Chado Ralph Rucci

Collections:  With the current interest over the past couple of years in the work of Cristobal Balenciaga, I thought that it would be worthwhile to discuss his influence on a contemporary designer of note. One of the best kept secrets on the couturier scene is the American Ralph Rucci.  I discovered him in 2007 when I visited the museum at F.I.T. in Manhattan.  Prior to this show I was totally unaware of this man's work, as I am sure, many people are.  What made the venue particularly appropriate is that he studied here in the late 1970's and I am sure that the Fashion Institute was proud to showcase pieces from his collections.  Influenced by designers, Balenciaga, Madame Gres, Charles James and Halston, his clothes were both structured and deconstructed with an eye for exacting detail and craftsmanship.  An artist, his gowns had a collage like quality, encrusted with applied textures and painterly effects.  Like Charles James, his collections evolve over seasons and ignore trends and fads remaining true to his own visions and personal style.  From the influences of Balenciaga, he sculpts and molds cloth creating new forms and techniques, reinterpreting the female form and pushing himself to discover new solutions to tailoring problems.

Charles James, Clover Dress, 

Rucci fashion Sketch

Rucci gown

Rucci, 2003 haute couture collection

Detail of knotted bodice

While Charles James relied heavily on an under structure that limited the wearer's mobility, often making it impossible to sit down, Rucci relies on exacting cut and tailoring to allow the body movement while retaining the garments silhouette.  This manipulation of the fabric is what ties his work to that of Balenciaga. The knotted jersey dress above is indebted to the influence of Madame Gres and the use of bias cutting that she favored.  Rucci does not shy away from hides or furs either and incorporates both freely in his work.

Recollections:  "If Dior is the Watteau of dressmaking-full of nuances, chic, delicate and timely-then Balenciaga is fashion's Picasso.  For like that painter, underneath all of his experiments with the modern, Balenciaga has a deep respect for tradition and a pure classic line."  Cecil Beaton

If Beaton were alive today, he would have to re-address this quote and make mention of Chado Ralph Rucci.

Balenciaga Tweed Suit

Rucci, 

Rucci

In his tailored garments, Rucci has developed an open seam, garment inserts, and at times a mosaic of piecing, a technique that is highly distinctive to his work.  Often the garment appears to be made up of cloth "tesserae" linked together with threads or 'brides" as seen in traditional lace making or faggoting inserts.  These details create a surface embellishment and construction detail in one, giving the garment an architectural nature of its own.

Balenciaga, flamenco influences

Rucci-similar influences

These construction characteristics married to Asian influences in necklines and drapes free Rucci from being merely a copyist of Balenciaga to a designer in his own right.

Vivian Vance and Lucille Ball, "I Love Lucy"

Aspirations:  Would Ethel and Lucy aspire to a suit by Chado Ralph Rucci?  Most certainly.
Luckily a publication of his work exists.  "Ralph Rucci: The Art of Weightlessness"  ISBN 978-0-300-12278-7

That Little Black Dress

Collections:  I remember an exhibit in London at the Fashion and Textile Museum entitled, "Little Black Dress".  It was around 2008 or 09 I believe.  I thought that it might be fun to muse on the subject myself, since, as a collector, one is always presented with the opportunity to acquire one.  I don't know how other collectors feel on the subject, but I have noticed that the sheer quantity of black or white garments available from dealers or on ebay demonstrates the historical popularity of these neutrals.

Contrary to popular assumptions, black isn't nor has it ever been solely used for observing the ritual of mourning.  We probably inherited that opinion, like so many others, from our Victorian grandmothers, who were obviously influenced by the Queen herself.  Black can be seen in the portraits of the fashionable as early as the Renaissance and 19th century artists, such as Ingres, Whistler and Tissot were masters at capturing its subtleties.  In fact, this neutral was quite expensive to produce due to the instability of the dyes and consequently the most expensive textiles could be acquired in black.  It has denoted rank and authority, hence its popularity in men's wear, and of course has had strong religious associations for many cultures, like the Anabaptists, Amish and the old order Mennonites, the Dutch Reformers of the 17th centuries, and Muslim faiths.  Add to this, the fact that it hid dirt well, in an age when cleaning textiles was next to impossible, and its popularity must have been born more of neccessity than preference.

