sign in sign up
<<
Home , Buratto, Coatdress, Donald Brooks, Elsie de Wolfe, Irene Sharaff, Jacques Balsan

The original documents are located in Box 23, folder “3/20/76 - City (3)” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library.

Copyright Notice The copyright law of the (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 Gerald Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections.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 • Barbara Grimaldi Assistant Director Public Relations New School for Social Research 66W12St, NYC 10011 (212) 741-5668 Feb. 24, 1976

Sally, Enclosed are invitations and programs from each of the Parsons Critics Awards Shows that have taken place since 1972, ' when they were begun on the occasion of the School's Diamond Jubilee. Also enclosed is a Parsons catalog, some invitations to the 1976 show -- I think all of these will help you get a better idea of the School and of the event. Will have the press release ready shortly and will definitely get it to you before we send it out. Will also brief you on the outcome of the meeting set for this coming Tuesday, March 2 -- the one I spoke to you about and had hoped Patty Matson would attend. If there is anything else you need or if you have any questions, please call at any time. If you can't reach me here at the office, call me at home at 212-MU4-7238.

Sincerely,

. .

.. Board ol Trualffl. New Sohool lor Seta.I Research and ParsoM School of D.. lgn John R. IWrell, President Auguat Heckacher Alfred J, M•rrow Orin Lehman, Cltfllr-n Dorolllf Hlrahon Roy R. Neuberger The Plue, our annual Leon11 ._.,.., Nathan W. Levin Sylvia Ravitch 1118maey CIM Morri. L. Levinson Rodman Rockefeller Fasfllon Show, 7:00 pm student collecllon "8lph lllJMn Vera Q. List Richard C. Sacha Elinor GUmlMIA Henry A. Loeb Jerome A. Siegel BenfMllll ~n ludor Lubin Edward Swayduck Cocktails, 8:15 pm we are proud to present Julius Horwitz, Ex-ollh:io BoaN of Owe,..,., Paraon School ol D11lgn a retrospective look at Sytyla Rllvllcb, Cll•lrman Marjorie Grl1wold CtefN a. BeMuon Jack Laur wtnfam Beneneon Rlchatd Dey Manning $150 per person ' WltUam ltftzer Mottle Pairnls P1raon1 School of Deelgn Doftltlcl Brookti Mrs. J. c. Penney afflllated with Lewt1 Davia Richard Schw•rtz for the stage Wftlfem Fine Mra. .ierome A. Sl•gel 88 West 12th S1rHt David Finn Jeny lllverman New York, New York 10011 cinema and televlslon Mrs. Adam L. Gimbel Chester Weinberg 212/675-2700 exten.ton 131 Thursday, 18 April 1974 No Strings, In addition to Critics Awards Show Sponsoring Commlllee Jerry Siiverman, Chairman The Cardinal, Romy Schnelder, Carol Lynley Lee Abraham The Plaza, New York City Bererool In the Perk, Elizebeth Ashley, Robert Redford Bruce A. Gimbel John Miller Pel Sandler our annual Fede In Fede Out, Carol Burnett Adrl ydney Glitter Henry Moss RlclierCI J. Schwartz Rich Little Rich Girl, JHn Simmons CllHord D. Anderson CharlH Glueck John A. Mulqueen Gerald Shew Fashion Show, 7:00 pm student collection Flore The Red Menace, Liza Minelli J. A. Beer 11 Robert Goldworm Harry A. Murrey Richard Shapiro On A Clear Dey You Can See Forever, Berber• Harris Alen Baron George J. Greenberg Leo Narducci Rosemary Sheehan The Television Spectacular George Bayli1 Marjorie Grl1wold Ire Nelmark Nathan Shelnmen Cocktails, 8:15 pm we are proud to present Sier, Julle Andrew• Gerald H. Blum E1telle Hamburger George E. Parker, Jr. Morton Slegenleld Promises PromlsH Stella Blum Albert Harris Mollie Pernl1 Bernard Siskind LHt or the Red Hot Lovers, Nell Simon Nat Borlskln Chuck Howard John Pomerantz Geraldine Stutz a retrospective look at Darling Lill, Julie Andrews, Rock Hudson Joseph Brodie Allan R. Johnson Lew Prince Ben Sommers Baby Wann• Klas, Joanne Woodward, Paul Newman Felix Colangelo Kasper Richard Raines Gu1teve T... er $150 per person Donald Brooks' costumes Night , Joan Hackett Anne Cole Oscar Kolin Edward Rayne Michael H. Thomas Minnlee Boys, Shelly Wlnter1 Jo Cop land Harold Krensky Shannon Rodger• David M. Trecy Holiday John Detjen1, Ill Lawrence Lechman Dominic Rompollo Merv 8. Traub for the stage Good News, Alice Faye, John Payne David W. Dlckereon Kenneth Jay Lane Jerrie Rosenberg Charles W. Veysey Mia Farrow Television Specie! Angelo Donghia Jeck Lazer M. N. (Chip) Rubenstein Norman V. WHchler , r.s.v.p. cinema and television Irene, Jene Powell William Fine Willlam J. Lippincott Rich rd Salomon Chester Weinberg Terminal Men (MO'lfie Ver•lon), Joan Hackett Helen Geliend Ferris Megarily P ul A. Salomone Nancy White

I . . PARSONS SCHOOL OP -­ jNALD •ROOKS

P•nons School of~ le OM of the Throughout hll brilliant career 11 one of nation'• foremoat colleg• al lie Fine MCI Alnerica'• lading tMhlon dellgners, Applied Arta. It WI founded In 1• bJ DoMld 8rooka ha •llO crutecl costumes wma..n 11err1n a-,• 1Nc11111 AIMrlcllR torlhe ...... lilmmnd ...... UA palnler MCI educmtor. The School .. lllnelli, Julie Anclrews, Dl8tulnn carroll, lnltiallJ devoted to IM educatloa al S.rbr• Streland, Ethel Mermen, Jomnne eculpton •nd pain..,. •nd wu knoWA • Woodward, carol Chennlng, Robert the Ch.. ScllooL Uler it-.... the Redford, Eliabeth AlhleJ •nd Mill F•rrow New York School of Fine md Applied Arla, •re M10ft9 the mrs tor whom Brooks ha end In 1141 It - ,....IMd lo Mnor d11igned coetumel over the past fourteen Frank Alvllll PmnoM, • longtime IMullJ ,_,..He wu ...rdecl The New York ~end,...... , .... profo11adly DN1M Crltlca A-rd in 1113 tor "No influenced the ln1lllution'1 devMclp••nL Strinp," sterrlng Dillhann canoll, •nd In Februery or trro, P'llrlOlll...... , with AcademJ Aw•rd NomiMliona far~ the New School for Social R._.rch, one C09klR'8e tor "The Cllrdlnltl," .....,,.. llnd of the country'• mo9t progt 111tN ul\IHClllllK "Derllng UIL" Todliy, P•nons ha an enrollment of He 1111 d11lgned coelumea flDr •••At 1111111 11PProximet•IJ 700 ltudenll. • 145-rnember thulrlcal ~ Including -­ memor... hill • " ..retool In The P•rk," fllculty •nd llbout 10.000 ...... "On A Clellr 0., You Cen SM Ferenr," lludent bodJ COIMI from thlrlJ4ghl ea.tel and ...... ,...... fONlgn countrlM. "Proml111, P1MWIH1.'' "FMle OUt FMle In," ...... " ...... 'Good With the fo,...._. Fuhian DNllR Mewl." The number of lndlvtdu•I costumes Dep•rtment in the world, ,...... , "'°""' Donllld Brooke ... lllllgned ruM f•r itl alumni •nd f~, ... fMen • ...... Into the thouunda. For Julie Andrewa' force in the lllOV...._. that ... 9hlft9cl ... role .. Gertnlde Law•- In .... llm internatloMI t•lhlon capit•I from P•r19 lo ...... he d11lgned .... DY8I' ..coalUIMI. New York. The o.,.t..m•a...... , Al lhi• retl'OIPKlive began to ..ke IMpe, to the nHde of 8ewenla Av.,...... no one ... more •ltonllhed by the of resulted In • ...,.,nc,.•lnl ....., volume of work then Don1ld Brook• superbly ...... , ...... wk himself. He ha al..,a viewed his clellgna ii the lite blood of ...... _.. lndl ..... tor Ille lheetre n • dellghtful hobby.

RANDO~ U. STAM•AUGH TODAY"S PASHION SHOW R•.,..._ U. 8tM1111ugh, Pr11lll1lll of ,....,... SchoOI of Dealgn .,,...ma• B. Al.._. and Calllpl"f, "-•olld Ille collection of clothel deligned Md enllN llfOl••l•Ml •rw IO .V...... executed In lta entirety bJ studenta. Joining the Altman mff after hi• working under the guidance of lelldlng grldullllon lroat Columbia~. American dellgnera. Mr• ...... _h moved tM up...,...... From IC01'81 of dffiln lketche• (croqul•) rMka, wappoinlldGenenll 111...... _ which NCh student createa. the beat •re Ma..., Md Vke-Prnldelll in 1111, MCI •lected tor convenlon Into...,.._ ,,..,.... In 1•. dlmenlionlll tonna, "'8n Into n.. pattema Under hl8 IMdililhlp, 8. Allnlll11 llrict llnd fl~, for execution In fllbrlc, on eomp.ny h•• moved qulelly MID "8 11-roleaiOMI moclela. fnhlon forefront...... , IDllllg allht Cit G•nnentl Included In todQ'a fuhlon thDW the Altmlln approach, ...... by • ,..,....nt only• portion of nMrly 150 low profile 1nd conoenlnllloft • ••lltJ, orlglMI clellgna m.cle during the achool Mrvlce Ind Integrity, Mr. ltllln'I lgll ... y.. r. The ones to be llK>wn were aelected hi• nsoci•t•• h.ve been cre.. lng • 18Y9r•I weeks qo by • Jury of Selectloft, livelier, more exciting up-to-1111• IRlnute c:ompoaec1 of people ICtlve In the ch•nicter th~ ... llore. TM eld fuhlon lnduatry; dellgnera...... Mltora. •nd the new •re belllg -111111 Ill• retail.... fllbric and pnnent ...... ,... llpprolldl .... hu .... -...... Profe11iOMI deligners who aerved during •nd quality ueoc:imted ...... the put ,.., •• crltlca tor mmny categories Artm.n lllbel. of gllrlMftl problema wlll, tonlghl, prel9nl Al llr. s ...... r11111tty ...._.: Gold anc1 st1ver Thlmblel, .,.....,.. or ''Altman'• ...... wet ls tM conlld9itee clelignexcellence,tothe...... ,.who our customera tine llt tlle ...,,., We bald cre.ted the best dHlgn In uch category. on th•t ...... It wellfd be dlllleUlt t9 tlnl Each honoree ... lllected by the • more 10lld toundllllen. dellgner who •rved •• critic tor NCh pnnent problem.

. . PARSONS AM RICAN D SIGNER AWARDS SCHOOL OF DESIGN ANNUAL A Donald Brooks jNALD BROOKS FASHION AWARDS SHOW B Joseph Costantino STUDENT COLLECTION Eleanor Fl Throughout his brilliant career as one of America's leading fashion designers, Meredith CHll•..,• E Black & : Candice Brearley C Stan Herman Donald Brooks has also created ! Beach & tanksult: Jon Calcagno D Chuck Howard for the theatre, film and television. Liza Two-piece red dress: O. J. Chol E Kasper Minelli, Julie Andrews, Diahann Carroll, Black chiffon & crepe : O. J. Choi F , Ethel Merman, Joanne Three-piece : Jo-Ann Corse G Shannon Rodgers Woodward, Carol Channing, Robert Apricot jersey dress: Jo-Ann Corse H Dominic Rompollo Redford, Elizabeth Ashley and Mia Farro" are among the stars for whom Brooks haa Black & white stripe dress: Toby Davidson I Chester Weinberg Red dress: Mary Louise Dieringer designed costumes over the past fourteen & : Ne Oml Evans years. He was awarded The New York J. C. PENNEY CO., SPECIAL AWARDS 4 Black & silver silhouettes: Ne Omi Evans Drama Critics Award in 1963 for " No & shantung : Christyne Forti Awards for out landing creativity are made Strings," starring Diahann Carroll, and annually to graduating students under Academy Award Nominations for his Seafoam halter dress: Christyne Forti a grant established eight years ago by costumes for "The Cardinal," " Star," and Sequined & wool crepe gown: Christyne Forti J. C. Penney Company. The Student-of-the-Year " Darling Lili." Tweed knit sweatersuit: Alice Grennon Award is made to the individual who has He has designed costumes for twenty-lilM White crepe & black jet gown: Allee Grennon demonstrated greatest creativity in theatrical pioductiona, including such coat & suede pants: Leslie George finished garments and a workbook. memorable hits as " Barefoot In The Park,' Brown chiffon & feather : Leslie George Judging was by a committee composed of "On A CIHr Day You Can See Forever," 2 Shades of brown suede & cashmere: Anne Hall de igners, editors and retailers. "Promises, Promises," "Fade Out Fade In, D Matte jersey dress with rope halter: Anne Hall The Student-of-the-Year is: "Irene " and the forthcoming "Good A Matte jersey gown: Anne Hall Donna Manchester News." The number of individual costumes Turquoise dress: Claudia Hall Donald Brooks has designed runs far Black chiffon with sequin : Claudia Hall Other award winner , selected by the same into the thousands. For Julie Andrews' judges for having produced the most original role as in the film Pleated cover-up & : Shusel Hamamoto designs in four categories, are: " Star," he designed well over 3000 costume! Terry jumpsuit & caftan jacket: Louise Hubbard 1. For active Angel Maldonado As this retrospective began to take shape Terry cover-up & turquoise : Theresa lngulll 2. For sportswear Anne Hall no one was more astonished by the G Pleated halter dress & chiffon : Migo Kozera 3. For ensemble Donna Manche ter volume of work than Donald Brooks Black chiffon & gown: Mlgo Kozera 4. For evening NeOmi Evans himseH. He has always viewed his designi Grey suede jacket & angora dress: Lyle Lawson for the theatre as a delightful hobby. , tweed panla Ir sweater: Jean Leu Harem : Gary Lisz SPECIAL AWARDS COMMITTEE TODAY'S FASHION SHOW 1 Polkadot cover-up & bathing suit: Angel Maldonado Tobacco-colored rainsuit: Donna Manchester Gerald Blum Ruth Preston presents a 3 F Pleated & knit-trimmed jacket: Donna Manchester Vice President The New York Post collection of clothes designed and Lord & Taylor executed in its entirety by students, Gunmetal matte jersey a sequins: Donna Manchester Edith Raymond Locke Nancy White working under the guidance of leading C Grey georgette pajamas: Rozann Marsl Editor-in-Chief Fashion Director American designers. Turquoise swimsuit & cover-up: Karen McKernan Mademoiselle Bergdorf Goodman From scores of design sketches (croquis) White & knit bathing suit: Lourdes Morales which each student creates, the best are Fluted jersey cover-up & swimsuit: Carolyn Myers SCHOLARSHIP DONORS selected for conversion into three­ Print cover-up & knit balhing suit: Margaret Nagy dimensional forms, then into flat patterns B Ultrasuede pants suit: Richard Ottens Grateful acknowledgement is made to the and finally, for exeeutlon In fabric, on Black & fox trirn: Richard Ottens following scholar hip donors: proteuional models. Linen & boucle knit: Melinda Pawlick Adam L. Gimbel, given by Garments included in today's fashion show Floral sequin gown: Melinda Pawlk:k Manufacturers Promotion Board represent only a portion of nearly 150 Crepe print ensemble: Susan Refsnes Adolph Klein, endowed original designs made during the school Claire Mccardell, endowed year. The ones to be shown were selected H Greige chiffon gown: Gregory Satvata J. C. Penney Co., grant several weeks ago by a Jury of Selectlon, Black jersey swimsuit a skirt: Susan Shacter Scandinavian Mink Association composed of people active In the Wool suit: Thomas Sheme Shalan Foundation fashion industry; designers, writers, edit Patchwork sequin gown: Thomas Sheme Shannon Rodgers fabric and garment menufacblren. Pleated chiffon dress: Robert Tonner Teal Traina Professional designers who served during Grey poplin rainsuit: Debi Tunison the past year as critics for many categor Leather jacket, sweater I pants: Debi Tunison of garment problems will, tonight, present Black chiffon & sequin stripe : Debi Tunison Gold and Silver Thimbles, symbols of Ultrasuede coatdress: Sharon Weever design excellence, to the students who Tuxedo collar coat a angora dress: Sharon Weaver created the best design in each category. Grey jersey dress: Stephanie Woods Each honoree was selected by the designer who served as critic for each garment problem. JURY OP S•LmCTIOll CONTRIBUTORS OF FABRIC

