"Jimmie" Booth Collection
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Mitsuko Shitara.Pdf
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP MITSUKO SHITARA 1960’: Nova Iorque, Londres, Paris e São Paulo Mestrado em História São Paulo Abril de 2010 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP MITSUKO SHITARA 1960’: Nova Iorque, Londres, Paris e São Paulo Mestrado em História Dissertação de Mestrado apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Mestre em História, sob a orientação da Profa. Dra. Yvone Dias Avelino. São Paulo Abril de 2010 Banca Examinadora: ______________________________ ______________________________ ______________________________ Para Kanoe, com muita saudade. Agradecimentos No caminho percorrido entre o início da pesquisa e o depósito desta dissertação, pude contar com o auxílio precioso de diversas pessoas, que me estenderam a mão e emprestaram seus ombros, seus livros e seus conhecimentos, de formas tão diferentes, nos mais diferentes momentos, todos eles muito especiais e essenciais. Antes de mais nada, gostaria de deixar registrada minha eterna gratidão e admiração por Yvone Dias Avelino, que aceitou o desafio de orientar este trabalho. Ao longo dos anos, pude contar com sua compreensão, tolerância e paciência, sua imensa bondade e generosidade bem como a atenção e o jogo de cintura com que tratou minhas limitações de tempo. Quantas e quantas vezes incentivou-me nos momentos em que fraquejava, fortalecendo-me com seus ensinamentos. Sou-lhe eternamente devedora. Agradeço também a meus professores do programa de Mestrado da Pontifícia Universidade Católica de São Paulo (PUC-SP), que tiveram a capacidade de fazer uma ex-engenheira entender melhor o ofício de historiador e despertaram em mim um interesse mais profundo pela investigação histórica. -
1 a Dashing, Positively Smashing, Spectacle
A Dashing, Positively Smashing, Spectacle...: Female Spectators and Dress at Equestrian Events in the United States During the 1930s Dr Alison L Goodrum Introduction Little is known of the life of Miss Boopie Jenkins (see figures one and two) other than that she was part of an elite social set of wealthy, white, American men and women (note one) who enjoyed fulsome participation in a leisured lifestyle during the interwar years. Jenkins features in just a handful of black and white photographs held within the ‘Gerald B Webb Jr’ album collection (see note two), a photographic archive of the life and work of equestrian journalist and founder of the specialist newspaper (established 17th September 1937) The Chronicle of the Horse. These few glimpses of Jenkins captured in 1938 as a young woman of twenty-one years are instructive. They offer a visual entrée into the nuances of dress and dressing in – and for – a contemporary high class lifestyle, one punctuated by equestrian occasions both sporting and social. Amateur snapshots and family albums are endorsed by Taylor as being an ‘immensely useful...source of clothing detail’ (2002: 169-70) offering ‘significant tools in the dress historian’s search for the coded cultural meanings that lie within clothing’. The two photographs of Boopie Jenkins forwarded here are indeed richly encoded clothing texts. Both images are taken in the geographical setting of her home locale - Warrenton, Virginia - itself an area synonymous with equestrian activity of all kinds but particularly foxhunting and horse trialling. In figure one, Jenkins is positioned centre, following the action at the Warrenton Hunter Trials (see note three) from a makeshift vantage point: the back of a horse- drawn wagon. -
Costume Institute Records, 1937-2011
Costume Institute records, 1937-2011 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le, with additions by Celia Hartmann Processing of this collection was funded in part by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on June 21, 2019 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute records, 1937-2011 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Arrangement note................................................................................................................ 7 Administrative Information .............................................................................................. 7 Related Materials .............................................................................................................. 8 Controlled Access Headings............................................................................................... 8 Collection Inventory..........................................................................................................10 Series I. Collection Management................................................................................10 -
Charles Kleibacker, Master of the Bias Cut; Designs, Construction and Techniques
CHARLES KLEIBACKER, MASTER OF THE BIAS CUT; DESIGNS, CONSTRUCTION AND TECHNIQUES DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Joycelyn Falsken, M.A. ***** The Ohio State University 2008 Dissertation Committee: Professor Patricia A. Cunningham, Adviser Professor Kathryn A. Jakes Professor Alice L. Conklin Curator Gayle M. Strege Copyright by Joycelyn Falsken 2008 ABSTRACT Charles Kleibacker was a fashion designer in New York City from 1960 to 1986, a time when fashion styles reflected the turmoil that occurred in society throughout those years. However, through it all Charles maintained an individual design aesthetic – soft figure-flattering bias dresses with a classic look that could be worn for years. This earned him a devoted clientele of women who purchased his designer ready-to-wear garments at top stores in New York, or were custom fit in his workshop. Because of his preference for and skill with bias, he became known as the Master of the Bias Cut. Trained in French couturier methods of construction, Kleibacker’s garments were all produced with the highest standards in fabric, construction and fit. Bias is known to be the most difficult ‘cut’ to work with when constructing garments. Charles experimented until he figured out how to solve the challenges, and then trained his workers in the exacting techniques required. Having first a career in journalism, Charles’ path to fashion was in “no way normal” and his approach to his business and the industry was not the norm either. Starting small, through much determination and sacrifice, he overcame many obstacles to produce garments engineered for an enduring and graceful artistry. -
