2012–13 THREADS 1 THREADS

ANNUAL NEWSLETTER OF THE COSTUME COUNCIL OF THE LOS ANGELES COUNTY MUSEUM OF ART 2 THREADS

T A BLE OF CONTEN TS

Costume and Textiles Department Report 5

2013 COSTUME COUNCIL

Diana Vreeland: The Eye Has to Travel 9 Photographer Melvin Sokolsky 13 The Vintage Circuit 19 Jerell Scott 23 Grace Coddington 27 Shinique Smith: Firsthand 33 Building Your Fashion Library 37 Debut 2013 Fashion Show 41 Walter van Beirendonck and Paul Boudens 45 Mary Katrantzou 51 Versailles ’73: American Runway Revolution 55 Olivier Theyskens 61 Tadashi Shoji 67 Jennifer Henry 71 Stephen Webster 77 Michael Schmidt 81 Sue Wong 87 Rachel Zoe 91

COSTUME COUNCIL BOARD ME MBERS 96

L ETTER FR OM THE CHAI R 99

COSTUME A N D TEX T ILES GIFTS A N D A QUIS I T IONS 101 LETTER FROM THE CHAIR

Many people have asked me how Costume Council events come about. For me, paying $250 for museum membership and $1,000 to participate in the Costume as last year’s incoming chair, the process began in March of 2012, when I met Council. Future events will be planned by the curators and LACMA’s with Sharon Takeda, senior curator of costume and textiles, and members of development team. LACMA’s development staff to establish new guidelines and goals for the Costume We could not have accomplished our mission this last year without Council. In July, our programming chairs brainstormed ideas for another remark- the assistance of our LACMA associate, Jen Murby. Jen graciously fielded all able Costume Council year. Our mission was to build educational, entertaining calls to the Costume Council office, coordinated and facilitated our interactions programs that enhanced the prestige of LACMA’s internationally respected with the museum, skillfully negotiated on our behalf, created our beautiful Department of Costume and Textiles, with a goal of examining fashion and textiles invitations, and oversaw communications with our members and collaborators. through film, books, magazines, photography, art exhibitions, and interaction She has the eye of a fashion editor, the political skill of a diplomat, and the grace with fashion designers. We submitted the best of our ideas to curators and museum of a British aristocrat, wrapped up in a charming package. Jen recently development staff for approval, sent invitations to possible speakers, coordinated departed LACMA to pursue a career in the film industry. We wish her the schedules, and reserved event space. We sought out a wide range of local and greatest success. international speakers, unusual settings for our events, and expert interviewers Congratulations and thanks to our curators, Sharon Takeda and to guide discussions. Kaye Spilker, for their tireless efforts to seek out the best of the best for LACMA’s This first-ever digital version of Threads, our newsletter, documents collection and present it with such elegance through their excellent exhibitions the programs we created and allows us to share our most memorable moments. and catalogues. We emphasized designers and encouraged them to join us in person for our pro- Chairing the Costume Council has been a true honor for me. I have grams. I don’t think we have ever enjoyed such intimate contact with so many sincerely appreciated the opportunity to contribute in my own small way to our designers, and I know that they genuinely appreciated getting to know the real success and history. Thinking back over this dramatic year, I think of the incred- women who are their customers. ible places I have gone and the fascinating people I met through my position. As we approach the Costume Council’s sixtieth anniversary, we think It was a life-altering, once-in-a-lifetime thrill. My deepest thanks to all those back to the Council’s founders, who dreamt up the idea of planning glamorous, listed below for their generosity and assistance in making something truly exciting, and educational events to raise funds for major acquisitions. This year fabulous happen at the Costume Council this past year. the board approved the purchase of two French Revolution–era ensembles that our curators selected as a legacy in honor of the sixty-year history of the Costume Council. We also approved the purchase of two evening gowns, from about 1954, the inaugural year of the Costume Council, in honor of one of our founders and former chairwomen, Eleanor LaVove, who passed away this year. The Cindy Canzoneri Costume Council’s lasting legacy is LACMA’s incredible collection, now regarded Costume Council Chair as one of the finest in the world, which we have helped create through our dues—and sometimes even donations from our own closets! A highlight of the past year for me was attending the opening of Fashioning Fashion at the Musée de la Mode et du Textile in Paris in December. Samuel Goldwyn Films Jerell Scott, fashion designer Epic Pictures Deborah Scott Riley, director of Versailles ’73 Members of the Costume Council would have beamed with pride to see the Bloomingdale’s Cameron Silver, Decades, Dukes of Melrose wonderful reception LACMA’s collection received in Paris. Imagine a collection Los Angeles Times Olivier Theyskens, fashion designer of eighteenth-century European clothing, so impressive in its scope that even Neiman Marcus Arianne Phillips, costume designer and stylist the Musée de la Mode et du Textile would be envious! We were all thrilled to hear Theory Mary Katrantzou, fashion designer Swarovski Lisa Love, West Coast editor, Vogue Olivier Theyskens praise the exhibition when he visited LACMA this year, Lisa Immordino Vreeland, director of Diana Vreeland: Stephen Webster, jewelry designer reminding us that what we do has true value and impact. The Eye Has to Travel Jennifer Henry, fashion designer and artist Booth Moore, Los Angeles Times fashion writer Financially, the year was also a success. Not only did we stay well Mani Brothers Real Estate Group Melvin Sokolsky, fashion photographer Sue Wong, fashion designer within our projected budget, but we far exceeded our revenue goals, thanks Randee Klein, Ken Devlin, and David Fahey, Tadashi Shoji, fashion designer Fahey / Klein Gallery largely to increased ticket sales and generous sponsorship of our events. I would Michael Schmidt, fashion designer Doris Raymond, The Way We Wore Rose Apodaca, writer like to extend my sincere gratitude to each board member for her dedication, Esther Ginsberg, Golyester Rachel Zoe, fashion designer, stylist, support, and creative input. You are truly a gifted, brilliant, and powerful group R. J. Cutler, director of The September Issue and media celebrity of women. Mission accomplished! Though the Costume Council board of direc- Grace Coddington, creative director, Vogue Christine Chiu, for providing refreshments Nick Harvill, private library consultant, to the Rachel Zoe event tors will cease to exist due to changes in museum policy that apply to all museum Harvill Libraries Susan Rothenberg, for underwriting support groups, the Costume Council will continue to flourish with your Dori Schneider, for graciously inviting us a portion of the Costume Council Board Luncheon into her home for the Nick Harvill event Fashion Institute of Design and Merchandising support. This year there will be only one level of membership, with members Valerie Sobel, philanthropist Otis College of Art and Design 96 THREADS THREADS 97

