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Produced by the Asante peoples in Ghana, adinkra i

Produced by the Asante peoples in Ghana, adinkra is a flat, cotton textile that is stamped with symbols which create the meaning of the garment. After kente, adinkra is the second most famous Asante textile tradition; adinkra cloths feature patterns created by a large inventory of designs carved from gourds and stamped with a black dye in a dense grid. Although designs were originally applied on strip-woven cloth, since the mid-nineteenth century adinkra has been made from machine-woven fabric. Both men’s and women’s cloths are sized and draped on the body like kente. When produced in red, dark brown, or black, adinkra signifies a period of mourning. Red is worn by the closest members of the deceased’s family. Otherwise, adinkra can be produced on white cloth or any of a wide variety of solid colors, tie-dyed, or multicolored fabrics. Since adinkra is more quickly produced, it is less expensive than equivalent sizes of kente and thus more accessible to a broader range of society. The origin of the word can be broken down into three parts: di meaning ‘to make use of’, nkra meaning ‘message’ and the a being the Akan prefix for an abstract noun. The combination of di/nkra signifies ‘to say goodbye’ and nkra within the word means intelligence or a message that each individual soul takes with them from God. Therefore, adinkra implies a message a soul takes with them as they leave the earth. Hundreds of adinkra signs and meanings have been documented, the oldest having connections to proverbs, folktales, folksongs and popular sayings. Newer designs, though, are associated with more common themes such as flora, fauna, everyday objects. The nuances of the graphic form of communication is usually only accomplished by well-trained artists and elders who are able to identify the names of the associated symbols, proverbs, and what representations are more appropriate for particular situations. Read more at the link in the bio!

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Vivienne Westwood and Malcom Mclaren’s 1977 “G

James Tissot’s 1876 painting ‘Summer’ featur

James Tissot’s 1876 painting ‘Summer’ features a woman standing in a doorway wearing a sheer muslin dress trimmed with yellow bows, which were fashionable for the time. Over the years he repeated this dress in several paintings, not only for its fashionability, but also for its artistic challenge. Tissot was famous for his portraits and genre paintings depicting modern life. In ‘Summer’, he leaves much interpretation up to the viewers. It is unclear whether the model is inviting someone in or leaving. Her social status is also in question, as she is standing in front of a billiards’ room, which was typically associated with men. However, these ambiguous types of paintings wildly appealed to Victorians at this time. The model is dressed extremely fashionable for the time, with a sheer summery afternoon dress trimmed with lemon-yellow bows. During this time it was very popular to wear bows of a contrasting color from the dress. The ensemble features a jacketed bodice with a high, ruffled collar, and ruffles trimming the sleeves. The skirt also has multiple narrow flounces. She accessorizes with a hat, parasol, and wedding band, revealing her marital status. Interestingly enough, Tissot painted this muslin dress multiple times in works such as ‘Seaside’, ‘Spring’, and ‘The Gallery of HMS Calcutta’. He could have painted it over and over due to its fashionability, but it is likely he chose it many times in order to showcase his artistic abilities. The dress has many intricate details such as delicate sheer fabric, frills, and bows, which showcases his ability to render challenging imagery. Despite the dress’s high fashionability and Tissot’s excellent execution, many critics disliked his pieces featuring the muslin dress, and had a lot to say about it, claiming his models were tiresome and boring. Read more at the link in the bio!

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In light of the recent news of Issey Miyake’s pa

In light of the recent news of Issey Miyake’s passing, we wanted to honor the revolutionary designer by featuring our 1983 overview which discusses the growth of Japanese fashion design during the decade. In a desire to revolutionize both the Western and global fashion system, Japanese designers such as Miyake turned towards ‘free’ forms of expression when designing their clothing. Becoming more accepted within America and globally, Japanese fashion designers lead the way with the notion of deconstructivism, oversized clothing with unusual silhouettes, and placing comfort at the forefront of their design process. In September of 1983 British Vogue noted Issey Miyake as one of the three most influential Japanese designers on 80s fashion trends alongside Rei Kawakubo and Yohji Yamamoto. Deconstructivist tendencies prioritized breaking down forms and silhouettes in order to make them new again, a technique that had never been seen before on the runway. Thanks to new voices being given a platform in 1983, a wide variety of designers and differing aesthetics prevailed within the industry, including that of Miyake. With the help of Miyake, the 1980s was a period in which Japenese designers emerged as a rival to the reigning European creators on a global stage. Miyake’s creativity, unique approach to silhouettes, and innovative techniques over his long career will continue to be celebrated. Read more at the link in the bio!

