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"content": "\u003cp>September 1 marked the opening day of the month-long \u003cb>Architecture and the City\u003c/b> festival, a vast array of tours, screenings, lectures, workshops, and exhibitions focused on the physical shape of San Francisco. In its ninth year, the festival is sponsored by the American Institute of Architects, San Francisco and the Center for Architecture + Design, but the programming involves everyone from the Exploratorium to Pier 24. The festival addresses a variety of specifics such as green design and shrinking public spaces, but all events seek to highlight what we regularly take for granted as city-dwellers: how our surroundings affect and facilitate daily life. Since the festival is jam-packed, I’ve selected a few choice options to make the decision process a bit easier for you.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/09/08/architecture1.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cb>Architecture and the City\u003c/b> has its fair share of cocktail parties and tours through swanky modernist homes, but the most interesting events examine the city from less expected vantage points. Christopher Downey’s walking tour through SOMA demonstrates the tactics the blind use to navigate a city. Since losing his sight in 2008, Downey continues to work as an architect, consulting on and designing projects to better accommodate a sightless experience of space. Downey posits, “Great architecture for the blind and visually impaired is just like any other great architecture, only better.” For this tour, Downey will describe “acoustic wayfinding” through city streets and buildings, and put participants to the test: can you think up new ways to add audible markers to a particular building?\u003c/p>\n\u003cp>\u003cb>Acoustic Wayfinding for the Blind\u003c/b>\u003cbr>\nSeptember 20, 2011, 6-8 pm, $50\u003cbr>\nTour start point: Arup, 560 Mission Street, 7th Floor, San Francisco\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/09/08/architecture2.jpg\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With your senses primed, take advantage of the two-hour boat tour, \u003cb>(Re)discover the New Bay Bridge\u003c/b> and breathe in some salty air. Led by architects and Bart Ney of San Francisco-Oakland Bay Bridge Seismic Safety Projects, the tour promises to focus on the design process, but I highly doubt, once out on the water, that you’ll be paying attention to much more than the rare pleasure of seeing the Bay Bridge from below.\u003c/p>\n\u003cp>\u003cb>(Re)discover the New Bay Bridge\u003c/b>\u003cbr>\nSeptember 27, 3-5 pm, $75\u003cbr>\n1 Ferry Building, San Francisco\u003c/p>\n\u003cp>\u003cb>Reclaim Market Street!\u003c/b>, an exhibition created by the Studio for Urban Projects, draws on a rich and varied history of interventions — both sanctioned and renegade — made into public spaces around the world. The text-heavy exhibition seeks to create a public dialogue leading up to the 2015 scheduled repaving of Market Street. Examples are grouped into three arenas: the street, the sidewalk, and the plaza. Though it requires stamina to read all the way through, \u003cb>Reclaim Market Street!\u003c/b> is worth the effort. It shows that “temporary urban experiments in creating new public spaces” can be radical, playful, and incredibly successful. Paris Plages, for instance, turns roads along the Seine into sandy beaches for four weeks each summer. Forget the romance and the lights, visit Paris for the deckchairs, volleyball nets, and mini-pools.\u003c/p>\n\u003cp>\u003cb>Reclaim Market Street!\u003c/b>\u003cbr>\nSeptember 6-30, 2011, Free\u003cbr>\nSPUR, 654 Mission Street, San Francisco\u003c/p>\n\u003cp>On September 14, AIASF will screen \u003cb>Malls R Us\u003c/b>, a documentary by Helene Klodawsky and an investigation into North America’s (and the globe’s) religious-like obsession with the indoor shopping mall. The film includes an interview with Ray Bradbury, a soundtrack by the ethereal French band AIR, and footage of a million-square-foot project in Dubai. While all this points to the otherworldly, be reminded that Target is set to open in the Metreon in October 2012, along with 20 new restaurants and an expanded dining terrace. \u003cb>Malls R Us\u003c/b> could be closer to home than you think.\u003c/p>\n\u003cp>\u003cb>Malls R Us\u003c/b>\u003cbr>\nSeptember 14, 5:30 pm\u003cbr>\nSan Francisco Main Library, Koret Auditorium, 100 Larkin Street, San Francisco\u003cbr>\nAdmission is free, but registration is required. Register at aiasf.org/archandcity/films.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/09/08/architecture3.jpg\" alt=\"\">\u003c/p>\n\u003cp>My final suggestion dwells neither on the current urban landscape nor proposals for San Francisco’s future, but it’s just too appealing to pass up. A tour of the Marine Mammal Center promises participants an insider’s walk through the veterinary hospital’s unique operations — it is the only institution of its kind in its entire 600-mile rescue range. Situated in the Golden Gate National Recreation Area, the center moved into a new facility in 2009, where solar panels shade pools and scientists and volunteers work diligently to rehabilitate, study, and educate the public about marine mammals. Now is the season for sea lions, though the center’s “current patients” do include one exceptionally adorable Pacific harbor seal named Jude.\u003c/p>\n\u003cp>\u003cb>Behind the Scenes at the Marine Mammal Center \u003c/b>\u003cbr>\nSeptember 24, 2-4 pm, $30\u003cbr>\n2000 Bunker Road, Fort Cronkhite, Sausalito\u003c/p>\n\u003cp>The month of September, thanks to \u003cb>Architecture and the City\u003c/b>, is packed with opportunities to learn more about San Francisco, and how its physical shape has affected the lives within it over the years. The festival is more than a staid architecture history lesson, however, and the most exciting events — like those listed above — feature half-finished projects, fantastic plans, and the dynamic proposals that will shape and inspire this city’s future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Architecture and the City\u003c/b> continues through September 30, 2011. For \u003ca href=\"http://www.aiasf.org/Programs/Public_Programs/Architecture_and_the_City.htm\">more information\u003c/a>, visit aiasf.org/archandcity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>September 1 marked the opening day of the month-long \u003cb>Architecture and the City\u003c/b> festival, a vast array of tours, screenings, lectures, workshops, and exhibitions focused on the physical shape of San Francisco. In its ninth year, the festival is sponsored by the American Institute of Architects, San Francisco and the Center for Architecture + Design, but the programming involves everyone from the Exploratorium to Pier 24. The festival addresses a variety of specifics such as green design and shrinking public spaces, but all events seek to highlight what we regularly take for granted as city-dwellers: how our surroundings affect and facilitate daily life. Since the festival is jam-packed, I’ve selected a few choice options to make the decision process a bit easier for you.