discover one-point perspective. Ghiberti used the idea of low relief as discovered by Donatello, who is responsible for the gates receiving the name "Gates of Paradise". Ghiberti spent over ten years just creating the cast for the doors, a testament to his unrelenting quest for perfection. He died in 1455.

The Gates of Paradise is one of my favorite early examples of Renaissance work. To imagine how revolutionary Ghiberti's work was at that time is mind boggling. I imagine myself viewing the doors and how breathtaking the high relief forms must have been to the Florentines. The length of time it took to create the doors and the attention to detail are astounding even by today's standards. I also appreciate that Ghiberti used Old Testament subject matter to reference New Testament ideals about redemption and salvation.

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thercbray · 5 years

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Course Project: Cartier

I took a products course on jewelry at IFM with Professor Hélène Kassimatis. It was a wonderful expansion on what I learned about gems and jewelry during undergrad. For the course project I worked in a group of four to analyze Cartier by considering their identity, product, distribution, and competitors. Naturally, I learned quite a lot about Cartier. Diving into their product lines, breaking them down by price range, category, and aesthetic taught me the breadth of Cartier’s offerings — they have more than 25 lines ranging from entry level basic metal bands for less than $1000 to breathtaking one of a kind diamond tiaras worth millions. While researching the production methods and history of each line it quickly became very clear why they are one of the most prestigious houses in haute joaillerie, they created jewels for most of the leading courts in the early 20th Century and developed new method to set gems. Here is the converted PowerPoint presentation for the assignment, which is the property of Institut Français de la Mode.

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thercbray · 5 years

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Menswear Glossary

This is a glossary of menswear terminology.

baby - stuffed cloth pad on which the tailor works his cloth

back body - the back panel of a shirt

balance - bespoke term used to refer to the length at the front and back of a jacket, a well made jacket should be parallel and harmonize with the wearer's posture and figure

banger - piece of wood with handle used to draw out steam and smooth cloth during ironing; possibly the same as a block

baste - garment roughly assembled for the first stage of fitting

hand basting - process by which fabric is attached to the interlining with temporary stitches

basting - tacking with long stitches to hold garments parts together

bemberg - trade name for cupramonium rayon developed by J. P. Bemberg; it has the hand of silk and is similar to viscose

bespoke - manner of making a product, signifies it is often made by hand and fitted to an individual customer and allows for customization.

blazer - casual jacket made of woolen cloth; can be single or double breasted, originally navy in colour it can now be brightly coloured or striped

block - heavy, dense block of wood used in pressing to set or seal the steam; may also refer to a base pattern used to develop other patterns; also known as: sloper or master pattern

break - the horizontal fold or bend above the cuff of the leg, which is created when the fabric of the leg is longer than the wearer's leg.

Full break - usually 2 inches or more of extra fabric that folds at the hem

Half break - 1-2 inches of fabric gathered at the bottom of the trouser

Quarter break - 1/2 - 1 inch of extra pant length

No break - the trouser grazes the shoes with no excess fabric at the hem

board - a tailor's workbench

body canvas - pure wool (and sometimes linen) canvas used in the structure inside a jacket, waistcoat, or overcoat to give substance and assist in shaping

bottom - the hem circumference

button gimp - used when making buttonholes for suits

button twist - yarn used to make buttonholes

cable knit - a pattern found in men's jumpers and knitted accessories in which cables appear to twist around one another; popular in fall/winter seasons.

canvas - a cloth usually made from cotton, flax, hemp, or jute and used for providing strength or firmness

full canvas - in jacket construction it is the interlining of wool and horsehair canvas between the inner lining and outer fabric; it runs the entire length of the jacket and adds structures and padding at the chest

half canvas - the canvas covers the chest and continues to the rib cage

cardigan - sweater with front fastening (e.g. buttons, ties, or zips)

cavalry twill - a firm warp faced twill, originally used for heavy weight fabrics such as raincoats

chalk stripe - vertical stripes on a suit which look like a tailor's chalk; lines are often subtle and hazy.