Adrl, Adrt, Inc. Amerilex (Div. of Cohn-Hall-M•rx) Gentld Blum, Vice Preeklent. Lord I Taylor Cone Mills Donald Brooka, Donald Brooks Crompton Richmond Jeanne Campbell, Sportwhirl, Inc. Duplan Fabrics ...... CoetanUno, N.. Kapl•n, Inc. Galey & Lord (Div. of Burlington Industries) Nicolas De Gunsburg, Vogue Hallmark Fabrics, Inc. Jeane Eddy, Jeana Eddy Ltd. Stan Herman Elinore Fishman, Tiny Town Kasper Meredith Ga.datone, Gladstone 8ludlo Ltd. Majestic Mitts Mary Joan Glynn, Vice Prealdent-Adnrtlalng, Bloomlngdala'I Deering Milliken, Inc. Marjorie Grlawold Frank Rizzo Stan Hennltn, Stan Herman 0e•1•• Shannon Rodgers Clluck Howard, Chuck HMRnl tor Anne Klein Co. H. Warshow & Sons.• Inc. Kay Judge, au,.,, R....., Inc. Keeper, JcNtn u.lle, Inc. ASSISTANCE TO STUDIEllTS Calvin Klein, Calvin Klein Ltd. l M•rg•y Uncleey, Margay Undeey, 1-. Abraham Co., Inc. Edith Raymond Locke, Edllar~,llMlemolMHe Amlcale Fabrics (Am._.. IM!ullrlee) Helene OboleMky, Helene ObolenMJ l!nterprlse, Inc. Anglo Fabrics Company, Inc. Ruth Prnton, The New York P08I Armtax, Inc. Dominic Rompollo, Dominic Rolnpollo Auburn Fabrics, Inc. Chester Weinberg, The N. O. W. 8ludlo Bettaine Fabrics, Inc. Nancy White, Fnhlon Directer, a.,.clelf Goodman Blue Ridge-Winkler (Lelllgh lnd1.. 11 .... .-•• Bouuac of PACULTY AND CRITICS R. L Corroyer Duplan Fabrics Ann Keagy, Chairman, Fashion o.ign o.p.rtment Duplex International Div. Donald Brooks, Designer, Don9ld 8rooU General Corp. Theresa Chiappetta, Instructor Gerber Button Joseph Costantino, Designer, Keplan, Inc. Gus Goodman, Inc. Robert Craner, Instructor Yves Gonnet, Inc. Elena DeSlervl, Instructor Held Fabrics, Inc. Elinore Fishman, Designer, Tiny TOWR Hermes Leather Co., Inc. Meredith Gladstone, Designer, Gledltone Studio Ltd. Jasco Fabrics, Inc. Stan Herman, Designer, Stan Herman Dellgns JOMph Jacobs Chuck Howard, Designer, Chuck Howllrd tor Anne Klein CO. Emit Katz, Inc. Kasper, Designer, Joan Leslie Calvin Klein Calvin Klein, Designer, Calvin Klein Lid. Lafitte-Jerseline Margery Knight, Instructor Loomskill Marla Laveri1, Instructor Master Co. R. W. Little, Instructor Maxine Fabrics Co., Inc. Marie Marino, Instructor Moygashel Bobi Mine Mora, Instructor Onondaga Silk Co., Inc. Frank Rizzo, Instructor Rau Fastener Shannon Rodgers, Designer, Jerry Siiverman, Inc. Samuel Roberts •.A-.Mid Dominic Rompollo, DeaieMr, o..inic Rolnpolto Rubin Bead ...., ...... Julian Tomchln, Instructor Stem & Stern Textiles, Inc...... tot Che... r Weinberg, Designer, nii N. O. W. Studio Webco Mills (Div. of Dan River) cMNCI lwdby• Chester Weinberg Whelan Lace !MIC...... - qllellty, 'Mr...... been cre•tlng a ACKNOWL.mDG111911TS lftfl up.IOo'-• •ute Produced by Ann K•gy ...re. The eld Production Supervlllon, Dntd Carter --•d•dlaare..... , ...... ,,...... ,, Donald Brooks Commentary, Gentldln8 Stutz Lighting, Claire Carter ...... , David Evins Jewelry, Kenneth Jay Lane .,...... , ...... : Make-up, Estee Lauder Inc...... te9ieconlldance Program Design, Clpe Plnelel Burtin be dlflleult .. """

' ..

For almost half a century, Parsons School of 1975 Critics Design has been the preeminent American institution in the field of fashion education. A majority of the nation's foremost fashion Adri designers and about one-half of all pro­ fessionals in the field are Parsons alumni. Donald Brooks

This year fifteen of the country's foremost Erika Elias fashion designers, most of them Parsons Ellie Fishman alumni, will regularly visit Parsons to participate in a unique activity which, Stan Herman in large measure, contributes to the institution's unparalleled achievements in fashion education. Kasper

That activity is called the Critics Program. Calvin Klein Its function is to offer Parsons' second and Anthony Muto third-year students the rare opportunity to submit their work to the critical scrutiny of Leo Narducci leading designers. The response of the Shannon Rodqers designer-critics represents for these under­ graduates a significant part of their Bill Smith training. The professional's criticism or Ann Webster approval, the helpful suggestion that modifies concept or shape or color-these Chester Welnberq become signposts that provide the student with the insights and sophistication of a full-fledged professional designer.

At the April 21st Critics A wards Show, you will have the opportunity to observe the results of this unique educational program. Board of Trustees New School for Social Research Board of Overseers and Parsons School of Deslqn Parsons School of Deaiqn John R. Everett, President August Heckscher, Chairman Orin Lehman, Chairman Harry N. Abrams Leona Baumgartner Claire B. Benenson Ramsey Clark William Benenson Adrian W. De Wind William Blitzer Ralph Ellison Donald Brooks Elinor Gimbel Lewis Davis August Heckscher William Fine Dorothy Hirshon David Finn Nathan W. Levin Mrs. Adam L. Gimbel Morris L. Levinson Marjorie Griswold Vera G. List Jack Lazar ' Henry A. Loeb Richard deY Manning Isador Lubin Mollie Parnis Alfred J. Marrow Mrs. J.C. Penney Roy R. Neuberger Richard Schwartz Rodman C. Rockefeller Mrs. Jerome A. Siegel Richard C. Sachs Jerry Silverman Jerome A. Siegel Chester Weinberg Edward Swayduck David C. Levy, Dean John L. Fava, Ex-officio

Fashion Critics Awards Show Sponsorinq Committee Chairman Edward S. Finkelstein Richard de Y Manning Jerry Silverman Helen Galland Jose Martin Charles Glueck Lee Mellis Co-Chairmen Robert Goldworm Henry Moss Jack Lazar Sidney S. Good, Jr. Harry A. Murray Louis Stulberg George J. Greenberg George E. Parker, Jr. Marjorie Griswold Thomas R. Parker Sponsors Estelle Hamburger Mollie Parnis LeeAbraham Albert Harris Lew Prince Clifford D. Anderson Stan Herman Shannon Rodgers J. A. Baer II Walter Hoving Abe Schrader Alan R. Baron Allan R. Johnson Herman S. Seigenfeld George Baylis Richard Kaplan Richard G. Shapiro Gene Berk Kasper Gerald Shaw Gerald H. Blum Dr. R. A. Kenney Rosemary Sheehan Stella Blum Calvin Klein Nathan Sheinman Joseph Brodie Oscar Kolin Bernard R. Siskind Donald Brooks Harold Krensky Ben Sommers Richard Cole Lawrence Lachman Randolph U. Stambaugh Jo Copeland Eleanor Lambert Herbert E. Strawbridge John Detjens III Kenneth Jay Lane Geraldine Stutz David W. Dickerson Ruth Sublette Angelo Donghia Laurence C. Leeds, Jr. Marvin S. Traub John W. Field William J. Lippincott Jerome Uchin William Fine Edith Raymond Locke Chester Weinberg

Parsons School of Deslqn affiliated with The New School 66 Weal 12th Street New York, New York 10011 (212) 741-5662

O> 0 co~ () o6 ·-0 0 t 0 a...

0 0 ..c: () Cf) 3: zQ) Q) ..c: 1-­ ..c:...... 3: "'O Q) ·-co Introduction contents

Introduction Admissions This portfolio and catalog has two aims; to describe the Application Procedures ...... 33 curriculum of Parsons School of Design and to tell its Portfolio & Home Exam . • ...... 34 readers about the kind of place Parsons is. It also sketches Interview .....•..... 34 the quality of student life at our campus in Greenwich Mid-Year Admissions ...•.....•....•...... 35 Village, part of the larger campus complex of The New Transfer Students ...... 35 School, our parent university. Additionally, the student work Special Students ...... : .. 35 we have reproduced here demonstrates vividly the results Early Admission of High School Juniors 36 achieved by the programs we describe. Advanced Standing ...... 36 The illustrated pages of this catalog contain a cross­ Foreign Students ...... 37 section of student projects from freshman through senior Entering Class Profile ...... • • 37 year in all of our departments and, while we recognize that they cannot capture the excitement of being here, the Programs of Study electricity of our annual student exhibit, or the glamour of our fashion show, they do tell a story that we believe to Bachelor of Fine Arts Degree 38 be of the utmost importance. The measure of a school of Certificate Program 38 the arts is, after all, the visual production of its students. Associate in Applied Science Degree 38 Parsons School of Design functions at the very center of the international world of art and design. The reader of this Foundation Year 39 publication will find that Parsons' faculty includes a start­ ling number of its giants. To gain the most from contact with these great professionals and from the ambiance they Oepartmen:.::ta:;l..:..M:..::a::!j~or:...:s______do so much to create at the college, a student must share 40 with us a commitment to professionalism in the arts as a Fine Arts way of life. Crafts . 42 Environmental Design . . 42 Yet the student should also know that the most important 45 task we have set ourselves is that of helping to develop Communication Design Photography . 48 values based on a belief in the necessity of the arts. To 49 do this we must teach skills and relate them to the ideals ...... Illustration ...... 51 that form the most laudable features of our culture. We 53 hope, if you are reading this book with the thought of Art Education ...... joining us, that you will contribute your own enthusiasm to ----- ours and take a long step with us towards a new and ful­ Non-Major Curricula filling prospect. History & Criticism of Art and Design 55 Interdepartmental Electives . . ... 56 . 59 David C. Levy, Dean Liberal Arts ...... · · · · · · · · -- Tuition, ------Fees & Expenses 60

Financial Aid 62

Job Placement & Counseling . 64 I Academic Regulations 65 Faculty 69

Trustees and Administration (inside back cover)

A "logotype" or corporate identity I Parsons School of Design is an institution of higher symbol, designed education holding an absolute charter from the Board by a junior student in Communication Design, of Regents of the State of N~w York. Parsons 1~ a~ enlarges to a accredited member of the Middle States Assoc1~t1on of Colleges and Secondary Schools and the National powerful and compelling image. Association of Schools of Art.

2 l• a ,- Divisions Affiliated Institution Parsons School of Design Parsons The simplest way to describe Parsons School of Design is wrote, "Industry is this nation's life, art is the quality of of the Bachelor of Fine Arts (BFA) to call it an art school and most people are willing to beauty in expression, and industrial art is the corners! Certificate Programs & School of accept this casual definition. But Parsons is not merely a of our national art." IBWSChOOI Associate in Applied Science (AAS) school of art-it is one of the few colleges in this country In his thinking and in the courses begun under him Department of Communication Design Design that directs its energies solely to the education of the the school, Parsons anticipated by almost a full decad for Department of Environmental Design talented young people who in a few years will shape our concepts that underlay that most prophetic of design Department of Fashion Design ADefinition visual world. Parsons' students are drawn from diverse schools, Walter Gropius' Bauhaus at Dessau, German' soclal There can be no doubt that the effect of the New York Department of Fine Arts backgrounds; 36 states of the union are represented and Research Department of Illustration 28 foreign countries. Over 20% receive scholarships or School of Fine and Applied Arts, renamed Parsons Sc Concentration in Art Education other financial aid from the college and all, prior to ad­ of Design in 1941, has been decisive in determining tt Concentration in Photography mission, have met exacting standards of intellectual and visual direction of our lives. Concentration in Crafts artistic excellence, measured through the presentation of academic records and portfolios of work. Parsons and The New School Some of our graduates will become painters and Major Divisions Adult Division______sculptors whose art will contribute to our cultrual and In the early months of 1970, Parsons' Board of Trustee Division of Humanities intellectual life but the majority by far will become made one of its most eventful decisions by determinin1 designers, those creative professionals who determine how Division of Social Sciences that Parsons would affiliate with The New School for Sc Human Relations Work-Study Center our everyday world will look. They will design the homes Research, one of America's unique universities Never and offices in which we live and work, the clothes we wear The Language Center before had a school of design as distinguished as Par Creative and Performing Arts the automobiles we drive, our books, magazines, movies linked its strengths to an institution whose outlook was and television. Parsons, by helping to form the designer, Institute for Retired Professionals progressive or whose commitment to the arts as deep has a crucial effect upon our lives for our experience would those of The New School. Auxiliary Activities be seriously limited without the designer's touch. This affiliation brought to Parsons resources that are New School Art Center Parsons' impact upon visual America seems at first to unobtainable to most independent schools of art and Conference on Wall Street and the Economy be disproportionately great for, while its graduates make design. It made possible the broadening of the liberal New School Concerts up a substantial percentage of the country's artists and curriculum so that degree candidates are today able t< "The School Bulletin" (Monthly Bulletin) designers, it is not a large school. Enrollment is approxi­ choose among a vast range of courses in the humaniti mately 900 full-time students plus 850 evening students and social sciences which, when appropriate, can be The Gr'lduate Faculty and there are just over 150 faculty members, two thirds closely related to the specific intellectual needs of the ------of whom are professionals teaching parHime. A brief design student. Master of Arts (M.A.), Doctor of Philosophy (Ph.D.), history of the college may help account for the size of its and Doctor of Social Science (D.S.Sc.) contribution. Programs in: Physical Facilities Anthropology Political Science As a result of Parsons' affiliation with The New School, On ::;.._ Economics Psychology ______college chose a new site, in the midst of the university Philosophy Sociology Parsons was founded 78 years ago, in 1896, by William campus. This setting on lower Fifth Avenue is six block Master of Arts in Liberal Studies Program Merritt Chase, one of America's leading painters and above Greenwich Village's famous Washington Arch a1 Auxiliary Activities teachers of art at the turn of the century. As may be the center of the community that has traditionally been "Social Research" (Quarterly Journal) imagined, the Chase School, as it was first known, was nation's artistic and intellectual hub. It is also a place c Specialized Research Programs devoted to the education of painters and sculptors and historic landmarks and one of New York City's most Inter-University Consortium in Perception was not notably different from several other institutions that sought-after residential communities. Post-Doctoral Programs existed at the time-among them the Art Students League After acquiring its two new buildings in the spring of and the National Academy of Design. But in 1904, Frank 1972, they were completely renovated so that the fall 1 Alvah Parsons of Teacher's College, Columbia University, term began in studio and laboratory facilities that are Center for New York City Affairs joined the faculty and his influence on the school and its among the most modern available at any private colle~ Master of Arts Program in Urban Affairs and Policy Analysis growth during the next 26 years was profound of the visual arts in New York. In addition, many spe­ Master of Arts Program in Hur:nan Resources In 1902 the school was incorporated under the name of cialized spaces for lectures, serrnnars, and exhibits are Continuing Education Program in Urban Affairs the New York School of Art and, in 1909 five years after available to the Parsons faculty and students 1n the oth Auxiliary Activities Parsons first came to teach it was reincorporated under the buildings of the university that surround the college. Research Program name of the New York School of Art and, in 1909 five years "City Almanac" (Bi-monthly publication) after Parsons first came to teach it was reincorporated as Major Programs The New York School of Fine and Applied Arts-a name which already reflected the influence of Parsons' thinking. Parsons School of Design today reflects the philosophi The Senior College In 1910 he assumed the school's presidency. It is in large its founders in its view of the visual arts, its conviction 1 Bachelor of Arts Program measure due to the prophetic philosophy of Frank Alvah they are as necessary in our homes, offices or factorie: Freshman Year Program for High School Seniors Parsons that the college (which today bears his name) in our expanding museums and galleries. The curricula occupies its unique position in American higher education. offerings at Parsons are broad and students entering ti The New School for Social Research college may matriculate for the Bachelor of Fine Arts Main Center aegree, Professional Certificate or Associate in Appliec 66 West 12th Street Concepu. Science degree. Because of maximum flexibility in cou New York, New York 10011 Frank Alvah Parsons was the first American educator to offerings a student can choose a program best suited I Telephone 212/741-5600 see a direct relationship between the education of the his needs. Parsons School of Design visual artist and the world of industry. Under his leader­ There are eight areas of specialization-Communica1 an affiliate of The New School ship, The New York School of Fine and Applied Arts initi­ Design, Illustration, Fashion Design, Environmental Des 66 Fifth Avenue ated courses in Interior Architecture and Decoration, Fine Arts, Art Education, Crafts and Photography. New York, New York 10011 Fashion Design and Advertising Art. Parsons saw in our Telephone 212/741-8910 emerging industrial society the components for a new art in America and at the same time, a visual potential not previously accessible to American industry. In 1915 he