Costume Council members at Urban Light 94 THREADS THREADS 95 COSTUME COUNCIL BOA R D M E MBERS

E X E CUT I VE E X-OFFICIO Cindy Canzoneri, Chair Carolyn Wagner

Lauren Katz, Recording Secretary STRATEGY Cindy Fields, Treasurer Betty Leonard P R OGRAM S Dawn Moore, Member - at Large Ellen Levy-Sarnoff, All Council

Greer Saunders, All Council ADVI S O RS Christine Chiu, Fashion Circle Sheila Weisman Susan Rothenberg, Fashion Circle Kathy Offenhauser Alison Kahn, Patrons Sue Tsao Ricki Ring, Patrons Linda Freund Donna Wolff, Salon Series Maureen Shapiro Joni Smith, Special Events Lanie Bernhard M E MBERSHIP Rini Kraus Cheryl Van Tassel, Admissions Jim Waterson Helene Cooper, Admissions Susan Jarvie, Hospitality Cindy Canzoneri, Threads Editor Dori Schneider, Hospitality

COMMUNICATIONS Elizabeth Matthews, Public Relations Liza-Mae Carlin, Snaps Editor Toni Yamin, Photography & Threads Editor 6 THREADS THREADS 7 COSTUME COUNCIL 2013 EVEN TS ACQUISITIONS 9 DIANA VREELAND: THE EYE HAS TO TRAVEL

Monday, September 10, 2012

Followed by a Q&A with director Lisa Immordino Vreeland Moderated by Booth Moore, Los Angeles Times fashion critic During Diana Vreeland’s fifty-year reign as the “empress of fashion,” she launched Twiggy, advised Jackie Onassis, and established countless trends that have withstood the test of time. She was the fashion editor of Harper’s Bazaar, where she worked for twenty-five years before becoming editor in chief of Vogue, followed by a remarkable stint at The Metropolitan Museum of Art’s Costume Institute, where she helped popularize its historical collections. Diana Vreeland: The Eye Has to Travel is an intimate portrait and a vibrant celebration of one of the most influential women of the twentieth century, an enduring figure who has had a strong influence on the course of fashion, beauty, publishing, and culture.

Cauët Soeurs, Paris Diana Vreeland in her red room in 1979. Woman’s Evening Dress, circa 1912 Photo by Horst P. Horst Purchased with funds provided by Ellen A. Michelson M.2012.95.25 10 THREADS DIANA VREELAND DIANA VREELAND THREADS 11

TOP LEFT TOP TOP TOP Andy MacDowell Ellen Levy-Sarnoff, Isabella Sarnoff, Lilly Sarnoff, Booth Moore Nicky Butler, Jacqueline Bissett, and Danny Sarnoff and Tim Vreeland TOP RIGHT BOTTOM Peggy Moffitt BOTTOM Cindy and Tony Canzoneri BOTTOM Lisa Immordino Vreeland Tanya Gill, Adriana Caras, BOTTOM and Lisa Berman Valerie Sobel, Francois Jantzen, Doris Raymond, and Louise Coffey-Webb 13

Jean Dessès (France, 1904–1970) Woman’s Evening Dress (detail), 1956 Purchased with funds PHOTOGRAPHER provided by Ellen A. Michelson M.2012.95.41a–b MELVIN SOKOLSKY

Thursday, October 18, 2012

A conversation moderated by Kenneth Devlin and David Fahey At the age of twenty-one, photographer Melvin Sokolsky received what would turn out to be the opportunity of a lifetime. The legendary Nancy White, editor in chief of Harper’s Bazaar, invited Sokolsky to travel to Paris to cover the Spring 1963 haute couture collections for the magazine. What followed was a complicated photo shoot that produced some of the most memorable fashion images ever taken while simultaneously—accidentally—capturing what some would call the end of the golden age of haute couture. Within the next few years, Sokolsky worked as a major contribu- tor to such prestigious publications as Esquire, Newsweek, and Vogue, and has since been honored with twenty-five Clio Awards and a Directors Guild nomination. This was an intimate conversation with Melvin Sokolsky, moderated by Kenneth Devlin and David Fahey, as Sokolsky described how his dream shoot evolved into a reality. Costume Council members had a chance to view the photography collection on display and hear the stories behind the career of this unconventional, inspiring photographer who ignited the world of fashion photography with his innovative style.

