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  • FIDM Museum Blog: Hollywood Behind the Scenes: Exhibition Production
    important measurements for women include those three but also the hem length along with its intended position such as knee length or floor length For men I require the distance between shoulder seams inseam and out seam in addition to a chest and waist measurement I always measure the costume elements that are the most restrictive to the body so for a man s suit I would base the shoulder measurement on the jacket instead of shirt and the waist measurement on the pants instead of jacket Suggested measurements for mannequin selection as shown on the costume worn by Carey Mulligan as Daisy Buchanan in The Great Gatsby Loan courtesy of Warner Bros Pictures It s a bit of a gamble to choose a mannequin for a costume worn by an actor Initial mannequin selections for American Hustle adjustments were made after the costumes were received measured and test dressed American Hustle platform during installation Loans courtesy of Sony Pictures Michael Wilkinson Gucci and Halston See the final American Hustle costumes in the center of this gallery view The FIDM Museum has a healthy supply of mannequins but as you may have read on our previous blog posts here and here the process of dressing a garment on a mannequin for museum exhibition can be challenging to say the least I choose each mannequin for exhibition with a whole variety of factors in mind First and foremost the garment must fit the mannequin or be slightly larger than the mannequin Museum practice dictates that museum objects must not be harmed or altered in mounting them for exhibition As a result the installer must alter the mannequin to fit the costume This includes adding padding prop petticoats or bustle pads and even sometimes cutting off portions of the mannequin We have

    Original URL path: http://blog.fidmmuseum.org/museum/2014/04/hollywood-behind-the-scenes-exhibition-production.html (2016-02-12)
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  • FIDM Museum Blog: Hollywood Behind the Scenes: Exhibition Pre-Production
    The director is certainly the creative boss of a movie production but the real bosses are the producers They choose the script find the funding make the budget hire the director and other creative above the line types and run the day to day operations of the filming The producers may never put their hands on a camera or give notes to an actor but they are responsible for getting the film shot edited and distributed In the same way the registrar along with numerous other museum staff works behind the scenes to turn an idea into reality While the curator is planning the objects to be included in this case our museum coordinator Michael Black the registrar handles logistics like loan agreements shipping and insurance This registrar is very fortunate that Mr Black makes most of these arrangements for this particular exhibition since he maintains close contacts with costume designers studios archives and rental houses As costumes are received museum staff mark all garment bags boxes or other containers so that each piece is returned to the lender exactly as it was received Costumes from Lee Daniels The Butler courtesy of The Weinstein Company Other planning takes place while loan arrangements are made condition report templates are prepared for the iPad we use for checking in costumes supplies are purchased and the all important exhibition binder is prepared to hold the condition reports inventories reference images and other relevant documents pertaining to the loaned costumes to be displayed For the first time ever we used technology to record the exhibition loans however it s always important to keep a hard copy Meanwhile I meet with my colleagues to determine our staffing needs for exhibition installation With two exhibitions being installed concurrently our curatorial staff of five is stretched thin

