FIDM Museum Blog

Mirrorwork embroidery

Though the focus of the FIDM Museum collection is on objects related to Western European and North American dress, we do have a small number of outstanding objects related to the sartorial traditions of other cultures and countries. Many of these objects, like this kimono dressing gown, have been reimagined or repurposed to suit Western tastes. Today's object, a small drawstring bag covered with mirrorwork embroidery, is no exception.

Drawstring bag
1900-35
Gift of Carita Kadison
2003.792.3

Egyptomania

In late 1922, the British archaeologist Howard Carter unearthed and opened the sealed tomb of King Tutankhamun in Luxor, Egypt. Though Egyptian art and ornament had served as a source of artistic inspiration for many centuries, the discovery of King Tutankhamun's tomb created an immediate renewal of interest in Egypt throughout Europe and North America. Reporters present at the opening of the tomb sent frequent articles and images to their home newspapers, resulting in widespread knowledge of the archaeological find. By early 1923, Egypt (or fanciful perceptions of Egypt) had inspired a wave of Egyptian-influenced garments, accessories and decorative embellishments.

Textile
c. 1923
Gift of Robert Fortunoff
99.274.114

Handbag variety

Like shoes, handbags and purses straddle the line between functional and decorative objects. Though many women (and some men) consider them necessary containers for objects such as keys or money, the sheer diversity of available styles demonstrates that handbags are also a design object in their own right. Until about 1800, when menswear became more sedate and less decorative, both men and women carried purses on a regular basis. From this point onward, men typically carried compact wallets or a very small pouch tucked in a sleeve or pocket. Women continued to carry decorative purses, creating an association between handbags and femininity.

Beaded purse
c. 1920
Gift of Penny Schnabel
S2004.821.2

Bohemian dress for children

Bohemians were figures of both fascination and fun in the late 19th and early 20th centuries. A typical Bohemian was often artistically or politically inclined and was willing to step outside the bounds of conventional society. The highest Bohemian ideal was to be true to one's own inner passions, regardless of societal or economic pressures. This interest in nonconformity led Bohemian dressers to a variety of innovative dress styles: non-Western garments, comfortable work or sport clothes, and costumes born of their own imaginations.

Long associated with working artists, the "art smock" attained special prominence in notoriously Bohemian Greenwich Village during the late teens. The loose, unstructured fit marked its wearer as a woman willing to reject the boundaries of fashion and propriety in the pursuit of an "artistic" life. A woman who was willing to wear such a free and easy garment was assumed to adhere to ideals of personal, social and sexual liberation. Smocks could be purchased in several Greenwich Village boutiques, including the Village Store and from the studio of batik artist Alice Muth. The 1922 Greenwich Village guidebook by Anna Alice Chapin noted that it was common to see "girls in smocks of 'artistic' shades-bilious yellow-green, or magenta-tending violet" when visiting the area.

Shopping

Did you brave the crowds to do a bit of Black Friday shopping? If so, you probably visited a department store, boutique or perhaps a local craft fair. Or maybe you waited until today, Cyber Monday, to do your shopping online. Did any of the retail outlets you visited resemble the late 1920s dry goods store pictured below?

Though it might be a bit difficult to see, note the many bolts of fabric, one of which is being examined by the woman in the center of the image. Notice also the ready-made garments, hanging on the rack in front of the window.

Interior of a dry goods store
Late 1920s
Gift of Steven Porterfield
2009.897.135

Our post today was researched and written by FIDM Museum Registrar, Meghan Grossman Hansen!

In the Least Likely of Places: Discovering Counterfeit Chanel No. 5 in a Museum Collection

“Bathtub Perfume Traps Pool Shark”¹    

“Pair Arrested in Sale of 11c Perfume for $15”² 

These are just a few headlines that tell us about the rampant problem of piracy in the perfume industry, a criminal activity that is prevalent in any field in which luxury goods are involved. For an example of the legal battles that can ensue from the selling of pirated fashions, check out this New York Times blog post. Though Chanel’s fragrances were not the only French perfumes targeted by counterfeiters, Chanel No. 5 consistently turns up in smuggling arrests, counterfeit busts, and consumer warnings about cheap perfume scams. Chanel No. 5 has a cachet that everyone wants, but where does this reputation come from?

Counterfeit Chanel No. 5 Bottle and Box
c. 1950-1959
Gift of Annette Green
F2005.860.986AB

Boué Soeurs

If you're looking for a research project, here's a great one for you! See if you can add anything new to the existing information about the Boué Soeurs, the pair of French sisters who designed this lingerie-style dress intended for a young girl.

Girl's dress
Boué Soeurs
c. 1924-25
Gift of Lloyd Costen
2006.876.3AB

Robe de style

Today’s featured Study Collection ensemble highlights a type of dress most often associated with the Parisian designer Jeanne Lanvin (1867-1946). Called a robe de style, the upper portion of the dress is slim and close-fitting, while the skirt is full and rather long. The fullness in the skirt is a result of built-in panniers at each hip. These built-in wire structures, shaped like small baskets, extend the line of the dress horizontally, emphasizing the hips. This look hearkens back to the 18th century, when panniers were worn on a regular basis by European and American women. This historic reference was noted by American fashion writers who often referred to the robe de style as a “quaint” or “period style” dress.

Robe de style
c.1923
Gift of Ms. Sandra Coleman
S2005.851.1