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Elizabeth Wilson, born in 1936, was among the first to cross fashion with feminism with academics. A former professor at London’s College of Fashion and the author of non-fiction books and a detective series, Wilson has now written a memoir in which she shares her early life and her path from activist to fashion academic.

In Unfolding the Past published by Bloomsbury Press, Wilson digs into her childhood and early adulthood in post WWII London where she and her mother settled while her father worked as an administrator in Sierra Leone. She describes her family as being in “reduced circumstances” living not in Kensington as her mother wished, but instead a mile or so to the east on the end of a “shabby street” in a 4-story house owned by her grandparents. Her mother’s disappointment in life colored Wilson’s childhood and perhaps set her up to be a somewhat rebellious young adult.

She opens the second chapter with – “Every Thursday, a Harrods van drew up outside our front door and the driver, uniformed in green, delivered a cardboard box tied round with pink tape. It contained the weekly volume from Harrods’ lending library, chosen by my mother after she had read the book reviews in the Daily Telegraph and the Sunday Times. Usually it was a novel, but books on history, popular psychiatry, and the Cold War turned up from time to time. The delivery to our terraced house was out of place in the marginal social world of my childhood. At the lower end of the street, tall stuccoed mansions had fallen into decay …”

Wilson gives this kind of detail throughout the book offering vivid descriptions of her family, friends, herself and her wardrobe, as well as of a bleak, but fascinating London just after the war and into the 1960s. I would say this isn’t a straight forward memoir, but more of a wondering through Wilson’s thoughts and opinions. With references to other academics, popular culture, literature, art, and music we get an abstract picture of her life. From child to young adult, communist and feminist, throughout it all clothing, she says, was her “prop” offering some “self-confidence.”

Unfolding the Past is an unusual thought-provoking read that one could go back to again and again and learn something new.

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I could see any one of these vintage Patrick Kelly gowns on the Red Carpet. Photo courtesy of The San Francisco Fine Arts Museums.

More and more people are aware that what we see on the red carpet is paid for – a branding opportunity. So, when someone chooses to wear vintage, they’re kind of saying: ‘I’m an individual here. I really love how it looks on me. I don’t care that it’s not sponsored by some brand!’ That feels more authentic to a lot of people in a very branded world.

Cherie Balch – Canadian founder of the well-known online vintage store, Shrimpton Couture.

This quote is from an article in the Style Section of the New York Times, January 6th, 2022.

Demi Moore was the first to wear a vintage gown to the Oscars in 1992 (Versace) and since then there has been a parade of celebrities following suit – Julia Roberts, Margot Robbie, and Emma Watson to name a few.

The Academy Awards is coming up next Sunday. Who will wear what on the red carpet?

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One day something magical happened. Something forbidden happened.

Polka Dot met Stripes and after that, fashionable life was never the same.

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Inspiration can be found anywhere at any time. I often stumble upon something that sets my imagination whirling into fashion mode, even though I’m not a designer.

Recently I was visiting Filoli Historic House and Garden in Woodside. While roaming the gardens I was taken with these bright and happy flowers. I commented to my partner that I could see these flowers on fabric. Then I started thinking – If I were a designer I would paint these flowers onto a medium weight cotton fabric in a repeated small print, perfect for a summer shirtwaist dress. An alternative would be to paint large, also on cotton fabric and make a caftan with a matching turban. Painted on silk, what fabulous lining for a lightweight coat. How about a silk quilted coat? Then I thought that if I were a fashion designer I would create a spring/summer line all based on the Filoli garden flowers.

I play this game – If I Were a Fashion Designer – whenever something sparks my fashionable imagination.

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Whitney Peak donning all Chanel for Elle magazine.

My style dictates how I want to feel throughout the day. So if I want to feel cool, and it’s swag, I’ll do the big pants, maybe a shirt, definitely a cool sneaker, jewelry galore. Probably big hair. And if I feel a little more elevated, I’ll do a leather boot, and a pair of trousers, maybe a black trenchcoat.

Whitney Peak, American actress.

Ms. Peak is starring in the HBO Max Gossip Girl Reboot.

I don’t know much about the original (2007-2012) or the reboot Gossip Girl except that the show focusses on a group of wealthy NYC kids who dress head to toe designer (better than ANY real high school kid) and they are remarkably nasty to one another – I wonder how real that part is? I watched some excerpts of the original and some of the reboot on YouTube and I’d say the costumes and the characters are even edgier in the reboot.

Entertaining? Perhaps. Healthy role modeling for youth? Perhaps not.

That’s my two cents for what it’s worth. xoxo

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Image courtesy of the Fine Arts Museums of San Francisco.

On now at the de Young Museum in San Francisco is the West Coast premiere of Patrick Kelly: Runway of Love, a celebration of Mr. Kelly and his inspired fashions of the 1980s.

Black fashion designer Patrick Kelly (1954-1990) was known for combining whimsy with classic. His unique use of embellishment as well as a constant upbeat message in his designs attracted many. Originally from Mississippi, he moved to NYC to study fashion design and in 1979 he moved to Paris. There he had friends bop around the streets in his handmade jersey outfits adorned with buttons. These colorful ensembles caught the attention of French Elle magazine and voila, he was on his way to fashion stardom.

Image courtesy of the Fine Arts Museums of San Francisco.

