Curator's Welcome
Listen | Press play to hear the curator’s welcome message:
Access the recording transcript here.
This exhibition represents collective memories of members of James Galanos’ family. Each vignette tells a story that calls upon their shared experiences of crafting, gifting, and styling of clothing and textiles within the family.
To navigate the digital labels, we suggest you interact with the various “listen,” “look”, and “read” cues to experience the exhibition fully. The audio recordings, images, and text were carefully curated to provide an experience that informs and engages you in a personal exploration of Kindred Keepsakes.
If you choose to listen to the audio recordings, we recommend the use of headphones or earbuds if other patrons are in the gallery. Transcripts of each recording are available using the hyperlink near each recording. Compiled from oral history interviews, the audio recordings provide historically based narratives that represent the collective experiences of Galanos family members.
We invite you to share your reflections on this exhibition on the collective memory board in the gallery.
Unless otherwise stated, all images are courtesy of Linda Martell and Marianne Kline.
Click the link below for a vignette, or scroll:
Laced Union
Queen of Chiffon
Cherished Connection
Crafting Legacy
Finishing Touches
Ritual Unboxing
Laced Union
Listen | Press play to hear the recording:
Access the recording transcript here.
Vignette Images
Vignette Label Text
Ralph Waldo Emerson once said, “the only gift is a portion of thyself…“¹ James Galanos did just that. His gifts of garments, fabrics, and styling represented not only his handiwork and skill, but also the ties between himself and his family. His gifts facilitated kindred connections within the Galanos family.²
James and the Galanos Women
James Galanos – “Jim, “Jimmy” or “Uncle Jimmy” to family – designed memorable fashions for the women in the family. In this vignette, two of the dresses James made for his sister, Sue, are positioned alongside one another. The photo shows Sue helping her daughter Linda prepare for her wedding day. This scene tells the stories of handcrafted gifts, sacred objects and rituals, and the family tradition of borrowed garments.
The Family Wedding Dress
This wedding dress is two pieces. The simple satin-weave silk slip is enhanced by a full lace overlay with a unique collar. Sue wore this wedding dress for her nuptials in 1950. Her daughters recounted that Sue later loaned this wedding gown to her sister, Dorothy, her aunt, Efthemia, and later to one of her own daughters, Marianne. This custom Galanos gown became the traditional ‘something borrowed’ within the family!
Like this wedding gown, are there garments or accessories in your family that are worn and shared among various people for special occasions?
Mother of the Bride
The chiffon mother-of-the-bride dress was made for Sue to wear at her daughter Linda’s wedding in 1978, nearly 30 years after her own wedding. This two-piece floral ensemble features a chiffon underskirt, with a long over-tunic. James styled his sister in chiffon since their youth, so the playful smocked yoke is a nod to their close bond as siblings. Linda, James’ niece and the bride in the framed photograph, fondly remembers her mother, Sue, wearing this floral chiffon dress while helping her prepare for her own wedding ceremony.
Can you remember a time when you helped a loved one dress for a special or sacred ceremony or event?
Object: Lace Wedding Dress
Donor: Marianne Kline
Avenir Museum #2019.40.07a; 2019.40.07b
Object: Floral Chiffon Mother-of-the-Bride Dress
Donor: Linda Martell
Avenir Museum #2022.1.1a; 2002.1.1b
Object: Gold floral motif dress and matching jacket
Donor: Marianne Kline
Avenir Museum #2022.2.1a; 2022.2.1b
Object: Chair, Avenir Museum permanent collection.
¹Ralph Waldo Emerson, “Gifts” in Collected Works, Vol. 3. (1844; repr., Cambridge, MA: The Belknap Press of Harvard University Press, 1983), 44.
²Russell W. Belk, Melanie Wallendorf, and John F. Sherry, Jr., “The Sacred and the Profane in Consumer Behavior: Theodicy on the Odyssey,” Journal of Consumer Research 16, (1989): 17-21.
Queen of Chiffon
Listen | Press play to hear the recording:
Access the recording transcript here.
Vignette Images
Vignette Label Text
”I made my reputation on chiffon way back in the 1950’s… that’s what ‘the kid from California’, as they called me, was known for.”¹ – James Galanos
Midwest Chiffon
Named ‘master of chiffon’ by The New York Times, James sent his sister an array of designs including the three evening gowns seen here (and the mother-of-the-bride dress in an adjacent vignette).² While James moved within the high society circles of New York and Los Angeles, his sister skillfully translated these gowns for an Akron, Ohio audience.
