Jean Dessès (1904-1970), whose gowns can be found in many major museums such as the Museum at FIT, the Metropolitan Museum of Art in New York, or the Victoria & Albert Museum in London, began his fashion career at an early age. Born to Greek parents in Alexandria in Egypt in 1904, Dessès was one of the estimated 150,000 Greeks living in Alexandria in the early 20th century. Those Greeks included writers Constantine Cavafy (1863-1933) and Penelope Delta (1874-1941). For all of them, Greek heritage ended up playing quite an inspirational role during their life. The Greek population in Egypt reached its peak in 1927, in the aftermath of the defeat of the Greek Army in Asia Minor in 1922.
Dessès worked first for a small couture house named Maison Jane. He opened his own couture house in 1937, and gained a lot of clients after the end of WW2. Around 1955, he opened a small boutique in Athens and would permanently move to Greece in 1960. Dessès did his major work primarily during the 1950s and 60s.
Dessès was well-known for his evening gowns. Many of these gowns are held in museum collections worldwide. Some are still worn by movie stars. In 2006, actress Jennifer Lopez wore a vintage green Jean Dessès dress to the Oscars. His dresses were inspired by classical Greek and Egyptian statuary and art, while still reflecting the trends of the time. After WW2, fashion shifted drastically because of the increased availability of different kinds of fabric. This was reflected in the creation of bigger skirts with more elaborate designs. Because the war was over, women no longer were expected to work and were expected to resume their feminine image causing a shift towards a more feminine silhouette in design. The way that Dessès took inspiration from classical Greek sculpture in his designs, creates a timeless image for his work. He uses complicated pleated patterns and light, delicate fabric that could make any woman feel like a goddess.
The photograph of the dress introduced in ΜΟΔΑ IS FASHION is held in the collections of the museum at FIT (96.112.1). It is a blue evening dress from 1956. The bodice is corseted and decorated with a complicated series of plates that would accentuate the wearers’ waist to achieve the desirable figure of the time. The skirt is made of layers of yellow and blue chiffon that makes the skirt have a very full and romantic feeling. It feels as though the dress was made for movement. This dress was last on display in Ballerina: Fashion’s Modern Muse in 2020 where I was able to see it in person for the first time.
While he is not as widely known today as he was then, Dessès’ dresses are still on display. An overall assessment of his career and legacy will be possible when dispersed archival and material collections can be reassembled and a biography of his life has been written.
Kitroeff, Alexander. The Greeks and the Making of Modern Egypt (The American University in Cairo Press, 2019).
Leontis, Artemis, Lauren E. Talalay and Keith Taylor. What these Ithakas mean: Readings in Cavafy. Exhibition, Kelsey Museum of Archaeology (Michigan, Ann Abor 2002).
Mears, Patricia et al. eds. Ballerina: Fashion’s Modern Muse (New York: Abrams, 2019).
Tziovas, Dimitris. Greek Diaspora and Migration since 1700: Society, Politics and Culture (Farnham: Ashgate, 2009).
Wilcox, Claire. The Golden Age of Couture: Paris and London 1947-1957 (London, Victoria & Albert Museum, 2007).
About the Author:
Zoe Klipstein is a senior in the AHMP program and the Vice President of the AHMP Association. Zoe is interested in art and fashion history and wishes to one day further her education in fashion history.
Current Favorite Reading or Art Exhibition:
Inspiring Walt Disney: The Animation of French Decorative Arts, The Metropolitan Museum of Art,12/10/21 – 03/06/22.
The Special Collections and College Archives at FIT house a large collection of archival materials including photo albums, sketchbooks and ephemera once owned by George Stavropoulos (1920-1990). A prolific fashion designer with an atelier in Manhattan — Stavropoulos Corp. was on 16 West 57th Street, he dressed many famous clients in the second half of the twentieth century. Among those were Maria Callas, Sophia Loren, Emily-Angelica Papoulias, the wife of the Greek Ambassador to the United States, and New York Governor first lady Evangeline Gouletas, and Lady Bird Johnson. His gowns are held at the Metropolitan Museum in New York and the Smithsonian Institution, at Kent State University in Ohio, at the Benaki Museum in Athens, and elsewhere.
