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  • FIDM Museum Blog: The Scarf Suit
    suits with coordinating scarves in the 1920s James Galanos for Amelia Gray Beverly Hills 1962 Gift of Mrs Alfred Bloomingdale 77 116 10A D Los Angeles based designer James Galanos b 1924 used luxurious materials and couture construction techniques for his ready to wear garments The rough wool tweed of this suit contrasts with the smooth sheen of a silk satin blouse and belt Sheared beaver was a sensual choice for the scarf s lining Hubert de Givenchy Paris 1970 72 Gift of Mrs Alfred Bloomingdale 77 116 13A C The wide fringed scarf of this double breasted couture suit by Hubert de Givenchy b 1927 is equipped with a pocket perfectly placed to warm the wearer s hand Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post Verify your Comment Previewing your Comment Posted by This is only a preview Your comment has not yet been posted Your comment could not be posted Error type Your comment has been saved Comments are moderated and will not appear until approved by the author Post another comment The letters and numbers you entered did not match the image Please try

    Original URL path: http://blog.fidmmuseum.org/museum/2015/10/givenchy-scarf-suit.html (2016-02-12)
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  • FIDM Museum Blog: Intern Post: Where the Stars Shopped
    Chicago s Marshall Field Co By the time Bullock s Wilshire opened cinema had taken the lead in American entertainment and Hollywood stars represented the ideal in fashion Fashion designers became costume designers and costume designers became fashion designers Bullock s Wilshire was the center of commerce for the new silver screen royalty of Marlene Dietrich Judy Garland Mae West and others Howard Greer began as an assistant at Lucile Ltd only to open his own shop designing for the screen as well as for private clients Travis Banton and Adrian 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

    Original URL path: http://blog.fidmmuseum.org/museum/2015/10/intern-post-where-the-stars-shopped.html (2016-02-12)
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  • FIDM Museum Blog: The Difference is in the Details: Installing Marlene Dietrich's Gown at the Skirball Cultural Center
    exhibition s theme the impact of German speaking exiles and émigrés on the Hollywood film industry Doris Berger selected this paisley floral evening gown designed by Irene Lentz Gibbons for Marlene Dietrich to wear in A Foreign Affair 1948 a photograph of Dietrich wearing the same gown at a previous USO performance and a pair of evening pumps worn by Dietrich for stage performance A second photograph to be exhibited alongside this luxurious dress shows Dietrich performing with large flowers tucked into the dress neckline perhaps an explanation as to why the bodice lining has required extensive stabilization by a conservator With this styling in mind FIDM Museum Collection Manager Carolyn Jamerson customized a mannequin with padding to fit the dress perfectly Mannequin with custom padding to precisely fit Marlene Dietrich s gown Carolyn also prepared two bunches of vintage silk flowers to tuck into the neckline imitating the floral arrangement in Dietrich s performance photographs To see this photograph on exhibit visit Light Noir between October 23 2014 and March 1 2015 I help Christina to carefully steam prop silk flowers for display at the neckline of the gown One of many unexpected skills required by fashion museum staff is that of steaming silk flowers Christina carefully steamed each petal of the flowers so that they looked like new then used entomological pins to secure the flower bunches to the dress and mannequin padding Entomological or bug pins are ideal for historical garments because they can pass through fabric between the threads of the weave without breaking the fibers Any intervention used for exhibition installation must not damage the object and must be fully reversible according to current conservation standards Christina secures the floral adornment to the mannequin beneath the dress Cooperation between various institutions is an important part