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/09/08/architecture1.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003cb>Architecture and the City\u003c/b> has its fair share of cocktail parties and tours through swanky modernist homes, but the most interesting events examine the city from less expected vantage points. Christopher Downey’s walking tour through SOMA demonstrates the tactics the blind use to navigate a city. Since losing his sight in 2008, Downey continues to work as an architect, consulting on and designing projects to better accommodate a sightless experience of space. Downey posits, “Great architecture for the blind and visually impaired is just like any other great architecture, only better.” For this tour, Downey will describe “acoustic wayfinding” through city streets and buildings, and put participants to the test: can you think up new ways to add audible markers to a particular building?\u003c/p>\n\u003cp>\u003cb>Acoustic Wayfinding for the Blind\u003c/b>\u003cbr>\nSeptember 20, 2011, 6-8 pm, $50\u003cbr>\nTour start point: Arup, 560 Mission Street, 7th Floor, San Francisco\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/09/08/architecture2.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With your senses primed, take advantage of the two-hour boat tour, \u003cb>(Re)discover the New Bay Bridge\u003c/b> and breathe in some salty air. Led by architects and Bart Ney of San Francisco-Oakland Bay Bridge Seismic Safety Projects, the tour promises to focus on the design process, but I highly doubt, once out on the water, that you’ll be paying attention to much more than the rare pleasure of seeing the Bay Bridge from below.\u003c/p>\n\u003cp>\u003cb>(Re)discover the New Bay Bridge\u003c/b>\u003cbr>\nSeptember 27, 3-5 pm, $75\u003cbr>\n1 Ferry Building, San Francisco\u003c/p>\n\u003cp>\u003cb>Reclaim Market Street!\u003c/b>, an exhibition created by the Studio for Urban Projects, draws on a rich and varied history of interventions — both sanctioned and renegade — made into public spaces around the world. The text-heavy exhibition seeks to create a public dialogue leading up to the 2015 scheduled repaving of Market Street. Examples are grouped into three arenas: the street, the sidewalk, and the plaza. Though it requires stamina to read all the way through, \u003cb>Reclaim Market Street!\u003c/b> is worth the effort. It shows that “temporary urban experiments in creating new public spaces” can be radical, playful, and incredibly successful. Paris Plages, for instance, turns roads along the Seine into sandy beaches for four weeks each summer. Forget the romance and the lights, visit Paris for the deckchairs, volleyball nets, and mini-pools.\u003c/p>\n\u003cp>\u003cb>Reclaim Market Street!\u003c/b>\u003cbr>\nSeptember 6-30, 2011, Free\u003cbr>\nSPUR, 654 Mission Street, San Francisco\u003c/p>\n\u003cp>On September 14, AIASF will screen \u003cb>Malls R Us\u003c/b>, a documentary by Helene Klodawsky and an investigation into North America’s (and the globe’s) religious-like obsession with the indoor shopping mall. The film includes an interview with Ray Bradbury, a soundtrack by the ethereal French band AIR, and footage of a million-square-foot project in Dubai. While all this points to the otherworldly, be reminded that Target is set to open in the Metreon in October 2012, along with 20 new restaurants and an expanded dining terrace. \u003cb>Malls R Us\u003c/b> could be closer to home than you think.\u003c/p>\n\u003cp>\u003cb>Malls R Us\u003c/b>\u003cbr>\nSeptember 14, 5:30 pm\u003cbr>\nSan Francisco Main Library, Koret Auditorium, 100 Larkin Street, San Francisco\u003cbr>\nAdmission is free, but registration is required. Register at aiasf.org/archandcity/films.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/09/08/architecture3.jpg\" alt=\"\">\u003c/p>\n\u003cp>My final suggestion dwells neither on the current urban landscape nor proposals for San Francisco’s future, but it’s just too appealing to pass up. A tour of the Marine Mammal Center promises participants an insider’s walk through the veterinary hospital’s unique operations — it is the only institution of its kind in its entire 600-mile rescue range. Situated in the Golden Gate National Recreation Area, the center moved into a new facility in 2009, where solar panels shade pools and scientists and volunteers work diligently to rehabilitate, study, and educate the public about marine mammals. Now is the season for sea lions, though the center’s “current patients” do include one exceptionally adorable Pacific harbor seal named Jude.\u003c/p>\n\u003cp>\u003cb>Behind the Scenes at the Marine Mammal Center \u003c/b>\u003cbr>\nSeptember 24, 2-4 pm, $30\u003cbr>\n2000 Bunker Road, Fort Cronkhite, Sausalito\u003c/p>\n\u003cp>The month of September, thanks to \u003cb>Architecture and the City\u003c/b>, is packed with opportunities to learn more about San Francisco, and how its physical shape has affected the lives within it over the years. The festival is more than a staid architecture history lesson, however, and the most exciting events — like those listed above — feature half-finished projects, fantastic plans, and the dynamic proposals that will shape and inspire this city’s future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Architecture and the City\u003c/b> continues through September 30, 2011. For \u003ca href=\"http://www.aiasf.org/Programs/Public_Programs/Architecture_and_the_City.htm\">more information\u003c/a>, visit aiasf.org/archandcity.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There was a time when all clothing was “custom made,” sewn at home or ordered from a local tailor or dressmaker. Today, most clothing is purchased “ready made,” from department stores or boutiques, or discount big-box retailers like Wal-Mart. Only the very rich, the very poor, recent immigrants from the Third World, and London bankers still have their clothes made for them. We’ve largely lost, or discarded, this personal relationship between the client and the artisan/producer. We’ve gone from being clients who participate in a creative process to consumers who purchase designers’ ready-made ideas.