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1 a Dashing, Positively Smashing, Spectacle
A Dashing, Positively Smashing, Spectacle...: Female Spectators and Dress at Equestrian Events in the United States During the 1930s Dr Alison L Goodrum Introduction Little is known of the life of Miss Boopie Jenkins (see figures one and two) other than that she was part of an elite social set of wealthy, white, American men and women (note one) who enjoyed fulsome participation in a leisured lifestyle during the interwar years. Jenkins features in just a handful of black and white photographs held within the ‘Gerald B Webb Jr’ album collection (see note two), a photographic archive of the life and work of equestrian journalist and founder of the specialist newspaper (established 17th September 1937) The Chronicle of the Horse. These few glimpses of Jenkins captured in 1938 as a young woman of twenty-one years are instructive. They offer a visual entrée into the nuances of dress and dressing in – and for – a contemporary high class lifestyle, one punctuated by equestrian occasions both sporting and social. Amateur snapshots and family albums are endorsed by Taylor as being an ‘immensely useful...source of clothing detail’ (2002: 169-70) offering ‘significant tools in the dress historian’s search for the coded cultural meanings that lie within clothing’. The two photographs of Boopie Jenkins forwarded here are indeed richly encoded clothing texts. Both images are taken in the geographical setting of her home locale - Warrenton, Virginia - itself an area synonymous with equestrian activity of all kinds but particularly foxhunting and horse trialling. In figure one, Jenkins is positioned centre, following the action at the Warrenton Hunter Trials (see note three) from a makeshift vantage point: the back of a horse- drawn wagon. -
Costume Institute Records, 1937-2011
Costume Institute records, 1937-2011 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le, with additions by Celia Hartmann Processing of this collection was funded in part by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on June 21, 2019 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute records, 1937-2011 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Arrangement note................................................................................................................ 7 Administrative Information .............................................................................................. 7 Related Materials .............................................................................................................. 8 Controlled Access Headings............................................................................................... 8 Collection Inventory..........................................................................................................10 Series I. Collection Management................................................................................10 -
Charles Kleibacker, Master of the Bias Cut; Designs, Construction and Techniques
CHARLES KLEIBACKER, MASTER OF THE BIAS CUT; DESIGNS, CONSTRUCTION AND TECHNIQUES DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Joycelyn Falsken, M.A. ***** The Ohio State University 2008 Dissertation Committee: Professor Patricia A. Cunningham, Adviser Professor Kathryn A. Jakes Professor Alice L. Conklin Curator Gayle M. Strege Copyright by Joycelyn Falsken 2008 ABSTRACT Charles Kleibacker was a fashion designer in New York City from 1960 to 1986, a time when fashion styles reflected the turmoil that occurred in society throughout those years. However, through it all Charles maintained an individual design aesthetic – soft figure-flattering bias dresses with a classic look that could be worn for years. This earned him a devoted clientele of women who purchased his designer ready-to-wear garments at top stores in New York, or were custom fit in his workshop. Because of his preference for and skill with bias, he became known as the Master of the Bias Cut. Trained in French couturier methods of construction, Kleibacker’s garments were all produced with the highest standards in fabric, construction and fit. Bias is known to be the most difficult ‘cut’ to work with when constructing garments. Charles experimented until he figured out how to solve the challenges, and then trained his workers in the exacting techniques required. Having first a career in journalism, Charles’ path to fashion was in “no way normal” and his approach to his business and the industry was not the norm either. Starting small, through much determination and sacrifice, he overcame many obstacles to produce garments engineered for an enduring and graceful artistry. -
Costume Institute Records, 1937-2008
Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................ -