I was not familiar with Mr. Kelly before hearing of this exhibit but I’m happy to have found him and now he is among my favorites. I appreciate his humor and references to fashion history; I see a touch of Schiparelli here and a pinch of Chanel there, but with a unique Kelly twist. There is something very charming about these designs – they are playful, fun, and yet still polished. He was a master at playing with sophisticated silhouettes by adding unexpected adornments like buttons, tassels, and dice. His use of buttons was inspired by his grandmother who, when he was a child, used to replace his lost buttons with whatever style and color she had on hand. That “outside the box” approach stuck with Mr. Kelly.

Runway of Love, curated by Laura L. Camerlengo, Associate Curator of Costume and Textile Arts at the Fine Arts Museum of San Francisco, is divided into four sections covering Mr. Kelly’s career from hand making knit jersey dresses in his early Paris days to his successful runway shows. One of the sections includes some of his personal collection of racist memorabilia, which served as inspiration for him in his designs. Although controversial in America at that time, his use of racist symbols was his way of controlling the charged images and that puts another interesting twist on his work.

In 1988 Mr. Kelly was the first American and first Black designer to be voted into the Chambre Syndicale du Pret-a-Porter des Couturiers et des Createurs de Mode, the prestigious French association for ready-to-wear designers. This was quite an honor and well deserved!

Patrick Kelly’s archive of fashions was given to the Philadelphia Museum of Art by Mr. Kelly’s business and life partner, Bjorn Amelan, who said that he spent years after Mr. Kelly’s early death of complications from AIDS in 1990, looking for the right home for the archive.

As well as 80 fully accessorized ensembles, the exhibit includes several videos of runway shows, sketches and art by the designer, and other ephemera.

From the 80s music in the background to the upbeat videos, from the buttons to the bright colors to the cultural references – I walked out of Patrick Kelly: Runway of Love uplifted and inspired. I can’t recommend this exhibit enough.

Patrick Kelly: Runway of Love at the de Young Museum now through April 24, 2022.

A few things to know before you go:

  1. Pack a mask! Masks are required on everyone, regardless of vaccination status.
  2. The Coat Room is closed; travel light and remember that backpacks must be hand held inside the museum.
  3. To allow for plenty of safe space in the galleries the tickets are timed, so it’s a good idea to book ahead.

And there’s more! Continue to explore Patrick Kelly with a series of panel discussions Wednesdays at 5pm: October 27th, November 3rd, March 30, April 23. Click here for the full scoop.

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Designs by Patrick Kelly, part of Patrick Kelly: Runway of Love at the de Young Museum, SF. Image courtesy of the Fine Arts Museums of San Francisco.

Save the date!! Patrick Kelly: Runway of Love opens at the de Young Museum on October 23, 2021 and runs though April 24, 2022.

Black fashion designer Patrick Kelly (1954-1990) was known for combining whimsy with classic. His unique use of embellishment as well as a constant upbeat message in his designs attracted many. Originally from Mississippi, he moved to NYC to study fashion design and in 1979 he moved to Paris. There he had friends bop around the streets in his handmade jersey outfits adorned with buttons. These colorful ensembles caught the attention of Elle magazine and voila, he was on his way to fashion stardom.

Patrick Kelly: Runway of Love was organized by the Philadelphia Museum of Art and includes 80 fully accessorized designs organized into sections that highlight the inspiration behind the designer’s work.

I can’t wait! How about you?

Check out the website and plan your visit. Note: Masks are required.

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Photo: Harper’s Bazaar

I’d like to eradicate the categories of menswear and womenswear. Fluidity offers an alternate way of being, crossing and merging masculine and feminine.

Harris Reed, British/American gender-fluid fashion designer.

This quote is from a brief article in Harper’s Bazaar, November 2020.

Mr. Reed is a graduate of Central Saint Martins in London. In addition to designing for his own clothing line, he has worked for Gucci, and he created the unique looks for British pop star Harry Styles’ photos in Vogue magazine.

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I get dressed every day. I always have. I know there are many people who wear workout clothes. I do not wear these things. People have looked terrible for a very long time. I’ve said it for decades, and everyone gets furious at me. Men in shorts, I think that’s bad. I wear jeans every day in the house. I’m a surprisingly formal person. I eat at the table. I set the table every time I eat. I do this even if I’m eating an apple. I have tons of friends, especially people who live alone, who often eat in their bedrooms. I would never do that. Ever.

Fran Lebowitz, American author, public speaker.

I love Fran Lebowitz! She makes me laugh. I saw her for the first time many years ago speaking on television. In her bone dry delivery she ripped Californians to shreds for our extreme no smoking policies. I’m a Californian, I hate smoking, and I support our policies/laws, but Ms. Lebowitz had me in stitches laughing. Her pacing, delivery, quality of voice, and unapologetic manner are a magical combination for humor. What’s more, she’s not even working it; seemingly that’s just the way she is.

She has a signature look that I also appreciate. Pretty much for the last 50 years she has donned jeans, an Oxford shirt, a blazer, custom made wingtip cowboy boots, and in the winter a big overcoat. She buys quality, often bespoke, classic pieces and sticks with what works for her.

As for her quote today, I completely agree with everything she says:

  1. Men in shorts is not a good thing. (Men in sandals is worse.)
  2. People dress poorly.
  3. I also set the table every day for every meal.

Click here to read an interview Elle magazine did with Ms. Lebowitz in 2015. (Once again she had me in stitches.)

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Recycled plastic folded and formed into a wearable garment. Issey Miyake, 2010.

What I have been trying to do, and what I have probably done, is to make clothes that seem to have existed for a long, long time. In reality they never existed. I am not a designer who creates fashionable aesthetics. I make style out of life, not style out of style.

Issey Miyake – Japanese fashion designer.

May we all find inspiration for style from everyday life.

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