FIDM Museum Blog

V is for Valentino

 

You've probably heard that retired couturier Valentino Garavani (b. 1932) will soon launch a virtual museum showcasing highlights from his five decades in fashion. Slated to launch on December 5, the virtual museum will use 3-D technology to create a palazzo with a series of galleries dedicated to garments, images, videos and more. A short promotional video describing The Valentino Garavani Virtual Museum can be seen here.

Many designers keep archives of their designs, sketches, press clippings and other documentation. In some cases, garments or images pulled from these archives will eventually surface in a publication or a museum exhibition. But for the most part, these archives serve only as an in-house resource or a reservoir of primary source material for the outside researcher. Some designers, including Claire McCardell, Christian Dior and Elsa Schiaparelli, made a conscious attempt to document their contributions to fashion by authoring biographies. Until Valentino, however, no individual couturier has comprehensively approached the preservation of his or her legacy. It will be fascinating to see how Valentino presents his extensive career and which garments he chooses to highlight when his virtual museum is open for viewing!

Culotte dress
Spring/Summer 1969
Valentino Couture
Gift of Laura Jarre
87.384.2

Giorgio di Sant' Angelo, Fall 1969

 

Klimt dress
Giorgio di Sant' Angelo
Fall 1969
Gift of Eleanor Phillips Colt
95.193.2

Like this patchwork evening gown, Giorgio di Sant' Angelo's (1933-89) professional background was an unconventional mix. Born in Florence, Italy, Sant' Angelo was raised on his family's ranch in Argentina. He studied law at an Argentinian university, along with architecture and industrial design in either Italy or Argentina. Sant' Angelo also practiced a variety of artistic disciplines, including ceramics, painting and sculpture. His artistic skill led to short-term study with Picasso and to Sant' Angelo winning a Walt Disney animation apprenticeship at the company's California studios in 1962. Unhappy in Los Angeles, Sant' Angelo decamped for New York after only a few weeks.

André Courrèges mini-dresses

 

André Courrèges first solo collection of 1961 was inevitably compared to the work of his mentor and former employer Balenciaga. Consisting of day suits, dresses and evening wear, Courrèges' first collection was said to be, "decidedly derivative" of Balenciaga in both conception and skill of tailoring.¹ As Balenciaga was considered a masterful couturier, this comparison was much more than faint praise. Within a few years, however, Courrèges had developed a strict, modern aesthetic that set his work apart from that of his fellow couturiers. He pushed the sartorial envelope by presenting extremely brief mini-dresses and through his promotion of trousers as an important part of the feminine wardrobe. Courrèges also distinguished himself through his strong distaste for restrictive undergarments, claiming in 1965 that the bra would soon be as antiquated as the whalebone corset.²

Mini-dress
André Courrèges
c. 1965
Gift of Mrs. Richard Gold
81.1965.008.1

Pedro Rodriguez sheath dress, c. 1965

 

A recent debate in the New York Times asked, Has Globalization Ruined Street Style? The question itself is premised on the belief that the combination of extensive social media networks and global clothing retailers have eliminated regional variations in dress. Though the debate participants had differing opinions about whether globalization has been good or bad for street style, it is undeniable that globalization has softened obvious differences in global dress. Subtle differences exist, but they are usually found in small details or overall styling.

The article made me think about designers with a a primarily regional following. Holly Harp, who worked in Los Angeles and drew inspiration from the glamour of Old Hollywood, is one such designer. Another is Pedro Rodriguez, a Spanish designer largely unknown outside of his native country. Rodriguez had a long career, opening his first salon in 1918, and didn't retire until the early 1980s. If by some lucky chance you'll be in Barcelona in the next few days, an exhibition titled "What to Wear?" focuses on his work. Our Pedro Rodriguez pink silk faille evening sheath dates from c. 1965.

Embellished sheath dress
Pedro Rodriguez
c. 1965
Gift of Stephen Porterfield
S2009.897.159

Batik ensemble, c. 1970

 

Nineteen-sixties hippie culture was based on the rejection of "straight" culture, i.e. mainstream culture that oppressed the individual. In sartorial terms, this meant that hippies rejected contemporary, mass-produced, off-the-rack garments. Instead, hippies preferred garments that expressed individuality and signaled a rejection of "the system." This view is encapsulated in the words of a young model named Sarah who was featured in the April 1, 1968 issue of Vogue. A pictorial spread showcased highlights of Sarah's wardrobe, including a Moroccan djellaba, an 1880s velvet and silk day dress and a gauzy white cotton gown. Sarah summed up her unusual style with the comment, "nothing nice ever happens to me in my straight clothes."

Halter and wrap-skirt ensemble
c.1970
Indo Archipelago
80.431.1AB
Gift of Mrs. Gerald Labiner

Hermѐs

 

You've come a long way, Hermѐs.

Founded in 1837 by Parisian harness and saddle maker Thierry Hermѐs, the House of Hermѐs is today a world-renowned purveyor of luxury goods. Building on the reputation of their highly regarded leather goods, Hermѐs diversified its product line in the early twentieth century. Though still producing high-quality leather goods, Hermѐs expanded into other accessories (handbags, wallets, etc.) and garments, like this late 1920s beach ensemble. Hermѐs is also credited with being the first to introduce zippers into high fashion, handbags and luggage. In the early 1920s, Hermѐs designed a leather jacket which fastened with a zipper. According to the company, the fashion forward Prince of Wales sanctioned the zippered jacket with a purchase, leading to unexpectedly high-volume sales.¹ This anecdote suggests the spirit of innovation and experimentation that has helped Hermѐs remain relevant for the last 174 years.