4 :C a • • ...... , . ·• • •• Affiliated Institution Parsons School of Design The simplest way to describe Parsons School of Design is wrote, "Industry is this nation's life, art is the quality of 11v1s1ons Parsons to call it an art school and most people are willing to beauty in expression, and industrial art is the cornerstone Bachelor of Fine Arts (BFA) School 01 accept this casual definition. But Parsons is not merely a of our national art." ti the Certificate Programs & school of art-it is one of the few colleges in this country In his thinking and in the courses begun under him at Associate in Applied Science (AAS) Design that directs its energies solely to the education of the the school, Parsons anticipated by almost a full decade the leWSChOOI Department of Communication ~sign talented young people who in a few years will shape our concepts that underlay that most prophetic of design or Department of Environmental Design ADelinillon visual world. Parsons' students are drawn from diverse schools, Walter Gropius' Bauhaus at Dessau, Germany. Department of Fashion Design backgrounds; 36 states of the union are represented and There can be no doubt that the effect of the New York ioclal Department of Fine Ar~s 28 foreign countries. Over 20% receive scholarships or School of Fine and Applied Arts, renamed Parsons School lesearch Department of Illustration . other financial aid from the college and all, prior to ad­ of Design in 1941, has been decisive in determining the Concentration in Art Education mission, have met exacting standards of intellectual and visual direction of our lives. Concentration in Photography artistic excellence, measured through the presentation of Concentration in Crafts academic records and portfolios of work. Parsons and The New School Some of our graduates will become painters and sculptors whose art will contribute to our cultrual and In the early months of 1970, Parsons' Board of Trustees Major Divisions Adult Division intellectual life but the majority by far will become made one of its most eventful decisions by determining Division of Humanities designers, those creative professionals who determine how that Parsons would affiliate with The New School for Social Division of Social Sciences our everyday world will look. They will design the homes Research, one of America's unique universities. Never Human Relations Work-Study Center and offices in which we live and work. the clothes we wear, before had a school of design as distinguished as Parsons The Language Center the automobiles we drive, our books, magazines, movies linked its strengths to an institution whose outlook was as Creative and Performing Arts and television. Parsons, by helping to form the designer, progressive or whose commitment to the arts as deep as Institute for Retired Professionals has a crucial effect upon our lives for our experience would those of The New School. Auxiliary Activities be seriously limited without the designer's touch. This affiliation brought to Parsons resources that are New School Art Center Parsons' impact upon visual America seems at first to unobtainable to most independent schools of art and Conference on Wall Street and the Economy be disproportionately great for, while its graduates make design. It made possible the broadening of the liberal arts New School Concerts . up a substantial percentage of the country's artists and curriculum so that degree candidates are today able to "The School Bulletin" (Monthly Bulletin) designers, it is not a large school. Enrollment is approxi­ choose among a vast range of courses in the humanities mately 900 full-time students plus 850 evening students and social sciences which, when appropriate, can be and there are just over 150 faculty members, two thirds Closely related to the specific intellectual needs of the The Graduate Faculty of whom are professionals teaching part-time. A brief design student. Master of Arts (M.A.), Doctor of Philosophy (Ph.D.), history of the college may help account for the size of its and Doctor of Social Science (D.S.Sc.) contribution. Physical Facilities Programs in: Anthropology Political Science On As a result of Parsons' affiliation with The New School. the Economics Psychology college chose a new site, in the midst of the university Philosophy Sociolo~y Parsons was founded 78 years ago. in 1896, by William campus. This setting on lower Fifth Avenue is six blocks Master of Arts in Liberal Studies Program Merritt Chase, one of America's leading painters and above Greenwich Village's famous Washington Arch and in teachers of art at the turn of the century. As may be the center of the community that has traditionally been the Auxiliary Activities imagined, the Chase School, as it was first known, was "Social Research" (Quarterly Journal) nation's artistic and intellectual hub. It is also a place of devoted to the education of painters and sculptors and historic landmarks and one of New York City's most Specialized Research Pmgrams . sought-after residential communities. Inter-University Consortium 1n Perception was not notably different from several other institutions that existed at the time-among them the Art Students League After acquiring its two new buildings in the spring of Post-Doctoral Programs and the National Academy of Design. But in 1904, Frank 1972, they were completely renovated so that the fall 1972 Alvah Parsons of Teacher's College. Columbia University, term began in studio and laboratory facilities that are Center for New York City Affairs joined the faculty and his influence on the school and its among the most modern available at any private college Master of Arts Program in Urban Affairs and Policy Analysis growth during the next 26 years was profound. of the visual arts in New York. In addition, many spe­ Master of Arts Program in Hur:nan Resources. In 1902 the school was incorporated under the name of cialized spaces for lectures, seminars, and exhibits are Continuing Education Program in Urban Affairs the New York School of Art and. in 1909 five years after available to the Parsons faculty and students in the other Parsons first came to teach it was reincorporated under the buildings of the university that surround the college. Auxiliary Activities name of the New York School of Art and, in 1909 five years Research Program after Parsons first came to teach it was reincorporated as Major Programs "City Almanac" (Bi-monthly publication) The New York School of Fine and Applied Arts--a name which already reflected the influence of Parsons' thinking. Parsons School of Design today reflects the philosophies of The Senior College In 1910 he assumed the school's presidency. It is in large its founders in its view of the visual arts, its conviction that measure due to the prophetic philosophy of Frank Alvah they are as necessary in our homes. offices or factories as Bachelor of Arts Program Parsons that the college (which today bears his name) in our expanding museums and galleries. The curricular Freshman Year Program for High School Seniors occupies its unique position in American higher education. offerings at Parsons are broad and students entering the The New School for Social Research college may matriculate for the Bachelor of Fine Arts Main Center degree, Professional Certificate or Associate in Applied 66 West 12th Street Science degree. Because of maximum flexibility in course New York, New York 10011 Frank Alvah Parsons was the first American educator to offerings a student can choose a program best suited to Telephone 212/741-5600 see a direct relationship between the education of the his needs. Parsons School of Design visual artist and the world of industry. Under his leader­ There are eight areas of specialization-Communication an affiliate of The New School ship, The New York School of Fine and Applied Arts initi· Design, Illustration, Fashion Design. Environmental Design, 66 Fifth Avenue ated courses in Interior Architecture and Decoration, Fine Arts, Art Education, Crafts and Photography. New York, New York 10011 Fashion Design and Advertising Art. Parsons saw in our Telephone 212/741-8910 emerging industrial society the components for a new art in America and at the same time, a visual potential not previously accessible to American industry. In 1915 he

5 ,• •• • • Communication Design Fine Arts Crafts College, City and Professions This discipline, often called Advertising or Graphic Design, The popular image of the artist in contemporary society The crafts movement in America has gained momentum One of Parsons' g reatest assets is its position in the ' is concerned fundamentally with visual communications. has been a misleading one, associating his work and life, in recent years, particularly as we have become increas­ of New York City, a location that makes it possible lo The variety of media available to the communication as it does almost exclusively, with both eccentricity and ingly aware of the need to use environmental resources student to explore a vast range of cultural resources, designer is immense, although almost always two-dimen­ poverty. It is, of course, not to be denied that these two more directly. The honesty of craftsmanship and the including eight major museums, countless galleries a sional. He may work in the advertising or publishing aspects of human experience are very possible for the immediacy of the relationship between the craftsman and continual exhibitions of professional work, in all of thE industry or may concentrate on such areas as film and artist but what is of far more importance (and usually his product makes possible a satisfaction and pride of applied arts. television. Every book, magazine, movie or TV program has ignored) is the fact of artistic expression as the essential workmanship that, for a moment, our world seemed to be But of most importance, the student in New York c1 passed through the communication designer's hands. concomitant of a healthy and viable culture. losing. into contact with the largest, most expert and most k1 The artist's statement and understanding of his world Beginning with the entering class in the fall of 1976, edgeable community of artists and designers in the ~ Illustration has, in many instances, been of far more interest to us than Parsons will offer, through the department of Fine Arts, It is from this community that Parsons draws its facull that of his contemporaries in political or commercial life. programs leading to the BFA in the following three Crafts making it possible for the student to study directly un Fashion Illustration, General Illustration Most of us know the work of Rembrandt but few can name areas: , Metals and Ceramics. the men and women who are the innovators and leac This profession is based upon the principles of fine art, of the business or political leaders of his day. The images of practioners of their professions. Michelangelo or Leonardo da Vinci are still potent aesthetic Because Parsons is so closely in touch with the fiel drawing, painting and style. Its purpose is to add a visual Library Facilities dimension to the printed page and, through his images, the forces while the accomplishments of their mighty patrons, serves, it is more conscious than most schools of the illustrator can clarify and explore new ideas in fashion or Lorenzo de Medici, Francis I of France or Pope Julius II, Library resources for students in the visual arts attending for growth and change. literature. Often he collaborates with the communication are known only to historians and scholars. Parsons and The New School are located in the newly Not only does our expanding technology make nev designer in the creation of advertising, editorial art, In short, the great artists of the past can still powerfully designed, Adam L. Gimbel Design Library. Content as well media available at a quickening pace, enforcing on ti television and book design. It is not unusual for illustrators affect modern emotions and consciousness while the work as physical set-up are designed to meet the special needs designer a constant search for effective means of ex· to make important contributions to the world of fine art. of their contemporaries in other walks of life cannot! Thus, of the Art student. ploring new tools, but the designer, creating new visl the contribution of the Artist to our cultural and intellec­ The book collection comprises approximately 20,000 awareness in the public, must meet the increasingly tual experience is of major importance for he acts, simul­ volumes on architecture, city planning, costume, design, sophisticated demands of his audience. Fashion Design taneously, as innovator, critic, recorder and commentator the graphic arts, painting, photography, and sculpture. Thus the faculty and the administration of Parsons Fashion Design is the creative understanding of design on our progress as a civilization. Open stacks encourage browsing. Over half of the books School of Design, with the interest and help of a and practicality in dress and the ability to translate this circulate to students registered for credit and to the faculty. concerned student body, consistently reviews its cur­ riculum so that it can continue to grow-not merely to understanding into manufacturing techniques. The fashion Art Education There is a basic core collection that does not leave the designer's sensitivity to the public demand and the market­ library and is permanently on hand for consultation. serve as a laboratory for the students and the profes· place is basic to his function in one of America's major The student of Art Education must major in one of the pro­ A small, choice holding of rare and special books is sionals who teach them. industries. Through the work of the fashion designer and fessional areas just described. His program will differ from housed in locked cases-available upon special request. that of the regular BFA candidate only in that he will take This collection includes the original sketch-books of the the vast choice made available by the American fashion Student Council industry, we have today a unique medium for the expres­ 12 credits of course-work in professional education in the fashion designer Claire Mccardell (a Parsons alumna) and sion of individuality through clothes. place of studio electives and, in his senior year, he will be the Bialo Archive of Ethnic Costume. A student council and its governing executives are el required to carry eight credits of student teaching. In this The Picture Collection holds over 30,000 mounted plates by a majority of the Student Association each year. T' way, he may meet the requirements for teacher certifi­ arranged by subject. It is constantly enlarged and brought Student Association is made up of all the students er Environmental Design cation set by the Bureau of Teacher Education and the up-to-date with new material. These plates may be in the full-time programs. This is an area of study that is concerned with the affect of New York State Department of Education. borrowed for use outside the library and have been found The primary purpose of the Student Council, the the man-made environment upon the quality of contem­ Students of Art Education must understand that they will most helpful for student projects. governing body of the Student Association is to repre porary life. After the first year, the student may elect one be required to meet the same standards of studio achieve­ The library subscribes to over 100 professional peri­ the student viewpoint in School affairs and to act as < of three fields of concentration within the department: ments as their classmates who are matriculated for odicals from all over the world. Current periodicals and liaison between the student body and the Administrat , Urban Design or Product Design, or an non-teaching degrees or certificates. over 500 international exhibition catalogues which the All situations brought to the Council's attention, eith interdisciplinary combination of major areas. Special pro­ Library acquires annually, provide information on the latest the students or by the Administration, are explored, grams may be arranged for exceptional students who wish Photography developments in the visual arts and fashion here and provided that such inquiries fall within the scope of 11- to specialize in related adjunctive areas. abroad. objectives of the Association. The department of Environmenal Design grew out of The invention of photography is one of those events that Art exhibits on the walls and library displays in the glass It is the further purpose of this Student Council to Parsons' Interior Design program, which is the oldest in the has transformed the modern world. Nowhere is this more cases change monthly. The Librarian, and library staff, all promote the welfare of the student body by coordinat United States. It has been a pioneer in recognizing man's evident than in the design professions although the fine specialists in the visual arts-are available to assist extra curricular activities and helping to develop awa1 psychological, physical and aesthetic needs as they apply arts too, have the major impact of this medium. In students at all times. through programs relating to the social and political i1 to the spaces in which he lives and works. At the begin­ recent years the photograph has, like the print, been The unique resources of the Adam L. Gimbel Library are of the day. ning of the century, this recognition and understanding increasingly viewed as a work of art. Responding to a complemented by the New School's Raymond Fogelman was exemplified by Frank Alvah Parsons' belief that art need for photographers who understand their craft in terms Library at 65 Fifth Avenue. This facility houses a large could be expressed in the necessities as well as the of the most modern techniques and who, simultaneously, collection of books and periodicals in the social sciences luxuries of life. In recent years a continuation of this ap­ have developed their aesthetic sensibilities in a thorough and related disciplines-areas covered in the liberal arts proach has led the interior designer, both student and understanding of the elements of design and form, the courses required for the BFA degree. professional, to a broader interest in the human condition. Photography curriculum at Parsons presents an opportunity to study this medium from diverse perspectives and in Along with the traditional study of residential and com­ Shop Facilities mercial spaces. the designer explores larger problems in modern and complete facilities. The student of Photog­ the built environments, the planned community, life support raphy builds his curriculum on the base of the Commu­ Shop and technical equipment is available to students for systems and the redevelopment of urban spaces. The nication Design Department. He may relate his work to the completion of projects. Shops are staffed by technical designer's contributions are increasingly important and the a variety of commercial areas or choose to move in the personnel who will operate all potentially dangerous quality of design and production have become a matter of direction of an individual aesthetic. equipment unless a waiver of liability is signed and concern. Parsons' Department of Environmental Design submitted by the student. has come into being so the broader interests of the contemporary designer can be further explored and developed.

6 Communication Design Fine Arts Crafts College, City and Professions This discipline, often called Advertising or Graphic Design, The popular image of the artist in contemporary society The crafts movement in America has gained momentum One of Parsons' greatest assets is its position in the center is concerned fundamentally with visual communications. has been a misleading one, associating his work and life, in recent years, particularly as we have become increas­ of New York City, a location that makes it possible for the The variety of media available to the communication as it does almost exclusively, with both eccentricity and ingly aware of the need to use environmental resources student to explore a vast range of cultural resources. designer is immense, although almost always two-dimen­ poverty. It is, of course, not to be denied that these two more directly. The honesty of craftsmanship and the including eight major museums. countless galleries and sional. He may work in the advertising or publishing aspects of human experience are very possible for the immediacy of the relationship between the craftsman and continual exhibitions of professional work, in all of the industry or may concentrate on such areas as film and artist but what is of far more importance (and usually his product makes possible a satisfaction and pride of applied arts. television. Every book, l)'lagazine, movie or 1V program has ignored) is the fact of artistic expression as the essential workmanship that, for a moment, our world seemed to be But of most importance, the student in New York comes passed through the communication designer's hands. concomitant of a healthy and viable culture. losing. into contact with the largest. most expert and most knowl­ The artist's statement and understanding of his world Beginning with the entering class in the fall of 1976, edgeable community of artists and designers in the world. Parsons will offer, through the department of Fine Arts, It is from this community that Parsons draws its faculty, Illustration has, in many instances, been of far more interest to us than that of his contemporaries in political or commercial life. programs leading to the BFA in the following three Crafts making it possible for the student to study directly under Fashion Illustration, General Illustration Most of us know the work of Rembrandt but few can name areas: Fibers, Metals and Ceramics. the men and women who are the innovators and leading This profession is based upon the principles of fine art, of the business or political leaders of his day. The images of practioners of their professions. Michelangelo or Leonardo da Vinci are still potent aesthetic Because Parsons is so closely in touch with the fields it drawing, painting and style. Its purpose is to add a visual Library Facilities dimension to the printed page and, through his images, the forces while the accomplishments of their mighty patrons, serves, it is more conscious than most schools of the need illustrator can clarify and explore new ideas in fashion or Lorenzo de Medici, Francis I of France or Pope Julius II, Library resources for students in the visual arts attending for growth and change. literature. Often he collaborates with the communication are known only to historians and scholars. Parsons and The New School are located in the newly Not only does our expanding technology make new designer in the creation of advertising, editorial art, In short, the great artists of the past can still powerfully designed, Adam L. Gimbel Design Library. Content as well media available at a quickening pace, enforcing on the television and book design. It is not unusual for illustrators affect modern emotions and consciousness while the work as physical set-up are designed to meet the special needs designer a constant search for effective means of ex­ to make important contributions to the world of fine art. of their contemporaries in other walks of life cannot! Thus, of the Art student. ploring new tools, but the designer. creating new visual the contribution of the Artist to our cultural and intellec­ The book collection comprises approximately 20,000 awareness in the public, must meet the increasingly tual experience is of major importance for he acts, simul­ volumes on architecture, city planning, costume, design, sophisticated demands of his audience. Fashion Design taneously, as innovator, critic, recorder and commentator the graphic arts, painting, photography, and sculpture. Thus the faculty and the administration of Parsons Fashion Design is the creative understanding of design on our progress as a civilization. Open stacks encourage browsing. Over half of the books School of Design, with the interest and help of a and practicality in dress and the ability to translate this circulate to students registered for credit and to the faculty. concerned student body, consistently reviews its cur­ riculum so that it can continue to grow-not merely to understanding into manufacturing techniques. The fashion Art Education There is a basic core collection that does not leave the designer's sensitivity to the public demand and the market­ library and is permanently on hand for consultation. serve as a laboratory for the students and the profes­ place is basic to his function in one of America's major The student of Art Education must major in one of the pro­ A small, choice holding of rare and special books is sionals who teach them. industries. Through the work of the fashion designer and fessional areas just described. His program will differ from housed in locked cases-available upon special request. that of the regular BFA candidate only in that he will take the vast choice made available by the American fashion This collection includes the original sketch-books of the Student Council industry. we have today a unique medium for the expres­ 12 credits of course-work in professional education in the fashion designer Claire Mccardell (a Parsons alumna) and sion of individuality through clothes. place of studio electives and, in his senior year, he will be the Bialo Archive of Ethnic Costume. A student council and its governing executives are elected required to carry eight credits of student teaching. In this The Picture Collection holds over 30,000 mounted plates by a majority of the Student Association each year. The way, he may meet the requirements for teacher certifi­ arranged by subject. It is constantly enlarged and brought Student Association is made up of all the students enrolled Environmental Design cation set by the Bureau of Teacher Education and the up-to-date with new material. These plates may be in the full-time programs. This is an area of study that is concerned with the affect of New York State Department of Education. borrowed for use outside the library and have been found The primary purpose of the Student Council, the the man-made environment upon the quality of contem­ Students of Art Education must understand that they will most helpful for student projects. governing body of the Student Association is to represent porary life. After the first year, the student may elect one be required to meet the same standards of studio achieve­ The library subscribes to over 100 professional peri­ the student viewpoint in School affairs and to act as a of three fields of concentration within the department: ments as their classmates who are matriculated for odicals from all over the world. Current periodicals and liaison between the student body and the Administration. Interior Design, Urban Design or Product Design, or an non-teaching degrees or certificates. over 500 international exhibition catalogues which the All situations brought to the Council's attention, either by interdisciplinary combination of major areas. Special pro­ Library acquires annually, provide information on the latest the students or by the Administration, are explored, grams may be arranged for exceptional students who wish Photography developments in the visual arts and fashion here and provided that such inquiries fall within the scope of the to specialize in related adjunctive areas. abroad. objectives of the Association. The department of Environmenal Design grew out of The invention of photography is one of those events that Art exhibits on the walls and library displays in the glass It is the further purpose of this Student Council to Parsons' Interior Design program, which is the oldest in the has transformed the modern world. Nowhere is this more cases change monthly. The Librarian, and library staff, all promote the welfare of the student body by coordinating United States. It has been a pioneer in recognizing man's evident than in the design professions although the fine specialists in the visual arts-are available to assist extra curricular activities and helping to develop awareness psychological, physical and aesthetic needs as they apply arts too, have felt the major impact of this medium. In students at all times. through programs relating to the social and political issues to the spaces in whic.h he lives and works. At the begin­ recent years the photograph has, like the print, been The unique resources of the Adam L. Gimbel Library are of the day. ning of the century, this recognition and understanding increasingly viewed as a work of art. Responding to a complemented by the New School's Raymond Fogelman was exemplified by Frank Alvah Parsons' belief that art need for photographers who understand their craft in terms Library at 65 Fifth Avenue. This facility houses a large could be expressed in the necessities as well as the of the most modern techniques and who, simultaneously, collection of books and periodicals in the social sciences luxuries of life. In recent years a continuation of this ap­ have developed their aesthetic sensibilities in a thorough and related disciplines-areas covered in the liberal arts proach has led the interior designer, both student and understanding of the elements of design and form, the courses required for the BFA degree. professional, to a broader interest in the human condition. Photography curriculum at Parsons presents an opportunity to study this medium from diverse perspectives and in Along with the traditional study of residential and com­ Shop Facilities mercial spaces, the designer explores larger problems in modern and complete facilities. The student of Photog­ the built environments, the planned community, life support raphy builds his curriculum on the base of the Commu­ Shop and technical equipment is available to students for systems and the redevelopment of urban spaces. The nication Design Department. He may relate his work to the completion of projects. Shops are staffed by technical designer's contributions are increasingly important and the a variety of commercial areas or choose to move in the personnel who will operate all potentially dangerous quality of design and production have become a matter of direction of an individual aesthetic. equipment unless a waiver of liability is signed and concern. Parsons' Department of Environmental Design submitted by the student. has come into being so the broader interests of the contemporary designer can be further explored and developed.

