the ERA OF WONDERFUL NONSENSE
contents
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WELCOME
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introduction
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‘ G R E T A’
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‘A NU B I S ’
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‘ L O UI S E ’
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‘ Z E L D A’
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‘A N A C K S UN A M UN ’
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‘francis’
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C O N C E P TUA L I M A G E R Y
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A C K N O W L E D G M E NT S
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b y TA R A G U I L L O Z E T Senior Capstone Collection Lookbook Fashion Design, 2018
Photographs by Blackthorne Studio 3
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welcome
THIS
LAVISH
VOLUME
invites
the
reader
ostentatious, imagined world of the 1920s.
into
the
Set in the
present with no pretensions to the literal, this collection is captured through sumptuous still-life photographs and film-set interiors.
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INTRODUCTION
with no standards of value except pure sensation – it was the time of the big headline.
Bringing life to the legacy of the 1920’s Era
The characteristic figure of the era was the
of Wonderful Nonsense, where the flappers
Flapper, the girl who bobbed her hair, flaunt-
met the Egyptians met the pantsuit, in a
ed short skirts, casualized sex, drank, smoked,
dizzying display of resplendence, power, and
and otherwise chose excess while disregard-
aristocracy.
ing any acceptable norms. The spirit of the nineteen twenties and its freewheeling popu-
This final dissertation is manifested in a
lar culture flouted the old rules and in result
seven look collection, inspired by the intrica-
braved a new, changing world.
cies and societal behaviors of this past era but enlivened to a contemporary display.
Egyptomania – In 1922, the uncovering of Egyptian King Tutankhamen’s tomb set off a
Era Ambience – Frequently referred to as the
global firestorm. As a way to perhaps cope
‘Roaring Twenties’, ‘Jazz Age’, or ‘Age of Intol-
with the rapid changes of the time, Ameri-
erance’, the decade of the ‘20s also donned a
cans grasped onto this discovery and reveled
lesser-known signature: ‘The Era of Wonder-
in the treasuries, seeing that they came from
ful Nonsense’. Wealth of the nation had dou-
a fixed, enduring past. They were quick to no-
bled and consumerism was on the rise. More
tice the similarities shared with Egyptians:
people now lived in the city; they defied prohibition, indulged in new styles of dancing and
shortened hemlines in Egyptian art, kohl-eyed
dressing, and rejected many traditional moral
makeup, scarab jewelry, and bobbed hair. To
standards. Their faith in the world was not
much rage, ancient Egypt came to live again
robust, as it was a time of dramatic social and
in Hollywood; “the bobbed hair flappers who
political change, so their attention centered on
lived when tombs were built.” Egyptian ico-
the materialist and miraculous automations
nography molded effortlessly in art deco. The
at the surface of their existence. New mass
media, as mentioned as newly flourishing in
communication and publicity were exuberant
the twenties, helped translate the finds from
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a high culture event celebrated in scholarly
Doberman – There are many asides in the col-
circles to a popular sensation that affected the
lection which nod to the connections of the
mass American culture.
narrative. The Doberman, a dog breed that gained height in popularity in America in
Women’s Pantsuit – When a serious tone sud-
the twenties and also emulates the Egyptian
denly came over the country at the end of the
Anubis, further represents the cross-sexual
decade, the exuberance of the twenties van-
context on the garments. At first glance, the
ished but the spirit of the woman remained.
viewer assumes the Doberman as male, a pre-
The ‘boyish’ flapper, a symbol of emancipation,
conceived judgment because of its muscular frame, sleek hair, and overall lack of feminine
succumbed to the need for women to work in
traits. Embroidery, on the other hand, is pre-
the place of men during the war. Enter the
sumed as feminine decoration. The idea here
new uniform – the pantsuit.
is to fuse the two and prepare it for both a man
So the gap between genders would be seem-
and woman’s garment. The ultimate is not
ingly bridged with the call for creation and
necessarily intended to be androgynous, but to
social acceptance of women’s pants in society,
show that the derivative for design is neither
but not without incredible resistance. During
here nor there; drawing a hard line between
the time of its debut, only the most unconven-
the terms of womenswear or menswear today
tional designer would offer a straightforward
is both pointless and passé.
pantsuit and only a fearless woman would wear it. It was top-to-bottom sex – a divided
‘the ERA OF WONDERFUL NONSENSE’ presents
crotch, disguised figure, intimacy of a woman
a heterogeneous collection that vitalizes the
in a man’s clothes. Offering women a feeling
intricacies, excessiveness and deeper chang-
of authority as traditional sex roles continued
es in society of the nineteen twenties.
to blur, the pantsuit was, and is, at once both
Is
there room for such a take on glamour today?
sexless and sexy, and embodies her ambition
Probably.
to be taken as an equal force.
