Our current exhibition Redefining Redesigning Fashion: Designs for Sustainability has been a hit! Our attendance for the exhibition has been great but if you have not seen it yet, you only have 2 more weeks. It will be closing May 26th. I highly recommend seeing all the wonderful objects in person if you are able. But if for some reason you cannot make it here before it is gone you now have the option to view the exhibition online! Check out this new link on our website! It features the winning designs with descriptions and images of all the objects. It also informs you about the themes that were used to define how the objects are sustainable.

Click here for the website.
Click here for the website exhibition link.

Fashion Redefined on Saturday, April 6th was an exciting all-day event dedicated to eco fashion! The event focused on innovative ideas presented by the current exhibition at the Goldstein Museum of Design, "Redefining, Redesigning Fashion: Designs for Sustainability," co-curated by Marilyn DeLong, Barbara Heinemann, and Kathryn Riley. This exhibit explores the creation of sustainable clothing by designers who respect environmental, economic, and social concerns.

Saturday, April 6th was a day of workshops and presentations for people of all ages. The opening ceremony brought everyone together for a warm welcome and included an interactive story by guest presenter "Auntie Beverly" as well as a discussion of the five themes of sustainability by the curators of the exhibit.These themes are: Emotional Connections, Repurposed Materials, Valuing Resources, Alternative Construction and Techniques, and Versatility. These themes were celebrated in different ways by each of the workshops and activities of the day.

There was a "Sustainability Boutique" filled with fun designs for sale by the workshop instructors and University of Minnesota graduate students. There was a clothing swap and mid-day fashion show sponsored by Sol Inspirations, a local non-profit organization that advocates responsible and sustainable practices.

The diverse offering of workshops ranged from Bengla (mud) dye techniques to a "Project Upcycle" sewing challenge to a discussion focused on sustainability in the industry and much more!

Everyone who participated in our "Day to Celebrate Eco Fashion" had the chance to learn new creative skills and ideas focused on sustainability and its importance. They also were able to find new ways to incorporate sustainable practices into everyday life. And they also, certainly, had fun!

1. Dress with belt, 1965-1969, cotton, Gift of Sybil Roberts Seay 2001.014.008a-b
2. Caftan, 1970-1979, Gift of Felice Wender 1994.007.004
3. Dress, 1960-1969, cotton, Gift of Margot Siegel 1978.020.005

In honor of fashion maven Lilly Pulitzer, who passed away on April 7, 2013, the Goldstein is celebrating her iconic floral print designs. Pulitzer, born Lillian Lee McKim, lived a privileged life amongst American "royalty." Herself an heiress, she eloped and moved to Florida with Herbert Pulitzer, Jr. in 1952. In 1959, for something to do, she opened a juice stand in Palm Beach. Needing a dress to camouflage juice spills, she had one made in colorful citrus tones. The dresses met with such enthusiastic comments she soon began selling similar designs at the stand. Priced at just $22, these dresses were, according to the New York Times, "accessible to most, but really wearable only by the few who were so rich that they could afford to have bad taste."

While some "Lillys" certainly raise eyebrows (see the gregariously-patterned caftan above), most are charming little sundresses, ideally suited for hot and humid Florida summers. The playful use of floral patterns and innovative textiles paired with simple, clean silhouettes produced a modern look that feels just as fresh today as it did in the 1960s. In fact, the Goldstein's own Communications Assistant, Sharlene Balik, recently had the opportunity to wear a vintage Lilly Pulitzer dress. In keeping with the theme of the Goldstein's fall benefit party - Mad About Design - guests were encouraged to wear 60s-inspired fashions. Of this experience, Sharlene writes:

"Circa Vintage, a boutique that has clothing from the 1900s-1970s, offered Goldstein employees the opportunity to wear their clothing for the night. I went to Circa Vintage and found a Lilly Pulitzer dress that not only fit me perfectly but also the "Mad Men" theme! The dress was covered in a pink-and-green floral pattern and trimmed with lace around the collar. The dress fit me like a glove. I loved the feel and it worked well for all the movement I had to do while helping run the party. Looking back at images from that night I have to say that the dress looked even better on me than it felt. It hugged the right places while disguising the not-so-good places. It was a blast to see everyone in their 1960's attire and I enjoyed fitting right in wearing Lilly Pulitzer."

