FBOM: T 598 Mndison Ave., NYC ?L 5-Q580 The dresses shown hero have the hdp efcfrended by the pannier, a characteristic of the 18th Century. The sweep and formality of style and the elegance of fabric is very evident. Left, brocaded raauve taffeta, imported but possibly designed in this country, is fashioned over a plain mauve underskirt and trimmed with bows and banding of gauze ribbon. Rights heavy blue satin with all- over pattern in white ^nd yellow, from Prance, has rows of miniature flowers on the sleeves and around the neck, also edged with scalloped lace. Coiffures are simplified after French styles.
Revolutionary War (1775-17B3)
Over tea or its patriotic substitute, f.ieriean irowMm eagerly discussed the pros and cons of "taxation Without Representation" The newest French fashi on dolls arrived at the m&ntue.-maker's and letters from abroad were scanned for the latest fashion notes from France and ISngland. Scarcity of trade and money made the turning and re-turning of gowns a necessity. Spinning and weaving became essential home occupations for rich and poor alike. Th© women of America took an active part in this, our great struggle for freedom—Mrs. John Adams, wife of the future American president ardently championed the rights of women. Everywhere colorful British and Colonial officers stimulated the ladles to appear in their loveliest raiment. (Museum of Costume Art Summary) \ NOR LAiiLERT 598 Madison Ave., NYC PL 5-8580 These costumes show the period of the slenderest silhouette, before and up to the present day. They are simple, elegant and fasten generally with a drawstring. Many fine muslins snd silks for the sooncars and heavier dresses were brought her© by trading vessels. Left, ^old-colored raw silk with drawstring waist, worn with a gyosy leghorn strraw tied on with embroidered muslin scarf. Right, cream-colored pina cloth with multi-color paillette shirt embroidery worn with brocaded brown taffeta spencer, hand-embroidered muslin can and taffeta bag. War of 1812 (1812-1815) Polly Madison, mistress of the YOiite House, and social arbiter of her time, captured the imagination of future generations by saving Washington's portraits from the British Array advancing on ishington—a capltol newly risen from the mud-flatr the Potomac. Our •hipping, driven from the seas by the British Navy, turned American women to native manufactured fabrics. Hundreds of cotton mills sprang up to supply the demand. ith the bottling up of the seas, westward migration created new states In the Mississippi Valley. Out of this new "est came hnftrew Jack*on--a military hero who defeated the British Invaders at Kew Orleans. At balls and fetes celebrating these victories, the prevail!1 feminine style was the Kmpire ,^own. (Museum of Costume Art Summary) ^.^K ^.^.^J^... - «•• I -
m 598 Madison Ave., NYC PL 5-8580 The exhibited dresses show elegant silks, flowing lines and delicate embroidered muslins to accent the feminine quality. The skirts were dome shaped and the bodices fitted. Bonnets were important. Left, pointed-bodice striped silk embroidered down the center front with silk cord, also trimming the sleeves, worn with sheer wool shawl and straw bonnet tied on with plaid printed1 taffeta streamers. Right, changeable satin and taffeta plaid In blue and brown, with ruffles of the fabric on the sleeves and banding appliqued on the skirt. The bonnet is edged with pleating and finished with lace and satin ribbon.
Mexican Far (1846-1848)
American women were emerging Into public life. Elizabeth Cady Stanton, Lucretia Mott and Amelia Bloomer held the first Women's Rights Convention in Seneca Falls, New York. Margaret Fuller, friend of Emerson, was challenging the male intellectual world and giving women a new courage to express themselves. The poems of Elizabeth Barrett Browning were winning her an audience in America, and Charlotte Cuahman was delighting Londoners with her dramatic permanees. Gothic was the style of the* day--in dress and literature, in architecture and furniture--and was faithfully recorded by the Codey's Lady's Books. The slogan of the day was "Manifest Destiny" and,the spirit of the times was expressed by Horace Greeley's "Go West Young Man." Women, too, were among the pioneers crossing the deserts to California. (Museum of Costume Art Summary)
flHkr >8 Madison Avenue, $YC PL 5-8580 These two dresses show the wide silhouette agsln, but in different form. ere the greatest width it , curving out and do#n from the tiny waist, with sloping I Iders. There Is a military note in the corded trimming that omrhesJFea tie reflection of war influences in clothes. Left, heavy black silk with small all-over florjal pattern and green military braid. Right, changeable rraen black [laid with lingerie collar underslsevee. The hair is droned cMgnon style, alth snood (left) and under a straw hat (right).
