Norman Weinstein

Critic; Writer / United States /

www.archnewsnow.com

Norman Weinstein’s Notable Books of 2013

Nonfiction, Fashion Design

title a–z

4 books

Emilio Pucci

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Vanessa Friedman

Alessandra Arezzi Boza Contributing Author

Armando Chitolina Editor

Italian fashion designer Emilio Pucci always resisted the title of “artist” and accepted solely the title of “dressmaker.” This lovingly compiled and monumentally scaled catalogue of his signature designs should settle the issue. Pucci was a major artist whose creativity consistently transcended the ready-to-wear sportswear lines that made his name internationally acclaimed.

The authors compile a thorough listing of Pucci’s influences: the art and architecture of his beloved city of Florence, his lifelong romance with tropical colors patterned in exuberantly rhythmic prints inspired by his travels in Africa and Indonesia, and his love of cinema. And fitting for a 20th-century Renaissance man was Pucci’s adoration of the painters of Italy’s first renaissance, Fra Angelico and Botticelli, mingled with his highly selective borrowing of ecstatically kinetic color motifs from the psychedelic ‘60s and the Pop art ‘80s.

Yet missing from this otherwise flawless narrative carefully woven by Friedman and Boza is the obvious impact of Italian carnivals, ancient and modern, on Pucci’s designs. The swirling electrifying colors that dance seemingly beyond the seams of silk dresses and scarves, the riotously sensual geometric forms that herald feminine curvaceousness, the spirit of athletic grace his Technicolor leggings proclaimed—these were carnivalesque artifacts in motion. The hundreds of color illustrations that fill this reasonably priced reprint of the original high-priced limited edition comprise the book’s essential core. A more joyous experience for lovers of the colors of carnival realized in fashion could not be imagined.

Fashion Design, Referenced

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Alicia Kennedy

Emily Banis Stoehrer

With Jay Calderin

No general book on fashion design in recent years has so successfully reorganized how to think about the field as Fashion Design, Referenced. It has accomplished this goal through reformulating lively features of website design and infusing electrifying graphics with erudite cross-disciplinary commentary. As Alicia Kennedy writes in her astute foreword, “Our book approaches fashion design from the perspective of connectivity. It unfolds how fashion is imagined, produced, and disseminated within larger social, economic, and cultural systems.”

Through over a 1,000 well-reproduced photographs and drawings, and through scores of judiciously and passionately written brief articles—Wiki or blog length—readers are encouraged through the book’s mandala-like organization to imaginatively follow rich trails of cross-disciplinary association in a non-linear fashion. That said, it is just as pleasurable to read the book conventionally from opening page to last, enjoying a sprawling multi-dimensional text on fashion design, moving from an overview of the profession, to a primer on how bare-bone ideas materialize into finished products, to avenues through which fashion reaches its audience, and finally as a critical examination of innovative practices of the major movers and shakers of the 20th and 21st centuries.

Particularly striking are the many parallels established between architectural and fashion design, as well as the ties between pop music and fashion trends. This is that rare fashion overview that even designers outside of fashion can find constantly inspirational.

Hippie Chic

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Lauren Whitley

Perhaps the most discerning and fair-minded reviewer of this exhibition catalogue for the Museum of Fine Arts (MFA), Boston’s wildly popular textiles and fashion exhibition “Hippie Chic” would be someone who didn’t actually experience that decade wearing some of the clothing represented in this show. On the other hand, this reviewer, having been there and done that, is quite enthusiastically willing to deal with the multiple virtues and vices of this catalogue, facets that might be overlooked by those who have simply studied the era with a degree of scholarly detachment and generational distance.

