archive-org.com » ORG » F » FIDMMUSEUM.ORG

Total: 762

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • FIDM Museum Blog: International Inspiration: The Donald and Joan Damask Collection
    photographs of Christian Dior s haute couture taken by Willy Maywald 1907 85 and Cecil Beaton s 1904 80 portrait photos of the rich and royal Keeping my intent in mind it helped me to think about these international objects in terms of pure visual form shape color and texture Suddenly the Chinese bamboo undergarment and Fortuny jacket didn t seem so aesthetically removed from one another both are short T shapes have muted cream colored highlighting are extremely detailed close up light in visual feel and look great abstracted into a two dimensional plane Jacket left Designer Mariano Fortuny Venice Italy c 1920 Silk velvet metallic paint Gift of Joan Beer and Donald Damask 2013 1250 66 Jacket right China c 1900 Bamboo beads cotton Gift of Joan Beer and Donald Damask 2013 1250 70 I love seeing how things were originally worn and styled The Elsa Perreti ivory cuff for Halston carved to accommodate the bony knob of a woman s wrist is displayed against the 1971 Vogue magazine it appears in as photographed by Irving Penn it s on the model s right wrist I love the juxtaposition of minimalist cuff design with maxi caftan and masses of chunky jewelry Bracelet Elsa Peretti for Halston France 1971 Carved ivory Gift of Joan Beer and Donald Damask 2013 1250 71 Being a curator is a privilege in part because you get to see and examine so many amazing objects But it s also a delight to get to know donors like the Damasks Their generosity in gifting their collection to the FIDM Museum is truly inspiring L to R Donald Damask Kevin Jones and Christina Johnson We decided to donate our beloved collections to the FIDM Museum because it was time to share them with other people We

    Original URL path: http://blog.fidmmuseum.org/museum/international-inspiration-the-donald-and-joan-damask-collection/ (2016-02-12)
    Open archived version from archive

