WANDERLUST
2010 Undergraduate Senior IP Exhibition
Culminating projects by the school’s graduating seniors, including film, installation, traditional and new media. Encompassing all of the school’s exhibition venues, the show also features a number of off-site exhibition locations.
Exhibition ran April 16 - May 1, 2010.
Culminating projects by the school’s graduating seniors, including film, installation, traditional and new media. Encompassing all of the school’s exhibition venues, the show also features a number of off-site exhibition locations.
Exhibition ran April 16 - May 1, 2010.
Mentioning Her Unmentionables: Oppression to Expression
Throughout the course of my studies as an undergraduate student here at the University of Michigan, I have not only grown immensely as an artist but also pursued my interest in Women’s Studies and Human Sexuality. My many courses in this field have greatly influenced the theme of my Senior Integrative Project (IP): Historical Women’s Undergarments. These courses in Women’s Studies have brought to my attention the struggle and hardships women of previous generations have fought so that our western patriarchal society may come to view women as equals. The stories of the oppression and the painstaking length of the fight for liberation have been forgotten by many modern-day women, and as a result they take their freedoms for granted. My goal is to remind people of the oppression women once faced and the treacherous journey of our foremothers, as well as to celebrate the opportunities women now enjoy.
In order to accomplish this daunting task, I have chosen historical women’s undergarments to tell the tales of courageous women and to illustrate the progression of liberation. This required an immense amount of research into a field that often is unmentioned. I should clarify that my research, prior to the 19th century, concerned only the wealthy ladies of the eras. Lower class women’s attire greatly varied and was not as well documented; lower class women were also not held to the same societal standards that ladies of the courts were. Digging into the depths of the history of dress, I have chosen to start at the beginning of the artificial silhouette (early 16th century), focusing on the structural undergarments that were used to achieved highly popular, yet unnatural silhouettes. My research has shown that these undergarments are perfect illustrations of larger sociological issues that mirror the dominant paradigms of their time.
In order to accomplish this daunting task, I have chosen historical women’s undergarments to tell the tales of courageous women and to illustrate the progression of liberation. This required an immense amount of research into a field that often is unmentioned. I should clarify that my research, prior to the 19th century, concerned only the wealthy ladies of the eras. Lower class women’s attire greatly varied and was not as well documented; lower class women were also not held to the same societal standards that ladies of the courts were. Digging into the depths of the history of dress, I have chosen to start at the beginning of the artificial silhouette (early 16th century), focusing on the structural undergarments that were used to achieved highly popular, yet unnatural silhouettes. My research has shown that these undergarments are perfect illustrations of larger sociological issues that mirror the dominant paradigms of their time.
1515-1545
Opening with a piece from the Tudor Period (1515-1545), I show the immense constraint and oppression to which women were subjected. The skirt-like piece is known as a Spanish Farthingale. While the funnel shape is historically accurate, the construction of it is not. I have used steel, not only to achieve a cold stark feel, but also to demonstrate the figurative weight of restraint on women that was common at this time. According to History of Dress Professor Jessica Hahn, it was popular belief at the time that the “artificial restraint in clothing signified social superiority.” Dressing a wife in these confining pieces not only inhibited her freedom but also demonstrated a man’s wealth and social standing. The chains that attach this piece together create an overtone of captivity and slavery, two words that accurately describe the lifestyle of women of this time period. "Ladies" were property, deemed unfit for education and not permitted on the streets without a man’s presence. The straitjacket, although invented many years later, in this garment conjures associations with the mentally ill and confinement. Women were viewed as unfit to provide for themselves. Their hands were tied when it came to making decisions about several aspects of their lives, such as, in matters of marriage and wealth. The piece also includes a chastity belt finished with a lock, which is representative of the sexual suppression of women at the time. Men held the key to women’s sexuality, expression, and identity.
1545-1620
My second piece moves into the Elizabethan era (1545 – 1620), a significant time period for the progress of freedom for women. The structure around the neck of my model is called a support tasse and is historically accurate. This structure was used to support the fashionable enormous neck ruff of the time period. The standing ruff has fallen to the waist and has been used to mimic the silhouette of the historically accurate cartwheel farthingale, which gives shape to the skirt. A mirror hanging off a “lady’s” skirt was fashionable at the time, allowing a woman to be aware of her appearance at all times. I exaggerate this concept with an increased number of mirrors. My mirrors, however, are broken, expressing the idea that the traditional view of women was broken in the Elizabethan era. Although women were still viewed as inferior, England -- one of the world’s greatest powers -- was now ruled by Queen Elizabeth. She refused to marry and surrender her throne and authority to a man. She considered herself married to England. This revolutionary idea that a woman could possess so much political power completely overturned prior gender assumptions, and paved the way for new ideas about women’s capabilities.