chambray - a plain weave lightweight cotton fabric primarily used for shirts

Chino - twill fabric cloth usually made of cotton or cotton blend; commonly used for trousers (and referred to as chinos or khakis).

collar - unlike lapels or revers, shirt collars are constructed from separate fabric.

points (of a collar) - the corners of a collar; can be point, round,

spread (of a collar) - refers to the distance between two points of a shirt collar.

stand (of a collar) - the band, often at the widest part, that supports the collar.

ascot collar - a very tall standing collar with the points turned toward the chin, to be worn with an ascot tie; also known as: stock collar

Albany collar - a standard turndown cutaway collar worn predominantly in the early 20th century

band collar - small standing band, usually buttoned, in the style worn with detachable collars; also known as: grandad collar

Barrymore collar - a turnover shirt collar with long points, as worn by actor John Barrymore and can accompany wide four-in-hand neckties on dress shirts; also known as: tapered collar

button-down collar - the points of a shirt's collar are fastened with small buttons; often considered a casual shirt and therefore technically should not be worn with a suit

convertible collar - designed to be worn with the neck button either fastened or unfastened

detachable collar - made as a separate accessory to be worn with a banded collared shirt; also known as: false-collar

double round collar - a turn down collar with rounded tips.

imperial collar - created by Charvet for Edward VII; also known as: poke collar

Johnny collar - an open, short V-neck and a flat, open knit collar

Lacoste collar - an un-starched, flat, protruding collar invented by Rene Lacoste.

Long point collar - with long pointy edges, usually worn with a suit and tie; considered a conservative collar; also known as: straight point collar, forward point collar, narrows point collar

mandarin collar - small standing collar, open at the front based on the traditional Manchu or Mongol-influenced Asian garments; also known as: cadet collar, Chinese collar

mock collar - knitted collar similar to a turtleneck without the turnover; mockneck

Nehru collar - small standing collar, meeting at the front, based on traditional Indian garments.

Peter Pan collar - flat, round-cornered collar, named for the costume worn by the character Peter Pan

poet collar - soft shirt collar, often with long points

Popped collar - style of wearing a collar unfolded and high against the neck; popular in the 1980s and early 2000s

rolled collar - any collar that is softly rolled where it folds down from the neck at the stand, as opposed to a collar with a pressed crease at the fold.

round collar - any collar with rounded points; also known as club collar or penny collar

shawl collar - a round collar for a V-neckline that is extended to form lapels, often sued on cardigan sweaters or dinner jackets

spread collar - made with a wide spread between the points, which can accommodate a bulky necktie; often the spread is between 3 and 6 inches; also known as: cut away collar

straight collar - a generic collar, measuring 2 to 3 inches between the points; when the collar is tabbed or requires a barbell, the points often measure as a straight collar

tab collar - shirt collar with a small tab that fastens the points together underneath the knot of the necktie

Windsor collar - a dress shirt collar that is slightly stiff, wit a wide spread to accommodate a Windsor knot tie; also known as: cut away collar

wing collar - a small standing collar with the points pressed to stick out horizontally, resembling wings; worn with men's evening dress (black tie and white tie); also known as wingtip collar

zero collar - neckline of shirt without band and collar

corduroy - a cotton fabric composed of twisted fibers that lie parallel to each other, forming a distinct cord pattern that runs either vertically or horizontally.

wale - the width of the cord; the lower the count (e.g. 5 or 6-wale) has thicker individual cords and typically used for upholstery

needlecord - high wale corduroy (16+); often used for clothing; has a softer, more velvety appearance

crew neck - a round, no collar neckline; close-fitting, hemmed neckline, which sits symmetrically at the base of the neck

cuff - a turned up hem, as found at the bottom of the leg of the trousers or at the end of a shirtsleeve; can be a separate piece of material; also known as: permanent turn ups (P.T.U.)