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A dashiki is a loose-fitting pullover tunic tradit

A dashiki is a loose-fitting pullover tunic traditionally worn in West African cultures that was eventually adopted by African diasporic communities as a symbol of African heritage. The dashiki is usually sewn from colorful, African-inspired cotton prints or from solid color fabrics, often with patch pockets and embroidery at the neckline and cuffs. Besides cotton, dashikis can be made out of a wide array of fabrics including brocades, silks, lace, or suiting. ‘Dashiki’ takes its namesake from the West African Yoruba term ‘danshiki’ which refers to a short, sleeveless tunic worn by men. Although the danshiki was originally a work garment and made of hand-woven strip cloth, in many parts of West Africa today such tunics are made of hand or machine woven textiles with or without sleeves and gussets. Today, the dashiki is often paired with matching trousers and worn as street clothes. It was during the 1960s that the garment first appeared in the American “ethnic” fashion inventory, along with other Afrocentric clothing styles. The beginning of the trend in America is possibly linked to the clothing worn by both African students and African diplomats at the United Nations in New York. The American dashiki varies from a sleeveless tunic to a more common pullover shirt or caftan with either short or dangling bat sleeves and is considered a unisex garment. Dashikis are still commonly worn today and recently had a revival in popularity around the early-to-mid 2010s. The garment became the trendiest casual/street wear for people of African descent worldwide. Read more at the link in the bio!

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This 1855 day dress proves to be very fashionable

This 1855 day dress proves to be very fashionable for the time with various decorative elements such a fringe and bold patterns, reflecting the rise of voluminous garments and heavy embellishments that became so popular. The dress is made from a combination of silk and wool with the silhouette being a large, bell-shaped skirt. It could have been supported by a crinoline cage, but more likely a series of stiffened petticoats. The high-necked, pleated bodice is loosely fit, tied at the waist with a blue ribbon to accentuate the fullness of the skirt. The vibrant blue ensemble features multiple intricate patterns such as florals, scallops, hatching, and polka dots. Using multiple prints on one garment became increasingly popular during this time as fashion held a ‘more is more’ mentality. Other details of the dress include delicate lace around the collar and fringe trimming the extremely fashionable pagoda sleeve. During the 1850s, sleeve style and construction were in constant transition; however they were typically quite full and frilled. The dress also features two tiered flounces, which were also a popular element during this time. There were many variations of flounces, with some garments having up to 6 tiers with alternating colors. An 1855 issue of ‘The New York Times’ states that sometimes when the flounces are the same material as the dress, only 2 are worn, which is the case for this day dress. Overall, this ensemble is a great example of fashionable dress in the 1850s due to its heavy embellishments of fringe and patterns, and for its tiered silhouette. Read more about our newly published article at the link in the bio!

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Despite the limited visibility of the garments, th

