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: Jean Paul Gaultier
    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 January 10 2012 Jeans by Gaultier Jean Paul Gaultier specializes in joyfully rejecting conventional distinctions between masculine and feminine dress Une garde robe pour deux A wardrobe for two a 1985 Gaultier illustration portrays a man and women in nearly identical ensembles of wide legged trousers midriff baring tops and oversized jackets In a play on expectations Gaultier gives the man a long pony tail while the women sports short hair Gaultier s most notorious experiments in gender bending are his skirts for men First introduced in 1985 Gaultier played with the idea of men in skirts through the 1990s He offered a variety of styles including kilts sarongs tunics and long maxi skirts Gaultier s comment masculinity is not connected to the clothes you re wearing it s in the mind offers a basis for his belief in this sometimes controversial mode of dressing 1 For Madonna s 1990 Blond Ambition tour Gaultier designed a blue velvet cone bra to be worn by male back up dancers This bra complemented Madonna s own outfit a pale pink corset Gaultier s belief that men should adopt clothing typically worn by women is unusual in the history of fashion Though women have a long history of borrowing and adapting elements of menswear women s dress rarely influences men s sartorial choices The realm of functional sportswear is one in which women have borrowed heavily from men In particular women adopted a feminized version of male riding attire beginning in the late seventeenth century A woman s riding ensemble usually included a fitted jacket worn with a full skirt designed specifically for riding side saddle For the dedicated horsewomen full skirts could be both embarrassing and dangerous If a rider fell a voluminous side saddle skirt could become entangled endangering the rider or it could fall aside and reveal a woman s undergarments For both of these reasons by the late nineteenth century many female equestrians began wearing riding trousers either under their skirts or as a garment in its own right By the 1920s women s riding habits frequently included the style of trousers called jodphurs some daring women even wore jodphur based riding habits as everyday dress

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


  • FIDM Museum Blog: Jeans
    a play on expectations Gaultier gives the man a long pony tail while the women sports short hair Gaultier s most notorious experiments in gender bending are his skirts for men First introduced in 1985 Gaultier played with the idea of men in skirts through the 1990s He offered a variety of styles including kilts sarongs tunics and long maxi skirts Gaultier s comment masculinity is not connected to the clothes you re wearing it s in the mind offers a basis for his belief in this sometimes controversial mode of dressing 1 For Madonna s 1990 Blond Ambition tour Gaultier designed a blue velvet cone bra to be worn by male back up dancers This bra complemented Madonna s own outfit a pale pink corset Gaultier s belief that men should adopt clothing typically worn by women is unusual in the history of fashion Though women have a long history of borrowing and adapting elements of menswear women s dress rarely influences men s sartorial choices The realm of functional sportswear is one in which women have borrowed heavily from men In particular women adopted a feminized version of male riding attire beginning in the late seventeenth century A woman s riding ensemble usually included a fitted jacket worn with a full skirt designed specifically for riding side saddle For the dedicated horsewomen full skirts could be both embarrassing and dangerous If a rider fell a voluminous side saddle skirt could become entangled endangering the rider or it could fall aside and reveal a woman s undergarments For both of these reasons by the late nineteenth century many female equestrians began wearing riding trousers either under their skirts or as a garment in its own right By the 1920s women s riding habits frequently included the style of trousers called jodphurs some daring women even wore jodphur based riding habits as everyday dress These high waisted jodphur style jeans from Gaultier s JPG Jean s line update riding trousers in street worthy denim Jodphur style jeans JPG By Gaultier 1995 96 Museum Purchase 2007 5 15 Knowing that they re by Jean Paul Gaultier you should expect some kind of twist Buttoned up these look like a basic and very wearable version of the ubiquitous jeans But unbutton the high waist and a trompe l oeil corset is revealed The contrast of white cotton with darker denim also suggests the typical menswear pairing of white shirt with dark suit This playful combination of masculine and feminine elements is pure Gaultier 2007 5 15 A survey of Gaultier s work is currently on exhibit at the Dallas Museum of Art The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk will be on view through February 12 2012 See a short video filmed inside the exhibition here 1 Polan Brenda and Roger Tredre The Great Fashion Designers England Berg 2009 202 Posted by FIDM Museum Permalink Comments 0 TrackBack 0 October 12 2011 Blue jeans Blue jeans