Melvin Sokolsky, Bubble Series, 1960 14 THREADS MELVIN SOKOLSKY MELVIN SOKOLSKY THREADS 15

TOP Melvin Sokolsky and Donna Wolff

CENTER Melvin Sokolsky

BOTTOM Judy Chang, Ken Devlin, and Kathleen Donahue Baaden 16 T HREA D S MELVIN SOKOLSKY ACQUISITIONS

TOP TOP Paul Klee (Switzerland, 1879–1940) Susan Rothenberg, Eva Safan, Christine Buckelew, for Fuller Fabrics Dori Schneider, and Rini Kraus Ginger Barnard, and Shawna Clark Textile Length, ‘Magic Squares’ (detail), 1956 Costume and Textiles Acquisition Fund M.2013.16 BOTTOM Ken Devlin, Donna Wolff, Melvin Sokolsky, Cindy Canzoneri, and David Fahey ACQUISITIONS 19

Émile Pingat (France, 1820–1901) Woman’s Two-Piece Day Dress (detail), 1897 Purchased with funds provided by Ellen A. Michelson THE M.2012.95.123a–b VINTAGE CIRCUIT

Wednesday, November 7, 2012

A walking tour to vintage stores Golyester and The Way We Wore Costume Council members viewed a dizzying array of accessories and clothing on display in Golyester and The Way We Wore while learning of the careers and experiences of Esther Ginsberg, owner of Golyester, and Doris Raymond, owner of The Way We Wore. There was also an opportunity to hear the stories behind select pieces and discover how best to build a wonderful vintage collection. Originally founded in Venice over thirty years ago, Golyester is one of Los Angeles’s oldest vintage clothing stores. Fascinated by the styling, detail, surface embellishment, embroidery, and beautiful prints of pieces, Esther Ginsberg found her passion for vintage clothing while living in New York’s East Village, and her interest has never waned. Ginsberg has donated and loaned some of her favorite pieces to LACMA, as well as to other national and international institutions. The Way We Wore boutique is more than just a store. Visit on any given day and you’ll find yourself rubbing elbows with, or maybe vying for the same items as, some of the world’s most influential designers, costumers, stylists, and celebrities. The bilevel shop is meticulously organized according to decade on the main level, with a vast selection of couture, designer gowns, and ready to wear located on the second floor. Each and every piece is hand- selected by Doris Raymond, a collector and curator of some of the most iconic twentieth-century fashion, jewelry, and accessories for more than thirty years. 20 THREADS VINTAGE CIRCUIT VINTAGE CIRCUIT THREADS 21

Shawna Clark TOP TOP Adrienne Horwitch Doris Raymond, Joni Smith, Cindy Canzoneri, Ricki Ring, and Alison Kahn BOTTOM Liza-Mae Carlin ACQUISITIONS 23 JERELL SCOTT

Wednesday, December 5, 2012

In conversation with producer Sol Aponte Jerell Scott is a rising star in the Los Angeles fashion scene. He came to national prominence as a talented designer—and memorable personality—as a finalist on the television series Project Runway. In January 2012, he was invited back to appear on Project Runway All Stars. Scott has held many headline runway shows during Los Angeles, New York, and Inter- national Fashion Weeks. Raised in the shadow of Hollywood, Scott brings a regal aesthetic to his work, which has attracted a loyal following of celebrities and stylish patrons, including the hostess of this event, Valerie Sobel. He is best known for combining unusual patterns, textiles, and unexpected and ornate embellish- ments to create what many describe as wearable works of art. The Costume Council was honored to be joined at this event by famed fashion designer James Galanos. Two of his photographic works of art were on display in Valerie’s inspiring pied-à-terre.

Man’s At-Home Robe and Waistcoat Jarell Scott with a model (France, 1790–1795) Costume Council Fund in honor of the council’s sixtieth anniversary M.2013.101.3a–b 24 THREADS JERELL SCOTT JERELL SCOTT THREADS 25

TOP TOP TOP TOP Model wearing Famed couturier James Galanos with Cindy Canzoneri, The scene Sol Aponte and Valerie Sobel Jerell Scott creation Valerie Sobel, and Susan Rothenberg BOTTOM BOTTOM BOTTOM James Galanos, Valerie Sobel, Jerrell Scott and Carlye Samatas Cindy Canzoneri, Cheryl Van Tassell, Joady Gorelick, and Jerrell Scott and Jennia Fredrique ACQUISITIONS 27 GRACE CODDINGTON

Monday, December 10, 2012

In conversation with filmmaker R. J. Cutler For more than four decades, Coddington—a onetime model turned master stylist— has collaborated with the best photographers and hair and makeup artists in the business to create what amounts to moving pictures on the page. Since 1988, she has been Vogue’s creative leader, encouraging the team to push beyond the frame. “I like to give the photographer a starting point and then let him or her go as far as possible,” she told the magazine in 1993. Anna Wintour wrote, in the preface to Grace: “She inspires and challenges [photographers] like no one else.” The Costume Council was treated to a fascinating evening of Grace

Coddington and R. J. Cutler in conversation, and an opportunity to purchase

Michael Govan, LACMA CEO and Wallis Annenberg Director,
and the Costume Council invite you to attend a special evening with Vogue creative director and author of Grace: A Memoir

GRACE CODDINGTON

IN CONVERSATION WITH FILMMAKER R. J. CUTLER

Monday, December 10, 2012 Bing Theater | LACMA 6 pm Check-in 6:30 pm Conversation Reception and book signing to follow

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Costume Council members free Guests of Costume Council members $30 Members kindly RSVP by December 5 to 323 857-6555 or [email protected]. RSVP required.

General admission $35 For tickets, contact the LACMA Ticket Office at 323 857-6010

Complimentary parking is available in the lot at the corner of Wilshire Blvd. and Spaulding Ave. Additional parking is available in the Pritzker Parking Garage on Sixth Street just east of Fairfax Ave.

Ceremonial Textile (detail) Cover of Grace: A Memoir
Indonesia, East Sumba, late 19th–mid-20th century
Anonymous gift
M.2012.188.34 28 THREADS GRACE CODDINGTON GRACE CODDINGTON THREADS 29

Grace Coddington and R. J. Cuttler in conversation 30 THREADS GRACE CODDINGTON GRACE CODDINGTON THREADS 31

TOP TOP TOP TOP TOP TOP Amber Valetta and Cindy Crawford Judy Chang, Irena Medavoy, Leandra McPartlan-Karol Gregory Parkinson and Liseanne Frankfurt Bobbe Bramson and Julie Spira Sue Jarvie and Dori Schneider and Kimberly Brooks BOTTOM BOTTOM Peter Lindbergh Eva Chow and Michael Chow

BOTTOM Laura Mulleavy, Kate Mulleavy, and Grace Coddington ACQUISITIONS 33 SHINIQUE SMITH: FIRSTHAND

Grace: A Memoir.

