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"content": "\u003cp>This past weekend, I attended the annual student runway show at California College of the Arts in San Francisco. Not sure what to expect, I was surprised to find so much buzz and professional energy. Held inside a large tent at street level just outside the school, the show was packed and the level of excitement high.\u003c/p>\n\u003cp>Many of the featured designers showed off their drapery skills with unique fabric manipulations. There were great sculptural jackets, bold color combinations, crochet sweater knits, intricate shoulder details, layering and unexpected back details for both men and women. Several designers also incorporated zero waste patterning into their sustainable collections.The \u003ca href=\"http://www.cca.edu/academics/fashion-design\">CCA Fashion Design Program\u003c/a> strives for innovation, which could be felt in the looks many designers sent down the runway.\u003c/p>\n\u003cp>What I liked most about the show was the way each designer was able to express their own unique understanding of garment construction, while inhabiting a space somewhere between the avante garde and the marketplace. It was refreshing to see this artistic angle on fashion, and while many of the garments looked like true art pieces, you could still imagine them being worn to parties and events around town. So many design school fashion shows get caught up in what is marketable, but these collections seemed to flow from a more artistic perspective.\u003c/p>\n\u003cp>At the end of the event, show sponsor \u003ca href=\"http://www.surfacemag.com/\">Surface Magazine\u003c/a> presented the “Emerging Talent Award,” which includes an internship, to Ashley Eva Brock. An additional internship was also awarded to James S. Zormeir.\u003c/p>\n\u003cp>Here are some of my favorite looks from the collections (all photos by Stevan Nordström):\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soundara.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Punish Me\u003c/i> by Steven Soundara\u003cbr>Creating simple & wearable men’s wear with a decadent twist, I loved Steven Soundara’s bold graphic color combinations and asymmetrical details, as well as the very cool crocheted sweater that spelled out the word “Hurt” across the back.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hughes.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Vetements de Guerre\u003c/i> by Chelsea I. Hughes\u003cbr>Chelsea I. Hughes’ collection presented draped jackets and unusual color combinations, while using laser cutting and applique for her edgy looks.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cca-brown.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Androidgynous\u003c/i> by Rashad Omar Brown\u003cbr>Showing his clothing as both men’s and women’s wear, the lines were blurred between masculine and feminine with flowing voluminous bottoms, structured tops and unexpected back details. Most outfits featured pops of neon yellow in contrast to subdued tones.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/biggs.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>0\u003c/i> by Lauren Biggs\u003cbr>Using zero waste techniques and inspired by the 1990’s club scene and Americana craftwork, Lauren Biggs’ collection was both sporty and feminine, with cool color block patchworks and fun jackets with puffy braided details.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/levin.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>(Un) Developing\u003c/i> by Lauren Levin\u003cbr> A global collage of aesthetics, Lauren Levin’s collection featured beautiful draped tops and flowing transparent chiffon dresses with an elegant yet playful sophistication. Overall, it was a pretty collection of voluminous shapes in mostly white with mustard yellow accents.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brock.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Stone, Ocean & Sky\u003c/i> by Ashley Eva Brock\u003cbr>One of the biggest highlights of the show, this impressive collection was full of light-as-air fabrics, color blocking, sculptural details and watercolor prints. Featuring both hard and soft elements, the clothes seemed to float down the runway. Flowing silk fabrics with natural dye techniques really did remind me of the “ocean” and “sky,” while the sculptural 3-D jackets were reminiscent of sandstones washed up along the shore. Overall this was a beautiful and unique collection from a promising designer.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/saung.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Emergence\u003c/i> by Jean Saung\u003cbr>Jean Saung’s zero-waste garments are like origami in motion. Her sculptural and organic clothing was folded, tucked and shaped to the curves of the body.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zormier.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>(+)(-)\u003c/i> by James S. Zormeir\u003cbr> Intricate and futuristic cut-out details and body-conscious sculptural fabrics jumped off the runway in shocking neon colors. The gorgeous color combinations and intricate details made this collection really pop.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past weekend, I attended the annual student runway show at California College of the Arts in San Francisco. Not sure what to expect, I was surprised to find so much buzz and professional energy. Held inside a large tent at street level just outside the school, the show was packed and the level of excitement high.\u003c/p>\n\u003cp>Many of the featured designers showed off their drapery skills with unique fabric manipulations. There were great sculptural jackets, bold color combinations, crochet sweater knits, intricate shoulder details, layering and unexpected back details for both men and women. Several designers also incorporated zero waste patterning into their sustainable collections.The \u003ca href=\"http://www.cca.edu/academics/fashion-design\">CCA Fashion Design Program\u003c/a> strives for innovation, which could be felt in the looks many designers sent down the runway.\u003c/p>\n\u003cp>What I liked most about the show was the way each designer was able to express their own unique understanding of garment construction, while inhabiting a space somewhere between the avante garde and the marketplace. It was refreshing to see this artistic angle on fashion, and while many of the garments looked like true art pieces, you could still imagine them being worn to parties and events around town. So many design school fashion shows get caught up in what is marketable, but these collections seemed to flow from a more artistic perspective.\u003c/p>\n\u003cp>At the end of the event, show sponsor \u003ca href=\"http://www.surfacemag.com/\">Surface Magazine\u003c/a> presented the “Emerging Talent Award,” which includes an internship, to Ashley Eva Brock. An additional internship was also awarded to James S. Zormeir.\u003c/p>\n\u003cp>Here are some of my favorite looks from the collections (all photos by Stevan Nordström):\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soundara.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Punish Me\u003c/i> by Steven Soundara\u003cbr>Creating simple & wearable men’s wear with a decadent twist, I loved Steven Soundara’s bold graphic color combinations and asymmetrical details, as well as the very cool crocheted sweater that spelled out the word “Hurt” across the back.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hughes.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Vetements de Guerre\u003c/i> by Chelsea I. Hughes\u003cbr>Chelsea I. Hughes’ collection presented draped jackets and unusual color combinations, while using laser cutting and applique for her edgy looks.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cca-brown.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Androidgynous\u003c/i> by Rashad Omar Brown\u003cbr>Showing his clothing as both men’s and women’s wear, the lines were blurred between masculine and feminine with flowing voluminous bottoms, structured tops and unexpected back details. Most outfits featured pops of neon yellow in contrast to subdued tones.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/biggs.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>0\u003c/i> by Lauren Biggs\u003cbr>Using zero waste techniques and inspired by the 1990’s club scene and Americana craftwork, Lauren Biggs’ collection was both sporty and feminine, with cool color block patchworks and fun jackets with puffy braided details.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/levin.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>(Un) Developing\u003c/i> by Lauren Levin\u003cbr> A global collage of aesthetics, Lauren Levin’s collection featured beautiful draped tops and flowing transparent chiffon dresses with an elegant yet playful sophistication. Overall, it was a pretty collection of voluminous shapes in mostly white with mustard yellow accents.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brock.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Stone, Ocean & Sky\u003c/i> by Ashley Eva Brock\u003cbr>One of the biggest highlights of the show, this impressive collection was full of light-as-air fabrics, color blocking, sculptural details and watercolor prints. Featuring both hard and soft elements, the clothes seemed to float down the runway. Flowing silk fabrics with natural dye techniques really did remind me of the “ocean” and “sky,” while the sculptural 3-D jackets were reminiscent of sandstones washed up along the shore. Overall this was a beautiful and unique collection from a promising designer.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/saung.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Emergence\u003c/i> by Jean Saung\u003cbr>Jean Saung’s zero-waste garments are like origami in motion. Her sculptural and organic clothing was folded, tucked and shaped to the curves of the body.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zormier.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>(+)(-)\u003c/i> by James S. Zormeir\u003cbr> Intricate and futuristic cut-out details and body-conscious sculptural fabrics jumped off the runway in shocking neon colors. The gorgeous color combinations and intricate details made this collection really pop.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Inspired Innovation: The Signature Student Collections from UC Davis",
