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Calvin Klein
MARKET footwear, swimwear, jewelry, watches, outerwear, its confdently minimal "heroin chic" aesthetic. One of the most iconic names in the fashion handbags, small leather goods, and home Current creative directors Francisco Costa and industry is Calvin Klein. Born in the Bronx, furnishings (including furniture). Italo Zucchelli took over women and men's design New York, the designer became known for a duties in 2003 and 2004, and have continued to minimalistic approach that sparked a sharp shift ACHIEVEMENTS develop Calvin Klein's aesthetic of confdence, towards streamlined clothes for women in the Amongst the many accolades received by Calvin understatement, and perfected minimalist tailoring. 1970s. From his humble beginnings, Calvin Klein Klein over the years are: Still one of the highlights of Fashion Month, Calvin managed to create an award-winning brand with l Coty Award - 1973,1974,1975 Klein Collection is as directional and aspirational multiple sub-divisions -- womenswear, underwear, l Council of Fashion Designers of America Award as ever. perfumes, jeans and cosmetics, among them -- and - 1982,1983,1986 a reputation for provocative advertisements. l CDFA (Council for Fashion Designers of PRODUCTS Calvin Klein, Inc., a wholly owned subsidiary of America) award - 1993 The Calvin Klein Collection’s SS16 show was one PVH Corp., is one of the leading fashion design l America's Best Designer of 1993 Award. steeped in nostalgia. Their current obsession with and marketing studios in the world. It designs and the early ’90s is manifested in the red-hot slip markets women’s and men’s designer collection HISTORY dress trend of this season. -
One of a Kind
Thursday, November 29 6:30 – 8:00 p.m. Receptions and viewings Presenters Robert Lee Morris, ONE OF A KIND 400 West Broadway Lisa Koenigsberg, conference director and president and founder, Hewitt National Design Awards, Cornejo was the award’s recipient in Nicolas Luchsinger, vice president, Retail Operations for the Robert Lee Morris, designer and acknowledged leader of the art 6:00 – 8:00 p.m. Reception and Selima Optique exclusive viewing of the Initiatives in Art and Culture; formerly, she served as advisor to the dean 2006. In May 2006 Zero + Maria Cornejo opened its second store in New Americas, Van Cleef & Arpels, Luchsinger has been with the Maison for jewelry movement; a design visionary who redefined fashion jewelry by INDIVIDUALITY, INTEGRITY, 59 Wooster Street for arts initiatives, and director, programs in the arts and adjunct York’s far-West Village neighborhood and in February 2009 moved to its nearly seven years, beginning as Director of the New York flagship and creating wearable art in sensuous, fluid, and organic forms. Having led his Maison's latest Mary McFadden: A Lifetime of flagship store/showroom/atelier at 33 Bleecker Street, New York. In Fall in professor of arts, NYU School of Continuing and Professional Studies. She the Heritage collection, which he established and now curates. He niche industry for the past 40 years, Morris still inspires and bridges the AND INNOVATION IN FASHION collections established the series of fashion conferences which explores fashion, 2010 Zero + Maria Cornejo opened its first store outside the New York currently oversees and coordinates the Maison’s eight internal boutiques worlds of fashion and art. -
Obiko Art Wear Archive Project
TEXTILE ARTS COUNCIL FINE ARTS MUSEUMS OF SAN FRANCISCO OBIKO ART WEAR ARCHIVE PROJECT Feather collar by K.Lee Manuel “Electra” 1988. Photo: David Reese The Obiko ArtWear Archive documents and celebrates the work of Bay Area clothing and jewelry designers whose work was showcased at Sandra Sakata’s renowned boutique, Obiko. In the 1970s- through the 1990s, one-of-a-kind Art Wear blossomed in a culture that embraced global design. The influence of Asian and African ethnic costume and textile techniques is particularly evident in the aesthetic of this remarkable era. The archive includes a collection of designers’ work, four fashion shows, oral histories, photos and memories. The Textile Art Council hopes that the archive will be a great discovery and resource for future generations. © 2014 Textile Arts Council Fine Arts Museums of San Francisco, all rights reserved | Design: Nancy Rosenblum, Frisco Graphics OBIKO ART WEAR ARCHIVE PROJECT TABLE OF CONTENTS 