Stravropoulos’ journey into the fashion world began in Greece. Born in Tripoli on the Peloponnese he opened a boutique in Athens in 1949. According to Kasey Bland’s insightful biography, “throughout the 1950s Stavropoulos … […] … began creating designs inspired by classical Greek figures.” Not only were his fashion designs inspired by his heritage, but so did his growing network of business contractors and clients continue to engage with ancient Mediterranean heritage. At some point, he was even honored for his work by the Greek embassy in Washington, D.C.
The unknown model in this photograph, posing in a dress from the Stavropoulos 1969-1970 collection, stands in front of a large photograph of an ancient Mediterranean red-figured Greek calyx krater. Objects like these are on display in museums around the world such as the Metropolitan Museum of Art, in the British Museum in London and in the Louvre in Paris. Interestingly enough, one of the more iconic portraits of himself preserved today features an ancient Greek vase in the background. Promoting the same Fall Winter 1969-1970 collection, Stavropoulos’ models were also featured on the Acropolis in Athens and in the streets of the city by the Piraeus.
Kasey Bland’s 2008 biography of the designer introduced a wealth of materials from the rich Kent State University Stavropoulos archives, many of his clients and incorporated personal interviews with his son Peter into a coherent narrative. His clients favored his soft drapery style. The black evening dress in our photograph incorporates a see-through mesh material gliding smoothly, surrounding the model’s arms draping with ease. His style made the women wear them look soft, and he believed women should be able to move around in high-end dresses with grace.
The photograph on display in ΜΟΔΑ IS FASHION and other fashion photo shoots of Stavropoulos’ collections preserved in SPARC emphasize the continued importance of Greece as a feature in the Stavropoulos brand and marketing. A photograph preserved in the Kent State University archives shows a band of Greek musicians at the Stavropoulos 1984 spring runway show. Stavropoulos benefited from his Greek heritage as it gave him inspiration. I myself am inspired by my own heritage and hope to become an advocate for my own culture one day.
Bland, Kasey. The Life and Career of Fashion Designer George Stavropoulos (Thesis, University of Akron, 2008).
Bender, Marylin.“Stavropoulos: A Greek Name to Drop,” The New York Times, 10 July 1965.
Schierup, Stine and Victoria Sabetai eds. The Regional Production of Red-Figure Pottery: Greece, Magna Graecia and Etruria (Aarhus: Aarhus University Press 2014).
A collection of 150 dresses donated to Kent State University in Ohio and more material can be found here.
About the Author:
Abigail Rodriguez is a senior in the AHMP program. Fascinated by the art history of Mexico, she would like to work in an educational capacity in an art institution in the near future.
Current Favorite Reading or Art Exhibition: Japan: A History of Style, Metropolitan Museum of Art (March 8 – April 24, 2022).
These open-toe wedge sandals were once owned by American artist Yeffe Kimball (1914-1978). They were designed by an American shoemaker with conscious artistic decisions to express a break with traditional women’s shoe ware and their role during World War II, consisting of motifs inspired by ancient Greek designs. The designer incorporated societal desire by combining wedge heels and Greek symbols of victory. Much has been written about their owner Kimball by scholars such as Bill Anthes and Sarah Anne Stolte in recent years. But how did she express herself in daily life through her fashion choices?
