Dr.Organic®,
a
full
range, award-winning personal care brand founded in the United
Kingdom is
now
available in the US. Inspired by a need for naturally-sourced,
effective and affordable skincare products, the brand prides itself
on a selection of organic, active ingredients that are cruelty free
and free from parabens, sodium lauryl sulfate (SLS), artificial
colors, phthalates, petroleum, glycols, cocamide diethanoalamine
(DEA), butylated hydroxytoluene (BHT), isothiazolinones, mineral oil,
and silicones. Dr.Organic
is now available on Ulta.com
and
will be available exclusively in-store at select Ulta locations
nationwide beginning
Sunday, October 20.
Dr.Organic®
Today,
more than 40% of women say that “made with organic or natural
ingredients” is one of their top three reasons for choosing new
skincare products, making Dr.Organic a must-have for skincare
enthusiasts this fall.§
“Clean
beauty^ means the world to us, and more importantly, consumers are
looking for organic, naturally-sourced options. That’s why we knew we
had to bring this premium UK brand stateside,” says Rimma
Fehling, VP of Incubator and New Ventures at The Nature’s Bounty Co.
“Until now, it was difficult to find a collection that is
organic while also being affordable and effective – Dr.Organic
fills this important gap in the beauty space.“
Dr.Organic® Full Product Line
Dr.Organic
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skin. Collection details include:
Dr.Organic® Rose Collection
Aloe
Vera: Harvested from Mexico, organic Aloe Vera is a naturally
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Gel: Rich in collagen, elastin and glycolic acid, snail mucin
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gel is humanely sourced from snails living in natural habitats in
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Tea
Tree: Known for its purifying properties, Tea Tree oil is ideal
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Aborigines for centuries.
The
Nature’s Bounty Co. is a privately held, global leader in health
and wellness with a rich history and proven track record in the
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vitamins, dietary supplements, minerals, herbals, protein bars and
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supporting consumers’ wellness needs through high quality products
backed by science. The brands of The Nature’s Bounty Co. are some of
the most trusted in the world including Nature’s Bounty®, Pure
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§
Source: Kantar Consulting 2018 USM Beauty Concerns for Females Data
^Clean
defined as all products free from parabens, sodium lauryl sulfate
(SLS), artificial colors, phthalates, petroleum, glycols, cocamide
diethanoalamine (DEA), butylated hydroxytoluene (BHT),
isothiazolinones, mineral and silicones
This fall, the Philadelphia Museum of Artpresents Off the Wall: American Art to Wear, (November 10, 2019 – May 17, 2020) a major exhibition that highlights a distinctive American art movement that emerged in the late 1960s and flourished during the following decades. It examines a generation of pioneering artists who used body-related forms to express a personal vision and frames their work in relation to the cultural, historical and social concerns of their time. Focusing on iconic works made during the three decades between 1967 and 1997, the exhibition features over 130 one-of-a-kind works by more than sixty artists. Comprised primarily of selections from a promised gift of Julie Schafler Dale, it will also include works from the museum’s collection and loans from private collections. Off the Wall: American Art to Wear is accompanied by a new publication of the same title, co-published by the Philadelphia Museum of Art and Yale University Press.
Timothy
Rub, the George D. Widener Director and CEO, said: “This
exhibition will introduce to our visitors an exceptionally creative
and adventurous aspect of American art which took the body as a
vehicle for its expression. We are not only deeply grateful to Julie
Dale for her extraordinary gifts and support of the museum but also
see this as an opportunity to acknowledge the dynamic role she played
in nurturing the growth and development of this movement.”
Susanna Lewis, Moth Cape, 1979. Machine knitted, appliquéd wool; beads. Promised gift of The Julie Schafler Dale Collection.
The
champions of Art to Wear during the early years were a
few forward-thinking museums, among them New York’s Museum of
Contemporary Crafts (Museum of Art and Design), collectors, and
galleries such as Sandra Sakata’s Obiko, founded in
1972 in San Francisco, and Julie Schafler Dale’s Julie:
Artisans Gallery, which opened the following year on Madison
Avenue in New York. For over 40 years, Dale’s gallery was a premier
destination for presenting one-of-a-kind wearable works by American
artists. Through her gallery installations and rotating window
displays, she gave visibility to the Art to Wear movement. In 1986,
she brought further recognition to the art form by publishing the
seminal book Art to Wear—from which the title of this
exhibition is taken—which provided in-depth profiles of artists
alongside photographs by Brazilian fashion photographer Otta
Stupakoff. Dale’s gallery closed in 2013.
