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  • FIDM Museum Blog: Chanel evening ensemble, 1985
    have reduced the need for embroiderers feather workers and silk flower makers Karl Lagerfeld who has worked in the Paris fashion industry since the mid 1950s compared the successive closure of embroidery workshops to a classic fairy tale They were in Sleeping Beauty mode 1 In an effort to stem the loss of these unique crafts in 1997 Chanel established Paraffection a subsidiary dedicated to preserving the ateliers that collaborate with haute couture and high end ready to wear designers In 2002 Paraffection acquired five historic companies Desrues jewelry Lemarié feathers and flowers Lesage embroiderer Massaro shoemaker and Michel milliner Since this initial acquisition Chanel has acquired at least 6 more workshops the most recent purchase is the Bodin Joyeux tannery which was established in 1860 Though these companies are owned by Chanel they work with anyone who wants to pay for their services from couturiers to costume designers According to Lagerfeld We Chanel don t even insist on coming first 2 Each year Chanel stages the Métiers d Art fashion presentation to showcase the handcrafted products of theses specialty ateliers Featherwork is the province of Lemarié Founded in 1880 it is one of the last remaining plumassiers in France According to the company s website there were more than 300 Parisian plumassiers in 1900 and only 50 by 1960 In addition to featherwork Lemarié also designs and creates artificial flowers The atelier has a long association with Chanel in the 1950s Coco Chanel began purchasing silk camellia boutonnieres from Lemarié Lagerfeld known for his ability to reconceive Chanel s iconic symbols uses tweed leather and silk Lemarié flowers in his collections Take a look inside the atelier in this short film featuring Eric Charles Donatien the current Artistic Director of Lemarié 2009 116 1AB Bodice 1 Bowles Hamish Alliance

    Original URL path: http://blog.fidmmuseum.org/museum/2014/02/chanel-evening-ensemble-1985.html (2016-02-12)
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  • FIDM Museum Blog: The 22nd Annual Art of Motion Picture Costume Design Exhibition
    showcases over one hundred costumes from the previous year s films making the Art of Motion Picture Costume Design the largest annual display of film costumes worldwide Offering visitors an up close view of the costumer s art the exhibition celebrates the creative accomplishments of costume designers This year s exhibition features costumes from more than twenty films including 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 BLISS 19th Century Wedding Gowns an exhibition of selected wedding gowns from The Helen Larson Historic Fashion Collection will also be on view Surveying the history of nineteenth century wedding attire this exhibition highlights the interaction between wedding gowns and fashionable dress while also exploring how white became a popular color for bridal gowns Opening on February 11 2014 these exhibitions are free to the public Experience the Art of Motion Picture Costume Design and BLISS 19th Century Wedding Gowns Tuesday through Saturday 10 am to 5 pm Exhibition tours with FIDM Museum curators are available via advance reservation For more information on tours 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 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

    Original URL path: http://blog.fidmmuseum.org/museum/2014/01/the-22nd-annual-art-of-motion-picture-costume-design-exhibition.html (2016-02-12)
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  • FIDM Museum Blog: John Paul Gaultier backwards jacket
    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 Backwards jacket back With its back zipper closure the front of the jacket looks like the back and vice versa This play on the usual way a jacket is worn points to Gaultier s interest in teasing and upending sartorial norms As he stated in a 1986 interview Always I wanted difference and opposition My eccentricity became direction 1 His most notable challenges to fashion include skirts for men and his use of the corset as outerwear With this jacket Gaultier offers a gentle almost surrealistic challenge to notions of how clothing should or shouldn t be worn Despite an established reputation for subversion Gaultier s work is based on a deep understanding of construction and design As noted by an observer of Gaultier s New York debut fashion show in 1984 scene stealing garments hid a surprising classicism that allowed his designs to be worn both uptown and downtown depending on styling and accessories 2 This aspect of Gaultier s aesthetic is highlighted here by his zipper closure With the zipper fully closed the jacket reads as slightly quirky but not exactly boundary pushing But if you unzip the zipper to the barest minimum revealing a stretch of spine and the collar lining Gaultier s backwards jacket becomes a different garment suitable for unconventional situations Jacket lining 1 Gross Michael Gaultier Fashion Designed to Provoke Eccentricity for him became direction New York Times Oct 31 1986 A32 2 Duka John Gaultier s U S Debut A Three Ring Affair New York Times Sep 18 1984 B9 Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to