7 Student Life Alumni Association There are approximately 900 full-time students enrolled at Membership in Parsons Alumni Association is open to all Parsons, divided fairly evenly among the departments of former students who have completed one full semester in the college. Almost half have had some college back­ good standing. Graduates and former students are urged ground and a little more than half are women. They come to keep the Alumni Office informed of their latest activities from all over the world. The atmosphere is that of a close­ and addresses. Chapters of the Alumni Association are to knit group, sharing interests, values, and goals in a way be found in principal cities across the country. peculiar to a small, specialized and creatively oriented The National Council, governing body of the Alumni college. Association, consists of twenty one members elected to The Student Council is officially responsible for student three-year terms by the alumni-at-large and a student activities and concentrates generally upon programs of representative who serves for one year following gradu­ sociological, intellectual and professional interest such as ation and has been an officer of the Student Council during films, lectures and exhibitions rather than social activities. his senior year. For, as can be imagined, the social and leisure-time There are eleven chapters. of which the New York resources available to the Parsons' student are exceptional Chapter is the most active. It offers a one-year gift in a city that can boast of the best night clubs and res­ membership to all members of the graduating class re­ taurants (in any price range) in the world, is the center of siding in the greater New York area. the legitimate theatre in America, and offers a nightly choice of orchestra concerts, opera. rock, jazz and Annual Exhibition and Fashion Show chamber music that would dazzle even the most jaded music lover. An annual exhibition of the work of all departments is held During the summer, free concerts are offered in the each year. This summing-up allows the faculty and parks and at the Museum of Modern Art. A ticket to New students to evaluate their progress and serves as a review York's famed "Shakespeare in the Park" can be had free, of the year's work. It also allows parents and interested for no more than the investment of time it takes to stand persons to gain a comprehensive view of student achieve­ in line at the Delacorte Theatre. ments in the various professional programs. The work of Parsons has no sports program but in "the city that has the Fashion Design Department is presented in a formal everything" one can horseback ride in Central Park, or ice fashion show held in the spring of the year. skate at Rockefeller Center, rent a sailboat on City Island or fly kites in the Central Park "Sheepmeadow." Even skiing is readily available in the parks during the winter months. Baseball, football and rugby clubs abound for the more agressive sportsman. Some favorite leisure-time activities of Parsons' students include bargain hunting on Orchard Street, an outdoor market in the Eastern European style where major label men's and women's clothes and expensive fabrics are sold for a tiny portion of the "uptown" price: sketching at the South Street Pier: a game of chess in Washington Square Park; museum hunting or touring the historic landmark streets that surround The Parsons/New School campus and, of course. no matter what your interest or budget, there is no city in the world where just plain shopping is as exciting as in New York.

A vision of the world with a view towards the surreal produced this painting by a junior painting major.

8 This lengthy publication was not digitized. Please contact the Gerald R. Ford Presidential Library or the government documents department of a local library to obtain a copy of this item.

.,:.'

GERALD R. FORD LIBRARY

The item described below has been transferred from this file to: Audiovisual Unit Book Collection

. ~ Ford Museum in Grand Rapids

Item: lo '611'><10" ~1-o~ {biA.~~ wh.Ak) fouitrYl.s ~"DI of- 1) s-.fnr/.. Z..WI~; C.to fl~ Sfrc.uJ ~q},, /Jrvw.~'1 ,J) ,h_ < I~" ~ IVV'd> -dU I-lo!II "'j S-v\,,l,,_;h,. /JzAI s ,,;1.p..., 3>) '( ,,. M111"'J IZ..DSM

lf) II 11 ~ ~lb

$) It /( {p) ,, ,,

Th e l· tern was transferred from : W .U c;lvv...fvL.i_ ~ ,;J3 3/ d.Cf/ 1r., NYC. (~

ln it i al s/Da te LJ- "'l/h,

.. PARSONS SCHOOL OF DESIGN 66 FIFTH AVENUE NEWYORK, NEW YORK 10011 212/741-5667 AFFILIATED WITH NEWS RELEASE Howard L. Levine, Director of Public Relations THE NEW SCHOOL Barbara Grimaldi, Assistant Director

PARSONS SCHOOL OF DESIGN -- ALMA MATER TO AMERICA'S DESIGNERS

Conununications Design, Illustration, Fashion Design, Environmental Design, Fine Arts -- in all of these areas, Parsons School of Design has exerted a profound and unique influence upon American culture. With the foremost Fashion Design Department in the world, Parsons, through its alumni and faculty, has been a major force in the movement that has shifted the international fashion capital from to New York. Notable Parsons alumni include , Dean of American Designers, Irene Sharaff, Claire Mccardell, Tom Brigance, Adri, Donald Brooks, Mario Forte, Albert Capraro, Kasper, Ronald Kolodzie, Deanna Littel, Dominic Rompollo, Ken Scott, Don Simonelli, Bill Smith, Willi Smith, Vicki Tiel, Kay Unger, Chester Weinberg, and Nancy Ebker. The Parsons Fashion Department's sensitivity to the needs of Seventh Avenue has resulted in an ever-increasing number of superbly prepared graduates who are among the most sought after in the fashion industry.

3-1-76 PARSONS SCHOOL OF DESIGN 66 FIFTH AVENUE NEWYORK, NEWYORK 10011 212/741-5667 AFFILIATED WITH NEWS RELEASE Howard L. Levine, Director of Public Relations THE NEW SCHOOL Barbara Grimaldi, Assistant Director

PARSONS SCHOOL OF DESIGN FACT SHEET

FOUNDED: 1896 by William Merritt Chase. Although initially devoted to the education of painters and sculptors, It became the first school in America to stress the relationship between the arts (design) and industry. Became PARSONS SCHOOL OF DESIGN in 1941 in honor of Frank Alva Parsons who, In 1904, Initiated a series of design programs at the school. AFFILIATED WITH THE NEW SCHOOL FOR SOCIAL RESEARCH: Formal announcement February 22, 1972 -DEAN: David C. Levy FACILITIES: Moved to current home at 66 and 70 Fifth Avenue within The New School university complex In 1972. Both buildings were completely renovated, providing spacious studlos, workshops, classrooms, and auditoriums. LIBRARY: Students have ready access to two excellent resource centers the 145,000 -volume Raymond Fogelman Library of The New School and Parsons' highly specf'alfzed Adam Gimbel Library of Art and Design whlch houses 20,000 volumes and a collection of 150,000 pictures. STUDENT BODY: Approximately 1000 full-time and 1600 part-time students, from dozens of foreign countries and 42 states. FACULTY: Approximately 200, Including such outstanding names In their respected fields as Larry Rivers, , Allen Hurlburt, Phillippe Halsman, and lecturers Donald Brooks, Kasper, and Calvin Klein. MAJOR PROGRAMS: Communication Design, Environmental Design, Fashion Design, Illustration, Painting and Sculpture, and Crafts (starting 9/76). DEGREES: Bachelor of Fine Arts, Associate In Applied Sctence, and Professional Certif icatlon EVENING PROGRAM: For the professional and layman, Parsons offers courses In Fashion Design, Fashion Illustration, Design, Illustration Graphics, Advertising Graphics, Environmental and Interior Design, and Photography. SUMMER SCHOOL: Parsons Summer program offers college credit to High School Students interested in many aspects of the design field. APPRENTICESHIP Give students the opportunity to experience firsthand the pro­ PROGRAMS: fessional world of the visual or performing artist. , .. ,,.~ """ •, ,.) ' -

GERALD R. FORD LIBRARY ·

from this file to: escribed below has been transferred Audiovisual Unit Book Collection -- Ford Museum in Grand Rapids '6" ~to" ~ 1-v~ ( J;,U.JL...). w Mk) /1tM-lfi'YI & ~DI of- l... -i-i YY1 """'-,.,..-..J C. t 0 fl ~ Sf-re..«) f}ulq;}q},, /Jnriv..J . "1 f!A,tui-i-eAM. /-l4f(I "1 <'!IV ,,;fh . !)vV 5 /11\.P'-'

~· /\)o.VlU/j /UJSW'I c.. _A,,., Ifs

PARSONS SCHOOL OF 66 FIFTH AVEN DESIGN NEW YORK NE UE 212/741-5G67/~YORK 10011 AFFILIATED WITiso THE NEW SCHOOL

-··~ ...... -~- - ---~ ...... --~·__,.-..~.,._,....., ~~~ • ----=---·-

_ • r ··~·- •""-··'""- ,,.,,fa,,,..,,.,.,..,,.;,.;;,.-.1.,,~ .4r.~~~~...;.:~:.i.t;t~~.w~~---

'

.. AMERICAN WOMEN OF STYLE

The Costume Institute is especially grateful to THE COUNCIL OF FASHION DESIGNERS OF AMERICA for their continued support and cooperation.

We wish also to express our sincerest appreciation to the following for their devotion and generous assistance in the presentation of this exhibition:

Hilda Bachman Elizabeth Gilbert Mrs. Carman Messmore Mrs. George o. Bailey, Jr. Tonne Goodman Jeff Novak Mrs. Calvert Bodman Barbara Thurston Philip Proctor Mrs. John L. Bove Mrs. William Hensler Leonora Prowel I Julie Britt Margaret Hillery Mrs. Donald G. Robbins, Jr. Mari I yn Budzanoski Mrs. James Hobbs Delfina Ratazzi Michele Burke Mrs. James Humphrey 111 Mrs. Harold A. Rouse Mrs. Salvatore Cardello Susan Kavy Kim Rosenthal Mihwa Choi Mrs. Walter Kirke Mrs. Ira Sommer Brenda Cu 11 erton Pamela Krausman Andrea Stagoff Emily Dale Nicky Lane Mrs. Allen Staley Stephen de Pietri Sylvia Lavis Andre Leon Talley Mrs. Sidney Dickier Helen Litt Robert Turner Mrs. Beverly Chew Duer Phyllis Magidson Ruth Weinstein Constance DuHamel Mrs. A. Hyatt Mayer Mrs. Harry G. Yaruss Mrs. Joseph Fiore Christine Mincu Dilmeran Zaralioglu

Special thanks to Dale Mcconathy for his help and advice.

ART IN THE EXHIBITION

PORTRAIT OF CONSUELO, DUCHESS OF MARLBOROUGH, PORTRAIT OF MRS. JOHN W. GARRETT AND HER SON IVOR -CHURCHILL Lfon Bakst (1886-1925) Giovanni Boldinl (1845--1931) Charcoal, watercolor and gouache; 1915 Oi I on ; 1905 Lent by Mrs. Nell Macveagh SL 75.196 The Metropolitan Museum of Art, Gift of Consuelo This catalogue was prepared by , Special Consultant to the Vanderbilt Balsan, 1946 47.71 DRAWING FOR A COSTUME FOR MRS. JOHN W. GARRETT Costume Institute; Stella Blum, Curator; Judith McGee, Assistant Curator; Lion Bakst (1886-1925) PORTRAIT OF MRS. JOHN W. GARRETT WITH Shari Lewis, Publications Department; Lillian Dickier, Research Assistant; Herbert Ignacio Zuloaga (1870-1945) Pencil and watercolor Schmidt, Associate Manager for Design. Lent by The Evergreen House Foundation SL 75.191.25 Oil on canvas; 1912 Lent by The Evergreen House Foundation SL 75.191.22 Copyright© 1975 by The Metropolitan Museum of Art AMERICAN WOMEN OF STYLE

The Costume Institute is especially grateful to THE COUNCIL OF FASHION DESIGNERS OF AMERICA for their continued support and cooperation.

We wish also to express our sincerest appreciation to the following for their devotion and generous assistance in the presentation of this exhibition:

Hilda Bachman Elizabeth Gilbert Mrs. Carman Messmore Mrs. George o. Bailey, Jr. Tonne Goodman Jeff Novak Mrs. Calvert Bodman Barbara Thurston Guernsey Philip Proctor Mrs. John L. Bove Mrs. William Hensler Leonora Prowell Julie Britt Margaret Hillery Mrs. Donald G. Robbins, Jr. Marilyn Budzanoski Mrs. James Hobbs Delfina Ratazzi Michele Burke Mrs. James Humphrey 111 Mrs. Harold A. Rouse Mrs. Salvatore Cardello Susan Kavy Kim Rosenthal Mihwa Choi Mrs. Walter Kirke Mrs. Ira Sommer Brenda Cu 11 erton Pamela Krausman Andrea Stagoff Emily Dale Nicky Lane Mrs. Allen Staley Stephen de Pietri Sylvia Lavis Andre Leon Talley Mrs. Sidney Dickier Helen Litt Robert Turner Mrs. Beverly Chew Duer Phyllis Magidson Ruth Weinstein Constance DuHamel Mrs. A. Hyatt Mayer Mrs. Harry G. Yaruss Mrs. Joseph Fiore Christine Mincu Dilmeran Zaralioglu

Special thanks to Dale Mcconathy for his .help and advice.