Bill Cunningham, Griffin Mask, 1963. Molded, stitched, and glued feathers, sparterie, wire, jersey, and velour. Promised gift of The Julie Schafler Dale Collection.
Off
the Wall is arranged in nine sections; the titles of some are
derived from popular music of the ‘60s and ‘70s to suggest the
wide-ranging concerns of the artists. The introductory section, The
Times They Are A Changin’ (Bob Dylan, 1964), contains works by
Lenore Tawney, Dorian Zachai, Claire Zeisler, Ed Rossbach, and
Debra Rapoport to illustrate how textile artists in the late
‘50s and ‘60s liberated tapestry weaving from the wall, adapting
it to three-dimensional sculptural forms inspired by pre-Columbian
weaving.
Dina Knapp, See It Like a Native: History Kimono #1, 1982. Painted, appliquéd, and Xerox-transferred cotton, polyester, plastic, and paper. Promised gift of Julie Schafler Dale Collection.Ana Lisa Hedstrom, Pieced Silk Faille Kimono, circa 1992. Pieced shibori dyed silk pique weave. The Julie Schafler Dale Collection.Tim Harding, Garden: Field of Flowers, 1991. Quilted, layered, slashed and rayed cotton. 56 x 67 x 3 inches. Museum of Arts and Design, New York.
In
1969, a group of five students at Pratt Institute studying
painting, sculpture, industrial design, multimedia, and graphic
design taught each other how to crochet, leading to remarkable
outcomes. Janet Lipkin, Jean Cacicedo, Marika Contompasis, Sharron
Hedges, and Dina Knapp all created clothing-related forms
that they would describe as wearable sculpture, thus establishing a
cornerstone of the Art to Wear movement. A highlight in this
section is a wool crochet and knit Samurai Top, 1972, by
Sharron Hedges, modeled by the young Julie Dale for the book
Creative Crochet, authored by two of the artist’s friends,
Nicki Hitz Edson and Arlene Stimmel.
The
next section, Good Vibrations (Beach Boys, 1966), traces the
migration of many of these young artists from the East Coast to the
West Coast where they joined California’s vibrant artistic
community and connected with Sandra Sakata’s Obiko. A pair
of colorful denim hand-embroidered mini shorts by Anna VA Polesny
embroidered while traveling conveys this new youthful spirit.
Pacific Rim influences are evident in the Japanese kimono form as a
blank canvas offering infinite possibilities for pattern and design.
Katherine Westpahl’s indigo blue resist-dyed cotton work, A
Fantasy Meeting of Santa Claus with Big Julie and Tyrone at
McDonald’s, 1978, and Janet Lipkin’s Mexico at
Midday, a coat made in 1988 are exceptional examples. A range of
counter-culture influences, evoking ceremony and spirituality,
pervade this section.
Come
Together (The Beatles, 1969) responds to the popular use of
assemblage in art-making, especially the use of nontraditional
materials. It also looks at the art of performance, reflected in Ben
Compton and Marian Clayden’s Nocturnal Moth, 1974,
inspired by Federico Fellini’s film La Dolce Vita
(1960). “Mother Earth,” a nod to the publication Mother
Earth News Magazine, looks to nature and environmental concerns
while This Land is Your Land (Woodie Guthrie, 1940) explores
iconic American imagery including reference to the American West and
Native American cultures. Examples in this section include Joan
Ann Jablow’s Big Bird cape, 1977, made entirely of
recycled bird feathers, and Joan Steiner’s Manhattan
Collar, 1979, which reimagines New York’s skyline in miniature.
