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Zipping Your Own Dress Shouldn't Be a Problem

Many elements of clothing design are merely the legacy of a decision some designer happened to make a few decades — or centuries — ago. Button closures on women’s clothing, for instance, began as a luxury of the rich; because rich women were generally dressed by other people, the buttons were placed on the left side, for the ease of (presumably right-handed) servants. Men, on the other hand, were presumed to be dressing themselves; as a result, men’s buttons are on the opposite side of a garment. Dress-pant closures operate in a similar way: Women’s pants have a closure that’s the opposite of men’s, favoring a second-party stylist over the actual wearer of the item. (Jeans, interestingly, have the same closure regardless of gender — perhaps because they were adopted by women much more recently than most other garments.) Because rich women were generally dressed by other people, the buttons were placed on the left side, for the ease of (presumably right handed) servants. My foe the dress zipper has a more complicated history. In the mid-20th century, zippers were most often found on the left side of dresses, where they’d be hidden by the arm, preserving the line of the dress. As zipper technology advanced, with bulky metal zippers giving way to more subtle nylon coil and invisible variants, concerns about zipper placement shifted. Suddenly, the center back became the preferable location.

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There’s no direct proofthat that’s where either woman bought her dresses, but the timing andlocation fit: O’Keeffe noted D/R’s address in her appointment book, andher scallop-hem “Varjo” dress dates to that year. The modernist strip on Fifty-seventh Street was a handful of blocks fromJacobs’s old office at Architectural Forum, and she was well aware ofThompson and his work: in a 1981 talk, titled “Can Big Plans Solve theProblem of Renewal?,” she cites a few new plans as “food forimagination,” including Faneuil Hall and Quincy Market, in Boston,designed by Benjamin Thompson and Associates; and Ghirardelli Square, inSan Francisco, where a third D/R store opened, in 1965. These mixed-usedevelopments, adapting old industrial buildings to shops, homes, andoffices, were, as she said in that talk, “fresh ideas” and “aberrations”that “flout the accepted way of doing things.” So were theMarimekko dresses, which freed the body. In Rimala’s view, “clothesneeded to be designed so that it was possible to move freely in them—torun, jump, and sit,” or, for that matter, to protest. Marimekko is, and was, known for its wild patterns and unorthodox colorcombinations —how often do you see orange and pink side by side?—butO’Keeffe selected the drabbest ones: a black-and-brown striped “Mother’sCoat” dress, in a fabric and style adapted from Marimekko’s popular“Jokapoika” shirts for men; a black-and-gray floral; a black-and-greenwide stripe; and the black-and-gray “Varjo.” Most of these dresses hadloose long sleeves, big pockets, and triangular silhouettes. As the Brooklyn Museum exhibition makes clear, long before social mediaO’Keeffe knew her best angles and her best outfits—she sewed a number ofthem herself—engineering a public image of scintillating consistency.Her edit of Marimekko speaks to her critical eye, for O’Keeffe worethese dresses around the house, as everyday wear, and only for photoshoots on those occasions where the assignment called for somethingcasual. Life magazine’s John Loengard, for example, captured hergrooming her dogs in Marimekko. Tony Vaccaro, another of O’Keeffe’sfavored photographers, whose work is featured at the Brooklyn Museum,was behind the camera for a 1966 Life story, “ Bright Spirit of Marimekko ,” which included the rainbow hues that O’Keeffe eschewed. One of the salesladies at the Fifty-seventh Street D/R store was a womannamed Berthe Rudofsky, who “knew everyone” from the designer CharlesEames to the kinetic sculptor Yves Tanguy via her husband, the architectBernard Rudofsky.

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