Bachelor of Arts, Ashland University, 2021, History/Political Science

Fashion plays a very important role in the lives in modern-day America, and fashion in politics is no different. Politicians use their fashion to convey a message about themselves and their campaigns. Women in American politics are left in a difficult position, as they gain a lot of extra attention and criticism regarding their attire. Problems arise when this attention on their clothing takes away from what women are trying to say. This is seen throughout history as women become more and more active in politics. If women are able to get over their criticisms, then they are able to use this extra attention to their advantage.

Committee: Rene Paddags Dr. (Advisor); Jeffrey Weidenhamer Dr. (Other) Subjects: Aesthetics; American History; Fine Arts; Gender; Gender Studies; History; Modern History; Political Science

MA, Kent State University, 2023, College of Arts and Sciences / Department of History

American women in the 1800s lived in a social structure designed to reinforce traditional womanhood. This was emphasized and visualized by the restrictive popular fashions for women, characterized by long skirts and restrictive undergarments. Women's fashions began to change as mass production and consumption became paramount to American womanhood at the turn of the century. However, it would not be until the events of World War I where women's fashions transformed to what we would recognize today as modern. As American women mobilized in both civilian and military roles, they adopted working uniforms that were more practical, economical, and safe than popular fashions at the time. Postwar, women's modern fashions embraced the shortened hems and boxy, or boyish, cuts that increased the physical mobility of women. This gave ammunition to social critics who worried about the “masculinization” of American women as they adopted these new styles that mimicked men's fashions, with straight lines and short haircuts like the “bob”. These critics voiced fears about the collapse of traditional womanhood, and in extension, the collapse of American society. Combining historical and material culture analyses, this thesis aims to complicate the view of scholars that the 1920s was a largely stagnant period for the equality of women. Viewing this turbulent and tension filled period of American history through the lens of fashion complicates this understanding and shows how American women created spaces for resistance in their everyday lives.

Committee: Kenneth Bindas (Advisor) Subjects: American History; American Studies; Gender; Gender Studies; History; Modern History; Museum Studies; Womens Studies

MFIS, Kent State University, 2021, College of the Arts / School of Fashion

The luxury fashion industry has had an extensively long history of racism against African Americans. Because luxury fashion has issues of racial discrimination while shopping and has used racially charged designs/ visual displays African Americans have not felt comfortable shopping luxury retail. The purpose of this study was to explore how black-owned businesses can change the narrative in luxury fashion. Within the study, the following question was explored: How can a luxury resale pop-up shop catered toward African American female shoppers address the racial discrimination issues in the luxury fashion industry? The researcher implemented a practice-based solution – through The Curated Estate pop-up shop. This study created a three-day live shopping experience curated and catered toward African American women which measured the success of the pop-up shop event through sales, consumer experience and social media interaction. This study found that black-owned businesses can serve as the connector between luxury fashion and African American women by amplifying their experiences by showcasing their value through visual inclusivity and interpersonal connectivity. This project created a scholarship to support Black students studying fashion at HBCUs. The Curated Estate serves as a catalyst for black-owned businesses looking to tackle racial issues and advocate for necessary change in the fashion industry.

Committee: Kim Hahn Dr. (Advisor); J Vick Dr. (Advisor); Tameka Ellington Dr. (Committee Member); Rhonda Hylton Dr. (Committee Member); Tasha Lewis Dr. (Committee Member); Krissi Riewe MFA (Committee Member) Subjects: African American Studies; African Americans; Art Criticism; Fine Arts

BFA, Kent State University, 2018, College of the Arts / School of Fashion

The research and visual experimentations included in Female Friendship: Strength Found Through Support explore the evolving nature of female friendships and the impact that friendships have on a female's life––in the form of an seven look fashion collection. The most intimate and tenuous relationships in a woman's life are typically with her female friends. With the integration of the Internet and social media into twenty-first century human interactions and friendships, there is a considerable amount of research to uncover in the nature of relationships. The following research touches upon the psychology in female friendships, and what has changed in the dynamics of friendship in the last several centuries. After researching visual iterations of female friendships, the continuous repeated image of various girls and women braiding each other's hair, throughout many cultures, was interpreted in a hand-sewn smocking technique throughout the collection to mimic a braid. A girlish childhood symbol of friendship, the “friendship bracelet”, is researched and included in a textile exploration in the form of hand drawn/designed laser cut acrylic pieces and hand woven bracelet ties that create a colorful, tactile textile relating friendship to memory and childhood. The conclusive visual research within the collection is illustrated in a literal, visual compilation of a fabric print composed of hand-written personal experiences and accounts from sixteen women that I surveyed, entailing varying excerpts of the many experiences with the female friendships in their lives, printed on different fabrics and included in many different pieces of the collection.