Other
Worlds explores fantasy and science fiction, two genres that
offered young people an escape from the period’s cultural and
political upheavals. Noteworthy here are works by Jean Cacicedo
and Nina Huryn, both of whom riff on one of the most widely
read English language books at the time, J.R.R. Tolkien’s
trilogy Lord of the Rings (1965). Cacicedo responded with a
portrait of Treebeard, 1973, a Tolkien character, while Huryn
created her own fantasy world in Tree Outfit, with its flowing pants,
loose shirt and leather sleeveless jacket containing forest and
folklore imagery, a work made especially for Julie: Artisans
Gallery in 1976. Other artists turned to dreams, such as Susanna
Lewis, who created Moth Cape, 1979, in response to a
nightmare that she had of a giant moth enveloping her body.
Debra Rapoport, Epaulets and Hood, 2017. Cardboard, used tea bags, egg cartons, paper, cork, feather. Courtesy of the artist.
Sheila Perez Ghidini, Combat Vest, circa 1985. Molded plastic figures on quilted plain weave supplemental warp and weft patterning. Promised gift of The Julie Schafler Dale Collection.
A
section called I Am Woman (Helen Reddy, 1971) underscores the
ways in which artists invoked feminism directly and indirectly in Art
to Wear. Janet Lipkin, for example, invested her works
with symbols of freedom while searching for new directions in her
life, as seen in Bird Coat, 1972, Flamingo, 1982, and
Transforming Woman, 1992. Other works like Combat Vest,
1985, by Sheila Perez, feature plastic toy soldiers as
protective armor for the chest area, while Nicki Hitz Edson’s
Medusa Mask, 1975, is a wild expression of fraught emotions
surrounding the breakup of her marriage.
Nicki Hitz Edson, Medusa Mask, 1975. Crocheted wool. Promised gift of The Julie Schafler Dale Collection.Jo-Ellen Trilling, Preposition Jacket, 1989. Tinted and ink drawings on cotton canvas, pieced silk plain weave, rayon binding appliqué, plastic and metal skeletons appliqué and pendants. Promised gift of The Julie Schafler Dale Collection.
Colour
My World (Chicago, 1970) reflects the buoyant rainbow color
spectrum that was ubiquitous during this era. Recently published
works on color theory by Johannes Itten and Josef Albers
provided a cornerstone of the new art education. For Linda
Mendelson, color, typography, and text became inseparable. She
adapted Albers’s ideas relating to after-images in Big Red,
and linked color progression with lines from a poem titled Coat by
William Butler Yeats from which she drew inspiration. Other
artists such as Tim Harding created an effect similar to
impressionist brush strokes by slashing and fraying dyed fabrics, as
seen in his colorful coat Garden: Field of Flowers, 1991.
Linda J. Mendelson, In Kyo-Kawara, 2015, Wool machine knitted, plastic buttons. Promised gift of The Julie Schaffler Dale Collection.
The
final section Everybody’s Talkin’ (Harry Nilsson, 1969)
explores the use of text in Art to Wear. JoEllen Trilling
engages in visual word play using common prepositions on a
jacket, while Jean Cacicedo channels her grief over her
father’s death using words taken from the bible that celebrated his
life in My Father’s House, 1994.
Dilys
Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costumes
and Textiles, who organized the exhibition, said: “We are
looking back at this period with a fresh lens through which to
consider a uniquely American art form that continues to have a
worldwide influence. With roots and connections in fine arts, fiber
art, craft, performance and fashion, there are so many important
artists to appreciate. For this reason I am delighted by the
opportunity to cast a light on such extraordinary talents, including
so many adventurous women who deserve much greater recognition.”
Off
the Wall: American Art to Wear is accompanied by a new
publication of the same name co-published the Philadelphia Museum of
Art and Yale University Press, co-authored by exhibition curators
Dilys E. Blum, The Jack M. and Annette Y. Friedland Senior
Curator of Costumes and Textiles at the Philadelphia Museum of Art,
and independent textile scholar and curator Mary Schoeser,
with a contribution written by Julie Schafler Dale. The volume
provides the social, political, and artistic context for Art to
Wear. ISBN 9780876332917.
Curators:
Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of
Costume and Textiles and Mary Schoeser, Independent Textile Historian
and Curator
This
exhibition has been made possible by Julie Schafler Dale, PNC, The
Coby Foundation, the Arlin and Neysa Adams Endowment Fund, Catherine
and Laurence Altman, the Center for American Art at the Philadelphia
Museum of Art, and other generous donors.
Fashion + Lifestyle 