"headTitle": "Inspired Innovation: The Signature Student Collections from UC Davis | KQED",
"content": "\u003cp>It’s student fashion show season right now in the Bay Area, with many up and coming local design students showcasing their collections. These innovative fashion shows can often offer us a sneak peek into the future of fashion.Last weekend, I stopped by the Supperclub in San Francisco to see the \u003cb>Inspired Innovation Signature Collections\u003c/b> fashion show from \u003ca href=\"http://www.ucdavis.edu/\">UC Davis\u003c/a>, held on Sunday, May 6, 2012. This student runway show was created by the Fashion & Design Society, the leading outlet for creative fashion designers at UC Davis to get exposure to local and regional audiences. As a student group, they produce a show at the UC Davis Picnic Day and one in San Francisco every year.\u003c/p>\n\u003cp>Featuring 19 unique designer collections on the runway, students expressed their individual design perspectives based on different and varied themes. Many designers were inspired by nature and incorporated natural fibers, dyes and sustainability into their collections. Others looked to cultural heritage for inspiration, or referenced anything from forests, the galaxy, wind, plastic, the ocean and the sky. One designer even used typography as the theme for her collection of dresses.\u003c/p>\n\u003cp>With each designer showcasing a unique point of view, no two collections were alike in terms of colors, silhouettes or themes. Here are some of the highlights from the show:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/urbangardener.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Urban Gardener\u003c/i> by Courtney Siperstein-Cook\u003cbr> Using hemp as a dominant fiber, this playful & sustainable collection was inspired by city gardens and is a study of the nature of overalls. As Courtney Siperstein-Cook says “With overalls as my inspiration and hemp fabric and natural dyes in my tool bag, I aimed to create a playfully elegant take on our modern gardeners ‘roughing it’ in the city. My collection is an exploration into ways of being sustainable; caring for the planet through our design choices, gardening creatively, and having fun all the while.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/typography.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Typography\u003c/i> by Kim Shao\u003cbr>Merging two of her passions — typography and fashion — Kim Shao’s designs incorporated bold & playful letters in four typefaces to showcase an array of different personalities. Helvetica, Rockwell, Kabel and Bondini were printed onto luxurious silhouettes & elegant fabrications.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/galaxydeco.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Galaxy Deco\u003c/i> by Sierra Reed\u003cbr>Showcasing galaxy-like abstract prints while bringing Art Deco fashion illustrations to life, Sierra Reed’s collection combines two different themes, “Galaxy” & “Art Deco.” Hand-painted fabrics & dyes complemented the geometric and futuristic shapes.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/enraptured.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Enraptured\u003c/i> by Minh-Chau Nguyen\u003cbr>Inspired by the element of wind, designer Minh-Chau Nguyen used hand printed design motifs and unique textured fabrics to engage the body in a gust of color and patterns. Her airy and voluminous collection focused on a yellow, red & sea green color palette.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/imperialelegance.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Imperial Elegance\u003c/i> by Faizan Dar\u003cbr>Using luxurious silks, velvets and traditional hand-dyed motifs, Fazian Dar says, “My collection evokes a strong aesthetic impact inspired by the pre-colonial, golden age of Mughal textiles in India. Using contemporary silhouettes, I captured the aura of enchanting elegance, the rich complexity, and the ultimate height of luxury in Mughal court design.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ogu.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Ogo Oluwa\u003c/i> by Olufunmilayo Alabi\u003cbr>This exuberant collection featured layers of bold prints and hand dyed human hair. Alabi says, “Ogo Oluwa celebrates an awakening of my own cultural heritage. As a first generation American, I was confronted early on with the contrast between societal expectation of beauty and the reality of my African identity. Hair, in all its messy wildness became a prominent icon in this dilemma.” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/yuan.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Yuan\u003c/i> by Ophelia Yuanyuan Song\u003cbr>Song was inspired by the freedom of birds, capturing their essence through somber fabrics and hand dyed prints onto the human form. She says, “My collection conveys the mysterious space between our dreams and our potential.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mystique.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Mystique\u003c/i> by Heidi Lo\u003cbr>Using flowing & elegant fabrics and vintage-inspired silhouettes, Lo combined hand painted abstract prints inspired by firefly wings with heavy beading, machine stitch lace & scattered cutouts to create her mystical collection made from silk gauze and satin.\u003c/p>\n\u003cp>Overall, it was nice to see that many of the designers were inspired by elements of nature and, through the use of natural dyes and fabrics, demonstrated that beautiful and innovative clothing can be created mindfully without the use of toxic chemicals.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos courtesy Rafael Medina.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s student fashion show season right now in the Bay Area, with many up and coming local design students showcasing their collections. These innovative fashion shows can often offer us a sneak peek into the future of fashion.Last weekend, I stopped by the Supperclub in San Francisco to see the \u003cb>Inspired Innovation Signature Collections\u003c/b> fashion show from \u003ca href=\"http://www.ucdavis.edu/\">UC Davis\u003c/a>, held on Sunday, May 6, 2012. This student runway show was created by the Fashion & Design Society, the leading outlet for creative fashion designers at UC Davis to get exposure to local and regional audiences. As a student group, they produce a show at the UC Davis Picnic Day and one in San Francisco every year.\u003c/p>\n\u003cp>Featuring 19 unique designer collections on the runway, students expressed their individual design perspectives based on different and varied themes. Many designers were inspired by nature and incorporated natural fibers, dyes and sustainability into their collections. Others looked to cultural heritage for inspiration, or referenced anything from forests, the galaxy, wind, plastic, the ocean and the sky. One designer even used typography as the theme for her collection of dresses.\u003c/p>\n\u003cp>With each designer showcasing a unique point of view, no two collections were alike in terms of colors, silhouettes or themes. Here are some of the highlights from the show:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/urbangardener.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Urban Gardener\u003c/i> by Courtney Siperstein-Cook\u003cbr> Using hemp as a dominant fiber, this playful & sustainable collection was inspired by city gardens and is a study of the nature of overalls. As Courtney Siperstein-Cook says “With overalls as my inspiration and hemp fabric and natural dyes in my tool bag, I aimed to create a playfully elegant take on our modern gardeners ‘roughing it’ in the city. My collection is an exploration into ways of being sustainable; caring for the planet through our design choices, gardening creatively, and having fun all the while.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/typography.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Typography\u003c/i> by Kim Shao\u003cbr>Merging two of her passions — typography and fashion — Kim Shao’s designs incorporated bold & playful letters in four typefaces to showcase an array of different personalities. Helvetica, Rockwell, Kabel and Bondini were printed onto luxurious silhouettes & elegant fabrications.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/galaxydeco.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Galaxy Deco\u003c/i> by Sierra Reed\u003cbr>Showcasing galaxy-like abstract prints while bringing Art Deco fashion illustrations to life, Sierra Reed’s collection combines two different themes, “Galaxy” & “Art Deco.” Hand-painted fabrics & dyes complemented the geometric and futuristic shapes.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/enraptured.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Enraptured\u003c/i> by Minh-Chau Nguyen\u003cbr>Inspired by the element of wind, designer Minh-Chau Nguyen used hand printed design motifs and unique textured fabrics to engage the body in a gust of color and patterns. Her airy and voluminous collection focused on a yellow, red & sea green color palette.