\u003c/p>\n\u003cp>Couture is a paradox. As a concept, couture can only exist in an industrialized society, where things are purchased “off the rack,” and not created, one by one, for the client in an atelier. Couture’s value lies in its distance from the ordinary. And yet couture is in danger of being extinguished by the very society that created it. Year by year, the ranks of skilled artisans capable of producing “couture” quality goods diminishes. As the cost of a couture garment rises, the client base shrinks. Today, a couture suit can cost as much as a luxury car — it is not uncommon to spend $50,000 on a Chanel suit — and a ball gown comes with a six-figure price tag.\u003c/p>\n\u003cp>Yves Saint Laurent, the subject of a grand retrospective at the de Young Museum in San Francisco, was the last of the great couturiers. He belonged to the last generation of couture designers who could still rely on a large and loyal client base. When Saint Laurent first entered the trade, it was still possible for a designer to support his house (his atelier, his salesgirls, his business managers) with the proceeds from his couture business. Today, due to the high cost of couture goods, the design houses survive — and thrive — on licensed goods, on branded perfumes, lipsticks, shoes, and other sundries. The Parisian designers lose money on their couture lines, and recoup it, in spades, through a host of “affordable luxuries” aimed at the mass market.\u003c/p>\n\u003cp>Saint Laurent’s career bridges the transition between these two periods. When Saint Laurent first began, most French consumers either made their own clothes at home, or ordered their clothes “custom” from local tailors or dressmakers. By 2002, when Saint Laurent retired, most French consumers purchased their clothes “ready made.”\u003c/p>\n\u003cp>The pieces included in this retrospective track these changes in consumer culture. Saint Laurent’s earliest pieces display a strict, classical formality. They show off the atelier’s formal skills and attention to detail. As the years progress, Saint Laurent’s designs draw increasingly from the street, they become more atmospheric, less formal. The emphasis moves away from the atelier’s impeccable formal skills, and towards showcasing Saint Laurent’s singular vision. The house’s expertise is never in question, but the mood shifts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saint Laurent’s most iconic piece remains his evening tuxedo for women, represented here by his 1966 design, made to order for the French actress Francoise Hardy. Borrowed from men’s suiting, the tuxedo still embodies the tailor’s art. Unlike Saint Laurent’s opulent evening gowns or his reworkings of street fashions, the tuxedo retains couture’s original connection to tailoring. It is a garment designed to subtly flatter the client. It mutes the designer’s voice in favor of craft and convention.\u003c/p>\n\u003cp>The designer’s vision is there, but rather than announcing itself (as the ballgowns do) or dictating a role and a mood (like the “Safari” pieces), the tuxedo works to foreground the client’s body. It is a subtle distinction — whether a design pushes us to look at the woman wearing the dress, or to look at the dress wearing the woman — but the difference is enormous. In one, the woman completes a picture. In the other, the design completes the woman.\u003c/p>\n\u003cp>Couture now functions largely as a generator of visual images. This season, pirates. Next season, Marie Antoinette at play. We’ve unyoked the intimate relationship between our clothing and our bodies. We buy standardized pieces, cut and sewn in mysterious ways, and allow fashion trends to ebb and flow over our skins. We buy, not so much to flatter our own bodies as to complete our fantasies. Couture provides a key link in that fantasy. It allows us to imagine that a master designs for us. Yet increasingly couture designs are being superseded by images from popular culture — actors and actresses, movie sets, and musicians set our trends.\u003c/p>\n\u003cp>We have other sources for our dreams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Yves Saint Laurent\u003c/b> is at the de Young Museum through April 5, 2009. For \u003ca href=\"http://www.famsf.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=940\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit famsf.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was a time when all clothing was “custom made,” sewn at home or ordered from a local tailor or dressmaker. Today, most clothing is purchased “ready made,” from department stores or boutiques, or discount big-box retailers like Wal-Mart. Only the very rich, the very poor, recent immigrants from the Third World, and London bankers still have their clothes made for them. We’ve largely lost, or discarded, this personal relationship between the client and the artisan/producer. We’ve gone from being clients who participate in a creative process to consumers who purchase designers’ ready-made ideas.\u003c/p>\n\u003cp>Couture is a paradox. As a concept, couture can only exist in an industrialized society, where things are purchased “off the rack,” and not created, one by one, for the client in an atelier. Couture’s value lies in its distance from the ordinary. And yet couture is in danger of being extinguished by the very society that created it. Year by year, the ranks of skilled artisans capable of producing “couture” quality goods diminishes. As the cost of a couture garment rises, the client base shrinks. Today, a couture suit can cost as much as a luxury car — it is not uncommon to spend $50,000 on a Chanel suit — and a ball gown comes with a six-figure price tag.\u003c/p>\n\u003cp>Yves Saint Laurent, the subject of a grand retrospective at the de Young Museum in San Francisco, was the last of the great couturiers. He belonged to the last generation of couture designers who could still rely on a large and loyal client base. When Saint Laurent first entered the trade, it was still possible for a designer to support his house (his atelier, his salesgirls, his business managers) with the proceeds from his couture business. Today, due to the high cost of couture goods, the design houses survive — and thrive — on licensed goods, on branded perfumes, lipsticks, shoes, and other sundries. The Parisian designers lose money on their couture lines, and recoup it, in spades, through a host of “affordable luxuries” aimed at the mass market.\u003c/p>\n\u003cp>Saint Laurent’s career bridges the transition between these two periods. When Saint Laurent first began, most French consumers either made their own clothes at home, or ordered their clothes “custom” from local tailors or dressmakers. By 2002, when Saint Laurent retired, most French consumers purchased their clothes “ready made.”