Thursday, February 21, 2013

With Sarah Jesse, LACMA’s associate vice president of education, and Clarissa Esguerra, assistant curator As part of LACMA’s ongoing engagement with the community, LACMA presented Shinique Smith: Firsthand at Charles White Elementary School. The exhibition reflected on New York– based artist Shinique Smith’s gritty Baltimore upbringing and early exposure to the sophisticated world of fashion design. Smith visited LACMA and worked directly with students to uncover sources of inspiration in their own lives. The exhibition juxtaposed objects Smith selected from LACMA’s Costume and Textiles collection (including stunning pieces by Geoffrey Beene, Yves Saint Laurent, Bill Blass, and Philip Treacy, among others), with her new work inspired by these fashions and student art.

Yves Saint Laurent Shinique Smith, Swaying Beauty, 2007, (French Algeria, 1936–2008) gift of Schiff Fine Art, © Shinique Smith for the House of Dior Woman’s Evening Dress (detail), 1960 Purchased with funds provided by Ellen A. Michelson M.2012.95.137a–b 34 THREADS SHINIQUE SMITH SHINIQUE SMITH THREADS 35

LEFT Views of Shinique Smith: Firsthand Shinique Smith, Passerine, 2008, at Charles White Elementary School collection of the artist, © Shinique Smith

RIGHT Shinique Smith, Perfect from the waist . . . , 2009, collection of the artist, © Shinique Smith 37 BUILDING YOUR FASHION LIBRARY

Friday, March 22, 2013

With collecting specialist Nick Harvill Even in this digital age, when Stanford’s School of Engineering has already opened a “bookless library” and many more are springing up around the world, beautifully printed fashion and art books remain covetable and col- lectible objects. They please us in a way that no digitally downloaded book ever can. In an enlightening afternoon, Nick Harvell discussed how a fashion library enables one to research historical trends and be inspired by fashion notables and designers of both the past and present. Collecting, cataloguing, and presenting that library is much like building an art col- lection. Imagine how thrilling it would be to have purchased Grace, Thirty Years of Fashion at Vogue in 2002 at its original release price, and to have discovered that today a used one is selling for up to $4,000! Smart and savvy collecting is key to building a fashion library. California-based Nick Harvill, of Nick Harvill Libraries, is an expert in this field. He specializes in rare and out-of-print books on fashion, art, and related fields such as design, social history, and photography. Harvill has been profiled in Vogue, C Magazine, Angeleno, Vogue Living, and the Los Angeles Times. Elle Décor recommended Nick Harvill Libraries for its “hip vintage books” from a “smart young dealer.”

TOP Nick Harvill

BOTTOM Books from his collection

LEFT Johnson Hartig (United States, born 1962) for Libertine Man’s Suit Ensemble (detail), fall / winter 2009 Gift of Johnson Hartig M.2013.93.1a–c 38 T HREA D S NICK HARVILL ACQUISITIONS

Paul Poiret (France, 1879–1944) Textile Length, circa 1920 Gift of Nelya Dubrovich and David L. Woodruff ACQUISITIONS 41 DEBUT 2013 FASHION SHOW

Thursday, March 21, 2013

Presented by the Fashion Institute of Design & Merchandising This high-concept extravaganza, filled with fashion and entertainment, featured fifty models and actors performing at Barker Hangar on the longest runway in the West.

Model wearing design by Randy Donato, courtesy of FIDM

Woman’s Kimono with Mountain Landscape Japan, first half 20th century Purchased with funds provided by Jacqueline Avant M.2013.40 42 THREADS DEBUT FASHION SHOW DEBUT FASHION SHOW THREADS 43

LEFT TOP Model wearing design Runway scene by Bradon McDonald BOTTOM RIGHT Bradon McDonald with model Model wearing design by Brittany Luttio ACQUISITIONS 45 WALTER VAN BEIRENDONCK AND PAUL BOUDENS

Wednesday, March 27, 2013

In conversation with curator Kaye D. Spilker The Costume and Textiles Department invited internationally acclaimed Belgian artists—fashion designer Walter van Beirendonck and graphic designer Paul Boudens—for a provocative discussion on the creation, reinterpretation, and presentation of fashion. Van Beirendonck was a member of the Antwerp Six, a group of young designers who gained international fame in 1986, changing established notions of how and why to make fashion. An iconoclast whose work relentlessly explores challenging social issues and ignores conventional trends in fashion, Van Beirendonck is a maverick of style and a magician of color and explosive energy. Paul Boudens has worked with Van Beirendonck in extraordinary synergy for three decades. His graphic design can be startlingly bold or deli- cately beautiful—his idiosyncratic, singular vision has enhanced the work of such fashion luminaries as Dries Van Noten, Olivier Theyskens, Yohji Yamamoto, and Haider Ackermann. The adventurous work of this Belgian duo, uninhibited and captivating, was abundantly illustrated in this conversation on the com- pelling nature of fashion.

This program was organized in conjunction with Otis College of Art and Design.