    Original URL path: http://blog.fidmmuseum.org/museum/2014/01/john-paul-gaultier-backwards-jacket.html (2016-02-12)
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  • FIDM Museum Blog: Blue corset, c. 1868-1874
    fragile we laced the corset with twill tape in a style similar to that used in lazy lacing To lazy lace a corset the wearer laced her corset so that two tabs or loops of lacing extended from each side at the corset s waist Once she d fastened the slot and stud closures the wearer simply pulled the back loops to adjust and tighten the fit Though corsets were generally hidden under many layers of clothing they were often made with an eye to beauty not just function In the second half of the 19th century brightly colored carefully detailed corsets became increasingly popular In 1871 Harper s Bazaar noted this trend The demand for colored corsets increases every winter the prejudice against them giving way gradually 1 The article recommended that brides wear white satin corsets while scarlet or gray merino wool corsets decorated with white embroidery were encouraged for winter warmth The white detailing seen on this corset is both decorative and functional Hand made lace trims the top while white stitching emphasizes the corset s silhouette Embroidered white teardrops are more than decoration they reinforce the ends of the boning channels 2011 5 28 Front By the late 1860s ready made corsets were widely available Fashion magazines sometimes provided instructions for making corsets though the process was very labor intensive If the instructions published in Corset Making an October 1869 Harper s Bazaar article are accurate making a corset at home was a difficult procedure requiring a sophisticated understanding of how to unite pliable fabric and rigid whalebone in a supportive flattering undergarment For those able to afford it Harper s Bazaar advocated the purchase of a custom made corset as the ordinary cheap corset has neither beauty of contour nor compactness of construction 2 Though

    Original URL path: http://blog.fidmmuseum.org/museum/2012/11/blue-corset-c-1868-1874.html (2016-02-12)
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  • FIDM Museum Blog: Out & About: Weaving Royal Traditions Through Time Symposium 2013
    we traveled into the heart of Bangkok the vast capital city of Thailand We stayed at the five star Dusit Thani Hotel which means The 5th Heaven and so it was very luxurious This is where the conference took place More than 200 international attendees were treated royally enjoying police escorts for our buses sometimes even having an on coming traffic lane closed off for our own use For those of you who have seen the 1956 Rodgers and Hammerstein musical The King and I there was no Hollywood exaggeration in the movie sets that depicted the beauty and elaborate display of the Wat Pra Kaew temple complex containing the golden pagoda and the famous Emerald Buddha nor the Grand Palace and Dusit Palace compound of thirteen royal residences We had the privilege of visiting rooms in the palaces not opened to the general public We traveled to the Vimanmek Mansion summer residence of King Rama V 1868 1910 and the largest teak building in the world Amazing And also to the Arts of the Kingdom exhibition at the Ananta Samakhom Throne Hall which showcases the finest examples of modern Thai handicrafts from the SUPPORT workshops at Chitralada Palace established in 1976 by Her Majesty Queen Sirikit Extraordinary embroideries are displayed included one panel that took 142 embroiderers four years to complete And there are multiple panels exhibited Unfortunately photography was not permitted Porcelain temple in the Wat Pra Kaew temple complex In general dress codes are enforced at all cultural sites especially those associated with the Royal Family Illustrated guides are posted guards are ever present and fines are levied for offending appearances In our symposium packets clothing guidelines were noted Ladies a skirt that is knee length or longer a top with sleeves that cover the shoulders and sandals with a strap or other covering of the heel and Men long pants sleeved shirts and sandals with a strap These requests were easy enough to follow but for those who packed and arrived in Bangkok early shopping for additional clothing proved necessary Due to the passing of Thailand s Supreme Buddhist Patriarch the weekend before the symposium commenced we were asked to wear only subdued mourning colors and most attendees opted for black Placard indicating acceptable and non acceptable dress at the HRH Princess Orathai Thep Kanya Residence Hall The major highlight of our Thailand experience was visiting the new Queen Sirikit Museum of Textiles Located within the royal compound this impressive nine year project turned the former Ministry of Finance building a 19th century structure into a major repository of Thai identity and culture specifically to assure the preservation of ancient and modern Southeast Asian South Asian and East Asian textile arts for future generations We toured the library and education studio the conservation laboratory and storage facilities and two exceptional exhibitions the first on the history of the Thai silk industry and the second on Her Majesty Queen Sirikit s state wardrobe created for her by

    Original URL path: http://blog.fidmmuseum.org/museum/2014/01/out-about-weaving-royal-traditions-through-time-symposium-2013.html (2016-02-12)
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  • FIDM Museum Blog: Down Under!
    worn by Grace Kelly in its case at Bendigo Art Gallery Few Grace Kelly costumes survive and the FIDM Museum s is particularly interesting as movie stills of Kelly wearing the gown were incorporated into an official wedding portrait of her with Prince Rainier III 1923 2005 as seen on the cover of a special Royal Wedding edition of the magazine Point de Vue MGM Studios even held the release of the film completed the year before to coincide with the 1957 Monaco nuptials Costumes from two other Grace Kelly films are represented in the exhibition Rear Window 1954 and High Society 1956 Kelly s last film in which she wears her actual engagement ring Also included in the installation are the Oscar statuette and the aqua satin evening gown by Edith Head 1897 1981 that Kelly wore when accepting the Academy Award for Best Actress in the movie The Country Girl 1954 So if any of you find yourselves in the Land Down Under this autumn don t forget it s the opposite season in the southern hemisphere make time for a trip to Bendigo a charming Victorian town to view the wardrobe of a 20th century fashion maven Grace Kelly Style Icon Princess Charlene of Monaco pictured in the pink and silver dress traveled to Australia to open the exhibition Here she views the FIDM Museum dress worn by her late mother in law Posted by FIDM Museum Permalink Comments You can follow this conversation by subscribing to the comment feed for this post Thank you for your very complimentary comments about your travels Down Under May I be permitted to make one small correction Australia does not have Provinces only States and Territories Victoria is a State as are Western Australia Queensland Tasmania and New South Wales