lJhe Civil v,ar (1861-1865) Harriett Beecher ftowe, author of Uncle Tom's cabin, and Julia ftard Howe who wrote the Battl© Hymn a Republic, aroused Indignation in the north against slavery, ». any women were ardent abolitionists. ->uthern women proved espsble managers of plantations while their MP fought wit a Confederacy. sen of tie nor od south set seriously to work to do n mwltituda of mea's tiobs. Go4«y's Lady's Book carried a receipt for "Red Lip -alva" and also printed articles on woman's work and woman's wages. President Lincoln issued the first National 'Ihanksgivir reclamation, setting aside the last Thursday in Nowamber for its celebration. Victory by the Berth was followed by the rapid growth of large scale industry. (Kusaum of Costume Art Summary) 1 FiiOMi 1£J 5?: ?e~., NYC PL 5-8580 These shoulder capes, boas, small hats and parasols gave accent to dresses that had no extended point of interest to the silhouette. There was a great deal of dressmaking to these clothes, with silk linings, dust ruffles and high boned collars. Left, red and black all-over patterned satin with black beading on bodice and skirt, and white satin vestee gold-braided, .vorn with black boa. Right, black embroidered patterned gauze cress with violet taffeta contrast and black cape ruffled in lace, and bead-embroidered.
Spanish American War (1898)
ruea were now fin established in the business world. In Civil Service there was the hopeful ratio ne woman to six men. few like Hetty Green were influential financial leaders, and many women found employment In retail stores, telephone exchanges and offices. At home the den and cozy corner were the height of fashion. The Phlllippines and Hawaii were subjects for dally conversation America turned Its eyes to new horizons, China, Hawaii, the Carribean. Tedd;/ Roosevelt and his Rough Riders inflamed the public imagination--and their achievements were inspiring. (Museum of Costume Art Summary)
FROM: .11, 598 Madison Aire., NYC PL 5-35; Here are tr/o of the dreesWi, worn when dancing took America by storm in the first "
WORLD WAS 1 (1914-1918), American participation (1917-1918)
Fashion offered her American disciples the peg-bop skirt, the toneau cut and the narrow serpentine effect. Uniforms of the Red Cross, League for Women's Service, the Nursing Corps and the Liberty Bond Saleswomen were everywhere in evidence. war-time slogan was nsave wool and serve the soldiers." On a roof garden in New York an experiment in war-time vegetable planting was started, and a share-the-car plan was a patriotic suggestion in 1918. The first air mail service was started between New York, Philadelphia and Washington. A feminine voice was heard for the first time In Congress--that of Jeannette Rankin. And Mr. and krs • Vernon Castle established a vogue for dancing that was unprecedented in the history of America. (Museum of Costume Apt Summary)
FROM: 5BRT 598 Madison Ave., NYC PL 5-8580 The American Fashion Critics' Awards for 1942 and 1943 were given by coty Inc. to the American designers (1942) who best Interpreted outstanding fashion trends under restrictive war-time influences; and, in, (1943) who were "tops In the field of fnshlon for 1943", The costumes pre, left, 1945 prise winner, 01 Ire McOardell's black and white herringbone three-piece play suit, and right. Norman Norell*s black sweater topped short dinner dr«ss (1042) with floral- spangled black wool jersey skirt. Tae accessories are, left, Lilly Cache's half-hat, half kerchief with beads and spangles (1942); center, Phelps Associates' cowhide shoulder strap bag and matching belt (1943); front, John Frederics' russet fish net snood with matching felt paillettes (1942); and right, hooked high, Sally Victor's jewel-studded multi-colored wool curvette (1943)
WORLD WAX 11 (American participation December 7, 1941)
American women In uniforms and overalls are playing a dominant role In manning the arsenal of democracy at home and abroad. Victory Gardens have invaded the penthouse and the back yard alike, and communities have organized vigorous scrap dr5.ves from attic to cellar. Dramatic changes are evident everywhere--the airplane and the radio have expanded the American horizon to our neighbors next door. The genius, imagination and skill of scientists and technologists are creating a forward-looking world of the future. American designers have met the challenge of war scarcities and government restrictions with the resourcefulness and ingenuity characteristic of their talent. They have unimously adopted the patriotic conservation theme. (Museum of Costume Art Summary)
(Miss McCardellfs recognition is for the style, becomingness and utility of the garments that thousands of American women are wearing in field, home and factory) PfT—^—" II II iw .1^111 'I—TWW i II . ,