It ignites the fantasies, desires,
and financial outlays of current customers. And that’s fashion. 7
B R I N G I N G L I F E TO L E G AC Y Bringing life to the legacy of the 1920’s Era of Wonderful Nonsense, where the flappers met the Egyptians met the pantsuit, in a dizzying display of resplendence, power, and aristocracy.
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T H E PA N T Worn by cigarette-smoking garconnes or languid femme fatales, the female pant was a symbol of the Art Deco world of skyscraper chic, Cartier diamonds, fast cars, and even faster morals.
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‘ G reta ’ loo k TOP: Bodysuit, machine-sewn, hand-finished ivory ponte knit and linen pinstripe foundation; hand-appliqué ivory and white ostrich feathers.
Construction time: 25 hours
BOTTOM: Machine-sewn ivory silk charmeuse; hand-embroidered with opalescent and gold sequins, silver and ivory beads, light silk lochrosen crystals.
Construction time: 15 hours (sew) ; 152 hours (embroidery)
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PURVEYOR OF PARURIERS
embroidery
(adornment makers)
Embroidery does not exist independently. It is made for a particular garment: specific fabric, exact spot to adorn, respecting the overall structure of the piece. Given so many parameters, the work must be not only detailed and precise, but it must also have the capacity for exceptional expectation, flexibility, and savoire-faire.
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GOLD Divine and indestructable; associated with the brilliance of the sun and the skin of the deities.
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DROP-DEAD GORGEOUS God of the dead, Anubis, with his tousled dark hair and lovely brown eyes exists prominently, mystically. A warriors metal cuirass appears formed of scales and is resurrected to an ostentatiously grand garment.
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TO “GO TO EXTREMES” IS EVER SYMPTOMATIC OF GENIUS AND GREATNESS. Arthur Desmond, from Might is Right Comprised of 700 metal cast jewelry pieces scouted in New York and 550 Czech jet glass teardrop beads, hand-linked together by synthetic gold split rings. A man’s accessory with the distributed weight of a warriors cuirass.
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‘ANUBIS’ LOOK TOP: (Details on previous page).
Construction time: 56 hours
BOTTOM: Machine-sewn, Italian gold satin blend, hand-riveted brass metal snap closures.
Construction time: 34 hours
Careful craftsmanship, detailed iconography, and rich materials signify the supreme importance of the quest for immortality.
DETAILS
FOR THE MEN Oftentimes in menswear hardware is the embellishment. Attention to these details and balance of seamwork, topstich, pockets, and closures are essential to the overall harmony and fuctioning of the garment.
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A shape so evocative of the decade, symbolic for emancipation and economic freedom. Less beholden to line and structure, created on bias to respond to the hand of the fabric and the drape around the body. An elegant fabric choice weighted by decorative embellishments on a lithe silhouette... Timeless and yet completely of its time.
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‘LOUISE’ LOOK DRESS: Machine-sewn emerald silk charmeuse; hand-embroidered with opalescent and gold sequins, iris gold, bronze, silver, black, and ivory glass beads, light silk and metallic gold lochrosen rhinestones.
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Construction time: 04 hours (sew) ; 48 hours (embroidery)
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SELF-INDULGENT LUXURY
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pin - striped Ofcourse, in earlier days, women’s choosing to wear anything that was the purview of men was contentious. On top of the ubiquitous glass ceiling, there was also a pin-striped ceiling: Women had to contest not only for equality in the workplace but for their wardrobes within the workplace.
Thankfully, the culture has moved along immensely: We’ve recently seen a demystification of masculine and feminine dressing codes, along with the sort of masterly blending worth noting here: mens suiting material for a body-hugging dress; masculine K9 breed created by crystals for an ultrafeminine accent.
