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  • FIDM Museum Blog: Event Recap: Monarchy Lecture & Royal Tea
    in the 1970s and 1980s and spoke of her admiration for Helen s collecting connoisseurship in an era when every purchase required numerous letters telegrams and phone conversations a much different process than buying something online today with a single click of the mouse Kimberly Chrisman Campbell presented her findings on the court bodice worn by Lady Mary Douglas one of six unmarried earls daughters who attended the Queen during the 1761 coronation ceremony of George III Kimberly analyzed the construction and historical context of this silver embroidered cloth of gold bodice the only known example of English stiff bodied court costume to survive today The bodice was x rayed earlier this year providing more information about this truly important artifact Court Bodice 1761 The Helen Larson Historic Fashion Collection Kevin discussed an early 19 th century gown worn by Princess Charlotte of Wales The dress is printed with symbolic imagery roses for England shamrocks Ireland thistle Scotland myrtle and acorns marital flora as well as multiple Star of the Order of the Garter badges all suitable for Princess Charlotte heiress to the British throne and newly married in 1816 Kevin methodically traced the ownership of the dress to members of Princess Charlotte s household making it one of only a handful of garments with provenance attributed to this popular princess Dress worn by Princess Charlotte 1816 17 The Helen Larson Historic Fashion Collection Christina s presentation described the relationship between Helen Larson and Doris Langley Moore two of the 20 th century s most important collectors of historic dress Christina s research navigated the route from royals closets to Doris s hands and to Helen s Whittier California dining room table where she opened all her purchases Her research was facilitated by the Helen Larson Papers an historically important

    Original URL path: http://blog.fidmmuseum.org/museum/2012/12/event-recap-monarchy-lecture-royaltea.html (2016-02-12)
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  • FIDM Museum Blog: Pierre Cardin Relax quilted jacket, 1979
    fashion the neatly pressed executive suit is not exactly threatened yet But the wrinkled realist with the 10 o clock shadow is definitely coming on strong 2 Though bearing Pierre Cardin s name Relax was actually designed by Alan Flusser an American menswear designer After designing Relax for several years in the 1970s he launched his own label in 1980 On Flusser s departure Pierre Cardin Relax apparently ceased operations Flusser currently operates a custom tailor shop in New York City and has also authored several books on men s fashion and style 2010 1110 157 The split hood features a functional zipper which can be closed to create a hood Dating from 1979 this jacket was part of Alan Flusser s last collection for the Relax label Featuring classic varsity styling this blue and red jacket probably had a unisex appeal Though Relax was a menswear line the bright not overtly feminine colors convertible hood and cozy pockets lent this jacket a gender neutral appeal Made of quilted nylon Flusser s jacket caught the eye of fashion observers Quilted garments had previously been reserved primarily for functional sportswear i e ski jackets and it was a surprise to see this technique on the fashion runway At a 1979 Los Angeles area menswear show quilted garments including sweatshirts pants and sport jackets were a noteworthy new trend Pierre Cardin s Relax jacket earned a special mention and was described as a quilted nylon water resistant sport jacket with snap front 3 2010 1110 157 1 Cunningham Bill Brother Can You Spare 295 Los Angeles Times May 5 1978 N9 2 Ibid 3 Hawkins Timothy For Men Los Angeles Times Apr 6 1979 G5 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/2013/12/pierre-cardin-relax-quilted-jacket-1979.html (2016-02-12)
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  • FIDM Museum Blog: Day ensemble, 1894-1895
    a bow at each elbow both shoulders or at each side of the neck This FIDM Museum bodice features bows only on the reverse A self fabric 5 loop bow at the neck and a 4 loop bow at the waist can only been seen when looking at the ensemble from the back 2006 870 19AB Back view of bodice 2006 870 19AB Back view As you can seen from the image above the skirt fullness is concentrated at the back The front of the 5 gore skirt is a smooth expanse of fabric with no pleats or gathers To keep the heavier back portion of the skirt from sagging below the bodice waistband hook and eye fasteners were used to attach the skirt and bodice A floral taffeta belt conceals the waistband 2006 870 19AB Side view Topping off this ensemble is a matching hat embellished with sunflowers and an upright bow made of the same floral print taffeta seen in the bodice This hat would have been worn flat on the head over hair swept back into a bun or knot It probably would have been tilted very slightly forward Smallish hats with an upright bow or wired embellishment were popular during the mid 1890s When worn these hats looked almost like birds perched on a nest earning them the nickname setting hens 1 2006 870 19C Hat 2006 870 19C Hat 1 Severa Joan Dressed for the Photographer Ordinary Americans and Fashion 1840 1900 Ohio Kent State Press 1995 470 Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post I m curious as to where the blouse opens It is clear that if it is a side front opening it is hidden very well It looks

