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1.This essay derives from my dissertation “Design and the
Industrial Arts in America, 1894-1940: An Inquiry Into Fashion Design
and Art and Industry” (Graduate Center CUNY, 2001). I want
to thank Jonathan Lang and John Angeline for our discussions and
editorial help.
2.See John F. Kasson, Civilizing the Machine. Technology and Republican
Values in America, 1776-1900 (New York: Grossman Publishers, 1976).
3.See William Leach, Land of Desire: Merchants, Power and the Rise
of a New American Culture (New York: Vintage Books, 1994). The first
public design museum in Europe, the South Kensington Museum (now
the Victoria and Albert Museum), which opened in 1852, set the stage
for museums as a design resource. See Lyndel Saunders King, The
Industrialization of Taste: Victorian England and the Art Union
of London (Ann Arbor: UMI, 1982).
4. Kasson, Civilizing the Machine, p. 19.
5. Crawford discusses Women’s Wear, museums and design in The
Ways of Fashion (New York: G.P. Putnam/s Sons, 1941). In the 1930s
the paper became known as Women’s Wear Daily. This essay will
use the initials WWD in endnotes while using the appropriate historic
title in the text.
6. See Diana Fane, Ira Jacknis and Lisa M. Breen, Objects of Myth
and Memory, American Indian Art at the Brooklyn Museum (The Brooklyn
Museum in association with University of Washingtin Press, 1991).
7. See Richard Bach, “Museum Service To The Art Industries,”
The Metropolitan Museum of Art 3 (1927): 3-4.
8. Crawford, “Creative Textiles and the American Museum,”
The American Museum Journal 18, no. 4, (April 1917): 257. Hereafter
cited as AMJ.
9. Ibid.,”Museum Documents and Modern Costume,” AMJ 18,
no.4 (1918): 288.
10. See Janet Kardon, ed. Craft in the Machine Age (Harry N. Abrams,
Inc. in association with the American Craft Museum, 1996).
11. See Gail Levin, “American Art” in Primitivism in 20th
Century Art, Vol. II, ed. William Rubin (New York: The Museum of
Modern Art, 1984), 453-472; Jackson Rushing, Native American Art
and the New York Avant-Garde, A History of Cultural Primitivism,
American Studies Series ed. William H. Goetzmann (Texas:
University of Texas Press, 1994); Wanda Corn, The Great American
Thing, Modern Art and National Identity, 1915-1935 (University of
California Press, 2000).
12. Herbert J. Spinden, “Creating a National Art,” AMJ
19, no. 6 (Dec. 1919): 622-654.
13. I am grateful to Pamela Kladzyk for support and guidance in
considering Native American cultural forms and to Elizabeth Morano
for advice about American fashion.
14. Crawford, “Museum Documents.”
15. Spinden, Exhibition of Industrial Art in Textiles and Costumes
(New York: American Museum of Natural History, 1919); “Creating
a National Art.”
16. Crawford, “Museum Documents.”
17. The Metropolitan Museum of Art, “Our Educational Number,”
(1926): 210.
18. Crawford, “Exhibition Showing History and Development of
the Blouse To Be Held in Women’s Wear Galleries,” WWD
29 September 1919.
19. Ibid., “Designers Draw Inspirations From Many Lands,”
25 October 1919.
20. ”Blouses of Unusual origin,” The Brooklyn Standard
Union, 10 November 1919.
21. See Paul Poiret et Nicole Groult: maitres de la mode Art Deco
(Paris: Musee de la Mode et du Costume, Palais Galliera, 1986).
22. The best overview of New York fashion remains Caroline Rennolds
Milbank, New York Fashion: The Evolution of American Style (New
York: Harry N. Abrams, Inc. 1989).
23. See JoAnne Olian, ed. Everyday Fashions 1909-1920 As Pictured
in Sears Catalogs (New York: Dover Publications, Inc., 1995); Stella
Blum, ed. Everyday Fashions of the Twenties Pictured in Sears Catalogs
(New York: Dover Publications, Inc., 1981). About regionalism in
nineteenth-century American fashion see Sarah Johnson, “Two-Dimensional
Woman: Department Store Production, Distribution and Consumption
of American Women’s Clothing, 1865-1900.” (Ph.D. diss.,
University of Brighton, UK, 2002).
24. See Phyllis Tortora and Keith Eubank, A Survey of Historic Costume
(New York: Fairchild Publications, 1989).
25. Philip J. Deloria, Playing Indian (New Haven: Yale University
Press, 1998).
26. Ibid., p.11.
27. On museums and Native American objects see David Hurst Thomas,
Skull Wars: Kennewick Man, archeology, and the battle for Native
American Identity (New York: Basic Books, 2000). For atitudes toward
Native Americans see Robert Fay Schrader, The Indian Arts and Crafts
Board, An Aspect of New Deal Indian Policy (University of New Mexico
Press, 1083), 3-22; and note 11 above. On the market for Native
American Art see Molly Mullin, Culture in the Market Place: Gender,
Art and Value in the American Southwest (Durham,NC: Duke University
Press, 2001). See Nancy Grove’s review in this journal.
28. Crawford, “Industrial Art Exhibition Portrays Progress
of Costume and Fabric Designing – History of Silk Printing
Pictured – To Lecture On Textiles,” WWD, 7 November 1919.
29. See Wendy Gamber, The Female Economy, The Millinery and Dressmaking
Trades, 1860-1930 (Urbana and Chicago: University of Illinois Press,
1997).
30. This playacting includes the author. See also the children’s
novel by Jacqueline Jackson, The Pale-face Redskins (Boston and
Toronto, 1958).
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