Samantha Turner

Artist Samantha Turner

Hannah Yu: Jimi Hendrix

I clearly recall a recent trip to the EMP Museum in Seattle. I was very excited to see Michael Jackson’s famous white glove and Kurt Cobain’s guitars, but what struck me was seeing an exhibit which prominently displayed one of Jimi Hendrix’s most wild flamboyant costumes. At first I thought it was for a ballerina, but then I read the description and saw it was for Hendrix, the famous American musician from the 70’s. From the exhibit I could tell that Hendrix was very counter culture—a rebel persona. I immediately enjoyed the brightness of the costumes, and I could really see a connection between them and the music of that era. Literally, Jimi’s clothes seemed to capture the essence of the 60’s and 70’s music and counter-culture.

After finding Jimi’s extremely dynamic fashion so interesting I came upon the idea for my final project: I would make a paper doll of Jimi Hendrix with several interchangeable outfits! I had experience making paper doll’s when I was in 3rd grade and I knew I could create something that would allow an audience to actually interact and become involved in imagining and styling Jimi.

Since there are many books showing images of Jimi and his various outfits and fashions (of which I personally read seventeen books myself) I was able to identify his main styles as well as the accessories that he used to vary them! For example, I found that Jimi used scarves to add flair to his typical outfits. This way he was able to quickly and easily make his own variations on his style every day; and also this way I would be able capture some of his diversity by creating some pieces he would have used as accents. Often times, Jimi would put a scarf on his hat, head, neck, on his thigh or leg, or even as a belt. In one picture I counted he was wearing seven scarves on his leg. He also had only one hat, but by using many different scarves he was able to create a steady but ever-changing variety of outfits. He always wore his clothes in layers; shirts inside, then vests, and coats outside. It was common to see him wearing jackets with ruffled shirring, lace, or flower print. Over all his fashion could have been seen as very feminine if not for his incredible, powerful, masculine character.

Fortunately, by choosing paper dolls as my project, I was able to make as many clothes as I could within the time. I was able to create Jimi’s paper doll as an 11 inch by 30.5 inch tall man, with 9 shirts, 10 pants, 6 jackets, 2 vests, 4 pairs of shoes, 1 necklace, 1 fether, and 13 scarves! This also meant that I could provide the audience a greater number of combinations that could be made from Jimi’s various clothes and accessories. Indeed, while making Jimi’s clothes I myself had great fun playing with different jackets, adding pants here, or scarves there, and even a feather for his hat! Because all of Jimi’s paper clothes are based on the actual clothes he wore in real life, anyone can enjoy changing and playing with his outfits as if they themselves where 60’s rock stars, choosing what to wear that day.

Celeste Hansen: Illustrations of Future Past

My project is comprised of fashion illustrations in the style of vogue of the 1960s, which show the fashions of Mary Quant from the early 1970s, accompanied by some of her personal quotes. By creating an amalgamation of these elements, I hope to bring forth the best in both, highlighting their strengths; demonstrating the beauty of the fashions’ design through the simplicity of the illustration’s line weight.

Artist Celeste Hansen

Hatsune Akaogi: Paper Garments

With the rise of hem-lines and a look toward the future, America seemed infatuated with the idea of disposable clothing.  The short lived fad of paper dresses lasted for a mere two years between 1966 and 1968 but the idea of never having to do laundry in the space age saw an enormous popularity, first introduced by the Scott Paper Company.   The simple A-line design and the printable material that the dresses were made of gave another platform to display not only the popular prints of pop art and op art but also provided another facet for marketing and advertising. The dresses were sold in plastic packaging for only a few dollars, being accessible to the masses, but also launching a whole industry of paper boutiques, selling a wide range of paper goods. 

By looking to the paper dresses of the 1960’s for inspiration and a starting point, I have created three garments all made from paper of different sorts. 

The first is an orange and white rendition of the original “Paper Caper” dresses, as the Scott Paper Company called them, with the A-line silhouette and a tie-back closure.  This dress is made from beverage napkins that I have quilted together and a hem completed with paper doilies.    

The second is a fun and simple party dress with a white bodice and a black full skirt.  The bodice is acrylic-painted Pellon interfacing, a material that is closest to the 93% cellulose and 7% rayon used in the original paper dresses.  The skirt is tissue paper ironed on to fusible Pellon. 

The final garment is a kimono-inspired red evening wrap dress.  It includes an obi-like belt with a large bow in the back.  The dress skirt and bodice are both made from paper tablecloth.  The skirt and obi have layered crepe paper sewn in rows.  The bow itself is made from layered tissue paper.

