Louise Lemaire Chéruit
1866 Paris – 1955
photo courtesy of alchtron.com
Louise Lemaire Chéruit was born in Paris to a seamstress mother, just before the onset of La Belle Époche, a time of great optimism and prosperity. Louise’s mother taught both her and her sister, Marie Lemaire Huit, the fine art of dressmaking – a skill that would later lead Louise to be considered to be one of the greatest female courtiers of all time.
Coming of age in the 1880’s, at a time when the great Impressionists, Monet, Degas, Renoir, et al, were revolutionizing art, Louise and her sister were doing the same in fashion. It was then that the sisters took positions at Raudnitz et Cie, a prominent courtier fashion house in Paris. The two rose quickly through the ranks and by 1895, the sisters’ names were embroidered on the labels sewn into the house’s clothing. Just five years later, Louise and Marie took over the company, and thus the labels were again changed to read: Chéruit and Huit, Srs, formerly Raudnitz and Co.
With a company with over 100 employees and a prominent location in the Hotel Fontpertuis, Paris, Madame Chéruit was well on her way to success. Her client lists bore society’s top names and her shows were among the first to feature live runway models.
Her design style was fashion forward and lead the trend from Victorian to Belle Époche to the Jazz Ages, including her creation of the famous “Flapper Dress.” The House of Chéruit thus became one of fashion’s preeminent designers. Along with her contemporaries, in 1912, Louise worked collaboratively to create La Gazette du Bon Ton, the industry’s first fashion magazine, featuring Art Nouveau illustrations of the designers’ latest creations. She is also credited with launching the career of the now famous Paul Poirot.
La Gazette du Bon Ton
photo courtesy of Circaa
When war hit, in 1914, Madame Chéruit was one of the only houses to remain open. It was during this time that she met an Austrian man of noble birth with whom she fell in love. It was an affair that not only destroyed her almost twenty-year marriage to Prosper Chéruit, but would also cost her reputation, and empire. Her lover, being a high-ranking officer in the Austrian military was accused of being a spy for the German’s. Rumors soon spread of Chéruit’s involvement with the Austrian, and she too was thus accused of being a spy.
While the accusations were eventually proven false, Chéruit’s career was over. By 1915, she had sold the House of Chéruit to Madames Wormser and Boulanger who brought their own perspective to the company’s design style. Louise continued to design for the company for the next ten years behind the scenes, however, her taste for the opulent was no longer the leading trend in the post-war City of Light. She retired in 1923 fading into somewhat obscurity after being one of fashion’s greatest icons. In 1935, designer Elsa Schiaparelli took over the House of Cheruit’s 98-room studio and showroom.
Though the magazine is long out of print, La Gazette du Bon Ton can still be found in many local libraries. Louise’s legacy also lives on in Marcel Proust’s Remembrance of Things Past, and Evelyn Waugh’s novel, Vile Bodies.
Madame Chéruit passed away in 1955.
Salon at House of Chéruit
By unidentified photographer – L’Illustration (magazine)
photo credit: @megan5mem
Mary Golda Ross
Aug. 9, 1908, Oklahoma – April 29, 2008, California
One year after Oklahoma was inducted into the United States as its 46th state, Miss Mary G. Ross was born. As the great-great-granddaughter of Cherokee Nation Chief, John Ross, Mary grew up in the tribe’s capital of Tahlequah, where she lived with her grandparents. Her family espoused the Cherokee Nation tribe’s innate value of the importance of equal education for both boys and girls.
Having attained her primary and secondary educations in Talequa, Miss Ross then attained a Bachelor’s Degree from Northeast State College in Mathematics and later, a Master’s Degree, also in Mathematics, from Colorado State College, the latter, in which, according to Mary, she took “every astronomy course they had.” Though she was often the only female in her classes, Mary was undeterred, instead, finding the humor and challenge of her position.
Upon her graduation, she taught high school mathematics, before moving from Oklahoma to Washington D.C. where she found a position as a statistician within the Bureau for Indian Affairs.
When the United States entered the Second World War in 1941, Ms. Ross, at the advice of her father, moved to California. By the following year, she had secured a job as a mathematician for Lockheed Aircraft Corporation in Burbank, California. During the war, she participated in many projects including the P-38, the fastest airplane of the time. Mary proved herself such a knowledgeable, competent, capable mathematician that her manager sent her to UCLA to attain an engineering degree, paid for by Lockheed.