Despite the limited visibility of the garments, the figures depicted in Henry Lerolle’s The Organ Rehearsal can be seen as a fashionable group of churchgoers to 1885 standards — complete with plumed hats, bustled skirts, and plain dark male suiting. ‘The Organ Rehearsal'' is artist Henry Lerolle’s most celebrated painting although reviews of the work at the Paris Salon of 1885 were mixed. Each figure within the painting is modeled after the artist’s family and friends. The main subject of the painting, the female singer, is believed to be based on Marie Escudier, the youngest sister of Lerolle’s wife Madeleine. Lerolle himself makes an appearance in this work. The female singer at the front of the balcony wears a round brim hat with black fabric, likely silk, circling the crown. A bright yellow feather adorns the front of the hat and acts as the focal embellishment. Both the woman seated furthest to the left and the woman behind the organist are depicted in a similar style. Decorative brimmed hats were considered popular in 1885, featured in various fashion plates. The ensemble of the singer is relatively simple; a jacket paired with a pleated skirt that features a bustle to properly support the overall silhouette. The almost entirely black ensemble is paired with what appears to be a white chemise. According to Harper’s Bazar, a simple ensemble of a tailored dress, cravat, and hat was typical for mornings, shopping, charity visiting, and church. In order to achieve the wide bustle that was popular in the late 19th century, the dress of the singer features pleats that were additionally shown in fashion periodicals of the time. The male figures of the paintings similarly wear simple garments of black jackets, buttoned waistcoats, and a lighter shirt underneath. Typical of the time, the men would’ve paired their garments with a top hat, a popular accessory for upper class men. It can be concluded that the painted figures had removed their top hats upon entering the church setting. Read more at the link in the bio!

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Christian Dior’s 1948 ‘Eugénie’ ball gown d

Christian Dior’s 1948 ‘Eugénie’ ball gown designed for his ‘Zig Zag’ collection, proves to be a frothy, feminine gown which draws upon 19th century inspiration all while keeping in line with his famous New Look. The dress is made from blush-pink nylon featuring a tiered bell-shaped skirt that lengthens towards the back in what is called the ailée line. The sleeveless bodice is boned in order to maintain a smooth shape at the top with a tight waist. The lace detailing along the sweetheart neckline are kept in place with wire stays. This proves to be of interest because even though the gown itself appears light and soft, multiple elements are securely fastened in place. This way Dior was able to achieve a clear silhouette, while maintaining an airy and feminine effect. The gown draws inspiration from not only mid 19th century crinoline styles, but also Empress Eugénie de Montijo, who was one of the most influential patrons of French couture in the 1850s. Dior was also inspired by Franz Winterhalt’s romantic paintings of the Empress’s court. His ‘Zig Zag’ collection emphasized asymmetry, with many of these dresses featuring ruffling or shirring as details, which reached extreme popularity. His New Look placed emphasis on conventional, historical feminine styles, but also gave it a refreshing modern twist with asymmetry. Dior’s willingness to take risks contributed to the revival of French haute couture, and gave him a dominant voice in fashion. Read more about our newly published article at the link in the bio!

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This day dress from 1870 is made entirely of a vib

This day dress from 1870 is made entirely of a vibrant green silk printed with an abstracted floral ditsy pattern in a darker shade of green. Following trends of the period, the dress features a bustled silhouette that’s straight in the front with added volume at the back. Trimmings in the same green hue as the fabric adorn the sleeves, waist, skirt, princess lines, and neckline of the dress. The trims themselves are made of rows of tassels beneath ruched strips of fabric culminating in bows at the elbows and back of the waist. The garment features a deep V neckline finished with rows of tassels in order to emulate a vest. Buttons with passementerie of the same shade of green as the dress are positioned along the center-front of the garment. Like other highly fashionable dresses during the late 1860s and early 1870s, this dress features a large bustle in the back overlaid with voluminous folds of fabric. Creating an illusion of a vest on a dress rather than wearing separate garments was similarly popular for the time. Fashion periodicals and plates from the 1870s depict dresses with buttons, lapels, and other elements of waistcoats on numerous dresses. Combining numerous trims on one dress was also considered fashionable. Tassels and fringe, particularly, were utilized at the time and were sometimes specifically dyed in order to match the garment’s main fabric. On occasion, trims of contrasting color were used in order to create a more dramatic look when placed on top of the garment’s main fabric. Although black was considered to be the most fashionable color during this period, deeply-saturated jewel tones came in a close second. Cyprus green was reported in a November 1969 publication as one of the most popular colors of the season. The creation of aniline dyes enabled fabrics to be produced in a wide range of bright colors, including this popular green shade. Read more at the link in the bio!

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