  • FIDM Museum Blog: Interns and volunteers
    trims and heavy layers keep out the cold for ladies shown skating and sledding through the snowy months of winter Ensembles for the more daring sportswomen who engaged in horseback riding and hunting are sprinkled through the various issues These images offer a myriad of details regarding styling fit and even sport specific accessories These valuable points of reference will inspire the styling of the FIDM Museum s planned sportswear exhibition My time at the FIDM Museum reinforced my passion for the art of fashion curation and I appreciate the wonderful museum staffers who patiently answered my questions and encouraged me throughout the process of completing my dissertation Overall the internship experience was a joyful undertaking and I look forward to collaborating with the FIDM Museum in the future Posted by FIDM Museum Permalink Comments 0 TrackBack 0 March 03 2015 Summer Intern Application Deadline Extended to March 9 If you missed the March 1 deadline for Summer Internship opportunities at the FIDM Museum you have an extra week to get your application turned in Send your cover letter and resume to internships FIDMmuseum org by March 9 to be considered for a slot as a Summer Intern at the FIDM Museum The FIDM Museum accepts interns to work in the curatorial department every summer Each intern is assigned a project to complete within the time frame of the internship Projects may include writing catalog descriptions in the PastPerfect database digitizing a portion of the collection assisting with exhibition installation or other curatorial assignments Previous interns have catalogued croquis and digitized The Helen Larson Historic Fashion Collection Interns work closely with FIDM Museum staff and receive valuable hands on training in collection management and museum practices We are looking for students enrolled in a graduate program or with plans to enroll immediately following the internship in a field related to fashion history and or museum studies Summer interns must commit to working 30 40 hours per week during business hours 9 00 am 6 00 pm Monday Friday This internship is unpaid Posted by FIDM Museum Permalink Comments 0 TrackBack 0 August 26 2014 Intern Report The Gianni Versace Menswear Archive Part II The interns are on a roll Last week we featured intern Rachel Panella s post on working with our extensive collection of Versace menswear Today intern Soquel Filice who also spent her summer working with the Versace Menswear Archive sheds light on a different aspect of collection research documenting and dating garments Thanks for these great tips Soquel His clothes are often skin tight low cut slit high and siren bright He was among the first to revive the cat suit to bring back the mini skirt to show tights worn as pants and bring out the bustier at night and bead it 1 Italian designer Gianni Versace left a bold mark on the fashion world with his overtly sexual designs and mixing of prints and fabrics Versace even said himself I think life is nice if you mix everything up 2 Not only did Versace leave a mark on the world of fashion when he died in 1997 he left a design legacy and a peek into the history of the late 1980s and early 1990s This summer I have had the privilege to gain insight into the life and legacy of Versace through processing the Gianni Versace Menswear Archive at FIDM Museum alongside another intern Rachel Panella We were tasked with cataloging dating rehousing describing and completing an inventory for every piece of this beautiful 1300 piece collection worn by the late Marvin Worth After Rachel completed her internship I was assigned with dating each piece in the collection Although this is my first time dating garments there are many resources out there that helped me and can help anyone accomplish this task An easy way to narrow down the decade that different garments were made in and give context to a collection is the website http www uspto gov trademarks index jsp This website recommended by the lovely Rachel Panella has pictures and dates of registered patents and trademarks for different designers so it is easy to do a basic search for Versace in the Trademark Electronic Search System or TESS to find different labels that are on a majority of garments in the collection TESS helped me to narrow down which garments are from the 1980s and which are from the 1990s Screenshot from the TESS website By far the most helpful tool in dating a vintage collection is having original catalogs from the time period being researched I was fortunate to have access to Versace menswear catalogs from 1982 1996 in order to research this collection I found dates for most garments by looking at these catalogs and matching them to the pictures and descriptions that are located in the Museum s Past Perfect database Looking for patterns and trends that stand out for each fashion season is an easy way to date garments in a collection One example from the Versace collection is the Tarzan print themed shirt from the Spring Summer 1993 catalog Just by glancing at the pattern and flipping through one of the catalogs I was easily able to find a date for shirt pictured below This tropical Tarzan print was featured throughout Versace s S S 1993 collection Left Tarzan print silk shirt Gianni Versace Italy Spring Summer 1993 V2006 890 323 Gift of Joan Worth in memory of Marvin Worth Right Image from Spring Summer 1993 Catalog featuring a Tarzan print silk handkerchief Another way to date a vintage garment collection is to use an online database such as Pro Quest Historical Newspapers or the Vogue Archive to look through old advertisements This was a challenging task for the Versace Archive because the collection I am working with is solely menswear and Vogue is a womenswear magazine I did not find it as helpful as I wanted it to be but I was able to recognize trends in womenswear during different years that helped me to date menswear pieces from the same year I found a Vogue cover shoot of model Linda Florentino wearing a Versace white butterfly patterned dress from Spring Summer 1995 and immediately knew that a shirt tie and vest in the Versace Menswear Archive dated from that year Additionally Elizabeth Hurley s iconic safety pin dress from the Spring Summer 1994 collection revealed to me that the white and black safety pin suit jackets in the FIDM Museum collection were from that same year April 1995 Vogue cover with model Kristen McMenamy wearing a Versace butterfly print dress On the right is a Versace man s vest with a similar print Vest Gianni Versace Italy Spring Summer 1995 V2006 890 253 Gift of Joan Worth in memory of Marvin Worth Right Elizabeth Hurley wearing Versace s revealing safety pin dress 1994 Left Man s black wool suit with safety pins Gianni Versace Italy Spring Summer 1994 V2006 890 184AB Gift of Joan Worth in memory of Marvin Worth I could go on and on about all of the different strategies I used to date the Versace Menswear Archive but for the sake of brevity I will conclude with one last tip try everything and do your research Databases print catalogs and good old fashioned library books will aid any researcher if he she knows how to use them and is persistent about trying multiple methods to accomplish a task When in doubt ask a librarian for help Good luck and happy dating 1 Reed Julia Fashion The Kings of Color Versace Vogue Magazine September 1 1990 542 545 644 1 Ibid 545 Posted by FIDM Museum Permalink Comments 4 TrackBack 0 August 22 2014 Intern Report The Gianni Versace Menswear Archive We re so fortunate to work with talented curious and motivated interns Today s post by intern Rachel Panella dives into a unique area of our collection the Gianni Versace Menswear Archive Consisting of donor Marvin Worth s extensive Versace wardrobe the Archive offers an incredible overview of the designer s work During her time with us Rachel formulated some thoughtful suggestions regarding how we can effectively exhibit this unique archive Thanks for your insight Rachel Versace Worth admits is one of his obsessions 1 Hollywood producer Marvin Worth 1925 1998 was not only well known for his movies such as Malcolm X 1992 Lenny 1974 and Gia 1998 but also for his eccentric style Several years after his death the FIDM Museum gained possession of his complete closet of over 1300 pieces featuring over 100 pairs of shoes 200 shirts 80 suits and 140 pairs of pants My job this summer was to work in conjunction with another intern Soquel Filice to organize this archive As I am currently finishing up my Master s degree in Information Science I have been intimately acquainted with archives but this internship