\u003c/p>\n\u003cp>The pieces included in this retrospective track these changes in consumer culture. Saint Laurent’s earliest pieces display a strict, classical formality. They show off the atelier’s formal skills and attention to detail. As the years progress, Saint Laurent’s designs draw increasingly from the street, they become more atmospheric, less formal. The emphasis moves away from the atelier’s impeccable formal skills, and towards showcasing Saint Laurent’s singular vision. The house’s expertise is never in question, but the mood shifts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saint Laurent’s most iconic piece remains his evening tuxedo for women, represented here by his 1966 design, made to order for the French actress Francoise Hardy. Borrowed from men’s suiting, the tuxedo still embodies the tailor’s art. Unlike Saint Laurent’s opulent evening gowns or his reworkings of street fashions, the tuxedo retains couture’s original connection to tailoring. It is a garment designed to subtly flatter the client. It mutes the designer’s voice in favor of craft and convention.\u003c/p>\n\u003cp>The designer’s vision is there, but rather than announcing itself (as the ballgowns do) or dictating a role and a mood (like the “Safari” pieces), the tuxedo works to foreground the client’s body. It is a subtle distinction — whether a design pushes us to look at the woman wearing the dress, or to look at the dress wearing the woman — but the difference is enormous. In one, the woman completes a picture. In the other, the design completes the woman.\u003c/p>\n\u003cp>Couture now functions largely as a generator of visual images. This season, pirates. Next season, Marie Antoinette at play. We’ve unyoked the intimate relationship between our clothing and our bodies. We buy standardized pieces, cut and sewn in mysterious ways, and allow fashion trends to ebb and flow over our skins. We buy, not so much to flatter our own bodies as to complete our fantasies. Couture provides a key link in that fantasy. It allows us to imagine that a master designs for us. Yet increasingly couture designs are being superseded by images from popular culture — actors and actresses, movie sets, and musicians set our trends.\u003c/p>\n\u003cp>We have other sources for our dreams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Yves Saint Laurent\u003c/b> is at the de Young Museum through April 5, 2009. For \u003ca href=\"http://www.famsf.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=940\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit famsf.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hiroshi Sugimoto: History of History",
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"content": "\u003cp>“Ever since the age of cave painting,” Sugimoto writes, “humans have wanted a unified vision with which to see the chaos of this world of ours. Largely, it has been artists who have filled such a role — and they still hold this function today. No matter how brilliantly religion and science might explain and persuade, there will always remain shadowy areas. Scooping up shimmering particles, these persons of vision fashion decoding devices that afford us a look around in the gloom; we call their handiwork art.”\u003c/p>\n\u003cp>\u003cb>Hiroshi Sugimoto: History of History\u003c/b> diverges from the Asian Art Museum’s usual fare. Curated by Sugimoto himself, \u003cb>History of History\u003c/b> opens with a room filled with artfully displayed fossils — ammonites and other fossilized sea creatures hang on the wall, while three metal cases sit on black plinths. In each case, someone has carefully carved away the surrounding matrix, releasing the creature from its stone prison. Theatrically lit from above, the fossils seem to float, unsupported, in the gallery’s dark space.\u003c/p>\n\u003cp>The sea lily fossils on the wall are incomparably lovely, their fragile structures embedded in rich red Moroccan sandstone. Almost too perfect and stylized to be organic, the fossils create a complex pattern that rivals any Art Nouveau design.\u003c/p>\n\u003cp>This is not what one expects to find at a Sugimoto exhibition. Sugimoto, better known for his meticulously composed black-and-white photographs, headlines a double-bill at the Asian Art Museum — \u003cb>The History of History\u003c/b> and \u003cb>Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute\u003c/b>. Both exhibitions detail Sugimoto’s obsession with form. The two exhibitions are markedly different in subject and scope, but together they take us deep into Sugimoto’s practice.\u003c/p>\n\u003cp>\u003cb>Stylized Sculpture\u003c/b> showcases designs by five contemporary Japanese designers (\u003ca href=\"http://www.isseymiyake.co.jp/\" target=\"offsite\" rel=\"noopener\">Issey Miyake\u003c/a>, \u003ca href=\"http://www.metmuseum.org/toah/hd/jafa/hd_jafa.htm\" target=\"offsite\" rel=\"noopener\">Rei Kawakubo\u003c/a>, \u003ca href=\"http://yohjiyamamoto.co.jp/\" target=\"offsite\" rel=\"noopener\">Yohji Yamamoto\u003c/a>, \u003ca href=\"http://www.metmuseum.org/toah/ho/11/eaj/ho_2001.742a,b.htm\" target=\"offsite\" rel=\"noopener\">Junya Watanabe\u003c/a>, and \u003ca href=\"http://www.iht.com/articles/2006/03/27/style/fjapan.php\" target=\"offsite\" rel=\"noopener\">Tao Kurihara\u003c/a>) who embody, for Sugimoto, a particularly “Japanese” aesthetic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>History of History\u003c/b> showcases a wide range of objects, from Nara-era scroll paintings to twentieth-century silver compacts. The exhibition also features a number of objects either created or modified by Sugimoto. These objects — two large photographs, a 13th-century iron pagoda, a Buddhist reliquary — are integral to Sugimoto’s thesis, that history might be everchanging, but History, as the form that we use to contain and crystallize this changing world, is always aesthetic. So, it is possible to intervene in the past by pasting a small photograph (“a calm seascape” that is, according to Sugimoto, ‘somehow reminiscent of the newborn earth’) into a \u003ca href=\"http://f99.middlebury.edu/JA216A/kamakura.html\" target=\"offsite\" rel=\"noopener\">Kamakura\u003c/a>-era Buddhist reliquary. Time may shift, but the drive (human or otherwise) towards form — and by extension, towards beauty — remains constant.\u003c/p>\n\u003cp>The design of both exhibitons reflects Sugimoto’s desire to foreground the objects’ formal qualities — line, volume, color — over context. Both exhibitions are housed in completely black galleries. The objects, lit by dramatic overhead lighting, seem completely weightless and unmoored. Displayed in such a setting, the \u003ca href=\"http://www.metmuseum.org/toah/hd/jomo/hd_jomo.htm\" target=\"offsite\" rel=\"noopener\">Jomon\u003c/a> ritual figure, the \u003ca href=\"http://www.t-net.ne.jp/~keally/kofun.html\" target=\"offsite\" rel=\"noopener\">Kofun\u003c/a> wheelstone, the 8th-century textile fragments from the temple of \u003ca href=\"http://www.horyuji.or.jp/horyuji_e.htm\" target=\"offsite\" rel=\"noopener\">Horyuji\u003c/a>, and the Deco Tiffany & Co. compact are all rendered equivalent, transformed into beautiful fetish objects. Each object seems to emerge out of total darkness, forcing the viewer to contemplate the object as the world drops away. We enter into an almost trancelike focus, akin prayer or meditation.