Bonnie Cashin Collection, 1943-2000 (Bulk 1950-1976)
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2011-2012 Year in Review
Year In Review 2011–2012 About the BGC Founded in 1993 by Dr. Susan Weber, the Bard Graduate Center, an international study and exhibition center of Bard College, has aimed to become the leading graduate institution for the study of the cultural history of the material world. Through its rigorous MA and PhD programs, the Center promotes new levels of scholarship while its exhibitions and education programs enhance the general public’s understanding and appreciation of the decorative arts, design history, and material culture. Executive Planning Committee Dr. Barry Bergdoll Jennifer Olshin Edward Lee Cave Robert S Pirie Verónica Hernández de Chico Ann Pyne Hélène David-Weill Irene Schwartz Dr. Barbara Knowles Debs Jeanne Sloane Philip D. English Luke Syson Giuseppe Eskenazi Seran Trehan Emel Glicksman Dr. Ian Wardropper Dr. Alain Gruber Shelby White Fernanda Kellogg Mitchell Wolfson, Jr. Trudy C. Kramer Philip Yang, Jr. Dr. Arnold L. Lehman Charlotte Moss Dr. Leon Botstein, ex-officio Judy Novak Dr. Susan Weber, ex-officio Bard Graduate Center: Decorative Arts, Design History, Material Culture 18 West 86th Street New York, NY 10024 T 212-501-3019 F 212-501-3065 W bgc.bard.edu Published by the Bard Graduate Center: Decorative Arts, Design History, Material Culture Printed by GHP in Connecticut Issued August 2012 2 Faculty Essays Table of Contents 2 Message from the Director 4 Degree Programs 14 Faculty Year in Review 20 Admissions, Internships, and Career Development 23 Research Institute 33 West 86th 34 Digital Media Lab and Library 39 BGC Gallery and Publications 52 Public Programs 56 Support and Community 64 Awards Stephen Jones for Christian Dior Haute Couture. -
Heritage and Innovation: Charles Frederick Worth, John Redfern, And
Heritage and Innovation: but despite his efforts to simplify women’s daytime clothes the usual effect was heavily Charles Frederick Worth, draped and fringed, and as stuffily claustro - phobic as the gewgaw-cluttered interiors John Redfern, and the associated with Victorian English taste”. Dawn of Modern Fashion The Kyoto Costume Institutes 2002 publi - cation of fashions from the 18 th through the Daniel James Cole 20 th Centuries includes a short, partially accurate biography Redfern but with erro - neous life dates that would have him opening his business around the age of 5. Recent scholarship creates a different pic - ture of both Worth and Redfern. Pivotal to the history of clothing, Redfern’s story is only recently being rediscovered, and only in the past few years has a proper explo - ration and assessment begun (primarily by the work of Susan North). North (2008) puts forward the thesis that in the late 19 th century, Redfern and Sons was of equal importance to the House of Worth. It is even possible to assert that Redfern, and his legacy, were actually of greater importance as shapers of 20 th Century styles. An exam - ination of Redfern and Redfern Ltd., in Charles Frederick Worth’s story has been comparison to their contemporaries, calls told often and is familiar to fashion schol - into question not only the preeminence of ars. But while Worth has enjoyed a place of Worth, but also aspects of the careers of Paul significance in fashion history, the story of Poiret and Gabrielle Chanel. his contemporary, John Redfern has been The following explores how Worth and ignored, or at best reduced to mere footnote Redfern, in different ways, shaped the tastes status. -
INTERWOVEN: Dress That Crosses Borders and Challenges Boundaries
INTERWOVEN: Dress that Crosses Borders and Challenges Boundaries International Conference of Dress Historians Friday, 27 October 2017 and Saturday, 28 October 2017 Conference Venue: The Art Workers’ Guild, 6 Queen Square London, WC1N 3AT, England Presented By: The Association of Dress Historians www.dresshistorians.org The border has emerged as a key conceptual device in recent political and social history. Join us as we consider the role of dress in transcending historical boundaries that operated to denote traditional divisions of gender, class, and nationality, among others. The Association of Dress Historians (ADH) is delighted to present its upcoming international conference, which features 62 separate