Some time ago, a friend of mine discovered an interesting-looking skirt suit while helping to clear out a house. The suit was not in perfect shape, but Corinna was fascinated by the details, and she knew a bit about the provenance. She sent me some quick snaps of the suit.
When I saw the suit’s label, I had chills: Elizabeth Hawes, a designer I greatly admire. Corinna asked if I would like to see it in person and consider helping to find a museum home for the suit. Would I ever!
This is an unusual costume designed by Elizabeth Hawes in the 1960s. She did custom work, and may have been responding to the client’s wishes—this isn’t characteristic of her work at the time. The suit is made of a silk and wool fabric that was popular in the ’60s, called alaskine. It is a very high-quality fabric that gives garments a structured look, with the luminosity of silk. The black fabric used is silk jersey. The suit consists of three pieces, including an empire-waisted dress with narrow straps on the jersey bodice and side slits in the skirt. The unusual overblouse has hidden back snaps and hooks with zippered sleeve cuffs. The cropped jacket has an almost futuristic look, with a small stand-up collar and sleeve flanges. There is black piping on the sides of both the dress and the jacket, front and back.
After communicating with a couple of other museums, I was put in touch with the Cincinnati Art Museum, which is planning an exhibition of Elizabeth Hawes’ work. They arranged to pick up the suit, using a special art transfer company. I packaged the suit in a 12” x 12” x 8” box, which weighed two pounds and eight ounces. Then, on one snowy morning recently, the transport, a massive 18-wheeler, squeezed down my street. Two gentlemen loaded the box onto the truck. I will update you when I know more about the Art Museum's exhibition.
And just like that, the beloved skirt suit hitched a ride on an 18-wheeler that took it straight to the big leagues. Who knew that this glamorous ensemble, once a hidden gem, would end up being chauffeured by a truck that could haul a small house? While I may not have envisioned a semi-truck as the ultimate fashion delivery vehicle, I can't help but think that Elizabeth Hawes would love the thought of this elegant piece of history rolling down the highway, making its way to the Cincinnati Art Museum. Talk about a high-fashion road trip! I can't wait to see what comes next for the suit, but for now, it's officially on the fast track to fame!
Hawes in 1938. Ralph Steiner - National Portrait Gallery, Smithsonian Institute
About Elizabeth Hawes
Elizabeth Hawes, a trailblazing fashion designer, writer, and activist, left an indelible mark on the industry with her innovative designs, sharp wit, and unapologetic critiques. Born in 1903, Hawes' life was a testament to her fearless spirit and unwavering commitment to challenging the status quo.
Hawes' design aesthetic was a masterclass in understated elegance. Her clothes were characterized by clean lines, minimal ornamentation, and a focus on comfort and wearability. She rejected the extravagant, over-the-top styles that dominated the fashion landscape of the 1920s and 1930s, instead opting for a more modern, streamlined approach. Her designs were not only beautiful but also practical, reflecting her belief that fashion should be accessible to all, not just the elite.
Hawes' relationships with other designers were marked by a sense of camaraderie and mutual respect. She was particularly close to Nicole Groult, a French designer known for her avant-garde style, and the two often exchanged ideas and inspiration. Hawes also admired the work of Paul Poiret, a renowned French designer who was known for his opulent, exotic creations. While their styles were vastly different, Hawes appreciated Poiret's attention to detail and his ability to push the boundaries of fashion.
Hawes 1938 book, Fashion is Spinach, was a scathing critique of the fashion industry, lambasting its superficiality and elitism. Hawes' writing was not only witty and engaging but also prescient, as she identified many of the problems that still plague the industry today, including its obsession with celebrity culture and its failure to prioritize sustainability.
Despite her many accomplishments, Hawes' legacy was largely forgotten in the years following her death in 1971. However, in recent years, there has been a growing recognition of her contributions to fashion and her role as a pioneering feminist. Her designs, which were once considered revolutionary, are now hailed as visionary, and her writing continues to inspire and provoke.