But when exactly did we throw away our Victorian notions and associations with death and embrace that highly prized, "Little Black Dress?"  An editorial staple since the 20th century phenomenon began.

Ingres, Madame Le Blanc

Sargent, Madame X

While both artists were masters at catching the nuisances of black, Victorian society was particularly shocked by Whistler's portrait.  Not so much the colour, but the lack of sleeves.
Below, the use of black for women's sports wear.  When Bonnie Butler, the daughter of Rhett and Scarlett, needed a new riding outfit, Rhett wanted to defy convention by ordering one in blue.  "A basic black broadcloth is what li'l girls wear." So Mammy admonished!

Riding outfit, circa 1860

Edwardian Swimsuit

Why are the hottest of pursuits performed in black?  Luckily, tennis and croquet costumes were generally in white.  (We'll address it next time)

Victoria 1862

Forever our associations with the use of black. Until......

Black velvet and jet ball gown, circa 1895

Beaded Tulle, circa 1910

1926

Trompe l'oeil dress.  Necklace, belt and bracelets are actually beaded on the garment!

cuff detail

Dior, Taffeta

When Barbie had influence!

Who could forget what Audrey did for this colour.

Breakfast at Tiffany's

Or when a woman is seeking revenge, black is always useful in the right hands!

Recollections:  Like any collector, I try to acquire as wide a representation of the development of dress as I can.  The advantage to collecting black or white garments, is that the eye is free to concentrate on the silhouette and not be distracted by the textile. Still, having said that, whenever possible, a neutral garment will be passed on or traded as soon as a more interesting coloration makes itself available.  When re-creating, I will accent with black, but have yet to tackle the all black costume.

Authors collection, circa 1908

Ambitions:  If you are not familiar with the fairly new Fashion and Textile Museum in London then be sure to put it on your list for the next time you visit.  Their focus is on fashion from 1950-present.  An area that is just beginning to draw the interest of other institutions.

La Galleria del Costume

Collections:  If you have the opportunity to visit Florence, you must make a point of setting aside some time for the Gallery of Costume at the Pitti Palace.  This collection of clothing is an often overlooked gem  in a city of notable collections.  My best advice to you, is to visit the palace ticket office at your earliest opportunity to check on the opening times for this gallery.  Access to the collection is sporadic at best.  I have been able to visit numerous times and the one thing you can count on, is that you can't always count on seeing this collection.  If you are lucky enough to gain access, you will probably have the collection all to yourself!  Unlike the Victoria and Albert museum in London, you won't have to fight for a good view.  I particularly like their arrangement of floating display cases.  It allows for the exploration of the garments from all sides and if you happen to be sharing the space with others, it disperses the crowds nicely.  Unfortunately, catalogues on the collection are no longer available.

Galleria displays

The collection is located on the 3rd floor of the Pitti Palace, in a series of salons which enhance and contextual the costumes.  Usually the rotating exhibits are displayed in a chronological order reflecting the evolution of dress, along with anterooms of specially themed exhibits on accessories or particular periods.  The costumes represent a wide range of manufacturing centers.  Naples seems to have been a preferred shopping source for many in the second quarter of the 20th century and what surprised me most was the large collection of 19th century dresses labelled "C. Donovan" New York.  Interestingly, I have yet to see one Worth on display in their collection but Fortuny and Ferragamo are well represented.

Black Chantilly lace over yellow silk satin, circa 1865

Yellow and cream striped silk over pale blue underskirt, circa 1878

Roller printed cotton in pale grey, circa 1837

Black silk, circa 1915

Silk Tulle embroidered in gold thread, circa 1823

Recollections:  Of special note, on my last visit, was an exhibition on the exhumed costumes of Eleanora of Toledo, Cosimo I de'Medici and their son Don Garzia.  These dated circa 1562.  Mounted on large flat sheets of foam core, they were angled within their cases for easy viewing by the public.  Heavily stained with the remains of body fluids and with large areas of the silk missing due to disintegration, the display relied on the drawings of costume historian Janet Arnold to "flesh" out what the viewer was studying.  Portraits of the three added to our understanding of how these garments were worn and the importance of dress at the time.  Notice the bodice and details in the portrait of Eleanora of Toledo below and compare them to the remaining fragment removed from her tomb in the 1850's.  They are so strikingly similar it poses the question, "Is this the actual dress she wore when she was buried?"  It would not be unusual for many women to be buried in their best clothing or even wedding apparel.