paper presentations delivered over two exciting days of scholarship in dress history. Conference tickets are £30 for one day or £50 for two days. All conference tickets include tea and networking sessions, lunch, and a wine reception each day. Conference tickets can be purchased online at: https://tinyurl.com/ADHCONF. This conference programme includes the entire two–day presentation schedule, all 62 conference speakers’ paper abstracts and biographies, with an image that represents their conference presentation. Additionally, this programme includes the biographies of the 20 panel chairs and the five conference interns. In the interest of the environment, this conference programme will not be printed on paper. We advise reading it digitally. Also in the interest of the environment, at the end of the conference, please return your plastic name badge to the name badge table, so we can use them again. Thank you. The Association of Dress Historians is Registered Charity #1014876 of The Charity Commission for England and Wales. -
Charles James Papers, 1704-1978 (Bulk 1960-1978)
Charles James papers, 1704-1978 (bulk 1960-1978) Finding aid prepared by Celia Hartmann and Caitlin McCarthy This finding aid was generated using Archivists' Toolkit on August 21, 2019 The Costume Institute's Irene Lewisohn Costume Reference Library The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Charles James papers, 1704-1978 (bulk 1960-1978) Table of Contents Summary Information .......................................................................................................3 Biographical note.................................................................................................................4 Scope and Contents note.....................................................................................................6 Arrangement note................................................................................................................ 7 Administrative Information .............................................................................................. 8 Related Materials .............................................................................................................. 9 Controlled Access Headings............................................................................................... 9 Collection Inventory..........................................................................................................11 Series I. Business Ventures.........................................................................................11 -
Timeline Project
Timeline Project Day Dresses for Women in the United States 1900-2000 Fall Semester 2019 Fash 124 Olivia Liu 11/11/2019 Day Dresses for Women in the United States 1900-2000 This project focuses on the changing silhouettes of day dress for women in the United State during the time period of 1900 to 2000. The silhouette change may be affected by social movement, art movement, women's rights, civil rights, economy boost or recession. Also, new technology and fabrication contributed to the transformation of the silhouettes. The silhouettes may reflect in changing the width of the shoulder, level of the waistline and hemline, the fullness of the skirt, relaxed or slim fit. 11/11/2019 Silhouettes of Day Dress Timeline 1900- 2000 https://www.metmuseum.org/art/c ollection/search/79778?&searchF ield=All&sortBy=Date&when=A.D .+1900-present&where=United+S tates&ft=dress&offset=2000&rpp =80&pos=2073 "The Souper Dress",1966–67 American 1912 1925-26 1940s 1966-1967 1993 1902 1918 1930 1955 1971 1981 Nightclubbing cover in 1981 “New Look”, Bar (Skirt suit), 1947-55 Rudi Gernreich Grace Jones Photo: © CBW / Alamy Stock ca.1971, Photo https://collections.vam.ac.uk/search/?listing_type=& offset=0&limit=15&narrowa=&extrasearch=&q=new +look&commit=Search&quality=0&objectnamesearc https://www.metmuseum.org/ar https://www.vogue.com/article/grace-jones-fashion-i h=&placesearch=&after=&before=&namesearch=& t/collection/search/80327?&sea con-turns-68 materialsearch=&mnsearch=&locationsearch= rchField=All&sortBy=Date&whe n=A.D.+1900-present&where= United+States&ft=dress&offset 11/11/2019 http://www.tiki-toki.com/timeline/entry/36164/Fashion-Timeline/#vars!date=1974-05-28_16:52:00! =2000&rpp=80&pos=2070 FASHIONS FASHIONS 1900-1909 1910-1919 At the turn-of-the-century, Following World War I, women's silhouettes adopted women's silhouette went a "pigeon" shape in which through a dramatic pushed the chest forward transformation. -