ART IN THE EXHIBITION

PORTRAIT OF CONSUELO, DUCHESS OF MARLBOROUGH, PORTRAIT OF MRS. JOHN W. GARRETT AND HER SON IVOR SPENCER-CHURCHILL Lion Bakst (1886-1925) Giovanni Boldini (1845-1931) Charcoal, watercolor and gouache; 1915 Oi I on canvas; 1905 Lent by Mrs. Nei I MacVeagh SL75.196 The Metropolitan Museum of Art, Gift of Balsan, 1946 47.71 This catalogue was prepared by Diana Vreeland, Special Consultant to the DRAWING FOR A COSTUME FOR MRS. JOHN W. GARRETT Leon Bakst (1886-1925) Costume Institute; Stella Blum, Curator; Judith McGee, Assistant Curator; PORTRAIT OF MRS. JOHN W. GARRETT WITH MUFF Shari Lewis, Publications Department; Lillian Dickier, Research Assistant; Herbert Ignacio Zuloaga (1870-1945) Penc i I and watercolor Lent by The Evergreen House Foundation SL 75.191.25 Schmidt, Associate Manager for Design. Oil on canvas; 1912 Lent by The Evergreen House Foundation SL 75.191.22

Copyright© 1975 by The Metropolitan Museum of Art

, MUSIC, cont'd. 18. What Is This Thing Called Love?, by C. Porter 19. Musidora Polka· Masurka, by A. Talexy 20. Five Step Waltz, by A. Conner

21. Charming Waltz, by C. Kinkel 22. Tango from the Production of "U.S.A.", by J. Frankel 23. An American In Paris, by G. Gershwin

24. La Petite Tonkinoise, Sung by Josephine Baker, by Scotto-Villard.Christian

25. Goodbye Little Dream, by C. Porter

26. Just One of Those Things, by C. Porter 27. Begin the Beguine, by C. Porter ~american women of stylej) 28. It's De-Lovely, by C. Porter 29. Ridln' High, by C. Porter An exhibition organized by Diana Vreeland 30. Theme and Variation for Cello and Plano, by K. Swift

31. Night Waltz, by S. Sondheim 32. In the Garden, by A. Newman ~----t_h_e_c_o_s_t_u_m_e_in_s_t_it_u_te____ Waltz from Der Rosenkavalier, by Strauss J) 33. R. 34. Mazurkas in C-Sharp and O·Major, by Chopin the metropolitan museum of art 35. Oelirlen Waltz, by J. Strauss 36. I Got Rhythm, by G. Gershwin 37. Iphigenia in Auris - Flute Solo from Orpheus, by Gluck

38. Meet Me in St. Louis, by K. Mills

39. Voices of Spring, by J. Strauss 40. You Took Advantage of Me, by R. Rodgers and L. Hart

41. Nocturne #2 in E Flat Major, by Chopin

42. "Trout" Quintet, by Schubert This exhibition was made possible by a generous grant from SCM Corporation.

43. Pomp and Circumstance, by Elgar

44. Star Spangled Banner, Anonymous, Arranged by A. Dodworth

, What is an American Woman of Style? And what is it that the common ground of excellence. They were daring in a sets her apart from the rest of the American women? positive way and insisted on living usefully. Not only did Physical beauty? It can be an asset. Of the women chosen they leave their mark on the cultural world but they also for this exhibition, the Duchess of Marlborough, Rita de became involved in social movements, humane causes and Acosta Lydig and Mrs. were so even politics, some actually before women were doing beautiful that artists were moved to capture their special such things. With an iron-willed self-discipline they held beauty in paintings, sketches, photographs and sculpture. unswervingly to their own principles and left an imprint Isadora Duncan, Irene Castle, Millicent Rogers and on everything they did. Whatever the time or place, no Josephine Baker were enormously attractive women. Yet, matter what the cost, they insisted on living according to on the other hand, Gertrude Vanderbilt Whitney, Mrs. their particular criteria. For them the clothes they wore were not so much a matter of joining the ranks of the STYLE. John Garrett and Elsie de Wolfe, although striking, did fashionable but a manifestation of their individuality. not have exceptional beauty. Often they came up with their own designs or put together The energy of imagination, deliberation, and invention, which fall into a Money and social position? This can also be helpful. But unusual combinations. Even when they wore the designs natural rhythm totally one's own, maintained by innate discipline and Irene Castle, Isadora Duncan and Elsie de Wolfe had of others, they still managed to give the impression that a keen sense of pleasure. These are the ingredients of style. middle-class origins. And Josephine Baker's background their clothes were made only for them. In many instances could hardly have been humbler. this indeed did happen. The Callot Soeurs catered to All who have it share one thing-originality. Professional talent? Isadora Duncan, Gertrude Whitney, Mrs. Lydig's highly original taste. While such well-known This is not a dress show. This is an exhibition to project, Elsie de Wolfe, Irene Castle and Josephine Baker were designers as Mainbocher and Schiaparelli made special through the beholder's imagination, a vision of ten American women famous artists and were acknowledged for their accom­ things for Millicent Rogers and Elsie de Wolfe, Lucile of style. plishments. The others, gifted in their own ways, led less devised for Irene Castle suited to her style of public lives as collectors, patronesses or hostesses. dancing. The great Leon Bakst as well as Lanvin designed for Mrs. Garrett. Were they fashion leaders? While it is true that almost all of these women wore clothes by great couturiers, and Looking at the costumes that belonged to these outstand­ Diana Vreeland several were considered to be among the best-dressed ing women, even without knowing anything about them, Special Consultant women in the world, only Isadora Duncan, Irene Castle one is struck by the uniqueness of each group in spite of The Costume Institute and Mrs. Gibson could be said to have stimulated new the fact that they were over lapping contemporaries. And directions in fashion. after becoming acquainted with their histories, it is December, 1975 possible to get an insight into what leads some remarkable There seems to be no common denominator. What then American women to reach beyond the of their unites these women and makes them American Women of times, as well as into other periods and places, to develop Style? First, all of them had an inordinate esthetic a style that is essentially American in spirit and completely sensitivity-a strong creative drive that looked for a perfect a projection of themselves. expression for their highly charged motivations. Their Stella Blum, Curator tastes, although as diverse as their personalities, met on The Costume Institute { I

She was one of the great tastemakers of this century. redesign Buckingham Palace, he chose Elsie de Wolfe. An actress in the 1890s-Ethel Barrymore was her Totally feminine, worldly, and gay, she had, at the understudy-she was famous from the start for her same time, a very American energy and determination. originality and style. She was the best-dressed woman She had an iron will and the strength of ten. ·whatever on the Broadway stage. She instituted "Sunday after­ she did, she did well. During she nursed noons" in her charming house, the old Washington soldiers on the battlefields of France, and was awarded Irving house on Irving Place; her parlor was the first the Croix de Guerre and the Legion of Honor for her New York salon. She refurnished her house, and when bravery under fire. admiring friends asked her to do their houses, she left As Lady Mendl, after her marriage in 1926, she the theater and began her real career. brought vitality and glamour to her role as a leading Interior decoration, as we know it today, was created international hostess-in , Paris, and her by Elsie de Wolfe. With one dramatic sweep, she enchanting eighteenth-century little house edging on changed the look of every living-room in America. She the park of Versailles. For one of her parties, she filled banished Victorian clutter, tore down the portieres, a marble bathtub with calla lilies. let in the light. Her triumphs were beige walls, win­ Always she set the standard for elegance and fashion. dows hung with , mirrors, parquet floors, and In her little black dresses, pearl collars, and short bolts and bolts of . She popularized the small white gloves, and with a poodle tucked under her arm, upholstered chair and started the American vogue for she was "the best-dressed woman in the world." She English and French antiques. was one of the first to rinse her blue and have her For thirty years her trademark-a wolf holding a flower face lifted. When in her eighties, she did headstands on ELSIE DE WOLFE, LADY MENDL in its paw-was the symbol of status and total chic. the beaches of the Riviera to "stay young" -brilliant (1865-1950) She went to the greatest houses in the world and dec­ and individual until the end. orated many of them; when Edward VIII decided to In Paris, 1939. Photograph by Horst.

I l

This was the true American style-the original Gibson in her eye, and she was thought a trifle daring for Girl, the model for the hundreds of drawings and witty her time. society cartoons that flowed from the pen of her Every girl in America wanted to be her. Women stood husband. straight as poplars and tightened their corsetstrings One of the four Langhorne sisters of Richmond (her to show off tiny waists. They left the piazza for the sister Nancy became Lady Astor), she was a cele­ tennis court, rode bicycles, and had the time of brated Southern belle-pretty, coquettish, totally de­ their lives. lightful. In New York for a season of debutante dances and teas, she met the handsome, debonair, immensely Every man in America wanted to win her. They popular young artist Charles Dana Gibson. They were shaved off their mustaches because Gibson seldom "America's most romantic couple," and their wedding, drew them. They squared their shoulders and grew on November 7, 1895, made headlines in every taller because the Gibson girl was tall. newspaper. With her stately figure, her attractiveness and vitality, The Gibson girl was the first great American glamour Irene Gibson was even lovelier than her pictures­ girl long before there were movie stars. She was and personified the spirit of the new century. For the created in the Nineties and reigned supreme for new independent American woman, sports was only twenty years. In her starched shirtwaist and the beginning. Irene Gibson became actively involved perched on her pompadour, willowy and with her in politics, and ventured into campaign speaking in head held high, she was aloof, assured, capable, and 1913. She worked widely for social justice, and in the completely feminine. She embodied the American Thirties served on a national commission to study spirit of the fresh outdoors, always with a tendril of immigration policies. To all of these pursuits she hair blowing. She could drive a golf ball, row a boat brought the verve and marvelous good humor that always distinguished her style. MRS. CHARLES DANA GIBSON with -but in a ladylike manner. Though her (1873-1956) activities were blameless, there was a flash of mischief

"The Northeaster." Drawing by Charles Dana Gibson from The Gibson Book, 1907. CONSUELO, DUCHESS OF MARLBOROUGH She had the gift of great beauty-she was as beautiful suffrage. In 1919, she was the Progressive candidate (1876-1964 ) at eighty as at eighteen-and went through life with for the County Council, representing a perfect grace. working-class district. Touring the slums, she was followed by children chanting "Vote, vote, vote for Born Consuelo Vanderbilt, she began her life of Mrs. Marlborough" to the tune of ''Tramp, Tramp, largesse and spirit when at eighteen she married the Tramp, the Boys are Marching"-and she won ninth Duke of Marlborough and went to live at the election. , the magnificent Marlborough ancestral seat and the only privately owned palace As Madame Balsan-after her marriage in 1921 to in England. Jacques Balsan, an officer in the French air force and a dashing aviation pioneer-she was a graceful and As chatelaine of Blenheim, she was adored by all for renowned international hostess. Her beautiful houses her sweetness, her generosity, and charm. She -at Eze, Provence, and Normandy, and, after the attended bazaars and Hower shows, arranged for Second World War, in America-were surrounded by treats at the village school, and visited her tenants­ fragrant gardens, filled with exquisite eighteenth­ totally concerned, approachable, and human. With century furniture and Impressionist paintings, and graciousness and elegance, she entertained the aristoc­ were the settings for her wonderful cosmopolitan racy of England and all of Europe, often receiving parties, charming intimate luncheons and teas. From thirty house guests at a time. For them she arranged all over the world her friends would come to her. luxurious shooting parties, dinners, concerts, horse shows, cricket and croquet matches with tea tables on Never for a moment did she cease to care for others. the lawn. She went to London and attended the great During World War II, she founded a hospital in parties of the season, wearing diamond and Paris for children, and when the city was invaded, fabulous pearls, riding in Cinderella coaches. Every­ had them brought safely to the south of France. For one who saw her was enchanted by her delightful her hospital work she was awarded the Legion of charm and wit and by her beauty-her delicate heart­ Honor by the Fr,ench government. Later, in this shaped face, mischievous dark eyes, and her fantas­ country, she continued as a patroness of many tically long neck like the stem of a flower. For many charities. years, a rajah faithfully sent her mangoes from She had the unique and positive ability always to give his garden. totally of herself, recharging her energies and After she left Blenheim, in 1906, she went to live in inspiring all who knew her through her great kindness London, alone, and devoted all her energies to work­ and humility. She was beloved by all. Consuelo, Duchess of Marlborough, and Her Son Ivor Spencer­ As canopy bearer at the coronation of King Edward VII, 1902. ing for social welfare and advocating women's Churchill. Painting by Giovanni Boldini. The Metropolitan Photograph from Vanity Fair, September, 1914. Museum of Art, Gift of Consuelo Vanderbilt Balsan, 1946.

, MRS. JOHN W. GARRETT (1877- 1952 ) Her wonderful joie de vivre encompassed the world In her little theater, she gave marvelous soirees for of artists, the theater, and music, and wherever she people in the arts and in government, and for her was she shared wholeheartedly in all that was special friends. She loved to perform, and often par­ beautiful and exciting. ticipated, joining the dancers and actors against spectacular sets designed by Bakst. I In Rome, she imported an American string quartet to prove to the Italians that not all music in America was She totally understood the couture-she wore luxuri­ made by saxophones and banjos. In Paris, she ous dresses by Lanvin and Lucile-and used it to organized an international show for young artists and express her personality. For her, Bakst devised a tunic for artists who had never before exhibited their work. of pleats that was a marvel of construction and But it was Evergreen House-her enchanting yellow originality. Simple, worn with a wide band at the hips Greek Revival house on the outskirts of Baltimore, and a tiny , it was totally of the time and still filled with magnificent Impressionist and modern looks contemporary and refreshing today. So that they paintings and exquisite oriental art-that was the would be exactly right, she had her performance setting for her greatest achievement. dresses designed by artists-Covarrubias, Zuloaga, and Bakst-and made by the leading couturiers. In She had been totally won over, in Paris, by Leon a slim red dress swept with a ruffied train, a black Bakst's stunning, radiant designs for the Russian bodice and a skirt floating with layers of white Ballet, and in 1922 he arrived at Evergreen House, organdy, and a little black brimmed hat or mantilla, where he transformed what had been a bowling alley she came straight out of Goya, with her raven hair, into a theater that was a triumph of Art Deco. He fl.ashing dark eyes, charm, and allure-and with a made silk lanterns, paper balls to hang at the windows, vitality that was tmly American. She performed her seat cushions covered with felt. He stencilled white dances as she did everything-with self-possession, walls with blocks of stylized birds and flowers that vibrance, and wit. derived from Russian folk art and were painted in joyous, restless Art Deco colors. She loved art, and she lived it. At San Michele, the home of Dr. Alex Munthe, Capri, 1930. Drawing for a costume by Leon Bakst. Evergreen House Founda­ tion, Baltimore.

, Herself an artist, she was inspired by life itself. After She was a sponsor, in 1913, of the Armory Show, which her marriage to Harry Payne Whitney, she turned to brought to America contemporary Paris painting. For doing things that amused her and in which she was many years she subsidized The Arts, America's most totally interested. progressive art magazine. But her greatest achieve­ ment was the Whitney Museum-the first museum She published two novels, then began with sculpture, devoted entirely to American art-which opened on studying in New York and Paris and working in her November 18, 1931, in the galleries on Eighth Street. own studios. She exhibited under a pseudonym until The nucleus of the Museum was her own private col­ 1910, when her statue Immortal Paganism was lection of some five hundred works of American art. awarded by the National Academy of Design. Many commissions followed, and she gained an Always the catalyst, energetic and innovative, she international reputation. totally expressed her personality in her own way. While she dressed in the most elegant couture She was one of the first to recognize the vigorous and clothes, she was equally comfortable, and elegant, in characteristic American art that was developing slacks and pajamas-unique in 1916-and delightful around her, and she committed herself totally to help­ fantasy costumes. She wore Japanese , oriental ing young artists long before there were foundation Portrait by Robert Henri, 1916. tunics over Ballet Russes pantaloons, Indian dancing grants. In 1908, when an adventurous group called dresses, a jewelled Balinese belt. The Eight exhibited their new realistic paintings, she bought four of the seven sold. She opened her studio­ She was one of the first independent modern women. a converted stable on MacDougal Alley, in Greenwich In a reversal of roles, she hired male assistants in her Village-as a meeting place for artists and arranged studios. During World War I, she founded, and by GERTRUDE VANDERBILT WHITNEY informal shows, here and then at the Whitney Studio herself was the administrator of, a hospital for soldiers (1877-1942 ) Club and the Whitney Studio Galleries in larger quar­ in Juilly, France. She loved to dance, and surrounded ters on Eighth Street. Openings called for parties, and herself, in her Long Island studio, with beautiful Photograph from Vogue, December, 1919. when her fashionable friends came from uptown to birds-peacocks and flamingoes and brilliant exquisite mingle with the Village artists in a friendly, festive pheasants from South . She was colorful and atmosphere, the New York art world as it is known adventurous, and was loved and admired all of today, began. her life.

,, Her legend began in , in a gaslit board­ danced in the Theater of Dionysius. She was the sen­ inghouse. The rent was always due and there was sation of Paris and . She scandalized and thrilled never enough money for the butcher, but her life was America. In 1907, she arrived in St. Petersburg, and filled with poetry and music. The Duncans were Art­ her influence extended even to the classic Russian ists; they lived for Beauty and against man-made con­ Ballet. Fokine, the great ballet master, and Bakst were ventions. At the age of twelve, Isadora vowed never completely entranced by her. to marry, and to fight for the total emancipation She danced for freedom and enlightenment, and was of women. the image of everything possible and liberating. She She loved the sea and taught herself to dance by fol­ loved passionately, and bore two children. Believing lowing the rhythm of the . She danced across that held the promise of Utopia because the America, and her family followed close behind. In government subsidized the arts, she waved red cheese­ New York, they rented a room in Carnegie Hall, put cloth and called herself a revolutionary. Rebelling mattresses on the floor and curtains on the walls, and against the restricting fashions of the day, she threw Isadora's dancing school. Photograph from Vanity Fair, January, invented the first Greenwich Village studio. Then out corsets and strode onto the beaches bare-legged 1915. they sailed for England. and in a short-skirted tunic of blue crepe de chine. The Grand Duke Ferdinand, watching from the board­ At the British Museum, she discovered the Greeks­ walk, was delighted. She threw lavish suppers for her and The Dance. In the soot-blackened squares of friends, with champagne and fruit out of season, and London and in the most elegant houses, she danced, put them up in the most luxurious hotels. Dauntless, wearing , fillets, and flowing Greek tunics. gay, irrepressibly naughty, she had the gift of giving Everyone who saw her was enchanted by her sponta­ ISADORA DUNCAN totally of herself. neous leaps and postures, and by her pre-Raphaelite (1878-1927 ) beauty. With her green eyes, reddish hair, marvelous She founded a dance school where she brought chil­ arms and neck, and American naivete, she was a true dren to live and learn to dance, often teaching each She lived, in 1905, the life that girls of today are still creation of Art Nouveau. She was Botticelli's Prima­ other. They danced as Isadora did, following their too inhibited to live-taking lovers, having children vera in layers of pale green painted with flowers. fantasies and improvising. out of wedlock, and giving in her marvelous bacchana­ She danced under the moon, completely nude. lian way. When the average unmarried woman of Her complete dedication to the dance lifted her spirit; At the portal of the Parthenon, 1921. Photograph by Edward twenty-three was a spinster sitting at home, Isadora Everywhere she went, she was the vogue. She took her as long as she danced, she was afraid of nothing. And Steichen. The Museum of Modem Art, New York. was dancing with grape leaves in her hair. family to Greece, rose at dawn to sing to the gods, and she danced until the very end.

