Among Us Dress Up Game Online
Odina Conkright
American western style is known by some familiar materials and details including embossed or fringed leather, silver conchas, and patterns woven in bright earth tones or primary colors. These materials and patterns did not rise spontaneously, but developed over a five-hundred-year-period and included influences from Spain as well as from eastern and western America.
The elements of design that define western style developed from patterns that were found appropriate in particular times rather than adopted willy-nilly. Five main factors shaped what is now described as western clothing: Spanish dress, frontier dress, cowboy dress, Native American design, and changes in technology that were particularly important in rodeo dress.
Others who adopted fringe were George Armstrong Custer, Theodore Roosevelt whose leather shirt affiliated him with the West during his 1904 Presidential campaign, and Larry Larom, owner of Valley Ranch southwest of Cody, Wyoming, was often pictured in his fringed leather shirt as part of the advertising campaign to lure eastern dudes to the 1930s not-so-wild West.
The most important influence on western style, however, is the cowboy. To prove that they had risen to the high rank of cowboy, thousands of still-adolescent boys sent studio portraits to their families back east. In 1878, young Montana cowboy Teddy Blue Abbot summed up what was important about cowboy dress:
Most cowboy clothing was functional, but even functional dress had some cowboy flair. The most symbolic of cowboy gear were chaps that often had a tooled leather belt and were decorated with fringe and conchas that prevented leather lacing from tearing the somewhat brittle oak-tanned leather. Wooly chaps originated among California vaqueros, but were readily adopted by cowboys riding the range on the cold, windy northern plains.
Cowboys wore a variety of types of pants. According to writer Don Rickey, the most common on the Northern Plains were woolen pants that were intended for dress. They were more comfortable to wear than Levis constructed of stiff denim. Even though woolen trousers were preferred, many cowboys wore cheaper denim trousers. Major William Shepherd, an Englishman who traveled through Montana and Wyoming in 1884, wrote:
Cowboy boots, said to have been developed in Coffeyville, Kansas, were another distinctive article of dress that marked cowboys in how they looked and also how they walked. Wyoming cowboy John Rollinson remembered his first pair of real cowboy boots.
Spurs made in a wide variety of styles of plain steel and of silver or with silver inlay have also contributed designs to western style. And, even though firearms are not technically dress, no cowboy would have considered his outfit complete without one.
In the golden era of dude ranching during the 1930s and 1940s, when wealthy easterners were no longer traveling to Europe because of the Nazi threat, the entire Rocky Mountain region filled with dude ranches. The most popular northern ranches were located in Montana and Wyoming near Yellowstone National Park. The area around Wickenburg, Arizona, was the southern center of dude ranching. Eastern dudes spent between six weeks to two months at northern ranches during the comfortable summer months and about the same amount of time at southern ranches during the winter. This led to a mixture of northern and southern Indian arts making their way into the western design lexicon.
Soon, rodeo cowboys were decked out in thoroughly spotted chaps, and now in the twenty-first century, rodeo chaps are embellished with mylar to provide similar flash to wildly bouncing chaps. Another important element of rodeo dress is the trophy buckle that first appeared on a bucking belt from Glendive, Montana. By the 1920s, trophy buckles were an integral part of rodeo champion dress. Now, any self-respecting rodeo cowboy has a whole collection.
Western fashion grew from the most important groups that lived and worked in the American West. These were the Spanish, frontiersman, cowboys, Native Americans, and the rodeo, all contributing designs that have become part of the American western design lexicon.
Nancy works in the Public Relations Department in electronic communications. Her work includes writing and updating website content, publicizing events, copy editing, working with images, and producing the e-newsletter Western Wire. In her spare time, Nancy enjoys photography, reading, flower gardening, and playing the flute.
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The Costume Institute's collection of more than thirty-three thousand objects represents seven centuries of fashionable dress and accessories for men, women, and children, from the fifteenth century to the present.
The redesigned Costume Institute space reopened in May 2014, after a two-year renovation, as the Anna Wintour Costume Center with the exhibition Charles James: Beyond Fashion. The complex includes the Lizzie and Jonathan Tisch Gallery, the main showcase space with a flexible design that lends itself to frequent transformation with video, sound, and wireless technology. The Center also includes the Carl and Iris Barrel Apfel Gallery to orient visitors to The Costume Institute's exhibitions. Behind the scenes is a state-of-the-art costume conservation laboratory; a study/storage facility to house the combined holdings of The Costume Institute and Brooklyn Museum Costume Collection; and The Irene Lewisohn Costume Reference Library, one of the world's foremost fashion libraries.
The Costume Institute began as the Museum of Costume Art, an independent entity formed in 1937 and led by Neighborhood Playhouse founder Irene Lewisohn. In 1946, with the financial support of the fashion industry, the Museum of Costume Art merged with The Metropolitan Museum of Art as The Costume Institute, and in 1959 became a curatorial department. The legendary fashion arbiter Diana Vreeland, who served as special consultant from 1972 until her death in 1989, created a memorable suite of exhibitions, including The World of Balenciaga (1973), The Glory of Russian Costume (1976), and Vanity Fair (1977), galvanizing audiences and setting the standard for costume exhibitions globally.
In 1989, Richard Martin took the helm, with the support of Harold Koda, and began a rotating cycle of thematic exhibitions including Infra-Apparel, Waist Not, The Four Seasons, and Cubism and Fashion. Martin's tenure culminated in Rock Style, the last exhibition before his death in 1999. Mr. Koda, who had previously departed from the Museum, rejoined The Met in 2000 as curator in charge, hiring Andrew Bolton in 2002. Upon Mr. Koda's retirement in January 2016, Mr. Bolton became curator in charge, and in March 2018, upon the endowment of the postion, he was named the Wendy Yu Curator in Charge.
Heavenly Bodies attracted more than 1.65 million visitors to The Met Fifth Avenue and The Met Cloisters, making it The Met's most visited exhibition. Previous Costume Institute exhibitions among The Met's most attended include Alexander McQueen: Savage Beauty; China: Through the Looking Glass; Manus x Machina: Fashion in an Age of Technology; and Camp: Notes on Fashion. All five exhibitions were curated by Bolton.
In January 2009, the Brooklyn Museum transferred its renowned costume collection to The Costume Institute, where it is known as the Brooklyn Museum Costume Collection at The Metropolitan Museum of Art. It includes the definitive collection of Charles James material, as well as the world's foremost holdings of American fashion from the late nineteenth to the mid-twentieth century. The combined collections now constitute the largest and most comprehensive costume collection in the world, offering an unrivaled timeline of Western fashion history.
In 2002, the Museum established the Friends of The Costume Institute, a group that supports the department's exhibition, acquisition, conservation, and publication programs. In promoting a more profound historical and theoretical understanding of costume, these programs advance fashion as an art form and encourage the study of fashion as a serious academic discipline.
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