Throwback Thursday | Kress-Hertel men's clothing - Sheboygan Press |
| Throwback Thursday | Kress-Hertel men's clothing - Sheboygan Press Posted: 24 Oct 2019 06:00 AM PDT  SHEBOYGAN - For a long time, Kress-Hertel was a well-known and respected eastern Wisconsin men's clothing store and for many years was at 703 N. Eighth Street. That building was built by German immigrant Carl Zaegel in the years 1856 to 1859, according to Sheboygan Press clippings provided by Beth Dippel of the Sheboygan County Historical Research Center. The building originally housed retail firms on the first floor with offices on the upper floor. From 1868 to 1876, Jacob Kuster operated a jewelry store on the lower floors while on the upper floor John Beekman Cole operated the Beekman Hotel. After the hotel closure in 1876, the building housed Kommers and Zwerg's dry goods store plus some law offices. It has been said the building is one of Sheboygan's oldest buildings standing today. In the early 1890s, the Sheboygan Business College, operated by M.C. Patten, occupied the upper floors of the building. Later, in the early 1900s, the building was occupied in part by the Citizens Telephone Exchange. Geele Hardware and F.W. Woolworth then occupied the first floor for many years, with Woolworth's making it until 1950. The Citizens Telephone Exchange would remain there until a new telephone building was built. Sometime in the 1920s, Andrew J.Hertel went to work for Victor Imig Clothing store following his discharge in 1919 from the U.S. Navy after his service in World War I. He would work there for eight years with Imig part-owner J.A. Kress. Later, the two decided to strike out on their own at 620 N. Eighth Street. They would also operate a location out of Manitowoc. After a couple of years, Hertel moved the firm to 702 N. Eighth Street, which is where Mead Public Library property is today. In 1971, the Kress-Hertel moved to the building at 703 N. Eighth Street as its property was sold to make room for Mead Public Library, which was completed in 1974. Kress-Hertel would close in 1995. In 1999, Todd and Lance McGrath of McGrath and Associates along with Robert Wood restored the building, which spanned 701-703 N. Eighth St. The $1.5 million dollar restoration project restored the exterior to its original look, replaced mechanicals and windows, and installed a new elevator. Many firms have used the location including Johnson Bank, which at one time operated a branch out of the lower floor. Today the building has an employment agency with some other space rented out for offices. To see this larger, click here. RELATED - Throwback Thursday | Wagner's Shoes RELATED - Throwback Thursday | Nickel & Diehl furniture and undertaking RELATED - Throwback Thursday | Fessler-Kuck Furniture Read or Share this story: https://www.sheboyganpress.com/story/news/local/2019/10/24/sheboygan-history-kress-hertel-operated-out-historic-building/2450261001/  |
| Clare Waight Keller: The Female Future of Men's Fashion - GQ Posted: 23 Oct 2019 05:02 AM PDT But all the while, she felt there was room to grow in menswear. Unlike with other big fashion houses, where womenswear is the more lucrative machine, Givenchy's business is "50–50" she told me. And since her spring 2018 couture debut, which provocatively included men's clothes, a buzz had been building. Suddenly, she said, there were "all these A-list actors and musicians immediately wanting to come to the house and order and really wear this idea of a more flamboyant man, but with a strong structure to it, a strong sense of tailoring." She knew she could push the vision further—that as a menswear designer, she had more things to say. So in January she held a confident but understated presentation—fluid, glam tailoring and sportswear, with a sense of unplaceable retro—during Paris Men's Fashion Week. The excitement she was generating amplified in the spring, when Givenchy announced its massive show at the menswear-only mecca Pitti Uomo. Though the show was now only two days away, Waight Keller seemed anarchically calm. Given the duties she juggles, Waight Keller might be the hardest-working designer in fashion. But you wouldn't know it, either from her presence on Instagram, a place where fashion-industry people love to share footage of themselves flinging around the world in pursuit of the next exotic #inspo, or from her demeanor. She radiates calm and approachability—a striking contrast to the French couturier archetype (usually: angry, and a man). I asked her how she balances all these collections, many of which require simultaneous work and separate visions, and she said simply, "I'm organized!" One would have to be to handle just her growing responsibilities in menswear, a fashion category that suddenly finds itself at the center of the industry's attention. Within LVMH, the conglomerate that owns Givenchy, menswear has become a major focus: Louis Vuitton, Dior, and Berluti all appointed new menswear designers in 2018. The star power in particular of Dior's Kim Jones and Vuitton's Virgil Abloh—not to mention that of their supporters and friends, including A-list models and musicians—has brought a new level of excitement to men's clothing and the attendant fashion weeks, especially in Paris. "This is why I'm moving towards men's shows, because I think it now really warrants it," Waight Keller told me, excited about the possibilities for menswear to become as much an obsession—even a lifestyle—every bit as grand and glamorous as womenswear. "I want to start moving the menswear up to that level," she said. I ask her about the show in a couple of days and about the message she wants it to convey. "It's the independent vision of menswear," she said simply, like it's no big deal.    Many designers borrow from menswear in their womenswear, but Waight Keller does the opposite, blending the fantasy of women's with the tailoring ingenuity of men's Waight Keller has a way of making the remarkable seem understated—sensible, even. This includes her own arrival at Givenchy, in 2017, which was greeted as a major moment in fashion's recent feminist wave. For over a century, the great irony of the Paris ateliers was that while they were the world's premier manufacturers of female fashion fantasies, they were mostly led by men. With the exception of Elsa Schiaparelli and Coco Chanel, all the great couturiers of the so-called golden age—a period that stretched from just after World War II through the late 1950s—were men. Hubert de Givenchy, Cristóbal Balenciaga, Christian Dior, and Pierre Balmain. As time marched on, those eponymous couturiers were replaced with more men. That narrative began to change when, in 2016, Maria Grazia Chiuri was appointed artistic director of Dior, overseeing womenswear, and when, a year later, LVMH announced Waight Keller as the new artistic director of Givenchy. She stepped into the role after spending six years at Chloé, a brand that is the flirtatious embodiment of the French woman—all flounce and bohemia. There the silhouettes she perfected derived from a draping technique called flou, of which Waight Keller is a modern master. Despite her feminine bona fides, her résumé had, up to that point, swung between menswear and womenswear: She designed womenswear for Calvin Klein, served as the head men's designer for Ralph Lauren's Purple Label, oversaw womenswear at Gucci under Tom Ford, and spent the early years of the 21st century making men's and women's clothes at Pringle of Scotland, a once modest knitwear company that she helped grow into a global luxury brand.  |
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