provided me with a unique opportunity to work with an archival collection within a museum setting which I personally feel comes with a different mission and needs Unlike an archive which tends to focus on the donor or creator of the collection as a whole the museum tends to focus on the individual artifacts themselves This collection seems to have two possible points of focus the collector Marvin Worth or the designer Gianni Versace 1946 1997 and a focus on either could make for an interesting show While working with the Versace Collection I have thought of four very different ways to display these garments each with varying focus on the archival aspect of the collection The interior of Marvin Worth s carefully organized closet Photo courtesy of Worth Family Directly after Worth s death in 1998 his closet was closed and not opened again for almost 15 years The closet became a time capsule an actual frozen moment in time and essentially the perfect archive Rather than the typical collections that come in trash bags and boxes with an indecipherable original order this collection had a clear original order One could simply recreate Worth s closet thus recreating a moment in time and an archeological place of study This method of exhibition is comparable to archeological exhibitions and even more interestingly decorative furniture exhibitions both of which recreate the context in which the object was originally found This is one way the collection could be utilized as a way to better understand Marvin Worth and his personal organization system Another way to keep the focus on the donor would be to recreate the actual outfits that we know Worth wore as seen in the following photos This would be an easy way to exhibit these garments and better understand the collector Through this method Marvin Worth s personal curation of his clothing and self can be seen and the clothes become anthropological artifacts These two options are often utilized in an archival atmosphere where the focus is on the donor or collector L to R Marvin Worth and Marvin Worth with wife Joan Worth Photos courtesy of Worth Family To call Worth a collector of Versace is to put it mildly Over 95 of this vast collection is Versace but what makes this archival collection unique compared to other archives is that it is a story not only of one man but two Marvin Worth and Gianni Versace Through the avid collecting of Marvin Worth we are able to see the entire expanse of Versace s career with pieces dating from the early 1980s until his death in 1997 Anyone can come in and see the evolution of this designer s work One idea would be to focus on a particular type of garment such as a suit and exhibit different suits from the course of Versace s career effectively creating a timeline of Versace s career and the evolution of his aesthetic over time Three white Versace suits owned by Worth demonstrate the depth of his commitment to wearing and collecting Versace L to R Man s three piece off white wool suit Undated Wool Rayon Plastic V2006 890 160A C Man s two piece off white wool suit Spring Summer 1994 Wool Rayon Plastic Metal V2006 890 161AB Man s two piece off white wool suit Undated Wool Rayon Plastic V2006 890 162AB All Gift of Joan Worth in memory of Marvin Worth The Museum also owns a collection of Versace catalogs which have been a great resource these past weeks and I believe will be a great resource for future exhibitions One way to utilize these catalogs would be to exhibit the garments as seen in the catalogs The catalogs are highly stylized and are the resource to not only understand Versace as a creator of clothing but also a curator Gianni Versace Collezione Uomo Primavera Estate 1993 N 24 Catalog Spring Summer 1993 Gift of Joan Worth in memory of Marvin Worth My work with this collection has challenged me to think of the function of both individual artifacts and collections as a whole in the museum What does it mean to be part of an archival collection within a museum how does it differ from other collections To understand this we first must understand the goals of the collection and the institution itself These proposals function as a way to think more deeply about these goals and what sets this apart from the objects in permanent storage I for one think that this collection demands to be thought of as more than simple aesthetics leading us to ask How can we make these objects talk and once we get them talking what do we actually want them to say 1 Pristin Terry By All Necessary Means It took producer Marvin Worth 25 years to turn Malcolm X s story into a movie Why didn t he give up and what made it happen Besides Spike of course November 15 1992 http articles latimes com 1992 11 15 entertainment ca 648 1 marvin worth Posted by FIDM Museum Permalink Comments 0 TrackBack 0 August 20 2014 FIDM Museum seeks Fall 2014 intern Intern with the FIDM Museum We are currently seeking a talented and motivated intern to assist with digital asset management object labeling and inventory projects Interns must keep a weekly commitment of 15 40 hours for at least 12 weeks This unpaid position offers flexible hours Interns work closely with FIDM Museum staff on a variety of projects and have the opportunity to view rare examples of historic and contemporary fashion We accept interns seeking academic credit for undergraduate level or above interns must make appropriate arrangements with their academic institution Applications cover letter and resumé will be reviewed upon receipt and qualifying applicants will be interviewed prior to beginning internship Applications for the Fall 2014 internship are due Monday August 25 To submit your application or for additional information contact us via email internships fidmmuseum org Posted by FIDM Museum Permalink Comments 0 TrackBack 0 July 29 2014 Intern Report Diana Vreeland A Beautiful Life Before fashion editors like André Leon Talley and Anna Wintour there was the seminal Diana Vreeland Celebrated for her impeccable style larger than life persona and impressive career she influenced not only the fashion world but the museum world as well Here FIDM Museum research intern and museum studies graduate student Danielle Clark Perez shares Diana s life story and investigates her influence on fashion studies and curating today Diana Vreeland s calling card 1963 1971 2003 40 99 Gift of Anonymous Donor Diana pronounced Dee AHN a Dalziel was born on September 29 1903 in Paris France to an American mother and English father From a young age Diana exhibited a flair for all things sartorial and aesthetic she was admired amongst her classmates for her carefully crafted outfits and once painted all of the electric light fixtures in her room black and her bedrooms walls a bright blue While she was plagued by insecurity over her looks as a girl by her late teens she had grown into a self assured young woman with an exuberant personality not to mention a dazzling social life Diana was often seen at high society parties and took glamorous weekend vacations with friends In 1923 she met the love of her life Reed Vreeland Diana was immediately smitten and they were married in 1924 She wore a medieval style white satin gown and carried Easter lilies Diana and Reed Vreeland late 1920s Image courtesy of the FIDM Museum Library In 1929 after her two sons were born the Vreelands moved to London It was here that Diana would become renowned for her innate sense of style and taste In the 1930s she began frequenting European couture fashion houses and was even sketched in the November 1933 issue of Vogue wearing Mainbocher She became friends with designers like Coco Chanel and Elsa Schiaparelli and immersed herself in the London and Paris social scene In 1935 the Vreelands moved to New York City and Diana continued to garner attention One year later Carmel Snow editor in chief of Harper s Bazaar recognized Diana s knack for ingenuity and creativity and hired her as a full time fashion editor Soon her column Why Don t You in which she offered fashion advice and inspiration like Remember that the smaller your head the more extreme shoulders you can wear on your coats and Why don t you turn your child into an Infanta for a fancy dress party became a popular trademark of the magazine Diana would eventually become responsible for all of the magazine s fashion and photography During her 26 year tenure she heralded in a new sense of pride and appreciation for American designers Harper s Bazaar cover March 1959 Image via In January 1963 Diana brought her innovative perspective and talents to another fashion powerhouse publication Vogue Hired as associate editor and then promoted to editor in chief she was expected