\u003c/p>\n\u003cp>Aesthetics, not religion, holds the key to history. In his introduction to the exhibition, Sugimoto suggests that religion (and by extension, history) fulfills the human desire to find order, and beauty, in the world. Aestheticism, then, is not just a modern stand-in for spirituality and religion. Aestheticism is the modern equivalent of the religious experience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Hiroshi Sugimoto: History of History\u003c/b> and \u003cb>Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute\u003c/b> are at the Asian Art Museum through January 6, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Ever since the age of cave painting,” Sugimoto writes, “humans have wanted a unified vision with which to see the chaos of this world of ours. Largely, it has been artists who have filled such a role — and they still hold this function today. No matter how brilliantly religion and science might explain and persuade, there will always remain shadowy areas. Scooping up shimmering particles, these persons of vision fashion decoding devices that afford us a look around in the gloom; we call their handiwork art.”\u003c/p>\n\u003cp>\u003cb>Hiroshi Sugimoto: History of History\u003c/b> diverges from the Asian Art Museum’s usual fare. Curated by Sugimoto himself, \u003cb>History of History\u003c/b> opens with a room filled with artfully displayed fossils — ammonites and other fossilized sea creatures hang on the wall, while three metal cases sit on black plinths. In each case, someone has carefully carved away the surrounding matrix, releasing the creature from its stone prison. Theatrically lit from above, the fossils seem to float, unsupported, in the gallery’s dark space.\u003c/p>\n\u003cp>The sea lily fossils on the wall are incomparably lovely, their fragile structures embedded in rich red Moroccan sandstone. Almost too perfect and stylized to be organic, the fossils create a complex pattern that rivals any Art Nouveau design.\u003c/p>\n\u003cp>This is not what one expects to find at a Sugimoto exhibition. Sugimoto, better known for his meticulously composed black-and-white photographs, headlines a double-bill at the Asian Art Museum — \u003cb>The History of History\u003c/b> and \u003cb>Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute\u003c/b>. Both exhibitions detail Sugimoto’s obsession with form. The two exhibitions are markedly different in subject and scope, but together they take us deep into Sugimoto’s practice.\u003c/p>\n\u003cp>\u003cb>Stylized Sculpture\u003c/b> showcases designs by five contemporary Japanese designers (\u003ca href=\"http://www.isseymiyake.co.jp/\" target=\"offsite\" rel=\"noopener\">Issey Miyake\u003c/a>, \u003ca href=\"http://www.metmuseum.org/toah/hd/jafa/hd_jafa.htm\" target=\"offsite\" rel=\"noopener\">Rei Kawakubo\u003c/a>, \u003ca href=\"http://yohjiyamamoto.co.jp/\" target=\"offsite\" rel=\"noopener\">Yohji Yamamoto\u003c/a>, \u003ca href=\"http://www.metmuseum.org/toah/ho/11/eaj/ho_2001.742a,b.htm\" target=\"offsite\" rel=\"noopener\">Junya Watanabe\u003c/a>, and \u003ca href=\"http://www.iht.com/articles/2006/03/27/style/fjapan.php\" target=\"offsite\" rel=\"noopener\">Tao Kurihara\u003c/a>) who embody, for Sugimoto, a particularly “Japanese” aesthetic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>History of History\u003c/b> showcases a wide range of objects, from Nara-era scroll paintings to twentieth-century silver compacts. The exhibition also features a number of objects either created or modified by Sugimoto. These objects — two large photographs, a 13th-century iron pagoda, a Buddhist reliquary — are integral to Sugimoto’s thesis, that history might be everchanging, but History, as the form that we use to contain and crystallize this changing world, is always aesthetic. So, it is possible to intervene in the past by pasting a small photograph (“a calm seascape” that is, according to Sugimoto, ‘somehow reminiscent of the newborn earth’) into a \u003ca href=\"http://f99.middlebury.edu/JA216A/kamakura.html\" target=\"offsite\" rel=\"noopener\">Kamakura\u003c/a>-era Buddhist reliquary. Time may shift, but the drive (human or otherwise) towards form — and by extension, towards beauty — remains constant.\u003c/p>\n\u003cp>The design of both exhibitons reflects Sugimoto’s desire to foreground the objects’ formal qualities — line, volume, color — over context. Both exhibitions are housed in completely black galleries. The objects, lit by dramatic overhead lighting, seem completely weightless and unmoored. Displayed in such a setting, the \u003ca href=\"http://www.metmuseum.org/toah/hd/jomo/hd_jomo.htm\" target=\"offsite\" rel=\"noopener\">Jomon\u003c/a> ritual figure, the \u003ca href=\"http://www.t-net.ne.jp/~keally/kofun.html\" target=\"offsite\" rel=\"noopener\">Kofun\u003c/a> wheelstone, the 8th-century textile fragments from the temple of \u003ca href=\"http://www.horyuji.or.jp/horyuji_e.htm\" target=\"offsite\" rel=\"noopener\">Horyuji\u003c/a>, and the Deco Tiffany & Co. compact are all rendered equivalent, transformed into beautiful fetish objects. Each object seems to emerge out of total darkness, forcing the viewer to contemplate the object as the world drops away. We enter into an almost trancelike focus, akin prayer or meditation.\u003c/p>\n\u003cp>Aesthetics, not religion, holds the key to history. In his introduction to the exhibition, Sugimoto suggests that religion (and by extension, history) fulfills the human desire to find order, and beauty, in the world. Aestheticism, then, is not just a modern stand-in for spirituality and religion. Aestheticism is the modern equivalent of the religious experience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Hiroshi Sugimoto: History of History\u003c/b> and \u003cb>Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute\u003c/b> are at the Asian Art Museum through January 6, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Vivienne Westwood: 36 Years in Fashion",
"headTitle": "Vivienne Westwood: 36 Years in Fashion | KQED",
"content": "\u003cfigure id=\"attachment_129095\" class=\"wp-caption alignleft\" style=\"max-width: 313px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2007/03/628x471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2007/03/628x471.jpg\" alt=\"Vivienne Westwood outfit\" width=\"313\" height=\"471\" class=\"size-full wp-image-129095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2007/03/628x471.jpg 313w, https://cdn.kqed.org/wp-content/uploads/sites/2/2007/03/628x471-199x300.jpg 199w\" sizes=\"(max-width: 313px) 100vw, 313px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Debby in Jubilee Outfit, from 1977 Seditionaries in 430 King s Road\u003c/figcaption>\u003c/figure>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\n",