barrel cuff - rectangular piece of fabric with square corners closed with a button

convertible cuff - can be worn either buttoned (like a barrel cuff) or with cufflinks

French cuff - style of cuff on a dress or formal shirt, which is folded back and then closed with cufflinks; also known as double cuff; can also have a rounded corner at the back edge nearest the wrist (known as a rounded French cuff)

mitered cuff - features edges that are mitered or cut at an angle

one button - cuff with one button closure; normally found on business and long sleeve casual shirts

round(ed) cuff - barrel cuff with rounded instead of square edges

two button - cuff with two button closure

cummerbund - a component of black tie dress; a broad waist sash, pleated waistband worn with single-breasted dinner jackets.

dart - folds in the suit fabric which are sewn into the jacket, shirt, or trousers to control and manipulate its shape and fit; a common technique used for shaping garments

darning - a technique for repairing holes or worn areas in fabric or knitting using needle and thread; also refers to any of several needlework techniques that use darning stitches

denim - a rugged cotton twill; often used for pants; also known as: jeans or raw denim

dinner jacket/suit - defined by the satin facings on the lapels mirrored on the outer seam of the dinner suit trousers; closely associated with black-tie attire

dolly - fabric covered wooden structure used in tailoring as base for pressing

donegal - an Irish tweed hallmarked by brightly colored slubs

double-breasted - a suit or blazer jacket with wide, overlapping front flaps and two parallel columns of buttons; often the first column is ornamental and the second is functional; the fastening method is acknowledged using a number-on-number terminology with the first number being the total number of front buttons and the second number is the number of fastening buttons below the lapels (e.g. 6-on-1 or 6-on-2); always have peak or shawl lapels

jiggers - the hidden buttons on a double-breasted jacket

double twist - intertwining 2 years, which doubles its density; also known as two-ply

draft - sketch or measure plan of a garment

drape - the way a fabric hangs in folds

dress - on the pattern it is an allowance for extras room in the crotch for male genitalia

drop crotch - an exaggerated low rise applied to pants (often denim)

duffle coat - a hooded, knee-length coat made from duffle; a coarse, thick woolen material; often featuring four front wooden or horn toggle fastening (which are known as walrus teeth)

face - the front of a piece of fabric having a distinct front and back; also known as: right side

Fair Isle - intricate, highly colored knits, often stitched by hand; seen on jumpers, cardigans, and accessories

fusing - use of chemicals and heat to weld the interlinings to the outer fabric of a garment, as distinct from the superior method of stitching used by bespoke tailors

gabardine - a woven twill fabric, originally made from wool

gauntlet - located above the cuffs, they create openings at the sleeve ends for ease of wear.

Gingham check - plain-woven fabric featuring alternating checks, typically white and colored.

goose iron - hand iron hearted on a naked flame

gorge - the point where the collar is attached to the lapel forming the notch

grain - the lengthwise and crosswise grain of fabric refer to the directions parallel to the warp and weft, respectively

grenadine - a type of Italian silk weave constructed on jacquard looms and characterized by an open weave

gusset - in shirting: an additional piece of cloth joining the font and back panels at the bottom hem of the shirt to provide reinforcement

haircloth - cloth made from horsehair; used as an inner material to give shape the chest of jackets, waistcoats, and overcoats

hand - a person's estimation when feeling fabrics between rings and thumb; the sum total of sensations expressed when a textile fabric is handled by touching; also known as: fabric hand or handle

hem - the edge of cloth; the act of securing a cut edge by enclosing in cloth to prevent unraveling

herringbone - a chevron pattern often two-tone and found in a wool twill fabric

hopsack - form of weaving often lightweight fabric into a basketweave texture

Houndstooth - distinctive broken checks (often black and white) resembling a dog's incisor

inlay - extra piece of fabric in a bespoke garment's seams to allow for future alteration

interfacing - a textile used on the unseen (or wrong) side of fabrics to make an area of a garment more rigid; can be used to stiffen or add body to a fabric (e.g. shirt collars); also known as interlinings

knee - the measurement of the desired trouser size at the knee

lapel - describes the folded flaps of cloth on the front of a jacket or coat; the cloth is an extension of the collar and folds back against the breast and cut to create a step (notch), peak, or shawl finish.