"It Is a Profession That Is New, Unlimited and Rich!": the Promotion of the American Fashion Designer in the 1930S Sheryl Ann Farnan Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2005 "It is a profession that is new, unlimited and rich!": the promotion of the American fashion designer in the 1930s Sheryl Ann Farnan Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the American Studies Commons, Art and Design Commons, Film and Media Studies Commons, Mass Communication Commons, and the United States History Commons Recommended Citation Farnan, Sheryl Ann, ""It is a profession that is new, unlimited and rich!": the promotion of the American fashion designer in the 1930s " (2005). Retrospective Theses and Dissertations. 1235. https://lib.dr.iastate.edu/rtd/1235 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. NOTE TO USERS This reproduction is the best copy available. ® UMI "It is a profession that is new, unlimited and rich!" The promotion of the American fashion designer in the 1930s by Sheryl Ann Faman A dissertation submitted to the graduate Acuity in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Textiles and Clothing Program of Study Committee: Jane Farrell Beck, Major Professor Jean Parsons, Major Professor Ann Marie Fiore AmyBix Leland Poague Tanya Zanish-Belcher Iowa State University Ames, Iowa 2005 Copyright © Sheryl Ann Faman, 2005. AH rights reserved. -
A Study of the Historical Change of American Sportswear -Focusing on Women's Sportswear
IJCC, V이 . 7, No. 2, 135~ 150(2004) 59 A Study of the Historical Change of American Sportswear -Focusing on Women's Sportswear - Young-Min Lee and Youn-Hee Lee' Dept, of Clothing & Textiles, Hanyang University (Received June 21, 2004 : Accepted November 13, 2004) Abstract The purpose of this study is to explicate the contemporary concept of the term 'sportswear' by studying the history of sportswear tradition in꺼 erica where sportswear was first established and developed. American sportswear originated from some functional clothes made for specific sports during the 19th century. Early in 20th century, there occurred many significant events in America while Americans were undergoing two successive world wars. First of all, due to the wars, women's role in labor force became so significant that their social status was enhanced remarkably. With economy growing every decade, the amount of leisure time for American people substantially increased and, therefore they could develop their leisure activity culture. All these changes made Americans demand the need for comfortable and junctional clothes suitable for their changed way of life. In response to this demand, the sportswear tradition became mature due to the contribution by many creative All-American designers, most of whom have made their active contributions since 1970s. Now the sportswear, which used to be designed far specific sports, developed into casual wear in general with its extended definition. The contemporary concept of sportswear is no longer limited to those clothes for specific sports. Sportswear has now become more like a casual activity wear which all classes of people can enjoy in their life. -
Annual Report 2013
Whatever It Takes To Rise Above Addiction Phoenix House Annual Report II Whatever It Takes To Rise Above Addiction Storytelling has been woven into the fabric of Phoenix House since our earliest days. For more than forty-five years, we have proudly shared the stories of our clients— from the six heroin addicts living in a Manhattan brownstone in 1967 to the men, women, and teens across the country who make up our alumni today. Much has changed since we began this journey, yet much remains the same. Addiction can be out in the open or hidden as a secret—at least for a time. It can be the product of emotional scars or social pressure… or trauma…or abuse. It is harmful to the person involved, but its pain gradually spreads over families and friends. It is a scourge that brings heartache to millions—but, at heart, it is a personal burden that weighs down each person in its own way. Call it drug abuse, substance abuse, addiction, or a habit, it is a pattern of behavior that brings suffering and defeat to millions of people. It is also the field of our expertise and the focus of our long-term commitment to do whatever it takes to manage, treat, and control this disease. No matter how deep-seated the problem or how complex its causes, Phoenix House has succeeded in drawing people out of its grasp. By treating them wherever they need to be—at home, a clinic, or a residential facility—and by using whatever protocols are necessary to address underlying causes, we give those struggling with addiction answers, hope, and a positive way forward. -
Information to Users
Louise Dahl-Wolfe: A fashion photographer redefined Item Type text; Thesis-Reproduction (electronic) Authors Edwards, Jennifer Somerville, 1967- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 07:19:35 Link to Item http://hdl.handle.net/10150/291450 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
American Women Designers 1920S –1970S
American Women Designers 1920s –1970s hese nine women were the most prominent of first- with the top-of-the-line wholesaler Maurice Rentner in the 1930s and generation American women designers whose careers designed under the label Ren-Eta until the late 1940s. In contrast to began between the two World Wars.1 All but one were that of the others, her clothing was more decorative and structured, Tborn in the first decade of the twentieth century.2 Three of them— closer to the aesthetic of the American men designing in the 1940s. Jessie Franklin Turner, Elizabeth Hawes, and Valentina Schlee, Her best-known designs are the classically inspired 1943 evening gowns presided over custom businesses, where they created elegant and that she donated to the Brooklyn collection (fig.00). luxurious made-to-order clothing and in some cases accessories Bonnie Cashin, Carolyn Schnurer, Vera Maxwell, and Claire for affluent private clients with high-style sensibilities. McCardell rose to prominence during the 1940s, when World War II Turner, who began her career designing lingerie, was known for interrupted the flow of materials and inspiration coming from Europe. her sensual tea gowns and evening wear as well as distinctive self- With man power directed toward the war effort, unprecedented hand printed fabrics. Hawes’s gowns had a more formal presence, opportunities for women were created in the American design although she sometimes accented her work with blatantly suggestive business. Working within the structure of the robust ready- to-wear decorative accents (fig. 00). Her designs are often characterized garment industry centered on New York’s Seventh Avenue, they by the elaborate piecing together of luxurious textural materials. -
