“The stripe ... is a cultural mark, representing an opposition to, or imposition upon, nature. A striped surface implies the desire to contain something ambivalent, indistinct and uncontrollable (Sekules, 2003, p.111).”
(Phaidon, 2006, p. 393)
"... Jean Seberg's blue and white striped cotton sailor's jersey seen in Breathless … has become an anti-fashion staple (Radner, 2001, Fashion and the working girl, para. 2).”
Andy Warhol, Edie Sedgwick, Pablo Picasso and Jean Seberg all wore the classic Breton striped tee. As I started doing research on striped tees, I became curious to find out how a classic item of clothing became synonymous with artists and anti-fashion. How did the stripe tee become an iconic staple of subcultural and anti-fashion movements? The purpose of this bibliography is to highlight resources, found in the Adrian G. Marcuse Library that can be used to research this inquiry.
1. Bye, E. (2005). Nautical Style. In Steele, V.(Ed.) A-Z of fashion. Oxford, England: Berg.
In BERG FASHION LIBRARY
Striped tees often reference sailor or nautical themes. This reference work succinctly describes the origins of striped tees among sailors.
2. Lurie, A. (1981). The language of clothes. New York, NY: Random House.
In the chapter Color and Pattern, Lurie discusses what stripes convey about the person wearing them based on the width and direction of the stripe (p. 206-207).
3. Millbank, C.R. (2009). Resort fashion : style in sun-drenched climates. New York, NY: Rizzoli. 391 MIL
In the chapter, Stripes (p. 81-82), Milbank summarizes the origins of stripes in resort wear. Highlights the artistic and unsex qualities of the striped shirt in the 1960’s.
4. Pastoureau, M. (1991). The Devil's cloth : a history of stripes and striped fabric. New York, NY: Columbia University Press.
This book is dedicated entirely to the interpretations of striped clothing from the Middle Ages to the twentieth century. Pastoureau discusses in detail the dual nature of striped garment, surveying the clinical, bourgeois, artistic and criminal uses of striped garments. While the entire book can be used for research, the chapter, Stripes for the Present Time (19th to 20th Centuries), p. 60, provides the most information on artistic and anti-fashion interpretations of striped clothing.
5. Stephenson, K. (2006). Communicating with pattern: Stripes. Mies, Switzerland: RotoVision.
Pages 24-27 describe the Breton tee, from its nautical origins to interpretations of why they are iconic in anti-fashion movements.
6. Welters, L. (2005). The Beat Generation: Subcultural style. In Welters, L. & Cunningham, P. (Eds.), Twentieth-century American fashion. Oxford, England: Berg. 391.00973 WEL or in BERG FASHION LIBRARY
Describes Beatnik style in great detail and references the wearing of striped t-shirts.
Berg Fashion Library
Keywords for searching
Stripe, stripes, Breton tee, matelot, chandail
People: Jean Seberg, Andy Warhol, Pablo Picasso, Edie Sedgwick
Phaidon (Ed.). (2006). Andy Warhol "giant" size. London, England: Phadion.
Radner, H. (2001). Embodying the single girl in the 1960s. In Entwistle, J. & Wilson, E. (Eds.), Body Dressing.
Sekules, V. (2003). The Devil's Cloth: A History of Stripes and Striped Fabric. Textile: The Journal of Cloth & Culture, 1(1), 111-112.
Posted on March 11, 2013 I Blog post by Lauren Gavin, M.L.S. (Technical Services/Reference Librarian)