    Original URL path: http://blog.fidmmuseum.org/museum/2012/03/down-under.html (2016-02-12)
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  • FIDM Museum Blog: Opening Feb. 11: The 22nd Annual Art of Motion Picture Costume Design Exhibition
    use to display garments and a wall which will divide groupings of film costumes Gallery layouts and color schemes are unique to each exhibition read more about the design process in our 2012 post on exhibition design In order to mount this exhibition we borrow film costumes from near and far In some cases costume designers retain their costumes so we work directly with the designer to borrow their creations In other cases film studios maintain ownership of costumes Costumes are sometimes borrowed from rental houses like LA s Western Costume or London s Cosprop In rare cases actors maintain an archive of their film wardrobes Mako Mori s Rinko Kikuchi Jaeger pilot costume from Pacific Rim We borrowed Mako Mori s Pacific Rim Jaeger pilot suit from Legendary Films It arrived in a custom built crate seen above Legendary Films archives staff helped us uncrate and install the costume Designed by Kate Hawley the helmet contains LED lights that will be illuminated during the exhibition Not every costume arrives in a giant crate Most costumes arrive in boxes or if they come from a local source they might be delivered in garment bags Below Ilana unpacks a hat from Oz the Great and Powerful Designed by Gary Jones this oversized hat was worn by Mila Kunis as Theodora Ilana poses with a hat from Oz the Great and Powerful Frequent readers will know that we focus a lot on mannequins That s because they re important As the foundation for every garment we display they can make or break an exhibition For more on this see our recent post on styling mannequins for museum exhibitions Here our two Danielles pose with a freshly painted mannequin Mannequins age too and a fresh coat of paint makes them exhibition ready L

    Original URL path: http://blog.fidmmuseum.org/museum/2014/01/opening-feb-11-the-22nd-annual-art-of-motion-picture-costume-design-exhibition.html (2016-02-12)
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  • FIDM Museum Blog: Styling Museum Mannequins
    with the correct attitude the ideal stance as posed by designers muses and models This mannequin above was not the one we ultimately chose but you can see how the garments are beginning to take on more dynamism on a body with musculature and personality Vogue editorial featuring a similar Stephen Sprouse ensemble I find the research portion of museum work fun Condé Nast has recently digitized Vogue and it was easy to find this look s date with a simple keyword search A similar ensemble appears in the April 1 1984 edition Actress Lori Singer who models it in Vogue is quoted as saying his crazy bright clothes give me a certain bold feeling all their own Her belts slung low around the waist inspired us to style our mannequin in the same way A similar ensemble in The Stephen Sprouse Book by Roger and Mauricio Padilha Sprouse was the subject of a monograph written by Roger and Mauricio Padilha in 2009 and this book helped my research a great deal One image shows a model in the neon pink miniskirt and similar coat She also wears the same low slung belts And that very brief tube top Although it was donated with the matching tights and a belt our ensemble does not include an original top So we created a prop an object meant to convey the appearance of an original Both models photographed have wide legged hip thrust stances conveying a certain energetic aggressive quality We chose a mannequin with the same look and bunched the skirt a bit to convey a punkish chic which Sprouse was known for in his designs The ensemble as it appeared in Modern Love I collaborate with Curator Kevin Jones and the rest of our museum staff everyday Sometimes I feel a bit out of my league when working with more contemporary garments I specialize in the nineteenth century so it s especially helpful to ask for others help We needed to acquire a pair of shoes for the ensemble Accessories shown on runways are not always made for resale especially early in designers careers The shoes worn with this ensemble were a pair of black low heeled pumps studded with spikes Even if we did have the rare original shoes we wouldn t utilize them for this mannequin The weight of the body is too heavy to place on a museum object and we needed to secure the mannequin s feet on floor spikes for the exhibition we cut a hole through the sole of the shoe for the floor spike to reach the foot hole Working from the period images I gave them my co workers found these c 1980 shoes and picked up some studded bracelets in the Los Angeles garment district We slipped them up over the mannequin s ankle creating prop copies of the originals to impart the punk vibe Sprouse and his models were known for The tights were carefully packed for shipping to Australia

    Original URL path: http://blog.fidmmuseum.org/museum/2014/01/styling-museum-mannequins.html (2016-02-12)
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