Artist / Rebel / Dandy
Artist/Rebel/Dandy documents the enduring, global impact of the dandy—that distinctively dressed figure who has pervaded Western culture for more than two centuries. From Beau Brummell in the late 18th century to the international style-makers of today, this character epitomizes the powerful bond between clothing, identity, and creativity. Garbed with great intention and at least a hint of provocation, the dandy is forward-thinking, conscientious, and thoroughly artistic.
Top Hat (1899) by Collins & FairbanksOriginal Source: http://risdmuseum.org/art_design/objects/1718_top_hat_worn_by_byron_satterlee_hurlbut
Artist / Rebel / Dandy
This presentation celebrates exquisitely crafted personal ensembles and visual representations associated with individual dandies around the world. The featured personalities are grouped to suggest kinship across chronological and geographic borders under the themes of historians, connoisseurs, revolutionaries, romantics, and explorers.
The items on display represent the dandy as an international figure, but they also reflect the tableaux visible every day in RISD’s creative environment. They illustrate how experimental self-invention, the constructive urge to challenge the status quo, and the power of well-crafted clothing work together in the lives of these remarkable individuals who are at once artists, rebels, and dandies.
Sketches and definitions
Portrayed as a supremely elegant “poet of cloth,” the dandy has also been deemed flamboyant, vulgar, and artificial. More a target of criticism than a subject of popular appeal, the dandy evolved as an elusive figure.
Bulletin of Fashion (1853) by FrenchOriginal Source: http://risdmuseum.org/art_design/objects/1688_bulletin_of_fashion
Bulletin of Fashion
This plate from the trade journal Bulletin of Fashion illustrates men’s fashions from the mid-19th century. This period is often understood as the “great masculine renunciation,” as codified by psychologist J. C. Flugel in his 1932 text The Psychology of Clothes. Modern scholarship and research has revealed that while many men were lost in a sea of black suits, there were others, like those idealized in this fashion plate, who continued to relish the personal choice and liberty of dress.
Illustrations from the Journal des Dames et des Modes (ca. 1810) by Horace VernetOriginal Source: http://risdmuseum.org/art_design/objects/1657_illustrations_from_the_journal_des_dames_et_des_modes
Portrait of a dandy
Given the many characterizations that have proliferated from the early 19th century to today, no clear definitions emerge, yet these representations reveal that the dandy figure has continuously distinguished himself by conflating art, life, the body, and its accoutrements into a unified concern.
From literary to satirical and fine art portraits, this section presents a range of images of the fellow described by Thomas Carlyle in the 1830s as the “clothes-wearing man".
A Macaroni Dressing Room (1772) by EnglishOriginal Source: http://risdmuseum.org/art_design/objects/1651_a_macaroni_dressing_room
A Macaroni Dressing Room
A Macaroni Dressing Room offers a window into the intimate world of the Macaroni, or the fashionable mid-18th-century Englishman who dressed and spoke in an affected manner. Oxford Magazine reported in 1770, “There is indeed a kind of animal, neither male nor female, a thing of the neuter gender, lately started up amongst us. It is called Macaroni.” From 1760 to 1800, hundreds of humorous prints, also known as drolls, were produced in London. The engravers and print sellers Mary & Matthew Darly became known as the “Macaroni Print-Shop” because of their merchandise. In this print, a fashionable printed-cotton dressing gown, or banyan, is worn by the sitter, who is having his wig powdered. The pictures on the wall show such topics as “Rotten Row Macaroni” and “Morning Devotion.” A banyan worn by the Prince of Wales faces this print.