As curator of the MFA Boston’s impressive collection of 45,000 textiles and costumes, Lauren Whitley brings a generous awareness of the forerunners of sixties garb, particularly the sinewy Art Nouveau roots of the wildly patterned, shockingly colorful, psychedelic dresses, blouses, suits, and robes of the time. She is equally sensitive to the DIY trends in which those without fashion design training reconfigured indigenous people’s clothing designs that soon became appropriated by mainstream fashion houses and publications. Janis Joplin, Jimi Hendrix, and The Beatles, familiar musical icons of the hippie era spanning the mid-1960s to early ’70s, appear in their rainbow-hued and dazzling splendor, along with many obscure and forgotten figures. Swirls of radiantly layered leathers, beads, and fringe, often on shirts and jackets androgynously contoured, emphasize the era’s spirit of surrealistically exotic hedonism.

Where Whitley trips (sorry about that!) herself up occurs through her questionable categories of “Trippy Hippie,” “Fantasy Hippie,” “Retro Hippie,” “Ethic Hippie,” and “Craft Hippie.” In actuality, the designs inspired by drugs, music, and indigenous peoples, and neo-Art Nouveau accents constantly intertwined, and were juxtaposed as well as even superimposed on one another in both individual and group wardrobes. Although Philippe Garner in Sixties Design (TASCHEN) puts sundry varieties of hippie fashion under one sprawling chapter heading of “Pop Culture – Pop Style,” an arguable category, I think it does less harm to the anarchistic spirit of hippie chic than Whitley’s hair-splitting that fragments a complexly knotted zeitgeist into sentimental moments of fad fashion.

Hippie clothes were about shout-out abstract color masses with Pop Art sinewy typography in motion. This was clothing intended to dance in when going to a Joplin or Hendrix concert—not clothing worn to emulate the look of musical stars. To dance in hippie clothing was to become a human kaleidoscope. Seeing it on pale white mannequins enervates instead of stimulates.

But I’m holding on to my copy of Hippie Chic nevertheless. It makes me wish I had never given away my purple velvet cowboy shirt or my Peruvian poncho that seconded as a dandy’s cape.

The Sustainable Fashion Handbook

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Sandy Black

Few books with “sustainability” in the title possess the ambitiousness and cross-disciplinary depth of this colossal handbook on sustainable fashion. With hundreds of illustrations and scores of incisive interviews with designers, eco-activists, and entrepreneurs, there is an overwhelming amount in this hefty coffee-table book that really is a provocative sourcebook for sustainable designers in any field.

Sandy Black has sharply organized a burgeoning mass of sustainable fashion in a form that addresses key philosophical as well as practical questions, beginning with the fundamental (uncomfortable) question as to whether in a field as fad-driven as fashion if and how “sustainability” can be realistically achieved. That question takes on urgency when we realize that textiles and clothing life cycles use more energy and water than any other industry except for construction and agriculture. In search of sustainability in fashion—which perhaps would be a more accurate title than the one Black gave—we’re treated in these pages to wide divergences in perspectives from designers. Hussein Chalayan welcomes the challenges sustainability issues present—but straightforwardly justifies designing with materials that are not from recycled sources. The fabric printing and design company Ely Kishimoto regretfully acknowledges that it hasn’t yet figured out a process to remove dangerous chemicals from its wastewater.

Interspersed with these moderately cautionary accounts are remarkably uplifting accounts by fashion designers defying the conventional marketplace wisdom of supporting quickly and cheaply produced “throwaway” clothing with polluting consequences. Most crucially, one comes away from this swirl of new fashions, imaginary and ready-to-wear alike, with a sense of integrative vision. Perhaps designer Shelley Fox’s notion that all well-designed clothing is ipso facto sustainable is a tad simplistic, but the cross-cultural evidence in Black’s sourcebook reinforces the notion that fashion, rather than being the most ephemeral and toxic of necessary and everyday design arts, can also be made manifest in clothing that is passed down through appreciative generations.

Black’s book’s sole flaw might be its overwhelming U.K.-focus—but that seems unsurprising given the current British dominance in designing sustainable fashion, realizing that prolonging and re-purposing textile life contributes to our global commonwealth.