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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. -
“To Work, Write, Sing and Fight for Women's Liberation”
“To work, write, sing and fight for women’s liberation” Proto-Feminist Currents in the American Left, 1946-1961 Shirley Chen A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF SCIENCE WITH HONORS DEPARTMENT OF HISTORY UNIVERSITY OF MICHIGAN March 30, 2011 Advised by Professor Howard Brick For my mother Table of Contents Acknowledgements .......................................................................................................... ii Introduction...................................................................................................................... 1 Chapter I: “An End to the Neglect” ............................................................................ 10 Progressive Women & the Communist Left, 1946-1953 Chapter II: “A Woman’s Place is Wherever She Wants it to Be” ........................... 44 Woman as Revolutionary in Marxist-Humanist Thought, 1950-1956 Chapter III: “Are Housewives Necessary?” ............................................................... 73 Old Radicals & New Radicalisms, 1954-1961 Conclusion .................................................................................................................... 106 Bibliography ................................................................................................................. 111 Acknowledgements First, I am deeply grateful to my adviser, Professor Howard Brick. From helping me formulate the research questions for this project more than a year ago to reading last minute drafts, his -
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. -
Bonnie Cashin Collection, 1943-2000 (Bulk 1950-1976)
Bonnie Cashin collection, 1943-2000 (bulk 1950-1976) Finding aid prepared by Celia Hartmann This finding aid was generated using Archivists' Toolkit on March 26, 2018 The Costume Institute's Irene Lewisohn Costume Reference Library The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Bonnie Cashin collection, 1943-2000 (bulk 1950-1976) Table of Contents Summary Information .......................................................................................................3 Biographical note.................................................................................................................4 Scope and Contents note.....................................................................................................4 Arrangement note................................................................................................................ 5 Administrative Information .............................................................................................. 5 Related Materials .............................................................................................................. 5 Controlled Access Headings............................................................................................... 6 Collection Inventory............................................................................................................7 Series I. Correspondence...............................................................................................7 Series -
The Devil Wears Prado: a Look at the Design Piracy Prohibition Act and the Extension of Copyright Protection to the World of Fashion, 35 Pepp
Pepperdine Law Review Volume 35 | Issue 1 Article 4 12-15-2007 The evD il Wears Prado: A Look at the Design Piracy Prohibition Act and the Extension of Copyright Protection to the World of Fashion Lynsey Blackmon Follow this and additional works at: http://digitalcommons.pepperdine.edu/plr Part of the Intellectual Property Commons Recommended Citation Lynsey Blackmon The Devil Wears Prado: A Look at the Design Piracy Prohibition Act and the Extension of Copyright Protection to the World of Fashion, 35 Pepp. L. Rev. 1 (2008) Available at: http://digitalcommons.pepperdine.edu/plr/vol35/iss1/4 This Comment is brought to you for free and open access by the School of Law at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Law Review by an authorized administrator of Pepperdine Digital Commons. For more information, please contact [email protected]. The Devil Wears Prado:' A Look at the Design Piracy Prohibition Act and the Extension of Copyright Protection to the World of Fashion I. INTRODUCTION II. UNDERSTANDING THE FASHION INDUSTRY III. FASHION'S CURRENT PROTECTION A. Design Patents B. Trademark IV. THE QUEST FOR COPYRIGHT: THE HISTORY OF FASHION DESIGNS AND THE COPYRIGHT ACT V. THE DESIGN PIRACY PROHIBITION ACT A. House Resolution 5055 1. Provisions of the Proposal 2. Infringement B. Will It Work? 1. The Players a. Designers b. Courts c. Consumers 2. The Art 3. The Economy VI. WHAT WILL IT TAKE: SUGGESTIVE MODIFICATIONS VII. CONCLUSION 1. Many counterfeit and knockoff artists attempt to circumvent the little protection provided fashion designs by altering registered trademarks. -
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 -
Teaching Everyday Fashion: Using Primary Sources in the Classroom
Teaching Everyday Fashion: Using Primary Sources in the Classroom Victoria Pass, PhD Maryland Institute College of Art @visualsustenance Flappers, probably at a football game, Griffith Stadium, 1920s Joan Crawford after filming The Understanding Heart, 1927 1924 1924 The New York Times 1926 1924 Tampa Bay Times Sun, October 17, 1926 Miami Tribune, Wed May 5, 1926 The Birmingham News Sun, May 11, 1924 3 Ideas for Using Primary Sources • Organize a debate around a significant shift in fashion history • Build an mini-archive to examine an a garment, style, or product over time. • Curate a selection of different types of sources on one historical moment An Imagined Dress Debate on Utopian Reform Debate in Edna and Unisex Dress Woolman Chase’s Office Edna Woolman Chase (1877-1957) editor of Vogue, 1914 – 1952 Rudi Gernreich’d Monokimi in Life, Ada S. Ballin (1863-1906), The Science Renato Di Bosso (1905-1982) & of Dress in Theory and Practice, 1885 Ignazio Scurto, “The Futurist Manifesto of the Italian Tie,” 1933 Thayat (1893-1959) & Ruggerio William Henry Flower (1831-1899), Michahelles (1898-1976), Fashion in Deformity, 1881 “Manifesto for the Transformation of Male Clothing,” 1932 Amelia Bloomer (1818-1894), “The Varvara “Varst” Stepanova, Reform Dress,” 1885, and “Dress (1894-1958), “Present Day Dress— Reform,” The Lilly, 1853 Production Clothing,” 1923 Elizabeth Cady Stanton (1815-1902), Nadezhda Lamanova (1861-1941), “The New Dress,” The Lily, 1852 “Concerning Contemporary Dress,” 1923 Oscar Wilde (1854-1900), “Slaves of Fashion,” a lecture -
The Museum at FIT Fashion Culture Podcast Series on Paris: Episode 3
The Museum at FIT Fashion Culture Podcast Series on Paris Dr. Valerie Steele: New York vs Paris [Music playing] [Dr. Valerie Steele] Fashion today is created and shown in cities around the world from New York to Shanghai. Yet Paris is still widely regarded as the most glamorous and competitive of the world's fashion capitals. Hello, I'm Valerie Steele, director and chief curator of The Museum at FIT. In this series of podcasts, I'll be exploring how and why Paris became the capital of fashion. I'll explore the history and mythology of Paris as "City of Light" and the city of fashion, in conjunction with our exhibition Paris, Capital of Fashion which runs through January 4th, 2020. [Music concludes] In episode three, we're going to be talking about Paris and New York and other fashion capitals. I talked before about how in France fashion was thought of as something important. Poets, artists, businessmen, government officials, they all thought fashion was important. In America, because of our Puritan heritage there tended to be much greater ambivalence not to say hostility towards the idea of fashion. After all, fashion was a lie. It was making you look prettier and richer than you might really be. And fashion was a waste of time. So it was vanity. It was discriminatory. It wasn't egalitarian; after all, we are a democracy something that came from elite European countries. So American dress reformers would often start frothing at the mouth talking about how could it be that the granddaughters of Puritan ancestors were wearing clothes that were designed for courtesans in the wicked city of Paris. -
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