After the war, and now, with an additional degree, Mary was promoted to highly sensitive projects, many of whom remain classified to this day. It is known, however, that she participated in both the RM-81 Agena and Trident Rocket programs, both of which were crucial predecessors for the manned Apollo Spacecraft that went to the moon. Ms. Ross was also the only female (other than the secretary) to be on the “Skunk Works” team; a top-secret program focused on interplanetary space travel, and satellite development and launch programs.
By the 1960’s she was a senior, advanced-systems engineer within the Lockheed Corporation, working on the development of space re-entry vehicles, among them, the Polaris. Among her many duties, she co-authored the NASA Planetary Flight Handbook, Vol. III.
Though she retired from Lockheed in 1973, she didn’t slow down. In the following years, she would dedicate herself to the encouragement of Native American youth towards education and careers in mathematics, science, and engineering.
In the 1990’she was given an achievement award by both the American Indians in Science and Engineering Society and also the Council of Energy Resource Tribes for her lifelong work with the organizations. Mary also was inducted into the Silicon Valley Engineer’s Council Hall of Fame in 1992, among numerous other achievements and awards. A sculpture in her honor and likeness graces the gardens at Buffalo State College, in Buffalo New York.
Ms. Ross passed away just four months before her 100th birthday.
Mary Gold Ross is considered the first-ever female Native American Engineer, and the first female engineer to ever work at Lockheed Corporation.
At 38 years old, Louise Pommery, born Jeanne Alexandrine Louise Melin Pommery, became pregnant with her second child. That this news came seventeen years after the birth of her first child, and at a time when she and her husband, Alexandre Pommery were planning to retire suggests surprise. Having made their fortune in the wool industry, Monsieur, and Madame Pommery, thus switched gears and rather than retire, entered the wine business.
It was in Reims, a town less than an hour from Paris by train, in what is known today as the Champagne region of France. that the Pommery’s lived when they began their winery. It is only in that part of France that sparkling wines made of grapes and produced in that region may be called Champagne. In 1856, when the Pommery’s entered the wine industry they were making still red wines. Just two years into their venture, Alexandre died leaving Louise with a young child and a new business. In his absence, Louise took the helm at the winery. There, she changed not only the company’s focus from the production of still red wine to that of champagne but also, the very way that Champagne worldwide is now produced and tasted. At the time, Champagne was made from green grapes harvested in the spring. They were bitter and therefore the wine made from them required the addition of a significant amount of sugar in order to be palatable. It was served as a dessert wine sipped from small V-shaped glasses. Louise Pommery took a risk in asking her grape- farmers to wait until fall to harvest when the fruit’s natural sugars would be higher thus eliminating the need for the addition of processed sugars. It was a risk well taken and one that would result in the development of enormous markets worldwide as Champagne became a beverage of class and distinction.
photo courtesy of Jetset Magazine
Beneath the town of Reims are miles of chalk tunnels mined by Roman slaves centuries ago. With optimal temperature and humidity, Madame Pommery produced her champagne in these tunnels, as did Madame Cliquot, just a few miles away at her own Champagne house. In unison, Pommery and Cliquot developed the region as a wine destination for English and American tourists that still endures to the day. During WWI, Reims was one of the cities hardest hit, with the Reims Cathedral suffering significant damage along with vast parts of the town. Though they continued operations as best they could during the war, Pommery and Cliquot, along with other champagne houses in the region, tuned their miles of chalk tunnels into an underground shelter from the bombing with each arm being designated for various purposes: government, school, hospital, and housing for the town’s residents. The tunnels were used again to protect citizens during the Second World War.
Photos courtesy of Messy Nessy Chic
After her passing in 1890, Louise’s children, Louis and Louise, took over the company, eventually passing it down the generations on the daughter, Louise’s, side. Today, the company is part of the Vranken-Pommery- Monopole holdings. The Pommery Estate honors its founder, Louise Pommery with the vintage brut Champagne, Cuvée Louise.