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

  • FIDM Museum Blog: Jewelry
    on view in the Annette Green Fragrance Archive this exhibition explores two centuries of jewelry history Below former Interim Assistant Registrar Ilana Winter describes how Artfully Adorned came together Putting together an exhibition is like completing a crossword puzzle Each object is a clue thematically related to every other object Once the objects are placed much like the answers in crossword puzzles strong connections appear These connections complete the story of an exhibition This was definitely the case during an exhibition I recently finished installing As Interim Assistant Registrar I was asked to curate the latest exhibition in the Annette Green Fragrance Archive In a departure from previous perfume installations I worked with a recent donation of costume jewelry The exhibition is titled Artfully Adorned Jewelry from the Christie Romero Collection Be sure to see it for yourself Come by the FIDM Museum where it is currently on view on the 2nd floor Check in is required at the security station inside the ground floor rotunda All visitors must have a current photo ID to access the Annette Green Fragrance Archive Hours are Mon Sat 10am 5pm Read on to discover the behind the scenes action that went into putting together this year long jewelry exhibition Artfully Adorned began with the decision to create an exhibition based on the Christie Romero costume jewelry collection This collection spans the 1820s through the 2000s and highlights pieces from all over the world including New Zealand England Egypt Mexico the Netherlands and Scotland It also includes a variety of jewelry including necklaces earrings rings bracelets bola ties belts brooches chatelaines and dress clips The research process lasted several months In the case of Artfully Adorned I chose to look at the jewelry like a physical timeline to answer the following questions What does each object represent in its historical context How does the design reflect popular aesthetics or art movements Does it symbolize a greater social significance beyond adornment The answers to these questions were discovered through two avenues research and analysis of the objects Christie Romero was a gemologist collector historian curator consultant and appraiser Her bestselling book Warman s Jewelry a reference guide to 18 th 19 th and 20 th century jewelry provides great insight into understanding her collection Her published research explained the significance behind various pieces she had collected Romero organized her collection chronologically creating a timeline that showcased the history of jewelry design and its importance I relied on Romero s research in designing Artfully Adorned which exhibits jewelry as a relatable way to connect the present to the past In the midst of research it sometimes felt like the process 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 March 27 2014 Artfully Adorned Jewelry from the Christie Romero Collection Artfully Adorned Jewelry from the Christie Romero Collection Presented in the Annette Green Fragrance Archive Monday Saturday 10 00 am to 5 00 pm FREE Scottish Knot Brooch 1850 1860 Silver agate Gift of Jimmie Romero in memory of Christie Romero 2012 943 5 Artfully Adorned explores two centuries of jewelry history Designs motifs

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

  • FIDM Museum Blog: John Galliano
    style called Orientalism In historical terms the Orient was a broad geographical designation describing the many nations and cultures of Asia Africa and the Middle East To the Western mind these cultures represented romance exotic beings haunting memories and landscapes remarkable experiences 1 Nations and cultures encompassed by this broad term may share some similarities but each has distinct cultural and artistic traditions Despite these differences the Western mind has often grouped them into a unified whole In design terms this results in fantastic creations the outcome of an exuberant and often naïve reinterpretation of non Western cultures Fashions inspired by Orientalism are often richly colored with intricate patterns or ornamental surface embellishments and present dramatic silhouettes Nagasaki Bodice back view John Galliano for Christian Dior Fall 2003 Ready to wear FIDM Museum Purchase 2006 5 10 Continue reading Orientalism in fashion Posted by FIDM Museum Permalink Comments 4 TrackBack 0 July 31 2009 John Galliano for Christian Dior When creating a collection fashion designers typically mine multiple sources for their inspiration This inspiration takes visual form on what is usually called a mood board a group of visual references intended to guide the look and feel of a particular

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

  • FIDM Museum Blog: Judith Leiber
    October 28 2011 Judith Leiber minaudière Minaudière Judith Leiber 1990 92 Museum Purchase 2005 5 62A The name Judith Leiber is synonymous with small bejeweled evening bags called minaudières Small by design a minaudière is meant to be carried easily in the hand containing only a few essential items In Leiber s world the essentials are a handkerchief a lipstick and a one hundred dollar bill Our minaudière designed in