, She was one of the most elegant women of all time, every item by the dozens. Though she never walked with a Spanish Renaissance feeling for color and great distances, she had more than three hundred richness. pairs of shoes, all handmade by Yantorny , the famous Paris custom bootmaker and curator at the Cluny RITA DE ACOSTA LYDIG Descended through her mother from the Duke of Museum. Made of antique and , of Alba, she was deeply Latin, fascinating, and exotic, (1880-1929 ) gold and metal tissue, sometimes covered with lace with pale skin, black hair, flashing eyes, and an applique, they were stored in trunks of Russian impudent chin. She scandalized and delighted all of leather. Each pair, with its tree inside, was lighter New York when she appeared in her box at the opera than an ostrich feather. in an evening dress with her back bare to the . Everyone who saw her-half-turned to the audience, She was a generous patron of the arts. Sarah carrying a large black fan-swore that never again Bernhardt, Caruso, Puccini, Paderewski, Toscanini, could any woman be so original. , John Singer Sargent, and Rodin came to her house on Fifty-second Street. Boldini painted Her dedication to the beautiful and the rare was total. her portrait fourteen times. When her compatriot She collected paintings, tapestries, majolica, exquisite Zuloaga had his first exhibition of paintings in New Chippendale furniture, Chinese carpets, and filled her York, she had the Duveen galleries entirely drawing room with precious bibelots and flowers. redesigned. Her clothes were the expression of her unique per­ During the war years, she dismantled her house, sold sonality, and she dressed with an unequalled extrava­ almost everything at auction, and devoted herself to gance and luxury-but always kept to her own special charity and welfare work. She was a leader of the line. She adored ancient velvets, silks, brocades, and Equal Franchise Society and an advocate of women's was fanatical about lace. She wore lace on everything suffrage and birth control, long before that subject -, , handkerchiefs, nightdresses, , could be mentioned in polite society. parasols, fans. She trimmed black velvet day dresses with collars and cuffs of rose-point or Valenciennes, Later, she moved to a Georgian house on Washington and made tunics from sixteenth-century altarcloths Square, with her most beloved possessions-one to wear over velvet pantaloons for evening. beautiful carpet, her Flemish tapestries, a Titian, a Zurbaran, and crystal chandeliers. There she lived in She dressed at the house of Callot, which she financed. perfect grace. Beauty was her goal, and beauty she She never ordered one of anything, but duplicated achieved.

Portrait by Giovanni Boldini. Portrait by Ignacio Zuloaga, 1912. The National Gallery of Art, Washington, D .C.

, J J Irene Castle and her handsome husband Vernon gaiety, attractiveness, and enormous charm. They Castle started the vogue of the ballroom dancer. danced all day, often not bothering to stop for lunch, and performed every night at their smart cabaret Everyone who saw Irene Castle adored her. She had upstairs, called Castles in the Air, or in Long Beach, IRENE CASTLE a spirit like champagne. She was effervescent and at Castles by the Sea. Those who could not go to Castle refreshing and totally new. At once delectably House went to "Castle-type" dance studios instead, ( 1893-1969 ) feminine and boyish, graceful and taut, she moved and soon people could not sit through a dinner party and dressed with marvelous simplicity and extra­ without getting up to dance between the courses. ordinary balance and line. With her arched wrists, fingers dangling, hips thrown forward and body held Whatever Irene Castle did was instant fashion. When back, and with her raised shoulder, she was she cut her hair short, the "Castle bob" made head­ sensational. lines; the next day, two hundred women rushed to their , and the day after that, two thousand. Their story began when they left New York for Paris, She tied a narrow strip of velvet, sewn with tiny shortly after their marriage in 1911, and were engaged pearls, across her brow, and created the "headache as a dance team at the elegant supper club the Cafe band." Her simple, light, floating "Castle frocks" de Paris. They sat at a table among the guests, and became the thing to wear, and when she replaced when debonair Vernon Castle got up and led his wife corsets and billowing petticoats with bloomers and a onto the dance floor, she was so pretty and beguiling, little -the easier to dance in-American women dancing the new jazz steps in her Turkish and delightedly adopted the new . aigret, that the Grand Duke Dmitri tore off his diamond buttons, put them on a tray with a bottle of In her little buckled shoes and ribbon-laced ankles, cold champagne, and sent them over to their table she took wonderful swinging steps across the most with his deepest compliments. slippery dance floor-and she walked into the modern age. To women all over America she was the symbol t They returned to New York as international celebri­ of the emancipation they had recently won. ties, and reigned at Castle House, across from the Ritz hotel. Here, the social elite, who were their friends, Always she lived with brilliant vitality, waltzing when J came to learn the turkey trot, the maxixe, the Castle she was in her seventies and devoting her energies to walk-all slightly acrobatic, slightly absurd, and totally her own special humanitarian concern-the welfare irresistible as interpreted by the Castles with their of animals. Irene and Vernon Castle, 1914. Photograph from the Museum of Photograph from Vanity Fair, March, 1918. the City of New York.

, MILLICENT ROGERS (1900-1953 ) She was a totally creative person. She made her own went off to the museum in Innsbruck, where she would fashion, and achieved, twenty-five years ago, the take designs and have the village tailor make her "look" of today. authentic peasant , , , and vests. She would combine these with proven~al quilted Original, extravagant, and dauntless, a Standard Oil and peasant or pullover by heiress and debutante in the heyday of the Jazz Age, Schiaparelli. she was a sensation and delight with her alabaster face, long painted fingernails, and sophisticated little black Then, in her rambling adobe house in Taos, she went velvet dress set off with a headdress from Chinatown. barefoot, wearing Indian skirts, Indian blouses and When the Prince of Wales visited America on a whirl­ , and Indian jewelry-chains of blue, blue wind tour, she was his most glamorous dancing turquoise and coral, and massive silver bracelets. It partner. was here, in her tranquil, sunlit rooms, that she did her real work. Adoring the world of ornamentation, With her ravishing good looks and perfect proportions, she became the superb jeweler, working with gold and she could wear anything. She was dressed by the using as inspiration designs from Africa, the Incas, leading couturiers, but always, with complete assur­ the Aztecs, and her own sense of proportion and of ance, she went way beyond the fashions of the time massive, beaten color. to create her own special style. She used the couture to make her clothes exactly as she wanted them. She Her capacity for dedication and intense involvement adored costumes and playing special roles in her enabled her, after the Second World War, to raise immediate environment. more than one million dollars for medical supplies to go to Europe and Asia. Everywhere she went, she found new inspiration. In her house on the St. James River, she had Mainbocher In the perfect tribute, her son Paul Peralta-Ramos make her dresses in the period of Louis Philippe. In founded the Millicent Rogers Memorial Museum­ the Austrian valley of the Arlberg mountains where a seventeen-room adobe in the sagebrush country she had an enchanting house filled with superb outside of Taos that houses her superb collection of Biedermeier furniture, she wore Tyrolean . She American Indian artifacts, costumes, and jewelry. Photograph by Louise Dahl-Wolfe. Photograph by Louise Dahl-Wolfe, 1939.

, Out of St. Louis came a little black girl covered with Rolls, big chateaus, big diamond bracelets. Her little feathers and diamanti. A graduate of the Old Planta­ close head was held flat by the famous "Baker stick," tion Club, the Cotton Club in Harlem, and old a paste that kept her spit curls glued down. She Broadway, she came to Paris, her home away painted her fingernails silver and gold, and her lips from home. dark, dark red-and set the Twenties style. Her stringbean silhouette-the "haricot vert"-replaced She was forever the delight of the French music halls­ JOSEPHINE BAKER the curves of the Belle Epoque, and suntans became important, fantastic, a brand new note. The French fashionable. ( 1906-1975 ) adored her. She was great. She was beloved and adored by all of France, and had She made her entrance on the shoulders of a giant black a deep feeling for the French people. In the bitter man, upside down, doing the split, in nothing but a winter of 1938, when she saw a film showing the pink flamingo feather. And when she swung down to misery of the poor in the suburbs outside of Paris, she the floor, and stood still like a statue in the center went to them with two trucks filled with coal, potatoes, of the stage, the audience went wild. That night she bread, and toys. She worked with the Resistance was the talk of Paris. during the war, and was awarded the Croix de Guerre At the Folies-Bergere, she danced the Charleston with with Palm and the Legion of Honor Militaire. a string of bananas tied around her waist, and the news After the war, she adopted a dozen orphans of differ­ spread all over the world. Everywhere she went, she ent nationalities and brought thein to live at Les knocked them dead with her sequinned , Milandes, her beautiful chateau in the valley of the her enormous ostrich-feather , and four-foot­ Dordogne, in southwestern France. Here, she enjoyed high plumed headdresses. She was as bright and cute the "quiet" of the country-surrounded by dogs, pet as a tropical bird. Men of the sort only possible in monkeys, cages of chickens and geese and pheasants, Paris threw themselves at her feet. A rajah offered to and by her "rainbow tribe." Her deepest goal was to give up his harem if she would become his bride. bring people together, and her children were closest She was the toast and the chic of Paris. She reached the to her heart. heights of elegance. Smashingly turned out in her mag­ From every view, she was big in her thinking. Always nificent couture dresses and suits, she promenaded she gave thought to others, and she always had on the Champs Elysees with her leopards and her her dream. · cheetahs and her big white swans. She had a big white At the Folies-Bergere, 1930. Photograph by George Hoyningen-Heune.

, COSTUMES IN THE EXHIBITION Shirtwaist: gift of Mrs. Wanamaker Attributed to the Duchess of Marlborough Dress with bodice and long sleeves of Evening dress, de style of black silk multi-colored silk and silver tinsel ribbon. Munn. • Lent by The Helen Larson Collection finely pleated white lawn, two tiered skirt with bodice embroidered in bril­ Lent by The Evergreen House Foundation CI 56.16.18 SL 75.194.1 of finely pleated rose red silk linen. ( liants and pearls, and full skirt trimmed SL 75.191.8 Skirt: gift of Orme Wilson and Thorn- is a reproduction) with bands of silver thread embroidery, ELSIE DE WOLFE, LADY MENDL ton Wilson in memory of their mother, Walking dress of navy wool trimmed with Designed by Leon Bakst about 1915 silver beads and small mirrors. Costume: jacket of black velvet and gold Mrs .. Caroline Schermerhorn Astor Wilson inset panels of embroidered ivory wool Lent by The Evergreen House Foundation Designed by Jeanne Lanvin, early 1920's lame, trimmed with gilt and crystal Evening dress of white silk chiffon with 49.3.34 and ivory lace edged with yellow thread. SL 75.191.15 Lent by The Evergreen House Foundation bead tassels; long hanging sleeves lined embroidered butterflies in silver, white Hat: gift of John H. Marsching About 1901. SL 75.191.6 in emerald satin; bodice of gold and green paillettes. CI 43.54.1 Attributed to the Duchess of Marlborough Dress with bodice and long sleeves of tissue. Oriental style trousers are a Designed by Mainbocher, 1939. Lent by The Helen Larson Collection finely pleated white lawn, two tiered skirt Evening dress, robe de style, of ivory silk reproduction. Gift of Mrs. Harrison Williams, Lady The "Gibson Girl" look: Blouse with full SL 75.194.2ab of finely pleated medium blue silk linen; taffeta with deep bertha of Lent by The Evergreen House Foundation Mend! and Mrs. Ector Munn. sleeves of white silk trimmed with tucks sash of black ribbed silk. and full skirt trimmed with tiers of blonde SL 75.191.7ac The Costume Institute Collection and lace insertions; black satin skirt with Afternoon dress of pin-tucked ice blue silk Designed by Leon Bakst about 1915 lace over narrow bands of silver thread CI 46.4.2a-e self-fabric bands around hem; hat of black trimmed with inset and overlaid panels of Lent by The Evergreen House Foundation embroidery. Costume: Chinese woman's informal vest velvet with black ostrich plumes. ivory lace; bands of turquoise velvet SL 75.191.14ab Designed by Jeanne Lanvin, early 1920's of salmon silk trimmed with black satin Short of black silk velvet, embroid- . Late 19th-early 20th c. accented with mink. Lent by The Evergreen House Foundation ribbons patterned in weft-floats with de­ ered with gold sequins, bugle beads and Since none of Mrs. Gibson's clothes could About 1900. Costume: dress with camisole bodice of SL 75.191.17 sign of purple and white butterflies and bullion in a circular design of chariots and be found, this ensemble was put together Attributed to the Duchess of Marlborough black velvet laced with pink satin and full, flowers, magenta chiffon sleeves. horses, surrounded by fountain sprays and from the Costume Institute Collection to Lent by The Helen Larson Collection gathered skirt of pink and ivory patterned Costume: dress with ruffled bodice of Oriental style trousers of black satin. clouds; inspired by the Neptune Fountain illustrate the style of the Gibson Girl. SL 75.194.3ab silk ; trimmed with black velvet white lawn, corselet and skirt of black Vest: Chinese, 19th century or later in the Pare de Versailles. Blouse: gift of John Kimball ribbon and black satin. velvet and black satin ; trimmed Trousers: about 1910-20 Designed by Schiaparelli, 1938. CI 45.77.10 Designed by Leon Bakst, 1915-24 with appliques of ombred satin tulips, Lent by The Evergreen House Foundation MRS. JOHN W. GARRETT Gift of the Estate of Lady Mend!. Skirt: gift of Mrs. Robert S. Kilborne Lent by The Evergreen House Foundation birds and bands. SL 75.191.13ab The Costume Institute Collection CI 58.67.8 SL 75.191.3 Designed by Covarrubias, 1920's CI 51.83 Costume: cami!'ole bodice of ­ Hat: gift of Mrs. Arthur Francis patterned silver lame with beaded bib Lent by The Evergreen House Foundation Costume: Chinese woman's informal vest CI 41.74.5 and boned skirt of blue silk swirled with Gown and separate train of silver-blue SL 75.191.4 of dull green silk gauze trimmed with blue MRS. CHARLES DANA GIBSON silver and appliqued with pailletted lame with open sleeves of silver-blue net and white weft-float pattern ribbons; embroidered in silver thread; of Flamenco costume: camisole bodice of Oriental style trousers of light blue-grey CONSUELO, medallions, open in front to reveal beaded The "Gibson Girl" look Shirtwaist of fine m~tching lame and net embroidered with black satin and full skirt of white organdy silk figured with matte gold medallions DUCHESS OF MARLBOROUGH panel. Oriental style trousers of white white linen with lace-edged jabot; skirt of satin draped with ropes of pearls, and silver beads. with tiers of ruffles bound in black and trimmed with ropes of pearls and white linen; hat of natural straw. Evening dress of black net and lace over turban headdress trimmed with wired Designed by Jeanne Lanvin. organdy. crystal tassels; belt completely embroi­ ca. 1900. pale blue chiffon and satin, with Horal pearls and pendants. Worn at the wedding of the future King Lent by The Evergreen House Foundation dered with gold and silver thread and Since none of Mrs. Gibson's clothes could garland motif embroidered in frost pink Designed by Leon Bakst about 1915-1924 Umberto II of Italy and Princess Marie SL 75.191.2ab tinsel. Vest: Chinese, 19th century or later b~ found, this ensemble was put together and green beads over bertha and upper Lent by The Evergreen House Foundation Jose of Belgium, 1930. from the Costume Institute Collection to Trousers and belt: about 1910-20 portion of skirt. SL 75.191.18ab,7b Lent by The Evergreen House Foundation Costume: flamenco type dress of brilliant illustrate the style of the Gibson Girl. Lent by The Evergreen House Foundation Early 20th c. SL 75.191.labc coral silk taffeta trimmed with ruffles of SL 75.191.9abc