TOP Walter van Beirendonck

BOTTOM Paul Boudens Young Woman’s Kimono with Vertical and Diagonal Stripes (detail) Japan, first half 20th century Purchased with funds provided by Grace Tsao M.2013.58.3 46 THREADS WALTER VAN BIERENDONCK WALTER VAN BIERENDONCK THREADS 47

TOP TOP TOP LEFT Elizabeth Matthews, Lauren Katz, Cynthia Fields and Greer Saunders Edward Sterrett and Clarissa Esguerra Jennifer Martin and Danielle Katz BOTTOM CENTER Alison Kahn and Leandra McPartlan-Karol Walter van Beirendonck

BOTTOM RIGHT Kaye Spilker, Paul Boudens, Walter van Beirendonck, Daniel Trujillo and Sharon Takeda 48 THREADS WALTER VAN BIERENDONCK WALTER VAN BIERENDONCK THREADS 49

Curator Kaye D. Spilker, Walter van Beirendonck, and Paul Boudens in conversation ACQUISITIONS 51 MARY KATRANTZOU

Tuesday, April 2, 2013

In conversation with West Coast director of Vogue, Lisa Love London-based fashion designer Mary Katrantzou’s thematic collections revolve around luxury, working with shape and print to create a second skin for a woman through precision engineering. Past seasons have presented pieces inspired by elaborate lampshades, perfume bottles, Fabergé eggs, typewriters, and vintage postage stamps. In 2010, Katrantzou worked with the couture house Lesage for its first collaboration with a London designer. She has also partnered with Swarovski, Topshop, and Current/Elliot. She was awarded the British Fashion Award for Emerging Talent and Young Designer of the Year at the Elle Style Awards in 2011, and most recently received a nomination for the Designer of the Year award from the British Fashion Council (BFC). After her world-his- tory tour de force for spring/summer 2013 where vintage postage stamps and elaborate bank notes played protagonist, Katrantzou’s inspiration for fall/winter 2013 turned to landscape, inspired by the turn-of-the-century black-and-white photography of the likes of Edward Steichen and Alfred Stieglitz. This was a special conversation with Mary Katrantzou, moderated by Lisa Love, West Coast director of Vogue. The Costume Council entered Katrantzou’s world of pattern, print, and whimsically innovative silhouettes Mary Katrantzou creation and discovered her fall/winter 2013 and spring/summer 2013 collections.

Ceremonial Skirt (detail) Indonesia, Flores, Ngadha people, mid- to late-19th century Anonymous gift M.2012.188.33 52 THREADS MARY KATRANTZOU MARY KATRANTZOU THREADS 53

TOP TOP TOP TOP Group shot and presentation Cindy Fields and Ricki Ring Susan Rothenberg and Christine Chiu Model

BOTTOM BOTTOM BOTTOM BOTTOM Mary Katrantzou and Lisa Love, Kaye Spilker and Helene Cooper Model Judy Chang and Christine Chiu senior West Coast editor of Vogue ACQUISITIONS 55 VERSAILLES ’73: AMERICAN RUNWAY REVOLUTION

Monday, April 22, 2013

A screening of Versailles ’73: American Runway Revolution followed by a conversation with film narrator Cameron Silver, founder and owner of Decades, and film director Deborah Riley Draper Versailles ’73: American Runway Revolution follows the events leading up to the fashion confrontation at the Chateau de Versailles on November 27, 1973, between American and French designers. The film recounts the event’s begin- nings as a fundraiser, orchestrated by fashion publicist Eleanor Lambert and Palace of Versailles curator Gerald van der Kemp, to raise money to restore the Palace of Versailles. What emerged was a fierce competition between the lions of French haute couture—Yves Saint Laurent, Christian Dior, Hubert de Givenchy, Pierre Cardin, and Emanuel Ungaro—and American designers— Anne Klein, Stephen Burrows, Bill Blass, Oscar de la Renta, and Halston. As the film reveals, American designs ultimately outshined the French and forever changed the course of fashion history.

Madame (Alix) Grès (France, 1903–1993) Still from Versailles ’73: Woman’s Evening Dress (detail), 1955 American Runway Revolution Purchased with funds provided by Ellen A. Michelson M.2012.95.55 56 THREADS VERSAILLES ‘73 VERSAILLES ‘73 THREADS 57

TOP TOP TOP TOP Toni Yamin and Barbara Alpert Elizabeth Mathews, Bobbe Bramson, Cameron Silver and Liza-Mae Carlin Deborah Riley Draper and Cameron Silver and Julie Spiro BOTTOM BOTTOM BOTTOM Joan Quinn and Lori Rodkin BOTTOM Tony and Cindy Canzoneri Francisco George, Betty Hollingsworth, Deborah Riley Draper, director and producer, Ruth Ephraim, and William Escalera and Dennis Christopher, assistant to Halston in 1973 and Oscar nominee 58 THREADS VERSAILLES ‘73 A CQUIS I T IONS

Sue Jarvie, Dori Schneider, Jonathan Skow and Trina Turk Italo Zucchelli (Italy, born 1965) and Barbara Alpert for Calvin Klein Man’s Ensemble, spring 2009 Gift of Calvin Klein, Inc. M.2012.212.1–.4 60 THREADS 61 OLIVIER THEYSKENS

Wednesday, May 8, 2013

Olivier Theyskens, artistic director of Theory, in conversation with costume designer and Academy Award nominee Arianne Phillips Belgian-born designer Olivier Theyskens started his eponymous brand in 1997. His sharp design and cutting-edge vision quickly made him one of the most acclaimed and respected designers of his generation. As artistic director of Rochas, a position he held for four years, he was awarded the title of Best International Designer by the CFDA in 2006. That same year, he was appointed artistic director at Nina Ricci. Olivier Theyskens and Andrew Rosen, founder and CEO of Theory, joined their complementary strengths and visionary approaches to create the contemporary line Theyskens’ Theory in 2010. That year, Olivier Theyskens was appointed artistic director of the global Theory brand. Academy Award–nominated costume designer Arianne Phillips is one of the most unique talents in the entertainment industry, a gifted visual artist who brings her discerning eye to film, fashion, and music. Internationally renowned for her taste, Phillips’s work as a fashion editor and stylist has appeared in top fashion magazines including Vogue, Harper’s Bazaar, and W. Phillips is also known for her work with Madonna, with whom she has collaborated since 1997.

