'Her Dress Hangs Here': De-Frocking the Kahlo Cult

Baddeley, Oriana

doi:10.1093/oxartj/14.1.10

Cited by 6 publications

(2 citation statements)

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“…3. This inventory of characterizations of Kahlo refers to Baddeley (1991), Franco (1999a), André (2005), Misemer (2008, and Lindauer (2011). 4.…”

Section: A Huipil Is a Loose-fitting Cotton Blouse Traditional In Mexmentioning

confidence: 99%

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Uninhabited Dresses: Frida Kahlo, from Icon of Mexico to Fashion Muse

Aragón

2014

Fashion Theory

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This article examines the shifting meanings of Frida Kahlo's figure and the Tehuana ethnic dress known as her trademark look. It analyzes Appearances Can Deceiving: The Dresses of Frida Kahlo, the first exhibit of the artist's recently recovered wardrobe on view at the Frida Kahlo Museum in Mexico City from 2012-14. Engaging the exhibit's suggestion that the artist casts a "spectral" image over contemporary fashion, this article inquires about the ways history inscribes itself on fashion despite its pretensions of constant innovation. The exhibit is examined in dialogue with Frida Kahlo's My Dress Hangs There (1933), an image that reflects on modernity and national identity through the tension between competing visions of femininity and fashion represented by Mae West and a disembodied Tehuana dress.

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“…3. This inventory of characterizations of Kahlo refers to Baddeley (1991), Franco (1999a), André (2005), Misemer (2008, and Lindauer (2011). 4.…”

Section: A Huipil Is a Loose-fitting Cotton Blouse Traditional In Mexmentioning

confidence: 99%

“…13. For a more detailed critique of fashion magazine treatments of Kahlo's image, see Baddeley (1991) and Lindauer (2011: 157-9). 14.…”

Section: A Huipil Is a Loose-fitting Cotton Blouse Traditional In Mexmentioning

confidence: 99%

Uninhabited Dresses: Frida Kahlo, from Icon of Mexico to Fashion Muse

Aragón

2014

Fashion Theory

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The Suicide of Dorothy Hale

Harris¹

2003

Arch Gen Psychiatry

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I recommend her to you, not as a husband but as an enthusiastic admirer of her work, acid and tender, hard as steel and delicate and fine as a butterfly's wing, loveable as a beautiful smile, and profound and cruel as the bitterness of life. 1(p229) Diego Rivera to Samuel Lewisohn, 1938RIDA KAHLO CALDERÓN (1907-1954 was born in Coyoacán, a suburb of Mexico City, Mexico, to a Hungarian-German father and Spanish-Mexican Indian mother. As a child, she had polio involving her right leg but recovered sufficiently to engage actively in sports. Her imagination was vivid; when alone in her room, she would cloud a glass windowpane with her breath and then trace a doorway with her finger. In her imagination she would pass through it and travel to the middle of the earth to join an imaginary, joyful companion, share secrets with her, and watch her dance, then happily return through the same door, watching her companion disappear as she erased it. Frida attended the prestigious National Preparation School in Mexico City, hoping to become a physician. All her potential seemed lost when on September 17, 1925, at age 18 years, a streetcar hit the bus she was riding. She was impaled by an iron handrail that entered her left hip, creating a penetrating abdominal wound, and exited through her vagina with fractures of her third and fourth lumbar vertebrae, 3 fractures of the pelvis, fractures of the right foot, and dislocation of the left elbow. 2(p13) The spinal fractures initially were not recognized but eventually led to immobilization with a plaster body cast for 9 months. For the rest of her life she endured the consequences of the accident, having more than 30 surgical procedures culminating in spinal fusion in 1946 and the amputation of her right lower leg in 1953, the year before she died.Frida's art began in response to her pain. She said, "As soon as I saw my mother [after the accident] I said to her: I'm still alive and besides, I have something to live for, and that something is painting." 2(p44) Although she was in a plaster body cast from clavicle to pelvis, an easel that held paper was ingeniously created, and a canopy with a mirror was placed over her bed, allowing her to use her own face as a model. While bedridden she began to paint in a primitive but meticulous manner, depicting both transient and personal thoughts. She completed more than 70 self-portraits among 200 works of art. These are "analytic and symbolic, lyrical or burlesque." 2(p80) She looks out at the viewer with an intense expression never shown in the same aspect. In admiration, Picasso wrote that he could not "paint a head like those of Frida Kahlo." 2(p130) At age 22 years, she became the third wife of the 42year-old muralist Diego Rivera . He encouraged her painting as did the leading surrealist, Andre

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Frida Kahlo’s “Tehuana” Attire: Ethnic Dress as Feminist Self-Branding

de la Garza,

Shen

2024

The Palgrave Handbook of Fashion and Politics

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'Her Dress Hangs Here': De-Frocking the Kahlo Cult

Cited by 6 publications

References 1 publication

Uninhabited Dresses: Frida Kahlo, from Icon of Mexico to Fashion Muse

Uninhabited Dresses: Frida Kahlo, from Icon of Mexico to Fashion Muse

The Suicide of Dorothy Hale

Frida Kahlo’s “Tehuana” Attire: Ethnic Dress as Feminist Self-Branding

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