Some original 1960s paper dresses

Paper napkin dress with paper doily hem

Pellon dress with tissue paper skirt  

Kimono-wrap dress.  Paper table cloth and crepe paper

Artist Hatsune Akaogi

Anya Savranskaya: Dance and Movement as New Fashion of 60s and 70s

Beautiful things happen when people dance together. Movement brings joyful energy, warmth, and connection. Music inspires kindred frequencies. The language of movement has always fascinated me, how people of different nations can unite and experience similar emotions and ideas through their connection in dance. The passion for dance was my beginning point for this project. But the journey that I set out to take had many surprises along the way. Through this project I have met amazing people, reconnected with old friends, and have grown personally.

Late 60s and early 70s have transformed the dance culture along with all other changes that were happening in America. It became all about exploration of one’s freedom, expression of one’s individuality, and connection between mind, body, and spirit. Dance became a celebration of life through movement. Even in professional circles, dance companies were exploring new territories. Performances were not reserved for closed spaces any longer, but spilled out into streets, parks, forests. And anyone could dance! And everyone did!

Many colorful bright fun-loving people joined together to recreate the spirit of 60s/70s dance happening. Kevin Phinney was our own super amazing DJ, spinning the most electrifying tunes. I was inspired by Kevin’s commitment and integrity to put my heart and dedication into something I believe in. As the perfect setting for the dance my dear friend Shimi Kahn offered his magic house with beautiful view and spacious backyard. Louise Roby supported me and provided many useful ideas for this happening, and her husband Bob Roby along with my classmate Nicole Xu provided their amazing photography skills. And of course, I want to thank my professor Michael Cepress for the adventure that he made the Counter Couture class to be and for supporting me through the whole process and personally joining us in the dance celebration.

Besides the dance happening that I organized, I also participated in the Dances of Universal Peace, which were originally created by Murshid Samuel L. Lewis (1896-1971). The Dances are simple and full of joy and meditative flow; and their purpose is “to increase joy, not awe towards another person, but bliss in our own self. This is finding God within, through experience.” ~ Sufi Sam

Anya Savranskaya

Jess Yu

This topic will explore the different methods that were used to promote 1960’s and 1970’s fashion or how it represented the brand. This topic will also analyze design elements such as the font and layout that were used. An objective of this research is to compare and contrast the advertisements used in mainstream publications such as Vogue, Life, Elle etc. magazines and counter-culture publications such as Helix and Rags. In addition, I will also analyze the advertisements of today in a modern issue of the very same magazines.

The following images will be organized in 8 sets of 2 images with each set representing a category. The first image will juxtapose three advertisements against each other (Mainstream vs. Counter-culture vs. My Interpretation.) The second image will be a close-up of my interpretation.

THE DRAWING

1 Both are advertising clothes but one has a realistic approach with structured text while the other has an illustrative approach with handwritten texts.

2 I combined the feminine figure of the illustration from the mainstream advertisement with the overlaying texts element from the counter-culture advertisement. There were colored illustration ads but this one was black and white to keep this set consistent.

THE TRIANGLE

3 The idea of the pubic triangle is often used in advertisements that sell jeans, stockings and shoes. 

4 A similar interpretation but a mosaicked rear view to emphasize the nudity in the counter-culture ad that is often not seen in mainstream ad.

THE PERFUME

5 MS perfume ads often display attraction and seduction while CC perfume ads are more about bring their own personality out and being themselves.

6 In my interpretation, the girl is seductive, but also being herself.

THE T-SHIRT

7 Another example of font vs. hand-drawn/written. Notice the amount of detail and content on the T-shirts on the CC ad.

8 Again, I combined the hand-drawn aspects with the mainstream icons.

THE SMOKING

9 Cigarette ads in MS often sells that its ok to smoke and often as an act to show power and be rebellious. However, smoking in CC ads is often about relaxation and finding the inner peace.

10 Here, I have a girl enjoying a cigarette not as an act but just because she is doing so to relax.

THE FIGURE

11 The way woman are represented in MS ads often display perfect figure with a sexual tone. Never will an ad in MS magazines display a pregnant lady.

12 The lady in this ad has her figure subtly altered as you move to right. This is to emphasize that the audience is often blinded by the presentations by ad companies and we never recognize anything else.

THE MEN’S

13 The choice of models of men is often Hollister-style or masculine and to have an overweight man in bellbottom pants is very counter-culture.

14 I combined the idea of a fine looking man with clothes and pants from different styles highlighting the fact that man and woman don’t have to always dress one way or the other.

BETSEY JOHNSON

15 Betsey Johnson was once a counter-culture fashion company and even though it retains much of the flamboyant design, the way it is marketed and advertised is completely different.

16 Finally, I combined elements pulled from both ads. 

Artist Jess Yu