Mallory Johnson and Eric Lagergren (Volunteers), and Sharlene Balik (GMD's Communication Assistant)

-- Natasha Thoreson and Sharlene Balik

I am Hannah Bartz, a sophomore Retail Merchandising major here at the College of Design and staff member of the Goldstein. Last semester I took a Visual Merchandising class and we partnered with Target for the second half of the semester, which included a project competition, where my partner and I received second place. The Visual Merchandising class focused on displaying merchandise once it is in stores to encourage customers to purchase the items. The project for Target involved using software to create a digital version of the Merona brand women's wear sales floor. The problem we faced was an underutilized back wall and we were required to use specific fixtures to hang the merchandise on the sales floor, as well as specific amounts of various merchandise. In addition to meeting the basic requirements, our floor pad included outfitting each fixture with a sign of how to accessorize the garments and we placed feature tables at the front to hold accessories that were highlighted in the signage. We received second place overall, for our design and presentation, which focused on convenience for shoppers. We received a monetary scholarship and the opportunity to tour Target Headquarters on April 3rd.

On Wednesday, April 3rd, my partner and I arrived at Target on Nicollet Mall and were greeted by two Merchandise Presentation Business Analysts who lead us to their department and then took us on a tour of the building, including the top floor to see the view. After viewing all the wonderful amenities Target employees have access to, we proceeded through the skyway to the Target store a block away. We viewed the Business Analysts' areas which included menswear and women's wear and then returned to their offices to see what steps were taken to reach the finished product. This was one of my favorite parts of the day, especially when I learned that Target uses the same software that is used in the Visual Merchandising class. The day ended with a lunch with the rest of the Merchandise Presentations Department for Apparel and Accessories. It was a great chance to speak with the other members of the department and learn about their roles and their favorite reality TV shows. It was a wonderful experience and I am so grateful for Target's partnerships with the University.

One of the most exciting aspects of my Goldstein assistantship is working with the museum's 4,500-piece textile collection. Still, it is not always easy. The collection has outgrown its storage space.

The Goldstein was recently awarded an NEH Preservation Assistance Grant for Small Institutions, designated for the implementation of a new textile storage system. The grant paid for new shelves, archival storage boxes, tissue paper, and additional storage supplies. These materials will help transform a cluttered cabinet like this...

... into a well-organized cabinet like this.

Ann (left) and Marj (right) - volunteers extraordinare - are responsible for the great success of this project. After a cabinet has been cleared and the textiles re-sorted, Marj and Ann take detailed notes regarding each object. They take measurements and photographs, record weave structures, and identify finishing techniques. Their next step is to carefully fold each object, padding these folds with tissue paper to avoid creases. Some textiles can be stored rolled on tubes. Folded or rolled, the last step of the process involves placing the objects in new acid-free storage boxes. The boxes are each labeled with photos of the textiles housed within.

My job is to enter the data Marj and Anne collect into our digital database. Thanks to them, we have been able to fill in a great deal of missing information about our textiles. This information will be shared with patrons via our online collections website, furthering our goal to make the Goldstein's wonderful collections accessible to a world-wide audience.

Natasha Thoreson, Collections Assistant

Redefining, Redesigning Fashion
Goldstein Museum of Design Exhibition - January 19-May 26, 2013
Guest Curators: Marilyn DeLong, Barbara Heinemann, Kathryn Reiley

Last Saturday, 7 through 18 year-olds of the 4-H Urban Youth were part of an exciting and fun morning of activities, planned just for them. They gathered at the Goldstein Museum of Design to visit Redefining, Redesigning Fashion, an exhibition which explores how apparel designers and apparel consumers (everyone else) need to think about environmental, social and economic issues in clothing design and choices to help save the earth.

First, the 4-Hers had a scavenger hunt through the gallery to see how designers from around the world have conceptualized the future of apparel design. They learned about the themes of sustainable fashion design, as highlighted through the exhibition:

• Encouraging the human connection by valuing culture and heirlooms;
• Adding value through up-cycled clothing and accessories;
• Serving multiple needs with versatile garments;
• Valuing local and personal resources;
• Integrating alternative constructions and processes.

After the tour, they discussed how sustainability helps build a healthy and happy Earth. The students participated with comments and ideas.

Then, the 4-H youth picked one of three "Studio Classes." The Studio Class options were T-Shirt Playtime, Eco-Style Design, and Go-Green Accessories. Each class was just full of young designers!

In each Studio, 4-Hers were introduced to ideas, activities, and fashion-related crafts to ignite their imaginations about how sustainable choices can lead us to exciting ways to create clothing and individualized design ideas.