Olivier Theyskens in his studio

Woman’s Kimono with Abstract Design (detail) Japan, first half 20th century Purchased with funds provided by Grace Tsao M.2013.58.1 62 THREADS OLIVIER THEYSKENS OLIVIER THEYSKENS THREADS 63

Cindy Canzoneri and Oliver Theyskens TOP TOP Rose Apodaca and Magada Berliner Cheryl van Tassell and Susan Drake Joni Smith and Greer Saunders

BOTTOM BOTTOM Linda Pahl and Carlye Samatas Carolyn Wagner 64 T HREA D S OLIVIER THEYSKENS ACQUISITIONS

TOP Man’s Coat and Waistcoat (detail) Olivier Theyskens and Arianne Phillips France, 1790–95

BOTTOM LEFT Costume Council Fund in honor of the Council’s 60th anniversary Alison Kahn and Leandra McPartlan-Karol M.2013.101.1–.2

BOTTOM RIGHT Dani Lancer ACQUISITIONS 67 TADASHI SHOJI

Thursday, May 16, 2013

Studio visit Born and raised in Sendai, Japan, Tadashi Shoji spent time in Tokyo as an appren- tice for Japan’s leading contemporary artist, Jiro Takamatsu, who is credited with paving the way for the modern art movement in Japan during the 1960s. Soon after, Shoji moved to Los Angeles, where his passion for fashion design was awakened through his work with famed costume designer Bill Whitten. During the flamboyant 1970s, Whitten designed costumes for many major recording artists, from Elton John, Stevie Wonder, and Neil Diamond to The Jackson Five and Earth, Wind & Fire. In 1982, Shoji launched his own collection, Tadashi Shoji, in Los Angeles. Tadashi Shoji has become widely recognized for its original designs and innovative collections. The company has seen steady growth since its inception. Shoji launched the Tadashi Shoji Runway Collection for Fall 2007 during New York Fashion Week to rave reviews. His designs have won a loyal following with well-dressed women worldwide, including Octavia Spencer, Kate Beckinsale, Dita Von Teese, and Katy Perry, to name a few. Members of the Costume Council joined Tadashi Shoji on an Tadashi Shoji creation intimate tour of his studio and discovered the inspiration behind some of his most memorable designs.

Jeanne Lanvin, (France, 1867–1946) Woman’s Evening Dress, circa 1935 Purchased with funds provided by Ellen A. Michelson M.2012.95.104 68 THREADS TADASHI SHOJI TADASHI SHOJI THREADS 69

Alison Kahn and Tadashi Shoji LEFT Pique Marsh

CENTER Susan Rothenberg

RIGHT Cindy Canzoneri ACQUISITIONS 71 JENNIFER HENRY

Monday, May 20, 2013

A conversation Las Vegas–based artist Jennifer Henry transforms common gift wrapping mate- rials—cellophane, tissue paper, and tape—into otherworldly couture gowns. Under her brand , Flockflockflock, Henry has single-handedly crafted over two hundred unique garments, manipulating nontraditional materials into dramatic silhouettes that defy logic and bridge the gap between sculpture and fashion. The “crinkling” process—so termed by the artist as a result of the sound her chosen medium makes—is simultaneously a joyful exploration of novel non-textile garments and a serious engagement with new techniques in costume engineering. Attention getting by design, Henry has lent her talents to many charitable organizations, including Fashion’s Night Out, Make-A-Wish Foundation, and March of Dimes. Currently completing an artist-in-residence program at P3Studio at the Cosmopolitan Hotel of Las Vegas, Henry’s designs intersect art and wearable fashion. A live model presentation and select short fashion films with Jennifer Henry allowed the Costume Council to learn about her fascinating career and design inspirations. Jennifer Henry creation

Fernand Léger (France, 1881–1955) for Fuller Fabrics Textile Length, ‘Parade Sauvage’, 1955 Purchased with funds provided by Costume & Textiles Acquisition Fund and Costume Council Fund M.2012.88.3 72 THREADS THREADS 73

TOP Model with Cindy Canzoneri

RIGHT Jennifer Henry creation 74 THREADS JENNIFER HENRY JENNIFER HENRY THREADS 75

TOP Jennifer Henry with models

LEFT Model in Jennifer Henry design ACQUISITIONS 77 STEPHEN WEBSTER

Tuesday, June 4, 2013

Salon visit and diner Internationally acclaimed British jewelry designer Stephen Webster is founder and creative director of Stephen Webster Ltd., a luxury jewelry brand celebrated for its unique style that mixes classic modernism with a twist of contemporary chic. Exquisitely crafted, Stephen Webster designs are coveted by celebrities such as Madonna, Sir Elton John, and Charlize Theron. He created specially commissioned pieces for the late Elizabeth Taylor and recently received an MBE (Most Excellent Order of the British Empire) from His Royal Highness the Prince of Wales. Costume Council members joined Stephen Webster at his Beverly Hills salon for a preview of his new Autumn 2013 designs, a conversation about his career and what inspires him, and an intimate dinner prepared by Bouchon.

Man’s Coat (detail), circa 1805 France or England A Stephen Webster design Anonymous gift M.2012.188.179 78 THREADS STEPHEN WEBSTER STEPHEN WEBSTER THREADS 79

Christine Chiu, Stephen Webster, TOP TOP Susan Rothenberg, and Cindy Canzoneri Eva Safan and Sue Tsao Susan Rothenberg

BOTTOM MIDDLE Sharon Takeda and Stephen Webster Kaye Spilker and Linda Freund

BOTTOM Galina Sobolev, Stephen Webster, and Christine Chiu ACQUISITIONS 81 MICHAEL SCHMIDT

Wednesday, June 12, 2013

In conversation with pop-culture and design writer, curator, and consultant Rose Apodaca Madonna, Rihanna, Lady Gaga, Cher, Tina Turner, and a galaxy of other pop-culture supernovas owe a flash of their sparkle to the imaginative and provocative costumes and accessories designed by Michael Schmidt. His innovations in crafts- manship and materials—as disparate as plastic Legos, razor blades, Swarovski Elements, and sterling silver links—never cease to amaze. Schmidt made history this spring with the world’s first fully articu- lated 3-D–printed work of fashion. Realized with architect Francis Bitonti and 3-D–printing pioneers Shapeways, this sensuous piece of haute technology was created for burlesque personality Dita Von Teese. It was hand-finished with thousands of Swarovski crystals in Schmidt Studios located in downtown Los Angeles and made its West Coast debut at this program. Michael Schmidt talked about his nearly three-decade career as artisan, costume designer, and installation artist with Rose Apodaca, pop-culture and design writer, curator, and consultant. They discussed the award-winning documentary on his landmark New York nightclub, SqueezeBox, his Emmy- nominated work, his large-scale interior installations for public environs, and Dita Von Teese in a Michael Schmidt creation his work as special projects designer for Los Angeles–based luxury house Chrome Hearts.