Costume Institute Records, 1937-2008
Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................ -
Successfulwomena007740mbp.Pdf
123315 920.7 T23s 1O96973 Taves Successful women and how they attained success SUCCESSFUL WOMEN SUCCESS'lOTWOMEN How They Attained Success By Isabella Taves YORK, 1943 . P. Dutton and Company, Inc. t 2943, by'E. P. Dutton & Co., Inc. d$j, j&ghts Reserved. Printed in U.S.A. FIRST EDITION H No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in con- nection with a review written for inclusion in magazine or newspaper or radio broadcast. S. A. JACOBS, THE GOLDEN EAGLE PRESS MOUNT VERNON, N. Y. CONTENTS PAGE Introduction: Successful Women 1 1 Radio Mary Margaret McBride, Columnist 1 7 PHOTO FACING PAGE 32 Bourke- Margaret White, Photographer 32 PHOTO FACING PAGE 32 Helen Actress Hayes, jo PHOTO FACING PAGE 33 Katharine Cornell, Actress 50 PHOTO FACING PAGE 48 i i Cornelia Otis Skinner, Actress & Writer 69 PHOTO FACING PAGE 49 Mary Roberts Rinehart, Writer 79 PHOTO FACING PAGE 96 Writer Kathleen Norris, 79 PHOTO FACING PAGE 96 Margaret Mitchell, Writer 79 PHOTO FACING PAGE 97 . Mary Ellen Chase, Writer 79 PHOTO FACING PAGE 97 Anne Hummert, Radio Executive 96 PHOTO FACING PAGE 112 Jane Crusinberry, Script Writer 96 PHOTO FACING PAGE 112 Valentina, Dress Designer 1 1 5 PHOTO FACING PAGE 113 V go&tents PAGE " Designer . 115 Ugri%:Q*m* "' . I I PHOTO FACING PAGE 1 1 3 Sally Victor, Millinery Designer 133 PHOTO FACING PAGE l6o Dorothy Shaver, Retail Executive 1 4 1 PHOTO FACING PAGE l6l Sara Pennoyer, Retail Executive 141 PHOTO FACING PAGE l6l Gladys Swarthout, Singer 1 60 PHOTO FACING PAGE 49 Ruby Ross Wood, Decorator 1 7 5 PHOTO FACING PAGE IO*O Louise Taylor Davis, Ad Executive 1 88 PHOTO FACING PAGE 176 Katherine Grimm, Secretary^. -
Fashion Group International, 1928-1997
St. John's University St. John's Scholar Theses and Dissertations 2020 The Business of Fashion: Fashion Group International, 1928-1997 Larissa Marie Knopp Follow this and additional works at: https://scholar.stjohns.edu/theses_dissertations THE BUSINESS OF FASHION: FASHION GROUP INTERNATIONAL, 1928-1997 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY to the faculty of the DEPARTMENT OF HISTORY of ST. JOHN’S COLLEGE OF LIBERAL ARTS AND SCIENCES at ST. JOHN’S UNIVERSITY New York by Larissa Knopp Date Submitted: 4/20/2020 Date Approved: 4/21/2020 Larissa Knopp Lara Vapnek ©Copyright by Larissa Knopp 2020 All Rights Reserved ABSTRACT THE BUSINESS OF FASHION: FASHION GROUP INTERNATIONAL, 1928-1997 Larissa Knopp In 1931 a group of women formed an organization that would serve as a clearing house for American fashion and as a support group for women professionals in the fashion industry. Members included Dorothy Shaver, Edith Head, and Eleanor Roosevelt, as well as other well-known professionals. Fashion Group soon grew into an international organization that helped launch careers in every area of the industry. Fashion Group International helped women create space for themselves in the upper echelons of the fashion world. Through a careful examination of archival documents, including letters, meeting minutes, newsletters, and speeches, this thesis shows how Fashion Group International helped women achieve professional success in the fashion industry. This dissertation looks at the women who held positions of power in the fashion industry after 1930 and it traces how they helped other women achieve similar positions. -
"It Is a Profession That Is New, Unlimited and Rich!": the Promotion of the American Fashion Designer in the 1930S Sheryl Ann Farnan Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2005 "It is a profession that is new, unlimited and rich!": the promotion of the American fashion designer in the 1930s Sheryl Ann Farnan Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the American Studies Commons, Art and Design Commons, Film and Media Studies Commons, Mass Communication Commons, and the United States History Commons Recommended Citation Farnan, Sheryl Ann, ""It is a profession that is new, unlimited and rich!": the promotion of the American fashion designer in the 1930s " (2005). Retrospective Theses and Dissertations. 1235. https://lib.dr.iastate.edu/rtd/1235 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. NOTE TO USERS This reproduction is the best copy available. ® UMI "It is a profession that is new, unlimited and rich!" The promotion of the American fashion designer in the 1930s by Sheryl Ann Faman A dissertation submitted to the graduate Acuity in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Textiles and Clothing Program of Study Committee: Jane Farrell Beck, Major Professor Jean Parsons, Major Professor Ann Marie Fiore AmyBix Leland Poague Tanya Zanish-Belcher Iowa State University Ames, Iowa 2005 Copyright © Sheryl Ann Faman, 2005. AH rights reserved. -
A Study of the Historical Change of American Sportswear -Focusing on Women's Sportswear