1. Acknowledgements 2. History 3. Designers 4. Audio Interviews 5. Videos OBIKO ART WEAR ARCHIVE PROJECT ACKNOWLEDGEMENTS Jean Cacicedo Ana Lisa Hedstrom Thank Yous OBIKO ART WEAR ARCHIVE PROJECT | ACKNOWLEDGE- MENTS JEAN CACICEDO The hand-crafted garments and accessories that emerged in late 1960s and 1970s America played a significant role in our cultural identity. One-of-a-kind wearables emerged on both the east and west coasts, drawing on an anti-fashion street style approach. Two seminal galleries, Julie:Artisans in New York City and Obiko in San Francisco, provided a showcase for this work. I began my career on the east coast in the late 60s during an extraordinary time consumed by nationwide political protests and self expression. -
Dear Viewer• in Answer to Your Request, We Are Pleased, to Send
2020 M STREET, N.VV.,WAS H IN GTO N, D.C. 20036 Dear Viewer• In answer to your request, we are pleased, to send you the enclosed transcript. This is being sent to you for your reference and review use only and no part of it may be published without the written permission of the CBS Law Department in New York. Thank you for your interest in our broadcast. Sincerely, CBS News/Washington WHO'S WHO EDITION I, SHOW 10 as broadcast over the CBS TELEVISION NETWORK Tuesday, March 15, 1977 With CBS News Correspondents Dan Rather and Charles Kuralt THE PRESS AS HOSTAGE Produced by Ellen B Colyer L.L. BEAN Produced by David Buksbaum JAMES EARL RAY Produced by Esther Kartiganer KING TUTANKHAMEN Produced by Charles Kuralt Associate Producer - Jonnet Steinbaum PRODUCED BY CBS NEWS ©MCMLXXVII CBS Inc. ALL RIGHTS RESERVED 1 DAN RATHER: Good evening. I'm Dan Rather. Barbara Howar is away on assignment. Charles Kuralt reports from On The Road. And this is WHO'S WHO - these people and their stories. James Earl Ray - after eight years of silence in prison, as the assassin of Martin Luther King, for the first time on television he tells his story. Did you fire the shot that killed Dr. Martin Luther King? JAMES EARL RAY: No, and I think now, based on investigations of those who have represented me, that we could prove it through some type of judicial proceedings. RATHER: Max Robinson - a Washington newsman caught in the middle of the Hanafi Moslem story. Is the press an unwitting ally of the terrorists, or only a hostage itself? [Phone rings; background noises] MAX ROBINSON: They're going to kidnap me. -
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. -
IAC Brochure
Initiatives in Art and Culture PIONEERS: CONCEPTION, CREATION, AND INNOVATION 18TH ANNUAL NEW YORK FASHION CONFERENCE FRIDAY – SATURDAY, NOVEMBER 4 – 5, 2016 Miner in East Africa. Photo: courtesy, Monica Stephenson and Sharing the Rough, directed by Orin Mazzoni. F/W 2016 RTW Collection; model: Anna Cleveland. F/W 2016 Dress, Gabriel "Coco" Chanel, 1927. Photo: courtesy, The Museum at FIT. The Museum 1927. Photo: courtesy, Ralph Rucci, Photo: Dan Lecca. Cape, scarlet crinkled crêpe de chine, feathers, scarlet crinkled crêpe de chine, feathers, Whitney Boin, Transformation in Platinum, 2015, platinum, synthetic raffia, stainless steel. THE GRADUATE CENTER, THE CITY UNIVERSITY OF NEW YORK PIONEERS: CONCEPTION, CREATION, AND INNOVATION 18TH ANNUAL NEW YORK FASHION CONFERENCE FRIDAY – SATURDAY, NOVEMBER 4 – 5, 2016 First. At the leading (or bleeding) edge. Pioneering. Surely an enviable, or at least admirable, position. But we know it don't come easy, and even when it comes, it doesn't guarantee success. But without pioneers, without those who risk being first (whatever the endeavor), we are stuck, frozen in place, our feet nailed to the floor. In the 18th annual New York Fashion conference, IAC celebrates pioneers from all corners of the industry. From those who create new materials and those who use traditional materials in innovative ways. To designers who embrace revolutionary techniques to accomplish the previously unrealizable—or even unimaginable. From those who, unfettered by tradition, derive novel Pat Cleveland and Stephen Burrows at the Tribute to approaches to incorporating precious the Models of Versailles 1973 at The Metropolitan Museum of Art, January 23, 2016. Photo: Stephen metals and gemstones into jewelry and Lovekin/Getty Images North America. -
Klein, Calvin (B