Christian Lacroix (France, born 1951) for House of Patou Woman’s Evening Dress, 1987 Purchased with funds provided by Ellen A. Michelson M.2012.95.98 82 THREADS MICHAEL SCHMIDT MICHAEL SCHMIDT THREADS 83

Rose Apodaca and Michael Schmidt Katherine Offenhauser TOP Cindy Canzoneri and Joni Smith and Marguerite Marsh Toni Yamin, Susan Rothenberg, Greer Saunders, and Tracy Young

BOTTOM Ndoema 84 THREADS MICHAEL SCHMIDT ACQUISITIONS

TOP BOTTOM TOP Woman’s Kimono Trunk show at the LACMA Store Galina Sobolev and Cheryl Van Tassel Charles Phoenix with Waves and Dots

BOTTOM BOTTOM Japan, first half 20th century Jennia Fredrique and Sol Aponte Elizabeth Mason and Sarah Samaro Costume Council Fund M.2012.130.16 ACQUISITIONS 87 SUE WONG

Thursday, June 20, 2013

Costume Council members joined Sue Wong at her home, along with talented jewelry designer Joe Vilaiwan, for a truly remarkable afternoon Sue Wong’s rise to success could be a movie in itself. Forced to flee China at the age of six, Sue watched her mother trade her wedding jewels to a guard to ensure their safe escape. Once in Los Angeles, Sue excelled at art and won a position on the May Company Teen Board. There she modeled and assisted in window decorat- ing and merchandising. She opened her first store at age nineteen and went on to earn fashion scholarships and a coveted design job with Arpeja. A decade later, Wong launched her own clothing line, through which she draws upon Hollywood history and style to create empowering and inspired pieces. Her muses include Greta Garbo, Marlene Dietrich, Carole Lombard, and—the inspiration for her spring/summer 2013 collection—Daisy Buchanan, of Great Gatsby fame. Built in 1920 for silent film star Norma Talmadge, Sue Wong’s home has a story past: featured in the film Sunset Boulevard, the home has welcomed such guests as Marilyn Monroe, Errol Flynn, and Howard Hughes, and has also been home to Jimmy Hendrix and Dennis Hopper. Wong has faithfully restored and furnished the 1920s period home to perfection, and her art collection is astounding.

Jean Paul Gaultier (France, born 1952) Sue Wong Man’s Jacket, circa 1991 Gift of Cameron Silver M.2012.178 88 THREADS SUE WONG SUE WONG THREADS 89

TOP TOP Sue Wong with models Susan Rothenberg, Gabrielle Choo, and Joni Smith

BOTTOM Photo of Sue Wong’s home BOTTOM BOTTOM Leandra McPartlan-Karol Gabrielle Choo and husband and Alison Kahn Christophe Choo ACQUISITIONS 91 RACHEL ZOE

Thursday, June 27, 2013

A tour of Rachel Zoe’s personal fashion archive at her office, a visit to her styling studio, and a preview of the fall 2013 collection An unparalleled fixture in the fashion world, Rachel Zoe is a distinguished stylist, editor and designer, renowned for her effortless take on glamour. Having immersed herself in fashion and design for nearly two decades, Zoe has been heralded as one of the most influential forces working in fashion today. As well as a style expert and authority in the realms of fashion, beauty, and lifestyle, Zoe is respected for her comprehensive knowledge of vintage, haute couture, and contemporary design. Introduced to the world of modern art at a very young age, Zoe found herself deeply affected by the intricacies of personal style and self-ex- pression. As a young college graduate with a strong passion for all things vintage, Zoe moved to New York City and began working for YM magazine as a fashion assistant, only to be promoted to editor in two short years. Seeking to diversify Rachel Zoe her experience, she began dressing actresses and pop stars for red carpet events and quickly developed a name for herself as a trusted curator of style and image. Costume Council members met in Rachel Zoe’s chic Melrose showroom and were the first to view, try on, and be able to order pieces from her fall 2013 collection. Zoe explained how her career began, where she finds inspiration, and how she manages to run her fashion design business, her styling empire, film her television show, The Rachel Zoe Project, and be a dedicated mother and wife. Rachel’s special VIP showroom features her incredible shoe collection, used for photo shoots and styling projects. She shared a fantastic selection of vintage couture, pulling out many of her favorite pieces to explain where they were discovered, where she wore them, and what they meant to her.

Alexander McQueen (United Kingdom, 1969–2010) Woman’s Dress, fall/winter 2007 Purchased with funds provided by Ellen A. Michelson M.2012.95.109 92 THREADS THREADS 93

Costume Council members at Rachel Zoe’s TOP Shoes on display at Rachel Zoe’s showroom on Melrose Cindy Canzoneri and Rachel Zoe showroom on Melrose

