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  • FIDM Museum Blog: Delman shoes and clutch, 1960
    practical and elegant day shoes of leather Delman shoes intended for evening feature striking color combinations and eye catching surface embellishment In the early 1930s Delman created aluminum painted shoes for dark nights shoes ornamented with ground glass or rhinestones and sapphires 3 A pair of Delman evening shoes from 1958 were crafted from tangerine royal blue and emerald green satin with a purple suede heel This pair of Delman evening heels and matching clutch are entirely covered with iridescent rhinestones tiny seed pearls and dots of velvet flocking High heels and clutch purse Delman 1960 Gift of Anonymous Donor 2001 40 7A D Dating from 1960 these shoes and matching clutch are from Delman s Firebird collection Described by The New York Time s as guaranteed to set the dance floor ashimmer the Firebird collection could be personalized by each customer Though the basic pattern of rhinestones seed pearls and velvet flocking was set customers were invited to individualize their Firebird shoes by choosing favorite color combinations Customers could also customize other Delman purchases A Delman employeee named Miss Mary Kaltenbruner worked with customers to select personalized trimmings including bows shoe clips rhinestones and even fresh flowers for weddings Miss Kaltenbruner s storage system was described as an enormous cabinet 17 drawers across and a file cabinet big enough to hold a small horse 4 2003 40 7A Extravagantly embellished evening shoes were not unique to Delman During the mid to late 1950s variety in color texture and material became an important facet of shoe design particularly for evening shoes These changes in shoes mirrored similar changes in formal and evening dress Popular fabrics for glamorous after six dressing included textured matelesse and lustrous silk satins in bright pinks red or green Rhinestones or beads were used for embellishment and accent often appearing in stylized floral patterns on bodices Jewelry reflected these same trends with glittering artificial gemstones or rhinestones used in matched sets of bracelet earrings and necklace In the early 1960s these trends would be amplified as colors become even brighter and jewelry and embellishment grew larger and more exaggerated 1 Shoe Makers New Yorker April 18 1931 14 15 2 Scandal Sandals and Lady Slippers A History of Delman Shoes Museum at FIT Aug 2010 www3 fitnyc edu museum delman delman history htm 3 Shoe Makers New Yorker April 18 1931 14 15 4 Cook Joan Bows Buckles and Buttons Spark Simple Shoes Into New Creations New York Times 5 Dec 1959 19 Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post Exciting news about these being part of the Firebird Collection For some reason I ve always thought they look like they re covered in candies What a yummy accessory set Posted by Christina September 02 2010 at 08 40 AM Very informative detail Posted by Coupon Codes November 01 2010 at 12 37 AM Hello I was wondering if anyone could lead me

    Original URL path: http://blog.fidmmuseum.org/museum/2010/08/delman-shoes-and-clutch-1960.html (2016-02-12)
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  • FIDM Museum Blog: A Step Ahead of the Competition
    with other museums and collectors to acquire rare objects particularly early nineteenth century women s clothing menswear and dynamic accessories Sometimes an object of desire is found and it is offered to the FIDM Museum first before other collectors or institutions because of the strong relationship that exists with the owner 2009 5 50AB heel detail A case in point is this pair of Roger Vivier 1907 1998 shoes created in 1959 for the house of Dior They were featured in L Officiel de la Couture along with a number of other Vivier creations This particular pair is iconic because of their extreme silhouette and material decoration Vivier was known for inventing sculptural heels for his shoes such as the Choc or shocking heels on these pumps Also the blue green iridescent kingfisher feathers decorating the exteriors are highly unusual and would be illegal to use today All in all a very desirable pair of shoes of which only one other pair is known at the Metropolitan Museum of Art So how did I find them This is where the luck I mentioned earlier comes in I was invited to examine a private collection in Los Angeles where I first saw the shoes displayed in a glass vitrine Instantly my I want it mode kicked in I let the collector know that I was very interested in the shoes and that should they be available for purchase someday I would appreciate first right of refusal Eight years later I was able to acquire the Vivier shoes Curators must have a lot of patience There are many objects of desire but they don t always become available at opportune times or when there is funding Happily in this instance patience and payment paid off I m always on the lookout for FABULOUS fashions and I keep a tally in my mind of objects that I m tracking in hopes of acquiring for the FIDM Museum someday Do you have anything to tempt me This photo appeared in the December 1959 issue of L Officiel de la Couture t de la Mode de Paris A single Roger Vivier kingfisher choc shoe rests inside the shoebox Philippe Pottier Photographer L Officiel de la Couture et la Mode de Paris Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post Great post and great find Any idea how much the shoes cost back then Question Would cost be a factor when the museum decide what and how much to purchase i e operation budget only allows the museum to buy 6 items instead of 10 I have also seen eBay auctions with sellers purporting that they are selling on behalf of museums clothing that are deemed not special enough to remain in the collection Does the FIDM have similar practice in editing your museum collection Posted by LaMangaLaManga September 27 2011 at 08 58 PM Hi there Sorry to be a bit slow in