    Original URL path: http://blog.fidmmuseum.org/museum/interns-and-volunteers/ (2016-02-12)
    Open archived version from archive

  • FIDM Museum Blog: Irene Lentz Gibbons
    were credited with influencing New York s fashion elite through their designs for Joan Crawford and Katherine Hepburn Even Coco Chanel was brought to Hollywood in 1931 to design costumes for Samuel Goldwyn s production company a testament to the power movies held over fashion Suit Irene for Bullock s Wilshire 1950 Study Collection 85 25 Designer Irene Lentz Gibbons 1900 1962 professionally known as simply Irene started her career in fashion moved on to costumes and then became one of the first people to operate an in store boutique at Bullock s Wilshire where celebrities shopped for high fashion Called Irene the boutique opened in 1935 and remained in operation until Irene left to become the head designer at MGM in 1942 There was significant overlap in terms of who wore Irene s designs on screen and who wore Irene off screen Doris Day Vivien Leigh and Ginger Rogers came to Bullock s Wilshire to shop at Irene adding to the department store s already glamorous reputation Detail of 85 25 The FIDM Museum has several beautiful garments from the Irene boutique at Bullock s Wilshire as well as pieces from her earlier fashion line and costume and sketches she later made for MGM including an exceptional gown Marlene Dietrich wore on and off screen Irene Sketch for Easter Parade Metro Goldwyn Meyer 1948 Christian Esquevin Collection Posted by FIDM Museum Permalink Comments 0 August 20 2015 Delivering Dietrich s Dress Last fall the FIDM Museum lent a Marlene Dietrich dress to the exhibition Light Noir Emigrés and Exiles in Hollywood 1933 1950 at the Skirball Cultural Center in Los Angeles The strapless evening gown in a paisley floral pattern created by fashion designer and costumer Irene Lentz Gibbons better known as Irene is part of a collection of

