Fashion Hall of Obscurity – Max Raab

Max Louis Raab was born in Philadelphia on June 9, 1927 to Herman and Fanny Raab, who owned a family-operated apparel company that specialized in making shirtwaists – affordable blouses worn with skirts by women of all classes for a variety of tasks and trades.

When Max returned from wartime service, he began working with his brother for the family business. Max soon realized that the postwar world was upwardly mobile and tastes and pocketbooks were allowing for a higher end product, especially for the younger teenage consumer in the growing post war suburbs. 

Max defined the new suburban preppy look by taking the tailored man’s shirt and turning it into a full-skirted shirtwaist style dress for women. Their new upscale country look was perfect for the suburbs that was neither the city nor the country, and was launched in 1958 under The Villager label. Around the same time he also launched Rooster ties, which made square ended straight grain ties in great textiles.

The Villager dresses were typically made in cotton or cotton blend fabrics, the style was the ultimate WASP dress, appropriate for the office, school, home or date night. The style was also quickly picked up by Hollywood, who used shirtwaists as go-to looks for TV moms.

Produced in men’s shirting, and then prints from companies like Liberty of London, textile artist Marielle Bancou Segal was brought in in the mid 60s to create prints in the textile studios of Kenmill, in New England. The brand was typically sold through a shop-within-a-department store locations that catered to the preppy chic customer. A younger line was created in the 60s called Lady Bug fashions that featured turtleneck sweaters, kilts, tights, slacks and simple dresses. The look grew into a collegiate look popularized by actresses like Ali McGraw, who wore Villager clothes for the filming of Love Story in 1970.

1970 was also the year, Raab recognized that fashion was heading a different direction and he sold all his companies to Jonathan Logan and turned his interest towards film production. Max returned to the fashion industry in 1974, setting up the company J.G. Hook, which specialised in women’s sportswear, often with a nautical flair. In 1989 he opened Tango, a necktie manufacturing company.  Max Raab was dubbed ‘The Dean of the Prep Look’ by Women’s Wear Daily. In 1998, Max sold off his share in the company and retired. He died in 2008. 

So you Think You Can Wear Dance Shoes?

(Originally blogged December 9, 2008)

Although I normally deny any interest in reality TV, I can’t deny I am a keen follower of the ‘So You Think You Can Dance’ series. Sunday night was the finale of the Canadian version and Nico, not surprisingly, took the top award. Why am I blogging about dance instead of fashion? Because dance and fashion have always had a close relationship. What a dancer wears affects their ability to perform and enhances their movement, especially when it comes to footwear.

In ancient times, every culture developed some form of dance, usually related to harvest or hunt celebrations, marital or maturity rites, or victory over an enemy. In Europe, dance associated with pre-Christian rituals survived the medieval church by becoming secular folk dances. As Christianity spread globally, converts were more easily procured if elements of indigenous culture, such as dance, could be retained alongside their new religious belief. From the Scottish Fling to the Hawaiian Hula, dances that were once pagan rituals became secular folk dances. Some dances even became associated with Christian rites like the religious parades of Latin America where the Samba was born.

The other catalyst for the development of dance was in the distinguishing of class. Masques (balls) became popular Renaissance entertainments at the Italian and French courts in the late 16th century. Dances such as the Farandole and Pavanne were presented in participatory performances to display the dancer’s fine clothing and reflect refinement through erect backs and precise processional movements – the exact opposite of bawdy peasant dances that were usually danced drunkenly, in circles.

By 1700, court dances were developing into a new form of performance art called ballet. Professional dancers trained for regular performances at the French court. King Louis XIV even performed as a dancer, for which he became known as the Sun King, after Apollo, whom he portrayed in one of the ballets. Dancing masters taught ballet to improve deportment and foster conspicuous refinement. Most aristocratic dancers were not ballet dancers, but emulated simple ballet steps in high-heeled shoes through the fashionable dances of the time – the Minuet and Gavotte. However, when the French aristocracy fell in 1789, the minuet also fell from favour. Dance in Western Society now grew in two separate directions, professional and social.

“It is with regret that for many years past, the Minuet has, almost, totally fallen into disuse . . . a dance essential for youth to learn, on account of its utility as a foundation for the superstructure of those graces which distinguish people of fashion, and good breeding . . .” Francis Peacock, 1805

Ballet was originally danced in fashionable dress. By the 1820s, square-toed shoes with ribbon laces were in fashion when ballerinas first danced on their toes. The ballet slipper has remained a similar shape ever since.

While the French court danced the Minuet, the English preferred the simpler and livelier ‘country’ dances such as jigs, reels, and cotillions that were usually performed in sets of four or eight people. These dances quickly spread throughout Europe in the 1790s when ‘Anglo-mania’ became the rage following the French Revolution. They are the origin of today’s square dancing and country line dances and gained popularity in the early 19th century as the middle class grew in size because these dances could be learned after a few lessons and did not require years of dance training.