BOTTOM Rachel Zoe THREADS is an annual newsletter published by COSTUME Purchased with funds provided GIFTS TO THE COSTUME Donor: Jeffrey Krauss the Los Angeles County Museum of Art for the AND TEXTILES by Grace Tsao: AND TEXTILES DEPARTMENT Two Women’s Silk Kimono, Japanese, GIFTS AND Nine Women’s Silk Kimono, Japanese, Donor: Shane Adler first half of 20th century Costume Council. © 2014 Museum Associates dba first half 20th century Two Women’s Beaded Silk Dresses Los Angeles County Museum of Art. All rights ACQUISITIONS and , Donor: Doris Raymond 2012–13 Two Women’s Duster Coats reserved. Unless otherwise noted, all works of art Purchased with funds provided c. 1910–25 Five Women’s Garments, including and photos © 2014 Museum Associates | LACMA; all by Maxine P. Wasserman, Edward Jean-Charles de Castelbajac, and Ruby Johansen, Norman and Catalina Sportswear, and Cole of photographs © 2014 Museum Associates | LACMA COSTUME COUNCIL FUND Donor: Peter Alford Helen M. Borenstein, and Marcia California, French and American, Thierry Mugler, Two Men’s Jackets, Collection of Twenty-Seven Women’s Burnam in memory of Marcia M. French, c. 1985 c. 1918–90 Silk Kimono, Japanese, first half Yust, and the Costume 20th century and Textiles Deaccession Fund: Donor: Anonymous Donor: Cameron Silver Gucci, , Pair of Woman’s Shoes Collection of 214 Costume and Collection of Fourteen Designer Man’s Coat, French, 1790–95 Italian, 1990s , Textile objects from Africa, China, Menswear Garments and Accessories Man’s Waistcoat, French, 1790–95 including Gianni Versace, Jean Europe, Indonesia, India, Iran, Japan, Man’s Banyan & Waistcoat, Purchased with funds provided Paul Gaultier, Gucci, Emilio Pucci, Pakistan, and Turkey, 17th–21st French, 1790–95 by Donald P. Yust in memory of centuries and Phillip Lim, c. 1960s–2011 Marcia M. Yust, and the Costume Edward Molyneux, Woman’s Evening and Textiles Deaccession Fund: Donor: Calvin Klein Inc. Donor: Dominique Sirop Dress, French, 1936–38 Six Women’s Couture and Designer Italo Zuccheli for Calvin Klein Gilbert Adrian, Two Evening , including , American, c. 1949; Garments and Accessories Collection, Two Men’s Suit Dresses Angelo Testa, Textile Length, Gabrielle “Coco” Chanel, Jean Dominique Sirop, Ensembles, American, spring/ Woman’s Evening ‘Façade,’ American, 1952 Patou, Vivienne Westwood, and Issey summer 2009 and fall/winter 2009 Gown, French, spring/summer 1996 Angelo Testa, Textile Length, Miyake, 20th century American, 1940s–50s Donor: Robert T. Coffland Donor: Felisa Vanoff Costume and Textiles , Collection of Thirteen Designer Five Women’s Designer Ensembles Costume Council Fund Deaccession Fund: including Geoffrey Beene, Bill Garments and Textiles, including in memory of Eleanor La Vove: Naoki Takizawa for Issey Miyake, Japanese designers Reiko Sudo for Blass, and Halston, c. 1983–90 Jacques Griffe, Two Women’s Silk Woman’s Dress, Japanese, c. 2000 Nuno, Issey Miyake, and Yohiki Tulle Evening Dresses, French, 1950s Hishinuma, ca. 1960s–2008 Donor: Sylvia Alhadeff Ward , Japanese, Gilbert Adrian, and Four Women’s Silk Kimono Three Silk Presentation Cloths Woman’s Coat Costume and Textiles first half 20th century , American, (Lawon), Indonesia, Sumatra, early Woman’s Two-Piece Suit Acquisition Fund: 20th century 1940–49 Harley Davidson Motorcycle Infant’s Ceremonial Kimono Company, Man’s Motorcycle Jacket, (Omiyamairi) with Battleships Donor: Nelya Dubrovich American, 1950s and Airplanes, Japanese, 1930–39 and David L. Woodruff Collection of Ten European Textiles, Woman’s Kimono (Kosode) with Ropers’ Ltd., Man’s Two-Piece Suit c. 1700–1920 Ribbon Pattern, Japanese, early (Jacket and Knickers), English, Showa Period (1926–89) c. 1950 Donor: Vickie C. Elson Four Silk Cigar-Band Furnishing Vivienne Westwood and Malcolm , British, 1930s Man’s Fair Isle Vest Textiles and Pin Cushion, American, McLaren for Seditionaries, Man’s Man’s Neck Tie, British, 1930s c. 1900 Bondage Trousers, English, 1976–77 Vetra, Man’s Jumpsuit, Donor: Vickie C. Elson Ed Rossbach, Textile, ‘Double Ikat’, French, 1930s and Stephanie Rosenbloom American, 1956 Man’s Cigar-Band Jacket, Ed Rossbach, Textile, ‘Ripples Man’s Army Tank Suit, American, c. 1900 on the Pond’, American, 1970 British, 1944 Donor: Shirlee Fonda Paul Klee for Fuller Fabrics, D.B. Vivienne Westwood and Malcolm Krizia, Woman’s Dress, French, Fuller & Co., Textile Length, ‘Magic McLaren for Seditionaries, Man’s c. 1990 Squares’, American, 1955 Shirt, ‘Cambridge Rapist,’ English, c. 1979 Donor: Johnson Hartig Purchased with funds provided Johnson Hartig for Libertine, by Jacqueline Avant: Ancient Art Deaccession Funds: Man’s Suit Ensemble and Fur Capelet, Woman’s Kimono with Mountain Man’s Sash (Tor), Oceania, American, fall/winter 2009, and Landscape, Japanese, Micronesia, Caroline Islands, c. 1850 Man’s ‘Pearly King’ Suit Ensemble, second quarter 20th century fall/winter 2012 COVER BACK COVER Purchased with funds provided Jacques Griffe (France, 1909–1996) Jacques Griffe (France, 1909–1996) by Ellen A. Michelson: Woman’s Evening Dress, 1950s Woman’s Evening Dress, 1950s Collection of 159 European Couture Gift of the Costume Council Costume Council Fund in memory and Designer Garments and in memory of Eleanor La Vove of Eleanor La Vove Accessories, 1885–2007 M.2013.11.2 M.2013.11.1