    Original URL path: http://blog.fidmmuseum.org/museum/irene-lentz-gibbons/ (2016-02-12)
    Open archived version from archive

  • FIDM Museum Blog: Issey Miyake
    that the bastion of haute couture was no longer relevant to postmodern lifestyles Miyake opened his Tokyo design studio in 1970 focused on creating ready to wear clothing Sometimes my clothes are radical probably sometimes challenging but I try not to fear radical things he explained 1 Miyake s Spring Summer 2001 menswear collection was termed Pneumatic pret a porter by the fashion press due to the air filled padding built into many of the garments This vivid ensemble was inspired by American football uniforms The blazer is constructed of printed nylon mesh generally reserved for team jerseys the knickers contain inflatable plastic bladders inserted over the outer thighs and knees to mimic players protective gear The clothing morphs the wearer s body into that of a sports hero enlarging his frame into an imposing physique while cushioning it to withstand the blows of stressful urban living 1 Wilcox Claire Radical Fashion London Victoria Albert Museum 2001 112 Posted by FIDM Museum Permalink Comments 0 TrackBack 0 June 29 2012 Issey Miyake Guest Artist series No 1 Yasumasa Morimura From 1996 to 1998 garments from Issey Miyake s Pleats Please Guest Artist Series showcased the work of selected contemporary artists Using the one size fits all permanently pleated polyester garments as a canvas artists Yasumasa Morimura Nobuyoshi Araki Tim Hawkinson and Cai Guo Qiang created prints specifically for Pleats Please The first collaboration Guest Artist Series No 1 highlighted the work of artist Yasumasa Morimura Born in 1951 in Osaka Japan Morimura s art is based on an egocentric reimagining of iconic paintings and photographs from art history and celebrity culture Morimura hijacks these images usually inserting a carefully costumed version of himself in place of the central figure Using both and high and low technologies Morimura has envisioned himself as Frida Kahlo Van Gogh s sunflowers Marilyn Monroe Marlene Dietrich Albert Einstein Che Guevara and Judith holding the head of Holofernes For his collaboration with Issey Miyake Morimura placed himself within the neoclassical world of Jean Auguste Dominique Ingres 1856 painting La Source Instead of replacing the central figure with his own image Morimura twined an inverted image of himself wrapped in red mesh around the painting s subject a statuesque nude The final print is a complicated layering of art historical and contemporary imagery that touches on a variety of constructs male and female east and west clothed and nude Issey Miyake and Yasumasa Morimura Guest Artist Series No 1 Fall Winter 1996 97 Gift of the Galindo Family 2010 886 2 Continue reading Issey Miyake Guest Artist series No 1 Yasumasa Morimura Posted by FIDM Museum Permalink Comments 0 TrackBack 0 May 26 2011 Issey Miyake Pleats Please The concept of Issey Miyake s Pleats Please line is simple timeless wearable garments that require minimal care and maintence As the name of the line suggests the distinguishing feature of the Pleats Please line are the pleats Unlike most pleated garments wherein the pleats are created as part

    Original URL path: http://blog.fidmmuseum.org/museum/issey-miyake/ (2016-02-12)
    Open archived version from archive