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"excerpt": "\"Punk was never chic,\" insists Sid Vicious, \"Never chic.\" In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid's protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.",
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"title": "Vivienne Westwood: 36 Years in Fashion | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_129095\" class=\"wp-caption alignleft\" style=\"max-width: 313px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2007/03/628x471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2007/03/628x471.jpg\" alt=\"Vivienne Westwood outfit\" width=\"313\" height=\"471\" class=\"size-full wp-image-129095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2007/03/628x471.jpg 313w, https://cdn.kqed.org/wp-content/uploads/sites/2/2007/03/628x471-199x300.jpg 199w\" sizes=\"(max-width: 313px) 100vw, 313px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Debby in Jubilee Outfit, from 1977 Seditionaries in 430 King s Road\u003c/figcaption>\u003c/figure>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\u003cp>“Punk was never chic,” insists Sid Vicious, “Never chic.” In this bit of footage, Sid lounges in a verdant green park, wearing a steel chain with a miniature padlock and a red t-shirt printed with a swastika. Sid’s protests were in vain. By the time of this interview, punk had become impossibly chic, thanks to Sid and his fellow \u003ca href=\"http://en.wikipedia.org/wiki/Sex_Pistols\" target=\"offsite\" rel=\"noopener\">Sex Pistols\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.viviennewestwood.com/\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood\u003c/a> and her partner, Malcolm McLaren, \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r210.html\" target=\"offsite\" rel=\"noopener\">dressed, outfitted, and promoted the Sex Pistols\u003c/a>. Westwood and McLaren both went to art school, and for the duo, the Sex Pistols represented both a marketing opportunity for Let It Rock, their boutique (later renamed Sex, Seditionaries and Too Fast To Live, Too Young To Die), and a contemporary art project. Although Westwood did not invent \u003ca href=\"http://www.bobgruen.com/files/sexpistols/r350.html\" target=\"offsite\" rel=\"noopener\"> Sid’s ragged poet maudit look\u003c/a>, she refined its terms.\u003c/p>\n\u003cp>With input from McLaren and the band, Westwood also designed a good portion of the band’s stage costumes, putting Johnny Rotten (née John Lydon) in her infamous \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_2.html\" target=\"offsite\" rel=\"noopener\">“bondage suit”\u003c/a> and dressing the rest of the band in t-shirts screen-printed with swastikas and offensive slogans. A generation older than their band, Westwood and McLaren were “68-ers” with a self-declared affinity for the \u003ca href=\"http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=277\" target=\"offsite\" rel=\"noopener\">Situationist International\u003c/a>. Westwood and McLaren have always claimed that these outfits (paired, often, with studs and leather, drawn from biker culture, but also all too reminiscent of Nazi military uniforms) carried a political valence. Both maintain that they appropriated these symbols in order to subvert them, to rub out their power. Still, they remained powerful and punk’s appropriation of swastikas and other bits of fascist paraphernalia spoke perhaps too loudly to certain political currents.\u003c/p>\n\u003cp>Yet in 1976, the Sex Pistols were simply “chic,” splashed across all the major news outlets. There they were, selling newspapers, embarrassing television talk show hosts, trashing the Queen on her Jubilee. After the Pistols imploded, Westwood, splitting with McLaren, went on to forge a career as a high fashion designer, staging fashion shows and designing both “couture” and diffusion lines. Only a small portion of the \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">Vivienne Westwood: 36 Years in Fashion\u003c/a> exhibition, a retrospective of Westwood’s career, dates from her punk period. Her work, however, remains inextricably linked to Punk, and to the Sex Pistols. And it is this association with radical politics and with the avant-garde that lends Westwood artistic currency, setting her apart from Armani or Chanel. Like Elsa Schiaparelli, whose association with Surrealism placed her on the proper side of the line, Westwood’s clothing has been recast as art.\u003c/p>\n\u003cp>The exhibition, a lavish affair put together by London’s \u003ca href=\"http://www.vam.ac.uk/\" target=\"offsite\" rel=\"noopener\">Victoria & Albert Museum\u003c/a>, is currently on view at the De Young Museum. The Westwood retrospective follows on the heels of several successful fashion exhibitions at major American museums, marking the increasingly hazy line between “design” and “art.” Like the Metropolitan Museum of Art’s 2005 Chanel retrospective, the De Young’s new Westwood show boasts a stunning array of corporate backers and delivers a perspective that borders on hagiographic. In these exhibitions, designer dresses are presented as fine art. At the De Young, dark grey walls and dramatic lighting emphasize the objects’ value. Under the curator’s hands, Westwood becomes a fashion heroine, a woman whose experimental cuts and patterns never fail to deliver elegance and chic.\u003c/p>\n\u003cp>As a child, Westwood remembers watching a woman, dressed in Christian Dior’s \u003ca href=\"http://www.metmuseum.org/toah/hd/dior/ho_C.I.48.13a,b.htm\" target=\"offsite\" rel=\"noopener\">New Look\u003c/a>, pass before her living-room window. It was 1947, and Westwood remembers that her mother called her to the window to watch this woman, in a “long coat down to her ankles,” walk down their country road. Under Dior’s hands, fabric was pinched, pulled, padded, pleated — purely for the love of excess, creating a silhouette that was feminine to an extreme. Like Punk, postwar fashion reveled in excesses and extremes. A dress could not simply accentuate a woman’s natural curves. Dior and his contemporaries built architectural peplums, sculpted the torso with corsets and girdles, swathed the lower body in layers of fabric, and created belled silhouettes through stiff crinolines.