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/imperialelegance.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Imperial Elegance\u003c/i> by Faizan Dar\u003cbr>Using luxurious silks, velvets and traditional hand-dyed motifs, Fazian Dar says, “My collection evokes a strong aesthetic impact inspired by the pre-colonial, golden age of Mughal textiles in India. Using contemporary silhouettes, I captured the aura of enchanting elegance, the rich complexity, and the ultimate height of luxury in Mughal court design.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ogu.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Ogo Oluwa\u003c/i> by Olufunmilayo Alabi\u003cbr>This exuberant collection featured layers of bold prints and hand dyed human hair. Alabi says, “Ogo Oluwa celebrates an awakening of my own cultural heritage. As a first generation American, I was confronted early on with the contrast between societal expectation of beauty and the reality of my African identity. Hair, in all its messy wildness became a prominent icon in this dilemma.” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/yuan.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Yuan\u003c/i> by Ophelia Yuanyuan Song\u003cbr>Song was inspired by the freedom of birds, capturing their essence through somber fabrics and hand dyed prints onto the human form. She says, “My collection conveys the mysterious space between our dreams and our potential.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mystique.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Mystique\u003c/i> by Heidi Lo\u003cbr>Using flowing & elegant fabrics and vintage-inspired silhouettes, Lo combined hand painted abstract prints inspired by firefly wings with heavy beading, machine stitch lace & scattered cutouts to create her mystical collection made from silk gauze and satin.\u003c/p>\n\u003cp>Overall, it was nice to see that many of the designers were inspired by elements of nature and, through the use of natural dyes and fabrics, demonstrated that beautiful and innovative clothing can be created mindfully without the use of toxic chemicals.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos courtesy Rafael Medina.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/char_lg_violet.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/char_lg_violet.jpg\" alt=\"Maggie Smith Downton Abbey\" width=\"391\" height=\"582\" class=\"alignleft size-full wp-image-129060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/char_lg_violet.jpg 391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/char_lg_violet-201x300.jpg 201w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003c/a>\u003c/p>\n\u003cp>Have you ever wondered how fashion trends start? How is it that every season so many designers come up with similar looks? Since all designers work in secret, hidden away from the world as they plan their collections, how do they know what we will want to wear six months or even a year in the future?\u003c/p>\n\u003cp>On the 2012 runways from New York, London, Paris and Milan, inspiration seemed to come from past eras that are currently popular in art, music, film and TV. There were many chic new interpretations inspired by the retro fashion themes of the ’20s, ’50s and ’60s. Here are three current fashion trends and where I think they might have originated.\u003c/p>\n\u003cp>\u003cb>Art Deco and the 1920s\u003c/b>\u003cbr>\nFor Spring 2012, designer after designer sent looks perfect for a modern day flapper down the runway, complete with Art Deco styles in black, white and gold, adorned with sequins and feathers. Short shift dresses called to mind a modern day Louise Brooks and channeled images of \u003ci>The Great Gatsby\u003c/i>. Gucci’s Art Deco-themed spring collection had some great flapper-inspired beaded dresses that have recently become a popular look on the red carpet. Where did this trend come from?\u003c/p>\n\u003cfigure id=\"attachment_128649\" class=\"wp-caption aligncenter\" style=\"max-width: 331px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-black.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-black.jpg\" alt=\"Gucci Spring/Summer 2012\" width=\"331\" height=\"500\" class=\"size-full wp-image-128649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-black.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-black-198x300.jpg 198w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gucci Spring/Summer 2012 \u003ccite>(Olivier Morin//AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve heard that this fall a remake of F. Scott Fitzgerald’s \u003ca href=\"http://www.imdb.com/title/tt1343092/\">\u003ci>The Great Gatsby\u003c/i>\u003c/a> by director Baz Luhrmann will be released, starring Leonardo Dicaprio, Carey Mulligan & Toby Maguire. It appears to have amazing set and costume designs that fit in perfectly with this trend. \u003ca href=\"http://www.esperanzaspalding.com/\">Esperanza Spaulding\u003c/a> has also brought jazz back to the chic set as the first jazz musician to win a Grammy for Best New Artist. Even singer Florence Welch of \u003ca href=\"http://florenceandthemachine.net/\">Florence & The Machine\u003c/a>, a new darling of the fashion set, has been know to wear a sort of neo-20’s flapper style on stage & in her music videos.\u003c/p>\n\u003cfigure id=\"attachment_128650\" class=\"wp-caption aligncenter\" style=\"max-width: 336px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-florence.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-florence.jpg\" alt=\"Florence Welch performs at Chanel Spring/Summer 2012.\" width=\"336\" height=\"500\" class=\"size-full wp-image-128650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-florence.jpg 336w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-florence-201x300.jpg 201w\" sizes=\"(max-width: 336px) 100vw, 336px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Florence Welch performs at Chanel Spring/Summer 2012. \u003ccite>(Patrick Kovarik/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Academy Award for Best Picture went to \u003ci>The Artist\u003c/i>, which was set in 1927. And rumor has it that the next season of the popular PBS series \u003ci>Downton Abbey\u003c/i> will take place in the “Roaring Twenties,” complete with flapper fashions, jazz clubs and cocktails. What else, you might ask? Well, the ’20s were all about rebellion, speakeasies and the empowerment of women. Could it be that we’ve all been trying so hard to be good that we are now ready for a moment of decadence?\u003c/p>\n\u003cfigure id=\"attachment_128651\" class=\"wp-caption aligncenter\" style=\"max-width: 432px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-madmen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-madmen.jpg\" alt=\"The cast of Mad Men.\" width=\"432\" height=\"500\" class=\"size-full wp-image-128651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-madmen.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-madmen-400x462.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-madmen-259x300.jpg 259w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast of Mad Men;. \u003ccite>(My Life in Plastic, Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Ladylike Fashions of the ’50s & ’60s\u003c/b>\u003cbr> \u003cbr>\nAnother popular trend on the Spring & Fall 2012 runways is a sort of 1950’s housewife look (for spring) sometimes shown in sweet, candy-colored pastels that has now morphed into a sort of polished uptown look that is very lady-like, grown up and proper (for fall). What does this all mean and where is this trend coming from? Although one can never be sure, I would venture to say that even though feminism still has a long way to go, lately women are feeling stronger.\u003c/p>\n\u003cfigure id=\"attachment_128652\" class=\"wp-caption aligncenter\" style=\"max-width: 334px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-yellow.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-yellow.jpg\" alt=\"Louis Vuitton Spring/Summer 2012.\" width=\"334\" height=\"500\" class=\"size-full wp-image-128652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-yellow.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-yellow-200x300.jpg 200w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Louis Vuitton Spring/Summer 2012. \u003ccite>(Pascal Le Segretain/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The tables are turning my friends, more and more women are out-earning their male counterparts and are holding down powerful positions. I think there is a general feeling among women that it’s OK to embrace their soft, feminine side again. Also, after years of casual dressing in the workplace, it seems like fun to start dressing up again. One has only to look to popular retro TV shows like \u003ci>Mad Men\u003c/i>, to see that the program is popular not just for the clever story line, but also for the 1960s costumes and for seeing how people once put themselves together to go to work every day. No “Casual Fridays” in sight, it’s just about dressing to impress. And there’s something nice about that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In fact, all things ’60s seem to be in vogue again, what with a slew of retro TV shows (now cancelled) such as \u003ci>Pan Am\u003c/i> & \u003ci>The Playboy Club\u003c/i>, which premiered last fall. Also, look to the upcoming release of Tim Burton’s \u003ci>Dark Shadows\u003c/i> movie, a remake of the ’60s soap opera (though the movie is set in 1972).