Committee: Linda Ohrn (Advisor); Sara Snyder (Committee Member); Janice Yoder (Committee Member); Brett Tippey (Committee Member) Subjects: Design; Fine Arts; Textile Research

Doctor of Philosophy, The Ohio State University, 1984, Graduate School

Committee: Not Provided (Other) Subjects: Education

Doctor of Philosophy, The Ohio State University, 2009, History

This dissertation discusses the ways two upper class magazines, Vogue and Harper's Bazaar, helped shape the manner in which upper class women acted as informal cultural diplomats during the early Cold War. The major source base for the study included foreign policy articles from these two magazines and the papers of four women - Susan Mary Alsop, Marietta Tree, Jacqueline Kennedy, and Lee Radziwill. The biographies of this group of women help define the parameters of upper class women's role in fighting the Cold War. Research indicated that, at least in the opinions of editorial staff at the two most influential upper class women's magazines, upper class women were expected to live up to a very clear set of behavioral standards to help promote U.S. Cold War diplomatic interests. Women were supposed to have a clear and in-depth understanding of international foreign policy, help rebuild the postwar economies of key allied nations like France and Great Britain through purchasing luxury goods like fashion, and combat the image of the “Ugly American” abroad by acting as refined, cultured, and well-behaved examples of American womanhood. Susan Mary Alsop, Marietta Tree, Jacqueline Kennedy, and Lee Radziwill all established, shaped, and lived up to each of these standards.

Committee: Dr. Peter Hahn PhD (Advisor); Dr. Susan Hartmann PhD (Committee Member); Dr. Robert McMahon PhD (Committee Member) Subjects: American History; History; International Relations

Doctor of Philosophy, The Ohio State University, 2005, Textiles and Clothing

In 1946, during a time when women and politics were an unusual combination in Puerto Rico and around the world, Felisa Rincon de Gautier became mayor for San Juan, capital of Puerto Rico. From 1946 through 1968, she transformed the city into one of the greatest and cleanest of Latin America and herself into an iconic figure through her unique manner of dress, giving the effect of a Velazquez painting or looking like a Goya Duchess. This study examines the life of Felisa Rincon de Gautier through her appearance and creation of a grande dame fashion image and its ultimate impact on her success as mayor of San Juan. To explain the origins, purpose and meaning of her fashion image three objectives were posed: 1) recognize sources of influence in the creation of the mayor's grande dame image, 2) identify the dress elements composing this image, and 3) understand the impact it had on her success as mayor. Felisa Rincon de Gautier's grande dame image was an intricate combination of her Spanish heritage, experience as a dressmaker, and her philosophy of individuality and femininity. The mayor set herself apart by individualizing her appearance through her “office wear,” accessories, headdress and hairstyles, creating a look that can be defined as a grande dame image. Three themes emerge as reasons for the creation of her distinctive manner of dress: the need or function and convenience in dress, as “a woman, not a man” in politics, and the desire to make an impression when involved in public relations for San Juan and Puerto Rico. The mayor's grande dame style became a distinctive powerful identifier for a female politician in a male dominated field both in Puerto Rico and the United States. It can be argued that her image and the interest in it, was the introduction to everything that was Felisa Rincon de Gautier, her values, personality, and political leanings. Thus, the former dressmaker of Spanish descent, as mayor of San Juan, dressed to create a better work environmen (open full item for complete abstract)

Committee: Patricia Cunningham (Advisor) Subjects:

MA, Kent State University, 2007, College of Fine and Professional Arts / School of Music

Objects that survive the ravages of time provide valuable insight into the past and help us better understand a world and culture long since changed. Two works by the Venetian artist, Vittore Carpaccio, provide especially enlightening examples of this. They are Hunting on the Lagoon, c. 1495 from the J. Paul Getty Museum in Los Angeles, and Two Venetian Ladies, c. 1495 from the Correr Museum in Venice [Figure 1 & Figure 2]. Like pieces of a puzzle, these paintings join to form a compelling look at fifteenth-century Venetian life. When pieced together, these remnants allow us to rediscover aspects of a bygone culture. They convey information specific to a time and place. As representatives of Renaissance Venetian material culture, they reflect aspects of social, cultural, and economic relevance.