Dandies Having a Treat (1818) by Robert Cruikshank and Thomas TeggOriginal Source: http://risdmuseum.org/art_design/objects/1664_dandies_having_a_treat
Dandies having a treat
Robert Cruikshank’s hand-colored etchings are ruthless, comical jabs at the dandy “species.” This grouping shows the dandy out and about in the city-at the tea shop, lounging in the opera box, on promenade-and always the butt of a joke. Cruikshank draws attention to the exaggerated components of fashionable menswear of the late 1810s, including corseted waists so severely constricted that one opera attendee has suffered a fainting fit, a malady typically perceived as feminine. With these caricatures, the Cruikshanks successfully imprinted on the popular imagination the image of the dandy as not only effete, but also one so devoted to appearance as to be devoid of brain and character. While to modern eyes these caricatures might suggest a prejudiced connection between dandyism, effeminacy, and homosexuality, such conflations were not made until after the criminal trial of Oscar Wilde, more than 70 years later.
A studied focus on the materiality, artistry, and texture of garments characterizes the dandy’s pro-found relationship to his wardrobe, and such inti-macy cannot help but remain ingrained in the cloth after the wearer is gone. This selection brings together garments and accessories that embody the memory of iconic dandies Charles Baudelaire, Cecil Beaton, Max Beerbohm, Sebastian Horsley, Mark Twain, Andy Warhol, and Oscar Wilde and speak to their owners’ unique posturing, attitude, and charisma.
Installation view "Artist / Rebel / Dandy: Men of Fashion"RISD Museum
"The dandy is often interpreted incorrectly as a fussy and flamboyant fellow. But when we look back at the original dandy - the early-nineteenth-century figure of Beau Brummell - we find a silhouette that is pared down, fitted, and uniform-like. This is precisely what I relate to as a menswear designer - clothing that is no less and no more than suits the role. In this way, I see the dandy’s place in today’s fashion culture as one who promotes simplicity and uniformity in men’s fashion. Menswear does not need to scream fashion. In fact, fashion should not even speak; the wearer should speak for the fashion".
Thom Browne, fashion designer
Old And New London (1897)LIFE Photo Collection
The figure of the dandy has evolved into diverse expressions over the course of two centuries, but always tracks back to the extremely neat, buttoned-up figure of George Bryan “Beau” Brummell (1778–1840). Born outside the aristocracy, Brummell forged a path to the heart of exclusive London society by deploying the emergent craft of tailoring, whose practitioners helped sculpt Brummell’s dashing and artful figure of wit and authority. Sadly, no garments are known to have survived from the wardrobe of this dandy forefather.
During his lifetime, Brummell’s example reverberated throughout England, France, and America. In the 200 years since Brummell’s heyday, the vision of the dandy has been reinterpreted numerous times, though the idea of bespoke clothes as a manifestation of thoughtful self-construction has remained constant.
Today’s dandies—respectful of the past while decidedly contemporary and intellectual in their sartorial pursuits—come closest to embodying the dandy as potently as Brummell did in their attention to craftsmanship and their use of clothing to instigate social change.
Portrait of Charles Baudelaire (1863) by Édouard Manet and A. SalmonOriginal Source: http://risdmuseum.org/art_design/objects/1690_portrait_of_charles_baudelaire
In The Painter of Modern Life (1863) Charles Baudelaire took Barbey d’Aurevilly’s concept of the artist dandy a step further by focusing on his intellectual stance, positioning him as a rebel against mainstream society. Baudelaire declared the dandy to have an “aristocratic superiority of mind” and to be in possession of the “characteristic quality of opposition and revolt.” In Baudelaire’s vision, the artist dandy conveyed a spiritual message that transcended and opposed the vulgarities of the everyday world, paving the way for change.
James McNeill Whistler 1897
In 1890s England, artist James McNeill Whistler embodied Baudelaire’s concept of the Regency dandy as a provocateur. Nicholson’s dramatic portrait reflects Whistler’s affinity for a performative form of dandyism-a prototype of camp-which formed a vital part of his celebrity. Whistler’s characteristic sartorial style included a dark suit, monocle, stiff collar, and walking stick, and he and Oscar Wilde have come to be seen as paradigms of excessive fin-de-siecle dandyism. Contemporaries and rivals, they responded to one another’s style as they both looked to Regency and French interpretations of the artist dandy’s role in society.