    Original URL path: http://blog.fidmmuseum.org/museum/2011/09/a-step-ahead-of-the-competition.html (2016-02-12)
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  • FIDM Museum Blog: July 2015
    cotton pillows called plumpers filled with eiderdown attached at the upper arms Corded petticoats were worn to support the full skirt Like the corset cording the insertion of cotton ropes into casings around the petticoat made the material firm yet flexible Only after these undergarments were secured was the outer gown slipped over a woman s head and settled onto this ideal foundation Europe c 1836 37 Museum Purchase 2009 5 66 The extreme breadth of the sleeves of this silk taffeta day dress represents the last vestige of the imbecile style The shoulders have been banded down in tight pleats which over the next few years would elongate and push the fullness down the arms The bodice is stiffened with a built in thick wooden busk at center front anticipating the boning that defined the female torso for the rest of the century The striking color variously described as amber apricot and citron in fashion periodicals was symbolically linked to the sunlit heavens Posted by FIDM Museum Permalink Comments 0 July 03 2015 Fundraising Friday Announcing the 4for400 Campaign The FIDM Museum is fundraising to acquire a remarkable collection of rare historic fashion ranging from gowns worn by Queen Victoria to stunning couture creations of the twentieth century The Helen Larson Historic Fashion Collection encompasses 1 400 pieces and represents 400 years of history but this critically important collection could be lost forever without your help Ball Gown American c 1852 Helen Larson Historic Fashion Collection Join us on August 4 2015 for the launch of 4for400 a fundraising campaign unlike anything we ve done before Our new mobile based fundraising drive for the acquisition of the Larson Collection will allow supporters to donate just 4 to help us save 400 years of history All donations can be made

    Original URL path: http://blog.fidmmuseum.org/museum/2015/07/page/2/ (2016-02-12)
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  • FIDM Museum Blog: What I Wish I Wore on My Summer Vacation
    garment labels alongside that of her employer Townley Frocks Thanks to this important stipulation in her employment contract she became one of the best known designers during the 1940s and 50s helping to establish The American Look McCardell s clothes were easy wearing comfortable and affordably priced They were often produced as coordinated ensembles like this dress and matching one sleeved wrap The striped textile is identical to the one used in another McCardell dress from the same era in the FIDM Museum collection Full of McCardellisms bias cut mitered stripes and asymmetrical closure with wrap and tie waist this summer look declares McCardell s own creed It s freedom it s democracy it s casualness it s good health Clothes can say all that 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

    Original URL path: http://blog.fidmmuseum.org/museum/2015/06/claire-mccardell.html (2016-02-12)
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  • FIDM Museum Blog: Claire McCardell dress, 1952
    McCardell also used adjustable belts to achieve this same end The printed cotton McCardell dress pictured here has extremely long cord ties that can be wrapped multiple times around the wearer s waist to create a perfect fit 77 1948 008 16 When using patterns McCardell typically focused on graphic plaids or stripes The pattern here is a variation on the classic Greek key or Greek fret motif A truly ancient pattern the Greek key is composed of a continuous squared line often enclosed in a border The pattern appears frequently in ancient Greek and Roman art and architecture but is not unique to those cultures Similar motifs appear in the decorative arts of Latin America and many other regions It s a favorite motif in fashion appearing on objects past and present including 19th century boots a 1929 evening bag and many other garments from the 18th 19th and 20th centuries The origins of the print aren t clear but it is thought to represent eternity and or commemorate the Greek myth of Theseus and the Minotaur This Claire McCardell for Everfast advertisement appeared in the December 1952 issue of Vogue The advertisement was published in black and white Image courtesy of the FIDM Library The fabric McCardell used for her black and white dress was produced by Everfast Throughout her career McCardell sought out unusual textiles and patterns sometimes advising textile mills on their seasonal production As the ad suggests McCardell wasn t shy about endorsing specific textile companies Everfast and McCardell probably shared production costs for this advertisement thus generating inexpensive publicity for both parties 1 McCardell and Everfast received additional exposure for their collaboration through a Vogue fashion editorial Both the advertisement above and the editorial image below appeared in the December 1952 issue of Vogue