Whatever It Takes
Whatever It Takes To Rise Above Addiction Phoenix House Annual Report II Whatever It Takes To Rise Above Addiction Storytelling has been woven into the fabric of Phoenix House since our earliest days. For more than forty-five years, we have proudly shared the stories of our clients— from the six heroin addicts living in a Manhattan brownstone in 1967 to the men, women, and teens across the country who make up our alumni today. Much has changed since we began this journey, yet much remains the same. Addiction can be out in the open or hidden as a secret—at least for a time. It can be the product of emotional scars or social pressure… or trauma…or abuse. It is harmful to the person involved, but its pain gradually spreads over families and friends. It is a scourge that brings heartache to millions—but, at heart, it is a personal burden that weighs down each person in its own way. Call it drug abuse, substance abuse, addiction, or a habit, it is a pattern of behavior that brings suffering and defeat to millions of people. It is also the field of our expertise and the focus of our long-term commitment to do whatever it takes to manage, treat, and control this disease. No matter how deep-seated the problem or how complex its causes, Phoenix House has succeeded in drawing people out of its grasp. By treating them wherever they need to be—at home, a clinic, or a residential facility—and by using whatever protocols are necessary to address underlying causes, we give those struggling with addiction answers, hope, and a positive way forward. -
A CHALLENGE to FRENCH FASHION DICTATORSHIP a Thesis
,:(~ < r, ''') , "7 ",<' ,~) ;~ ..i t ." i J .:) A CHALLENGE TO FRENCH FASHION DICTATORSHIP A Thesis Presented to the Department of Curriculum & Instruction Kansas State Teachers College of Emporia In Partial Fulfillment of the Requirements for the Degree Master of Science by Dorothy j)otson August 1972 , J. TABLE OF CONTENTS Chapter Page 1. INTRODUCTION • • • • • · . · . • • • • • • • 1 THE PROBLEM • • • · • • • • • · • • • · • • 3 HYPOTHESES • • • • · • • • • • • • • • • · 3 PROCEDURE • • • • • • • • • • • • · • • · • 4 LIMITA'rIONS • • • • • • · • • • • • • • • • 4 DEFINITIONS • • · • • • • • • • • • • • • • 5 2. THE RISE OF FRENCH FASHION LEADERSHIP · . 6 3. TREND SETTERS OF THE FRENCH HAUTE COUTURE • • 13 CHARLES FREDERICK WORTH · . • • • 14 JEANNE LANVIN • t • • • • • • • • • • • • • 17 PAUL POIRET · . 18 ~~DELEINE VIONNET • • • • • • • • • • • • • 22 GABRIELLE CHANEL · . 25 ELSA SCHIAPARELLI · . 30 4. FRENCH TREND SETTERS AFTER WORLD WAR II • • • 35 CRISTOBAL BALENCIAGA • • • • · . · . · . 35 CHRISTIAN DIOR • • . · . · . • • • 39 YVES SAINT LAURENT • · . 42 PIERRE CARDIN · . 48 ANDRE COURREGES · . 53 5. CREATIVE FASHION DESIGN IN THE UNITED STATES. 58 MAINBOCHER • • · . • • · . • • • • • 59 CLAIRE McCARDELL • • · . • • • • · . 63 Chapter Page NORMAN NORELL •••• • •• • · · · · • • · 67 JAMES GALANOS • · • • · • • · • • · • · • · 73 RUDI GERNREICH •• • · • • · · • · · · · · 78 BILL BLASS · · · · · · · · · · · · · · · · 86 6. SUMMARY AND CONCLUSIONS · • · · · · · · · · · 90 HYPOTHESIS I · · · · · · · · • · · • · · · 90 HYPOTHESIS -
The Life, Rise, and Success of Dorothy Shaver
FORGOTTEN FIRST LADY: THE LIFE, RISE, AND SUCCESS OF DOROTHY SHAVER, PRESIDENT OF LORD & TAYLOR DEPARTMENT STORE, AND AMERICA’S “FIRST LADY OF RETAILING” by SANDRA LEE BRAUN A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Mass Communication in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA Copyright Sandra Lee Braun 2009 ALL RIGHTS RESERVED ABSTRACT In 1945, Lord & Taylor Department Store, a $35 million company, and one of New York’s premier retailers, elected Dorothy Shaver president, making her the first female elected to a large US corporation. Shaver rose through the corporate ranks as a communications executive. She was first Head of the store’s Comparison Shopping Bureau in 1924, was then elected to its board of directors in 1927, became a vice president in 1931, a first vice president in 1937, and then was elected president in 1945. She served in this capacity until her sudden death in 1959. Her innovations in publicity, promotions, merchandising, and advertising brought her to the attention of management, other retailers, and industry leaders in the United States and abroad. She popularized many trends that form the basis of fashion and fashion retailing as it is known today. This study provides a biographical account of her life, documents her rise through the corporate ranks, and discusses her accomplishments. It also discusses keys to her success, important influences in her life, her leadership style, and gender effects on leadership. iii DEDICATION This dissertation is dedicated to every woman who has, whether knowingly or unknowingly, suffered an inequity, disparity, or injustice, simply because she was a woman.