    Original URL path: http://blog.fidmmuseum.org/museum/2014/04/hollywood-behind-the-scenes-exhibition-pre-production.html (2016-02-12)
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  • FIDM Museum Blog: Annette Green Fragrance Archive
    exhibition High Style Betsy Bloomingdale and the Haute Couture which will open on October 21 2009 Until you are able to get to FIDM to experience the exhibition for yourself enjoy these images of items currently on exhibit in the Annette Green Fragrance Archive Evening Dress Label Christian Dior Marc Bohan for Dior Spring Summer 1989 Anonymous Gift 95 10 1 This dress with its Grecian silhouette and flowing scarves might bring to mind the airy garb of a mythical nymph but the unseen corsetry beneath is very much for mortals Since Christian Dior introduced the New Look in 1947 such built in understructures have been a sign of the highest quality in haute couture clothing a tradition continued by his successors Yves Saint Laurent and Marc Bohan This Bohan s final collection for Dior in Spring Summer 1989 is no exception Label of 95 10 1 Miss Dior Perfume Christian Dior c 1947 1950 Gift of Annette Green F2005 860 747 Hypnotic Poison Eau de Toilette Christian Dior c 1998 Gift of Annette Green F2005 860 294A C After you get a good look at the J Adore bottle below revisit this post which features a John Galliano for Christian Dior necklace with a startlingly similar shape J Adore Eau de Parfum Christian Dior c 1999 Gift of Annette Green F2005 860 482A B Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post I have been in perfume industry for over 12 years and never got a chance to see a perfume museum I get hundreds of requests of perfumes and colognes even today that have been discontinued several years ago I wish I could see feel and smell those scents as sometimes we are able to find fragrances similar to the ones discontinued I think every major city should have a fragrance museum or something similar Posted by Sonny Ahuja July 29 2010 at 12 44 PM I stumbled upon your site while researching a historical costume and though compleely unrelated the blue gown above immediately caught my eye Do you happen to have a back view of the blue Dior Bohan gown or any info as to who wore it so I could try to find more info It bears a striking resemblance to the currently wildly popular ice queen Elsa from Frozen I wonder if the blue gown was perhaps a childhood dream dress of one of the animators If from 1989 that scenario would fit the timeline perfectly I would love to see if the cape is attached at the bodice line in back as Elsa s is a design choice that somewhat baffles me I never understood why it wasn t attached at the upper neckline but if it was based upon a real life inspiration that odd style choice would make more sense Posted by Jaelyn Rae Marshall December 11 2014 at 12 12 PM Hi Jaelyn Yes you re right this

    Original URL path: http://blog.fidmmuseum.org/museum/2009/09/annette-green-fragrance-archive.html (2016-02-12)
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  • FIDM Museum Blog: The 22nd Annual Art of Motion Picture Costume Design exhibition is now open!
    Hustle costumes by Michael Wilkinson 2014 Oscar Nominee for Costume Design L to R Jennifer Lawrence as Rosalyn Rosenfeld Christian Bale as Irving Rosenfeld Jennifer Lawrence as Rosalyn Rosenfeld Amy Adams as Sydney Prosser Amy Adams as Sydney Prosser Amy Adams as Sydney Prosser Amy Adams as Sydney Prosser The Grandmaster costumes by William Chang Suk Ping 2014 Oscar Nominee for Costume Design L to R Ziyi Zhang as Gong Er Tony Leung as Ip Man The Great Gatsby costumes by Catherine Martin 2014 Oscar Nominee for Costume Design L to R Elizabeth Debicki as Jordan Baker Tobey Maguire as Nick Carraway Carey Mulligan as Daisy Buchanan Joel Edgerton as Tom Buchanan Leonardo DiCaprio as Jay Gatsby The Invisible Woman costumes by Michael O Connor 2014 Oscar Nominee for Costume Design L to R Felicity Jones as Nelly Ralph Fiennes as Charles Dickens 12 Years a Slave costumes by Patricia Norris 2014 Oscar Nominee for Costume Design L to R Vivian Fleming Alvarez as Mulatto Woman Storm Reid as Emily Michael Fassbender as Edwin Epps Lupita Nyong o as Patsey Chiwetel Ejiofor as Solomon Northup Anna Karenina costumes by Jacqueline Durran 2013 Oscar Award Winner for Costume Design L to R Keira Knightley as Anna Karenina Keira Knightley as Anna Karenina Keira Knightley as Anna Karenina 47 Ronin costumes by Penny Rose L to R Ko Shibasaki as Mika Tadanobu Asano as Lord Kira The Hunger Games Catching Fire costumes by Trish Summerville L to R Jennifer Lawrence as Katniss Everdeen Pacific Rim costumes by Kate Hawley L to R Luu Brother as Wei Tang Triplet Diego Klattenhoff as Yancy Becket Rinko Kikuchi as Mako Mori Idris Elba as Stacker Pentecost Romeo and Juliet costumes by Carlo Poggioli L to R Douglas Booth as Romeo Hailee Steinfeld as Juliet 22nd