  • FIDM Museum Blog: Jacket
    and a variety of lightweight silks crepe chiffon satin Linen used to create the jacket pictured here was also popular Button detail 2012 1186 2 At the time this jacket was made nearly all types of garments could be purchased ready made Though it has no label this simple jacket was probably a creation of the emerging ready to wear industry With a loose fit and relatively few pattern pieces it would have been easy to create in a factory setting The butterflies perched on cuff and collar are machine embroidered though the starbursts decorating the fabric buttons may have been stitched by hand Back view 2012 1186 2 This jacket was probably worn at home as a dressing or morning jacket Instead of donning full day dress immediately after waking many women of leisure wore at home ensembles for the first few hours of the day Seen only by family and household servants morning dishabille ranged from low key a plain muslin gown to elaborate a chiffon jacket worn over a loose silk sheath In 1913 Vogue offered a suitably romantic option a 3 piece ensemble of matching cap coat and skirt made of primrose yellow chiffon with a lining of flesh colored chiffon 1 1 Morning Coquetries Vogue May 1 1913 126 Posted by FIDM Museum Permalink Comments 0 TrackBack 0 January 29 2014 John Paul Gaultier backwards jacket Backwards jacket front John Paul Gaultier Winter 1985 86 Gift of Lee Sheppard 2012 38 1AB John Paul Gaultier s b 1952 backwards jacket is a witty take on the straight laced business suit jacket Though the wool and rayon jacket appears surprisingly mild for a Gaultier design closer inspection reveals the designer s usual playful iconoclasm Seen from the front the jacket with its rounded patch pockets and high collar resembles a utilitarian smock or uniform Unlike most smocks this jacket has shapely princess seams which fit and flatter the body This construction detail is emphasized by functional casings which suggest the channeled construction of a corset Instead of boning Gaultier inserted a branded silver chain into two of these channels A bold red and gold textile with a brocaded pattern of floating bull heads lines the jacket body and collar black and white striped fabric lines the sleeves Continue reading John Paul Gaultier backwards jacket Posted by FIDM Museum Permalink Comments 0 TrackBack 0 December 06 2013 Oscar de la Renta fur and suede jacket c 1981 Oscar de la Renta c 1981 Transfer from The Museum at The Fashion Institute of Technology 97 291 5 Luxury was a primary theme in 1980s fashion Exaggerated silhouettes sumptuous textiles and lavish embellishment were used to create the feeling of extravagance and wealth Trimmed with fox fur and decorated with stylized floral embroidery Oscar de la Renta s b 1932 maroon suede jacket perfectly illustrates these 1980s trends The jacket s lining of heavy weight maroon silk extends the luxurious theme Continue reading Oscar de la Renta fur and

    Original URL path: http://blog.fidmmuseum.org/museum/jacket/ (2016-02-12)
    Open archived version from archive

  • FIDM Museum Blog: Jacques Fath
    clothes with a sense of fun and glamour Vogue praised his unexpected mix of casual style and luxurious material 1 Such contrasts are seen in this satin trimmed formal afternoon dress titled St Charles which is tailored to the exacting standards of haute couture Fath s use of informal cotton piqué for this dress instead of the expected wool broadcloth or heavyweight silk did not diminish its hefty price of

    Original URL path: http://blog.fidmmuseum.org/museum/jacques-fath/ (2016-02-12)
    Open archived version from archive

  • FIDM Museum Blog: James Galanos
    body baring fashions in private homes and at beach resorts or with a flesh colored body stocking or slip underneath 2006 116 22B C Los Angeles designer James Galanos who counted Nancy Reagan the wife of California s governor among his clients was not afraid of the nude look As he told WWD in February 1968 It can be done elegantly and with class This ensemble of cotton tunic bra and pants worn by Reagan s friend Betsy Bloomingdale is likely from Galanos Spring 1968 collection which was overwhelmingly white But the bandeau style bra is lined in tan souffle a sheer knit Posted by FIDM Museum Permalink Comments 1 March 16 2012 Happy St Patrick s Day Originally posted in July 2010 this c 1955 James Galanos deserves a repeat appearance in honor of St Patrick s Day With its vibrant emerald green color it is easily one of the greenest garments in our collection Enjoy During the 1950s French haute couture was a dominant force in fashion Elite American women traveled to Paris and purchased their wardrobes directly from renowned couturiers while many others experienced haute couture through mass produced versions of the latest French styles This was a strength of the American fashion industry producing stylish and affordable garments in large quantities whether the latest haute couture copies or playful sportswear Only a very few American designers worked in the style of the haute couture producing meticulously crafted garments on a limited scale Los Angeles own James Galanos b 1924 was one of these designers In 1954 when Galanos first presented a collection in New York City fashion critics noted that his cut and detail smacked of Parisian couture 1 Cocktail dress James Galanos c 1955 Gift of Susan Lister S2007 894 1A C Continue reading Happy

    Original URL path: http://blog.fidmmuseum.org/museum/james-galanos/ (2016-02-12)
    Open archived version from archive

  • FIDM Museum Blog: Jean Muir
    Fifth Avenue Beverly Hills this dress was worn by the donor to a family wedding After the wedding it was packed away and never worn again In 2007 the original wearer donated it to the FIDM Museum Consisting of two layers of pale bias cut silk chiffon over a silk crepe slip the dress is in excellent condition The silhouette is deceptively demure with thigh high slits at each side

    Original URL path: http://blog.fidmmuseum.org/museum/jean-muir/ (2016-02-12)
    Open archived version from archive



  •