“We are shaped and fashioned by what we love.”― Johann Wolfgang von Goethe
I presented “Cosmetics, Glamour and AIDS: Way Bandy, Scott Barrie and Halston” Thursday, July 1st at 1pm Toronto time for the Sartorial Society Series @SartorialSeries https://www.sartorialsocietyseries.com/
Here is the recording:
My talk was part of week 5:
Week Five: Trauma & the Legacies of Loss
1st July 2021
Lucy Adlington (20-minute paper)
The Apple-Green Gown: Ghosts of ADEFA and Nazi Germany
Mark O’Connell (20-minute paper)
Cosmetics, Glamour and AIDS: Way Bandy, Scott Barrie and Halston
Kimberly Lamm (20-minute paper)
The Time of Slavery at the White House: Elizabeth Keckley’s Written Garments and the Burdens of Intimacy
I love this lecture series and am honoured to have my research included.
Margaux Hemingway, photographed by Francesco Scavullo for the film Lipstick (1976), makeup by Way Bandy.
The Musuem at FIT: Evening Dress. Brand: Scott Barrie; Medium: Rayon jersey; Date: c. 1973; Object Number: 81.145.3; Credit: Gift of Naomi Sims
Haunted? As a queer man in my middle years who has always worked in fashion, I am haunted by those lost to AIDS. This presentation focuses on the design work of a practitioner who has largely been erased from fashion history: makeup artist Way Bandy, as well as Scott Barrie “among the first black designers to become well-known in American fashion” (http://fashionmuseum.fitnyc.edu/), and Halston. Bandy the first “celebrity” makeup artist, worked on Elizabeth Taylor, Liza, as well as Margaux Hemingway in Lipstick (1976).
Bandy’s fame was so widespread in the mid 70’s that he was even featured in the latter film along with Francesco Scavullo. Bandy’s artistry defined the 1970’s with a focus on a “natural” face, albeit one that was still heavily made up and unapologetically glamorous. He was truly gifted as an artist, mixing his own colours and foundations which he kept secret, and one who helped create the beauty aesthetic that reflected the zeitgeist of his era.
This presentation examines the beauty iconography of Bandy as it was imbricated within the larger glamour tropes of the 70’s, disco divahood, and the draped, dancing luxury of Scott Barrie and Halston. All in aid of chronicling an era whose scintillating, liquid silhouettes echoed the promises of liberatory ease and an empowered sexuality for anyone who dared; an invitation to fashionable freedom abruptly ended by the advent of AIDS.
The Costume Institute at the Metropolitan Museum of Art
Los Angeles County Museum of Art (LACMA)
The Museum at FIT
Savannah College of Art & Design (SCAD)
The Seneca Fashion Resource Centre (SFRC)
The Victoria and Albert Museum
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