Over the course of a seven-decade career in design, Pierre Cardin has released collections that have rocketed so far into the future they were once emblematic of the Space Age. For an example of Cardin’s influence in popular culture, look no further than the 1960s cartoon The Jetsons, where Jane Jetson’s styles look as though they could have been lifted from the designer’s showroom.
Installation View Alongside the Porthole Dress (1968), Made from Wool Crepe and Silver Leather
But perhaps it is the Jetson’s teenage daughter Judy who would have been more inclined to fancy this vibrant and fun two-piece red suit consisting of a Bandeau Top and Miniskirt made of vinyl and plastic. The top’s circular breast rings remind me very fondly of costumes worn by Jane Fonda in the 1968 film Barbarella.
Mannequin Also Wears the Wool Envelope Hat (1979)
This Out-Of-This World Design was Photographed in the Brooklyn Museum as Part of the 2019 – 2020 Exhibit, Pierre Cardin: Future Fashion.
122 Rue Du Temple is the Paris address from which artist Jacques Villegle detached many of the movie posters and political notices that he used to make this work in 1968. After tearing fragments of the original images, he pasted these passages of color, text, and image into a chance composition. Many of the fliers used here announced the city’s May 1968 student and worker demonstrations, and the artist considered the people who had posted them to be his collaborators, understanding their use of advertising billboards as a precursor for his process.
Garments such as this A-line Baby Ruth Paper Dress (circa 1968) by Mars of Ashville (marketed under the name Wastebasket Boutique) became popular marketing tools for brands during the 1960s. The work of Pop artists like Andy Warhol was similarly turning everyday products into works of art. “Paper is the clue to the future,” declared Women’s Wear Daily in 1966.
Installation View with Michael Mott Target Minidress (1968)
See more examples of paper dresses from the sixties Here and Here!
Photographed as Part of the Exhibit Minimalism/Maximalism, On View at the Museum at FIT Through November 16th, 2019.
One of the most versatile and inventive English artists of the postwar era, David Hockey settled in Los Angeles in 1964. An especially iconic example from a group of double portraits of friends and associates from the 1960s, American Collectors (1968) depicts the contemporary-art collectors Fred and Marcia Weisman in the sculpture garden of their of their Los Angeles home. As stiff and still as the objects surrounding them, the couple stands apart, his stance echoed in the totem pole to the right, hers in the Henry Moore sculpture behind her. Brilliant light flatters the scene and sets the couple in sharp relief; they seem oblivious to each other as well as to their art
These Summer Of Love-era sneakers were designed by artist Peter Max, who is best known for his trippy, colorful and psychedelic designs of the 1960s and ’70s. As craft became a form of cultural commentary, wearable art was used as a symbol of the counterculture’s personal and political allegiances.
These sneakers had an original sale price of $3.97, and can now be found on auction sites such as eBay selling for, on average, about $600 per pair. The back of the sneaker has a grinning red mouth across it, part of which can be seen in the above photo.
Photographed as Part of the Exhibit Minimalism / Maximalism, on Through November 16, 2019 at the Museum at FIT in Manhattan .
By the 20th century, wool suits and coats were indispensable, practical elements of fashionable daywear for women. Double-faced wool, used here by designer Mila Schön for her Blue Coat (1968) is woven almost as two separate textiles, joined by a set of interwoven yarns, creating a thick, structural, spongy fabric.
The textile’s density supports this A-line silhouette, while the wool’s pliability eases the inset of Pop Art circles. The hems were self-finished by opening the layers and stitching the edges to the inside.
Photographed as Part of the Exhibit, Fabric in Fashion, on View Through May 4th, 2019 at The Museum at FIT in Manhattan.
Dubbed the Prince of Plastic by the New York Times, Neal Small (b. 1937) lead a craze in the late 1960s for sculptural lighting and furniture made from plastic and acrylic. “I like to think of it as all part of the new permissiveness,” he commented. ‘I Know that I am being more permissive with myself and the designs I allow myself to make — making fuller, more sensuous things. People are permitting themselves in every area, whether it’s music, with The Beatles and The Stones, architecture or clothes. They are allowing themselves things that please them personally. You don’t have to invest in things forever anymore. Lighting is getting to be an art form.”
Area Lamp (model 1112), 1966 -67 was Photographed in the Museum of Modern Art in NYC.
The Financial District in Lower Manhattan is a playground for monumental public art installations, including Isamu Noguchi’s Red Cube, which was installed on the plaza at 140 Broadway Between Cedar and Liberty Streets in 1968.
The diagonal lines of red painted steel stand in contrast to the stark horizontal and vertical lines of the adjacent front of the HSBC Building (formerly the Marine Midland Bank) by architect Gordon Bunshaft. Despite its title, the sculpture is not actually a cube, but instead seems as though it has been stretched along its vertical axis.
Aside from it’s striking color, Red Cube also stands out from the surrounding architecture in that all of its lines are diagonals, whereas the buildings are made up of horizontal and vertical lines. Additionally, the sculpture is balanced somewhat precariously on one corner, while the buildings, by contrast, and solidly placed.
Through the center of the cube there is a cylindrical hole, revealing an inner surface of gray with evenly-spaced lines moving from one opening of the hole to the other. Looking through this hole, the viewer’s gaze is directed skyward, towards the building behind, tying the sculpture and the architecture together.
Red Cube is Located at 140 Broadway (at Liberty Street) New York, N.Y.10005. By Subway, Take the 4 or 5 to Wall Street Station.
If I didn’t have a calendar in front of me I’d swear it was April Fools’ Day, because I just read about a new musical coming to off-Broadway which is based on the true story of the late sixties’ all female rock band, The Shaggs. For those unfamiliar with this pop cultural phenomenon, the band was composed of sisters Dorothy “Dot” Wiggin (vocals/lead guitar), Betty Wiggin (vocals/rhythm guitar), Helen Wiggin (drums), and later Rachel Wiggin (bass). The Shaggs were formed by Dot, Betty, and Helen in 1968 on the insistence of their father, Austin Wiggin, who believed that his mother foresaw the band’s rise to stardom. The Shaggs’ only studio album, Philosophy of the World, was released in 1969 and failed to garner attention, though the band continued to exist as a locally popular live act. The Shaggs disbanded in 1975 after their father’s death. Today, the band is primarily notable for their perceived ineptitude at playing conventional rock music; the band was described in one Rolling Stone article as “…sounding like lobotomized Trapp Family singers.” In some circles, however, The Shaggs are seen as a groundbreaking outsider music group, receiving praise from mainstream artists such as Kurt Cobain and also from Frank Zappa after he called the Shaggs “better than the Beatles.”
As art imitates life, the play tells the story of a working-class dad’s a vision of rock-n-roll destiny for his three talentless daughters, convinced that they are his family’s one-way ticket out of hardship and obscurity. Shaggs: Philosophy of the World is directed by John Langs, coproduced by New York Theatre Workshop and South Ark Stage. The book is by Joy Gregory, music by Gunnar Madsen, and lyrics by Gregory and Madsen. Personally, I can’t wait to see it.
For two evenings in April, curious Shaggs’ fans can sneak a peek of the new musical, prior to its May 2011 debut at New York’s Playwrights Horizons. On Sunday and Monday, April 17and 18, excerpts will be performed at the Guggenheim Museum (1071 Fifth Avenue at 89th Street) at 7:30 PM. Irwin Chusid will also moderate a discussion with members of the production’s creative team. It should be a good time. Tickets for this event are $30 General Public, $25 Guggenheim members and $10 for Students under 25 with valid ID. Click through to This Link to purchase.