notch lapel - distinguishable by a triangle cut where it meets the collar, often worn on two button jackets; least formal lapel

peak lapel - features upwards points towards the shoulder to emphasize a V silhouette; elongates the frame; creates an aggressive, yet rakish look

shawl lapel - runs continuously from the back of the neck down to the buttons on the front of the torso without breaks or points

lining - an inner layer of fabric, fur, or other material inserted into clothing or other items; provide a neat inside finish and conceal interfacing, padding, raw edges of seams, and other construction details

linen - a textile made from the fibers of the flax plant; stronger and sturdier than cotton, but does not hold dye as well

loom - machine used to produce cloth by weaving

luster - the intensity with which light shines on a piece of fiber

Macintosh - a form of waterproof raincoat made of rubberized fabric. Named after its inventor Charles Macintosh; also known as: Mac or Mackintosh.

made-to-measure - garment made from pre-existing stock pattern that is altered (usually by machine) to fit the customer's measurements

Melton - felt like cloth used to complete the under collar on a jacket or coat

merino wool - fine, silky, and soft; it is the finest grade of commercial sheep wool available

mohair - lustrous and durable fiber produced by angora goats

morning dress - a type of formal daytime ensemble; typically found at weddings (morning grey) and races; a dress code

nap - the raised surfaces found projecting from a fabric; produced intentionally (by brushing) or naturally (during weaving); flannel and saxony are often napped to provide extra warmth and comfort

necktie - a decorative long piece of cloth worn around the neck and knotted at the throat. Similar to an ascot, bow tie, zipper tie, cravat, knit tie, and clip-on tie

off-the-rack - finished clothing item sold in standard sizes

optima - fabric, usually cotton, used in tailoring for pocketing, banding, and inside cuffs; sometimes used in making of chest on jacket together with haircloth and body canvas

oxford - in textiles: cloth combining dyed and un-dyed yarns; they have durable yet soft hand; often used for weekend or button cuff shirts with a button down collar and is popular with American markets

padding - a thin cushioned material added to clothes to soften impacts on certain zones of the body or improve a physical feature; also known as: batting

pattern: template used for cutting out pieces of fabric for a garment

pick stitching - visible stitching along the lapels it is an indication of craftsmanship and tailoring

pinstripe - narrow, crisp lines running parallel; evenly woven into fabric and often spaced one half to one inch apart

pique - a type of cotton used on dress shirts and waistcoats; featuring a double twill, it is more dense than a single twill and has a distinct woven pattern similar to that of a honeycomb; also known as Marcella

placket - an opening in the upper part of trousers or at the neck or sleeve of a garments; allow garments to be put on and removed more easily

pleat - a type of fold formed by doubling fabric back upon itself and securing it in place to allow extra room for movement

accordion pleat - a form of tight pleating which allows the garment to expand its shape when moving; also known as: knife pleat

box pleat - back-to-back knife pleases; can also be formed to create stacked or double-box pleats

cartridge pleat - used to gather large amounts of fabrics into a small waistband or arms he without adding bulk to the seam

fluted pleat - small, rounded, or pressed pleats used as trimmings

kick pleat - short pleats leading upwards from the bottom hem of a garment such as a coat, usually at the back; allow the garment to drape straight down when stationary while also allowing freedom of movement.

