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  • FIDM Museum Blog: Elsa Schiaparelli
    wit and creativity Schiaparelli s career in fashion began through necessity Divorced and living in Paris with her young daughter Schiaparelli had to find a way to support herself Via an American friend Schiaparelli found employment as the designer for the short lived Maison Lambal When this house closed the emerging designer launched her own line Schiaparelli s first collection in 1927 featured one show stopper a black and white sweater with a trompe l oeil bow at the neck Featured in Vogue the sweater was copied by mass market retailers in the United States and Europe Over a decade after her first success with trompe l oeil Schiaparelli returned to the technique using it to embellish this luminous evening jacket Evening jacket Fall Winter 1939 40 Elsa Schiaparelli Museum Purchase Funds provided by Barbara Bundy and Bloomingdale s 2010 5 24 Before the outbreak of World War II Elsa Schiaparelli s last collection introduced her slim Cigarette Silhouette 1 The collection featured long line day and evening jackets with long tight fitting sleeves and narrow floor length skirts This evening jacket is made of men s necktie silk in Schiaparelli s notorious Shocking Pink woven with white black and bright green pinstripes the latter color was dubbed phosphorescent by fashion reporters a reference to the acid green glow of radioactive materials 2 Morning glories symbolic of death and resurrection and of anxiety and hope during this time of impending war were stitched in variegated blue red and gold metallic flosses by the famed embroidery house Lesage They appear to climb up the pinstripes an example of the trompe l oeil wit often found in Schiaparelli s work 1 Actresses Model Autumn Fashions New York Times September 19 1939 11 2 Pope Virginia Paris Sees Family Album Styles Modernized for Women of Today New York Times August 3 1939 16 Posted by FIDM Museum Permalink Comments 0 TrackBack 0 April 05 2012 Mae West objects on display Originally posted in 2009 this post explores Mae West s larger than life persona Visit the 20th Annual Art of Motion Picture Costume Design exhibition to see one of Mae West s corsets and a pair of her platform shoes on exhibit The exhibition closes on April 28 2012 Mae West s 1893 1980 most famous attribute was her figure Buxom rounded and held in place by rigid corsets West s silhouette provoked a degree of outrage while also serving as her best publicity Her hourglass shape was immortalized in 1937 when the couturier Elsa Schiaparelli used West s silhouette as the basis for her Shocking perfume bottle Hired to design costumes for West s 1937 film Every Day s a Holiday the Paris based couturier would not travel to Hollywood and West could not travel to Paris A solution was reached whereby a torso based on West s measurements was sent to Schiaparelli s Paris workshop The resulting perfume bottle serves as an iconic representation of both Mae West and Elsa Schiaparelli

    Original URL path: http://blog.fidmmuseum.org/museum/elsa-schiaparelli/ (2016-02-12)
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  • FIDM Museum Blog: Embellishment
    decorative embellishment Meandering flowers embroidered in multiple shades of pink have wooly blue green leaves and tan stems Negative spaces between flowers and foliage are filled with sequins both flower shaped and round and metallic embroidery stitches The result is a rich visual feast the perfect counterpoint to the sleek lines of the black jumpsuit 97 291 13AB skirt detail 1 Taxes and Costs Bedevil Paris Dressmakers Though Spring Styles are Selling Well New York Times Feb 19 1952 23 2 The Jaipur look for summer Audrey Hepburn s new Givenchy choices Vogue Jun 1 1964 68 Posted by FIDM Museum Permalink Comments 0 TrackBack 0 August 08 2014 Fashion Birthday Rudi Gernreich Rudi Gernreich was born on this day in 1922 August 8 2014 would have been his 92nd birthday Born in Austria Gernreich immigrated to the United States in 1938 After settling in Los Angeles the fledgling designer produced his first collection in 1949 Intent on creating liberating designs Gernreich would provoke and titillate the fashion industry and fashion consumers until his death from lung cancer in 1985 The FIDM Museum is fortunate to have an extensive collection of Gernreich garments patterns and other ephemera Together these objects comprise the Rudi Gernreich Archive We ve featured Gernreich garments on our blog many times To see other examples of Gernreich s work revisit these archived posts Embroidered caftan 1970 75 Bequest of the Rudi Gernreich Estate G85 331 2 Though this embroidered caftan bears an interior label reading Rudi Gernreich it wasn t designed by Gernreich himself Based on the embellishment we surmise that this multi colored garment was purchased during a year long sabbatical In 1969 feeling fatigued by deadlines Gernreich opted to take time off for travel and rest 1 As he told a reporter in late 1968 I don t have cancer or a brain tumor or any incurable disease I just want to refresh myself 2 His first