Tamara de Lempicka
May 16, 1898, Warsaw – March 18, 1980, Mexico
Tamara de Lempicka is considered the most famous female painter of the Art Deco Movement. Her style embodied the luxury and sophistication of a world eager to move past the pains of war. Art Deco gained its roots in the Art and Crafts Movement (1880-1920), and further inspiration from Art Nouveau (1880-1910). Like those two styles, the Art Deco Movement (1910-1939) encompassed a variety of mediums, including furniture, textiles, ceramics, metalwork, jewelry, architecture, painting / graphic arts, and stained glass. Arts and Crafts and Art Nouveau took its inspiration and pride from that which was handcrafted, and whose designs, across all art forms, were both inspired by nature and consisted of natural, organic shapes. While growing from those roots, Art Deco demonstrated a cultural shift toward industrialization and a love of all things mechanized, in its symmetrical, simplistic, but rigid designs. The color palettes used in Art Deco further enforce the industrial, yet glamorous themes with its heavy use of metallic gold, silver, and black.
Symbolic of not only the culture and era, Ms. Lipicka’s self-portrait, in particular, entitled: Autoportrait; Tamara in a Green Bugatti, (1929), demonstrates her independence, mobility, high social status, and of course, her talent. Her journey to the top of her field was at times tumultuous, others, an adventure beginning with a privileged upbringing in Warsaw, a first marriage to a wealthy lawyer, then later, another to a Baron, which earned her the title, “Baroness with a Brush.” Her work combined with war and the stock market crash, brought her from Warsaw to Paris, then to the United States and finally to Mexico. In each of these places, she mingled with the elite, and made a name for herself in each of these circles, spreading her fame wide. When, in the 1940’s, Art Deco fell from popularity, she attempted to re-invent herself but never attained the reputation she had pre-WWII. A few years before her death, however, Art Deco experienced a resurgence in popularity lending her work to be recognized once again. She passed away in 1980 in Mexico, where, at her request, her ashes were scattered by her daughter, Kizette, on the volcano, Mount Popocatépetl.
Bertha Parker Pallen Thurston Cody
August 30, 1907 (New York) – October 8, 1978 (Los Angeles)
For a woman to be born in a tent at the site of an archeological dig would seem a premonition of a life of adventure. It some ways, perhaps it was, but why then, would, at her death, her gravemarker bear a name other than her own?
In many ways, Bertha Parker’s life seemed to be woven of two disparate threads whose only connection was that they both were of an unorthodox nature. From the start, her childhood was spent in the field working alongside her anthropologist father, Arthur Parker, discovering the evolution, migration, and demise of our human and animal predecessors. After the breakup of her family, at age seven, her life followed a starkly different path, to Hollywood, where she moved with her mother and maternal grandparents, all of whom were actors. Through her teenage years, she and her mother performed the Pocahontas act for the Ringling Brother’s Barnum and Bailey Circus. By the time she was eighteen, she had become a wife and mother. Together with her husband, Joseph Pallen, they had a daughter, Wilma Mae, whom they called “Billie.” Just two short years later, however, her path would take her and her daughter back to the archeological life. With her marriage to Pallen ended, she found work, first as a cook, then an expedition secretary, with archeologist (and uncle by marriage), Mark Raymond Harrington.
Though she had no formal education, her prior field experience, and natural intelligence led her to make profound discoveries at Scorpion Hill, a site she excavated, photographed and documented herself, and later, alongside Harrington, at Gypsum Cave in the Nevada Desert. Her work at the latter was especially significant as their finds at this site provided proof of the first human presence on the North American Continent during the Pleistocene era. There, she discovered a fossilized camel bone, human tools, and a Giant Ground Sloth skull. Her work and academic writing of their findings catapulted her to become considered an expert in her field. It was on the Gypsum Cave expedition that she met and married fellow archeologist, James Thurston. Following the conclusion of the expedition, however, in 1931, the two became so ill it claimed the life of James and rendered Bertha so sick moved back to be with her parents in Los Angeles.
Upon her recovery, Bertha found employment with the Southwest Museum, for whom she worked for the next forty years. Combining her native Abenaki and Seneca ancestry with her anthropological work, Bertha published academic articles in the museums Masterkey journal on topics ranging from the significance of Pueblo Kachina Dolls, Native American Baby Cradles, and many about the Yurok Tribe of Northern California.