organ pleat - parallel rows of softly rounded pleats resembling the pipes of an organ

rolled pleat - create tubular pleats which run the length of the fabric from top to bottom; also known as: stacked pleat

pocket - a bag or envelope like receptacle either fastened to or inserted in an article of clothing

barchetta - an Italian style of pocket that curves upward, like a boat, rather than straight across

beer pocket - small pocket within a jacket or vest sized specifically for carrying a bottle of beer

besom pocket - cut into a garment instead of being sewn on; often have reinforced piping along the slit of the pocket appearing as an extra piece of fabric or stitching; clarification: a type of welt and can also be corded; also known as slip pockets

camp pocket - sewn to the outside of the garment and usually squared off and characterized by seaming

flap pocket - a pocket of any construction having a piece of fabric sewn above the pocket opening for moderate protection

patch pocket - made of a separate piece of cloth sewn on to the outside of a garment

ticket pocket - a narrow pocket positioned above a flap pocket

watch pocket - small pocket designed to hold a pocket watch; sometimes found in men's trousers, waistcoats, and jeans

welt pocket - a set-in pocket that is finished and strengthened with piping along its length

pocket square - a small piece of textile work in the jacket pocket

pocketing - fabric used to make pockets for suits and coats

poplin - consists of a fine warp yarn and thick filling; popular choice for shirts

puckering - tendency of cloth to gather in runs, often apparent on the lapel and trouser spasms and most common in fused apparel

rayon - textile fiber or fabric made from regenerate cellulose

raw denim - unwashed, untreated denim after the dyeing process

raw edge - the unfinished edge of a piece of fabric; produces an unstructured look

rise - the distance from the crotch to the top of the waistband on trousers and denim; the difference between the inseam and outseam; can be a measurement or a proportional calculation; common options: high, medium, and low rise

Royal oxford - similar construction to oxford, however it si comprised of finer yarns contributing to a more sophisticated aesthetic

S number - for wool: indicates the fineness of the wool fiber; measured in micrometers; the higher the number the finer the wool

satin - silk fabric with glossy surface on one side

Savile Row - street in the West End of London that is regarded as the home of bespoke tailoring

scye - the armhole

sea island cotton - its weave construction consists of a high thread count; considered one of the best shirting fabrics; also known as: south sea island cotton

seam - a line where tow pieces of fabric are held together by thread

forearm seam - runs down the front of the arm; joins with the hindarm seam; allows for adjustment of the sleeve

hindarm seam - runs down the back of the arm; joins with the forearm seam

inseam - leg measurement

sideseam - also known as the outseam

seat - the hip measurement given

seersucker - a mid to lightweight fabric, often striped, used to make clothes for spring and summer wear; the puckered or crinkled effect is created by releasing the tensions at intervals during weaving, which holds the cloth away from the body allowing it to cool

sharkskin - a two-tone woven worsted fabric often used for suiting; smooth hand with a soft texture

shirting - fabric from which shirts are made; can include cotton, twill, flannel, voile, silk, chambray, and linen

silk - fabric spun from silk thread, which in turn comes from silk worms

silhouette - the overall look of the suit; describes the shape and fit of the jacket by the impression it gives in its outline

single-breasted - characterized by a narrow overlap fastened with a single row of buttons; always left over right; the narrow line features one to four buttons

slanted pockets - decorative buttons that do not work; also known as hacking in England

skirt - the area of material which makes up the bottom edge of the jacket and overlaps the trouser

sleeve pitch - angle at which the sleeve is pitched to the sleeve head; in a bespoke suit the sleeve is pitched to match the angle at which the arm hangs naturally from the shoulder

slub - knots or knobbles on a textile that appears thicker and raised

spalla camicia - Italian shoulder with no padding

spinning - process of making fibers into yarns

stitch - a single turn or loop of the thread or yarn in sewing, knitting, and embroidery

suit - a set of garments made from the same cloth and usually consisting of at least a jacket and trousers

tactile property - how a garment fits

taper - to become more narrow (as in a trouser leg that is more narrow at the ankle than the knee)

third hand - a sewing clamp that holds the fabric to be sewn

thread - a fine type of yarn

tie pin - an ornamental pin designed to hold the position of the necktie or cravat

texture - the feel, appearance, or consistency of a surface or substance

tuxedo - American term for a single or double-breasted jacket for formal or semi formal evening occasions.

