NYFW Spotlight: Rodarte’s Meditative Return to New York

By Paige McKirahan

Greetings, style aficionados! For our final spotlight this week, we have decided to take a look at the Rodarte’s triumphant return to NYFW after a two-year hiatus. The romantic collection is quite possibly one of our favorite shows of the week; the bold, ‘80s inspired show was put on display in New York’s Marble Cemetery, moving away from the Spring Studio venue in pursuit of a more dramatic aesthetic. Drama is what they found as the rain paired with their dark set allowed the bright, flamboyant pieces to truly stand out. 

Photo taken during Rodarte show

(photo credit Google images)

The brand, known for its moody and ethereal aesthetics, could not have planned for a more perfect setting to compliment a collection filled with tulle, floral headwear, art deco jewelry, and oversized shoulder pieces. Inspired by Picasso and Kate Bush (diverse, we know), The Mulleavy sisters said that the set was meant to be a meditation on creativity. This rumination resulted in a dazzling display, incorporating pieces that garnered influence from a multitude of eras. The collection of gowns is cohesive, but also catering to a variety of styles ranging from ‘80s opulence to bohemian chic. Picking favorites proved to be especially difficult as there was not one piece that we did not like, but we managed to chose the following pieces as we felt they captured the essence of the collection perfectly. What do you think- graveyard smash or belongs in the trash?

(photo credit to elle.com)

Fashion Rationed: World War II Style

By Paige McKirahan

Though The Great Depression was nearing its conclusion at the end of the 1930s, the fashion industry was still shaking from the effects of its economic downfall. Moving away from the tubular styles of the 1920s, this pre-war period saw the revival of a feminine, waist cinching silhouette and made way for mass, factory produced styles. Don’t worry—corsets were still out of trend and the type of form fitting style that the ‘30s loved was that of an accentuated natural waist. The innovations in industry that made ready-to-wear a staple in design also allowed none other than Elsa Schiaparelli to pioneer zippers, making them a staple in this decade’s garments as they were ultimately less expensive than buttons.

Though daywear styles were simple and refined, evening wear remained glamourous and continued garnering inspiration from Hollywood starlets. Backless gowns became the centerpieces of long gowns and chiffon, silk, crepe-de-chines, and satin were used to create elegant and flowing lines. Women’s pants also became a huge hit in the late 1930s, popularized by “sailor” style which included buttons on the front of the high waist. Beach pajamas, one piece jumpers with wide legged pants, also became a wardrobe staple for women at the time as they were commonly worn for beach or relaxation days.

1938 women’s pants 

(image credit to vintagedancer.com) 

The beginning of World War II in 1939 placed an emphasis on global conflict rather than haute couture, pushing creative expression to the backburner. To support the war effort, common clothing materials began to be rationed, taking a toll on style and calling for alternative fabrics. Rather than using nylon and wool, which were both needed by the military, a new synthetic fabric called rayon was extremely popular for clothing in these wartime years. These fabric restrictions put a renewed emphasis on legs that we previously saw during World War I; less fabric meant simple designs with shorter hemlines were in now style out of necessity. Fabric rations were also responsible for the creation of the two-piece swimsuit in 1946 as creating a bikini was more economical than one pieces. 

An unforeseen shift was brought along in the 1940s that altered the fashion world forever; Paris was knocked from their throne as the leader in haute couture and style, with New York emerging as the new influencer. Parisian couture houses garnered disapproval from the public and many grew weary of top designers as it seemed they were in cahoots with occupational forces. Coco Chanel specifically closed down her studio during this period as she was criticized for her relationship with a high ranking Nazi official, tarnishing her brand. Claire McCardell, American designer, made use of fabrics that were not in high demand by the military like cotton denim, jersey, gingham, and calico for everyday styles. “War Wise” became trendy and patriotic colors were the “it” aesthetics of the decade as American style was making its first true marks on the industry.

Claire McCardell design, 1946

(photo credit to enews.com)

As the Great Depression lead into the new war, costume jewelry was still a wardrobe staple as movie star glam style reigned. Clothing was relatively plain and lackluster, so jewelry was large, colorful and decorative to compensate. Metal was in short supply, so sterling silver became the go to material and provided a base for large, colored gemstones. Vermeil also became popular for these over-the-top pieces; the material, which is a base of silver plated with gold, gave the look of luxury while remaining inexpensive. Cheaper materials such as wood, shell, glass, bakelite, and fabric were used to created pieces with patriotic symbols, flowers, bows, and whimsical animals. Popular motifs during this time included novelty shapes and prints, nature, flowers, fruits, and vegetables. Patriotic themes were common as it was important to keep morale up during the War; many wore brooches that were in the shape of the letter “V”, which was a common symbol for victory in this decade.

Cartier "V" brooch ad, 1945

(image credit to vintagedancer.com) 

Despite the glitz of the roaring ‘20s, the late ‘30s and ‘40s were forced to forgo glamourous habits for those more modest on account of the current political and economic climates. Regardless, this time period shows that fashion and style can persevere, molding with the restrictions of the time. Limits on materials forced designers to become innovators, creating timeless silhouettes that were not previously utilized in the industry. American courtiers really began to step into the global spotlight, and New York as a city secured its place as an emerging fashion leader. To celebrate this victory, head over to our collection to get you some ‘30s and ’40s pieces of your own!

