Tag Archives: man ray

Hands off: Surrealist art and fashion

As of late, I’ve been thinking more and more about 1920s and 1930s design, and about the fact that many of my favourite fashion designers were the ones to blur the lines between art and fashion. Wearable art is a term that is often thrown around when writing about these people, and it’s one of my favourite ways of thinking about well-designed clothing and creative styling.

Elsa Schiaparelli in Elsa Schiaparelli, autumn 1931. Photograph by Man Ray

Elsa Schiaparelli in Elsa Schiaparelli, autumn 1931. Photograph by Man Ray

Elsa Schiaparelli is well known for having been influenced by surrealist artists such as Salvador Dalí, Jean Cocteau and Man Ray, among others. But I would take it even further than to simply state influenced or inspired by – the more I read about her, the more I find these so-called inspirations would more aptly be described as collaborations. The reason these aren’t credited as collaborations I suspect in part has to do with gender, but it is most likely largely due to how much respect fashion vs. art is accorded. Fashion then (and now) is still seen as a lesser  form of art, as a capitalist industry as opposed to one interested in symbolism, deconstruction or self-expression. While Man Ray and Dalí are both respected as some of the 20th century’s most important artistes, Schiaparelli remains a name known mostly in the realm of frivolity and fashion, associated with high society and the colour pink.

A perfect illustration of Schiaparelli’s artistic talents are some of the gloves she designed in the mid-1930s. In Schiaparelli’s collection for winter 1936–37, she produced suede gloves in both black and white, with red snakeskin fingernails to replicate human hands. The black gloves were worn with Surrealist suits with pockets that looked like miniature bureau drawers, designed in collaboration with Salvador Dalí (if you come across a photo of those suits, let me know! I’m dying to see what they look like).

Made in Paris, France, Europe. Winter 1936-37 Designed by Elsa Schiaparelli, French (born Italy), 1890 - 1973  Black suede, red snakeskin 9 3/8 x 3 3/8 inches (23.8 x 8.6 cm)

Gloves by Schiaparelli, Winter 1936-37 collection

These playful gloves were created around the same time as Picasso painted hands to look like gloves for a Man Ray photo. Rumour has it Schiaparelli was inspired to flip-flop the concept and create a pair of gloves to look like hands.

Man Ray, Hands painted by Picasso, 1935

Man Ray, Hands painted by Picasso, 1935

Man Ray,  »Study of Hands », (negative solarization) 1930

Man Ray, »Study of Hands », (negative solarization) 1930

gloves by elsa schiaparelli

A lambskin belt next to suede gloves with gold metal talons, both made by Schiaparelli around 1936

There’s something about these gold talon ones though that I love even more – isn’t there something about them that screams hard femme? “Look, admire, but I can fuck you up if you cross my boundaries?” Perhaps over seventy years later, I’m queering this a bit too much to my own fancy, though.

This was hardly the only time Schiaparelli incorporated hands into her designs: I’m absolutely enamored by this belt, from two years earlier.

Evening belt Elsa Schiaparelli  (Italian, 1890–1973)  Date:     fall 1934 Culture:     French Medium:     silk, plastic Dimensions:     Other: 29 in. (73.7 cm)

Evening belt by Schiaparelli, Fall 1934 (silk, plastic)

The Met describes it as follows:

An ultimate expression of Schiaparelli’s interest in Surrealism, this belt was shown in the fall 1934 collection along with other pieces featuring the hand motif, such as a jacket, cape and handbag with hand-shaped fasteners. The hand was seen in many Surrealist artworks, such as those by Man Ray, and Schiaparelli used it in remarkable ways to accent her clothing designs. The wearer is literally embraced around the waist by the belt, an image echoed in the well-known jacket from the fall 1937 collection, featuring a woman with her golden sequined hair draped down one arm and her arm and hand wrapped across the body and waist, again embracing the wearer. The design was inspired by a drawing by Jean Cocteau for Schiaparelli.

Glove Hat      Object:      Hat with gloves     Place of origin:      Paris, France (gloves, made)     Date:      1936 (made)

Glove Hat designed by Schiaparelli, 1936

Another artist who also happened to be photographed by Man Ray (Kiki de Montparnasse, Lee Miller, Schiap – which badass creative women of the 20s and 30s weren’t?) played with gloves around the very same time is Meret Oppenheim.

Meret Oppenheim  "Fur Gloves with Wooden Fingers" 1936

Meret Oppenheim “Fur Gloves with Wooden Fingers” 1936

Meret Oppenheim Glove (1985) Silk-screen and handstitching on goat suede

Meret Oppenheim Glove (1985) Silk-screen and handstitching on goat suede

While these were created much later in her career, I find them no less interesting!

And since I am a fan of Man Ray’s portraits, here are some solarized portraits of Oppenheim for good measure.