I pliqued with butterfly lace motifs at hem. Costume: long jacket of light pink crepe Exercise suit and bloomers of black satin. Pink silk costume with type print. students. Coat of black velvet with sailor collar and printed in grey and black abstract floral Label: B. Altman and Company Label: Ardanse, Paris-mid-1930's Lent by The New York Public Library at deep cuffs of "Gros " design and trimmed with black chiffon Attributed to Irma Duncan or one of Lent by The Evergreen House Foundation Lent by Mrs. G. Macculloch Miller Lincoln Center lace, Venetian, 17th c.; worn over evening ruf:Hes. Oriental style trousers are a students. SL 75.191.16ab SL 75.190.14a SL 75.220.7 costume of dark brown velvet with a reproduction. Lent by The New York Public Library at Lincoln Center harem style pants-skirt, draped at the Courtier's jacket of dark green silk with Lent by Mrs. G. Macculloch Miller SL 75.220.8 Afternoon dress of deep red-orange silk hips; gold tassels at each leg. GERTRUDE VANDERBILT rosettes, auspicious objects, satin­ SL 75.190.22a Purple chiffon toga costume. velvet embroidered in gold thread, with Gift of Mercedes de Acosta. WHITNEY brocaded with paper gold. hobble skirt bordered in fur. Collection of The Museum Japanese, 18th-19th century Costume: tunic of white Indian gauze Attributed to Irma Duncan or one of Child's dress with pink satin and velvet students. Designed by Babani about 1919 SL 75.200.21 Lent by Mrs. G. Macculloch Miller embroidered in gold tinsel, with borders jacket trimmed with lace ruffies and cream Lent by The New York Public Library at Gift of Anita Zahn SL 75.200.17 SL 75.190.2 lined in rose silk. gauze sash, pleated silk skirt bordered Lincoln Center The Costume Institute Collection Lent by Mrs. G. Macculloch Miller 1974.95 with lace. Costume: tunic of blue, magenta, green SL 75.220.4 Coat of black velvet; three quarter length Worn for portrait by Madrazo, 1880's SL 75.190.32 and orange velvet figured lame, with long jacket has wide bands of cream lace on Lent by Mrs. G. Macculloch Miller Shaded gold and yellow china silk scarf. sleeves, neckline and a hipline; straight sleeves of matching chiffon; trousers of Costume: Japanese kimono of dull plum RITA DE ACOSTA LYDIG SL 75.190.33abc magenta satin and of multi­ Attributed to Irma Duncan or one of skirt has lace at hemline. : filet satin stencilled in gold foliate motif and Coat of white fancy silk with big lace (darned, knotted netting), Italian, 17th colored chiffon. embroidered with leaves in blue, orange, students. Young girl's dress of cream ribbed silk collar cuffs and two strips down front of c. or later; edging, early Lent by Mrs. G. Macculloch Miller yellow and white. Lent by The New York Public Library at trimmed with finely pleated chiffon ruffie, needle lace, "" type, Cyprus, late 20thc. SL 75.190.9abc Japanese. Lincoln Center separate organdy blouse with yoke and SL 75.220.6 19th-early 20th c. Edgings to cuffs is Gift of .Mercedes de Acosta. lower sleeves of chiffon. Costume: tunic with bodice of pleated Lent by Mrs. G. Macculloch Miller , 17th c. Italian. Harem style Collection of The Brooklyn Museum SL 75.190.35 Worn for a portrait by Sir John Millais, chartreuse chiffon, and stiffened skirt of Purple chiffon . pants-skirt of white satin. SL 75.200.22ab 1890's plaid Thai silk of blue, purple and char­ Attributed to Irma Duncan or one of Gift of Mercedes de Acosta. Lent by Mrs. G. Macculloch Miller treuse; trousers of plum Thai silk and ISADORA DUNCAN students. The Costume Institute Collection Tunic, three-quarter length, of black SL 75.190.34ab pleated chartreuse chiffon trimmed with Lent by The New York Public Library at CI 40.130.2ab chiffon with center front and center back Spanish shawl-fringed, gold background gilt braid and tassels; belt of pierced and Lincoln Center inset panels of "Point Plat" lace (bobbin, with multi-colored flowers. Opera , two tiered, of ivory wool gilded leather; of navy blue silk with SL 75.220.3 Evening ensemble: Coat of black satin tape joined with needle filling), Venice embroidered with ivory silk gilt thread. Attributed to Isadora Duncan. embroidered in a floral design with black or Milan, 17th c.; lace bordered with gold and chenille, bound with black velvet and Lent by Mrs. G. Macculloch Miller Lent by The New York Public Library at Purple silk tunic, heavy and fringed. floss. Cuffs and band around neckline of lame ribbon. Tunic is shown over evening trimmed with white Belgian hare. Lincoln Center needle lace of "Reticella" type, Aegean, SL 75.190.lOabcd Attributed to Irma Duncan or one of costume of gold satin with harem style Early 20th century SL 75.220.1 18th-19th c.; harem pants-skirt of black pants; matching waist sash ends with gold Costume: open robe of gilt netting em­ students. satin with gilt metallic tassels above leg Lent by Mrs. G. Macculloch Miller Lent by The New York Public Library at tassels. broidered with gold sequins, pearls, Gold silk kimono-Ave Maria costume. opening. SL 75.190.7ab Lincoln Center Gifts of Mercedes de Acosta. crystals and amber stones; wide collar Designed by Callot Soeurs. Attributed to Isadora Duncan. SL 75.220.5 Collection of The Brooklyn Museum Evening dress with bodice and long completely embroidered with large em­ Lent by The New York Public Library at Gift of Mercedes de Acosta. SL 75.200.23 erald and turquoise stones. sleeves of brown and gold lace in butterfly Lincoln Center White silk scarf with batik type print. Lent by The Museum of the City of SL 75.200.15ab motif and full skirt of violet chiffon ap- Lent by Mrs. G. Macculloch Miller SL 75.220.2 New York SL 75.190.21ab Attributed to Irma Duncan or one of SL 75.197.2ab Collection of The Brooklyn Museum of white , accented Tunic, three-quarter length, of "" Overblouse of heavy natural linen with dered in white in a pattern of scattered Collection of The Brooklyn Museum SL 75.200.20 with white floral embroidery and a wide bands of needle lace insertion, flowers. Insertions on blouse and jabot of SL 75.200.7 (darned gauze-woven netting), Italian, medallion with a cupid, and trimmed with "Valenciennes" (bob bin lace) , Franco­ SL 75.200.16 17th c.; with small side panel of darned, "Reticella," Italian, 16th-17th c.; bobbin ecru lace. Laces: "Valenciennes" knotted netting of same date. Sides and lace border with deep scallops of Genoese Flemish, ca. 1800. Overblouse of heavy cream linen with inset bib, side panels and hem band of Sleeveless of black velvet and (bobbin), Franco-Flemish, 19th c.; band hem bound in gold lame ribbon. Tunic lace, 17th c.; collar ruffle of "Valenci­ Gift of Mercedes de Acosta. , drawnwork and "Reticella" "Gros Point de Venise" (needle lace) at sides and on hem of bobbin lace with shown over harem style pants-skirt of ennes" (bobbin lace),Franco-Flemish, Lent by The Museum of the City of bobbin lace edgings, Italian, 16th c.,used Venetian, 17th c. needle detail, Italian or Flemish, black velvet; black satin waistband; heavy early 19th c. New York as insertions; "Valenciennes" lace ruffie Gift of Mercedes de Acosta 18th-19th c. gold braid tassels at each leg. Gift of Mercedes de Acosta. SL 75.197.7 on collar, early 19th c. The Costume Institute Collection Gift of Mercedes de Acosta. Gift of Mercedes de Acosta. The Costume Institute Collection Gift of Mercedes de Acosta. Cl 40.130.3 Collection of The Brooklyn Museum Collection of The Brooklyn Museum CI 40.130.4b Overblouse of white batiste trimmed with SL 75.200.10 SL 75.200.24 white floral embroidery and wide bands Lent by The Museum of the City of New oflace insertions. Lace: "Valenciennes" York Beige lace vest. Laces: Needle with ap­ SL 75.200.13 Overblouse of ivory linen elaborately Chemise of white batiste trimmed with patterned into squares of varied sizes by (bobbin),Franco-Flemish, 19th c. SL 75.197.8 plied relief, Italian, 17th c.; side panels, cutwork with needle detail, Italian, 17th c. wide bands of ecru lace. Laces: Bands of Dress of beige and gold lame with long drawnwork, and with wide inset bands on Gift of Mercedes de Acosta. Gift of Mercedes de Acosta. "Valenciennes,'' 19th-20th century; sleeves, a high neckband, and full skirt; each side of 18th c. "Mechlin" lace Collection of The Brooklyn Museum Overblouse of heavy natural linen with Collection of The Brooklyn Museum Brussels bobbin with applied braid, 19th small gold button and braid fasteners from' (Flemish, bobbin; French name, SL 75.200.4 wide bands of lace. Laces: needle lace in c.; hem of bobbin lace, possibly Bruges, "Malines") . SL 75.200.18 neck to waist. "Reticella" style, Italian, probably 19th 19th c. Gift of Mercedes de Acosta. Overblouse of white batiste trimmed with c.; bobbin lace edging, Italian, 17th c. Gift of Mercedes de Acosta. Sleeveless vest of "Gros Point de Venise" Gift of Mercedes de Acosta. Collection of The Brooklyn Museum Lent by The Museum of the City of white floral embroidery and wide bands Gift of Mercedes de Acosta. lace with "roses" on the brides, Venetian, Collection of The Brooklyn Museum SL 75.200.26 New York of lace insertions. Lace: "Valenciennes" Collection of The Brooklyn Museum SL 75.200.8 SL 75.197.5 (bobbin), Franco-Flemish, 19th c. 17th c. Shown over evening costume of Evening costume of gold satin with SL 75.200.11 black satin with camisole bodice and Gift of Mercedes de Acosta. Chemise of white batiste trimmed with camisole bodice and chalwar type trousers Overblouse of heavy cream linen with two harem style pants-skirt; gold tassels at Collection of The Brooklyn Museum Overblouse of needle and bobbin laces, wide bands of ecru and beige lace. Laces: trimmed with metallic gilt tassels. front panels extending below hem front; each leg and at sash ends. SL 75.200.5 probably Flemish and Italian, 18th and bobbin, Flemish, 19th c.; band at bottom Designed by Callot Soeurs. hem band and high standing collar Gift of Mercedes de Acosta. 19thc. of needle lace, 19th c. Gift of Mercedes de Acosta. decorated with drawnwork and open­ Overblouse of white linen trimmed with Collection of The Brooklyn Museum Gift of Mercedes de Acosta. Gift of Mercedes de Acosta. Lent by The Museum of the City of work e,mbroidery. Lace trimmings: wide bands of beige lace and drawnwork. SL 75.200.19 Collection of The Brooklyn Museum SL 75.200.14 Collection of The Brooklyn Museum •New York "Reticella" (needle lace), Italian, 16th Lace: Bobbin, 19th c. SL 75.197.3a SL 75.200.12 SL 75.200.9 c.; bobbin lace edging, Italian, 16th c.; Gift of Mercedes de Acosta. early 20th c. needle lace at seam joints. Nightgown of French mull trimmed with Collection of The Brooklyn Museum Overblouse of various kinds of padded Chemise of white French mull with main Long tunic of heavy linen and Gift of Mercetles de Acosta. "Valenciennes" (bobbin lace),Franco­ SL 75.200.6 needle lace, French or Spanish, 17th c.; band of bobbin lace with applied braid (damed, knotted netting), Italian, 17th Lent by The Museum of the City of Flemish, 18th-early 19th c.; embroidered c. or later; edging on sleeves and hem of shown with rose-red satin evening cos­ medallion with cupid in a floral circle. detail. Brussels, 19th c. Upper band is New York Overblouse of heavy linen with bands. warp macrame, Italian, 17th c. or later. tume with harem style pants-skirt bobbin lace, Milanese, 17th-18th c. SL 75.197.6 and panels of cutwork and drawnwork; Gift of Mercedes de Acosta trimmed with matching tassels. Gift of Mercedes de Acosta. Gift of Mercedes de Acosta. bobbin fringe, Italian, 16th c. type. The Costume Institute Collection Collection of The Brooklyn Museum Gift of Mercedes de Acosta. CI 40.130.5 The Costume Institute Collection Overblouse of sheer ivory linen embroi- Gift of Mercedes de Acosta. SL 75.200.25 CI 40.130.6

I Twenty-four pairs of shoes in two leather IRENE CASTLE shadowed by hooped skirt of black em­ MILLICENT ROGERS frogs; full length black satin skirt with Jacket,

Many thanks go to Mr. and Mrs. John H. Johnson for their very generous contribution for the re-creation of Josephine Baker's costume of the '20's, as at this time no costumes of Josephine Baker's of this period are in existence. POSTER: MUSIC: Compiled by Steven Paley with the help of Michael Mastrangelo, Gerry Frankel, David Geffen JEWELRY: All Indian jewelry kindly lent by Mrs. Teal McKibben FASHION JEWELRY throughout the exhibition by Kenneth J. Lane

To Barbara Matera, for the superb workmanship, interest and talent which has made possible the beautiful costume of Josephine Baker of the '20' s SCARVES: James Berry

To Hortense Kooluris, for her advice and help with the Isadora Duncan costumes SPECIAL MANNEQUINS: Lane Bryant, Inc. DANCING MANNEQUINS: Jacques Schlappi, Jr. ADVICE AND HELP: Ara Gallant, Sam Green, Douglas Kesten PHOTOGRAPHS: Horst, Louise Dahl-Wolfe, Mrs. Edward Steichen, Madame Maryse Bouillon PERFUME: CALANDRE by Paco Rabanne-Paris : Hanes Hosiery, with special appreciation for their continued generosity; Bergdorf Goodman; Mrs. Mary Cahan; The Fashion Group PARSONS SCHOOL OF DESIGN 66 FIFTH AVENUE NEWYORK, NEWYORK 10011 212/741-5667 AFFILIATED WITH NEWS RELEASE Howard L. Levine, Director of Public Relations THE NEW SCHOOL Barbara Grimaldi, Assistant Director

PARSONS 1976 FASHION CRITICS AWARDS SHOW AND DINNER:

Events press may cover --

1) Photo session - starting at 6 p.m., Rendezvous Trianon Room, Grand Ballroom level -- see attached photo script.

2) Fashion Show, which will introduce the prizewinning fashion collection created by Parsons students, will begin at 7 p.m. and end at approximately 8 p.m. in the Grand Ballroom. You may cover this event from the Grand Ballroom balcony only. Please use stairway to reach the balcony level from Grand Ballroom level.

3) Award presentations - will begin at approximately 8 p.m. in Grand Ballroom. Parsons fashion design students will receive their awards first from leading fashion designers who have served as critics at Parsons this year. Mrs. Ford will then receive the Parsons Award (for her strong encouragement and support of the American fashion industry). This segment of the program is expected to end at approximately 8:30 p.m.

# II # New School for Social Research 66 WEST l 2TH STREET, NEW YORK, N. Y l 0011 HOWARD L LEVINE, DIRECTOR OF PUBLIC INFORMATION 741-5667 (HOME 914-478-1461) BARBARA GRIMALDI, ASSISTANT DIRECTOR 741-5668 (HOME 679-8831)

PHOTO CAPTIONS -- PARSONS AWARD TO MRS. GERALD R. FORD, New York Hiiton Hotel, March 29, 1976

The photographic set-ups will be arranged in order as below. Full captions, left to right, are listed below. If there are any changes, they will be announced to you. If there are any questions please ask for Barbara Grimaldi or Howard Levine, of the Parsons Public Relations Staff, or Patty Matson, of the White House Public Relations Staff. 1. LOEB/MRS. FORD/EVERETT -- Mr. Loeb presenting Parsons Award to Mrs. r.:: '

(Henry A. Loeb, Chairman of the Board of Trustees, Parsons Schoo) of Design; Mrs. Ford; Or. John R. Everett, President of Parsons School cf Design)

2. HOLLINGSWORTH/LOEB/HRS. FORD/EVERETT .,._ Mr. Loeb presenting Parsons Aw3:·:l to Mrs. Ford

(Michelle Hollingsworth of Altus, Okla., Parsons Fashion Design senior who will receive the "Student Designer of the Year" Award for design excellence in tonight's show; Henry A. Loeb, Chairman, Board of Truste::-;:

Parsons School of Design; Mrs. Ford; Dr. John R. Everett, President, r::·.·'r'.'3 School of Design)

3. ZIMMERMAN/LOEB/MRS. FORD/EVERETT/HECKSCHER - .. Mr. Loeb presenting Parsons hward to Mrs. Ford

(Sanford J. Zinunerman, Chairman of the Board and Chief Executive Officer,

Abraham & Straus, Brooklyn, Chairman of the Parsons Dinner; Henry A. Lc::e'}, Chairman, Board of Trustees, Parsons School of Design; Mrs. Ford; Dr. John R. Everett, President, Parsons School of Design) 4. LEVY/ZIMMERMAN/LOEB/MRS. FORD/EVERETT/NEWHOUSE/HECKSCHER -- Mr. Loeb presenting Parsons Award to Mrs. Ford

(David R. Levy, Dean, Parsons School of Design; Sanford J. Zimmerman, Chairman of the Board and Chief Executive Officer, Abraham & Straus, Brooklyn, Chairman of Parsons Dinner; Henry A. Loeb, Chairman, Board of Trustees, Parsons School of Design; Mrs. Ford; Dr. John R. Everett, President, Parsons School of Design; Mrs. Samuel I. Newhouse, Chairman, Special Reception Committee; August Heckscher, Chairman, Board of Overseers, Parsons School of Design)

5. ZIMMERMAN/HRS. FORD/NEWHOUSE

(Sanford J. Zimmerman, Chairman of the Board and Chief Executive Officer, Abraham & Straus, Brooklyn, Chairman of the Parsons Dinner; Mrs. Ford;

Hr~. Samuel I. Newhouse, Chairman, Special Reception Committee)