    Original URL path: http://blog.fidmmuseum.org/museum/2014/10/the-difference-is-in-the-details-installing-marlene-dietrichs-gown-at-the-skirball-cultural-center.html (2016-02-12)
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  • FIDM Museum Blog: Fundraising Friday: Princess in Pink
    Victoria the Princess Royal Queen Victoria s eldest daughter Helen Larson had a weakness for royalty and several pieces in the collection have a royal lineage There are dozens of garments belonging to Queen Victoria and Queen Alexandra hats and shoes worn by Princess Louise of Prussia Queen Elisabeth of Romania s wedding gown Princess Mary s going away dress and a gown worn by Princess Charlotte s namesake 200 years ago How did Helen Larson of Whittier manage to infiltrate so many royal wardrobes She made frequent trips to Europe in the mid 20th century buying up high end historic clothing at auctions and estate sales and bringing it back to the U S at a time before antiquities laws strictly regulated such exports A collection of this caliber would be impossible to assemble today for any price Detail Helen Larson spent 50 years building her collection now it is in danger of being dispersed forever or absorbed into another private collection inaccessible to students researchers and the general public The FIDM Museum needs your help to save the Larson collection You can make a contribution of any amount online or by mail Donations are tax deductible if your company has a matching gift program your support will go even further The FIDM Museum has until the end of 2015 to finish raising the necessary funds so now is the time to join the campaign and help make fashion history Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post Best of luck with this It would be such a shame for this priceless collection to disappear from public accessibility Kudos to FIDM for taking this on I look forward to the weekly Blogs Posted by Lisa KAne May

    Original URL path: http://blog.fidmmuseum.org/museum/2015/05/fundraising-friday-princess-in-pink.html (2016-02-12)
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  • FIDM Museum Blog: Princess Mary's 1922 going-away dress
    wardrobe I wanted visual evidence of her wearing it Show me the photo The Princess was married at Westminster Abbey on February 28 1922 Starting from that date I began online research It s amazing how many magazines and newspapers have been digitized in the last few years I find these extremely helpful in my research here at the FIDM Museum There were numerous descriptions of Princess Mary s trousseau in periodicals published shortly before the Royal Wedding Detail of embroidery and beading on the front of the dress I got excited about the following description included in the February 8th edition of The Daily Mail Princess Mary s going away dress is in the soft shades of pink and blue for which she has always shown a preference it is embroidered in blue silk and beads of crystal and the palest pink coral 4 That certainly describes the Larson collection gown The Illustrated London News also described the trousseau and included line illustrations However the online image was poor quality and I could just make out faint vertical stripes of embroidery And was that the luscious velvet flower at the waist So close The U C L A library has a copy of the periodical in their collection so I trekked over to see it Yes it really was her going away dress Seen in the box at the bottom of the page above and surrounded by other gowns from the trousseau it matches the Larson dress exactly And on March 4 1922 Princess Mary and Helen s dress made the cover of The Illustrated London News The caption reads Princess Mary is here seen in her going away dress Eureka This dress is available to adopt as part of our fundraising effort to keep the Helen Larson Historic Fashion Collection intact and at the FIDM Museum This exceptional object has been chosen by the FIDM Museum curators due to its rarity and high likelihood of being often exhibited nationally and internationally Patrons names are perpetually associated with their adopted object and included in their object s unique credit line Please contact the curatorial office kjones FIDMmuseum org or 213 623 5821 for more information about this exciting opportunity 1 Letter from Doris Langley Moore to Lord Harewood 15 Feb 1977 Helen Larson Papers 2 Letter from Doris Langley Moore to Helen Larson 25 March 1977 Helen Larson Papers 3 Letter from Doris Langley Moore to Helen Larson 21 April 1977 Helen Larson Papers 4 Daily Mail 8 Feb 1922 Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post Christina your dedication to scholarship is inspiring and your research defines the importance of the museum s collections You always do impressive work Posted by J Orlando September 05 2012 at 11 11 AM I hope if when you acquire this dress you display it properly as a 1920 s silhouette with a dropped waist The photo above on