Klein, Calvin (b. 1942) by Shaun Cole Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com American designer Calvin Klein has created an extraordinarily successful fashion empire through the simple and elegant design of his clothes and through his skilful employment of provocative advertising campaigns that are saturated with homoeroticism. Born in the Bronx, New York, on November 19, 1942, the son of a Jewish grocer, Klein taught himself to sketch and sew as a boy. His mother was an elegant and sophisticated woman who played an important role in shaping her son's fashion sense by taking him on trips to her dressmakers. His grandmother had the greatest influence on his budding career by teaching him to use a sewing machine. Klein attended New York's Fashion Institute of Technology. After graduating in 1962, he worked for a Seventh Avenue coat and suit house. In 1968, with his childhood friend Barry Schwartz, he opened his own business, designing and selling women's coats. Klein's designs were noticed by the vice president of the New York store Bonwit Teller, who invited him to show his clothes to the store president. In order to ensure that the clothes did not get creased or soiled, the designer pushed his collection up Seventh Avenue on a clothes rail. The president was impressed with Klein's minimalist style and placed an order for clothes worth $50,000. Klein's emphasis in designing clothes has always been on modernity and simplicity, creating wearable outfits for both men and women. -
Tim Gunn Fashion Innovators
PUBLISHER’S NOTE Fashion Innovators SUR¿OHV WKH PRVW LQQRYDWLYH DQG 7KHWH[WRIWKHHVVD\VDUHGLYLGHGLQWRWKHIROORZLQJ LQÀXHQWLDO LQGLYLGXDOV LQ WKH GHYHORSPHQW RI IDVKLRQ • Early Life provides facts about the individual’s From the post–World War II revival of haute couture to upbringing. Where little is known about the per- WKH³PDVKXS´VW\OHRIWKHWZHQW\¿UVWFHQWXU\WKHKLV- son’s early life, historical context is provided. tory of fashion is immeasurably rich, with milestones • Life’s Work, the heart of the article, consists of a WKDWKDYHUHYROXWLRQL]HGRXUVRFLHW\7KLVQHZWLWOHH[- straightforward, generally chronological account amines those individuals most responsible for the design of how the individual gained recognition, em- and production behind fashion today, from designers to SKDVL]LQJ WKHLU PRVW VLJQL¿FDQW HQGHDYRUV DQG the models popularizing their designs. achievements—and failures. • Personal Information includes post-achieve- SCOPE OF COVERAGE ment activities or positions, family life, and top- Fashion Innovators features more than 180 biographies ics of general interest. RILQGLYLGXDOVZKRKDYHKDGDVLJQL¿FDQWLQÀXHQFHRQ • Each essay also includes an annotated Further the development of fashion, culminating with the styles Reading section that provides a starting point for of today that borrow from both hip-hop and unisex in- additional research. GLHVW\OHV7KHPDMRULW\RIWKHVHELRJUDSKLFDOHVVD\VDUH derived from Current Biography, which is a monthly SPECIAL FEATURES magazine that H. W. Wilson began publishing in 1940. Several features distinguish this series from other bio- Biographies represent a strong multi-ethnic, cross-gen- JUDSKLFDOUHIHUHQFHZRUNV7KHEDFNPDWWHULQFOXGHVWKH der focus, with accompanying sidebars describing the following aids, appendices, and indexes: DI¿OLDWLRQZLWKZKLFKWKDWLQGLYLGXDOLVPRVWRIWHQDV- • Timeline presents a comprehensive list of mile- sociated. Among the editors’ criteria for inclusion in the stone events in the evolution of fashion since the VHWZDVDQLQGLYLGXDO¶VKLVWRULFDOVLJQL¿FDQFHZKHWKHU 1940s. -
Art and Textile Design: the Onondaga Silk Company's "American Artist Print Series" of 1947
University of Rhode Island DigitalCommons@URI Open Access Master's Theses 1993 Art and Textile Design: The Onondaga Silk Company's "American Artist Print Series" of 1947 Amy C. Lund University of Rhode Island Follow this and additional works at: https://digitalcommons.uri.edu/theses Recommended Citation Lund, Amy C., "Art and Textile Design: The Onondaga Silk Company's "American Artist Print Series" of 1947" (1993). Open Access Master's Theses. Paper 1566. https://digitalcommons.uri.edu/theses/1566 This Thesis is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Master's Theses by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. \\JK~ -'Sb~-~ ~k \ °'C\6 ART AND TEXTILE DESIGN: THE ONONDAGASILK COMPANY'S "AMERICAN ARTIST PRINT SERIES" OF 1947 BY AMY C. LUND A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN TEXTILES, FASHION MERCHANDISING, AND DESIGN UNIVERSITY OF RHODE ISLAND ABSTRACT In the spring of 1947, the Onondaga Silk Company collaborated with the Midtown Galleries of New York City to create the "American Artist Print Series." This collaboration, drawing upon the familiar practice of using well-known international artists as textile designers, resul t ed in a collection of dress fabrics inspired by works o f lesser-known American artists. The goal was to bring American art to the fashionable consumer. Ideas and influences from art, industrial design, textile design and fashion design from the first half of the twentieth century are reflected in this series. -