Eleanora of Toledo

Satin & Velvet bodice Fragment, 1562

Janet Arnold, Patterns of Fashion, 1560-1620

Ambitions:  To re-visit this collection in May of 2012.

That Little Black Dress

Collections:  I remember an exhibit in London at the Fashion and Textile Museum entitled, "Little Black Dress".  It was around 2008 or 09 I believe.  I thought that it might be fun to muse on the subject myself, since, as a collector, one is always presented with the opportunity to acquire one.  I don't know how other collectors feel on the subject, but I have noticed that the sheer quantity of black or white garments available from dealers or on ebay demonstrates the historical popularity of these neutrals.

Contrary to popular assumptions, black isn't nor has it ever been solely used for observing the ritual of mourning.  We probably inherited that opinion, like so many others, from our Victorian grandmothers, who were obviously influenced by the Queen herself.  Black can be seen in the portraits of the fashionable as early as the Renaissance and 19th century artists, such as Ingres, Whistler and Tissot were masters at capturing its subtleties.  In fact, this neutral was quite expensive to produce due to the instability of the dyes and consequently the most expensive textiles could be acquired in black.  It has denoted rank and authority, hence its popularity in men's wear, and of course has had strong religious associations for many cultures, like the Anabaptists, Amish and the old order Mennonites, the Dutch Reformers of the 17th centuries, and Muslim faiths.  Add to this, the fact that it hid dirt well, in an age when cleaning textiles was next to impossible, and its popularity must have been born more of neccessity than preference.

But when exactly did we throw away our Victorian notions and associations with death and embrace that highly prized, "Little Black Dress?"  An editorial staple since the 20th century phenomenon began.

Ingres, Madame Le Blanc

Whistler, Madame X

While both artists were masters at catching the nuisances of black, Victorian society was particularly shocked by Whistler's portrait.  Not so much the colour, but the lack of sleeves.
Below, the use of black for women's sports wear.  When Bonnie Butler, the daughter of Rhett and Scarlett, needed a new riding outfit, Rhett wanted to defy convention by ordering one in blue.  "A basic black broadcloth is what li'l girls wear." So Mammy admonished!

Riding outfit, circa 1860

Edwardian Swimsuit

Why are the hottest of pursuits performed in black?  Luckily, tennis and croquet costumes were generally in white.  (We'll address it next time)

Victoria 1862

Forever our associations with the use of black. Until......

Black velvet and jet ball gown, circa 1895
Victoria & Albert Museum

Beaded Tulle, circa 1910
Pitti Palace, Florence

1926

Lagerfeld, 1988

Trompe l'oeil dress.  
Necklace, belt and bracelets are actually beaded on the garment!

cuff detail

Dior, Taffeta

When Barbie had influence!

Who could forget what Audrey did for this neutral.

Breakfast at Tiffany's

Or when a woman is seeking to upstage her unfaithful husband, black is always the right choice!

Recollections:  Like any collector, I try to acquire as wide a representation of the development of dress as I can.  The advantage to collecting black or white garments, is that the eye is free to concentrate on the silhouette and not be distracted by the textile. Still, having said that, whenever possible, a neutral garment will be passed on or traded as soon as a more interesting coloration makes itself available.  When re-creating, I will accent with black, but have yet to tackle the all black costume.

Authors vintage collection, circa 1908

Detail

Black point d'esprit over black satin.  Jet beaded decoration.  Cream lace with turquoise blue velvet trim.


Ambitions:  If you are not familiar with the fairly new Fashion and Textile Museum in London then be sure to put it on your list for the next time you visit.  Their focus is on fashion from 1950-present.  An area that is just beginning to draw the interest of other institutions.
Have a favorite "little black dress"?  I'd be happy to take care of it for you!  Want to share a story or memory?  Feel free to comment.