stop was reportedly North Africa though this caftan suggests he also ventured to India Covered with embroidery this caftan features shishadar or mirrorwork This technique uses embroidery stitches to affix small bits of mirror to a durable base fabric and was likely developed as a way to mimic the alluring gleam of textiles embroidered with gold or silver thread Shishadar probably originated sometime during the 17th century in the region now encompassed by Western India Pakistan and Afghanistan Even today it is used to decorate both garments and interior textiles Though we don t have Rudi Gernreich s sabbatical itinerary he probably purchased this caftan somewhere in western India most likely in Gujarat 3 G85 331 2 detail Note the mirrorwork at the top and right of this image The body obscuring silhouette of this eye catching caftan probably appealed to Gernreich s interest in liberating the body from constraining silhouettes During his career Gernreich designed many cocoon like caftans While on sabbatical he purchased at least one other embroidered Indian caftan Housed at the Kent State University Museum it is extremely similar but features different embroidery patterns Like the caftan pictured here it has a Rudi Gernreich label He may have purchased them as gifts or to retail under his own label as an embodiment of his ideas about clothing and its relationship to the body G85 331 2 Side view 1 Morris Bernadine Gernreich Taking a Year Off to Rest New York Times Oct 16 1968 42 2 Sheppard Eugenia Rudi Gernreich Plans Year Off Designer to Take Holiday From Fashion Deadlines The Washington Post Oct 18 1968 C6 3 Whitley Lauren Hippie Chic Boston MFA Publications 2013 99 Posted by FIDM Museum Permalink Comments 0 TrackBack 0 April 11 2014 Embroidered cotton lawn dress c 1923 Day dress c 1923 Cotton lawn with machine embroidery Gift of Mary Davenport 2000 219 2 Made from cool lightweight cotton lawn this sleeveless 1920s dress is the perfect spring frock Like many fashionable 1920s dresses it is shaped only by minimal bust darts Often described as youthful or boyish this slim untailored shape was the dominant silhouette throughout the 1920s Waist definition such as a sash or seam was usually placed below the natural waist This dress ignores the natural waistline featuring instead a low softly gathered dropped waist Vertical lines of stylized floral embroidery possibly roses emphasize the columnar silhouette of the dress This same embroidery dictates the purposefully uneven hemline Hem detail Though roses have been a popular motif for centuries they were given a new look during the teens and twenties During these decades they were stylized into flat geometric roundels like those seen on the dress above Artist Paul Iribe is credited with developing this modern Art Deco version of the rose which was used frequently by Paul Poiret Poiret s 1913 dress for Denise Poiret La Rose d Iribe features a stemmed variation with the name of the dress indicating the origin of the stylized rose This new rose became a decorative staple appearing in a variety of colors and contexts The pink and purple color palette seen on this dress was discussed by Vogue in 1925 Floral colors were gaining favor with rumor predict ing popularity for new members of the mauve cyclamen and violine families 1 Here the soft pink lawn ground provides the perfect foil for colorful embroidered flowers and foliage 1 Vogue 15 Feb 1925 46 Posted by FIDM Museum Permalink Comments 2 TrackBack 0 March 22 2014 Celebrate Spring Spring has officially arrived March 20 was the first day of the spring in the Northern Hemisphere From here on out the weather gradually gets warmer and days are longer Warm days encourage colorful spring flowers to bloom cherry blossoms tulips daffodils and many others To celebrate the arrival of this balmy season we offer you a bouquet of flowers from the FIDM Museum collection Silver Studio 1897 Gift of the Textile Group of Los Angeles 2007 916 1 Featuring a dynamic pattern of swaying poppies interspersed with

    Original URL path: http://blog.fidmmuseum.org/museum/embellishment/ (2016-02-12)
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  • FIDM Museum Blog: Emile Pingat
    dinner conversation described in the July 21 1883 issue of Harper s Bazaar encapsulates the tone of this coverage The great subject of dress was allowed and the rival merits of Worth Pingat and their noble army were discussed Clearly the two men are positioned not as fierce competitors but as the two most powerful forces shaping fashion Though Pingat designed a variety of gowns he was known primarily as a authoritative designer of outerwear Opera coats jackets and a variety of mantles were all designed by Pingat The base fabric varied from sturdy wool to brightly colored silks but Pingat s outerwear always featured extensive embellishment such as beading fringe and lace In fact descriptions of Pingat s outerwear by the fashion press give the impression that the chosen textile was used primarily as a foundation on which to showcase a sophisticated sense of surface design When you look at the images of the FIDM Museum Pingat mantle below notice that the back is cut much shorter than the elongated front This was a design feature intended to accommodate the bustle a type of structured undergarment worn under a dress which created a pouf of fabric at the backside