trimmings - the raw materials that in addition to cloth make up the suit

tweed - rough twilled woolen eaves and clothes used for suits, jackets, and overcoats originally produced in Scotland and also associated with Ireland.

twill - such fabrics have a distinct diagonal surface pattern and weave enabling reinforced durability

vent - a cut/slit in the bottom (tail) of a coat, allowing the material to move more easily when being worn; examples: center vent, side/double vent, and ventless

vicuña - fiber sourced from the animal of the same name; the most expensive fiber in the world, it is lighter, softer, warmer, and finer than any other wool

voile - thin semi transparent cotton, woolen, or silken material in a twisted yarn construction used for making shirts

waist - the waist measurement given

warp - the (vertical) threads of a loom over and under which other threads (weft) are passed to make the cloth

weave - formation of fabric by interlacing long threads passing in one direction with others at a right angle to form them

weft - the crosswise (horizontal) threads on a loom that are passed over and under the warp threads to make cloth

white tie - the most formal men's dress code; comprised of a single-breasted tailcoat, black trousers (both with two silk grosgrain or satin facings running parallel), a white pique waistcoat, white stiff-front shirt, white bow tie, black patent shoes, and silk socks

working cuffs - functional buttonholes on a suit; also known as surgeon’s cuffs

worsted - lightweight cloth made of long staple combed woolen yarn, originally named after the village of Worsted near Norwich

yarn - length of fibers and/or filaments with or without twist

yarn count - denotes the size/weight of yarn; measured in terms of denier or tex

yoke - the upper back panel of the shirt covering the shoulders

#Glossary

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thercbray · 5 years

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Brand Analysis: Valentino, Part I (Beginnings - 1960s)

Summary: This is an analysis of Valentino SpA, the fashion and luxury brand, through an exploration of the brand history, creative evolution, business strategy, and competitive landscape. This is part one of a series.

This post originally began as part of a group term project for Sales Management, a course I took while studying abroad at Polimoda during my undergrad (May 2017). It has been updated and expanded from it’s original 10 page format to include the addition of visuals and content.

Beginnings

Born May 11, 1932 in Voghera, Italy, Valentino Clemente Ludovico Garavani showed interest in fashion and art. Theater, especially the costumes, would later become part of his design language. By the age of 17 he moved to Paris to study at the illustrious École des Beaux-Arts and then Chambre Syndicale de la Couture Parisienne. He started a cutting course with a former Dior premiere followed by an apprenticeship for couturier Jean Dessès in 1950. In his book, History of International Fashion, Didier Grumbach writes that Dessès clients predominantly consisted of “Greek and Egyptian courts, rich ship builders, and their entourages”; thus Dessès became well-known for embellished ball gowns and fresh takes on cruise wear, which “marked the 1950s”. The designer’s time at Dessès certainly left its mark on Valentino Garavani who’s aesthetic would also resonate with those same clientele. Five years later Valentino, with his friend and co-worker Guy Laroche, left Dessès to start Laroche’s own house. In 1959 Valentino moved back to Italy and opened his eponymous fashion house at 11 Via Condotti in Rome with the backing of his parents.