Meret Oppenheim Man Ray (American, 1890–1976)  1932. Gelatin silver print (solarized)

Meret Oppenheim by Man Ray (American, 1890–1976) 1932. Gelatin silver print (solarized)

Now I’m off to daydream more about

recommended reading:

11 Comments

Filed under art, fashion

halloween 2012: kiki de montparnasse in emak-bakia

film stills of man ray films
[heads up: there is an animated gif at the end of this post!]

i must admit, i was feeling a bit overworked and uninspired around halloween this year. i realized about a week before halloween i hadn’t really planned anything ahead of time, and was dogged by the fact that so many of my dream costumes reference ridiculously obscure early cinema or 1970s performance artists. this lead to me briefly debating choosing something super recognizeable as a costume instead… but after looking back at my costumes over the past six years, and remembering what it is i truly enjoy about this holiday (instead of focusing on what i hate about it) i settled on something.

in the end, i decided i wanted to have an excuse to cut my bangs (which no one even noticed!) and to once again not give a shit if anyone “got” my costume. i also spent a fair bit of october re-watching some of my favourite silent films. i don’t know what it is about this time of year that just feels perfect to watch the world in black and white.

it was after re-watching Emak-Bakia that it came to me. Emak-Bakia, (basque for Leave me alone) is a 1926 film directed by Man Ray. “Subtitled as a cinépoéme, it features many new and innovative filming techniques used by Man Ray, including Rayographs, double exposures, soft focus and ambiguous features.” one of its stars also happens to be one of my icons.

so a simple but still creepy costume idea popped into my head: it still fell into my category of dressing up as my dream women of the past, all while still being slightly off-kilter, a bit unnerving. without further ado, here is my transformation from julia to kiki de montparnasse in emak-bakia.

on/off

makeup step 2
steph did my awesome eyelid makeup after i botched several attempts… pretty tough to do yourself

emak-bakia
ta-dam! the end result.

03black

black and white witchy women
steph dressed up as a black and white witch, which was incredibly impressive.

silent film stars and witches collide
silent film stars and witches collide!

we were a bit disappointed by some of the halloween parties we checked out, so we just decided to wander around the city a bit. it was a blustery fall night, so perfect for wandering near our favourite cemetary…

cimetière st. matthew

06steph-julia-cute

06steph-julia-cute2

06moon
the moon was almost full, the cemetary gates were locked, so off we headed home.

the original inspiration:

and the result:

julia dressed up as kiki de montparnasse in emak-bakia for halloween 2012

we were a bit underwhelmed by most of the costumes we saw out and about. aside from one particularly well-done “1980s grade school class picture” costume no one really stopped me in my tracks. a lot of people playfully chide me for choosing obscure costume ideas, but it is tough to find something equal parts creepy and crowd pleasing. i’d rather just go for something that tickles my fancy in the end.

also, if you’re new around here and haven’t seen my halloween costumes from the past, they are all up on flickr. check it out!

what did you dress up as? what were the best halloween costumes you saw this year? leave photos and links in the comments!

3 Comments

Filed under halloween, quebec city, self-portraits

currently: taking a different look at glasses

i’ve been thinking a lot about glasses these days; glasses as a fashion accessory, as a necessity, as a signifier of intelligence, desireability, gender or class. what do your glasses say about you? as someone who has worn glasses since two thirds of my life, how strange is it to hear people with perfect vision say they “wish” they needed glasses? how differently do i feel about wearing glasses now, as a young professional woman, than i did when i was a young girl? i’ve written about it before, but it shouldn’t surprise me that i have a lot of thoughts and feelings about something i choose to wear every single day.

vision as represented in photography has really been ringing my bell these past few months. i recently rewatched two old favourites of mine this past week, man with a movie camera (1929) and la jetée (1965). thinking about the camera as almost a pair of glasses for the viewer, permitting the audience to see things in a clearer way – or even, to see things they would otherwise never be able to.

i’ve also kind of been completely besotted with surrealist photography, something i knew very little about before this summer thanks in part to a fantastic exhibition on at the musée national des beaux-arts du québec right now. to be honest i’ve never been too smitten with the surrealist movement more generally, but this exhibition has offered a different perspective…  thinking about the possibilities the early days of accessible photography provided, combined with an incredible cocktail of creative uppity artists and feminists makes my heart beat just a bit faster.

a new pair of frames are in the mail, and i’ve got some other thoughts about glasses stores i’m slowly but surely processing. in the meantime, here is some eye-candy: literally.

Women with fire masks, Downshire Hill, London, 1941. Lee Miller

Lee Miller, by Man Ray

Lee Miller, by Man Ray

film still from Dziga Vertov’s Chelovek s kinoapparatom (The Man with a Movie Camera). 1929

Vertov, a Soviet film director, redefined the medium of still and motion-picture photography through the concept of kino-glaz (cine-eye), asserting that the recording proficiency of the camera lens made it superior to the human eye. In a double image in Chelovek s kinoapparatom (Man with a Movie Camera), the eye is superimposed on the camera lens to form an indivisible apparatus fit to view, process, and convey reality, all at once.

Manuel Álvarez Bravo, Parabola optica (Optical Parable), 1931; gelatin silver print; 9 3/4 in. x 7 1/4 in. (24.77 cm x 18.42 cm); Collection of Daniel Greenberg and Susan Steinhauser; © Colette Urbajtel / Asociación Manuel Álvarez Bravo

Manuel Álvarez Bravo, Parabola optica (Optical Parable), 1931

WILLIAM WITT The Eye, Lower East Side, NYC, 1948  gelatin silver print, 10 3/4 x 12 inches

The Eye, Lower East Side, NYC, 1948 by William Witt

From Ken Russel's "Teddy Girls" series (1950s)

From Ken Russel’s “Teddy Girls” series (1950s) thanks andi!

Jaromír Funke

Film still from Alfred Hitchcock's "Spellbound," 1945

Film still from Alfred Hitchcock’s “Spellbound,” 1945

as always, click the photos for more details and links!

3 Comments

Filed under art, currently