The imagery of the figures in these sandals resembles that of Greek vases containing red-figure techniques: a glazing technique invented in 530-525 BCE in Corinth. In this technique, the figures were left as the earthy color of the clay, and details were added in a black glaze. These sandals only mimic the visual representation of the ancient Greek technique because the designs are stitched on. The figures depict armored warriors with courageous and active stances. Images of Greek victory were a prevalent theme in art in the 5th century BCE, such as those that appear in Terracotta Nolan amphora, ca. 480-470 BCE at the Metropolitan Museum of Art. The scene depicts a Greek victory over the Persians, which was a unique theme as mythological battles were a dominantly popular theme during the time. The scene on the sandals also mirrors ancient sculptures such as those depicted on the Temple of Aphaia on the island of Aegina, created around the same time in 480 BCE.
The blue and white colors of the wedge heels also have a symbolic character beyond its connection to modern-day Greece. Azure blue and white are the national colors of Greece as they appear in its national flag. Blue and white appear in the symbol of the United Nations established on October 24, 1945, which became a symbol of international peace and security. The artist expressed the desire for peace and unity during the turbulent time of World War II.
Wedge heels were invented by Italian fashion designer Salvatore Ferragamo (1898-1960) in 1936. In the 1930s and 1940s, shoes that revealed the toes were uncommon as they were considered immodest. The outbreak of WWII led to the shortage of materials such as leather, resulting in it only being used exclusively for soldiers’ boots. While felt, help, straw, and textiles became common materials for shoes, the invention of wedge heels provided more comfort than other kinds of women’s shoes, such as oxford heels and pumps. Wedge heels allowed women to do “man’s work” and perform masculine jobs while allowing themselves to have femininity and return to the pre-war roles. While we may not be able to answer why Yeffe Kimball chose to wear such a pair, the sandals are a testament to her complex identity.
Anthes, Bill. “Becoming Indian: The Self-Invention of Yeffe Kimball,” In Native Moderns. American Indian Painting, 1940–1960, edited by Nicholas Thomas, 117-142 (Duke University Press, 2006).
O’Keeffe, Linda. Shoes: A Celebration of Pumps, Sandals, Slippers and More, New York, Workman, 1996.
Olds, Lauren. World War II and Fashion: The Birth of the New Look. Constructing the Past, vol. 2, no. 1, ser. 6, 2001, 47–53.
Stolte, Sarah Anne. “Hustling and Hoaxing: Institutions, Modern Styles, and Yeffe Kimball’s ‘Native’ Art,” American Indian Culture and Research Journal (2019) 43 (4): 77–92.
About the Author:
John Paul Jang serves as the Senator of the Art History and Museum Professions Program. She is the Student Chair of the School of Liberal Arts and Sciences DEI Committee, and is the founder of the Art Historian and Museum Professional Association (AHMPA).
Current Favorite Reading or Art Exhibition:
I was impressed to see Sophie Tauber-Arp: Living Abstractionat MoMA (Nov 21, 2021–Mar 12, 2022). Beyond her avant-garde craftsmanship discussed in Professor Weinstein’s Dada & Surrealism class, I saw her playful experiments in colors and geometric composition.
Except for Brad Hamann’s biography Moonfall (2010), and a series of video interviews with his sisters, not too much has been published about Greek American fashion illustrator George Stavrinos (1948-1990). He was born as the last of seven to parents who immigrated from Greece to near Boston in March 1948. Rising to great success in the 1970s and 80s, Stavrinos died of AIDS related complications in August 1990 at a hospital in New York City. Today, FIT’s Special Collections and College Archives (SPARC) houses some fourteen of his original illustrations which entered SPARC through his friend, FIT Illustration Professor Rosemary Torre. Other original Stavrinos illustrations are kept at the Leslie Lohman Museum of Art.
“My parents gave us a very European upbringing. … I went to Greek school after regular American school, where we were taught to read and write Greek … I served as an altar boy for seven years in the Greek Orthodox Church.” (Stavrinos, in an interview with Nathan Fain, 1978).