\u003c/p>\n\u003cp>As far as the 1950s trend, could this be originating from any of the following? There’s a 1950s: \u003ca href=\"http://www.denverartmuseum.org/exhibitions/yves-saint-laurent-retrospective\">Yves St Laurent Retrospective\u003c/a> currently showing at The Denver Art Museum, and we recently saw the movie \u003ci>My Week With Marilyn\u003c/i> with Michelle Williams as Marilyn Monroe. Other current pop culture icons that seem to emulate an old-fashioned vintage-inspired, yet modern day style are singers Adele & Lana Del Rey.\u003c/p>\n\u003cfigure id=\"attachment_128646\" class=\"wp-caption aligncenter\" style=\"max-width: 331px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/vice-furry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/vice-furry.jpg\" alt=\"Marc Jacobs, Fall 2012.\" width=\"331\" height=\"500\" class=\"size-full wp-image-128646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/vice-furry.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/vice-furry-198x300.jpg 198w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marc Jacobs, Fall 2012. \u003ccite>(Christopher Macsurak, Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Uptown Granny Chic\u003c/b> (as seen on the Fall 2012 runways)\u003cbr>\nThis new fall trend features a sort of Park Avenue style straight out of grandma’s closet, with retro florals & tweeds and bold brocade fabrics, strong collars, shawls, fur accents, embroideries & leather. It’s a sort of \u003ci>Mad Max\u003c/i> meets the Park Avenue set. Perhaps designers were taking inspiration from \u003ci>Downton Abbey\u003c/i>? Are we feeling a return to over-the-top luxury and refinement? An homage to the British parliament inspired by our recent cultural obsession with the royal wedding of Prince William and Kate Middleton?\u003c/p>\n\u003cp>Designer Marc Jacobs’ Fall 2012 runway show was a magical, fairytale-like extravaganza featuring a “decaying castles” set design from artist Rachel Feinstein and music from \u003ca href=\"http://oliverthemusical.com/\">Oliver!\u003c/a> (currently on tour in the UK). The clothes seemed to be inspired by the eccentric style of fashion journalist Anna Piaggi, Elsa Schiaparelli and the pilgrims and Puritans of 17th-century Plymouth. With its winding runway, cartoon-sized hats & exaggerated silhouettes, it also called to mind the fantastical world of a Dr. Seuss book come to life. Designers Tory Burch & Oscar De La Renta showed very grown-up, prim and proper “put together” looks that were very uptown chic, while designer L’Wren Scott’s collection seemed to look once again to \u003ci>Downton Abbey\u003c/i> for inspiration.\u003c/p>\n\u003cfigure id=\"attachment_128648\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-ladies.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-ladies.jpg\" alt=\"Tory Burch, Fall 2012.\" width=\"500\" height=\"280\" class=\"size-full wp-image-128648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-ladies.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-ladies-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-ladies-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tory Burch, Fall 2012. \u003ccite>( toryburch.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Recently we celebrated Dr. Seuss’s birthday & saw the release of the \u003ci>The Lorax\u003c/i>. There is a \u003ca href=\"http://www.metmuseum.org/impossibleconversations\">Prada/Schiapparelli Exhibit\u003c/a> currently up at the Met in NYC, and fairy tales are at large with two recent films inspired by Snow White: \u003ci>Mirror Mirror\u003c/i> & \u003ci>Snow White and The Huntsman\u003c/i>. Many of the fall runway looks were also reminiscent of the recent Meryl Streep film, \u003ci>The Iron Lady\u003c/i>. All in all, even though we may never know where fashion trends truly originate, you might be surprised to discover that the latest musician, television show or movie you have become obsessed with just might become the inspiration for the latest fashion trend. Be on the look out!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/char_lg_violet.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/char_lg_violet.jpg\" alt=\"Maggie Smith Downton Abbey\" width=\"391\" height=\"582\" class=\"alignleft size-full wp-image-129060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/char_lg_violet.jpg 391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/char_lg_violet-201x300.jpg 201w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003c/a>\u003c/p>\n\u003cp>Have you ever wondered how fashion trends start? How is it that every season so many designers come up with similar looks? Since all designers work in secret, hidden away from the world as they plan their collections, how do they know what we will want to wear six months or even a year in the future?\u003c/p>\n\u003cp>On the 2012 runways from New York, London, Paris and Milan, inspiration seemed to come from past eras that are currently popular in art, music, film and TV. There were many chic new interpretations inspired by the retro fashion themes of the ’20s, ’50s and ’60s. Here are three current fashion trends and where I think they might have originated.\u003c/p>\n\u003cp>\u003cb>Art Deco and the 1920s\u003c/b>\u003cbr>\nFor Spring 2012, designer after designer sent looks perfect for a modern day flapper down the runway, complete with Art Deco styles in black, white and gold, adorned with sequins and feathers. Short shift dresses called to mind a modern day Louise Brooks and channeled images of \u003ci>The Great Gatsby\u003c/i>. Gucci’s Art Deco-themed spring collection had some great flapper-inspired beaded dresses that have recently become a popular look on the red carpet. Where did this trend come from?\u003c/p>\n\u003cfigure id=\"attachment_128649\" class=\"wp-caption aligncenter\" style=\"max-width: 331px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-black.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-black.jpg\" alt=\"Gucci Spring/Summer 2012\" width=\"331\" height=\"500\" class=\"size-full wp-image-128649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-black.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-black-198x300.jpg 198w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gucci Spring/Summer 2012 \u003ccite>(Olivier Morin//AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve heard that this fall a remake of F. Scott Fitzgerald’s \u003ca href=\"http://www.imdb.com/title/tt1343092/\">\u003ci>The Great Gatsby\u003c/i>\u003c/a> by director Baz Luhrmann will be released, starring Leonardo Dicaprio, Carey Mulligan & Toby Maguire. It appears to have amazing set and costume designs that fit in perfectly with this trend. \u003ca href=\"http://www.esperanzaspalding.com/\">Esperanza Spaulding\u003c/a> has also brought jazz back to the chic set as the first jazz musician to win a Grammy for Best New Artist. Even singer Florence Welch of \u003ca href=\"http://florenceandthemachine.net/\">Florence & The Machine\u003c/a>, a new darling of the fashion set, has been know to wear a sort of neo-20’s flapper style on stage & in her music videos.\u003c/p>\n\u003cfigure id=\"attachment_128650\" class=\"wp-caption aligncenter\" style=\"max-width: 336px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-florence.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-florence.jpg\" alt=\"Florence Welch performs at Chanel Spring/Summer 2012.\" width=\"336\" height=\"500\" class=\"size-full wp-image-128650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-florence.jpg 336w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-florence-201x300.jpg 201w\" sizes=\"(max-width: 336px) 100vw, 336px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Florence Welch performs at Chanel Spring/Summer 2012. \u003ccite>(Patrick Kovarik/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Academy Award for Best Picture went to \u003ci>The Artist\u003c/i>, which was set in 1927. And rumor has it that the next season of the popular PBS series \u003ci>Downton Abbey\u003c/i> will take place in the “Roaring Twenties,” complete with flapper fashions, jazz clubs and cocktails. What else, you might ask? Well, the ’20s were all about rebellion, speakeasies and the empowerment of women. Could it be that we’ve all been trying so hard to be good that we are now ready for a moment of decadence?\u003c/p>\n\u003cfigure id=\"attachment_128651\" class=\"wp-caption aligncenter\" style=\"max-width: 432px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-madmen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-madmen.jpg\" alt=\"The cast of Mad Men.\" width=\"432\" height=\"500\" class=\"size-full wp-image-128651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-madmen.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-madmen-400x462.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-madmen-259x300.jpg 259w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast of Mad Men;. \u003ccite>(My Life in Plastic, Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Ladylike Fashions of the ’50s & ’60s\u003c/b>\u003cbr> \u003cbr>\nAnother popular trend on the Spring & Fall 2012 runways is a sort of 1950’s housewife look (for spring) sometimes shown in sweet, candy-colored pastels that has now morphed into a sort of polished uptown look that is very lady-like, grown up and proper (for fall). What does this all mean and where is this trend coming from? Although one can never be sure, I would venture to say that even though feminism still has a long way to go, lately women are feeling stronger.\u003c/p>\n\u003cfigure id=\"attachment_128652\" class=\"wp-caption aligncenter\" style=\"max-width: 334px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-yellow.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-yellow.jpg\" alt=\"Louis Vuitton Spring/Summer 2012.\" width=\"334\" height=\"500\" class=\"size-full wp-image-128652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-yellow.