Le Lion by Bernard Boutet de Monvel 1907
The liberated and graceful men populating the Parisian urban landscape were celebrated in illustrations such as this etching by Bernard Boutet de Monvel, a stylish artist himself. They show the modish gentleman as a well-groomed and artistic type Balzac, Barbey d’Aurevilly, and Baudelaire might easily have aspired to, and inspired. Boutet de Monvel’s color etchings were featured in a traveling exhibition presented at the Rhode Island School of Design in 1912. The exhibition featured several portrayals of dandies, including Beau Brummell and this French flaneur, dubbed “le Lion.”
Baron De Meyer in Shirt Sleeves (1903) by Gertrude KäsebierOriginal Source: http://risdmuseum.org/art_design/objects/1694_baron_de_meyer_in_shirt_sleeves
Baron De Mayer in shirst sleeves
Sitter Baron Adolph de Meyer and photographer Kasebier both published their work in Steichen’s Camera Work and were members of London’s Linked Ring photographic group. De Meyer has been described as “a dandy, a flaneur-an arbiter of taste and trends” who would follow his career as a fine art photographer with work as the staff photographer at Vogue and Vanity Fair magazines. In this portrait, one in a dream-like series captured by Kasebier, de Meyer appears in his shirt sleeves. While not shocking, at this time such a state of undress would have signaled a level of familiarity between the subject and photographer. This was indeed the case with de Meyer and Kasebier, who traveled in the same artistic circles.
Samuel L. Clemens
Samuel L. Clemens (1835-1910), American writer and humorist, who wrote under the pseudonym of Mark Twain, from a print after a photo by E. H. Mills.
Frank Lloyd Wright
Cecil Beaton drinking while wearing his fourth costume of the evening, as host of his garden party.
Nat King Cole
Crafting the dandy
These selected objects from Artist, Rebel, Dandy: Men of Fashion illuminates the personal choices made as the “clothes-wearing man” crafts his appearance into an identity. If there is a purpose for the dandy’s bespoke pursuits, it just might be to slow time—to appreciate the attention required in crafting the bespoke suit, to admire its finer points, to see it as part of a living history.
Derby Hat (Late 1800s) by Dunlap & Company, hatterOriginal Source: http://risdmuseum.org/art_design/objects/1696_derby_hat_worn_by_byron_satterlee_hurlbut
Dunlap & Company, hatter
Worn by Byron Satterlee Hurlbut. Gift of the Estate of Mrs. Byron Satterlee Hurlbut
Pantaloons ca. 1815
Worn by a member of the Giles Lodge family.
Craftsmanship Craftsmanship, artistry, and materials are of the utmost importance. The dandy’s acute attention to detail often begins with a materials investigation, extends to his choice of tailor, and culminates with the art of accessorizing the ensemble.
This artistry continues as these elements are arranged on the body and correctly cared for to maintain their beauty and perfection. It is with this knowledge and these rituals that a well-dressed man becomes a dandy.
Coat Robinson Jones & Company Extra Fine Rich ca. 1840
Worn by N. W. Chapin. Gift of N. David Scotti
This group of fine broadcloth jackets dating from the early days of Brummell’s influence to the early Victorian era have retained their modeling and drape for close to 200 years with little sign of wear. The luxury of broadcloth comes from the sheer amount of high-quality wool fiber necessary to produce the finished yardage. Broadcloth comprises a “full breadth,” approximately 60 inches wide, hence its name. After weaving, the yardage is washed and subjected to a felting process that produces a very dense fabric as it shrinks. After felting, a finisher raises the nap, or the surface of the textile, to a lamb’s-ear softness. Light plays against this sublime surface, resulting in a beautiful depth of color.
Man's suit 1880
James Woolson was a Boston-based leather merchant for most of his career. His understanding of fine textiles and materials was honed while serving many roles, from librarian to president, in the Boston Mercantile Library Association. This suit, with its covered buttons and impeccably finished seams, reflects his discerning eye. Pristine seams are a hallmark of the seersucker suit, which is traditionally left unlined to afford the wearer welcome relief from summertime heat and humidity. Worn by James Adams Woolson (1829-1904). Gift of the Estate of Mrs. Byron Satterlee Hurlbut. Cotton seersucker jacket and trousers.