1755-1780
Moving into the Georgian era (1755 – 1780), my next piece exposes the lavishness of the period. The form and size of the paniers are historically accurate; I have added teeth to them in order to emphasize the resemblance this structure has to a bear trap. This feeling of being trapped was all too much felt by the "ladies" of this period. This fashion of taking up an enormous amount of space demanded attention, and kept women from being ignored. Because of the widths of these gowns, a lady was forced to be catered to by her man. She was trapped within a piece of furniture that made it impossible to perform labor of any sort or participate in many activities.
1837-1901
The crinoline of the Victorian era (1837 – 1901) is depicted in my third garment. Wearing the crinoline came as a response to obviate the oppressive, limiting, multiple petticoats required to produce the fashionable broad bell shape silhouette. This not only accurately expresses the fashionable liberating structural undergarment of the era but also pays homage to the groundbreaking women who weren’t afraid to stand up for their beliefs. These women’s faces are highlighted on the crinoline, weaving together women who made valuable contributions to society and for equality in many aspects of women’s lives in the 19th century. You can find vignettes of Women political activates: Carrie Chapman Catt, Victoria Claflin Woodhull, Susan B Anthony, Elizabeth Cady Stanton, Sojourner Truth, and Julia Grant. The First Female Entrepreneur Millionaire - Madam C. J. Walker. The Revolutionary Female Sex Surveyor - Celia Mosher. The Founder of the American Red Cross - Clara Barton. The Founder of the Girl Scouts of the USA - Juliette Gordon Low. The First Female Doctor in the United States -Elizabeth Blackwell. Famous Female gunmen and outlaws: Calamity Jane, Annie Oakley, and Belle Star. And women who dressed as men to be soldiers in the Civil War - Frances Clayton, Sarah E. Seelye.
1910s-1920s
The 20th century marks the beginning of women’s liberation; snowballing advancements in women’s roles are reflected in women's undergarments. In the 1910s and 1920s women rejected enormous full skirts. Because of this, undergarments were forced to change as well. This is the first time since 1815 that the use of stiff under-structures was abandoned and a mere tube slip remained. This new slim, boyish figure was a result of rejecting the past confinements and creating a new future for women. The “flapper” was a term given to less conservative women of the era. These women were viewed as taboo when the first appeared. They drank and smoked in public with men. Skirt lengths rose and dancing became more provocative, causing undergarments to change too. The 1920’s completely turned women’s roles upside down, and my fifth garment reflects that by literally flipping the simple tube slip upside down. Women's undergarments no longer emphasized their natural female curves but were actually designed to eliminate them, possibly in order to eliminate more of the gender differences between men and women. To strengthen this concept of the change in gender role, I have also suspended a pearl necklace at her knees and turned the nylons into gloves, complete with garters.
1940s-1950s
The next garment in my series is representative of the 1940s and 1950s. The piece displays the duality of many women’s lives in these decades. The apron, lace and pearls allude to the housewife façade that was romanticized at this time. This is in direct contrast to the black sado-masticistic leather corset that conjures up images of the subculture that was becoming more mainstreamed during this time period. The notorious Betty Page (1923 –2008) played a huge role in popularizing sexuality that walked the line of pain and pleasure. The combination of these two items juxtaposes the falsely pure image the 1950 media portrayed and the reality of the era
1960s
The last garment got its inspiration from the 1960s, a decade that was very radical and influential. The 2nd Wave feminism movement took place and flaunted a “Bra Burning” message against patriarchal authority. “Hair”, the musical, was the jumping off point for this piece. The musical used hair as a key parallel to the political and authoritative rebellion of the time. I used the same association and made leggings, panties, and armbands trimmed with human hair. They represent the female’s rebellion against patriarchal authority. The false breasts that top my piece are actually accurate for the time for exotic dancers that, in many places, were prohibited by state law from exposing their breasts. Instead, I am recalling the exposed breast imagery that has been used throughout the history of art as a symbol of liberation and freedom
After months of conceptualizing my project, I have come to realize the immense depth of this topic and the importance of what has compelled me to journey down this path. My project responded to the clashing stereotypes of two aspects of my life. On one hand I consider myself to have feminist ideals and views about most issues, but on the other hand I have been captivated by the world of fashion, and more specifically, lingerie. These two avenues tend to be viewed as polar opposites. By illustrating the progress women have made, the goal is to show a connection between the progressing absences of restriction and increasing female empowerment. The final presentation of my garments will be held in a gallery, displayed on seven life-size mannequins. These will show a narrative progression of women’s obstacles. They also will demonstrate an anti-essentialist belief that ideas of sexuality and gender roles have been socially constructed, and have evolved into our current status with thanks to many rebellious and outspoken women.