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-yellow-200x300.jpg 200w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Louis Vuitton Spring/Summer 2012. \u003ccite>(Pascal Le Segretain/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The tables are turning my friends, more and more women are out-earning their male counterparts and are holding down powerful positions. I think there is a general feeling among women that it’s OK to embrace their soft, feminine side again. Also, after years of casual dressing in the workplace, it seems like fun to start dressing up again. One has only to look to popular retro TV shows like \u003ci>Mad Men\u003c/i>, to see that the program is popular not just for the clever story line, but also for the 1960s costumes and for seeing how people once put themselves together to go to work every day. No “Casual Fridays” in sight, it’s just about dressing to impress. And there’s something nice about that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In fact, all things ’60s seem to be in vogue again, what with a slew of retro TV shows (now cancelled) such as \u003ci>Pan Am\u003c/i> & \u003ci>The Playboy Club\u003c/i>, which premiered last fall. Also, look to the upcoming release of Tim Burton’s \u003ci>Dark Shadows\u003c/i> movie, a remake of the ’60s soap opera (though the movie is set in 1972).\u003c/p>\n\u003cp>As far as the 1950s trend, could this be originating from any of the following? There’s a 1950s: \u003ca href=\"http://www.denverartmuseum.org/exhibitions/yves-saint-laurent-retrospective\">Yves St Laurent Retrospective\u003c/a> currently showing at The Denver Art Museum, and we recently saw the movie \u003ci>My Week With Marilyn\u003c/i> with Michelle Williams as Marilyn Monroe. Other current pop culture icons that seem to emulate an old-fashioned vintage-inspired, yet modern day style are singers Adele & Lana Del Rey.\u003c/p>\n\u003cfigure id=\"attachment_128646\" class=\"wp-caption aligncenter\" style=\"max-width: 331px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/vice-furry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/vice-furry.jpg\" alt=\"Marc Jacobs, Fall 2012.\" width=\"331\" height=\"500\" class=\"size-full wp-image-128646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/vice-furry.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/vice-furry-198x300.jpg 198w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marc Jacobs, Fall 2012. \u003ccite>(Christopher Macsurak, Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Uptown Granny Chic\u003c/b> (as seen on the Fall 2012 runways)\u003cbr>\nThis new fall trend features a sort of Park Avenue style straight out of grandma’s closet, with retro florals & tweeds and bold brocade fabrics, strong collars, shawls, fur accents, embroideries & leather. It’s a sort of \u003ci>Mad Max\u003c/i> meets the Park Avenue set. Perhaps designers were taking inspiration from \u003ci>Downton Abbey\u003c/i>? Are we feeling a return to over-the-top luxury and refinement? An homage to the British parliament inspired by our recent cultural obsession with the royal wedding of Prince William and Kate Middleton?\u003c/p>\n\u003cp>Designer Marc Jacobs’ Fall 2012 runway show was a magical, fairytale-like extravaganza featuring a “decaying castles” set design from artist Rachel Feinstein and music from \u003ca href=\"http://oliverthemusical.com/\">Oliver!\u003c/a> (currently on tour in the UK). The clothes seemed to be inspired by the eccentric style of fashion journalist Anna Piaggi, Elsa Schiaparelli and the pilgrims and Puritans of 17th-century Plymouth. With its winding runway, cartoon-sized hats & exaggerated silhouettes, it also called to mind the fantastical world of a Dr. Seuss book come to life. Designers Tory Burch & Oscar De La Renta showed very grown-up, prim and proper “put together” looks that were very uptown chic, while designer L’Wren Scott’s collection seemed to look once again to \u003ci>Downton Abbey\u003c/i> for inspiration.\u003c/p>\n\u003cfigure id=\"attachment_128648\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-ladies.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vice-ladies.jpg\" alt=\"Tory Burch, Fall 2012.\" width=\"500\" height=\"280\" class=\"size-full wp-image-128648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-ladies.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-ladies-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vice-ladies-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tory Burch, Fall 2012. \u003ccite>( toryburch.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Recently we celebrated Dr. Seuss’s birthday & saw the release of the \u003ci>The Lorax\u003c/i>. There is a \u003ca href=\"http://www.metmuseum.org/impossibleconversations\">Prada/Schiapparelli Exhibit\u003c/a> currently up at the Met in NYC, and fairy tales are at large with two recent films inspired by Snow White: \u003ci>Mirror Mirror\u003c/i> & \u003ci>Snow White and The Huntsman\u003c/i>. Many of the fall runway looks were also reminiscent of the recent Meryl Streep film, \u003ci>The Iron Lady\u003c/i>. All in all, even though we may never know where fashion trends truly originate, you might be surprised to discover that the latest musician, television show or movie you have become obsessed with just might become the inspiration for the latest fashion trend. Be on the look out!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Spring's New Retro Look and The Vintage Fashion Expo",
"headTitle": "Spring’s New Retro Look and The Vintage Fashion Expo | KQED",
"content": "\u003cp>It seems that lately our culture is returning to a sense of cheerful optimism and old-fashioned values and reveling in a moment of lady-like feminine nostalgia. With TV shows such as \u003ca href=\"http://www.amctv.com/shows/mad-men/\">Mad Men\u003c/a>, movies like \u003ca href=\"http://myweekwithmarilynmovie.com/\">My Week With Marilyn\u003c/a>, and popular singers such as \u003ca href=\"http://www.lanadelrey.com/\">Lana Del Rey\u003c/a> and \u003ca href=\"http://www.esperanzaspalding.com/\">Esperanza Spalding\u003c/a>, we are having a certain neo-retro moment. And with the current cultural shift towards everything homegrown, hand made and recycled, now more than ever is a great time to start adding vintage fashions to your wardrobe. For me, the best thing about wearing something vintage is you can somehow manage to be both on trend and chic while almost always pulling off a very one-of-a-kind look.\u003c/p>\n\u003cp>Over this past weekend, I visited the \u003ca href=\"http://www.vintageexpo.com/\">Vintage Fashion Expo\u003c/a> at the Concourse Exhibition Center in San Francisco, held on March 17 and 18. Now in its third decade, this show features the best of the best in vintage clothing, accessories and textiles from over 85 dealers and collectors. The Vintage Fashion Expo runs five times a year in Santa Monica and San Francisco. These shows have become an integral part of the California fashion scene and here you may find yourself bumping into celebrities, fashion designers, movie costumers, costume designers, and many other shoppers who appreciate the unique quality of vintage fashions, some decked out in gorgeous head to toe retro looks.\u003c/p>\n\u003cp>Vintage styles continue to inspire many fashion designers and every season the designer runways seem to be filled with nostalgic references to the past. The ’60s, the ’70s, the ’80s…the list goes on and on. Considering all the retro influences on our current fashion trends, one might think, why not just get the real thing and start wearing vintage? Instead of shopping the malls for the latest looks, you can be unique and ahead of the curve by heading to the source to buy the originals.\u003c/p>\n\u003cp>Here are some of the most popular spring 2012 trends that you can find in your local vintage stores right now:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe11950s3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003cb>The 1950s\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Spring 2012, we saw references to an era we haven’t seen on the runways in a while. This time around there was a heavy focus on the prim, proper, ultra-feminine era of the 1950s at \u003ca href=\"http://www.prada.com/\">Prada\u003c/a>, \u003ca href=\"http://www.louisvuitton.com/\">Louis Vuitton\u003c/a>, \u003ca href=\"http://www.dior.com/home/en_us/\">Dior\u003c/a>, \u003ca href=\"http://www.dolcegabbana.com/\">Dolce & Gabbana\u003c/a> and more: complete with demure pencil skirts, nipped-in waists, conversation prints and retro ladylike handbags. Some sent down dreamy confections in sherbet-like pastels, others light as air laces, organzas and chiffon dresses. There were even some references to the 1950s housewife look: think TV icons Lucille Ball and June Cleaver.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe21950s1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>1950s dresses from Chick A Boom Vintage of Petaluma. Contact: chickaboomvintagepetaluma@yahoo.com\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe31950sdress.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>A 1950s evening look\u003cbr>\u003c/center>\n\u003cp>\u003cb>Flower Power Prints\u003c/b>\u003c/p>\n\u003cp>Another trend this season was retro 1960s flower power prints with bold blossoms in bright, cheerful colors at \u003ca href=\"http://www.prada.com/\">Prada\u003c/a>, \u003ca href=\"http://www.marni.com/home.asp?tskay=3FD17CD7/\">Marni\u003c/a>, \u003ca href=\"%E2%80%9Chttp://www.karenwalker.com/%22\">Karen Walker\u003c/a> and more. Also look for mini shift dresses and short go-go boots to enhance your ’60s flower child look. You can never be too colorful when it comes to this trend. Think bold, bright, happy; it’s spring!