Top Hat Collins & Fairbanks 1899
The collections of the RISD Museum of Art include this smart top hat from the late 19th-century Boston import firm Collins & Fairbanks Co. Advertising their wares in the MIT campus newspaper, The Tech, Collins & Fairbanks celebrated their specialty: young men’s hats. Like the young men of Eton College, young American clothes-wearing men wouldn’t have dared leave home with their heads uncovered. Both the black top hat and the derby belonged to Harvard dean Byron Satterlee Hurlbut. The exceedingly rare white top hat was likely intended for wear at the Royal Ascot races, where pale blush was de rigeur. Even then, this shade of white is most unusual, as those described as white are usually pale gray. Shelton and Co., which created this hat for a member of the Providence-based Goddard family, was located just off the Pall Mall, London’s center of haberdashery. Gift of the Estate of Mrs. Byron Satterlee Hurlbut. Worn by Byron Satterlee Hurlbut
Shirt T. Hodgkinson C. 1900
Relatively unknwon today, the devonaire Francis J. Carolan was often discussed at the turn-of-the century in the same breath as industrialist Henry C. Frick and other dandy elites. Carolan was part of the fashionable set in San Francisco, where high-end shops procured shirts like these, crafted on London Pall Mall street, for the nouveau riche. Carolan’s taste for sumptuous fabrics was reported in The Sunday Oregonian on August 1, 1909: “These haberdasher artists whisper softly that Francis J. Carolan is especially fastidious about this part of his clothing,” “this part” here referring to his silk underwear. As evidenced by this suite of richly patterned and tinted cotton and silk shirts, Carolan did not shy from the bolder side of the dandy spectrum. Worn by Francis J. Carolan. Anonymous gift
Installation view "Artist / Rebel / Dandy: Men of Fashion"RISD Museum
"The “idea” of the dandy has become something of a truism in discussions of nineteenth-century culture. His figure has perhaps been identified too readily by many critics and historians with grand and diffuse concepts of modernity: a catch-all cipher for literary, artistic, philosophical, sexual, and social revolution. In all of this theoretical supposition there is a danger that the empirical substance of dandyism—the grounded experience of fashionable masculinity out of which dandy figures were constructed—gets lost and contemporary meanings and relevance obscured".
Christopher Breward, fashion historian
Shirt (ca. 1900) by T. HodgkinsonOriginal Source: http://risdmuseum.org/art_design/objects/1697_shirt_worn_by_francis_j_carolan
Relatively unknwon today, the devonaire Francis J. Carolan was often discussed at the turn-of-the century in the same breath as industrialist Henry C. Frick and other dandy elites. Carolan was part of the fashionable set in San Francisco, where high-end shops procured shirts like these, crafted on London Pall Mall street, for the nouveau riche. Carolan’s taste for sumptuous fabrics was reported in The Sunday Oregonian on August 1, 1909: “These haberdasher artists whisper softly that Francis J. Carolan is especially fastidious about this part of his clothing,” “this part” here referring to his silk underwear. As evidenced by this suite of richly patterned and tinted cotton and silk shirts, Carolan did not shy from the bolder side of the dandy spectrum.