1960s

On February 28 at the via Condotti headquarters, Valentino’s first collection showed 110 looks to the Italian press. WWD archives report Valentino’s first collection consisted of “suits with short jackets, broad shoulders with set-in sleeves...and high half-belts...sometimes extending to peplums”; clients, which mostly consisted of South Americans and actresses, thought his collection was “young, fresh, and chic”. Macy’s was one of the first US retailers to support the brand and in February 1960 ran a seven column ad showcasing the available styles, retailing between $129 and $195 with a focus on tunics. Though popular amongst the fashion press, the first year of business nearly sent the company into bankruptcy. It was the help of Giancarlo Giammetti, an architecture student who dropped out of college to manage the business, that saved the house. For Fall/Winter ‘61-62, the house released its first Collezione Bianca (White Collection), which consisted of twelve look all inspired by Jacqueline Kennedy. By the end of 1961, Valentino SpA produced children's fashions and relocated to a smaller headquarters at 24 via Gregoriana.

On July 23, 1962 (hallmarking the tenth anniversary of the first fashion show in Italy) Valentino made his debut at Pitti Palace in Florence (the former fashion capital of the Italy). He emerged as one of the brightest young talents of the season; WWD described the collection as having barreled coats and day dresses, natural shoulders, well defined waistlines, suits with rows of self trimming, and jewel-toned eveningwear. His success was in part attributed to Fellini’s neo-realist La Dolce Vita, which propagated a classic Italian aesthetic. Some of the house’s earliest clients included: Elizabeth Taylor, Rita Hayworth, Alida Valli, and Silvana Pampanini.

By Fall/Winter 1963 his designs were in the time’s most fashionable speciality and department stores such as Macy’s, Saks, May and Co, Hannah Troy, Hess Bros, and Marella Agnelli. The following year, Valentino Garavani presented his collection at the Waldorf Astoria. By 1965, the house moved its shows from Florence to Rome and opened a second studio on via Sant’Andrea. Also, the aesthetic shifted from recurring sequins and feathers to a more elegant, developed hand with the clientele to support — Jacqueline Kennedy reportedly requested all croquis of that collection for her private selection while Audrey Hepburn decamped to the burgeoning house from Hubert de Givenchy. In summer 1967, the house expanded into menswear in partnership with Celanese and rainwear collections manufactured by Lawrence of London. Next came the iconic “V” logo (emblazoned on accessories or used as an allover print) then a more romantic style showcasing ruffles, soft fabrics, fitted waists, and small busts. In May 1968 the house opened a boutique (for full line rtw, footwear, handbags, belts, and accessories) in Paris on Avenue Montaigne back by four socialites and designed by Valerian Ribba. For Spring/Summer the house proposed its second Collezioni Bianca, showcasing a suits, coats, and more in white and off-white — most notably it solidified Valentino Garavani as a couturier and served as the basis for Jacqueline Kennedy’s wedding to Aristotle Onassis. That year’s Fall/Winter couture collection was a hit amongst American buyers; wholesales tripled (reportedly prices also increased by about a third). By the close of the decade business boomed on all fronts: wholesale orders rivaled French houses, a Canadian exclusivity deal with Holt Renfrew (not to mention accounts with Bergdorf Goodman, Macy’s, and Lord and Taylor); multiple collections (women’s couture and rtw, men’s, and children); licenses; stores in New York, Paris, Milan, and Rome; the adoration of the fashion press; and a long list of jet set clients

Sources

#Valentino

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thercbray · 5 years

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Product Knowledge: Handbags 101 (Part I)

Product Knowledge is a series in which I share information on a subject with a focus on product. In the first installment we explore the anatomy of a handbag, construction techniques, and details such as linings and hardware. Consider this your class in handbags 101.

Anatomy

Handbag, purse, pocketbook, pouch, clutch, or bag. Whatever the name, most handbags have several common features. All handbags are measured on a length x width x height model in either inches or centimeters and refer to the dimensions of the body, which is the main compartment. If the design includes handles or straps there should be a strap drop measurement, or the space between the lowest point on the body of the handbag and the highest point of the handle or strap. This is then secured to the body of a purse by a handle (or strap) connector. These connectors along with feet, zippers, closures, and other functional or ornamental metallic additions all fall under the category hardware. Top stitching refers to any visible stitching and is usually close to the seams. The clochette, if included, usually holds a lock and keys and is attached by a lanyard or strap to the handle. Many bags today include unique interiors featuring pockets, zippered pouches, wallets, etc.