By the 1940’s, her life led her back to Hollywood once more. There she met actor, Espera Oscar de Corti, a.k.a. “Iron Eyes Cody,” the man who would become her third husband. During the first decade of their marriage, she worked as a television programming consultant to assist with creating a positive and accurate portrayal of Native Americans in the media. Mid-Century, she and Cody were the hosts of a television program highlighting Native American culture and heritage. From T.V. to community, their efforts to support Native culture rippled out to include their work with the Los Angeles Indian Center, which provided resources and support to Native peoples relocating to the greater Los Angeles area.
Bertha wove the contrasting threads of her life together in a way that made significant impacts upon our understanding of human evolution and history, and which supported her family and community in important, meaningful ways.
She is considered the first female Native American archaeologist and an expert in her field as is evident by the work she has left behind.
Bertha Parker Pallen Thurston Cody passed away in 1978 at age 71. Her grave is marked simply, “Mrs. Iron Eyes Cody.”
1959 – Present
The Vietnam War had ended only seven years before Maya Lin, a student of architecture at Yale University, entered a public design contest for its Memorial. Maya’s design beat almost 1,500 other entries in a blind-judging. Her concept for the Memorial incorporated natural elements and was to be a place where Veterans and families of the fallen could grieve and heal. Though she won, not all saw the beauty of her design. Being called to testify before the U.S. Congress, Ms. Lin presented her vision with such clarity and passion that they upheld her victory.
In addition to the Vietnam Veterans Memorial in Washington, D.C. Ms. Lin has created structural art worldwide including: The Eleven Minute Line (Sweden), The Civil Rights Memorial (Montgomery, Alabama), and what she calls her last memorial, entitled: What is Missing – an interactive website dedicated to environmental awareness. For her dedication to the arts and the environment, Ms. Lin has been awarded honorary doctorates from Harvard and Yale Universities as well as from Williams, and Smith Colleges respectively. In 2009, President Barack Obama presented Maya Lin with the National Medal of Arts and in 2016, the nations highest civilian honor, the Presidential Medal of Freedom.
Dec. 31, 1900 – 1995
While Monet, Degas, and Matisse, among others, created an artistic revolution abroad, at the turn of the Twentieth Century, the United States, too, was having its own, known as the Harlem Renaissance. Citizens fleeing a scarred, post-Reconstruction Era south in search of work and a new start, combined with the factory demands of a world at war, and the lack of immigrant labor to fulfill that demand, caused a flood of predominantly African American emigrants to flock to the New York neighborhood of Harlem. It was a group of talented, educated and skilled people who Harlem attracted. Much like their European artistic counterparts, the members of the Harlem Renaissance inspired each other in the fields of music, literature, and art. The Movement found its roots within the struggles of their ancestors and the beauty of their rich culture.
For sculptor, Selma Burke, it would be a circuitous route to Harlem. Born in Mooresville, North Carolina, December 31, 1900, Selma Burke had followed her mother’s advice to find a suitable and stable career as a nurse, despite her interest in the arts. Having attended Winston-Salem University and then St. Agnes Training School for Nurses in 1924, Selma married and prepared for a life as a wife and nurse. Her husband, however, died within a year of their marriage, and needing to support herself, Selma migrated north to Harlem where she found work as a private nurse.
Upon her arrival in 1935, however, a whole new world awaited her, and she quickly left nursing for a life in the arts. Joining the Harlem Renaissance, she found a home, friends, and peers who supported and encouraged her work as a budding sculptor. Her education was rich, working under famed Harlem Renaissance sculptor, Augusta Savage, and studying abroad in both Vienna and Paris. It was in the latter that she met Henri Matisse, who praised Selma’s work. From her time in Europe, Ms. Burke created one of her most significant pieces, Frau Keller, a German-Jew, in response to the growing Nazi threat she witnessed abroad.
Once home, she attended Columbia University where she attained an MFA in 1941. Just eight years later, she married architect, Herman Kobbe. The two moved to the artist community of New Hope, Pennsylvania. Though Herman passed away in 1955, Selma stayed in New Hope until her own passing in 1995 at the age of 94.
During her life, Selma created both full sculptures and busts in wood, brass, alabaster, and limestone. Her work captured the human emotions of the common person and portrayed family relationships. She also created busts of many famous people including Booker T. Washington, Duke Ellington, Franklin D. Roosevelt, and Martin Luther King, Jr. It was her bas-relief of Franklin D. Roosevelt which was John R. Sinnock’s inspiration for the image on the reverse of the dime.