    Original URL path: http://blog.fidmmuseum.org/museum/emile-pingat/ (2016-02-12)
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  • FIDM Museum Blog: Emilio Pucci
    the body lacking the rigid understructure of most 1950s dress designs Widely copied at all price points the exuberant pattern and figure skimming silhouette of a Pucci dress embodied the youthful optimistic spirit that dominated the 1960s Maxi dress 1964 Emilio Pucci Gift of Mrs Robert L Wood 97 692 1 Continue reading From the Archives Pucci maxi dress 1964 Posted by FIDM Museum Permalink Comments 0 TrackBack 0 September 02 2010 Sewing patterns from the FIDM Museum Within the FIDM Museum collection are a number of smaller mini collections Some like the Rudi Gernreich Archive consist of large groupings of objects that document the work of a specific designer Others like our photograph collection are less focused groupings of objects collected to help us interpret fashion history One of my favorite mini collections is our collection of paper sewing patterns In addition to their entertaining envelope illustrations sewing patterns are a valuable source of fashion information because they help us understand how high fashion or runway garments are interpreted for the mass market This is particularly true for patterns associated with known designers They can also point to the social context of specific garments or styles Because many patterns are copyrighted they can be very useful in dating extant garments Sewing patterns also allow us the opportunity to engage with fashion on a very personal level With a bit of practice and patience any sewer can create a custom designed garment demonstrating either a highly individual sense of style or one perfectly attuned to the latest runway fashions Misses and Women s Slack Suit and Coverall pattern Simplicity 1942 45 2003 46 10 Gift of Andrea Tice In Memory of Carmelita Johnson Continue reading Sewing patterns from the FIDM Museum Posted by FIDM Museum Permalink Comments 13 TrackBack 0

    Original URL path: http://blog.fidmmuseum.org/museum/emilio-pucci/ (2016-02-12)
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  • FIDM Museum Blog: Evening gown
    began in the hippie milieu of late 1960s Los Angeles Working from her eponymous shop Harp created custom clothing from a hodge podge of new and old materials Harp s aesthetic soon shifted moving towards what she called grown up glamour clothes 1 Discarding the feathers and fringe she favored in the late 60s Harp began working with more refined materials including silk chiffon panne velvet and silk jersey Using these textiles enabled Harp to produce a range of romantic body conscious evening wear including the hand painted dress pictured above This bias cut blue evening dress provides another example of Holly Harp s interest in glamour and romanticism Harp once admitted that she was a junk store aholic who couldn t pass up an opportunity to visit a second hand shop 2 These excursions to the past probably inspired the 1930s feel of her designs Other designers of this era also looked to the past for design inspiration Theadora Van Runkle s 1930s inspired costumes for the 1967 film Bonnie and Clyde generated tremendous interest in 1930s fashions Yves Saint Laurent s 1971 collection Homage aux Années 40s was entirely based on fashion of the 1940s including the broad shoulders turbans and platform shoes popular during the decade Vogue editor Hamish Bowles discusses Saint Laurent s Homage aux Années 40s in this short video The slim silhouettes of Ossie Clark s designs are strikingly similar to 1930s styles Except for the midriff cutout this 1970 black crepe dress designed either by Clark or his business partner Alice Pollock could easily be mistaken for something designed in the 1930s With its flowing skirt and revealing bodice our pink chiffon Holly s Harp is reminiscent of our late 1930s Madeline Vionnet evening gown Instead of focusing decorative attention of the bodice Harp chose to cover the skirt with a cascade of hand painted flowers and leaves Turning to the back of the dress floating panels attached to the criss cross shoulder straps portray a nude women adorned with a crown of flowers Look to the lower right corner of the image and you ll also notice a harp player a play on the designer s name Detail 99c 059 09 Is this a representation of Eve Or a goddess The presence of the harp player alludes to classical mythology though it is difficult to know if the image represents a specific persona or is simply a general reference Either way this demurely innocent portrayal of nudity contrasts with the revealing cut of the bodice Dipping almost to the waist in front and at the sides the bodice reveals almost as much as it conceals Detail 99c 059 09 1 Krier Beth Ann Subtlety Newest Boutique Commodity Los Angeles Times 27 April 