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Rebellion, Rejection, & Reconciliation

Two students stand in front of a projected photo on a white wall that reads ‘Rebellion Rejection Reconciliation’ in blocky white text on a red background there is a rose in the center of the three words

Rebellion, Rejection, and Reconciliation explored the intersection of fashion and protest, showcasing garments and objects from TMU’s Fashion Research Collection that have sparked conversations and amplified voices of resistance and collective action throughout history.

Protest and rejection are fundamental parts of activism and change, and our clothing embodies our perspectives regarding the systems that are in place as well as how we can change them. This exhibit features three distinct forms of rebellion and rejection: cultural, sociopolitical, and personal self. Protest extends to every area of our lives; our beliefs are filtered through our actions that initiate change in cultural norms, political decisions, and how we express ourselves.  From colonial practice to workers’ rights, the pieces in this exhibit challenge our perceptions of objects and the historical and contextual information surrounding them.

Photos taken by Sofia Beraldo

 

Black top hat and wood Cree moccasins in a glass case.

Christy’s London Top Hat (1995.02.005) and Wood Cree Moccasins beaded in Chevron Pattern (2017.05.009)

Three exhibition plaques that speak to the Christy London Top Hat and Wood Cree Moccasins

In the spirit of respect and critical dialogue, we invite you to view and reflect on those who have harnessed the power of style to demand change, challenge hegemony, and resist colonial histories. Explore how fashion has been a tool for rebellion and rejection, inspiring and uplifting communities and groups to stand up, speak out, and wear their convictions on their sleeves. 

Palestinian Thobe

Palestinian thobe sits at the centre of two white panels that form a ‘v’ shape. There are two plaques on the left panel, and one plaque on the right.

Cross-stitch, Applique Patchwork and Embroidered Palestinian Thobe (2016.05.001)

Close up of top half of Palestinian Thobe

Close up of cross stitch, applique patchwork and embroidery (2016.05.001)

Palestinian Thobes are symbolic woven stories of Palestinian identity and are passed down through generations with pride. These garments are deeply rooted in the Palestinian people's traditions, values, and identity. Historically made from homespun fabric and featuring tatreez, they reflect the customs and traditions, prayer and symbolism of Palestinian culture. Different regions and villages display unique embroidery styles, colours, and motifs. These motifs, called Levantine motifs, are reminiscent of matrilinear Palestinian cultural heritage; the art of tatreez was usually passed down from mother to daughter. This garment represents a complex connection to land and home alongside the struggles and resilience of the Palestinian people in the face of adversity.

Personal Self

Close up of mannequin wearing a ruffled blouse and suit jacket. A purple boutonnière is pinned to the left lapel of the suit jacket.

Cecil Gee of London Black Velvet Men's Jacket (2014.07.020) with Oscar de la Renta Cream Silk Taffeta Blouse with Ruffle Collar (2009.01.672)

The violet flower corsage (displayed with the wedding dress) and boutonnière (displayed with the three-part outfit) are symbols of queer love. The colour purple is associated with the LGBTQ2+ community, as purple mixes pink/red and blue, representing a blurring of genders and colour associations. 

 

This three-part ensemble consisting of a Cecil Gee velvet men’s jacket, Oscar de la Renta blouse and Francess & Rita trousers is a stylized representation of Queer identity in the 1960s. The pairing of these three pieces tells a story of Queer individuality and love using sartorial signifiers.

Two mannequins, one wearing a suit and one wearing a dress stand in between two white panels that form a ‘v’.

LISA Gowns Cream Silk Wedding Dress (2005.02.001), Francess & Rita Black Wool Trousers (2009.01.384 B)

Close up of two mannequins, one dressed in a suit and the other in a dress. They have matching purple corsages and boutonnières.

This cream silk, ballet-length wedding dress pays homage to the rebellious, gender-bending dropped waist silhouette of the 1920s belonging to the garçonne. The straight fit of this garment was untraditional for wedding attire in the 1950s (with a cinched waist popularized by Audrey Hepburn in the mid-50s). Due to the short cap sleeves, arms would be displayed, which strayed away from the fully covered modesty expected within churches. The violet corsage challenges histories of cis-heteronormative wedding attire at a time when same-sex marriages were illegal but practiced in private. 

Masks

Side view of a COVID-19 fabric Demestik Bowtie Sculpted Mask on a Black plastic mannequin head

Demestik Bowtie Sculpted Mask (2021.01.018)

Two people looking at three COVID-19 face masks

Emme Studios Sun Split-Shot Face Mask (2021.01.010), Nadia Lloyd Black Lives Matter Mask (2021.01.004)

These three COVID-19 masks have been selected from the group of over two dozen pandemic masks in the TMU Fashion Research Collection. In particular, these three masks help cement and contextualize cultural, sociopolitical, and personal forms of rebellion during the pandemic. 

The pandemic shifted the mask from a piece of PPE (personal protective equipment) to a stylized accessory that let wearers express their thoughts in a public way, while also addressing a shortage of medical PPE. What was once a plain surgical mask became a stylish accessory, highlighting the wearer’s style and fashion ideals. 

Amidst unrest and uncertainty, protest and rejection changed and adapted to international and national lockdowns. The aesthetic designs on the masks became a new form of communication; in addition to speaking your ideas, people could see your values across your face.

Ruth Dukas Dress

Close up of Ruth Dukas Beaded Striped Brocade Jacket & Matching Chiffon Dress

Ruth Dukas Beaded Striped Brocade Jacket & Matching Chiffon Dress Close Up 

Ruth Dukas Beaded Striped Brocade Jacket & Matching Chiffon Dress

Ruth Dukas Beaded Striped Brocade Jacket & Matching Chiffon Dress

Close up of back of Ruth Dukas Beaded Striped Brocade Jacket & Matching Chiffon Dress

Back of Ruth Dukas Beaded Striped Brocade Jacket & Matching Chiffon Dress

This jacket and dress ensemble labelled “Ruth Dukas Inc”, was made by the designer's eponymous label at her Spadina Avenue studio in Toronto. This brand produced clothing from 1961 to 1972, employing over one hundred and forty skilled workers who specialized in embroidery and eveningwear. Dukas’ family came to Canada from Poland in the 1920s as Jewish immigrants. Toronto has a rich history of Jewish garment workers who made up the majority of the city’s industry in the 1920s and 30s. Many of them participated in union strikes, advocating for better pay and safer working conditions.   

Back of a persons head looking at the main exhibition text for ‘Rebellion, Rejection and Reconciliation’
Close up of Ruth Dukas garment in between the ‘v’ of two white panels, each panel has a grayscale photo mounted on it. There is someone looking at the garment on the right side of the image.

Exhibition Mounting Photos

Photos taken by Sonya Surbek