Douglas Ferguson | |
|---|---|
 Douglas Ferguson | |
| Born | 7 September 1951 |
| Nationality | American |
Douglas Ferguson (born 1951) is a multidisciplinary artist mainly known for his fashion designs using enamelled metal mesh and hand-painted leather which received widespread exposure in the 1980s. Since starting out in the 1970s as Diana Vreeland's voluntary assistant at the Metropolitan Museum of Art's Costume Institute, he has also worked as an interior designer and film-maker.
Douglas Richard Ferguson was born in 1951. [1] He studied fine art in Rome, [2] and in Philadelphia, but dropped out after three years, saying that he wanted to 'try everything' rather than focus on painting as his tutors wished. [3]
Among other jobs, he worked as a model, a stitcher-in of labels, and a taxicab driver, but most notably worked as a personal assistant to Diana Vreeland at the Costume Institute. [3] As this was a volunteer role, he subsidized it by driving a Checker Taxi at night. [2] He went on to work as Diana Vreeland's exhibition assistant for the 1979-81 Costume Institute shows Fashions of the Hapsburg Era and The Manchu Dragon. [4] [5]
Ferguson launched his career at the turn of the 1970s/80s with hand-painted leather goods and furniture. [2] [3] On 20 August 1980, Harper's Bazaar featured a photograph by Francesco Scavullo of the model Kelly Le Brock wrapped in Ferguson's painted leathers. [6] One of Ferguson's first successes was a decorative wooden flapper doll for the Mudd Club, which attracted the attention of the designer Patricia Field and led to her commissioning his hand-painted leather and chiffon dresses for her boutique. [2] He also made painted leather garments, including shawls and kilts for Maud Frizon, Carol Rollo at 'Riding High', and Johnny Ward. [3] His designs were also stocked by Robert Lee Morris in his Artwear shop, a showcase for artisan jewelry and accessories. [2] In 1981 Ferguson was highlighted by The New York Times as one of a new wave of up-and-coming British and American designers alongside 'Vivien Westwood' [sic], Anna Sui, and Mary Jane Marcasiano. [7] Although his hand-painted suede and chiffon work was described as initially seeming 'more like rags than fashion,' once it was on a figure, it came together to create a look that 'seemed at once ancient and modern'. [7]
Soon afterwards, Ferguson developed a technique of painting chain mail with automotive paint, which enabled him to apply medieval, Chinese or Art Deco motifs to the metal. [2] The mesh he used had originally been developed by Whiting & Davis in the 1920s as a material for evening bags and purses, but his techniques were unique to himself. [1] These mesh designs, which he made up into dresses, shawls, and other garments, proved popular and were featured on a number of magazine covers, including two covers for Cosmopolitan in 1984 and 1985, [8] [9] a 1984 cover for New York Magazine, [10] and a Vogue supplement showing a mesh dress emblazoned with the Statue of Liberty. [2] Tina Turner also wore a Ferguson mesh dress for a Vanity Fair cover. [2]
He designed the costumes for the 1983 premiere of William Forsythe's production of Square Deal (Joffrey Ballet). [11]
In 2012 Ferguson was designing for private clients. [2]
Ferguson has also worked in film-making on a small scale. His films include:
Diana Vreeland was an American fashion columnist and editor. She worked for the fashion magazine Harper's Bazaar and as editor-in-chief at Vogue, later becoming a special consultant to the Costume Institute of the Metropolitan Museum of Art. She was named on the International Best Dressed List Hall of Fame in 1964. Vreeland coined the term youthquake in 1965.
Romain de Tirtoff, known by the pseudonym Erté, was a Russian-born French artist and designer. He was a 20th-century artist and designer in an array of fields, including fashion, jewellery, graphic arts, costume, and set design for film, theatre, and opera, and interior decor.
James Galanos was an American fashion designer and couturier. Galanos is known for designing clothing for America's social elite, including Nancy Reagan, Marilyn Monroe, Elizabeth Taylor, and others.
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Varvara Jmoudsky, better known as Barbara Karinska or simply Karinska, was the Oscar-winning costumier of cinema, ballet, musical and dramatic theatre, lyric opera and ice spectacles. Over her 50-year career, that began at age 41, Karinska earned legendary status time and again through her continuing collaborations with stage designers including Christian Bérard, André Derain, Irene Sharaff, Raoul Pêne du Bois and Cecil Beaton; performer-producers Louis Jouvet and Sonja Henie; ballet producers René Blum, Colonel de Basil and Serge Denham. Her longest and most renown collaboration was with choreographer George Balanchine for more than seventy ballets — the first known to be “The Celebrated Popoff Porcelain,” a one act ballet for Nikita Balieff's 1929 La Chauve-Souris with music by Tchaikovsky for which Karinska executed the costumes design by Sergey Tchekhonin. She began to design costumes for Balanchine ballets in 1949 with Emmanuel Chabrier's “Bourrèe Fantasque,” for the newly founded New York City Ballet. Their final collaboration was the 1977 "Vienna Waltzes.” Balanchine and Karinska together developed the American tutu ballet costume[9] which became an international costume standard.