Elsa Schiaparelli was an Italian fashion designer who, along with her rival Coco Chanel, is regarded as one of the most prominent figures in fashion between the two World Wars.

Schiaparelli was born in 1890 and raised in Rome, Italy. The cultural background and erudition of her family members served to ignite the imaginative faculties of Schiaparelli’s impressionable childhood years. She became enraptured with the lore of ancient cultures and religious rites. The content of her writing alarmed the conservative sensibilities of her parents, so they sought to tame her fantasy life by sending her to a convent boarding school in Switzerland. Once within the school’s confines, Schiaparelli rebelled against its strict authority by going on a hunger strike, leaving her parents no alternative but to bring her home again.

Schiaparelli was dissatisfied by a lifestyle that was refined, but ultimately cloistered and unfulfilling. Her craving for an exploration of the wider world led her to try to remedy this and when a friend offered her a post caring for orphaned children in an English country house, she saw her opportunity to leave. The placement, however, proved uncongenial to Schiaparelli. She subsequently planned a return to the stop-over city of Paris rather than admit defeat by returning to Rome and her family.

She married a charlatan, whom she got engaged after one day of dating. They moved to NY in 1916 and their lives were followed by FBI and others suspicious of his career credits along and spy actions during war times. Soon after Schiaparelli and then husband Dr. Kerlor had their daughter in 1920, he left them behind. So, in 1922, she moved back to France with her daughter "Gogo". Schiaparelli relied greatly on the emotional support offered her by her close friend Gabrielle 'Gaby' Buffet-Picabia, the wife of Dada/Surrealist artist Francis Picabia.

Schiaparelli’s design career was influenced by couturier Paul Poiret, who was renowned for jettisoning corseted, over-long dresses and promoting styles that enabled freedom of movement for the modern, elegant and sophisticated woman. In later life, Schiaparelli referred to Poiret as "a generous mentor, dear friend."

Schiaparelli had no training in the technical skills of pattern making and clothing construction. Her method of approach relied on both impulse of the moment and the serendipitous inspiration as the work progressed. She draped fabric directly on the body, sometimes using herself as the model. This technique followed the lead of Poiret who too had created garments by manipulating and draping. The results appeared uncontrived and wearable.

Schiaparelli was also renowned for her unusual buttons, which could resemble candlesticks, playing card emblems, ships, crowns, crickets, or silver tambourines. Many of these fastenings were designed by Jean Clement and Roger Jean-Pierre, who also created jewellery for her. In 1936, Schiaparelli was one of the first people to recognise the potential of Jean Schlumberger, who she originally employed as a designer of buttons.

Schiaparelli's output also included distinctive costume jewellery in a wide range of novelty designs. One of her most directly Surrealist designs was a 1938 Rhodoid (a newly developed clear plastic) necklace studded with coloured metallic insects by Clément, giving the illusion that the bugs were crawling directly on the wearer's skin. During the 1930s, her jewellery designs were mostly produced by Schlumberger, Clemént and Jean-Pierre. 

Schlumberger's jewellery, with its inventive combinations of precious and semi-precious stones proved successful, prompted him to launch his jewellery business in New York at the end of the '30s. Schiaparelli also offered brooches by Alberto Giacometti, fur-lined metal cuffs by Méret Oppenheim, and pieces by Max Boinet, Lina Barrette, and the writer Elsa Triolet. Compared to her unusual couture 1930s pieces, 1940s and 1950s Schiaparelli jewellery tended to be more abstract or floral-themed.

 Schiaparelli also designed the wardrobe for several films, including Moulin Rouge in which Gabor played Jane Avril. She famously dressed Mae West for Every Day's a Holiday (1937) using a mannequin based on West's measurements, which inspired the torso bottle for Shocking perfume. 

Schiaparelli's fanciful imaginative powers coupled with involvement in the Dada/Surrealist art movements directed her into new creative territory. Her instinctive sensibilities soon came to distinguish her creations from her chief rival Coco Chanel, who referred to her as 'that Italian artist who makes clothes'. Schiaparelli collaborated with a number of contemporary artists, most famously with Salvador Dalí to develop a number of her most notable designs. 

The House of Schiaparelli was first opened in the 1930s at 21 Place Vendôme, but was shut down on 13 December 1954. The failure of her business meant that Schiaparelli's name is not as well remembered as that of her great rival Chanel. But in 1934, Time placed Chanel in the second division of fashion, whereas Schiaparelli was one of "a handful of houses now at or near the peak of their power as arbiters of the ultra-modern haute couture....Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word "genius" is applied most often". Schiaparelli relied on inspiration rather than craftsmanship and, "it was not long before every little dress factory in Manhattan had copied them and from New York's 3rd Avenue to San Francisco's Howard Street millions of shop girls who had never heard of Schiaparelli were proudly wearing her models".