Well known in the world of commercial fashion illustration, Stavrinos produced works for the likes of Bergdorf Goodman, Barney’s, and The New York Times. He also crafted illustrations for Gentlemen Quarterly and Blueboy, referencing classic images of gay American erotica and lifestyle, often through representations of archetypal masculinity and handsomeness. Stavrinos visited relatives in Heraklion in Crete on at least one occasion in 1969 and 1970 before he moved permanently to New York City in 1973. Throughout his career, Stavrinos produced several illustrations for magazines that were marketed toward gay men, openly referencing his own sexuality in a time of intense discrimination against LGBTQ+ people.
The illustration that I chose from his oeuvre is of a figure in a Charlotte Neuville suit, particularly because it is so androgynous in appearance. The illustration is from 1989. The work is a testament to Stavrinos’ ability to confidently navigate different kinds of fashion and advertising spaces and their attitudes toward queerness or mixed gender expression. Not only does the figure emulate queerness through the garment they are wearing, but they also are sporting a non-conformist hairstyle which pushes this narrative further. This is particularly interesting when considering ideas about masculinity and homosexuality that can be traced all the way back to ancient Greece, a prominent part of Stavrinos’ heritage.
In his illustrations of both men and women, he utilized sources of inspiration such as Minoan, Archaic and Classical Greek sculptures and standards of beauty, which, at least for men, have been reproduced, reused, and recoded into gay culture for as long as homosexuality has existed. To my mind come the many surviving statues of Kouroi (young men), excavated in Greece and now on display in the National Archaeological Museum in Athens. One can almost imagine Stavrinos, who lived in a studio on a top floor corner apartment on 76 West 86th Street near Manhattan’s Central Park for many years, walking to the Metropolitan Museum of Art to draw the Greek kouros on display here since 1931.
Stavrinos’ images, particularly in erotica, can often depict displays of power, dominance, and in certain cases, invitation, which can change depending on the viewer and their own perception or fantasy of the image of the model. In this case, with a more femme-presenting figure, it becomes especially clear that they are purposely constructed to be more stoic or solid in appearance to emulate a certain kind of masculinity within women.
In 21st century contexts, we now have a clear understanding that menswear or references to menswear are not automatically indicative of power and agency within anyone, but Stavrinos’ illustrations exude timelessness regardless. In considering what were more personal aspects about his life and why he drew the subjects that he did, the subtle choices that were made in his commercial works are reminders of the influence queer life had on him during his lifetime and how they inspired him to continue working.
I am grateful to April Callahan, Curator of Manuscript Collections and Associate at the Special Collections Library, Gladys Marcus Library at FIT, who facilitated access to the original drawings of Stavrinos housed at SPARC.
Hamann, Brad. Moonfall. The Life and Art of George Stavrinos. Based on the author’s M.F.A. Visual Arts Graphic Design thesis at Marywood University, 2010. During his lifetime, a group of Stavrinos’ artworks went on display for a retrospective at Marywood University in 1988.
Fain, Nathan. “George Stavrinos, Illustrator,” Christopher Street, November 1978, 16-25.
Kaltsas, Nikos. Sculpture in the National Archaeological Museum, Athens. Los Angeles: J. Paul Getty Museum, 2002.
Richter, Gisela and Irma Richter. “The Archaic ‘Apollo’ in the Metropolitan Museum.” Metropolitan Museum Studies, 5 (1934–1936), 20–57.
Stavrinos. Clarity of Vision. Stavrinos’ sisters Venetia, Sandra and Debbie talk about the love and admiration they had for their brother (the video is accessible here).
About the Author:
Richard Montañez is a senior in the AHMP program at FIT. His interests include queer art history, the decolonization of museums, and curatorial artists.
Current Favorite Reading or Art Exhibition: “Faith Ringgold: American People” The New Museum, 02/17/22-06/05/22.
Like something out of an Audrey Hepburn movie. (Stephen Miller 2003).
A type written letter with her hand written signature, sent by Despina Messinesi (1911-2003) to Thomas Drew at the Galleries at FIT on March 23, 1975, is preserved in The Museum of FIT. The letter informed the Galleries about the original whereabouts of the ensembles she had just donated. These ensembles included a New Look 1951 dress by Christian Dior and a 1955 Jean Dessès chiffon.