\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe4flowerpower1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>1960s flower power prints from Colton Collectibles. Find them every first Sunday at the \u003ca href=\"http://alamedapointantiquesfaire.com/\"> Alameda Point Antiques Faire\u003c/a>.\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe5flowerpower4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>More flower power prints\u003cbr>\u003c/center>\n\u003cp>\u003cb>Lady-Like Accessories\u003c/b>\u003c/p>\n\u003cp>For accessories, there was a strong focus on the golden age of the 1920s. Designers such as \u003ca href=\"http://www.etro.com/\">Etro\u003c/a>, \u003ca href=\"http://www.balmain.com/en/\">Balmain\u003c/a>, \u003ca href=\"http://www.gucci.com/us/home?mkw=gucci&pcrid=7923059786&pmt=e&mkwid=scls8NNO2&gclid=CM-C_6DQ864CFQ1vhwodY1YDLg\">Gucci\u003c/a>, and \u003ca href=\"http://dereklam.com/\">Derek Lam\u003c/a>\u003ca> sent down clothing and accessories perfect for the Jazz Age era flapper…think “glamour” and look for black with gold, sequins and art deco accessories. To go with the 50s and 60s trends, there were clear Lucite sandals and transparent clutches, pointy toed pumps, wedge heeled sandals, cat eye sunglasses and lady-like hand held box bags.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe6accessories.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>1920s style gold accessories\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe7accessories3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Gold and silver metallic handbags\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe8accessoiries4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Retro shoes & Lucite sandals\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe9accessories2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Structured hand bags from \u003ca href=\"http://www.vintagebluemoon.com/\">Vintage Blue Moon\u003c/a>.\u003cbr>\u003c/center>\n\u003cp>In the San Francisco Bay Area, there’s an abundance of possibilities when it comes to vintage dressing. Keeping in style can be fun when everything that’s old is new again. Here are some great Bay Area places to find something pretty and begin your hunt for the latest vintage styles:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://junipertreefashion.tumblr.com/\">Juniper Tree Vintage Dress Shop\u003c/a> — 3303 Lakeshore Ave., Oakland 94610\u003cbr>\u003ca href=\"http://www.prettypennyclothing.com/about.html\">Pretty Penny Vintage\u003c/a> — 5488 College Ave., Oakland 94618\u003cbr>\u003ca href=\"http://www.myspace.com/429181539\">Mars Mercantile\u003c/a> — 2398 Telegraph Ave., Berkeley 94704\u003cbr>Old Vogue — 1412 Grant Ave, San Francisco 94133\u003cbr>\u003ca href=\"http://paintedbird.org/\">Painted Bird\u003c/a> — 1360 Valencia St., San Francisco 94110\u003cbr>Chick A Boom Vintage — 145 Kentucky St., Petaluma 94952\u003cbr>\u003ca href=\"http://alamedapointantiquesfaire.com/\">Alameda Point Antiques Faire\u003c/a> — 2900 Navy Way, Alameda 94501\u003c/p>\n\n",
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"excerpt": "\u003cp>Over this past weekend, KQED fashion blogger Zoe Vice visited the \u003ca href=\"http://www.vintageexpo.com/\">Vintage Fashion Expo\u003c/a>. What's in this spring, retro-wise? The 1950s, flower power prints and lady-like accessories.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems that lately our culture is returning to a sense of cheerful optimism and old-fashioned values and reveling in a moment of lady-like feminine nostalgia. With TV shows such as \u003ca href=\"http://www.amctv.com/shows/mad-men/\">Mad Men\u003c/a>, movies like \u003ca href=\"http://myweekwithmarilynmovie.com/\">My Week With Marilyn\u003c/a>, and popular singers such as \u003ca href=\"http://www.lanadelrey.com/\">Lana Del Rey\u003c/a> and \u003ca href=\"http://www.esperanzaspalding.com/\">Esperanza Spalding\u003c/a>, we are having a certain neo-retro moment. And with the current cultural shift towards everything homegrown, hand made and recycled, now more than ever is a great time to start adding vintage fashions to your wardrobe. For me, the best thing about wearing something vintage is you can somehow manage to be both on trend and chic while almost always pulling off a very one-of-a-kind look.\u003c/p>\n\u003cp>Over this past weekend, I visited the \u003ca href=\"http://www.vintageexpo.com/\">Vintage Fashion Expo\u003c/a> at the Concourse Exhibition Center in San Francisco, held on March 17 and 18. Now in its third decade, this show features the best of the best in vintage clothing, accessories and textiles from over 85 dealers and collectors. The Vintage Fashion Expo runs five times a year in Santa Monica and San Francisco. These shows have become an integral part of the California fashion scene and here you may find yourself bumping into celebrities, fashion designers, movie costumers, costume designers, and many other shoppers who appreciate the unique quality of vintage fashions, some decked out in gorgeous head to toe retro looks.\u003c/p>\n\u003cp>Vintage styles continue to inspire many fashion designers and every season the designer runways seem to be filled with nostalgic references to the past. The ’60s, the ’70s, the ’80s…the list goes on and on. Considering all the retro influences on our current fashion trends, one might think, why not just get the real thing and start wearing vintage? Instead of shopping the malls for the latest looks, you can be unique and ahead of the curve by heading to the source to buy the originals.\u003c/p>\n\u003cp>Here are some of the most popular spring 2012 trends that you can find in your local vintage stores right now:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe11950s3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003cb>The 1950s\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Spring 2012, we saw references to an era we haven’t seen on the runways in a while. This time around there was a heavy focus on the prim, proper, ultra-feminine era of the 1950s at \u003ca href=\"http://www.prada.com/\">Prada\u003c/a>, \u003ca href=\"http://www.louisvuitton.com/\">Louis Vuitton\u003c/a>, \u003ca href=\"http://www.dior.com/home/en_us/\">Dior\u003c/a>, \u003ca href=\"http://www.dolcegabbana.com/\">Dolce & Gabbana\u003c/a> and more: complete with demure pencil skirts, nipped-in waists, conversation prints and retro ladylike handbags. Some sent down dreamy confections in sherbet-like pastels, others light as air laces, organzas and chiffon dresses. There were even some references to the 1950s housewife look: think TV icons Lucille Ball and June Cleaver.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe21950s1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>1950s dresses from Chick A Boom Vintage of Petaluma. Contact: chickaboomvintagepetaluma@yahoo.com\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe31950sdress.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>A 1950s evening look\u003cbr>\u003c/center>\n\u003cp>\u003cb>Flower Power Prints\u003c/b>\u003c/p>\n\u003cp>Another trend this season was retro 1960s flower power prints with bold blossoms in bright, cheerful colors at \u003ca href=\"http://www.prada.com/\">Prada\u003c/a>, \u003ca href=\"http://www.marni.com/home.asp?tskay=3FD17CD7/\">Marni\u003c/a>, \u003ca href=\"%E2%80%9Chttp://www.karenwalker.com/%22\">Karen Walker\u003c/a> and more. Also look for mini shift dresses and short go-go boots to enhance your ’60s flower child look. You can never be too colorful when it comes to this trend. Think bold, bright, happy; it’s spring!\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe4flowerpower1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>1960s flower power prints from Colton Collectibles. Find them every first Sunday at the \u003ca href=\"http://alamedapointantiquesfaire.com/\"> Alameda Point Antiques Faire\u003c/a>.\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe5flowerpower4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>More flower power prints\u003cbr>\u003c/center>\n\u003cp>\u003cb>Lady-Like Accessories\u003c/b>\u003c/p>\n\u003cp>For accessories, there was a strong focus on the golden age of the 1920s. Designers such as \u003ca href=\"http://www.etro.com/\">Etro\u003c/a>, \u003ca href=\"http://www.balmain.com/en/\">Balmain\u003c/a>, \u003ca href=\"http://www.gucci.com/us/home?mkw=gucci&pcrid=7923059786&pmt=e&mkwid=scls8NNO2&gclid=CM-C_6DQ864CFQ1vhwodY1YDLg\">Gucci\u003c/a>, and \u003ca href=\"http://dereklam.com/\">Derek Lam\u003c/a>\u003ca> sent down clothing and accessories perfect for the Jazz Age era flapper…think “glamour” and look for black with gold, sequins and art deco accessories. To go with the 50s and 60s trends, there were clear Lucite sandals and transparent clutches, pointy toed pumps, wedge heeled sandals, cat eye sunglasses and lady-like hand held box bags.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe6accessories.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>1920s style gold accessories\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe7accessories3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Gold and silver metallic handbags\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe8accessoiries4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Retro shoes & Lucite sandals\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/20/zoe9accessories2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Structured hand bags from \u003ca href=\"http://www.vintagebluemoon.com/\">Vintage Blue Moon\u003c/a>.\u003cbr>\u003c/center>\n\u003cp>In the San Francisco Bay Area, there’s an abundance of possibilities when it comes to vintage dressing. Keeping in style can be fun when everything that’s old is new again. Here are some great Bay Area places to find something pretty and begin your hunt for the latest vintage styles:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://junipertreefashion.tumblr.com/\">Juniper Tree Vintage Dress Shop\u003c/a> — 3303 Lakeshore Ave., Oakland 94610\u003cbr>\u003ca href=\"http://www.prettypennyclothing.com/about.html\">Pretty Penny Vintage\u003c/a> — 5488 College Ave., Oakland 94618\u003cbr>\u003ca href=\"http://www.myspace.com/429181539\">Mars Mercantile\u003c/a> — 2398 Telegraph Ave., Berkeley 94704\u003cbr>Old Vogue — 1412 Grant Ave, San Francisco 94133\u003cbr>\u003ca href=\"http://paintedbird.org/\">Painted Bird\u003c/a> — 1360 Valencia St., San Francisco 94110\u003cbr>Chick A Boom Vintage — 145 Kentucky St., Petaluma 94952\u003cbr>\u003ca href=\"http://alamedapointantiquesfaire.com/\">Alameda Point Antiques Faire\u003c/a> — 2900 Navy Way, Alameda 94501\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Four New York Fashion Week Trends and Where to Find Them Right Now",