Eleanor Lambert: Empress of Seventh Avenue March 3–28, 2020 the Museum at FIT
Office of Communications and External Relations telephone 212 217.4700 fax 212 217.4701 [email protected] February 18, 2020 Steven Bibb Media Relations (212) 217-4700; [email protected] Eleanor Lambert: Empress of Seventh Avenue March 3–28, 2020 The Museum at FIT Eleanor Lambert at her desK in New York City, 1963. ©AssoCiated Press The Fashion Institute of Technology’s School of Graduate Studies and The Museum at FIT (MFIT) presents Eleanor Lambert: Empress of Seventh Avenue, on view March 3–28, 2020, the first exhibition to explore the life of Eleanor Lambert (1903–2003) and her tireless advocacy for American fashion designers and the New York fashion industry. Lambert is widely recognized as the original fashion publicist and, over the span of her 75-year career, she worked passionately to legitimize New York and the United States as international fashion centers. Curated by the students of FIT’s Fashion and Textile Studies: History, Theory, Museum Practice Master of Arts program, the exhibition features items from the collection of MFIT and archival materials from Gladys Marcus Library’s Special Collections and College Archives (SPARC) at FIT. SPARC serves as the repository for Eleanor Lambert’s papers. Eleanor Lambert: Empress of Seventh Avenue begins with an archival film of Lambert greeting attendees at New York Press Week in 1947, an event she established to help promote American fashion designers and their collections during World War II. Lambert and her many contributions to the American fashion industry are highlighted, including the establishment of the International Best-Dressed List (1940), the founding of the Coty American Fashion Critics’Award (1942), the formation of the New York Dress Institute’s Couture Group (1953), and the establishment of the Council of Fashion Designers of America (CFDA) in 1962. -
Brochure (PDF)
Eleanor Lambert: Empress of Seventh Avenue has been organized by graduate students in the Fashion Institute of Technology’s MA program in Fashion and Textile Studies: History, Theory, Museum Practice, with the support of Shonagh Marshall and Elizabeth Way. Anna Andreeva Brynnea Irvine Michelle Porrazzo Angela Catechis-Lolos Linsey Labson Kirstin Purtich Faith Cooper Sara Ludueña Christianna Rice Molly Hartvigsen Carol McLennan Bobbi Wall We would like to thank the many people who helped make this exhibition possible: Dr. Joyce F. Brown, President, Fashion Institute of Technology Eleanor Lambert From the School of Graduate Studies: EEmpressleanor of Seventh Lamber Avenuet Acting Dean Joanne Arbuckle; Instructor Shonagh Marshall; Acting Chair Lourdes Font; Marylin Barton, and Marjorie Phillips. Empress of Seventh Avenue March 3 – 28, 2020 From The Museum at FIT: March 3 – 28, 2020 Dr. Valerie Steele, Director; Deputy Director Patricia Mears; Senior Curator Fred Dennis; Associate Curator Emma McClendon; Assistant Curator Elizabeth Way; Senior Conservator Ann Coppinger; Alison Castaneda and Marjorie Jonas of the Conservation Department; Museum Photographer Eileen Costa; Associate Registrar Jill Hemingway; Senior Exhibition Manager Michael Goitia; Ken Wiesinger and Ryan Wolfe of the Exhibitions Department; Lynn Sallaberry and Thomas Synnamon of the Costume Department; Senior Curator of Education Tanya Melendez; Curator of Education and Research Melissa Marra-Alvarez; Faith Cooper of the Education Department; Collections and Education Assistant Michelle McVicker; Digital Media and Strategic Initiatives Manager Tamsen Young; and Assistant Media Manager Oyinade Koyi. From the Office of Communications and External Relations: Carol Leven, Alexandra Mann, Ivana Cepeda, Steven Bibb, and Smiljana Peros. From the Gladys Marcus Library Special Collections: Karen Trivette and April Calahan.