See-through clothing is any garment of clothing made with lace, mesh or sheer fabric that allows the wearer's body or undergarments to be seen through its fabric. See-through fabrics were fashionable in Europe in the eighteenth century. There was a "sheer fashion trend" starting with designer clothing from 2008. See-through or sheer fabric, particularly in skintone colours, is sometimes called illusion, as in 'illusion bodice' due to giving the impression of exposed flesh, or a revealing ensemble.
Bonnie Cashin was an American fashion designer. Considered a pioneer in the design of American sportswear, she created innovative, uncomplicated clothing that catered to the modern, independent woman beginning in the post-war era through to her retirement from the fashion world in 1985.
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Richard Martin was an American scholar, lecturer, critic and curator, and a leading art and fashion historian. At the time of his death he was curator of the Costume Institute at the Metropolitan Museum of Art, creating many critically acclaimed exhibitions and contributing widely towards publications on the subject. After his death, an award in his name was set up to recognise creative, high quality and innovative costume exhibitions.
Stephen Drew Paley is an American photographer, radio producer, television producer, music supervisor and actor.
The Met Gala or Met Ball, formally called the Costume Institute Gala or the Costume Institute Benefit, is an annual fundraising gala held for the benefit of the Metropolitan Museum of Art's Costume Institute in New York City. The Met Gala is popularly regarded as the world's most prestigious and glamorous fashion event and social gathering and is known as "fashion's biggest night"; an invitation is highly sought after. Personalities who are perceived to be culturally relevant to contemporary society amongst various professional spheres, including fashion, film, television, music, theater, business, sports, social media, and politics, are invited to attend the Met Gala, organized by the fashion magazine Vogue.
Diana Vreeland: The Eye Has to Travel is a 2011 documentary about the life and career of Diana Vreeland, a fashion legacy famous for her time at Harper’s Bazaar and Vogue. The film was written and directed by Lisa Immordino Vreeland, Bent-Jorgen Perlmutt, and Frédéric Tcheng. It premiered at the 2011 Venice International Film Festival and the Telluride Film Festival. It has a total running time of 86 minutes, and can be seen with English, French, and Italian subtitles.
The Anna Wintour Costume Center is a wing of the Metropolitan Museum of Art's main building in Manhattan that houses the collection of the Costume Institute, a branch of the museum focused on fashion and costume design. The center is named after Anna Wintour, the longtime and current editor-in-chief of Vogue, Chief Content Officer of Condé Nast, and chair of the museum's annual Met Gala since 1995. It was endowed by Lizzie and Jonathan Tisch. As of August 2017, the chief curator is Andrew Bolton.
Arthur Christian Holder is a British-Trinidadian artist who has worked in many fields – like his father Boscoe Holder: as a dancer, choreographer, actor, teacher, costume designer, writer, painter and singer. He is most notable as "one of the most iconic dancers of the Joffrey company in the 1970s, perhaps in its history."
Heidi Weisel was an American fashion designer. She was the founder and head of design for Heidi Weisel, a New York City-based women's luxury brand. Weisel's signature was creating modern, timeless evening wear with the simplicity and ease of sportswear. She was known for her unexpected mix of fabrics, often incorporating knitted cashmere, silk chiffon, silk satin, lace, tulle, and leather. A Heidi Weisel chiffon and lace design is in the permanent collection of the Metropolitan Museum of Art. Weisel was a member of the Council of Fashion Designers of America (CFDA).
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Five Brahms Waltzes in the Manner of Isadora Duncan is a ballet solo choreographed by Frederick Ashton to music by Johannes Brahms, inspired by Isadora Duncan and created for Lynn Seymour. The first version, under the title Brahms Waltz, used only Brahms' Op. 39, No. 15, and premiered on 22 June 1975, at the Hamburg State Opera. The expanded version, which featured more Brahms waltzes, premiered on 15 June 1976, during Ballet Rambert's 50th anniversary gala, at the Sadler's Wells Theatre, London, and is dedicated to Marie Rambert.
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Throughout its history, the costume of ballet has influenced and been influenced by fashion. Ballet-specific clothing used in productions and during practice, such as ballet flats, ballerina skirt, legwarmers, and leotards have been elements of fashion trends. Ballet costume itself has adapted aesthetically over the years, incorporating contemporary fashion trends while also updating fabrics and materials to allow for greater freedom of movement for the dancers. The classic ballerina costume with a tutu and pointe shoes debuted in the 1830s. Ballet costume is marked by the innovation in lightweight materials such as tulle, chiffon, and organza.
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