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Augusta Auction Company Historic Fashion & Textile
AUGUSTA AUCTION COMPANY HISTORIC FASHION & TEXTILE AUCTION MAY 9, 2017 STURBRIDGE, MASSACHUSETTS 1 TRAINED CHARMEUSE EVENING GOWN, c. 1912 Cream silk charmeuse w/ vine & blossom pattern, empire bodice w/ silk lace & sequin overlay, B to 38", W 28", L 53"-67", (small holes to lace, minor thread pulls) very good. MCNY 2 DECO LAME EVENING GOWN, LATE 1920s Black silk satin, pewter lame in Deco pattern, B to 36", Low W to 38", L 44"-51", excellent. MCNY 3 TWO EMBELLISHED EVENING GOWNS, 1930s 1 purple silk chiffon, attached lace trimmed cape, rhinestone bands to back & on belt, B to 38", W to 31", L 58", (small stains to F, few holes on tiers) fair; 1 rose taffeta underdress overlaid w/ copper tulle & green silk flounce, CB tulle drape, silk ribbon floral trim, B to 38", W 28", L 60", NY label "Blanche Yovin", (holes to net, long light hem stains) fair- good. MCNY 4 RHINESTONE & VELVET EVENING DRESS, c. 1924 Sapphire velvet studded w/ rhinestones, lame under bodice, B 32", H 36", L 50"-53", (missing stones, lame pulls, pink lining added & stained, shoulder straps pinned to shorten for photo) very good. MCNY 5 MOLYNEUX COUTURE & GUGGENHEIM GOWNS, 1930-1950s Both black silk & labeled: 1 late 30s ribbed crepe, "Molyneux", couture tape "11415", surplice bodice & button back, B to 40", W to 34", H to 38", L 58", yellow & black ikat sash included, (1 missing button) excellent; "Mingolini Guggenheim Roma", strapless multi-layered sheath, B 34", W 23", H 35", CL 46"-50", (CF seam unprofessionally taken in by hand, zipper needs replacing) very good. -
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. -
Every Fur Coat Hurts!
Whims of Fashion Fatal to Furbearers What's it Like to be Trapped? Economics of the The raccoon on the cover of this report is Are young children taught to be insensi A fox emerges from the swamp grass and chews off his foot. The terror-stricken fox U.S. Fur Trade only one of about 17 million U.S. furbear tive to pain and suffering when there's a moves along its usual path of travel. limps off into the swamp grass leaving a ers killed each year. Most have been made trapping tradition in their homes? When WHAM! The jaws of the trap slam shut on trail of blood. The HSUS estimates that there are about to suffer the agony of the steel jaw trap. they see row upon row of fur coats in the the fox's right rear leg. The startled and ter This event, commonly called "wring 300,000 trappers in the United States, the The trapper's coup de grace is often admin department stores? rified fox struggles to break free. The off" by trappers, could have taken two vast majority of whom do not derive a sub istered with a club, a noose, or a boot heel. Parents are always confronted with ques smooth jaws of the trap bite into flesh caus hours, two days, or maybe even two weeks. stantial portion of their income from trap And let us not forget the millions of other tions such as: "How did they kill it Daddy? ing traumatic injury to skin, ligaments, and ping. -
Building Best Practices for Fashion Design Pedagogy: Meaning, Preparation, and Impact
Steven Faerm Building best practices for fashion design pedagogy: meaning, preparation, and impact Fecha de recepción: julio 2014 Building best practices for fashion Fecha de aceptación: marzo 2015 Versión final: julio 2015 design pedagogy: meaning, preparation, and impact Steven Faerm * Summary: Historically, universities have adopted a “sink or swim” approach with their hiring of art and design faculty. After years of professional experience, these new faculty enter classrooms without pedagogical training and are expected to succeed as educators. However, designing product and educating students require significantly different skill- sets. Additionally, faculty challenges are radically increased due to the seismic changes occurring in design education, the evolving student generation, and the increasingly volatile professional world for which students must be trained. Through trial and error, new faculty often rely on outdated teaching methods used during their own undergraduate experiences. This lack of faculty preparation negatively impacts programs, the graduates’ preparation, and ultimately our design industries. This article will discuss the critical need for tomorrow’s art and design faculty to acquire –and master– solid pedagogical skills if they are to successfully educate and train future designers. This study aims to provide fashion design educators and program directors with awareness for the importance of providing pedagogy support for new faculty in order to strengthen the students’ learning. Key words: design education - design pedagogy - student development - teaching - fashion design - fashion industry - Parsons - faculty - higher education. [Summaries in spanish and portuguese at pages 212-213] (*) Associate Professor, The School of Fashion, Parsons The New School for Design. Introduction Historically, universities have adopted a “sink or swim” approach with their hiring of fashion design faculty. -