Worn by Francis J. Carolan. Anonymous gift. Monogrammed cotton plain weave, cotton novelty weave, and silk novelty weave
Man's suit Hoar & Company C. 1910
William Fitzhugh Whitehouse (1877-1955) dressed in a manner befitting his travels to foreign territories. Both this streamlined jacket of white cotton and unlined suit of fine double-cloth cotton express Whitehouse’s love of adventure and appreciation for sartorial souvenirs from his ports of call. In his 20s, Whitehouse was a pioneer of hot-air ballooning and a co-sponsor and youngest member of the Harrison-Whitehouse mapmaking expedition to “countries south of Abyssinia.” On this trip, in June 1900, the party reached Bombay, India, where Whitehouse commissioned these garments from the civil and military tailors Hoar & Co. Worn by W. F. Whitehouse. Gift of the Whitehouse Estate
Shirt (ca. 1920) by A. Sulka & CompanyOriginal Source: http://risdmuseum.org/art_design/objects/1730_shirt_worn_by_g_h_stone
A. Sulka & Company
Because the skilled tying of the cravat was once the sign of a true dandy, the detachable collar was considered an unthinkable shortcut until about 1900, when younger dandies, like Francis Carolan, embraced the vogue. Detachable collars were worn later in the century by flaneurs such as Richard Merkin. While often associated with women’s fashion, the influential fashion publication Gazette du Bon Ton also included numerous style and comportment articles focusing on menswear. These articles frequently were penned by Roger Boutet de Monvel and illustrated by his brother, Bernard. From the 1910s to the 1920s, the series discussed topics including the history of neckwear as here.
Worn by G. H. Stone. Gift of Mr. and Mrs. Edward L. Stone
Man's suit Brooks Uniform Company Ca. 1928
This tailor-made suit, worn by Michael Strange (pseudonym of poet and actor Blanche Oelrichs), exemplifies socio-political dandyism as expressed by women. Married to John Barrymore, Strange described the pleasure they enjoyed as a couple as they explored the boundaries of gender definition through clothing choice: “Jack and I dressed in a manner never affected before or since. Pleatings and flutings appeared on his trousers, duplications of the ones on my skirt….He considerably lowered his shirt collars, of which I instantly had a dozen copies made.” Strange wore this suit, tailored by Brooks Uniform Company, in everyday life and when she played the role of Napoleon II in L’Aiglon. The suit’s skillful construction is offset by the ethereal silk organdy dickey and trompe l’oeil bow time. Worn by Michael Strange (pseudonym of Blanche Oelrichs). Gift of Joan Avillez.
Morning suit Norton & Sons 1941
These two suits reveal subtle variations in even the most classic form, the morning suit. While at first glance they appear to be exactly the same, a difference in the weight and spacing of the stripes of the trousers is revealed upon closer examination. The nuance of the brushed versus flat-woven black jacket also becomes apparent. Such details serve as clues to the personality of the wearer and reflect the many discussions the client would have had with his tailor. The Savile Row firms Norton & Sons and Hawes & Curtis have long been destinations for Americans in London. Of his days as a young apprentice at Hawes & Curtis, tailor John Pearse recollects, “We were upstairs in the workroom which was like Fagin’s den. Those guys were all kind of Mod-y and young even though we were making for the Duke of Edinburgh or the King of Thailand. It gave me a good grounding for the flamboyance to come.” Worn by Eben S. Doolittle. Gift of Nancy P. Doolittle Wool twill weave.
Installation view "Artist / Rebel / Dandy: Men of Fashion"RISD Museum
"Indeed, if there is a purpose, an end use for the contemporary dandy’s bespoke pursuits, it may be just this: a slowing of time—time to craft the bespoke suit, to appreciate its finer points, to see it as part of a living history. Where Brummell sought modern masculinity via understated luxury, today’s young dandy would rather take a slow ride through the fast city, paving his road to the future and a set of new rules for dress and comportment in the technological age".
Laurie Anne Brewer, curator
Man's suit 1959 Kilgour, French and Stanbury Ltd.
This three-piece suit in Glen Urquhart check was tailored for RISD apparel professor Bertrand Suprenant by the firm Kilgour, French and Stanbury. The Surprenant suit represents a special feat of tailoring. The demands of this pattern required additional fabric at great cost, but if any tailor or firm can take on the complexities of Glen plaid, it is Kilgour. This renowned firm exemplifies craft, and aspiring young tailors and menswear designers still coven apprenticeships there. Suprenant commissioned this suit in 1959, the same year another gray Kilgour suit-one worn by Cary Grant in the film North by Northwest-became a legendary example of tailoring and style. Both suits were made from lightweight worsted wool in Glen Urquhart check and feature the same elegance of line, although Suprenant’s was commissioned before the film was released and the same look was coveted by men the world over. Worn by Bertrand Surprenant. Gift of Bertrand Surprenant.