At the end of the day, the youth walked in a "Project Show" and struck a pose with their newly created eco-designs on the runway!

Fashion Avenue, Wet Paint, and Treadle Yard Goods Sponsor GMD's Exhibition on Sustainable Fashion that opens with a reception on January 18, 6-8 PM

For the exhibition Redefining, Redesigning Fashion: Designs for Sustainability, the Goldstein Museum of Design is pleased to have the financial and marketing support of these three popular Twin Cities retailers. Although occupying different niches, each is the "best of category" in the Twin Cities, each focuses on quality (an essential criterion for sustainability), and each has outstanding staff and service.

About the Exhibition

• Please come to the exhibition opening on Friday, January 18, 6-8 PM, McNeal Hall, Saint Paul Campus of the University of Minnesota. Free; Refreshments.

• Features 46 clothing designs by 30 different designers. A panel of judges chose from 200 entries the ones that best represent techniques for achieving sustainable fashion design.

• Designs range from whimsical (a dress made from colored pop-top tabs) to wearable (a little black dress made with no cutting and no waste of fabric).

• The exhibition is up through May 26. Gallery hours and directions: www.goldstein.design.umn.edu

• Lecture: on Thursday, February 21, Sandra Black, a noted sustainable fashion expert from London, will speak at 5 PM, 33 McNeal Hall. Free.

About the Sponsors

Fashion, Avenue the exhibition's Lead Sponsor, has two locations: 50th and France in Edina, and Lake Street in Wayzata. As the Twin Cities' leading upscale resale consignment shop selling only high- quality brand names and designers, Fashion Avenue is the opposite of "fast fashion." Its gently used selections are always current fashion and include clothing, handbags, purses, shoes, outerwear, jewelry, and accessories. The website describes their stores as "...not only a smart way to buy designer wear but to sustain the environment as well." www.fashionavenueresale.com

Wet Paint is an independent art materials store that has been on Grand Avenue in Saint Paul since 1976. Known for its huge selection (30,000 items) of high-quality materials that support art and design activities, Wet Paint is a resource for information about art and design events and classes in the Twin Cities and a locus for such groups as the Metro Sketchers. www.wetpaintart.com

Treadle Yard Goods Also on Grand Avenue in Saint Paul, Treadle Yard Goods is an independent retailer established in 1976 that specializes in beautiful natural fiber fabrics, unique buttons, notions, and patterns. Treadle also offers sewing classes and sewing machine repair. www.treadleyardgoods.com

Would you or your company like to explore sponsorship of a GMD exhibition? Go to www.goldstein.design.umn.edu and click on Get Involved/donate/sponsor.

White wedding dresses are considered traditional ceremonial garments symbolizing the bride's purity and innocence. Despite this deep-seated association with "tradition," wedding dresses are highly susceptible to fashion trends. In the late 1920s, Parisian couturier Madeline Vionnet introduced the world to the bias cut dress.The resulting dresses - long, sinuous, and silky - captured the imagination of European and American consumers, solidifying the bias cut's status as the most recognizable silhouette of the 1930s. This blog explores the iconic bias cut wedding dress, beginning with a lovely example from the GMD's collection.

Above: Wedding dress and veil, 1931. Gift of Carolyn Spater Latz 1996.057.001a-b

Minneapolis bride Marion Henrietta Goldberg's ivory silk wedding dress heralded the beginning of a new decade. Designed to flatter her curves, the innovative use of fabric direction created dramatic art deco angles at both the neckline and hips. Elegant ivory lace softened the crisply geometric neckline and added a demure touch to this slinky, sexy wedding dress.

Trendsetting Marion, pictured above, paired her dress with a lace Juliet cap and cathedral-length tulle veil. She carried an enormous cascading bouquet of white roses, garnished with masses of lacy ferns, gauzy bows, and floor-length silk ribbons tied in lover's knots. This type of bouquet is a holdover from the 1920s, when voluminous bouquets were favored by bold, androgynous flappers wearing short, boxy dresses.

Above: Images from "It Happened One Night," 1934.

Just three years later, a similar dress appeared in the 1934 film, It Happened One Night. American actress Claudette Colbert donned a white silk bias-cut gown with embellished scoop neckline, Juliet cap, and dramatic tulle veil. The veil steals the show in a pivotal scene where Colbert's character, Ellie Andrews, realizes she is about to marry the wrong man. She runs off to reunite with Clark Gable's character Peter Warne, her long veil streaming along behind her.