1972 11 2 Lobenthal Joel Radical Rags Fashions of the Sixties New York Abbeville Press 1990 127 Posted by FIDM Museum Permalink Comments 0 TrackBack 0 August 01 2014 Fashion Birthday Yves Saint Laurent Yves Saint Laurent was born on this day in 1936 Active in the Paris haute couture from 1953 until his retirement in 2002 Saint Laurent is considered one of the most influential designers of the latter 20 th century Saint Laurent passed away in 2008 but with the recent release of both official and unofficial biopics documenting his life his legacy is clearly experiencing consideration In honor of the designer s birthday today s blog post explores a Saint Laurent haute couture evening dress from 1979 80 Evening dress Yves Saint Laurent Autumn Winter 1979 80 Silk velvet silk satin Gift of Mrs Alfred Bloomingdale 2006 116 54 This evening dress was model 85 from Yves Saint Laurent s Homage to Diaghilev and Picasso collection inspired by the collaboration of ballet impresario Sergei Diaghilev and painter Pablo Picasso Garments were comprised of contrasting shapes and color blocks like this gown s square black velvet shoulders juxtaposed with the rounded yellow satin skirt a style reminiscent of Picasso s set and costume designs for the Ballets Russes Notations on the fashion show program reveal that this dress cost 13 050 francs approximately 3 260 in 1979 Couture pricing is arbitrary and depends on the number of models a client commissions each season as well as her media value Famous clients known for wearing a certain designer exclusively are valuable advertising for the house and can receive substantial discounts or outright gifts of favorite designs 2006 116 54 Shoulder detail This collection was well received by both critics and customers The New York Times reported that attendees suffered over which styles they should buy They were traumatized by the fact they liked so many 1 Vogue gave the collection high praise calling it a collection with fireworks and fashion on the highest level of craftsmanship and design 2 At the show s conclusion audience members gave Saint Laurent a standing ovation Donor Betsy Bloomingdale favored the rich yellow color of this skirt She owned several haute couture garments in similar colors including a golden yellow halter gown in silk charmeuse also by Yves Saint Laurent The strong color combination seen in this evening dress was a defining characteristic of Saint Laurent s Picasso Diaghilev collection which featured intense colors punctuated by deep black and enlivened by a recurring harlequin pattern Picasso painted the geometric harlequin pattern many times throughout his career exploring the visual impact of the pattern itself and its symbolism In the 1905 painting At the Lapin Agile Picasso depicts himself as a harlequin wearing a black bicorn hat 2006 116 54 Back 1 Morris Bernadine Diaghilev Inspires Saint Laurent New York Times July 26 1979 C1 2 Paris Fashion American Allure Vogue Oct 1 1979 334 Posted by FIDM Museum Permalink Comments 0 TrackBack 0 May 31 2014 1890s evening ensemble Astute fashion observers quickly realize that fashion is cyclical Silhouettes colors motifs and styles disappear only to reappear years or even decades later Some styles like the diaphanous drapes of ancient Greco Roman dress

    Original URL path: http://blog.fidmmuseum.org/museum/evening-gown/ (2016-02-12)
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  • FIDM Museum Blog: Events
    and Wolf Hall Emmy nominated costumes the Fox series Gotham by Lisa Padovani Emmy nominated costumes for the BBC PBS miniseries Wolf Hall by Joanna Eatwell Emmy nominated costumes for the Fox series T he Mindy Project by Costume Designers Guild President Salvador Perez This year the Television Academy has instituted new rules for the Outstanding Costume Design nominees In the past separate awards were given in two categories series and miniseries movie This year two statuettes will be awarded but they will honor contemporary costumes and period fantasy costumes regardless of the format of the show The new rules make it easier for the Academy to recognize contemporary costumes which were often shut out by period pieces in both of the old categories Thus The Mindy Project will compete against Gotham but not Wolf Hall set in the sixteenth century Jennifer L Bryan with her costumes for AMC s Better Call Saul also worked on AMC s Breaking Bad Ellen Mirojnick a 2013 Emmy winner for HBO s Behind the Candelabra makes last minute adjustments to her costumes for Cinemax s The Knick The exhibition is organized by guest curator Mary Rose costume designer and past member of the Board of Governors of the Academy of Television Arts Sciences Costume Design Supervision Peer Group Like all of our exhibitions it is free to the public Visit us Tuesday Saturday 10am 5pm through September 26 FIDM Museum Director Barbara Bundy and guest curator Mary Rose Posted by FIDM Museum Permalink Comments 1 May 12 2015 Let Them Eat Cake Marie Antoinette Re Mixed Join FIDM students and staff tomorrow night May 13 from 4pm to 7pm for a reception celebrating Let Them Eat Cake Marie