"headTitle": "Four New York Fashion Week Trends and Where to Find Them Right Now | KQED",
"content": "\u003cp>For the fashion-obsessed, Fashion Week is like the Olympics. And, as any truly patriotic person will tell you, the Americans always have the best showing. Witness New York’s Fashion Week, where the best and brightest in the industry put their talent on display. From long-time household names like Oscar de la Renta, Marc by Marc Jacobs, and Michael Kors, to newer standouts on the scene like \u003ca href=\"http://www.proenzaschouler.com/\">Proenza Schouler\u003c/a>, \u003ca href=\"http://www.alexanderwang.com/\">Alexander Wang\u003c/a>, and \u003ca href=\"http://www.aliceandolivia.com/\">Alice + Olivia\u003c/a>, New York is where the all-stars came to play.\u003c/p>\n\u003cp>Sadly, whoever first conceived of Fashion Week must have had a cruel sense of humor. Once you’ve spent an entire week lusting over the gorgeous garments, you realize that they aren’t available in stores until summer. Well fashionable ladies of the Bay Area, we’re calling their bluff. Not only have we scoured the runway shows to compile a cheat sheet of the top trends at NYFW, but we’ve also identified a game plan for you to start wearing them right now: what to buy, where to buy it, how to wear it, and how much it’ll cost you. Here’s our shopping guide for the SF girl who, like us, thinks six months is way too long to wait.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-jacobs.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Marc by Marc Jacobs A/W 2012; Photo by Peter Michael Dills/Getty Images\u003cbr>\u003c/center>\n\u003cp>\u003cb>1. Bold Red\u003c/b>\u003cbr>Red was the color of choice for many designers at last month’s Fashion Week. Styled in a number of ways from jumpsuits to accessories, and present in both day and night looks, designers made it clear that bright red pieces are a must-have for your wardrobe this season. While Marc Jacobs sent models down the runway head-to-toe in the hue, other designers like \u003ca href=\"http://lwrenscott.com/\">L’Wren Scott\u003c/a> kept it subtle with pops of the color to brighten up subdued autumn apparel. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-shoes.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>L’Wren Scott A/W 2012; Photo by Slaven Vlasic/Getty Images\u003cbr>\u003c/center>\n\u003cp>\u003cb>How To Wear It\u003c/b>\u003cbr>For a night out, don’t be afraid to sport a bold look with red separates, or a red dress with red heels. For the office, school, or more formal gatherings, keep it subtle with a red bag or plain red jeans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-boldred.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>1. Jeans: Ralph Lauren, $100 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>2. Bag: \u003ca href=\"http://www.madewell.com/AST/Navigation/findastore.jsp\">Madewell\u003c/a>, $135\u003cbr>3. Blouse: \u003ca href=\"http://www.americanapparel.net/StoreLocations/Details.aspx?RetailStoreID=90\">American Apparel\u003c/a>, $88\u003cbr>4. Sunglasses: Rayban, $154 (available at \u003ca href=\"http://www.sunglasshut.com/webapp/wcs/stores/servlet/StoreLocations?storeId=12351\">Sunglass Hut\u003c/a>)\u003cbr>5. Jacket: Kenneth Cole New York, $400 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>6. Heels: \u003ca href=\"http://www.aldoshoes.com/us/stores\">Aldo, $100\u003c/a>\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-mod.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Milly by Michelle Smith A/W 2012; Photo by Mike Coppola/Getty Images\u003cbr>\u003c/center>\n\u003cp>\u003cb>2. Mod Mini Dresses\u003c/b>\u003cbr>This year at Fashion Week it was clear that when it came to dresses, designers where channeling the 1960s. Designers from \u003ca href=\"http://www.millyny.com/\">Milly by Michelle Smith\u003c/a> to \u003ca href=\"http://www.victoriabeckham.com/\">Victoria Beckham\u003c/a> sent mod dresses down the runway in a variety of prints and cuts, but all bright and all short. Working as the perfect winter dress, these minis pair well with tights for cold days and evenings.\u003c/p>\n\u003cp>\u003cb>How To Wear It\u003c/b>\u003cbr>When styling this trend, it’s all about embracing the spirit of the ’60s; experimentation is key. On a chilly night, go for the classic look, and pair your dress with tights and patent leather mary-janes. For an indoor party or warmer evening, wedge heels in metallic or bright hues work well with this playful look. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-modmini.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Dresses from Left to Right\u003cbr>1. French Connection, $248 (available at \u003ca href=\"http://www1.bloomingdales.com/store/index.ognc?action=STORE_DETAIL&storeId=110039\">Bloomingdales\u003c/a>)\u003cbr>2. \u003ca href=\"http://www.zara.com/webapp/wcs/stores/servlet/category/us/en/zara-us-S2012/11108/Stores\">Zara\u003c/a>, $60\u003cbr>3. BCBG, $288 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>4. Tibi, $298 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>5. \u003ca href=\"http://www.forever21.com/Store/StoreLocator.aspx?br=f21\">Forever 21\u003c/a>, $23\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-winterwhite.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Reed Krakoff A/W 2012; Photo by Peter Michael Dills/Getty Images\u003cbr>\u003c/center>\n\u003cp>\u003cb>3. Winter Whites\u003c/b>\u003cbr>You know that rule about not wearing white after Labor Day? Forget it. White outerwear was a clear favorite for designers at New York Fashion Week. From Michael Kors to \u003ca href=\"http://jmendel.com/\">J. Mendal\u003c/a>, white trousers, coats, gloves, and fur collars were all over the runway. While some looks were kept simple with just one white piece, many all white ensembles were sent down the catwalk. It seems as though there was a general consensus across all the designers: white is the new must-have color for cold weather.\u003c/p>\n\u003cp>\u003cb>How To Wear It\u003c/b>\u003cbr>For the accident-prone, limit this trend to just one white piece such as a hat or fur collar (items unlikely to fall victim to coffee mishaps and other disasters). For braver souls, pair a white trouser with a white coat for a clean, tailored look. On the weekend, wear a cozy white sweater with a white fur vest. As the designers styled it, there’s really no limit to the number of white layers that you can pile on.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-whites.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>1. Jacket: Laundry by Shelli Segal, $128 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>2. Vest: Rachel Roy, $698 (available at \u003ca href=\"http://www1.bloomingdales.com/store/index.ognc?action=STORE_DETAIL&storeId=110039\">Bloomingdales\u003c/a>)\u003cbr>3. Hat: Merona at \u003ca href=\"http://sites.target.com/site/en/spot/search_results.jsp?&mapType=standard&startAddress=San+Francisco%2C+CA&startingLat=37.77917648812038&startingLong=-122.42004864526646&_requestid=3125275\">Target\u003c/a>, $20\u003cbr>4. Gloves: \u003ca href=\"http://stores.ralphlauren.com/store.aspx?storeId=61739&ab=search_box\">Ralph Lauren Polo\u003c/a>, $38\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-assym.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Proenza Schouler A/W 2012; Photo by Peter Michael Dills/Getty Images\u003cbr>\u003c/center>\n\u003cp>\u003cb>4. Asymmetrical Jackets\u003c/b>\u003cbr>For jackets at this season’s fashion week, many designers veered from traditional lines with motorcycle-inspired asymmetrical jackets. From diagonal zippers at Proenza Schouler, to jackets that opened on the side at \u003ca href=\"http://www.elietahari.com/\">Elie Tahari\u003c/a>, the trend was all over the catwalk. As a piece that can be thrown on for chilly summer evenings, this is a trend you can wear all year long.\u003c/p>\n\u003cp>\u003cb>How To Wear It\u003c/b>\u003cbr>There are no rules here. Throw a leather jacket with a diagonal zipper over an evening dress to add some edge to your outfit, or pair it with skirt or trouser of a similar color and fabric for a suit-like look. Look for jackets of leather and denim to amp up the rocker-chick feel of this unconventional trend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-assymetric.