College of Design

Goldstein Museum of Design


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You became a GMD member to support good design and we sent you a welcome letter, but did you notice that your membership level may make you eligible for benefits? For example, GMD members from the Individual ($40) through Director's Circle level ($1,000) can join the Weisman Art Museum at a discounted price, opening the doors of one of our sister museums at the University.


membertourobjects.jpgleft: brown leather shoes, 1895-1899, designer unknown. right: green and brown carved bakelite cuff, date and designer unknown.


If you joined at the Household ($55) through Director's level your welcome packet included notecards, a coupon for $20 off an order from Signals catalog, and your own GMD lanyard. What else can GMD membership do?


Members from the Sponsor ($150) through Director's level receive a card that can be redeemed for one to four parking passes. Bring yours to the office, Research Center, or Gallery 241 to get your comp pass (required) to sail through the parking kiosk.


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l to r: Don Johnson (Indian textile collector), Lin Nelson-Mayson (GMD director), Risha Lee (curator of Southeast Asian art at the MIA), and Helen "Brad" Foster (GMD member) looking at Kashmiri shawls for inclusion in upcoming MIA exhibition.


Recently, a Patron member ($250) scheduled a back stage tour of GMD's storerooms for himself and a friend. Since GMD has a large collection (30,000 objects) but no long-term collection gallery, getting a behind-the-scenes peek into the storage is a special experience of discovery. This personal tour for two is a benefit of membership from Patron through Director's.


Finally, at the Benefactor ($500) and Director's level you are eligible for a tour for one or two and lunch with the director. Lunch is our treat for you (and your guest) to thank you for your support.
Check your benefits. What experiences can we facilitate for you, valued member?

−Lin Nelson-Mayson, GMD director

Not a member? Join today!


Note: Individual, Household and Senior membership rates increased on September 16, 2013. This blog entry has been edited to reflect this change.



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MetroSketchers arrayed in the GMD gallery


MetroSketchers is an informal group of Twin Cities people whose goal is to "get out in the world and draw." On a warm Sunday afternoon in August, 19 members of MetroSketchers made themselves comfortable in the gallery, where Printed Textiles: Pattern Stories is on view through August 25. Using colored pencils, they produced a great variety of drawings. Some drawings were fun riffs on the textiles, some zeroed in on a print's detail, and some emphasized the array of mannequins and details of the gallery itself. Each drawing provides a new way of seeing the exhibition and its objects, adding yet another "story" to the theme of Pattern Stories.


Thank you, MetroSketchers, for your visit. You are always welcome at GMD!


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A dress by New York designer Stephen Sprouse inspired a drawing. Notice the beautiful printed dress worn by the artist.


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The exuberant quality of designer Virginia Lee Demetrios' block print, "Finnish Hop", was effectively captured in a drawing (at right in right hand photo). The contour drawing of the gallery (at left in right hand photo) includes the visiting artists.


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A pencil drawing of designer Pauline Trigere's jumpsuit communicates the shimmer of the silk satin.


by Kathleen Campbell
Photos by Hannah Wendlandt



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On July 9 and 11, four groups of high-energy children ages 5 through 13 visited GMD's exhibition, Printed Textiles: Pattern Stories and then enjoyed a hands-on experience with block printing.


The 52 students were attending a week-long Gopher Adventure camp on U of M's St. Paul campus. Exhibition curators Jean McElvain and Kathleen Campbell were the tour guides and block printing instructors.


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The paper hearts at this mannequin's feet indicate the "favorite" votes that several students gave this Stephen Sprouse designed dress. The students liked the graffiti inspired lettering printed on its surface.


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The kids impressed Jean and Kathleen by ably describing the different vantage points for these two screen prints of trees.


After the gallery tour, each group went to a nearby classroom to learn how to make block prints on cloth. The designs on the six linoleum blocks were carved by GMD staff members the week before.


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Jean demonstrated how to apply ink to the linoleum block with a roller.


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The kids quickly caught on. They enjoyed inking the rollers.


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After rolling the ink onto the block, the next step was flipping the block face down onto the cloth and pressing down very hard on the block.


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Wow! Each student took home a block-printed textile.


Special thanks to Wet Paint art supply in St. Paul for generously donating the tools, blocks, and ink so that students could experience block printing hands-on.


This exhibition is up through August 25.


−Kathleen Campbell



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Screen shot of Hannah Barts's presentation

My name is Hannah Bartz and I am a staff member of the Goldstein Museum of Design. I am a sophomore Retail Merchandising major with an apparel emphasis. This past weekend I had the opportunity to volunteer at the Dean's Reception, which is a day of welcoming prospective freshman into the College of Design. I spoke about the Retail Merchandising program and all the benefits of the program. One of the best resources that we use is actually the collection from GMD. Not only does it have its wonderful exhibitions but I have also analyzed pieces from the collection in the Textiles Analysis class, Softlines analysis class, and Fashion and Ethics class.


In the slide that accompanied my presentation I included photos from the Goldstein's new online database of their collection. One of the most amazing experiences I have had was the honor of handling (with gloves!) the Dior skirt (pictured above) from the groundbreaking New Look collection! The collection pieces offer a chance to see garment details that are no longer produced or are only incorporated in designer garments. This skirt had extremely beautiful, deep pleats that added even more fullness and draping to the wool fabric. As a design student, it is incredibly exciting to have the chance to examine beautiful couture clothing and see the quality and exquisite details that make "high fashion" so special.