From a 2003 obituary and other documents preserved, we learn that she was born as Despina Plakias to Greek immigrants from Ioannina in a suburb of Boston in 1911. She lost her father at the age of 11.
An early photograph shows the 18 year old Despina dressed up as Monsieur Beaucaire for a theater play at Abbot University. Based on a 1900 novel, the play was popularized in a silent movie with Rudolph Valentino in 1924. The Andover Townsman from June 7, 1929 described Despina’s performance as “outstanding in an excellent cast. With charm of voice, expression and manner, her Beaucaire dominated every situation with a simple, easy grace.”
In the same summer of 1929, Despina traveled to Greece, visiting her grandmother. Here she met her future husband, the wealthy Greek shipping magnate Miltiades Messinesi, and got married. According to a news feature submitted by her brother John Plakias to the New York Times in 1931 she began living in Athens in Greece around the same time. During these years, she continued to travel and worked as a reporter on fashion in Paris.
As Artemis Leontis has shown in her recent brilliant biography of Eva Palmer Sikelianos (1874-1952), the 1930s brought a new wave of interest in Greek fashion to New York City. Americans were excited about Greek fashion. The Metropolitan Museum of Art featured an exhibition on Palmer Sikelianos’ ancient Greek inspired fashion in the summer of 1937, and two years later the Greek government lent several masterpieces of original ancient Greek sculptures to the World’s Fair in Queens in New York City.
During these years, Despina Messinesi traveled back and forth between Athens, London, Paris and New York. She moved back more permanently to New York in 1941, and began to work for Vogue shortly thereafter. A funny story relates to her first day at work and was described by the biographer of her obituary as follows:
Hired at $25 a week, she actually took off her first day of work in order to run a publicity stunt for Greek war relief, leading a herd of flower-bedecked donkeys through New York’s streets and to the Ritz. Coming into the Vogue offices the next morning, she was surprised to find that everyone seemed to know her already. Then she learned why: A half-page photo of her hugging a donkey had appeared in that morning’s paper.
I was able to identify and read most of her Vogue articles and collected information on the dresses she donated to the FIT Galleries. In her own voice she introduces herself as a “little shop-hound, size 10,” to the Vogue readers in April 1944. For the next decades, she became Vogue‘s main fashion editor, traveling places far and wide. During these decades, she became known for her sense of elegance, and ensembles owned by The Museum at FIT today including the black dress 77.17.3, possibly by fellow Greek diaspora designer Jean Dessès, a silk satin with polychrome ribbon, silk floss embroidery, and rhinestones by Christian Dior 1951 (75.86.5), or dress 81.232.1 by Christian Dior New York 1954 were part of her fashionable wardrobe, and made her indeed appear like out of an Audrey Hepburn movie.
Vogue included a feature of her photographing the royal Greek family, and several travel stories, sometimes from Greece, are part of her oeuvre. Today, The Museum at FIT and The Metropolitan Museum of Art share house Messinesi’s donations. They are as diverse as fascinating and include a pair of American underwear pants from 1916, a fine woolen dress by Emanuel Ungaro from the late 1960s and others. The voice of her writings for Vogue remains in FIT’s Library periodical collections. And the rest, as they say, is history.
Leontis, Artemis. Eva Palmer Sikelianos: A Life in Ruins (Princeton: Princeton University Press, 2019).
Miller, Stephen. Despina Messinesi, Long Time Editor at Vogue, 92. Obituary, July 2003 (accessible here).
O’Shea Borrelli, Laird. “Dressing Up and Talking about It: Fashion Writing in Vogue from 1968 to 1993,” Fashion Theory 1.3 (1997), 247–259, DOI:10.2752/136270497779640143
Frida enrolled in the AHMP program after attending the Pink symposium in 2018 at the Museum at FIT. She plans to blend her design experience with Museum Studies and work as a Fashion Historian.