An Honors Thesis (HONRS 499) by Allison Garrels Thesis Adviser Amy Leahy Ball State University Muncie, Indiana April 2007 Expect
Garrels 1 The Los Angeles Fashion District: An Industry of Extremes An Honors Thesis (HONRS 499) by Allison Garrels Thesis Adviser Amy Leahy Ball State University Muncie, Indiana April 2007 Expected Date of Graduation May 5, 2007 C',' l\ 1 i ---'rL"-'.' . LT) Garrels 2 ~:,){\(., '/' Abstract ~(i~,~'1 The Los Angeles fashion industry has been a driving force in the way America dresses for nearly a century. L.A. has contributed to the nation's fashion movements not only through its lifestyle trendsetting, but also through being one of the United State's top apparel manufacturing centers. While on the surface California boasts affluence and glamour, its less obvious, but equally important, manufacturing industry runs rampant with immigrant workers exploitation. Can a dual-natured industry gain the respect and recognition it takes to be considered an international fashion capital? In order to reach some conclusions, I provide a look at the past and present state of the L.A. fashion district and then discuss what the industry must do in order to reach the status of international fashion capital. Garrels 3 Acknowledgements I would like to thank Dr. Amy Leahy for all of her guidance in advising me through this project. She was exceedingly helpful in the writing and brainstorming process, as well as in checking my paper for technical and formatting errors. Further, I want to thank Dr. Leahy for her inspiration and guidance throughout my Ball State University undergraduate years. I would also like to thank the exciting and ever-changing city of Los Angeles, California for inspiring this research endeavor as well as my future career in the fashion industry. -
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 -
1 ORIGINAL ART WORK EMBROIDERY DESIGNS EARLY 20Th C German Designs in Pencil on Tissue
1 ORIGINAL ART WORK EMBROIDERY DESIGNS EARLY 20th C German designs in pencil on tissue. FIT 2 PRINTED AND WOVEN VEST FABRICS, 19th C. In two sample books with brocades and velvets. FIT 3 JAPANESE TEXTILE SAMPLES AND STENCILS, 19th -20th C Two textile sample books and folio of stencils. Approx. 48 designs. FIT 4 ORIGINAL ART WORK FOR PRINTED COTTON DESIGNS, 19th - early 20th C Approximately twenty painted designs on paper mounted on mat board. FIT 5 PHOTO REPRODUCTIONS ON PAPER OF TEXTILE DESIGNS INCLUDING LACES, EARLY 20th C. Approximately 20 volumes or folios. FIT 6 FORTUNY FABRIC SAMPLES, 20th C Thirty Five carded samples various designs and colorways. FIT 7 FRENCH FABRIC SAMPLE BOOK, 19th C. Mostly madder dyed cottons 1820-1850. FIT 8 PRINTED COTTON FLANNEL SAMPLE BOOKS, 1930s. Two French books (unbound) in boxes. FIT. 9 HOPE SKILLMAN CO. SAMPLE BOOKS, 20th C Fabric and scrap books. FIT 10 THREE FABRIC SAMPLE BOOKS, 1920’s - 1930’s Two woven silks including ribbons and labels. One printed cotton percales. FIT 11 INTERNATIONAL TAILORING CO. FABRIC SAMPLE BOOK, 1917 - 1918. Large format book, mostly men's suit fabrics, having numerous polychrome men's fashion illustrations. (Most samples removed), overall fair, illustrations excellent. 12 LARGE LOT of LACE and EMBROIDERED FABRIC SAMPLES, 19th - 20th C. White or cream with tone on tone decoration. Fair-excellent. 13 LOT of FABRIC SAMPLES, EARLY - MID 20th C. Mostly polychrome embroidered white or cream linen, some printed. Fair-excellent. 14 TEN SILK JACQUARD FABRIC SAMPLES, 18th - 19th C. Mostly large pieces. 15 LOT of ETHNIC EMBROIDERED FABRIC SAMPLES, 20th C. -
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............................................................ -
Harper's Bazaar/Bazaar 1940S