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jackets from Left to Right\u003cbr>1. Paul & Joe, $528 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>2. Helmut Lang, $795 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>3. \u003ca href=\"http://www.hm.com/us/store-locator#store=US080\">H&M\u003c/a>, $60\u003cbr>4. \u003ca href=\"http://www.bcbgmaxazriagroup.com/store-locator/\">BCBG\u003c/a>, $188\u003c/center>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the fashion-obsessed, Fashion Week is like the Olympics. And, as any truly patriotic person will tell you, the Americans always have the best showing. Witness New York’s Fashion Week, where the best and brightest in the industry put their talent on display. From long-time household names like Oscar de la Renta, Marc by Marc Jacobs, and Michael Kors, to newer standouts on the scene like \u003ca href=\"http://www.proenzaschouler.com/\">Proenza Schouler\u003c/a>, \u003ca href=\"http://www.alexanderwang.com/\">Alexander Wang\u003c/a>, and \u003ca href=\"http://www.aliceandolivia.com/\">Alice + Olivia\u003c/a>, New York is where the all-stars came to play.\u003c/p>\n\u003cp>Sadly, whoever first conceived of Fashion Week must have had a cruel sense of humor. Once you’ve spent an entire week lusting over the gorgeous garments, you realize that they aren’t available in stores until summer. Well fashionable ladies of the Bay Area, we’re calling their bluff. Not only have we scoured the runway shows to compile a cheat sheet of the top trends at NYFW, but we’ve also identified a game plan for you to start wearing them right now: what to buy, where to buy it, how to wear it, and how much it’ll cost you. Here’s our shopping guide for the SF girl who, like us, thinks six months is way too long to wait.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-jacobs.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Marc by Marc Jacobs A/W 2012; Photo by Peter Michael Dills/Getty Images\u003cbr>\u003c/center>\n\u003cp>\u003cb>1. Bold Red\u003c/b>\u003cbr>Red was the color of choice for many designers at last month’s Fashion Week. Styled in a number of ways from jumpsuits to accessories, and present in both day and night looks, designers made it clear that bright red pieces are a must-have for your wardrobe this season. While Marc Jacobs sent models down the runway head-to-toe in the hue, other designers like \u003ca href=\"http://lwrenscott.com/\">L’Wren Scott\u003c/a> kept it subtle with pops of the color to brighten up subdued autumn apparel. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-shoes.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>L’Wren Scott A/W 2012; Photo by Slaven Vlasic/Getty Images\u003cbr>\u003c/center>\n\u003cp>\u003cb>How To Wear It\u003c/b>\u003cbr>For a night out, don’t be afraid to sport a bold look with red separates, or a red dress with red heels. For the office, school, or more formal gatherings, keep it subtle with a red bag or plain red jeans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-boldred.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>1. Jeans: Ralph Lauren, $100 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>2. Bag: \u003ca href=\"http://www.madewell.com/AST/Navigation/findastore.jsp\">Madewell\u003c/a>, $135\u003cbr>3. Blouse: \u003ca href=\"http://www.americanapparel.net/StoreLocations/Details.aspx?RetailStoreID=90\">American Apparel\u003c/a>, $88\u003cbr>4. Sunglasses: Rayban, $154 (available at \u003ca href=\"http://www.sunglasshut.com/webapp/wcs/stores/servlet/StoreLocations?storeId=12351\">Sunglass Hut\u003c/a>)\u003cbr>5. Jacket: Kenneth Cole New York, $400 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>6. Heels: \u003ca href=\"http://www.aldoshoes.com/us/stores\">Aldo, $100\u003c/a>\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-mod.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Milly by Michelle Smith A/W 2012; Photo by Mike Coppola/Getty Images\u003cbr>\u003c/center>\n\u003cp>\u003cb>2. Mod Mini Dresses\u003c/b>\u003cbr>This year at Fashion Week it was clear that when it came to dresses, designers where channeling the 1960s. Designers from \u003ca href=\"http://www.millyny.com/\">Milly by Michelle Smith\u003c/a> to \u003ca href=\"http://www.victoriabeckham.com/\">Victoria Beckham\u003c/a> sent mod dresses down the runway in a variety of prints and cuts, but all bright and all short. Working as the perfect winter dress, these minis pair well with tights for cold days and evenings.\u003c/p>\n\u003cp>\u003cb>How To Wear It\u003c/b>\u003cbr>When styling this trend, it’s all about embracing the spirit of the ’60s; experimentation is key. On a chilly night, go for the classic look, and pair your dress with tights and patent leather mary-janes. For an indoor party or warmer evening, wedge heels in metallic or bright hues work well with this playful look. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-modmini.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Dresses from Left to Right\u003cbr>1. French Connection, $248 (available at \u003ca href=\"http://www1.bloomingdales.com/store/index.ognc?action=STORE_DETAIL&storeId=110039\">Bloomingdales\u003c/a>)\u003cbr>2. \u003ca href=\"http://www.zara.com/webapp/wcs/stores/servlet/category/us/en/zara-us-S2012/11108/Stores\">Zara\u003c/a>, $60\u003cbr>3. BCBG, $288 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>4. Tibi, $298 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>5. \u003ca href=\"http://www.forever21.com/Store/StoreLocator.aspx?br=f21\">Forever 21\u003c/a>, $23\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-winterwhite.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Reed Krakoff A/W 2012; Photo by Peter Michael Dills/Getty Images\u003cbr>\u003c/center>\n\u003cp>\u003cb>3. Winter Whites\u003c/b>\u003cbr>You know that rule about not wearing white after Labor Day? Forget it. White outerwear was a clear favorite for designers at New York Fashion Week. From Michael Kors to \u003ca href=\"http://jmendel.com/\">J. Mendal\u003c/a>, white trousers, coats, gloves, and fur collars were all over the runway. While some looks were kept simple with just one white piece, many all white ensembles were sent down the catwalk. It seems as though there was a general consensus across all the designers: white is the new must-have color for cold weather.\u003c/p>\n\u003cp>\u003cb>How To Wear It\u003c/b>\u003cbr>For the accident-prone, limit this trend to just one white piece such as a hat or fur collar (items unlikely to fall victim to coffee mishaps and other disasters). For braver souls, pair a white trouser with a white coat for a clean, tailored look. On the weekend, wear a cozy white sweater with a white fur vest. As the designers styled it, there’s really no limit to the number of white layers that you can pile on.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-whites.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>1. Jacket: Laundry by Shelli Segal, $128 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>2. Vest: Rachel Roy, $698 (available at \u003ca href=\"http://www1.bloomingdales.com/store/index.ognc?action=STORE_DETAIL&storeId=110039\">Bloomingdales\u003c/a>)\u003cbr>3. Hat: Merona at \u003ca href=\"http://sites.target.com/site/en/spot/search_results.jsp?&mapType=standard&startAddress=San+Francisco%2C+CA&startingLat=37.77917648812038&startingLong=-122.42004864526646&_requestid=3125275\">Target\u003c/a>, $20\u003cbr>4. Gloves: \u003ca href=\"http://stores.ralphlauren.com/store.aspx?storeId=61739&ab=search_box\">Ralph Lauren Polo\u003c/a>, $38\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-assym.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Proenza Schouler A/W 2012; Photo by Peter Michael Dills/Getty Images\u003cbr>\u003c/center>\n\u003cp>\u003cb>4. Asymmetrical Jackets\u003c/b>\u003cbr>For jackets at this season’s fashion week, many designers veered from traditional lines with motorcycle-inspired asymmetrical jackets. From diagonal zippers at Proenza Schouler, to jackets that opened on the side at \u003ca href=\"http://www.elietahari.com/\">Elie Tahari\u003c/a>, the trend was all over the catwalk. As a piece that can be thrown on for chilly summer evenings, this is a trend you can wear all year long.\u003c/p>\n\u003cp>\u003cb>How To Wear It\u003c/b>\u003cbr>There are no rules here. Throw a leather jacket with a diagonal zipper over an evening dress to add some edge to your outfit, or pair it with skirt or trouser of a similar color and fabric for a suit-like look. Look for jackets of leather and denim to amp up the rocker-chick feel of this unconventional trend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nyfw-assymetric.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jackets from Left to Right\u003cbr>1. Paul & Joe, $528 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>2. Helmut Lang, $795 (available at \u003ca href=\"http://shop.nordstrom.com/st/nordstrom-san-francisco-centre\">Nordstrom\u003c/a>)\u003cbr>3. \u003ca href=\"http://www.hm.com/us/store-locator#store=US080\">H&M\u003c/a>, $60\u003cbr>4. \u003ca href=\"http://www.bcbgmaxazriagroup.com/store-locator/\">BCBG\u003c/a>, $188\u003c/center>\n\n\u003c/div>\u003c/p>",
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"title": "Five Must-Dos from Architecture and the City",
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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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"title": "Yves Saint Laurent and Couture",
"headTitle": "Yves Saint Laurent and Couture | KQED",
"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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"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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"description": ""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 Sex Pistols.",
"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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"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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"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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"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
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