Natasha Thoreson
GMD Collections Assistant

Contemporary American brides are often expected to wear white at their wedding. Historically, brides simply wore their "best dress" - in any color - for the occasion. Infused with the young bride's dreams and hopes, this "best dress" was temporarily transformed into a wedding dress. Most brides continued to wear their dress long after the wedding, sometimes even restyling it to keep up with changing fashions. Carefully saved by sons and daughters decade after decade, these treasured dresses comprise the foundation of GMD's collection.

Above: Wedding bodice and skirts, 1876. Gift of Jeanette Hauschild 1996.133.001a-c

The light brown, elaborately ruffled dress above was worn by twenty-five-year-old schoolteacher Anna Jane Hanson when she wed William Secoy in her family home in Illinois on April 4, 1876. Anna was described as a beautiful and accomplished woman - frugal, honest, and ambitious - whose prized wedding gift was the Bible given to her by her father, John. Over 130 years later, this dress remains as a testament to Anna's transformation from daughter to wife. Less than twenty-four hours after the ceremony, the young bride left her hometown to begin a new life with her husband out West.

Carefully crafted from fine wool challis dyed antique bronze, this gown is comprised of three pieces: a highly structured bodice, an underskirt with a train and bustle, and an overskirt with a sweetly ruffled pocket. Hundreds of tiny knife pleats and ruffles line the edges of the skirts and cuffs. Together, they form a striking pattern on the back bodice, emphasizing the bride's hourglass figure. A sheer white neckerchief, now lost, complemented the ensemble.

Above: WAVES uniform and hat, 1940-1944. Gift of Dorothy Samuelson Leeds 1977.036.001a-e

Prim and polished, this Naval Reserve uniform was worn as a wedding dress by Dorothy Samuelson. Amid the drama of World War II, Dorothy, a University of Minnesota graduate (College of Home Economics, class of 1933), married Herbert Alan Leeds, a Merchant Marine, on April 14, 1944.

Over 350,000 women joined the United States Armed Services during World War II. The women's branch of the Navy was called the WAVES (Women Accepted for Voluntary Emergency Service). Members held the same status as those in the Naval Reserve and provided crucial stateside military support. Upon joining the WAVES, Dorothy was named Officer In Charge of uniforms. Dorothy recalled that "between February 1943 and August 1945, my department put 90,000 women into navy blue. It was a unique experience because it was an unprecedented, ingenious, efficient and cooperative effort between the military and six highly competitive New York department stores."

Sadly, Dorothy has passed on. Her husband Herbert recently visited the Goldstein to see Dorothy's wedding dress, an emotional experience for all involved. He is pictured above, posing alongside the dress Dorothy wore for their wedding.

-Natasha Thoreson
GMD Collections Assistant

Thanks to hundreds of donors, the Goldstein Museum of Design now has over 29,000 objects in its collection. All donors are special!

Some donors stand out because of the quality, rarity, or beauty of what they gave. Donor Kathleen Catlin stands out because she gave GMD a spectacular group of dresses, suits, and hats that are true French couture from the 1940s, 1950s, and 1960s.

She did not give GMD "Juicy Couture", which is a mass-produced fashion label popular today; she gave real couture. Most of the dresses and suits donated by Mrs. Catlin were made especially for her by one of the French fashion houses, including Christian Dior, Balenciaga, Madame Gres, Coco Chanel, and Pierre Balmain. As a fashion director for Marshall Field's in Chicago from 1946 to 1962, Mrs. Catlin was tremendously influential in helping to popularize European designers in America. She and Dior were especially close friends.

Through a chance remark, I recently discovered that a casual friend, Joan Douglass, was a relative by marriage to Mrs. Catlin. Joan knew a lot about Kathleen Catlin's substantial donations to GMD, and said she would love to see some of the things that were donated.

Grad Assistant Natasha Thoreson and I chose about 20 pieces to show Joan for her November 5th visit to GMD's Research Center. We included a cross-section of Dior, Balenciaga, Chanel, and Gres, including a rare toile (prototype garment) and several hats. The photos below show Joan Douglass viewing some of these items.We remain grateful to Kathleen Catlin for her wonderful donation, and to Joan Douglass for reminding us of Mrs. Catlin's generosity and of her impressive career in fashion.

--Kathleen Campbell, GMD

(Top) Joan Douglass viewing a Dior evening coat from about 1950.
(Middle) Joan remarked upon the unusual draping of a dress by Madame Gres.
(Bottom) Joan especially liked the yellow straw hat personalized with Kathleen Catlin's initials, KC.