THE As America went to war, Harper’s Bazaar discovered talent—from Lauren Bacall and Toni Frissell to Saul Bellow—closer to home. By Stephen Mooallem S The model Lisa Fonssagrives, wearing a Molyneux dress on the Eiel Tower, reportedly untethered, photographed by Erwin Blumenfeld for the September 15, 1939, issue 228 IN 1939, HARPER’S BAZAAR marked its 72nd year as America’s rst fashion magazine. But over the span of that near three-quarters of a century, Bazaar had devoted compar- atively little attention to exploring American fashion—or, at the very least, what made fashion American. From Bazaar’s nascent days syndicating illustrations from Der Bazar in Berlin, the magazine remained rmly xed on Europe and what was occurring in places like Paris, London, and Vienna, where “real” fashion—the kind borne in ateliers by great arti- sans and grand artistic minds—was thought to be happening. The arrival of Carmel Snow as Bazaar’s editor in the 1930s “It was all so different only served the magazine’s European obsession. For Snow, Paris, in particular, held a special allure. Snow’s years there during World War I had been formative for her. She volunteered for the Red Cross and during the last war,” developed what would become a lifelong connection to the city—one that, in many ways, fueled her Carmel Snow wrote vision for Bazaar. In America at the time, the pall of the Great Depression was slow to lift; in Paris, though, designers, artists, and writers seemed to be reacting to the widespread cultural change and of Paris in 1939. -
Chapter 1 1850-1890: the Dawn of Modern Clothing
Chapter 1 1850-1890: The Dawn of Modern Clothing This Teacher’s Guide, compiled with the assistance of Stephanie Kramer, is designed to provide you with a summary of the key points in the development of fashion during the period/decade covered in this chapter. It also provides a concise survey of the significant designers of the time, essay and discussion questions, and further reading and research suggestions. Objective The main objective of this chapter is to study the development of fashion during the second half of the 19th century, particularly the establishment of those aspects of the fashion system that are still in place today. Fashion in this period reflected the latest developments in engineering, chemistry, and communication and witnessed development of the role of the “fashion designer.” Key Teaching Points The following teaching points have been arranged thematically and highlight the important topics that need to be covered in order to meet the main objective of the chapter. Social and Economic Background • Britain o reign of Queen Victoria (1837-1901); stress on propriety and etiquette o rapid industrialization o expanding overseas empire • United States o impact of Civil War (1861-1865) on global trade o emergence as industrial power • France o reestablishment of court during Second Empire (begins 1852, ends with Franco-Prussian war 1870) o transformation of Paris into fashionable modern city • Japan o opens borders (1853-1854) o goods enter the Western market and impact Western tastes The Arts • Orientalism and Academic -
Bonnie Cashin Collection of Fashion, Theater, and Film Costume Design LSC.0440
http://oac.cdlib.org/findaid/ark:/13030/kt9z09q97x No online items Finding aid for the Bonnie Cashin Collection of Fashion, Theater, and Film Costume Design LSC.0440 Finding aid prepared by Kelly Besser, 2021. UCLA Library Special Collections Online finding aid last updated 2021 February 5. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections LSC.0440 1 Contributing Institution: UCLA Library Special Collections Title: Bonnie Cashin collection of fashion, theater, and film costume design Creator: Cashin, Bonnie Identifier/Call Number: LSC.0440 Physical Description: 160 Linear Feet(318 boxes and 4 garment racks) Date (inclusive): 1913-2000 Abstract: The collection contains Bonnie Cashin's personal archive documenting her design career. The collection includes Cashin's design illustrations, writings on design, contractual paperwork, photographs of her clothing designs, and press materials including press releases and editorial coverage of her work. Personal photographs and letters to Cashin are also included. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Provenance/Source of Acquisition Gift of the Bonnie Cashin estate, July 2003. Processing Information Processed by Stephanie Lake and UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé, 2006. Restrictions on Access Portions of collection unprocessed. Audiovisual and audio materials are unavailable for access. Please contact Special Collections reference ([email protected]) for more information. Restrictions on Use and Reproduction Property rights to the physical object belong to UCLA Library Special Collections.