Antoinette Re Mixed a display of fashion illustrations by FIDM students inspired by our current exhibition Opulent Art 18th Century Dress from The Helen Larson Historic Fashion Collection See the shows meet the artists and enjoy French treats Fashion illustrator and FIDM instructor Nancy Riegelman will be sketching live in the FIDM Museum Foyer RSVP to RSVP fidmmuseum org Robe Volante France c 1745 Helen Larson Historic Fashion Collection L2011 13 991AB If you can t make it to the opening night reception check out the sketches and Opulent Art on display Tuesday Saturday 10am 5pm through July 2 As always our shows are free to the public Please see the museum s website for directions and parking information Posted by FIDM Museum Permalink Comments 0 TrackBack 0 March 10 2015 Free Concert in Grand Hope Park Join us on Saturday March 28 at 3 pm for a free concert in the park from LA Opera The FIDM Museum is collaborating with LA Opera for their Figaro Unbound season in celebration of our exhibition Opulent Art 18th Century Dress from the Helen Larson Historic Fashion Collection Both Opulent Art and the 23rd Annual Art of Motion Picture Costume Design exhibition will be open for viewing Bring the whole family for a lovely day of music

    Original URL path: http://blog.fidmmuseum.org/museum/events/ (2016-02-12)
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  • FIDM Museum Blog: Exhibition design
    accelerated from 0 to 60mph in the blink of an eye I found I had more information than I knew what to do with I believe the hardest part of curating an exhibition is the editing process Text panels are written to help guide the viewer through the exhibition an explanation of the exhibition s themes and how the objects relate to each other All the information written for these panels in the gallery space must clearly reflect the most important facts about the objects Artfully Adorned is on display in the Annette Green Perfume Gallery which is a fairly small gallery space In order to keep word counts down to a minimum so visitors aren t overwhelmed by the panels many quotes and entertaining facts had to be left out Below are some examples of the fun research I came across that didn t make it into the exhibition In an article from the May 31 1947 Saturday Evening Post the following was used to describe a woman s longing for sparkling baubles during the Great Depression Experience in the 30 s showed that the industry is peculiarly adapted even to weathering a depression When a woman can t afford a new dress she buys new costume jewelry to brighten up her old ones When she goes out to seek a job she finds in a bit of glitter a powerful stimulant for her morale 1 It does not matter if they are real as long as they look like junk Coco Chanel 1924 Marilyn exclaims Diamonds I don t mean rhinestones But diamonds are a girl s best friend during her big number in Gentlemen Prefer Blondes However Marilyn Monroe s diamonds are a girl s best friend jewels were really rhinestones as were Audrey Hepburn s Breakfast at Tiffany s baubles 2 Mounting and placing the jewelry is my favorite part of the process It s both satisfying and exciting to figure out the best way to express the story through the material objects Every curator has his her own method to best go about installation For Artfully Adorned I made a map of the gallery and placed photos of each object where I thought they would best be utilized This helped with the initial organization of the collection and proved useful during installation Once the objects were in their respective cases a fantastic team of preparators helped mount and install each piece Below are images of former intern Mari Ogino and I figuring out the best placement for visual appeal and showcasing the important elements of each piece 1 McCormick Elsie Merchants of Glitter The Saturday Evening Post Indianapolis IN Curtis Publishing May 31 1947 34 35 114 115 2 Romero Christie Warman s Jewelry A Fully Illustrated Identification and Price Guide to 18th 19th 20th Century Fine and Costume Jewelry Iola WI Krause Publications 2002 200 Print Posted by FIDM Museum Permalink Comments 0 TrackBack 0 February 04 2014 BLISS 19th Century Wedding Gowns from

    Original URL path: http://blog.fidmmuseum.org/museum/exhibition-design/ (2016-02-12)
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  • FIDM Museum Blog: Exhibitions