Committee: Gustav Medicus (Advisor) Subjects: Art History

Master of Arts (MA), Bowling Green State University, 2007, Popular Culture

This research examines the popularity of Barbie among young adult Japanese women as the gBarbie phenomenonh in Japan. By investigating the historical and cultural aspects of Japanese values of beauty, the author found that the phenomenon emerged from the combination of the values of kawaii (Japanese cuteness) and kakkoii (Japanese coolness). Kawaii is the traditional positive feeling for small and delicate things, and in modern society its meaning extends into popular characters and fashion. Kawaii fashion is usually considered to use lace, ribbon, and frilly materials and colors of pink, white, and pastels. On the other hand, the Englishlanguage word gcoolh is usually translated into kakkoii (‚©‚A‚±‚¢‚¢), which means that peoplefs appearance is attractive, and its meaning also extends into peoplefs behavior and fashion in modern society. Kakkoii behavior is masculine and independent; the colors of black, blue, and khaki and plain materials are usually used in kakkoii fashion. In fact, gKakkoiih is different from American gcool,h which is a word used for not only an attractive appearance but also individuality and a sense of belonging; however, the words gkakkoiih and gcoolh are used without regard for such a difference in Japan. In womenfs fashion magazines, both gkawaiih and gcoolh are the common key words. Japanese Barbie clothing brand is known for offering kawaii clothing because of its colors and materials; however, they also offer cool clothing in terms of the standards of fashion styles. Barbie brand clothing is a blend of gkawaiih and gcool.h Japanese women wear its brand clothes and accessories because of their desire to become like Westerners. Barbie is viewed as the typical Western woman, and they see Barbie as the other self or the new icon of beauty. Japanese women related themselves to kawaii dolls such as Licca and Jenny, which are Japanese dolls, when they were girls. Similarly, they see Barbie as the other self when they become adult. Japanese wome (open full item for complete abstract)

Committee: Marilyn Motz (Advisor) Subjects: Sociology, Ethnic and Racial Studies

Master of Arts, University of Akron, 2008, Family and Consumer Sciences-Clothing, Textiles and Interiors

George Stavropoulos, a New York fashion designer, built a multi-million dollar business on his signature, floating chiffon dresses. His self-titled label produced eveningwear and daytime styles for the wholesale, ready-to-wear market, from 1961 to1991. While he was known for his use of chiffon, Stavropoulos also created notable designs in lace, lame, suede, and taffeta. Stavropoulos, born in Greece, believed in classic design and found inspiration in the simplicity of ancient Greek sculpture. Renowned for his innovative draping techniques, Stavropoulos created every piece in his collection and produced the entire line in his 57th Street atelier. For each spring and fall runway presentation, Stavropoulos created about one hundred designs and held his shows at the luxurious Regency Hotel, in Manhattan. Buyers from the most important stores in New York attended each show, as well as socialites and celebrities. Stavropoulos initially became know for dressing Lady Bird Johnson during her White House years and created looks for other popular figures throughout his career. Fiercely independent, Stavropoulos did not participate in the licensing agreements popular with other designers of his time nor did he join the Council of Fashion Designers of America (CFDA). Stavropoulos believed in his own fashion philosophy and refused to adhere to the ephemeral nature of fashion, creating sophisticated designs that were innovative rather than shocking or avant-garde.

Committee: Virginia Gunn (Advisor) Subjects: Art History; Design; Fine Arts; Home Economics; Marketing; Museums; Textile Research

MDES, University of Cincinnati, 2013, Design, Architecture, Art and Planning: Design

The fashion industry has long been criticized for its lack on consideration for sustainable product. When asked what garments have elevated as staples within your closet, what do you think of? White t-shirt? Jeans? A tailored suit jacket? For women, across the board, the number one garment necessary within their wardrobe will always and forever be The Little Black Dress, 8 out of 10 women claim it incomplete with out it (Mcloughlin, 2012) spending on average anywhere from 20 to 2,000 dollars on it. Why is this? Vogue made it the "Number One Rule," in the 20's, but why exactly has this garment stood the test of time? The Little Black Dress or LBD has been an essential garment in a woman's wardrobe since the 1800's. This thesis will explore the psychological and socio-cultural reasons why this item of clothing has become the essence of femininity. To appreciate the enduring influence of the little black dress, we must first be aware of where it came from. To be thorough, it is necessary to begin with research on the history of the color black, the significance of a dress, and the history of the LBD. From this research we will gain a deeper understanding of why this color has become a provocative hue that has adorned women for many ages. Finally, I will apply Lamb and Kallal's FEA consumer needs model and use expert opinions and research to create a linear chronology of the stylistic and symbolic progression of the Little Black Dress. Lastly, I will illustrate how and why this garment has stood the test of time.

Committee: Phyllis Borcherding M.S. (Committee Chair); Suszanne Hawthorne Clay Ph.D. (Committee Member); Margaret Voelker-Ferrier M.A. (Committee Member) Subjects: Design