Sue dazzled at Themely’s, the family restaurant, every Friday and Saturday night while she greeted patrons wearing gowns such as these. Moreover, Sue’s charisma gained her invitations to model in local charity fashion shows and to appear in the style section of the Akron-Beacon Journal.
Chiffon on Display in Akron
In this vignette you see three chiffon gowns gifted to Sue by her brother “Jim.” Notice the canary yellow satin-weave silk bodice with a plunging neckline, shaped to the body with a matching belt. The halter-style bodice gracefully transitions to floor-length silk chiffon, trimmed with a tangerine-hued chiffon. This gown was worn by Sue Themely while entertaining guests in the 1960s.
The black dress is constructed with three gored layers of silk chiffon that provide an illusion of infinite fullness. The pleated and fitted bodice supports the soft shoulder draping, which can be styled in a variety of ways. This gown was modeled by Sue in 1960 for a Children’s Hospital charity event in Akron. Notice Sue in the photo wearing this gown as she playfully graced the runway.
Can you remember a time when you wore something with such pleasure? If you look closer, what do you notice among the people observing Sue on the runway?
Adjacent to the black and yellow gowns, you see the short poppy-red silk chiffon dress with its fitted bodice and multilayered flared skirt. The buttery-soft wool ‘Jiminy Cricket’ high-low jacket is adorned with velvet trim and gracefully complements the movement of chiffon. Pairing the structure of wool with the fluidity of chiffon was a playful choice that James explored with abandon. Sue modeled this dress for the Akron-Beacon Journal in the 1960s, posing in her living room while displaying another of her brother’s designs held by a local journalist.
Object: Yellow chiffon evening gown
Donor: Marianne Kline
Avenir Museum #2010.34a; 2010.34b
Object: Poppy chiffon gown with matching jacket
Object on loan by Marianne Kline.
Object: Black chiffon gown
Object on loan by Marianne Kline.
Object: Chair, Avenir Museum permanent collection.
²Carrie Donovan, “Fashion: The New Chic of Chiffon,” The New York Times, May 6, 1984
Cherished Connection
Listen | Press play to hear the recording:
Access the recording transcript here.
Vignette Images
Vignette Label Text
The Closet Connection
Imagine two sisters standing in a bedroom sharing a heartfelt story—laughing, smiling, maybe even wiping tears. It is in this moment of simply opening a closet that a heart, too, can be opened. Perhaps the sisters are getting ready for a special outing, or maybe they are creating a unique look by borrowing pieces from each other. Peer into this memory of the two sisters as they reflect on the family connections draped upon every hanger.
Whatever the situation, a closet conversation is a shared memory for many. Have you had a moment akin to this in your own life?
In her book, Why Women Wear What They Wear, Sophie Woodward suggests that garments reflect relationships. Moreover, garments are imbued with meanings associated with others, including the maker or giver of a garment. Therefore, if a garment was made or given by a loved or respected one, that garment will reflect those meanings… just like a treasured love letter kept in a memory box, many closeted garments reflect cherished kinship connections.¹
Two of James Galanos’ nieces, Marianne Kline and Linda Martell, received many Galanos Originals from their Uncle Jimmy, and they have pieces in their collections that belonged to their mother, Sue Galanos Themely. Whether they are looking in their own closet, or one another’s, they not only feel the quality of their uncle’s craftsmanship, but they also interpret the love, intention, and care stitched into every object. Each Galanos garment in their closets, worn or not, is imbued with meanings they share year after year. Looking at, touching, smelling, and reflecting upon these pieces is an homage to their familial legacy.
While Galanos’ objects reflect distinct cherished connections for his family, not all handmade or gifted garments are the catalyst of such pleasant memories. What memories do the garments in your closet evoke for you?
Play on Pattern
In this vignette two ready-to-wear ensembles by James Galanos are positioned near a closet full of his designs. To your left, notice how the 1970s three-piece suit hints at an optical illusion with the skirt’s playful pleats revealing alternating patterns of lines and dots. The matching long-line jacket features a belt that accentuates Galanos’ interest in geometry and fit within his designs.
Next to the skirt suit you will see another Galanos chiffon ensemble. This floral printed, gilded thread skirt-and-blouse set is cinched with a Galanos-label leather belt.
Hanging within the closet are several Galanos Originals ensembles that belonged to James’ sister, Sue, and his nieces, Marianne and Linda. Look closer at the hanging garments. Notice their diversity in color, texture, length, and style. The breadth of style choices is also a metaphor for the powerful nature of the Galanos’ kinship.