    select an artwork displayed in the exhibition and use it as inspiration to design something new Inspired Eye competition illustration by Olivia Davis We had many innovative entries ranging from sketches to paintings and headdresses even a lamp Donald and Joan Damask selected the three winners who all received gift certificates from Michael Levine A view of the exhibition at the opening of Inspired Eye The Donald and Joan Damask Design Collection at the FIDM Museum in Los Angeles California on Thursday June 11 2015 Photo Alex J Berliner ABImages Second year FIDM Fashion Design student Olivia Davis won first place for her sketch depicted to models wearing clothing printed with a David Croland illustration from the exhibition The Damasks were impressed by her clothing designs and the quality of the drawing and presentation as well as her integration of the exhibition artwork and the written explanation of her design process Olivia described her inspiration This piece of art inspired me due to the era in which it was painted As a lover of the 90s and being born during this era it was really relatable to me I really like how simple it is but it says so much The choice of colors symbols and shapes portray something so beautiful and lively I chose to do a fashion sketch and design some pieces of clothing using the painting as a pattern I designed a lightweight trench coat and a two piece knit top and skirt The overall purpose of the design was to showcase the painting which was used as a printed pattern But at the same time I wanted to stay true to what is in style today I think that the overall look is fun and really showcases the era of the 1990s Congratulations Olivia Visit Inspired Eye The Donald and Joan Damask Design Collection at the FIDM Museum 10am 5pm Tuesday through Saturday until December 19 at our Los Angeles campus 919 S Grand Avenue Posted by FIDM Museum Permalink Comments 0 November 17 2015 Out About Hooped with the Fashion Council The FIDM Museum Fashion Council s annual study day celebrated the Hooped Dress of the 1860s exhibition on view at FIDM s Orange County campus through February 20th After a southern inspired luncheon Council members and their guests toured the gallery and heard talks by Curator Kevin Jones Museum Associate Joanna Abijaoude and Textile Conservator Cara Varnell A girl s embroidered dress of c 1865 and a satin corset of c 1868 in Hooped Dress of the 1860s Fashion Council Chair Mima Ransom and committee member Linda Knoth A girl s hoop petticoat of c 1863 68 The speakers shattered myths about southern belles and their style secrets In his talk on mourning dress in the Civil War era Kevin noted that while one gown in the Hooped show has an 18 inch waist 24 inches is the average of surviving garments from the era and they all required corsets Joanna demonstrated how Walter Plunkett who designed the costumes for Gone With the Wind among other historical films took inspiration from 1860s fashion plates while adapting Civil War styles to 1930s tastes and figures And Cara who conserved the movie s costumes now housed in Austin s Harry Ransom Center revealed that Vivien Leigh s dresses actually had 24 1 2 inch waistlines even though her character Scarlett O Hara claims to have a 17 1 2 inch waist A gingham silk taffeta gown from c 1865 with an 18 inch waistline Southern inspired salads Petite desserts for Scarlett O Hara sized waistlines Non alcoholic mint juleps The sold out event was the final gathering of 2015 for the Fashion Council but an exiting new year of programming will begin in February with the annual Royal Tea Membership in the Council the FIDM Museum s primary support group is free The group gathers for four events annually plus exhibition openings and study tours A New York trip is planned for 2016 Why not join this charitably chic club Flowers worthy of a belle s boudoir Posted by FIDM Museum Permalink Comments 0 November 06 2015 Fundraising Friday Crowned Head The FIDM Museum is in the final weeks of a major fundraising campaign to purchase the Helen Larson Historic Fashion Collection a private collection of 1 400 historic garments and accessories from four centuries Each Friday this blog will present an exquisite piece from the Larson Collection Queen Victoria s Hat and Hat Stand 1880 Helen Larson Historic Fashion Collection Uneasy lies the head that wears a crown Shakespeare wrote But Queen Victoria had other headgear alternatives such as this black wool felt hat trimmed with black silk velvet and ostrich feathers The chic chapeau would not have added significantly to her 4 7 frame but the splash of white might have enlivened the all black wardrobe she adopted after the death of her husband Prince Albert in 1861 Helen Larson purchased the hat along with its carved and beaded hat stand from an auction of items belonging to the queen who was nicknamed the Widow of Windsor The Larson Collection includes 30 pieces of her wardrobe in total and several more associated with her children and her daughter in law Alexandra who became queen consort upon Victoria s death in 1901 The FIDM Museum has a once in a lifetime opportunity to acquire this rare and beautiful piece and many more like it before the Larson Collection is dispersed forever or sold into private hands inaccessible to students researchers and the general public But we need your help to save the Larson Collection We have raised more than twenty percent of the necessary funds but we still have a long way to go and time is running out Please make a contribution online or by mail or join our 4for400 social media campaign to donate 4 or more by texting Museum to 243725 Donations are tax deductible if your company or organization has a

    Original URL path: http://blog.fidmmuseum.org/museum/exhibitions/ (2016-02-12)
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