Man's Suit Take Six Boutique 1967-1968
John Krill, a paper conservator in Washington, D.C., bought this Mod-style Regency revival suit from the Take Six Boutique within days of arrival in London from the U.S. in the late 1960s. Looking back on the personal significance of this suit, Krill muses:
It was very trendy-but not common. It was outlandish-but with reserve. I felt alive, bright and exhilarated wearing it. It was versatile. It accentuated the wildness of dancing in clubs. It could be worn to formal black tie events. It felt otherworldly when walking in gardens with friends. It was worn by characters illustrated in Pierce Egan’s Life in London, 1821, and was a strong and direct link to another vibrant time in London. I remember dancing the Charleston in it on the steps of the Frick Collection, New York, after an evening lecture.
Man's suit F.L. Dunne and Company 1968
Richard Merkin passionately supported New York City’s bespoke industry, patronizing companies such as F. L. Dunne, tailor of this dynamic three-piece tweed suit. In an era of increasingly asual attire, Merkin sought to resurrect the flaneur image. He hung Walter Sickert’s caricature of Beerbohm, seen in the other gallery, between his two clothes closets as a reminder of Beerbohm’s philosophy, style, and humor. Merkin’s feelings about his style were sometimes romantic: “There’s a lot of sincerity and belief in it. I guess I’m a dandy at heart who seeks quality at every level of existence.” He could be astutely aware of the politics of his dress: “There is a degree of satire, of the creative violation of propriety. I was not to the manner born; therefore to simply appropriate the manner would not have been satisfactory.” He also said, “I’m an artist who likes to observe and make a statement, so my dress has something to do with journalism, reportage.” Worn by Richard Merkin. Gift of Richard Merkin.
Gift of Charles Rosenberg, RISD Class of 1988
Reproduction of Shoes (2010) by Salvatore Ferragamo and FerragamoOriginal Source: http://risdmuseum.org/art_design/objects/1810_reproduction_of_shoes_worn_by_andy_warhol
Reproduction of Shoes
The coarse wig, stiff button-down Brooks Brothers shirt, and paint-splattered Ferragamo shoes were Andy Warhol’s signature accessories, central to his carefully crafted public image. The wig, intentionally ill-fitting and dyed an unnatural silver color, obscured the artist’s baldness and, even better, drew attention to its function as a fashionable counterfeit. In a similar manner, Warhol twisted the conservative, old-school reference of the shirt to fit his avant-garde agenda.
Warhol wore luxurious brogue-style Ferragamo shoes in his studio, and in 2006 the Ferragamo family purchased a pair of his shoes at auction. In 2010 they issued a new limited-edition line that replicates Warhol’s originals, down to the paint spatters on the toe.
Worn by Andy Warhol. Gift of Museo Salvatore Ferragamo
Wool, leather, silk; felted, applied decoration, plain weave.
Ensemble (2007-2012) by Paul SmithOriginal Source: http://risdmuseum.org/art_design/objects/1627_ensemble_worn_by_patrick_mcdonald
2007 - 2010
Patrick McDonald, the self-described “Dandy of New York,” devotes himself wholeheartedly to the pursuit of beauty and the pleasures of fashion and style. Echoing sentiments expressed by the 19th-century French writers such as Charles Baudelaire, McDonald embraces the productive and creative bravura of the dandy figure: “Fashion is my art and that art is my freedom.”
This elegant Paul Smith design in grey and pink wool is brought to life and infused with a touch of whimsy by McDonald’s artful selection of coordinates, in particular the Rod Keenan hat with applique hand motif and the special attention that he pays to his faultless visage. Given the sense of fantasy in McDonald’s sartorial compositions, his focus on surrealist artist Salvador Dali as a style icon is telling.