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By Elizabeth Sallinger M.M., Duquesne University, 2010 B.A., Pennsylvania State University, 2008 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Paul R. Laird Roberta Freund Schwartz Bryan Kip Haaheim Colin Roust Leslie Bennett Date Defended: 5 December 2016 ii The dissertation committee for Elizabeth Sallinger certifies that this is the approved version of the following dissertation: Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 Chair: Paul R. Laird Date Approved: 5 December 2016 iii Abstract In 1968, the sound of the Broadway pit was forever changed with the rock ensemble that accompanied Hair. The musical backdrop for the show was appropriate for the countercultural subject matter, taking into account the popular genres of the time that were connected with such figures, and marrying them to other musical styles to help support the individual characters. Though popular styles had long been part of Broadway scores, it took more than a decade for rock to become a major influence in the commercial theater. The associations an audience had with rock music outside of a theater affected perception of the plot and characters in new ways and allowed for shows to be marketed toward younger demographics, expanding the audience base. Other shows contemporary to Hair began to include rock music and approaches as well; composers and orchestrators incorporated instruments such as electric guitar, bass, and synthesizer, amplification in the pit, and backup singers as components of their scores. -
New York City (2)” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 23, folder “3/20/76 - New York City (2)” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 23 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library ...;._...,' For immediate release Friday, March 19, 1976 THE WHITE HOUSE Office of Mrs. Ford's Press Secretary -----~---------------------------------------------------------------------- \ Monday evening, March 29th, Mrs. Ford will accept the 1976 Parsons Award at the annual Critics Awards Show sponsored by the Parsons School of Design at the New York Hilton Hotel in New York City. There will be a photo session with Mrs. Ford and student award winners at 6:00 p. m. in the Rendevous Trianon Room1 11 of the New York Hilton, followed by a private reception. The fashion show and awards presentation will take place betweei 7:00 and 8:00 p. m. Mrs. Ford will make brief remarks at the award presentation. -
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. -
Ballet West Mark Morris A.I.M
NORTHROP 2019-20 SEASON | WINTER DANCE SERIES MARK MORRIS DANCE GROUP Sat, Jan 25, 7:30 pm Pepperland with live music BALLET WEST Sat, Feb 22, 7:30 pm & Sun, Feb 23, 2:00 pm Jewels with live orchestra Northrop and Walker Art Center Present A.I.M BY KYLE ABRAHAM Sat, Feb 29, 7:30 pm Mixed repertory Welcome to Northrop! I am so pleased that you are joining me for a very special time filled with dance, community, and fellowship. As we come together in anticipation of the extraordinary experience we are about to share, I encourage you to look around and connect with someone you have not yet met. You can be sure that you have at least one commonality! This Winter Dance Series brings together the old, the new, and the timeless—and is sure to delight, inspire, and move us. Let us share more than space and, instead, be open to exchanging thoughts, ideas, and perspectives. In doing so, I hope that we each come away with a deeper understanding of ourselves and those around us. LETTER FROM THE DIRECTOR THE LETTER FROM The Winter Dance Series begins with Mark Morris’ Pepperland, set to a score of innovative arrangements of the iconic songs from the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album, performed by a live jazz ensemble. Originally commissioned by the city of Liverpool to celebrate the 50th anniversary of the groundbreaking album, this delightful, vividly colorful hour-long work demonstrates why this dancemaker is noted as “the most successful and influential choreographer alive, and indisputably the most musical” (New York Times). -
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 -
Ralph Lauren Free
FREE RALPH LAUREN PDF Ralph Lauren | 496 pages | 18 Oct 2011 | Rizzoli International Publications | 9780847837434 | English | New York, United States MSK Ralph Lauren Center | Memorial Sloan Kettering Cancer Center Iconic designer Ralph Lauren's first job in the fashion industry was Ralph Lauren retail at Brooks Brothers before developing a line Ralph Lauren neckties. Ralph Lauren brand he Ralph Lauren, Polo, is now one part of an international empire that includes fragrances, home furnishings, luxury clothing and dining based on a fantasy aesthetic of upper-crust life. Lauren, a funder of cancer research initiatives, has also used his personal fortune to amass a collection of rare and classic cars as well as a massive Colorado ranch. His parents Frieda and Frank were Ashkenazi Jewish immigrants who had fled Belarus, and Ralph Lauren youngster grew up in the Mosholu Parkway area of the family's adopted borough. At the age of 16, Ralph Ralph Lauren his brother Jerry changed their last name to Lauren after having been teased consistently at school. Another brother, Lenny, retained the family name. Ralph was known for his distinctive fashion sense as a teen, finding inspiration in screen icons like Fred Astaire and Cary Grant while having a taste for both classic preppy wear and vintage looks. He went on to attend Baruch College in Manhattan, where he studied business for two years. After Ralph Lauren brief stint in the Army, Lauren took on a sales job at Brooks Brothers. InLauren was awarded the Coty Award for his men's designs. Following this recognition, he released a line of women's suits tailored in a classic Ralph Lauren style.