    Original URL path: http://blog.fidmmuseum.org/museum/2012/09/princess-marys-1922-going-away-dress.html (2016-02-12)
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  • FIDM Museum Blog: Fundraising Friday: Day-to-Night Dressing
    came with two or more interchangeable bodices one with a high neck and sleeves for daytime and another sleeveless and low cut for evening Dresses with interchangeable bodices are more in demand than ever the French fashion magazine Le Conseiller des dames et des demoiselles reported in 1854 They assist without inconvenience with no waste of time in completely transforming an outfit 1 In era notorious for its strict fashion etiquette often necessitating several changes of clothing per day the robe à transformation responded to the need to go from daytime pursuits to evening occupations and to do so quickly writes scholar Heidi Brevik Zender in her new book Fashioning Spaces Mode and Modernity in Late Nineteenth Century Paris 2 As a result it enjoyed an unusually long vogue This beautifully preserved pink and cream silk brocade version was worn in the late 1870s by Queen Louise of Denmark Evening bodice Helen Larson spent 50 years building her collection of historic fashion now it is in danger of being dispersed forever or absorbed into another private collection inaccessible to students researchers and the general public The FIDM Museum needs your help to save the Larson collection You can make a contribution of any amount online or by mail Donations are tax deductible if your company has a matching gift program your support will go even further The FIDM Museum has until the end of 2015 to finish raising the necessary funds so now is the time to join the campaign and help make fashion history 1 Quoted in Heidi Brevik Zender Fashioning Spaces Mode and Modernity in Late Nineteenth Century Paris University of Toronto Press 2015 143 2 Brevik Zender Fashioning Spaces 148 Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed

    Original URL path: http://blog.fidmmuseum.org/museum/2015/06/fundraising-friday-a-royal-transformation.html (2016-02-12)
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  • FIDM Museum Blog: The French Flair of Pauline Trigère
    ride from 57th Street to 34th Street Trigère recalled decades later On the way I got a look at the dummies in the store windows They were showing copies of Paris dresses and I knew I could do that probably better 1 Trigère worked for Hattie Carnegie before opening her own Seventh Avenue fashion house in 1942 dressing clients including Claudette Colbert Lena Horne and the Duchess of Windsor Pauline Trigère c 1970 Gift of Clarissa Dyer 2003 794 19 You could take the designer out of Paris but you couldn t take Paris out of the designer At 5 4 with her thick Gallic accent and trademark red lipstick Trigère was almost a caricature of an imperious Frenchwoman She refused to sketch instead draping her designs using traditional couture techniques Cut and fabric were more important than ornamentation as the New York Times noted her designs could be plain to the point of abstraction but in a good way 2 Trigère continued working into her 80s wining three Coty Awards and a Lifetime Achievement Award from the Council of Fashion Designers of America before finally closing her business in 1994 In typical Trigère fashion this princess seamed cocktail dress of metallic lace is both bold and ladylike 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 You can follow this conversation by subscribing to the comment feed for this post Verify your Comment Previewing your Comment Posted by This is only a preview Your comment has not yet been posted Your comment could not be posted Error type Your comment

    Original URL path: http://blog.fidmmuseum.org/museum/2015/10/pauline-trigere.html (2016-02-12)
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  • FIDM Museum Blog: Fundraising Friday: Rêves de Fleurs
    As always admission is free Detail Evening Gown Gianfranco Ferré for Dior Fall Winter 1989 90 Gift of Mrs Alfred Bloomingdale 2006 116 13 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 1 400 historic garments and accessories from four centuries Evening Coat Norman Norell c 1967 Gift of Clarissa Dyer 2003 794 3 Helen Larson spent 50 years assembling her collection now it is in danger of being dispersed forever or absorbed into another private collection inaccessible to students researchers and the general public The FIDM Museum urgently needs your help to save the Larson Collection Detail Evening Gown Geoffrey Beene 1969 Gift of Larry Belger Susan Belger 2010 1130 5 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 matching gift program your support will go even further Hat Christian Dior c 1950 Museum Purchase 2014 5 79 You can also help by spreading the word on social media using the 4for400 hashtag The FIDM Museum as until the end of 2015 to finish raising the necessary funds so please join the campaign and help save 400 years of fashion history Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post Verify your Comment Previewing your Comment Posted by This is only a preview Your comment has not yet been posted Your comment could not be posted Error type Your comment has been saved Comments are moderated and will not appear until approved by the author Post another comment The letters and numbers you

    Original URL path: http://blog.fidmmuseum.org/museum/2015/10/fundraising-friday-r%C3%AAves-de-fleurs.html (2016-02-12)
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