\u003c/p>\n\u003cp>After Punk, Westwood returned to her youth, and her \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/text_panel_r1_09.html\" target=\"offsite\" rel=\"noopener\">Mini Crini\u003c/a> collection (Spring/Summer 1985) marks the first collection that turns back to this vocabulary, suppressing the natural body for visual impact. Dior’s influence stayed with Westwood, and references to other designers from the postwar era, most notably Cristobal Balenciaga and Coco Chanel, abound in Westwood’s work from the past two decades. Balenciaga, according to the fashion historian Valerie Steele, created “abstract architecture around a woman’s body.” Clothes build structures around the body, as in the \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_5.html\" target=\"offsite\" rel=\"noopener\">Chico jacket\u003c/a> (\u003cb>Witches\u003c/b>, Autumn/Winter 1984), where stiff horsehair shoulder points appear, like miniature towers, on wide, square-cut sleeves.\u003c/p>\n\u003cp>Westwood’s \u003ca href=\"http://www.thinker.org/tours/tour.asp?tourkey=1340\" target=\"offsite\" rel=\"noopener\">Metropolitan suit\u003c/a> (from the \u003cb>Vive la Cocotte\u003c/b> collection, Autumn/Winter 1995-6, and included in the De Young exhibition) underscores Westwood’s postwar influences. The jacket, with its padded and flared peplum, narrow waist, and darted bust-line, recall Dior’s 1947 “Le Bar” suit (Westwood studied the original in the Metropolitan Museum’s Costume Institute). But Westwood also borrowed from seventeenth-century court dress and asked clients to wear a padded bra and a “cage-bustle” constructed out of metal wire beneath the suit. Westwood draws upon a fantasy of courtly culture (most notably, the court of the Sun King, Louis XIV) as a site of spectacle and display. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_7.html\" target=\"offsite\" rel=\"noopener\">Harris Tweed\u003c/a> collection (Autumn/Winter 1987-1988) pushes this visual exaggeration of femininity further. Westwood’s silhouette can be described as Dior’s \u003cb>New Look\u003c/b> chopped at the knees. An enormous belled skirt exaggerates the woman’s hips, while the tailored upper body constrains the waist and draws attention to the breasts.\u003c/p>\n\u003cp>Vivienne Westwood’s designs bring punk and Dior together under one rubric. For Westwood, the two terms are compatible because they both draw upon an aesthetic of excess rendered marginal by modernity. Westwood’s career pulls together a mixture of references to \u003cb>l’ancien regime\u003c/b> and Primitivism. Westwood’s work, like the counterculture that she claims, rests in an uneasy fulcrum point between the aristocratic and the primitive, both premodern, both rendered marginal by modernity (by capitalism and its structures). Punk carried something of dandyism’s exclusive stance. The punk, like the dandy, understands that clothing constitutes a language. By pushing and pulling at that language, by playing with grammar and syntax (wearing a rubber bondage suit on a commuter train to London, or adding holes to clothing where they did not belong), one can force that language to perform in new ways, in different ways. One can make a secret language legible only to the select. One can even force that language to express taboos.\u003c/p>\n\u003cp>Modern capitalism, as the art historian (and ex-Situationist) T. J. Clark has noted, has simply absorbed each succeeding wave of anti-modern activity. Abstract Expressionism, Clark argues, was a failure, despite its excesses, despite its best invocation of the poet maudit in the figure of Jackson Pollock. Capitalism seamlessly co-opted modernist art, so that Pollock’s wild drip paintings became the backdrops for a series of fashion spreads, photographed by Cecil Beaton for the March 1, 1951, issue of \u003cb>Vogue\u003c/b>.\u003c/p>\n\u003cp>And so we have the Westwood retrospective. The \u003ca href=\"http://www.vam.ac.uk/vastatic/microsites/1231_vivienne_westwood/changing_styles_3.html\" target=\"offsite\" rel=\"noopener\">swastika shirt\u003c/a> has been tastefully shunted off to a dark corner. (It took me two trips to find it.) The text carefully averts the reader’s gaze, describing Westwood’s artful deconstruction of everyday items, and guiding viewers towards Johnny Rotten’s bondage suit. The swastika, for curatorial purposes, simply isn’t there. The exhibition moves quickly away from punk towards the designer’s current interest in British tailoring and eighteenth-century salon society. At the De Young, Westwood’s clothes live up to their role as spectacle. The clothes are always thoughtful, meticulously constructed, and visually interesting, and in a handful of cases, downright stunning. Yet Westwood, couturière, has come upon the same problem as the Sex Pistols in their heyday: how to keep “radical” apart from “chic”?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Vivenne Westwood: 36 Years in Fashion\u003c/b> will be on display at the De Young Museum from March 3 through June 10, 2007. For more information, visit: \u003ca href=\"http://www.thinker.org/deyoung/exhibitions/exhibition.asp?exhibitionkey=657\" target=\"offsite\" rel=\"noopener\">www.thinker.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Raymond Loewy: Designs for a Consumer Culture",
"headTitle": "Raymond Loewy: Designs for a Consumer Culture | KQED",
"content": "\u003cp>This week, on what felt like the hottest day in San Francisco, EVER, I limped from the Stockton Garage to the \u003cb>San Francisco Museum of Craft and Design\u003c/b> to see the exhibit on industrial designer Raymond Loewy, dragging my feet the whole way. And what a relief to get inside, where the concrete floor keeps the place cool.\u003c/p>\n\u003cp>I entered the museum not knowing much about Loewy, or so I thought. But he’s the guy who designed the coolest cigarette package I’ve ever seen or been seen with — you know, Lucky Strikes? Besides that, he pretty much invented that peculiarly American look where everything is streamlined and seems like it’s moving fast as a bullet into the future, from refrigerators to pencil sharpeners to locomotives to Skylab to. . . well, to too many things to list. For Loewy, it was all about the combination of packaging and function; he knew so intimately that products had to be simultaneously practical and aesthetically appealing. Though what appeals to mass culture depends on what is going on in that culture at the time, meaning that what appeals to most people is apt to change with the weather, Loewy had an uncanny ability to suss out what looked sleek and modern to most people at any given time.\u003c/p>\n\u003cp>And here I’m contradicting myself a bit, because I still find his designs incredibly appealing — and I’m sure I’m not alone. Which is a testament to something in his own aesthetic that has stood the test of time, because his stamp is everywhere. The lean silhouette of the dog on the side of the Greyhound bus line, the yellow-and-red shell at the Shell sation, that triangular wedge at the top of your box of Nabisco shredded wheat — it’s all Raymond Loewy, and you’ll likely experience this uncanny, familiar feeling at the exhibit. Because Raymond Loewy \u003ci>is\u003c/i> the culture.