Being able to tell next year's freshman that I have had the opportunity to work with Dior 1948 couture was great. It was also great explaining that the Goldstein isn't just the Gallery but an excellent resource for all design students. I enjoyed being an ambassador for the Retail Merchandising major and the Goldstein Museum of Design, and hope I recognize a few freshman next year from the reception.


Images from left to right
Bill Blass Evening Dress, 1986, Gift of Bill Blass Ltd.
Gabrielle "Coco" Chanel Jacket, Camisole and Skirt, 1955, Gift of Lois and Ed Schlampp
Christian Dior Dress with Belt, 1947-1948, Gift of Kathleen Catlin



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A couple weeks ago, we answered a phone call from Jennifer McHughs, an UMN alum, who was interested in viewing our complete set of the Émigré magazines. Émigré is a unique and cutting-edge San Francisco publication which published 69 issues from 1984 to 2005, under art directors Rudy Vanderlands and Zuzana Licko.


Jennifer wrote about her visit to GMD:


"On a recent visit to Minneapolis I was searching for information on design activities in the Twin Cities area. One thing led to another and I discovered the Émigré Magazine Index housed at the Goldstein Museum of Design. What luck! After contacting the Museum staff, they arranged for a visit to their collections library. I invited a friend to join me, who works in the field of interior design and textiles production, and we enjoyed this interesting afternoon together.


"Kathleen Campbell and Sharlene Balik gave us an introduction to the library with an explanation of its collection, history, and proper handling procedures of the materials in conservation. We were able to browse through the entire collection of Émigré graphic design magazines, taking notes and asking questions. In particular, this has been useful for my research on the archiving of graphic design materials, the importance of a graphic design magazine like Émigré (which is no longer in publication) to the industry, and the significance of 'collecting' contemporary design in general.


"I greatly appreciate your swift and generous attention and thank you for a productive and thought-provoking visit. It was the highlight of my day."


We are very happy that Jennifer and her friend could visit GMD and that our collection assisted her with her studies. We encourage everyone to keep GMD in mind when doing research. Our collection of great objects could help you with your research in the future. Click here to search our collection online. If there are certain objects you would like to see in person, please contact our Assistant Curator, Jean McElvain, at 612.625.2737 or jmcelvai@umn.edu to set up a time to come and view them.


Hope to see you soon!


----


Jennifer McHugh is a researcher in the history of arts, design and cultural heritage. She is a pre-doctoral student focusing on the intersection of communication through graphic design and typography and its place in contemporary cultural heritage. She has recently completed a Masters degree in Management of Cultural Heritage at the Universitat de Girona in Spain. Her previous studies include International Relations (University of Sussex) and Spanish (University of Minnesota).



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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.

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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!



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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.

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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.


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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



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


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JoanDouglassVisit4.jpgSome 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.


JoanDouglassVisit2.jpgThrough 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.



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IMG_2657.jpg In four separate programs on June 19 and 21, fifty-five Gopher Camp students significantly raised the energy level in the gallery during their visits to the exhibition, Quest for the World's Best Baskets. Each group had fun putting stars on a world map to note where the baskets in the exhibition came from. Before leaving, each student put a red paper heart next to their favorite basket.


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The children paid rapt attention as exhibition curator Suzi McArdle walked them around the gallery like a pied piper, charming them with stories about baskets from Panama, South Africa, Ethiopia, Alaska, the American Southwest, and Appalachia.


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Younger students made baskets out of paper to help them understand one method of basket-weaving.


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Older students competed with each other on a paper-and-pencil "scavenger hunt," seeking out the biggest and smallest baskets, the basket with the most animals, three baskets depicting birds, and baskets showing people.


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Suzi and Kathleen Campbell enjoyed teaming up to present these programs, and look forward to the next four groups of Gopher Adventures students on July 10 and 12.



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On Tuesday March 13, GMD received an enthusiastic visit from the North Oaks Villagers Needleworks group. The white gloves were on and Assistant Curator, Jean McElvain, had many unique needlework and quilted pieces from GMD's collection ready to show the group. Gathered around one end of the table, the group let out a simultaneous "ooh" for each piece Jean set in front of them.


One of the group favorites was a silk robe and sash by Kiss of the Wolf (1982, Gift of Sandra Sprenkle). This blue-green ankle length robe is hand-dyed with an overall intentional watermarked pattern, dark blue splash accents, and beige and pink koi. These surface elements are all carefully accentuated through machine quilting. One group member commented, "That's amazing, I want to learn how to do that!"


Two other standouts were pieces by Anna Carlson, a nationally known designer who is currently teaching apparel design studios in the College of Design, as well as working on an MFA. Her blue linen jacket (1996, Gift of Anna Carlson) is created from a range of blue-hued, hand-dyed pieces that are brought together through stitching techniques and appliqué. One group member was surprised to find that Carlson does her own design and construction, and another member commented on the "lovely colors."


The second piece by Carlson was a black, hip-length, silk jacket (2004, Gift of Kathleen Campbell). The jacket is lined in black organdy with asymmetrical cutwork patterns of ginko leaves on the front and back. The elegance of the piece led one group member to comment, "You could wear that for years and years."


It was a pleasure to hear the animated conversation during the visit from the North Oaks group. Schedule your own group visit, or search the 30,000 items in GMD's collection from the comfort of your home!


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By Jenny Parker: Goldstein Museum of Design Graduate Assistant,
MFA candidate in Graphic Design and Museum Studies



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