    Original URL path: http://blog.fidmmuseum.org/museum/2010/04/day-ensemble-18941895.html (2016-02-12)
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  • FIDM Museum Blog: “The Art of Dressing Has Never Been Manifested with So Much Brilliancy”: Fashion and the Paris Exposition of 1900
    of several men s names among dressmakers the art is still chiefly feminine 2 The electric light illuminating the palace must have contributed to the brilliant effect of the gowns on display the majority of which were evening gowns covered with reflective embellishments The Couture folio from LACMA records this brilliancy in the hand painted silver and gold highlights decorating many of the pages Now let s return to the United States and Ida Jones the original wearer of this gown Granddaughter Madge Baker had provided us with the date of her grandmother s marriage to Arthur Bacon November 8 1900 I did some sleuthing and found a book entitled Woman s Who s Who of America 1914 1915 with an entry for Jones Ida Irwin born 1872 which matched the birth date given to us by the family The book contains entries for about 9 000 women and appears to be a social registry The listing for Mrs Arthur Bacon Jones who lived at 981 Central Av Plainfield NJ states she was a member of the National Child Labor Committee the National Consumer s League the National Progressive Party the College Club of Plainfield NJ the Monday afternoon Club the Plainfield Country Club and was Presbyterian She Favor ed woman suffrage and was educated at Miss Capen s School in Pittsburgh and Smith College I contacted Ms Baker wanting to know more about her grandmother She wrote back Ida was an active suffragette and an active supporter of Sanger s work to promote availability of birth control methods My mother always described Ida as a radical feminist I asked if her grandmother could have attended the Exposition She didn t know but noted she did go to Germany to visit relatives shortly before she married Ida was married in the United States two days before the Exposition closed Petersham detail 2005 842 22 Gift of Madge Baker FIDM Museum Collection And what of the woman who made it The petersham is stamped in gold M F Daly dressmkr 200 W 81st Street I had a hunch this was 81st street in Manhattan The 1900 Manhattan City Directory identifies a Mary F Daly as resident of an apartment building at this address although her rooms were listed as a business The 1900 Census confirms Mary F Daly the only Mary F Daly in Manhattan as living on West 81st Street She is listed as a single 36 year old dressmaker living with Hope Arnold another dressmaker They had one servant The census shows Daly was born in 1863 in New York Her mother was born in New York and her father in Ireland The 1880 census had recorded Daly as a household servant 3 How did the gown come to be copied Was it based on an image or an unauthorized French pattern Starting out my research I hypothesized the gown was copied in Manhattan and not imported whole because evening gowns were not mass produced at this time The

    Original URL path: http://blog.fidmmuseum.org/museum/2011/02/the-art-of-dressing-has-never-been-manifested-with-so-much-brilliancy-fashion-and-the-paris-expositi.html (2016-02-12)
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  • FIDM Museum Blog: Charles James jumper, 1956
    easily translated into maternity clothing The flame red Charles James maternity evening coat pictured in a 1956 issue of Life magazine is nearly identical to his black velvet Balloon evening coat Child s jumper 1956 Charles James Museum Purchase 2008 5 23 Though James s designs for adult women usually prohibited expressive mobility James didn t impose the same expectations on children Made from soft cotton textiles the cut of his children s wear responded to the needs of an active baby or toddler Sleeves were designed for freedom of movement while pants featured extra gussets allowing room for a diaper All designs were fitted on Charles James Jr Like the jumper pictured above many of the designs featured buttons for both function and decoration The curved drop front panel is typical of the line which featured rounded silhouettes and incorporated curved seams and curved panels of fabric for shaping Created in collaboration with the Alexis Corporation these were not haute couture garments for children James designed prototype garments which were then patterned and put into mass production by the manufacturer By the end of 1956 the line retailed in about 30 shops nationwide with each small garment bearing a label that read Designed by Charles James or Shaped by Charles James In 1957 the line received royal recognition when Princess Grace of Monaco aka Grace Kelly visited Charles James s New York salon Expecting her first child she purchased an array of baby sun suits shirts and shorts in a variety of fabrics 1 The fashion show is described in detail in the October 20 1956 issue of The New Yorker Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post I was honored to be an inspiration for

    Original URL path: http://blog.fidmmuseum.org/museum/2012/05/charles-james-jumper-1956.html (2016-02-12)
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  • FIDM Museum Blog: Free Concert in Grand Hope Park!
    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 fashion and beautiful weather 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 your comment enter the letters and numbers you see in the image below This prevents automated programs from posting comments Having trouble reading this image View an alternate Post a comment Comments are moderated and will not appear until the author

    Original URL path: http://blog.fidmmuseum.org/museum/2015/03/free-concert-in-grand-hope-park.html (2016-02-12)
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  • FIDM Museum Blog: Summer Intern Application Deadline Extended to March 9!
    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 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

    Original URL path: http://blog.fidmmuseum.org/museum/2015/03/summer-intern-application-deadline-extended-to-march-9.html (2016-02-12)
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  • FIDM Museum Blog: FIDM Museum intern catalogs croquis
    able to easily identify what materials were used to create the croquis Many of these croquis used a variety of materials including gouache watercolor and colored pencil Over time I was able to tell the difference between an illustration from Marc Bohan and one from Gianfranco Ferre Bohan usually had the female figure printed on the page and would have an illustrator paint the ensemble over the figure with gouache Ferre s figures were always softer in form and were often hand drawn with pencil and hand painted with watercolor Marc Bohan for Christian Dior Spring Summer 1985 Marker gouache and colored pencil on paper Gift of Mrs Alfred Bloomingdale FIDM Museum Special Collections SC2006 116 89AB illustration for 2009 116 2AB While working with the croquis I also learned basic fashion terms and silhouettes and gained the ability to identify textiles In the catalog description I described what the figure was wearing such as an evening dress with an empire waist or a jacket and knee length skirt ensemble Since the Dior croquis collection spanned over 30 years I could see the drastic differences as styles changed In the mid 1960s sheath and A line dresses were popular while the 1970s collections featured wrap dresses and tunic and pant ensembles The 1980s croquis included peplum dresses and the 1990s highlighted oversized dresses The most difficult part of my assignment was identifying fabric swatches which were often stapled on the top or lower corners of the page It was amazing to see just how different textiles are from each other because it is something we take for granted in everyday life I now know the difference between silk chiffon organza faille and gabardine Whenever I had any questions about ensembles or the swatches everyone was more than willing to help

    Original URL path: http://blog.fidmmuseum.org/museum/2010/09/fidm-museum-intern-catalogs-croquis.html (2016-02-12)
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