    Original URL path: http://blog.fidmmuseum.org/museum/2014/02/22nd-annual-art-of-motion-picture-costume-design-exhibition-is-now-open.html (2016-02-12)
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  • FIDM Museum Blog: BLISS: 19th-Century Wedding Gowns from The Helen Larson Historic Fashion Collection
    looks at a century of idealized brides dressed in simple sheaths of the First Empire to complex draperies of the Gilded Age each decade represented by the reigning silhouette Meant to celebrate a single day these rare ensembles continue to inspire nostalgic happy ever afters The Art of Motion Picture Costume Design will also be on view beginning Feb 11 Featuring over 100 costumes from more than 20 films this annual exhibition celebrates the creative accomplishments of costume designers and offers visitors an up close view of the costumer s art This year s exhibition includes all five 2014 Academy Award nominees for Best Costume American Hustle Michael Wilkinson The Grandmaster William Chang Suk Ping The Great Gatsby Catherine Martin The Invisible Woman Michael O Connor and 12 Years a Slave Patricia Norris Both exhibitions will open on February 11 2014 and are free to the public Experience BLISS 19th Century Wedding Gowns and the Art of Motion Picture Costume Design Tuesday through Saturday 10 am to 5 pm Exhibition tours with FIDM Museum curators are available via advance reservation For more information on scheduling a tour visit our website FIDM Museum Galleries 919 South Grand Avenue Suite 250 Los Angeles California 90015 Ground Floor Park Side 213 623 5821 Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post wow amazing and beautiful dress Posted by tamil matrimony October 09 2014 at 03 39 AM Interesting dress looks so different from the 21st century Posted by Grandeur Wedding Studio August 04 2015 at 11 31 PM 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

    Original URL path: http://blog.fidmmuseum.org/museum/2014/02/bliss-19th-century-wedding-gowns-from-the-helen-larson-historic-fashion-collection.html (2016-02-12)
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  • FIDM Museum Blog: Celebrate Spring
    across the UK Wiener Werkstatte c 1930 Museum Purchase 2005 5 170AB Dimensional felt flowers decorate the back of this Wiener Werkstatte girl s ensemble Founded in 1903 the Wiener Werkstatte Vienna Workshop was a design and manufacturing studio dedicated to creating gesamtkunstwerk a total work of art that united architecture furniture graphic design clothing and all other material elements of daily life into a compatible whole Fashion and textiles were an important part of this endeavor Wiener Werkstatte artists produced fascinating textile patterns This ensemble dates from the last years of the Wiener Werkstatte when the Werkstatte s style had moved away from contemporary art movements and towards folklore styles George Halley 1966 67 Gift of Clarissa Dyer 2003 794 8 George Halley s b 1930 linen dress features horizontal bands of chemical lace decorated with appliquéd daisies With their blue centers the three dimensional daisies verge on the psychedelic Despite this nod to late 1960s flower power Halley s dress is a perfectly correct full length evening gown It may date from the designer s first independent collection which he produced in 1967 after many years of working in the New York garment industry Gianfranco Ferré for Christian Dior Autumn Winter 1989 90 Gift of Mrs Alfred Bloomingdale 2006 116 13 Gianfranco Ferré 1944 2007 stood at the helm of Christian Dior for almost 10 years His work for Dior was informed by the history of the house This model s title is Gruau referencing the artist René Gruau who famously illustrated many of Christian Dior s seminal creations The blossoming red hued flowers that accentuate the bust of this gown and its oversized trailing stole are direct continuations of Christian Dior s well known design vocabulary romantic and dramatically feminine The labor intensive flowers were assembled petal