A precisely tailored and accessorized ensemble straddles the line between genders. And to take it even futher, it’s made inclusive for the blooming youth of women and equally for the devastatingly graceful beauty of an aged woman.
strong b elo v ed “Fair of face, joyous with the double plume, mistress of happiness, endowed with favour, at hearing whose voice one rejoices, lady of grace, great of love, whose disposition cheers the lord of the two lands.� Ankenaten, referring to his beloved wife
‘ZELDA’ LOOK
DRESS: Machine-sewn pinstripe stretch-wool suiting and flocked-polka tul
BELT: Hand-embroidered with black sequins, black, copper and silver-lined
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lle; hand-appliquĂŠ white and black ostrich feathers.
d brown beads, black, clear, and grey crystals.
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Construction time: 22 hours
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a b oo lon collection. Emporest quoditation eiciminis delendenime voloreictur aut quam ea vel mi, cone veri nem inita dolorrum quia pero et inullit, sum volum adis maios nest eaquo kiban cara ta pemostis erum ipis molupta spitate volo eatur, tent, que liciisque venis et aut aut ant aut quuntium nonseria non es et qui quodipit optatusti non et resequam rem quo voluptaqui aut voluptati officab oruptas imperuntem am, solor sed qui dolor ad quibus del molor re sum fugit voluptur simusa di apidullacesequissiminciisdolupidetlantiorerehentionempore re.
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T E M P TAT I O N collection. She wears the assuit
Onlookers always turn to
dress - cold, heavy,
behold
snakelike.
Long, glossy black hair, Olive complexion,
Raven feathers abound
Slim but voluptuous
at her knees - whilst
physique.
soft - further suggest the villainous nature she
Enticing, desirous
possesses.
Her betrayal is inevitable.
Her coat embezzled from
She who would indulge
the bespoke men of this
the fruit of the forbidden
era she now endures.
tree
With severe shoulders
Threatens temptation to
She demands.
all.
by Tara Guillozet
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‘ANAKSUNAMUN’ LOOK DRESS: Hand-constructed by meticulous shaping, linking of gunmetal metal mesh; machine-sewn, hand finished black ostrich feather trim. Construction time: 34 hours TAILCOAT: Machine-sewn, hand finished Italian gold satin blend; hand-embroidered with Czech jet glass teardrop beads, black lochrosen rhinestones, ivory settings. Construction time: 7 hours (sew) ; 34 hours (embroidery)
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By MYSELF Et? Unum conte, que consuam porbit etemodit; nocrumus, numensultoBerra te nestabe ristiam qua et vit, prarides? Uctabefes dees! Sendam iam
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‘FRANCIS’ LOOK TOP: Machine-sewn emerald silk charmeuse; hand-applied silver/black metal buttons and gunmetal chain neck accent. Construction time: 23 hours
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SOIGNÉ SOIGNÉ – [ Swan-yay ] : Possessing an aura of sophistication in dress, manner, or design; presented or prepared with an elegance attained through care for the finer details.
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GOLD COLORED Mi, officietus a quoditatem quae corem ipiduntorpos non peraeribus necatis esequae ceatur?Itatur si dis
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By MYSELF Et? Unum conte, que consuam porbit etemodit;
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A C K N O W L E D G M E NT S
I am grateful to the many people who provided generous support for this project, “the Era of Wonderful Nonsense�. In
particular,
I
am
encouragement and Blackthorne
Studio,
fortunate
to
have
had
the
collaboration with the talents of photographer/cinematographer
Adam Leigh-Manuell and creative consultant Erin Leeper. Thank you for believing in me and my work. My sincerest appreciation goes to set assistants Royola and Veronica, stylist assistant Suzie, hair and makeup artists Tom and Kiara. Special thanks to my dynamic models: Miranda Carranza, Angella Thomas, JJ Pickney, and the gracious Director of the Cincinnati Ballet, Victoria Morgan. Not to forget, the most obedient and handsome Doberman, Caesar, and his amenable owner Austin Kauth. For the ongoing support and guidance of my professors and extended faculty members, I am especially grateful. To my family, thank you for your unconditional love, faith, and encouragement all five years of this educational journey. To my love, DJ... your support has gone unnoticed by no one. You have consolated, reassured, inspired, and revived me through this entire five year journey. This is as much yours as it is mine.
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2018 pRODUCTION