Works Cited
Bayley, Stephen. Woman as Design: Before, Behind, Between, Above, Below. London: Conran Octopus Ltd, 2009. Print.
Cosgrave, Bronwyn. The Complete History of Costume & Fashion From Ancient Egypt to the Present Day. New York: Checkmark Books, 2001. Print.
Cox, Caroline. Lingerie: A Lexicon of Style. 1st ed. United Kingdom: Scriptum Editions, 2000. Print.
D'Emilio, John. Intimate matters a history of sexuality in America. Chicago: University of Chicago, 1997. Print.
Etcoff, Nancy L. Survival of the prettiest the science of beauty. New York: Doubleday, 1999. Print.
Farrell-Beck, Jane. Uplift the bra in America. Philadelphia: University of Pennsylvania, 2002. Print.
Fields, Jill. An Intimate Affair Women, Lingerie, and Sexuality. New York: University of California, 2007. Print.
Gimlin, Debra. Body Work Beauty and Self-Image in American Culture. New York: University of California, 2002. Print.
Kunzle, David. Fashion and Fetishism: Corsets, Tight Lacing & Other Forms of Body Sculpture. United Kingdom: Sutton Limited, 2004. Print.
Mahon, Alyce. Eroticism & Art. New York: Oxford UP, USA, 2005. Print.
Negrin, Llewellyn. Apperence and Identity: Fashioning the Body in Postmodernity. New York: Palgrave Macmillan, 2008. Print.
Neret, Gilles. 1000 Dessous: A History of Lingerie. Los Angeles: Taschen, 2008. Print.
Shephard, Norma. Lingerie: Two Centuries of Luscious Design. Atglen: Schiffer Ltd., 2008. Print.
Steele, Valerie. Fetish Fashion, Sex & Power. New York: Oxford UP, USA, 1997. Print.
Waugh, Norah. Corsets and crinolines. New York: Routledge/Theatre Arts Books, 2000. Print.
Willett, Cunnington, C. The History of Underclothes. New York: Dover, 1992. Print.
Cosgrave, Bronwyn. The Complete History of Costume & Fashion From Ancient Egypt to the Present Day. New York: Checkmark Books, 2001. Print.
Cox, Caroline. Lingerie: A Lexicon of Style. 1st ed. United Kingdom: Scriptum Editions, 2000. Print.
D'Emilio, John. Intimate matters a history of sexuality in America. Chicago: University of Chicago, 1997. Print.
Etcoff, Nancy L. Survival of the prettiest the science of beauty. New York: Doubleday, 1999. Print.
Farrell-Beck, Jane. Uplift the bra in America. Philadelphia: University of Pennsylvania, 2002. Print.
Fields, Jill. An Intimate Affair Women, Lingerie, and Sexuality. New York: University of California, 2007. Print.
Gimlin, Debra. Body Work Beauty and Self-Image in American Culture. New York: University of California, 2002. Print.
Kunzle, David. Fashion and Fetishism: Corsets, Tight Lacing & Other Forms of Body Sculpture. United Kingdom: Sutton Limited, 2004. Print.
Mahon, Alyce. Eroticism & Art. New York: Oxford UP, USA, 2005. Print.
Negrin, Llewellyn. Apperence and Identity: Fashioning the Body in Postmodernity. New York: Palgrave Macmillan, 2008. Print.
Neret, Gilles. 1000 Dessous: A History of Lingerie. Los Angeles: Taschen, 2008. Print.
Shephard, Norma. Lingerie: Two Centuries of Luscious Design. Atglen: Schiffer Ltd., 2008. Print.
Steele, Valerie. Fetish Fashion, Sex & Power. New York: Oxford UP, USA, 1997. Print.
Waugh, Norah. Corsets and crinolines. New York: Routledge/Theatre Arts Books, 2000. Print.
Willett, Cunnington, C. The History of Underclothes. New York: Dover, 1992. Print.