IJCC, V이 . 7, No. 2, 135~ 150(2004) 59 A Study of the Historical Change of American Sportswear -Focusing on Women's Sportswear - Young-Min Lee and Youn-Hee Lee' Dept, of Clothing & Textiles, Hanyang University (Received June 21, 2004 : Accepted November 13, 2004) Abstract The purpose of this study is to explicate the contemporary concept of the term 'sportswear' by studying the history of sportswear tradition in꺼 erica where sportswear was first established and developed. American sportswear originated from some functional clothes made for specific sports during the 19th century. Early in 20th century, there occurred many significant events in America while Americans were undergoing two successive world wars. First of all, due to the wars, women's role in labor force became so significant that their social status was enhanced remarkably. With economy growing every decade, the amount of leisure time for American people substantially increased and, therefore they could develop their leisure activity culture. All these changes made Americans demand the need for comfortable and junctional clothes suitable for their changed way of life. In response to this demand, the sportswear tradition became mature due to the contribution by many creative All-American designers, most of whom have made their active contributions since 1970s. Now the sportswear, which used to be designed far specific sports, developed into casual wear in general with its extended definition. The contemporary concept of sportswear is no longer limited to those clothes for specific sports. Sportswear has now become more like a casual activity wear which all classes of people can enjoy in their life. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustratioDS and photographs, print bleedthrough, substandard margins, and in^roper aligmnent can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlq>s. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photogr^hs mchided in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Beil & Howell Inlormation Company 300 North 2eeb Road. Ann Arbor. Ml48106-1346 USA 313,'761-4700 800,'521-0600 PROMOTING AMERICAN FASHION 1940 THROUGH 1945: FROM UNDERSTUDY TO STAR DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sandra Stansbery Buckland, B.A., M.A. -
The Style Stakes: Fashion, Sportswear and Horseracing in Interwar America
The Style Stakes: Fashion, Sportswear and Horseracing In Interwar America Alison Goodrum Department of Apparel Hollings Faculty Manchester Metropolitan University Righton Building, Cavendish Street Manchester M15 6BG England Tel: +44(0)161 247 2631 Email: [email protected] Acknowledgements This work was supported by the National Sporting Library & Museum, Virginia, under the John H Daniels Fellowship programme; and the Bard Graduate Center, New York City, under the Visiting Fellows programme. My grateful and warmest thanks to both. The Style Stakes: Fashion, Sportswear and Horseracing In Interwar America Abstract Despite an acknowledgement that, historically, the relationship between horseracing, women and fashion was important, existing literature provides little detail on the actual clothes that women wore as race-goers. The aim of this article is to add missing depth on the clothing of fashionable women at horseraces, focusing on the United States during the interwar period. In so doing, the discussion extends understandings of the history, and the material culture, of sporting spectatorship more generally. The article also introduces original work on the male spectator and his race-going wardrobe. Climatic considerations to do with dressing appropriately for the great outdoors are discussed along with other influential factors on spectator dress such as contemporary fashion journalism and photography. The industry supplying fashion consumers was in transition at this time also and New York acquired prominence as a centre for a new mode of sporty, all-American, fashion that was termed ‘sportswear’. As well as dealing with the clothes and the individuals who wore them, then, 1 the article tells the story of the broader socio-economic conditions of American fashion, sport and sportswear that formed – and informed - their wearing. -
Annual Report 2013
Whatever It Takes To Rise Above Addiction Phoenix House Annual Report II Whatever It Takes To Rise Above Addiction Storytelling has been woven into the fabric of Phoenix House since our earliest days. For more than forty-five years, we have proudly shared the stories of our clients— from the six heroin addicts living in a Manhattan brownstone in 1967 to the men, women, and teens across the country who make up our alumni today. Much has changed since we began this journey, yet much remains the same. Addiction can be out in the open or hidden as a secret—at least for a time. It can be the product of emotional scars or social pressure… or trauma…or abuse. It is harmful to the person involved, but its pain gradually spreads over families and friends. It is a scourge that brings heartache to millions—but, at heart, it is a personal burden that weighs down each person in its own way. Call it drug abuse, substance abuse, addiction, or a habit, it is a pattern of behavior that brings suffering and defeat to millions of people. It is also the field of our expertise and the focus of our long-term commitment to do whatever it takes to manage, treat, and control this disease. No matter how deep-seated the problem or how complex its causes, Phoenix House has succeeded in drawing people out of its grasp. By treating them wherever they need to be—at home, a clinic, or a residential facility—and by using whatever protocols are necessary to address underlying causes, we give those struggling with addiction answers, hope, and a positive way forward.