Current Favorite Reading or Art Exhibition:
One of my favorite, and recent, exhibitions was The Salem Witch Trials: Reckoning and Reclaiming at the Peabody Essex Museum. The trials serve as an example of injustice and intolerance in our country’s history and remind us that history can indeed repeat itself.
Beginning this week, FIT will be celebrating Greek American Heritage Month with an exhibition curated by the Senior AHMP Seminar class of 2022. Learn about the legacies of Greek fashion designers, writers and illustrators such as George Stavropoulos (1920-1990), Despina Messinesi (1911-2003), James Galanos (1924-2016), George Stavrinos (1948-1990), and others at The Museum at FIT and at the Special Collections and College Archives (SPARC) in the Gladys Marcus Library. Many of those introduced here were born in America, traveled or lived in Greece for some time. Yet all of them were inspired by ancient motifs or referenced ancient monuments throughout their careers which we hope to introduce here. Every Monday, three new essays written by the students will shine a light on some of these creatives and their legacies at FIT and in New York City. Thank you for reading our essays! Thank you for visiting the exhibition! Σας ευχαριστώ που διαβάσατε την ελληνική μετάφραση πιο κάτω!
Looking closer, one finds that there are many Greek treasures in the Museum, Archives and Library at FIT. Take, for a start, the elegant wardrobe and fashion ensembles by Despina “Depy” Messinesi (1911-2003). Working for 52 years at Vogue, she continued to donate to the FIT Galleries. ΜΟΔΑ IS FASHION also features facsimiles of original illustrations by fashion illustrator George Stavrinos (1948-1990), who was honored with a Society of Illustrators Award in 2007. Today, FIT’s SPARC owns original illustrations, and an illustration from 1980 is on the ΜΟΔΑ IS FASHION exhibition poster. Yet still, except for an important and charming biography compiled in 2010, little is published around the art histories and context of the remarkable collection of Stavrinos’ illustrations at FIT.
When Alexandros Rizos Rangavis (1809-1892), the first official Greek ambassador to Washington, D.C., visited New York City in 1867, he was impressed by the New Yorkers. He singled out the broad streets, Central Park and the holdings of the New York Historical Society. While he returned to Athens, many Greeks began immigrating and settling in New York. In his monograph The Greeks in America (1922), John Xenides described 80 or 90 Greek Societies in New York in the early 1920s already.
Today, the largest population of Greeks in New York City lives in Astoria in Queens. Since 1998, a copy of the so-called Piraeus Athena is standing in Athens Square Park as a gift from the people of Athens to the people of New York. Today, FIT students to the galleries at The Met read Constantine Cavafy in front of an ancient Greek tombstone.
We gratefully acknowledge the support of the Library at FIT who were so kind to lent us exhibition space. We owe particular thanks to Greta Earnest, James Ferguson and the Library Exhibitions Committee. Thank you so very much to all the staff at the Special Collections and College Archives team, the Library at FIT, our colleagues at The Museum at FIT, and the Office of the Dean of the School of Liberal Arts and Sciences at FIT and the FIT Diversity Collective, in particular Karen Trivette, April Callahan, Nanja Andriananjason, Eileen Flannigan, Gabriella Bucciarelli, Helen Lane, Sonia Dingilian and Melissa Marra-Alvarez. Support came from Justine De Young, History of Art, and Mary Tsujimoto and Patrick Knisley, FIT’s Dean of the Liberal Arts and Sciences Division. We also are grateful for the help with the translations, kindly provided by AHMP student Chrysa Tasioula. The AHMP Senior Exhibitions class curators are Liana Arkay, Matthew Balcom, Sophie Benzakein, Nadine Hauser, Ivette Hodnovich, John Paul Jang, Zoe Klipstein, Frida Loyola, Richard Montañez, Vanessa Munoz, Tessa Norton, Stephanie O’Donnell, Natalia Orestis, Katherine Prior and Abigail Rodriguez.