    Original URL path: http://blog.fidmmuseum.org/museum/2014/03/celebrate-spring.html (2016-02-12)
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  • FIDM Museum Blog: Wiener Werkstatte textiles
    different designs were produced in multiple colorways by 80 100 artists These textiles were used in Wiener Werkstatte designed interiors and fashions and were also purchased by other designers Paul Poiret was particularly fond of Wiener Werkstatte textiles using them in his own designs and establishing the Atelier Martine textile workshop which was modeled on the Wiener Werkstatte Though the textile designs certainly stand on their own Poiret s interest probably helped Wiener Werkstatte textiles become the Wiener Werkstatte s greatest international success 1 When the Wiener Werkstatte workshops began to shut down in 1930 31 the textile workshop was the last workshop to close a certain testament to its success Though the aesthetic of the Wiener Werkstatte leaned towards relatively unornamented geometric shapes and solid colors Wiener Werkstatte textiles are exuberant in both color and design Despite the sheer number of designers Wiener Werkstatte textiles are generally united in their use of bright colors and fairly dense stylized patterns All textiles produced by the Wiener Werkstatte were printed with Wiener Werkstatte and the pattern name in the selvedge Though our textile swatches don t bear this information we have been able to identify the pieces below through extensive research Enjoy Konstantinopel textile swatch Ugo Zovetti Wiener Werkstatte 1910 12 Gift of Robert Fortunoff 99 274 98 Leopard textile swatch Arch E Wimmer Wiener Werkstatte 1912 Gift of Robert Fortunoff 99 274 97 Textile swatch Wilhelm Jonasch Wiener Werkstatte 1911 1910 Gift of Robert Fortunoff 99 274 102 Vorgarten textile swatch Wilhelm Jonasch Wiener Werkstatte 1911 1912 Gift of Robert Fortunoff 99 274 103 1 Hess Heather The Wiener Werkstatte and the Reform Impulse Producing Fashion Commerce Culture and Consumers ed Regina Blaszczyk Philadelphia University of Penn Press 2008 129 Posted by FIDM Museum Permalink Comments You can follow this

    Original URL path: http://blog.fidmmuseum.org/museum/2009/10/wiener-werksttate-textiles.html (2016-02-12)
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  • FIDM Museum Blog: Fred Astaire's shoes on exhibit in Elegance in an Age of Crisis at MFIT
    of Recreation and Parks City of Los Angeles The Museum at FIT Photo by Eileen Costa Astaire s footwear is featured in the Hollywood section which highlights the influence of Hollywood film costumes and film stars on fashionable dress By the early 1930s Astaire was already an experienced stage performer Paired with his sister Adele Astaire had been dancing since childhood When Adele retired from the stage in 1932 Fred relocated to Hollywood His star rose rapidly beginning with a small role in the 1933 film Dancing Lady Later that same year he appeared in a film with Ginger Rogers who would become his dancing partner throughout the 1930s They starred in 10 films together including Top Hat 1935 and Follow the Fleet 1937 In addition to being an accomplished dancer and film star Fred Astaire was also a style icon His suits were always custom tailored first in London and later in Los Angeles Astaire had specific ideas about how men should dress though he considered himself someone who wants to be comfortable and satisfy my own taste 2 He was particular about fit often taking his suits back to the tailor multiple times His goal was to be unobtrusive in his personal dress though he did have a fondness for wearing silk scarves or neck ties instead of leather belts Most of his shoes were custom made and his personal wardrobe consisted of about 70 pairs of shoes 50 for dancing and 20 for other occasions For more on Astaire s personal style and his opinions on the male wardrobe read this extensive 1957 GQ interview Additional pairs of shoes worn by Fred Astaire on display in Elegance in the Age of Crisis The Museum at FIT Photo by Eileen Costa 1 Elegance in an Age of Crisis

    Original URL path: http://blog.fidmmuseum.org/museum/2014/03/fred-astaires-shoes-on-exhibit-in-elegance-in-an-age-of-crisis-at-mfit.html (2016-02-12)
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