Object: Navy and white stripe/dot suit
Donor: Marianne Kline
Avenir Museum #942.244a; 942.244b
Object: Navy blouse
Donor: Marianne Kline
Avenir Museum 92.86
Object: Floral chiffon two-piece ensemble
Donor: Linda Martell
Avenir Museum #2006.178a; 2006.178b
Object: Brown leather belt
Donor: Marianne Kline
Avenir Museum #2013.30.007
Closet Objects (left to right)
Object: Auburn cap
Donor: Marianne Kline
Avenir Museum #2003.37
Object: Red pillbox hat
Donor: Linda Martell
Avenir Museum #2013.28.001
Object: Blue leather snake-print shoes
Donor: Marianne Kline
Avenir Museum #2012.223
Object: Green leather snake-print shoes
Donor: Marianne Kline
Avenir Museum #2012.222
Object: Black and white floral silk blouse
Donor: Marianne Kline
Avenir Museum #2019.40.05
Object: Gold blouse
Donor: Marianne Kline
Avenir Museum #92.85
Object: Green blouse
Donor: Marianne Kline
Avenir Museum #2023.3.4
Object: Spotted black and white silk blouse
Donor: Marianne Kline
Avenir Museum #2023.3.2
Object: Daisy silk blouse
Donor: Marianne Kline
Avenir Museum #2016.60.01
Object: Red ribbon dress
Donor: The Galanos Foundation
Avenir Museum #2017.33.3
Object: Ivory silk dupioni dress
Donor: Marianne Kline
Avenir Museum #2009.43
Object: Green chiffon dress
Donor: Marcia Fogel and Vicki Mykles
Avenir Museum #2010.399
Object: Red medallion silk sheath dress
Donor: Frances Shedd
Avenir Museum #2015.5.1
Object: Red and black silk houndstooth dress
Donor: Unknown
Avenir Museum #2001.39
Object: Black and blue abstract shift dress and belt
Donor: Linda Martell
Avenir Museum #2021.1.1a; 2021.1.1b
Object: Orange and teal chiffon dress
Donor : Linda Martell
Avenir Museum #2009.044
Object: Purple floral silk dress
Donor: Marianne Kline
Avenir Museum #2009.042
¹Sophie Woodward. Why Women Wear What They Wear. 1st ed. London: Bloomsbury Publishing (UK), 2007, 51-66.
Crafting Legacy
Listen | Press play to hear the recording:
Access the recording transcript here.
Vignette Image
Vignette Label Text
Is creativity a genetic trait? If so, how do artists and designers influence youth? What is possible when artistic genes mix with a creative home environment?
First, notice here the dress forms with two completed garments and one dress form with an in-progress piece.
Next, take a look at the fabric on the sewing table.
Finally, see the dressmaker’s shears on display. This assemblage of objects tells the stories of inheritance and heritage.
James Galanos sent this uncut fabric (seen on the sewing table) to his niece, Marianne, who lives in Fort Collins and attended Colorado State University to study fiber arts. Rather than take his own shears (on display) to the fabric, James was curious about what his niece, Marianne, might fashion from this fabric. Heritage is often made tangible through physical objects of inheritance, but it is also evident in the handed-down practices of craft.
Made by Hand
Did you know that most family elders who gift a meaningful, handmade object hope that the gift inspires the recipient to continue the legacy of making?¹ What legacies of crafting, creating, and making exist in your family?
The Galanos family has a long legacy of handcraft. Marianne used this fabric over the years to create her own blouses, carrying forward the lineage of Galanos making. Her sister, Linda, is a multi-modal artist who shared a love for photography with her uncle Jimmy. A Galanos cousin is a fine jewelry artist who sculpts with precious metals and gemstones. Their grandfather, James Galanos’ father, Gregory, was an accomplished oil painter. The heritage of artistic creation—whether commercially successful or not—is rich within the lineage of Galanos’, as evident here through Marianne’s creations. Today, she crafts hand-in-hand with her uncle as she holds his shears to fashion the fabric he gifted to her.
James, a first-generation child of Greek immigrants, certainly made his family proud by tastefully and skillfully realizing the ‘American Dream.’ He made a name not only for himself, but for his entire family. His commercial and artistic renown lives on not only in the objects he designed, but in the creative skills he inspired within his family.
What memories of your ancestors live on through what you make, create, or craft?
Object: James Galanos’ dressmaker’s shears
Object on loan by Marianne Kline.
Object: Black and white floral blouse
Object on loan by Marianne Kline.
Object: Pastel orange, lavender, cream floral blouse
Object on loan by Marianne Kline.
Object: Various fabric swatches
Object on loan by Marianne Kline.