The First Greek Ambassador to the American Federation 1867-1868. From the Memoirs of Alexandros Rizos Rangavis (Transl. Christine Gabrielides. Nostos Books, 2019).
Hamilakis, Yannis. The Nation and its Ruins. Antiquity, Archaeology, and National Imagination in Greece (Oxford: Oxford University Press, 2007).
Moskos, Charles. Greek Americans: Struggle and Success (New Brunswick: Transaction, 2nd edition, 1990).
Plantzos, Dimitris and Dimitris Damaskos eds. A Singular Antiquity. Archaeology and Hellenic Identity in Twentieth-Century Greece (Athens: The Benaki Museum, 2008).
Rozeas, Christina. Greeks in Queens (Charleston: Arcadia, 2012).
Saridakis, Nikos. Greek Fashion – 100 Inspirational and Creative Years. Exhibition Catalog (Nafplion: Peloponnesian Folklore Foundation, 2019).
Τιμώντας τον μήνα Ελληνοαμερικανικής Κληρονομιάς, το ΜΟΔΑ IS FASHION εγκαινιάζεται τη Δευτέρα 21 Μαρτίου στη Βιβλιοθήκη Gladys Marcus, Shirley Goodman Resources Center, FIT.
Απο αυτή την εβδομάδα, το FIT θα γιορτάζει τον Μήνα της Ελληνοαμερικανικής Κληρονομιάς με μια έκθεση που επιμελείται η τάξη Senior AHMP Seminar του 2022. Οι μαθητές ενασχολούνται με την κληρονομιά Ελλήνων σχεδιαστών μόδας, συγγραφέων και εικονογράφων όπως ο Γιώργος Σταυρόπουλος (1920-1990), η Δέσποινα Μεσσήνη (1911-2003), Τζέιμς Γαλανός (1924-2016), Γιώργος Σταυρινός (1948-1990) μεταξύ άλλων,στο Μουσείο του FIT και στις Ειδικές Συλλογές και Αρχεία Κολλεγίων (SPARC) που στεγάζονται στη Βιβλιοθήκη Gladys Marcus. Πολλοί από αυτούς που παρουσιάστηκαν εδώ γεννήθηκαν στην Αμερική, ταξίδεψαν ή έζησαν για λίγο στην Ελλάδα. Ωστόσο, όλοι τους εμπνεύστηκαν από αρχαία μοτίβα ή ανακάλεσαν αρχαία μνημεία κατά τη διάρκεια της καριέρας τους, τα οποία ελπίζουμε να παρουσιάσουμε εδώ. Κάθε Δευτέρα, τρεις νέες εκθέσεις τις οποίες γράφουν οι μαθητές θα ρίχνουν φως σε μερικούς από αυτούς τους καλλιτέχνες και την παρακαταθήκη τους στο FIT και στη Νέα Υόρκη.Σας ευχαριστούμε που διαβάζετε τις εκθέσεις μας! Σας ευχαριστούμε που επισκεφθήκατε την έκθεση!
Αν κοιτάξει κανείς πιο προσεκτικά, διαπιστώνει ότι υπάρχουν πολλοί ελληνικοί θησαυροί στο Μουσείο, τα Αρχεία και τη Βιβλιοθήκη του FIT. Πάρτε, για αρχή, τα κληροδοτήματα της Δέσποινας «Ντέπυ» Μεσσηνή (1911-2003), η οποία εργάστηκε για 52 χρόνια στη Vogue και δώρισε μέρη της κομψής γκαρνταρόμπας και των συνόλων μόδας της στις γκαλερί FIT. Στο ΜΟΔΑ IS FASHION συμμετέχει επίσης ο Γιώργος Σταυρινός (1948-1990) ο οποίος εργάστηκε ως εικονογράφος σε μεγάλες εκδόσεις μόδας και το 2007 τιμήθηκε με το Society of Illustrators Award. Σήμερα, η SPARC της FIT διαθέτει μια αξιόλογη συλλογή πρωτότυπων εικονογραφήσεων και μια εικονογράφηση από το 1980 βρίσκεται στο εξώφυλλο της έκθεσης. Ωστόσο, ακόμη, εκτός από μια κολακευτική και σημαντική βιογραφία που συντάχθηκε το 2010, ελάχιστα δημοσιεύονται γύρω από τις ιστορίες της τέχνης και στο πλαίσιο της αξιοσημείωτης συλλογής εικονογραφήσεων.