\u003c/p>\n\u003cp>While there were many items worth drooling over at the San Francisco Museum of Craft and Design, the one that appealed to me most was the Elna Lotus sewing machine (1968), the first compact sewing machine of its kind, meaning that the case and all of its accessories were integrated into the unit — the case opens up like a Lotus to provide a smooth ramp for the fabric the user slides beneath the chrome foot as they sew. It looks like something one might place in the overhead compartment on a jet to Milan. And I’m talking Milan in the spring, when the weather is cool. If I tried to lift my old Kenmore machine over my head in a crowded airplane, chances are I’d accidentally crack someone’s skull open. Though I noticed the drawings of the Avanti, with its curved windows and long, blunt nose, was much more popular with the rest of the crowd. As much as I love my car, there’s no way I’d turn down the Avanti. But my first choice? The sewing machine.\u003c/p>\n\u003cp>That day, Loewy’s design sensibility was having a strong effect: I wanted the Elna Lotus, and I wanted to feel like I was going somewhere exotic. But it wasn’t for sale, and the security guard wasn’t about to turn his head long enough for me to steal it, so I left the exhibit empty-handed. I noticed, however, that during my walk back to the Stockton garage I felt a little racier, a little less sweaty and dull. I got into my car and rolled down the windows so I could feel the wind in my hair. As I sped up Sutter Street, beating the yellow lights, I pretended that I wasn’t driving a dirty Nissan with leaky tires; instead, I was in something that slices through the air like one of the speedboats Loewy designed. And for a while there, it seemed as though every hill I crested was a brand-new symbol of the future, filled with pencil lines that symbolize rushing air, the forward movement of progress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Raymond Loewy: Designs for a Consumer Culture\u003c/b> exhibit runs through August 27, 2006 at the San Francisco Museum of Craft and Design, 550 Sutter Street, San Francisco. Phone: 415.773.0303.\u003c/p>\n\n",
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"excerpt": "This week, on what felt like the hottest day in San Francisco, EVER, I limped from the Stockton Garage to the \u003cb>San Francisco Museum of Craft and Design\u003c/b> to see the exhibit on industrial designer Raymond Loewy, dragging my feet the whole way. And what a relief to get inside, where the concrete floor keeps the place cool. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, on what felt like the hottest day in San Francisco, EVER, I limped from the Stockton Garage to the \u003cb>San Francisco Museum of Craft and Design\u003c/b> to see the exhibit on industrial designer Raymond Loewy, dragging my feet the whole way. And what a relief to get inside, where the concrete floor keeps the place cool.\u003c/p>\n\u003cp>I entered the museum not knowing much about Loewy, or so I thought. But he’s the guy who designed the coolest cigarette package I’ve ever seen or been seen with — you know, Lucky Strikes? Besides that, he pretty much invented that peculiarly American look where everything is streamlined and seems like it’s moving fast as a bullet into the future, from refrigerators to pencil sharpeners to locomotives to Skylab to. . . well, to too many things to list. For Loewy, it was all about the combination of packaging and function; he knew so intimately that products had to be simultaneously practical and aesthetically appealing. Though what appeals to mass culture depends on what is going on in that culture at the time, meaning that what appeals to most people is apt to change with the weather, Loewy had an uncanny ability to suss out what looked sleek and modern to most people at any given time.\u003c/p>\n\u003cp>And here I’m contradicting myself a bit, because I still find his designs incredibly appealing — and I’m sure I’m not alone. Which is a testament to something in his own aesthetic that has stood the test of time, because his stamp is everywhere. The lean silhouette of the dog on the side of the Greyhound bus line, the yellow-and-red shell at the Shell sation, that triangular wedge at the top of your box of Nabisco shredded wheat — it’s all Raymond Loewy, and you’ll likely experience this uncanny, familiar feeling at the exhibit. Because Raymond Loewy \u003ci>is\u003c/i> the culture.\u003c/p>\n\u003cp>While there were many items worth drooling over at the San Francisco Museum of Craft and Design, the one that appealed to me most was the Elna Lotus sewing machine (1968), the first compact sewing machine of its kind, meaning that the case and all of its accessories were integrated into the unit — the case opens up like a Lotus to provide a smooth ramp for the fabric the user slides beneath the chrome foot as they sew. It looks like something one might place in the overhead compartment on a jet to Milan. And I’m talking Milan in the spring, when the weather is cool. If I tried to lift my old Kenmore machine over my head in a crowded airplane, chances are I’d accidentally crack someone’s skull open. Though I noticed the drawings of the Avanti, with its curved windows and long, blunt nose, was much more popular with the rest of the crowd. As much as I love my car, there’s no way I’d turn down the Avanti. But my first choice? The sewing machine.\u003c/p>\n\u003cp>That day, Loewy’s design sensibility was having a strong effect: I wanted the Elna Lotus, and I wanted to feel like I was going somewhere exotic. But it wasn’t for sale, and the security guard wasn’t about to turn his head long enough for me to steal it, so I left the exhibit empty-handed. I noticed, however, that during my walk back to the Stockton garage I felt a little racier, a little less sweaty and dull. I got into my car and rolled down the windows so I could feel the wind in my hair. As I sped up Sutter Street, beating the yellow lights, I pretended that I wasn’t driving a dirty Nissan with leaky tires; instead, I was in something that slices through the air like one of the speedboats Loewy designed. And for a while there, it seemed as though every hill I crested was a brand-new symbol of the future, filled with pencil lines that symbolize rushing air, the forward movement of progress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Raymond Loewy: Designs for a Consumer Culture\u003c/b> exhibit runs through August 27, 2006 at the San Francisco Museum of Craft and Design, 550 Sutter Street, San Francisco. Phone: 415.773.0303.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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