¹Daniel M. Grossman, and Ryan Rahinel. “Achievement‐Based Sentimental Value as a Catalyst for Heirloom Gift‐Giving.” Journal of Consumer Psychology 32, no. 1 (2022): 41–56.
Finishing Touches
Listen | Press play to hear the recording:
Access the recording transcript here.
Vignette Images
Vignette Label Text
“It is the cardinal difference between a gift and commodity exchange that a gift establishes a feeling-bond between two people”. – Lewis Hyde
You might ask yourself, “So, a man sent his sister and nieces gifts. Some of the garments were also available for retail purchase. So what? How are these gifts any different than other presents?”
Good question!
The Gift Box
What makes these gifts unique—beyond James’ design and construction—is the attention and care he invested in each package. Many of his gifts included:
- accessories to complement an outfit;
- hand-drawn and annotated sketch as his way to communicate his most fashionable styling suggestions; and
- a heartfelt letter to the recipient.
Each item was carefully chosen with consideration of the recipient’s age, body shape and size, and lifestyle.
On some occasions, the accessories James sent were of his label—Galanos Originals—yet, often, the trimmings included were selected from other designers whose pieces perfectly complemented his designs. For example, notice here the silk moiré eggplant pumps from Italian luxury footwear line, Sebastian Montenapoleone. Now look at the letter on “Galanos” letterhead addressed to James’ sister, Sue. This letter illustrates James’ careful consideration of these shoes as the right fit for his sister.
As you look at the other objects here, notice the unique detailing on each accessory, for example, the curve and slope of the brim on a wide, black hat; the texture of the sand and brown striped felted wool cap; the sparkly flash of emerald stones on the gold chainmail belt; and the perfectly rounded pearls at the wrist of black leather opera gloves. Each of these accessories not only served as a finishing touch to a Galanos-gifted garment, but they also illustrate his special attention to detail reserved exclusively for his family.
Object: Black silk organza hat
Donor: Marianne Kline
Avenir Museum #2013.30.005
Object: Tan and brown stripe cloche cap
Donor: Marianne Kline
Avenir Museum #2003.36
Object: Gold belt with green stones
Donor: Marianne Kline
Avenir Museum # 2012.225
Object: Purple silk shoes
Donor: Linda Martell
Avenir Museum #2023.2.5a; 2023.2.5b
Object: Red silk shell tank
Donor: Marianne Kline
Avenir Museum #2021.2.2
Object: Black leather opera gloves
Object graciously on loan by Marianne Kline
Ritual Unboxing
Listen | Press play to hear the recording:
Access the recording transcript here.
Vignette Images
Vignette Label Text
It was in the 1970s when I received my first box from Uncle Jimmy, it was after I had just become engaged to my fiancé. I remember how excited I was to receive this gift; it was like Christmas morning! – Linda, James Galanos’ niece
Driven by a basic need to believe in something more powerful and extraordinary than the simple biological self, humans often transform people, places, objects, and even experiences, into the sacred. Such objects and occasions are treated with extraordinary care and attention, and they demonstrate how ritual seeps into our everyday consumer culture.¹
When Linda, her sister, mother, or grandmother saw the package delivery truck rounding the street corner, their world paused. The mundane daily routine halted, and a reverence descended. Collectively they prepared themselves for the ritual of receiving and unboxing a gift from their dear James. While an outsider might simply see a cardboard box of clothes, the family knew the boxes contained more than ‘just’ clothes… the box ignited a ritual of connecting heart and home.
Receiving an ‘Uncle Jimmy’ box involved excitement and anticipation. Making space to open and unpack the box was critical, and then gently opening the shiny gift box with its generous layers of tissue to reveal the precious gifts was a thrill beyond bounds. But the most precious gift was the handwritten note from James and the love imbued in the gift box.
This ritual, the making of sacred kindred keepsakes, was enacted in a ‘just so’ way, year-after-year, home-after-home, generation-after-generation. James’ gifts were more than just that, they became a tradition imbued with meaning.
What are the traditions of gift giving and receiving in your family, and what meanings do you make of them?
Object: Black with floral blouse and skirt set
Donor: Marianne Kline
Avenir Museum #2001.64a; 2001.64b
Object: Red and green floral blouse and skirt set
Donor: Marianne Kline
Avenir Museum #2015.7.1a; 2015.7.1b
Object: Blue with gold paisley sheath dress
Donor: Marianne Kline
Avenir Museum #2012.006
¹Russell W. Belk, Melanie Wallendorf, and John F. Sherry, Jr., “The Sacred and the Profane in Consumer Behavior: Theodicy on the Odyssey,” Journal of Consumer Research 16, (1989): 1-12.