Style society guy menswear blogger nyc7/27/2023 As an art teacher around the time of WW1, she wore ‘flat shoes, thick stockings, and undecorated, loose black dresses’. Seldom favouring patterned fabrics, she also eschewed ornamentation, accessories, heeled shoes, and jewellery and wore simple unisex hats worn very close to the shape of the head. O’Keeffe’s personal aesthetic was established while a young woman she rejected the obviously feminine fashions for middle to upper-class American women at the beginning of the 20th century preferring simple shapes in matt natural fabrics including wool, cotton, silk, and linen. Despairing of the performative aspect of dress, in 1911 Gilman commented on the onus on women to please men ‘to attract the vagrant fancy of the male, nature’s born ‘variant,’ they must not only pile on artificial charms but change them constantly’.įigure 2 Black wool crepe and white silk dress (2000.3.355a-b), 1930s, Unknown maker. Gilman disapproved of the restriction of corsets, extravagant silhouettes, and the societal expectation on women to conspicuously consume fashion. Her developing style was influenced by the principles of dress reform advocated by Charlotte Perkins Gilman in her book The Dress of Women. Many of the earlier clothes in the collection, including two ivory silk tunic dresses with narrow pintucking have no maker or store labels and have been attributed to O’Keeffe’s own hands, demonstrating her superior skills as a seamstress. The dates of the extant garments span from c1910 to 1983 when O’Keeffe commissioned a bespoke Emsley black wool trouser suit with a waistcoat in 1983 at the age of 96. ![]() Her clothing came into focus when it was exhibited in Georgia O’Keeffe: Living Modern at the Brooklyn Museum from March 3, 2017, to July 23, 2017, and then travelled around the US. These objects represent her distinct clothing personas – the smart and spartan outfits worn for photographers and in the city, smocks and relaxed dresses for daily life and practical western wear – jeans, shirts, and headscarves for the New Mexico terrain. The Georgia O’Keeffe Museum, Santa Fe, New Mexico which was established in 1997 has 267 articles of the artist’s clothing and accessories in their collection. Her clothing was an essential part of her public image as an artist and her wardrobe and the way she arranged the interiors of her homes were as much an expression of her modernity as her works of art. ![]() ![]() Frequently photographed clothed in austere monochromatic outfits throughout her life, O’Keeffe was captured by photographers including her husband Alfred Stieglitz, Cecil Beaton, and Bruce Weber. Georgia O’Keeffe (1887-1986), one of the greats of American modern art, is known for her large flower paintings, depictions of skyscrapers during her time in New York (1918-1929) and landscapes of New Mexico where she made her permanent home from 1949. In this week's blog, CS Ambassador, Wendy Fraser, examines how Georgia O'Keefe self-fashioned a strong, recognisable public image as an artist and built a sustainable wardrobe that endured throughout her long, artistic life.įigure 1:Georgia O’Keeffe photographed in her home Ghost Ranch in 1937 by Ansel Adams, Philadelphia Museum of Art. Georgia O’Keeffe’s Wardrobe: Modernity, Sustainability and Style
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