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Women Fashion Blog

• 18/2/2017 - Native American fashion like you’ve never seen before

Frankie Welch launched the White House’s first fashion show (for Lady Bird Johnson), outfitted First Lady Betty Ford in green brocade for President Gerald Ford’s inauguration, and designed patterned scarves that dominated the DC social set from the late 1960s through the ’80s.

She is also Native American. And while her designs drew heavily from Cherokee symbolism and craft, they never crossed the line into cliché or costume.

Welch is one of nearly 70 designers featured in “Native Fashion Now,” running through Sept. 4 at the National Museum of the American Indian in the Financial District. Organized by the Peabody Essex Museum in Salem, Mass., the exhibit is the first large-scale traveling exhibition devoted to contemporary Native design.

“We wanted to shake up the preconceived notions of Native American art and creative expression,” says curator Karen Kramer, who conceived the show. “It’s not buckskin and beads and feather headdresses.”

“Native Fashion Now” demonstrates that astonishing breadth, from Lloyd “Kiva” New’s 1960s shirt-dresses straight out of “I Love Lucy” to Douglas Miles’ political skater-tees and skateboards to Wendy Ponca’s avant-garde space-age couture gowns made from silver Mylar, eagle feathers, crystals and space-shuttle glass.

It’s a corrective of sorts: Like the Fashion Institute of Technology’s current focus on black fashion designers, “Native Fashion Now” showcases a group that has been underrepresented on the runways, in trendy boutiques or on the red carpet — and asks why.

The show opens with a stunning red-and-black silk-and-organza gown festooned with beads and feathers that wouldn’t look out of place on a Galliano runway, by the Navajo designer Orlando Dugi. It then leads to an installation of parasols and a modern shift dress from “Project Runway” contestant Patricia Michaels.

One of the main themes of the exhibit is the way that Native artists mix their heritage and tradition with other cultures and technology. Bethany Yellowtail — a Los Angeles-based designer with experience at corporate brands such as BCBG — embellishes her short, figure-hugging leather-and-lace party dresses with elk teeth, a common motif in Northern Cheyenne art, while Jamie Okuma takes a pair of Christian Louboutin boots and covers them in a tableau of birds and patterns using glass beads.

“It’s so cool to look around and see the diversity of the way Native people think,” Yellowtail tells The Post during an exhibition preview. “I hope visitors come in here and know that the stereotypes [of us] in media and film and fashion are not true. That is not truth; what they see in this building is truth.”Read more at:prom dresses 2017 uk | long prom dresses uk

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• 16/2/2017 - The History of ’40s Fashion in Vogue

As Vogue celebrates its 125th year, we look back at the history of fashion, and the magazine, in a series of “five points” videos by decade, narrated by the stylishSarah Jessica Parker.

Elsa Schiaparelli escaped the German invasion of France in 1940 with three dresses tucked in her bag. Later, she wrote an essay for Vogue titled “Needles and Guns,” and touched on all the magazine’s wartime preoccupations.

NEAT, NARROW—AND LAW-ABIDING

It was the U.S. government, not Paris, that extended the long, lean look of the decade. Restrictions on valuable materials during the war gave rise to a new fashion credo for American women: “Fewer, simpler, better.”

WAR

Vogue’s coverage of the war went far beyond the world of fashion. Many staffers looked to international editions of the magazine for a network of information. Lee Miller documented the horrors of the conflict in Europe; Mary Jane Kempner reported from Asia. Irving Penn shared his experiences, and so did photographer and prisoner of war Constantin Joffé; Lee and Carl Erickson sketched and recounted the exodus of refugees from Senlis, France, to Paris.

WOMEN GO TO WORK . . . FOR A WHILE

“Take a job! Release a man to fight!” declared the 1943 September issue of Vogue. Throughout the war, the magazine threw the spotlight on the changing role of women—from the Womens Army Auxiliary Corps to Lady Diana Copper and her “one-woman farm”—proving that a “woman’s work is everywhere!” But women’s “double-duty lives” were cut short toward the end of the war; one journalist summed it up with an article called “Back on the Pedestal, Ladies.”

PARIS IS SILENT; AMERICA FINDS ITS VOICE

The follow-the-leader relationship between French and American fashion was upended by the war. Chanel shuttered her business in 1939, and while the business of couture limped along in Paris, no news was forthcoming from the city. The Germans had suspended the publication of French Vogue in 1940. The void was filled with American designers—couturiers like Adrian, whose claim to fame was as a costumer in Hollywood; Mainbocher, who’d recently returned from Paris; Charles James, who approached fashion with a sculptor’s hand; the Ukraine-born Valentina; and Claire McCardell, who was known as the “mother of American sportswear.” In October 1944, Vogue was able to publish the “first report from the French couture since 1940”; the following spring, it reprinted the Paris edition’s special “Liberation” issue.

THE CURVY NEW LOOK

A soft, curvy line was already forming in fashion before the conflict in Europe.Christian Dior ditched the “shoe-string silhouette” with his postwar debut. Dubbed the New Look, the collection was one of the most influential in fashion history. With their high heels, nipped waists, and full skirts, Dior’s women looked like beautiful upside-down flowers. His vision of fashion was forward-thinking and fresh, yet inspired by the Belle Epoque curves of his mother’s time. There was a rich symbolism in the New Look. What the world needed then was love—and Dior delivered it in the form of a dress.Read more at:long prom dresses uk | prom dress shops

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