Are Clothes Modern? An Essay on Contemporary Apparel by Bernard Rudovsky (1947)
Wikipedia mentions “he was a Ford, Fulbright and Guggenheim Fellow” as well as “He is best remembered today for a number of urbane books that still provide relevant design insight that is concealed in entertaining, subversive sarcasm.”
I’m getting towards the end of the book and “concealed in entertaining, subversive sarcasm” has become a full frontal assault with both cannons blazing:
“Imitation goods are only desirable in primitive society. The day the consumer learns discrimination, no sales campaign will help to sell the substitute. Yet even if there were enough good will among the manufacturers to remedy the misery of today’s clothing, the first sobering thought would go to the designer, so-called. This designer is about the most unhappy and unnecessary species of the day. He is uncreative by profession, unprepared for any task but copying, and unaware of the possibilities of his profession. There are practically no schools to give him an adequate training, because there are no adequate teachers. The designer lives on what he calls his inspiration — a good and wholesome word which, by common consent and abuse, was perverted into the contrary of its original meaning. Inspiration, as the designer understands it, is far from the sublime moment of spiritual communion with divinity; to him it simply means the copying of insignificant and meaningless details from past epochs or foreign countries, which he cements together into that pastiche called THE STYLE.”
and:
“The training of the new designer can be easily formulated; the difficulties arise when such program has to be reconciled with a mentality that is strongly opposed to serious study. The average man’s mind is averse to any mental burden; illiteracy and semi-illiteracy are almost valued as civic virtues. The educated individual is distrusted, or pitied as a social failure. The very first step in the direction of acquiring knowledge, the learning of languages, is to this day regarded as the exclusive task of non-English-speaking peoples. On the other hand, the majority of industrial professions require periods of instruction that can be counted in mere weeks or even days. No wonder that extensive learning is popularly regarded as a waste of time and, consequently, a loss of money.
Educational establishments suffer from this prejudice: Standards of learning are being lowered constantly to attract students, ft is not surprising, there fore, that selective systems are not favored and talent is not judged a high criterion of acceptance. The advocates of this state of things point out — quite rightly —that the possession of talent is irrelevant, that it has more drawbacks than advantages in life. The facts confirm such opinion. The most successful industrial designers are, as a rule, businessmen with no creative faculties of their own. Elizabeth Hawes, the voice in the wilderness, has no kind words for the American dress designers, to many of whom —the successful ones — she ascribes no artistic ability whatsoever.”
I’m probably going to seek a copy of Architecture Without Architects: A Short Introduction to Non-pedigreed Architecture (1964) next.