6. Hrs. Ford and Parsons Fashion Design students who will racelve designer awards at this evening's show:

Back row: Classen I Dane I Dwyer I Manley I Pastor I Smalls I Vitiello Front row: Keagy I Rosen I Jones I Mrs. Ford I Hollingsworth I Sabol Back row: (Kimberly Classen, 21, of Oak Park, 111., winner of the Award; Kim Dane, 24, of Key Biscayne, Fla., winner of the Leo Narducci Award; Carolyn Dwyer, 20, of Albany, N.V., winner of the Albert Capraro Award; Diane Manley, 19, of Wyckoff, N.J., winner of the Kay Unger Award; Patte Pastor, 22, of Edison, N.J., winner of the Calvin Klein Award; Laura Smalls, 20, of Astoria, N.Y., winner of the Donald Brooks Award; lnrnaculate Vitiello, 20, of Englewood Cliffs, N.J., winner of the Donna Karan Award)

Front row: Ann Keagy, Director, Fashion Design Dept., Parsons School of Design; Nancy Rosen, 21, of Portland, Ore., winner of both the Chester Weinberg and the Plero Dimitri Awards; Eric Jones, 22, of Newark, N.J. winner of the Shannon Rodgers Award; Hrs. Ford; Michelle Hollingsworth, 22, of Altus, Okla., winner of the Student Designer of the Year Award and the Kasper Award; David Sabol, 22, of Fishkill, N.V., winner of the Anthony Muto Award)

7. Mrs. Ford and designers who have served as Fashion Design Critics during the 1975"76 school year: Baek row: Claiborne I Rodgers I Narducci I Muto I Klein I Dimitri I Keagy Front row: Karan I Brooks I Capraro I Hrs. Ford I Kasper I Unger I Weinberg

(Ltz Claiborne; Shannon Rodgers; Leo Narducci; Anthony Muto; Calvin Klein; Piero Dimitri; Ann Keagy, Chairman, Fashion Design Dept., Parsons School of Design) Donna Karan; Donald Brooks; Albert Capraro; Mrs. Ford; Kasper; Kay Unger; Chester Weinberg)

8. Hrs. Ford and the Fashion Design Critics who are Parsons alumni:

Brooks I Karan I Capraro I Mrs. Ford I Kasper I Unger I Weinberg I Keagy

(Donald Brooks. Donna Karan, Albert Capraro, Mrs. Ford; Kasper, Kay Unger, Chester Weinberg, Ann Keagy, Chairman, Fashion Design Dept,, Parsons School of Design)

•more- r • •

PHOTOS WITHOUT MRS. FORD:

9, students who are award winners, and their Designer-Critics:

Rodgers I Klein I Karan I Unger Jones I Pastor I Vitiello I Manley

(Shannon Rodgers, Calvin Klein, Donna Karan, Kay Unger. Eric Jones, 22, of Newark, winner of the Shannon Rodgers Award; Patte Pastor, 22, of Edison, winner of the Calvin Klein Award; Immaculate Vit!ello, 20, of Engtewood Cliffs, winner of the Donna Karan Award; Diane Hanley, 19, of Wyckoff, winner of the Kay Unger Award.)

10. lndivfdual student winners and their designer-critic. Third person in each photo is David L. Levy, Dean, Parsons School of Design --

A. DONALD BROOKS/LAURA SMALLS/DAVID LEVY B. ALBERT CAPRARO/CAROLYN DWYER/DAVID LEVY C. LIZ CLAIBORNE/KIMBERLY CLASSEN/DAVID LEVY D. PIERO DIMITRI/NANCY ROSEN/CHESTER WEINBERG/DAVID LEVY (Ms. Rosen won two designer awards) E. DONNA KARAN/IMMACULATE VITIELLO/DAVID LEVY F. KASPER/MICHELLE HOLLINGSWORTH/DAVID LEVY G. CALVIN KLEIN/PATTE PASTOR/DAVID LEVY H. ANTHONY MUTO/DAVID SABOL/DAVID LEVY I. LEO NARDUCCI/KIM DANE/DAVID LEVY J. SHANNON RODGERS/ERIC JONES/DAVID LEVY K. KAY UNGER/DIANE MANLEY/DAVID LEVY

(for complete student identifications, see caption for photo 6) Newspaper Magazine Still Photographers TV Crews Reporters Reporters

15 7 19 6 TV Reporters

15 PARSONS SCHOOL OF DESIGN 66 FIFTH AVENUE NEW YORK, NEWYORK 10011 212/741-5667 AFFILIATED WITH NEWS RBLEASE Howard L. Levine, Director of Public Relations THE NEW SCHOOL Barbara Grimaldi, Assistant Director

FOR RELFASE AFTER ll AM EST March 18, 1976 FRIDAY, MAIOl 19

PARSCWS SCHOOL OF DESIGN WILL llNOR MRS. GERAID FORD MARCH 29

First lady Will Receive Parsons Award for Her SUpport of Altm'ican Fashion Design

Mrs. Gerald R. Fox:d will ba the guest of homr at the Parsons SChool of Design Fashion critics AWards Show in New York City on Morday evening, March

29. At that time, Mrs. Ford will be presented with the 1976 Parsons Awm:d as a tribute to her strong encouragement and Sllp!X)rt of the American fashion industcy.

The Show, which annually makes public a fashion collection designed and executed in its entirety by Parsons students working under the guidance of leading American designers, will take place at the New York Bilton beginning at

7 p.m..

The Parsons Award is conferre:l on distinguished men and wcuen who not only advance the cause of Anerican fashion, but in so doing serve as an inspir­ ation for students who are about to assume professional and citizenship roles in

American society. "In this year of the Bicentennial," stated Dr. John R. Everett,

President of Parsons School of Design, "there can be no mre fitting and Weed

-RDre- -2- no nore desel:ving recipient than Mrs. E:li~th "Betty" Ford, First Lady of the United States."

Since she became First Lady, Mrs. Ford has selecteCi a wardrobe that is designed and manufact.urel exclusively by Atrerican talent. Whether at 1600

Pennsylvania Avenue or on visits to foreign capitals, she has, by~ exanple, consistently shown .American worrep. her deep conviction that the highest starlc1axds of taste.and craftsmanship in fas}J.ion can definitely be found at }\a:ne.

Most of th.a nation's forem:>st fashion designers (lrene ~aff, Donald

Brooks, Kasper, Don Sim:melli, Chester Weinberg, Albert C8praro) and about one­ w tf of all professionals in the field are alumni of Parsons School of J)eSign.

This year, £~£teen of America's forenost fashion designers - DX>St of whan are

Parsoos alumni - vi~:ited Parsons regularly to participate in its Fashion Critics

Program. The Program offers Par-d)ns' second and third year students the qp:>r­ t.ur.d.ty to subiut their work to these leading designers for their criticism and guidance. The results of this unique nethod of fashion education will be seen in the Show, when fashion design students receive prestigious designers awards and present their winning designs. Designers who participated in the Prog;:am this year are: Donald Brooks, Albel."'t Capraro, Liz Claiborne, Piero Dimitri, Elinore

Fislman, Dama Karan, Kasper, Calvin Klein, Anthony Muto, Ieo Na.Idueci, Shannon

Rcdgers, Kay Unger, Ann Webster, and Chester weinberg.

Chairman of the 1976 Fashion Critics Awards Show is Sanford J. Zimne:rman,

Chairman of the Board, Abraham & Straus. The co-chairnen are: Sol c. Cllaildn,

Andrew Goodman, Melanie Kahane, OScar &>lin, Jack Lazar, Richard J. Schwartz and

Jerry Silvennan. -3-

Am:mq the Carmittee members for the Fashion Critics Awa%ds Show are:

I.ea Abraham; ; tbnald Brooks, Albert Capraro: John w. Christian, Jr.;

Angelo Donghia; B:iward s. Finkelstein; Stanley J. Goodman; Mark s. Haniler:

Ncmnan M. Hinerfeld; Walter Hoving; Allan R. Johnson; Matt R'allmm; Kasper; Calvin

Klein; Lawrence Lachman; Ieonard Lauder; Ralph Lauren; Lawrence c. Ieeds, Jr.;

Thcm1s P. IDsee, Jr.; Arthur Malsin; Ira Neimark; Mrs. s.I. Newhouse; Mollie Parnis;

John J. Panerantz; ; Matthew N. (Chip) Rubinstein; Kalman

Ruttenstein; Abe Schrader; Geraldine Stutz; Marvin s. Traub; Diane Von Furstenberg, and Paul li:>olard.- -

Parsons School of Design was fourded in 1896 and became an affiliate of the New School for SOcial Research in 1972. Fully accredited, it offers a Ba.chelor of Fine Arts degree in camuru.cation Design, Environmental Design, Fashion Design,

Illustration, Painting and SCUlpture, and, starting September 1976, Crafts. It also offers an evening Associate in Applied Science degree in Interior Design,

Photography, Fashion Design, Graphic and Mvertising Design, and Illustration.

The Parsons stuient body numbers approximately 1,000, and its stments cane fran dozens of foreign countries as well as 42 states. Parsons' distingµished faculty incl1Xles such well known names in their respective professions as Larry Rivers,

Maurice SetXlak, Phillippe Halsman and Elaine DeKooning.

Further information about the 1976 Parsons Fashion Critics Awa:tds Sl1CM may be obtained by calling 741-5662.

# # # IG268 PARSONS SCHOOL OF DESIGN 66 FIFTH AVENUE NEW YORK, NEWYORK 10011 212/741-5667 AFFILIATED WITH NEWS RELEASE Howard L. Levine, Director of Public Relations THE NEW SCHOOL Barbara Grimaldi, Assistant Director

FOR IMMEDIATE RELEASE

ELEVEN PARSONS SCHOOL OF DESIGN STUDENTS Will RECEIVE AWARDS AT ANNUAL FASHION CRITICS AWARDS SHOW MARCH 29

Hrs. Gerald R. Ford Will Receive Parsons Award

E1even talented Parsons Fashion Design students wl11 share

12 prestigious designer awards at Parsons• Annual Fashion Critics

Awards Show to be held in the Grand Ballroom of the New York Hilton on Monday evening, March 29, beginning at 7 p.m.

Mrs. Gera~d R. Ford will be the guest of honor at the Show

and will be presented with the 1976 Parsons Award as a tribute to her strong encouragement and support of the American fashion industry.

The Show will make public a fashion collection designed and

executed in its entirety by Parsons students working under the guidance of such leading American designers as Donald Brooks, Calvin Klein,

and Albert Capraro. At the Show, the professional designers who served during the past year as critics at Parsons will present Gold and Silver

Thimbles, symbols of design excellence, to the Parsons students who

-more- Page two - created the best designs. The award-winning students gre:

STUDEMT DESIGH OF THE YEAR - THE KASPER AWARD Michelle Hollinqsworth of Altus, Oklahoma, will receive the coveted Student Designer of the Year Award, which is presented annua·lly to the student who has demonstrated the greatest creatfvity in finished garments and a workbook. Ms. Hollingsworth, who believes that clothes should be functional, wearable, and :hie, wlll also receive the Kasper Award for a toast poplin ensemble that Includes cape coat, pants, and sweater. She received the Leo Narducci Award In last yeal' 1 S Show. Ms. Ho11 ingswcrth ls 22.

THE PIERO DIMITRI AWARD - CHESTER HEIMBERG AHARD

Nancy Rosen, 21, of Portland, Oregon, will also receive two awards - the Piero Dimitri Award for an unlined sand linen suft and striped sport shirt, and the Chester Weinberg Award for a geranium wool broad­ cloth coat and chocolate wool crepe dress ensemble. Ms. Rosen has won several other design awards during her student career, and describes her talent as "a new approach to the classics, with the client's

1 ifestyle in mind. 11 Ms. Rosen attended Lincoln High School in Portland.

THE DOtJALD BROOKS AWARD Laura Smalls of Astoria, New York, will receive the Donald Brooks Award for Jet black and white Jersey . Twenty-year-old Hs. Smalls attended the Hfgh School of Art and Design in New York City and hopes to become the.first well-known Black woman fashion designer.

-more- Page three -

THE ALBERT CAPRARO AWARD

A red cotton jersey jumpsuit is the design that won the Albert Capraro Award for Carolyn Dwyer, 20, of Albany, New York. Ms. Dwyer, who believes that clothes should be easy, fluid and enjoyable, attended Marybrose Academy in Albany.

THE LIZ CLAIBORNE AWARD

A second-year Parsons student, Kimberly Classon of Oak Brook, Illinois, will receive the Liz Claiborne Award for an off-the-shoulder multi­ purPose black cotton cover-up. Ms. Classon, 21, attended Oak Park­

Riv~r Forest High School.

THE DONNA KARAN AWARD

An ivory wool coat over a two-piece crepe de chine dinner dress won the Donna Karan Award for Immaculate Vitiello, 20, of Englewood Cliffs,

New Jersey. Ms. Vitiello attended The Academy of the Holy Angels in

Demarest, ~!ew Jersey.

THE CALVIN KLEIN AHARO

Twenty-two-year-old Patte Pastor of Edison, New Jersey, will receive the Calvin Klein Award. The design that won her the award is an ensemble consisting of a blanket with scarf-tied collar, shetland sweater, -olaid shirt, and green knickers. Ms. Pastor attended J.P. Stevens High School in Edison.

THE ANTHOt

David Sabo1 1 s design of a three-piece cotton printed batik ensemble

-more- Page four - has won him the Anthony Muto Awa'rd. Mr. Sabol, a resident of Fishkill, New Vork, and a graduate of John Jay High School In Hopeweil

Junction, be~feves in clothes that are vlsua11y stimulating by means of color, texture, shape or proportion. "These are all elements that help us communicate our own unique differences to others," he says.

THE LEO NARDUCCI AWARD

Kim Dane of Key Biscayne, , who won the Stan Herman Award last year, has won the Leo Narducci Award this year for her navy jersey slim skirt, jacket and crepe de chine blouse ensemble. Ms. Dane, 24, attended Belort Memorial High School in Belort, Wisconsin. She hopes to awn her own fashion design company In a few years.

THE SHANNON RODGERS AWARD Eric Jones, 22, of Newark, New Jersey, has won the Shannon Rodgers Award for his design of a rose matte Jersey gown. Mr. Jones, who attended Arts High School in Newark, believes that simplicity is a fashion must.

THE KAY UNGER AWARD The youngest student winner this year Is Diane Hanley, 19, of Wyckoff, New Jersey. She will receive the Kay Unger Award for her design of a nautical white cotton jacket, , and terry stripe shirt ense'!l~,: Ms. Hanley attended Ramapo High School in Franklin lakes, New Jersey.

-more- Page f 1ve -

Pa~sons School of Design, alma mater to America's top designers (Norman Norell, Irene Sharoff, Donald Brooks, Kasper, Don Simonelli, Chester Weinberg, et alla), has been a major force in the movement that has shifted the International fashion capital from Paris to New York. Founded In 1896, Parsons became affiliated wfth The New SchoQ1 -in 1972 and now offers Bachelor of Fine Arts degree

~rograms fn Conmunicatlon Design, Environmental Design, Fashion Design, Illustration, Photography and Sculpture, and, starting In September '76, Crafts. It also offers Associate in Applied Science evenfng degree programs In Interior Design, Graphfc and Advertising Design, Illustration, Photography, and Fashion Desfgn. Hore than 1,000 full-time and 1,600 part-time students from dozens of foreign countrfes and 42 states comprise Pargons' student body.

# # # 271BG 3-23-76 -- PARSONS SCHOOL OF DESIGN 66 FIFTH AVENUE NEW YORK, NEW YORK 10011 212/741-5667 AFFILIATED WITH NEWS RELEASE Howard L. Levine, Director of Public Relations THE NEW SCHOOL Barbara Grimaldi, Assistant Director

FOR IMMEDIATE RELEASE

BROOKLYN RETAILING LEADER HEADS PARSONS AWARDS DINNER

Sanford J. Zimmerman, Chairman of the Board and Chief Executive Officer of Abraham & Straus, Brooklyn, N.Y., has been named chairman of the 1976 Parsons School of Design Fashion Critics Awards Show. The Show will take place on Monday evening, March 29, at 7 p.m. in the Grand Ballroom of The New York Hilton and will be attended by more than 1000 members of the fashion industry. It will make public a fashion collection designed and executed, in its entirety by Parsons students working under the guidance of such leading American designers as Donald Brooks, Albert Capraro, Donna Karan, Kasper, Calvin Klein, Leo Narducci and Chester Weinberg. Before assuming his Abraham & Straus chairmanship in 1973, Sanford Zimmerman was chairman of the board and chief executive officer of St. Louis' Famous-Barr Department Store. He began his career at Famous-Barr in 1955 after serving three years as an instructor and assistant to the dean at New York University's School of Retta.iling. -more- -2-

Mr. Zimmerman is Director of the Associated Merchandizing Corporation and a member of the board of directors of the Better Business Bureau. He is also a member of the executive committee of the Brooklyn Institute of Arts & Sciences, the Metropolitan N.Y. Retail Merchants Association, and the Citizens Committee for New York City. Parsons School of Design was founded in 1896 and became an affiliate of The New School for Social Research in 1972. It offers Bachelor of Fine Arts degree programs in Communications Design, Environmental Design, Fashion Design, Illustration, Painting and Sculpture, and, starting fall 1976, in Crafts. Parsons also offers an evening Associate in Applied Science degree program in Interior Design, Graphic and Advertising Design, Illustration, Photography and Fashion Design.

# t i 269BG 3-11-76