Όταν ο Αλέξανδρος Ρίζος Ρανγκαβής (1809-1892), ο πρώτος επίσημος Έλληνας πρεσβευτής στην Washington, D.C., επισκέφθηκε τη Νέα Υόρκη το 1867, εντυπωσιάστηκε από τους Νεορκέζους. Ξεχώρισε τους μεγάλους δρόμους, το Σέντραλ Παρκ και τις εταιρείες της Ιστορικής Εταιρείας της Νέας Υόρκης. Ενώ επέστρεψε στην Αθήνα, πολλοί Έλληνες άρχισαν να μεταναστεύουν και να εγκαθίστανται στη Νέα Υόρκη. Στη μονογραφία του, Οι Έλληνες στην Αμερική (1922), ο John Xenides περιέγραψε ήδη 80 ή 90 Ελληνικές Εταιρείες στη Νέα Υόρκη στις αρχές της δεκαετίας του 1920.
Σήμερα, ο μεγαλύτερος πληθυσμός Ελλήνων στη Νέα Υόρκη ζει στην Astoria, Queens. Από το 1998, ένα αντίτυπο της λεγόμενης Πειραιώς Αθηνάς στέκεται στο Athens Square Park ως δώρο των Αθηναίων στους Νεορκέζους. Στις γκαλερί του The Met, οι μαθητές του FIT, διάβασαν Κωνσταντίνο Καβάφη μπροστά από μια αρχαία ελληνική ταφόπλακα.
A Happy Welcome to the FIT Art History and Museum Professions program blog! We are in the heart of Lenapehoking, ancestral homelands of the Lenape people. We are on 227 West 27th Avenue in what is today referred to as Manhattan, New York City. Thank you for taking time to read!
We want to share what our students, faculty, alumni, colleagues, and supporters do. Which exciting authors or books are we reading? What do we think about a new gallery or museum exhibition we see? What exhibitions are we working on? What research are we conducting? Our aim is to introduce art history related projects we think you should learn about. Additionally, if you’re an AHMP alum, we welcome you to contribute to the blog as well! Tell us what you are up to. Please do get in touch!
Why begin a blog? Our annual newsletter, Art History Insider, has been so successful that we decided it would be best to update you more regularly. Our students continue to achieve great things, hold exciting internships and positions, facilitate at The Museum at FIT, observe and discuss the arts in and out of the classroom, activate and address challenges and changes in the field and at large, and curate exhibitions. So do our faculty, staff and alumni. We recognize your efforts and want to showcase them, beyond ourAHMP instagramaccount.
TheFIT Art History and Museum Professions Program acknowledges that it is located on Lenapehoking, ancestral homelands of the Lenape people. We recognize the continued significance of these lands for Lenape nations past and present, we pay our respects to the ancestors, as well as to past, present, and emerging Lenape leaders. We also want to recognize that New York City has the largest urban Indigenous population in the United States. We believe that addressing structural Indigenous exclusion and erasure is critically important and we are committed to actively working to overcome the ongoing effects and realities of settler-colonialism within the institutions where we currently work.
To contact us, just email the blog administrators:
alexander_nagel[at]fitnyc.edu or molly_schoen[at]fitnyc.edu.
We hope the short essays in this blog will raise interest in the many exciting things happening in and around our Art History and Museum Professions program! We hope you enjoy reading!