    Original URL path: http://blog.fidmmuseum.org/museum/2012/05/claire-mccardell-dress-1952.html (2016-02-12)
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  • FIDM Museum Blog: Claire McCardell day dress, c. 1950
    McCardellisms one of several recurrent design solutions that defined her aesthetic Instead of darts pintucks give the bodice its shape In general McCardell avoided darts preferring to create silhouette via tucking tying wrapping or gathering 2003 5 28AB The zipper placement is also a McCardellism A Claire McCardell garment will rarely if ever have a back closure Instead McCardell placed closures at the center front or side many McCardell dresses were simply pulled over the head As she observed in her 1956 book What Shall I Wear a woman may live alone and like it but you may soon come to regret it if you wrench your arm trying to zip a back zipper into place 1 Rather than specializing in one aspect of a woman s wardrobe McCardell designed for a range of situations and activities From refined evening wear to playful swimsuits McCardell s creations were always designed with a nod to both practicality and style McCardell s shirtwaist dresses often featuring smartly mitered stripes are one testament to her ability to combine these sometimes disparate traits As seen in the shirtwaist pictured here McCardell used invigorating textiles and a variety of McCardellisms to enliven the popular style Easy to wear reasonably priced and stylish McCardell s shirtwaist dresses sold yearly in the tens of thousands 2 2003 5 28AB 1 Quoted in Yohannan Kohle and Nancy Wolf Claire McCardell Redefining Modernism Abrams Inc New York 1998 63 2 Yohannan and Wolf 58 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

    Original URL path: http://blog.fidmmuseum.org/museum/2013/02/claire-mccardell-day-dress-c-1950.html (2016-02-12)
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  • FIDM Museum Blog: McCardell playsuit and a Karan jumpsuit
    Shall I Wear with the observation that a woman may live alone and like it but you may soon come to regret it if you wrench your arm trying to zip a back zipper into place 2 Jumpsuit Donna Karan 1990 92 Gift of Mary Dubrow 2005 855 1 Like Claire McCardell Donna Karan s reputation is founded on the design of comfortable easy wearing elegant womenswear Karan s first solo collection in 1985 after working as head designer for Anne Klein was built around what Karan called seven easy pieces 3 Coordinating knit separates these garments were designed to take a woman through work evening and into the weekend with style and ease Making it even easier for a women to complete the look Karan also designed accessories needed to complete the wardrobe including belts bags and jewelry The foundation of this minimalist wardrobe was a bodysuit an innovation which emerged from Karan s own lifestyle During the mid 1980s the designer apparently spent much of her at home time in leotards adding a skirt and scarf when going out The resulting style was feminine yet easy wearing and sophisticated In translating this at home look into business appropriate attire Karan offered an alternative to the masculine inspired professional woman s wardrobe of the mid 1980s Her introduction of seven easy pieces profoundly altered the way that women dressed both in and out of the workplace Simple yet sophisticated this navy wool jumpsuit embodies the versatility of Donna Karan s aesthetic Alone the tight fit and deep V neckline would make for a provocative combination Worn over a blouse and topped with a loose sweater it could become a comfortable work ensemble In Donna Karan s words a jumpsuit offers the sophistication of a dress and the simplicity of pants all wrapped into one To me it s a look that delivers strength comfort and confidence 4 1 Lee Sarah American fashion the life and lines of Adrian Mainbocher McCardell Norell and Trigère Quadrangle New York Times Book Co New York 1975 211 2 Quoted in Yohannan Kohle and Nancy Wolf Claire McCardell Redefining Modernism Abrams Inc New York 1998 63 3 Morris Bernadine Fall Preview from 4 American Designers New York Times 16 April 1985 C11 4 Quoted in Working Girl blog mode addressing fashion 11 Feb 2008 Metropolitan Museum of Art 14 July 2011 http blog metmuseum org blogmode 2008 02 11 working girl Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post The McCardell playsuit has such a dreamy upper silhouette I was expecting a ball gown as I started scrolling down the photo What a surprise to find something so short Is that piece a skirt skort or what Would you wear something below or not Posted by Becky D July 29 2011 at 07 15 PM Playsuits are usually shorts The pleats on this McCardell hide the bifurcated leg so I guess you

    Original URL path: http://blog.fidmmuseum.org/museum/2011/07/mccardell-playsuit-and-a-karan-jumpsuit.html (2016-02-12)
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  • FIDM Museum Blog: Just Add Water, Part II
    Donor 2008 10 13AB Manufactured by Los Angeles swimwear company Cole of California this bikini was likely not commercially available but used for publicity purposes The motif is analogous to the repetitive images of Pop Art icon Andy Warhol 1928 1987 its metal discs are machine stamped with the profile of Queen Victoria 1819 1901 as she appeared on the copper farthing coin Detail The none too subtle jingling of the coins announced its wearer s approach and humorously referenced the expense involved in acquiring the bikini There is considerable irony in the fact that the stern British monarch would never have condoned wearing such a skimpy outfit even at the beach 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 again As a final step before posting

    Original URL path: http://blog.fidmmuseum.org/museum/2015/06/coin-suit.html (2016-02-12)
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