“Country dance is the most common of all dances now practiced. It is so simple, that the most illiterate are in some measure able to perform it . . .” A Treatise on Dancing, 1802

A wave of vernacular European dances followed English country-dances into the ballroom beginning with the Waltz. Derived from the Landler, a Bavarian folk dance, the Waltz developed into a couples dance by 1812 that was considered scandalous at the time because partners faced each other with the man’s arm about the woman’s waist. However, under the watchful eyes of chaperons, the dance became acceptable as long as light could be seen between the couple while they whirled about the floor. More couple dances took to the floor during the mid 19th century including the Polka from Bohemia and the Mazurka from Poland.

At the end of the 19th century Black American rhythms were synthesizing with European musical forms, resulting in a new syncopated beat called Ragtime. Dancing to Ragtime required a close hold of the partner, bent knees, and a walking gait – very different from the previously required stance of dancing on the balls of the feet with an erect back and straight legs.

Shoes with criss-cross laces became known as Tango shoes in the 1910s and early 1920s when the Tango was popular. They were best displayed when a woman extended her ankle while being dipped by her partner.

By 1912 in North America, different steps and dances, some with upper body movements, were often named after animals, like the foxtrot, turkey trot, or bunny-hug. At the same time in South America, the sensuous Tango developed in the brothels of Buenos Aires. Society was not ready for dances that looked like recipes for sin. However, in palm-filled hotel courts at afternoon teas, the latest dances gained acceptance when sanitized versions were demonstrated by dancing stars like Irene and Vernon Castle.

“Unspeakable Jazz Must Go! …We reprove those dances which are lascivious, such as the Fox-trot, the Tango, the Turkey-trot, and others of the same kind, by whatever name they may be called . . . Rapid and jerky music is condemned and with any form of improper dancing is disapproved of as degrading tendency.” Ladies Home Journal, December, 1921

While afternoon ‘Tango Teas’ were being held in acceptable venues for socialites, it was in the urban night clubs and speakeasies of the early 1920s that Jazz and Latin rhythms really began to take off.

From Ragtime developed a number of Jazz dances, beginning with the Charleston and Black Bottom in the mid 1920s. These were energetic dances that only entered the general population when reinterpreted by white dance bands. A modified version of the Charleston was combined with a fast-tempo Foxtrot to become the Quickstep – a dance created specifically for the purpose of competition dancing in the late 1920s. The Lindy, named after Charles Lindbergh, also grew out of the Charleston, and was later known as the Jitterbug when danced to Swing music. After the war, Jive and eventually Be-bop (the early steps of Rock ‘n’ Roll) evolved from Jitterbug. These dances were especially favoured by teens who from the late 1920s to early 1960s commonly wore saddle shoes (two tone laced shoes) for hopping and bopping to the latest song.

The success of the Tango brought interest in other dances from Latin America in the 1930s and 1940s, when the evening sandal was coming into popularity. The Rumba was a hit with wealthy Americans who wintered in Cuba; it was brought to America by Xavier Cugat’s band in the early 1930s. The Samba, Conga, and Mambo followed and were joined later by the Cha-Cha, Bossanova, and Salsa.

When boots returned to fashionable wardrobes in the early 1960s Go-go dancing was all the rage and the boots became known as Go-Go Boots.

In the 1960s dancers literally let go and no longer danced with their partners, instead performing numerous ‘go-go’ steps and upper body movements that were given names like the Twist, Watusi, Frug, Fly, Pony, Hitchhike, Hully-Gully, Monkey, Swim and Mashed Potato, to name a few. By 1970 the popular hippie mantra of ‘do your own thing’ could be interpreted on the dance floor as unstructured, free form movement, with no defined steps.

Then in the mid-1970s, a dance called the Hustle brought about a renaissance in partner dancing. This touched off the disco fever craze that ended in 1980 as abruptly as it had begun a few years earlier. While Disco blended Latin and Black rhythms on the dance floor, Latin and black cultures blended on the street in the form of competitive street dances, performed in sneakers, that took the place of gang fighting. Break-dancing, popping, and vogueing developed into hip-hop, house and krumping at the end of the 20th century.

“This has been a monumental year for Discomania . . . 15,000 new clubs have opened across the country . . . including roller discos . . . and franchise clubs like 2001, Tramps, and Club 747 featuring discos housed in old Boeing 747 airplanes . . . Paramount’s film Saturday Night Fever grossed over 32 million after only 26 weeks . . . and New York City declared the first national disco week in June.” Disco – The Official Guide, 1978

Anyone wanting to keep up with the latest dances has been able to attend dance schools, purchase ‘how-to’ books by authors like Arthur Murray, and since the 1950s, watch television shows like American Bandstand or Soul Train, to learn the steps. Competitive ballroom dancing began in the 1920s and became popular in the 1950s. The goal of competition dancers is to create artistic and athletic performances within a framework of standardized steps and deportment. There are five competition ballroom dances: English (slow) waltz, Viennese (fast) waltz, tango, quickstep and fox-trot; and five competition Latin dances: Paso-double (Spanish in origin), jive (even though not Latin), cha-cha, rumba and samba. Along with the standardized steps came associated styles of dress. Full-skirted gowns for ballroom and skimpy fringed dresses for Latin became standardized dress for competitions in the 1960s and 1970s — and of course the appropriate footwear to shake your booty…