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

  • FIDM Museum Blog: Karl Lagerfeld
    decorative embellishment Evening Ensemble Karl Lagerfeld for Chanel 1985 Silk chiffon crepe coque feathers Gift of Mrs Alfred Bloomingdale 2009 116 1AB Continue reading Chanel evening ensemble 1985 Posted by FIDM Museum Permalink Comments 0 TrackBack 0 November 07 2013 Chanel Scuba jacket spring summer 1991 Evening jacket Spring Summer 1991 Karl Lagerfeld for Chanel Gift of Steven Linda Plochocki 2009 899 2 This ready to wear evening jacket inspired by the sand and sea appeared in Chanel s seasonal portfolio for elite clients and on the January 1991 cover of American Vogue Designer Karl Lagerfeld b 1938 took the boxy jacket outlined with contrasting braid made iconic by house founder Gabrielle Coco Chanel 1883 1971 in the 1960s and updated it for a generation of young women who preferred surfing and snorkeling to formal luncheons The sleek outline and transparent sequin covering of the Scuba jacket mimics a figure hugging wetsuit glistening in sun dappled oceans The aquatic theme continued as suntanned models carrying surfboards sashayed down the catwalk in coordinating black neoprene leggings Posted by FIDM Museum Permalink Comments 0 TrackBack 0 April 10 2012 Chains of Chanel Gilt chains are a recurring visual theme in the Chanel lexicon Beginning in the 1920s Gabrielle Coco Chanel promoted costume jewelry as an alternative to jewelry made of gold and studded with pearls and precious stones Chanel didn t just promote costume jewelry she also wore it herself pairing bold necklaces of faux pearls gilt and glass stones with her straightforward daywear In a famous 1937 photo by Horst P Horst Chanel casually reclines and her necklaces fall to the side Who cares if they are real or faux In 1938 it was said that her gold necklaces were the biggest and most flamboyant in Paris 1 After 1953 when

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

  • FIDM Museum Blog: Koos van den Akker
    mix of fabric patches and panels combined into a surprisingly unified whole According to the designer his garments always start with the fabric Silhouettes come later 1 Though van den Akker apprenticed at Christian Dior from 1963 1965 his work demonstrates little interest in a precise fit one of the traditional concerns of the haute couture Nor is van den Akker interested in the interaction between garments and the human

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

  • FIDM Museum Blog: Lace
    The pattern of the lace is echoed in the scalloping at the neck cuffs and hem and there are zippers at both cuffs to ensure a perfect fit 1 Jewish Exponent December 29 1995 p 54 2 T Magazine February 28 2011 Posted by FIDM Museum Permalink Comments 0 July 10 2015 Fundraising Friday A Love Story in Lace The FIDM Museum is in the final months of a major fundraising campaign to purchase the Helen Larson Historic Fashion Collection a private collection of 1 200 historic garments and accessories from four centuries Each Friday this blog will present an exquisite piece from the Larson collection Lace roundel England 1851 Helen Larson Historic Fashion Collection Although Helen Larson collected clothing primarily she could not resist acquiring a few outstanding examples of the textile arts This lace roundel uniting the coats of arms of Queen Victoria and her beloved husband Prince Albert undoubtedly appealed to her because of its royal connections Tudor roses for England thistles for Scotland and shamrocks for Ireland as well as majestic oak leaves acorns and palm and olive branches surround the coats of arms all backed by a piece of green silk satin and ensconced in a gilded oak frame The ornate scrollwork and natural motifs are characteristic of Honiton lace a bobbin lace first produced in Devon in the seventeenth century and used for Queen Victoria s 1840 wedding dress and veil On Sunday Princess Charlotte was christened in an exact replica of the Honiton lace christening gown made for Queen Victoria s first child in 1841 The Royal coat of arms used by the Sovereign of the United Kingdom from Queen Victoria s ascension in 1837 to the present day The roundel came to the FIDM Museum with an uncertain provenance was it a wedding gift to the royal couple or part of the Honiton display at the Great Exhibition of 1851 Research by FIDM Museum Curator Kevin Jones established that it was designed for the Great Exhibition by T Sharp and manufactured by John Tucker who employed more than 500 lacemakers in Branscombe East Devon Kevin presented his findings at the prestigious Anglo American Conference of Historians held last week in London In order to illustrate the scale of the piece which measures 44 inches tall by 50 inches wide including its frame Kevin showed a photo of himself and Associate Curator Christina Johnson posing with the lace Christina Johnson and Kevin Jones One final mystery remained how did a royal family heirloom find its way to a private collector in Whittier California Larson bought the piece in 1977 from British dealer Doris Langley Moore who had purchased it during World War II from the Officers Families Fund a charity founded in 1899 to provide relief to widows and children of military casualties During World War II the organization decided to collect heirloom lace exhibit it and sell it to raise funds Both Queen Elizabeth the Queen Mother and the Victoria Albert Museum

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



  •