Construction

There are three basic construction techniques: garment construction, top stitch construction, and box construction. The three methods are all different and suited for different types of bags.

Garment Construction

Garment (or turned) construction consists of turning the bag inside out and sewing the seams, much like apparel. The seams for garment constructed handbags are reinforced with welting (or piping), in the Goyard St. Louis shown above the seams are welted with black for a neater appearance consistent with the colorway. This type of construction is best suited for soft, light weight fabrics and can be used with one of the other construction methods.

Top Stitched Construction

Top stitching is any visible stitching on a handbag. It can be decorative or employed to add strength or secure bulky seams. Top stitched construction can be done be hand or using a high post machine (a shoemaker’s sewing machine) to sew the right side (or visible side of a purse) much like the construction of footwear. The heavy machinery makes it suitable for heavier, stiffer materials (like full grain leather). Hand top stitching is commonly seen in the luxury handbag market because it is time intensive and requires great skill. Made completely by the hand of a single craftsman and requiring 48 hours for completion, the birkin is an iconic example of hand top stitching. After the components of the bag are combined, the resulting joinings must be shaved or pared down to reduce the bulkiness and give a cleaner appearance. Alternatively, bindings are used to hide the ends of materials as seen in the Balenciaga Bazar tote’s edges (it has top stitching, too). When using a stiffer material, gussets are important to the design as they permit expansion, functionality, and add more dimension. A gusset is a pieces of material added to a handbag for structural support or reinforcement. There are a lot of great examples of top stitched bags such as the Chanel 2.55, Dior’s Lady Dior, and of course the birkin.

Box Construction

Box, or frame, construction is an older method of production and uses a wooden, metal, or plastic frame for structure. The material is attached by either gluing or sewing it onto cardboard backing and then attached to the frame. Often, gussets are used to allow for the addition of extra room. This type of construction is common among evening bags and often features padded straps and handles.

Details

Linings

Linings are added at the end of construction, if at all. Silk and leather are the premier materials used for lining, though bags of lower quality are often marked by inferior, less expensive fabric. Full grain leather, with it’s durable reverse side, does not require a lining — and the inclusion of one will add unnecessary weight to heavy material. However, the inclusion of a lining can add value to a bag in addition to the potential to add pockets for convenience. Additionally, providing protection from wear. Inner linings are usually made of cardboard and stiffened muslin.

Hardware

Hardware has an impact on the value of a bag and is judged by the quality of the material. Jewelry standards for casting, stamping, and plating are used to create each piece of hardware. Closures and strap connectors are two of the most common examples of hardware. Signature hardware and trims incorporate codes or name such as the snake motif closure on the Dionysus shoulder bag from Gucci from above. Conversely basic hardware consists standardize, typically non-district pieces. The studs seen on the above Christian Louboutin Zoompouch are categorized as basic hardware. Feet are a form of hardware and serve to protect the body, especially corners, from wear.

Handles and Straps

Handles are a key design element in the construction of handbags because it greatly impacts end-use. They come in a variety of styles and increase the portability of a design — some styles require the inclusion of a strap or handle (e.g. messenger bags and totes). Top handle designs, though classic, are not the most practical option because the wearer must carry their handbag by the straps or carry it in the crook of their arm for limited use of one hand; still top handle bags remain a popular choice. The quality of top handles comes from the type of material and finished used to create them. The type of material used for top handles can vary from metal to animal tusks. Shorter top handles are cushioned with foam and stiffened with cardboard. Handle lengths are measured in drops, which is the space between the body of a handbag and the top of the strap or handle. Drops less than 6.75 inches is best suited for hand carry, 7-20.75 inches works best for shoulder styles, and anything over 20 inches can be worn crossbody

Sources

#Handbags

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