An Emperor’s New Untangling (2012) by Sruli RechtOriginal Source: http://risdmuseum.org/art_design/objects/1817_an_emperors_new_untangling
An Emperor’s New Untangling
Writing of the custom-made “An Emperor’s New Untangling” shirt, made of genetically modified spider silk, Reykjavik-based designer Sruli Recht poetically describes the process of knitting the suprisingly strong fibers into “the emperor’s new clothing, an undergarment to protect the hearts of an empire.” The “Horset,” the man’s corset-like garment made of horsehair, is made by “Asthildur Magnusdottir, a woman of iron will and a brain in each finger, [who] wove 3cm a day in the dead darkness of an epic Icelandic winter…from the waste products of the horse farms and slaughterhouses.” These pieces show that the combination of soft, gossamer lightness and hard structure can coexist in the contemporary man’s wardrobe. In Recht’s words, “It’s about making things that people didn’t know they needed, but now can’t live without-perhaps because they are functional, perhaps because they look nice, but mostly because they provide them with a new way of experiencing things in life.”
Men's Shoes Barker Black 2012
As described by his friend Derrick Miller, creative director of Barker Black shoes, Kogi “puts everything—present and past, genres and products—through the Poggy blender, and with the most astonishing results.” With his humorous touch, Kogi morphs historical references into avant-garde contemporary fashion, dangling a digital watch at the end of a 19th-century pocket-watch chain or adding a tie with an insouciant message to an ensemble that would otherwise indicate buttoned-up propriety. Gift of Barker Black, Ltd.
Dandy revolutionaries express their intellectual or political views through their intentional self-display. At the cutting edge of culture, these individuals push the definition of dandyism into a cerebral realm that ties the material artifact and the idea of clothing as a personal envelope to a theoretical agenda that aims to subvert preconceived notions of identity and normalcy.
Ensemble styled by Motofumi “Poggy” Kogi (2010) by United Arrows, Liberty, and Hello Kitty, Sanrio CompanyOriginal Source: http://risdmuseum.org/art_design/objects/1634_ensemble_styled_by_motofumi_poggy_kogi
Ensemble styled by Motofumi “Poggy” Kogi
United Arrows, Liberty, Hello Kitty, Sanrio Co., Ltd.
Gift of United Arrows Ltd. Cotton; printed plain weave (jacket, trousers, vest), cotton; plain weave (shirt), silk; satin weave (tie), leather, rubber (shoes)
In this ensemble, styled by Motofumi “Poggy” Kogi, the Hello Kitty character takes in London’s sights and serenly drinks tea amidst a whirlwind of pattern and color. A collaboration between Sanrio’s Hello Kitty and Liberty of London, the fabric reflects a long history of exchange. Liberty textiles, inspired in the late 19th century by East Asian design, became a fad in 1970s Japan as consumers there embraced aspects of the British lifestyle.
This suit, a joint venture with the Japanese retail giant United Arrows, completes that circle. United Arrows and other contemporary Japanese design firms have tapped into the shared vision of the English dandy in response to the subcultural dandified styles that have burgeoned in urban Japan since the 1900s.
Artist / Rebel /Dandy : Adam + FredRISD Museum
Artist/Rebel/Dandy: Designers Adam Dalton Blake and Fred W. Mezidor
Recent RISD appeal graduates discuss the future of men's fashion.
Artist / Rebel / Dandy : Arnold Wong + Jacob Blau (2016) by RISD MuseumRISD Museum
Artist / Rebel / Dandy : Designers Arnold Wong + Jacob Blau
Recent RISD appeal graduates discuss the future of men's fashion.
Artist/Rebel/Dandy is supported by the Coby Foundation, Dr. Joseph A. Chazan, Jake Kaplan’s Jaguar, Mr. and Mrs. Leonard Granoff, Ms. Karen Hammond and Mr. Michael Quattromani, Ms. Carol Nulman, Mr. Mark Pollack, the RISD museum associates, and the Artist/Rebel/Dandy leadership committee.