Selma Burke is considered one of the leading artist of the Harlem Renaissance. Her work can be found in major cities around the country including Milwaukee, Pittsburg, New York, Washington, D.C., and Atlanta. Her contributions earned her a number of honorary doctorate degrees and made her a great inspiration for the generations of artists in her wake.
Naomi Parker Fraley – March 24, 1942 – Alameda, CA
In 1942, the United States joined forces with its European Allies, leaving the country devoid of millions of young men young. In their absence, women joined the workforce, many for the first times in their lives, becoming, among other things, nurses, firefighters, farmers, and factory workers. As the war drew on, many companies sought to keep up morale and also, keep their employees from striking.
At Westinghouse Electric, Pittsburg artist J. Howard Miller created a poster for the company of a young woman wearing a red polka-dotted bandana and a blue jumpsuit. It was accompanied by the simple words: “We Can Do It.” Artist J. Howard Miller took his inspiration for this illustration from a photograph he saw in the Pittsburg Press of a woman in profile wearing a bandana and jumpsuit leaning over a lathe. The original photograph was taken by an Acme news-service photographer in 1942 and held a caption that would solve a mystery almost three-quarters of a century later. The caption, however, was not credited in Miller’s art, since it was only intended for Westinghouse and its employees – never for public view.
It remained that way, in fact, until the early 1980’s when it came into the National Archives’ possession. At the urging of its consultants, the National Archives put prints of the poster in its gift shop giving it the name “Rosie the Riveter – a name intended to boost sales of merchandise bearing the image, a tactic which worked.
In the years that followed, numerous women claimed to be the inspiration for Rosie. It appears that most of those claims were made in good faith. The primary one came from Ms. Geraldine Doyle, who, in 1942, was a 19-year-old factory worker in Michigan. Her claim stems from having seen a reprint of the original lathe-worker photograph in a magazine in 1984. The reprint, however, did not carry with it the original caption. When Ms. Doyle saw the photograph of the woman by the lathe she thought it to be an image of her younger self. At the time of her death, in 2010, her claim had gone unchallenged; almost.
Just after the Pearl Harbor bombing, a young Naomi Parker, and her younger sister, Ada reported for duty at the Naval Air Station in Alameda, CA. The two sisters were assigned to the machine shop, where, among other duties, they had to rivet aircraft parts. On March 24, 1942, an Acme photographer visited the machine shop and snapped the photo of Ms. Parker at her lathe. The photo was printed in the newspaper with the caption: “Pretty Naomi Parker looks like she might catch her nose in the turret’s lathe she is operating.” Naomi clipped the image with its caption, keeping it safe in her bureau drawer for the next seven decades.
In 2008, Ms. Naomi Parker Fraley saw the “lathe-worker” photo at the Rosie the Riveter / World War II Home Front National Historic Park, in Richmond, CA – captioned with Geraldine Doyle’s name. In an attempt to clear the misconception, Naomi approached the National Park Service with a copy of the original photo and caption but received little assistance. It wasn’t until she met Dr. James Kimble, professor of communications at Seton Hall University, that her claim gained traction. Dr. Kimble had spent the previous six years searching for the true identity of Rosie the Riveter – not because he disputed Ms. Doyle’s claim but rather out of a suspicion that her claim was never verified. The two met and Naomi was able to provide Kimble with her photograph and caption. After extensive research, Kimble was able to locate a copy from a seller of vintage photos. It bore the original date, caption and location aligning with the details provided by Ms. Parker. According to Kimble, the woman in the photo is undeniably Naomi Parker Fraley. The question that remains, however, is whether it was that photograph that inspired Miller to paint the Rosie / Westinghouse poster. With no heirs to consult on the subject, it is impossible to say with absolute certainty. However, with Dr. Kimble’s verification of the timing of the photo’s printing, the location of its printing and the date and city of Miller’s creation of the work, Kimble feels strongly that Naomi is indeed Rosie.
Just before her passing, January 20, 2018, Ms. Parker felt victorious that at last, her identity had been correctly identified and was happy to be an inspiration to women in these most trying of times.