Even today, the most iconic Hermѐs products, the Kelly and Birkin bags, are made of leather. A structured, square handbag ornamented with a tiny lock, the Kelly earned its name when Princess Grace of Monaco (aka screen star Grace Kelly) was photographed with the bag in the 1950s. The Birkin bag, similar to the Kelly bag but larger, was created in 1981 for French chanteuse Jane Birkin. Hand-crafted from rare and exotic leathers, both bags were sought after status items, inspiring long waiting lists. In 2010, the wait was apparently over. According to this 2010 Glamour magazine blog post, there is no longer a waiting list for the Birkin bag.

Hermѐs
Silk with printed pattern
Gift of Roxanne, Byrnadette & Frank DiSanto
95.c.1969.08.52AB

Suede and vinyl boots, 1968-70

 

By 1965, the miniskirt had infiltrated women's fashion. Worn by women of all ages, the popularity of the style resulted in a new fashion focal point: the leg. Exposed for the first time since the 1920s, the leg needed a new wardrobe. Colored, patterned and textured knee-socks were worn with low-heel, square-toed shoes. Sheer neutral and black stockings became passe, replaced by tights in a rainbow of colors and textures. According to an end-of-the-decade fashion recap from 1969, "the hosiery industry rejoiced as stockings went from sheer to crazy with color and pattern making the rising hem easier to take."¹ The same article also noted that "many [women] switched to tights" during the 1960s.

Boots, which had been relegated to bad weather or outdoor pursuits for many decades, made a return to the fashion scene. André Courrèges' Spring 1964 collection, which featured all-white, minimalist garments paired with flat boots, goggles and helmets, is often cited as the origin of 1960s boot mania. Beth Levine, who designed a pair of jewel-studded evening boots as early as 1959, also deserves credit for bringing the boot to forefront of fashion during the 1960s. Levine's creativity also resulted in an innovative 1960s garment which mimicked the look of a boot, the all-in-one stocking shoe.

Boots
Suede/vinyl
1968-1970
Museum purchase
2003.5.31AB

Win a copy of Paris 1962!

 

Hello readers!

Paris 1962: Yves Saint Laurent and Dior, Christian Dior, The Early Collections documents the world of early 1960s haute couture. Featuring images of tastemakers, fashion icons and the garments themselves, it offers a glimpse into an exclusive and glamorous world. Thanks to the FIDM Museum Shop, we have one copy to give away to a lucky reader!

If you'd like a chance to win, post a comment about your favorite designer. It doesn't have to be a designer who works in the haute couture tradition, but you need to specify what it is about that designer that captures your affection. Post your comment by or on Friday, January 14, 2011. We'll chose one winner at random.

Good luck!

 

Kenneth Jay Lane starburst brooch, c. 1968

 

The term costume jewelry came into use in the early 20th century, probably in the mid-1920s. Prior to the 1920s, jewelry had a dual purpose: adornment and as a vehicle for displaying personal or familial wealth. Though glass paste gemstones and pinchbeck could very nearly imitate the appearance of costly fine jewelry, objects made using these techniques filled the same roles as did jewelry made from gold and diamonds. In the 1920s, semi-precious and non-precious jewelery challenged this notion, suggesting that jewelry was simply another way to enhance personal appearance. The most iconic example of this mindset are the oversized, patently fake pearls worn and popularized by Gabrielle Chanel.

As the twentieth century progressed, costume jewelry continued to gain in popularity, becoming an acceptable, popular alternative to precious jewelry. One of the most celebrated costume jewelry designers of the twentieth century is Kenneth Jay Lane. Lane's fashion training began at Vogue, where he worked in the art department. He quickly switched to shoe design, working for Delman and Christian Dior Shoes. In 1961/2 Lane was working on a collection of jeweled shoes for Arnold Scassi when he "suggested making jeweled buttons to match the shoes, and even matching earrings and bangle bracelets."¹ This first hand-made collection consisted of plastic bracelets and drop earrings covered with rhinestones. These first designs ultimately weren't mass-manufactured, but they began Lane's forays into jewelry design. In 1963, Lane quit designing shoes and turned full-time to jewelry.

Brooch
Kenneth Jay Lane
Rhinestone/metal
1968
Gift of Anonymous Donor
2009.40.3

Sewing patterns from the FIDM Museum

Within the FIDM Museum collection are a number of smaller mini-collections. Some, like the Rudi Gernreich Archive, consist of large groupings of objects that document the work of a specific designer. Others, like our photograph collection, are less focused groupings of objects collected to help us interpret fashion history. One of my favorite mini-collections is our collection of paper sewing patterns. In addition to their entertaining envelope illustrations, sewing patterns are a valuable source of fashion information because they help us understand how high fashion or runway garments are interpreted for the mass market. This is particularly true for patterns associated with known designers. They can also point to the social context of specific garments or styles. Because many patterns are copyrighted, they can be very useful in dating extant garments. Sewing patterns also allow us the opportunity to engage with fashion on a very personal level. With a bit of practice and patience, any sewer can create a custom-designed garment demonstrating either a highly individual sense of style or one perfectly attuned to the latest runway fashions.

  Misses' and Women's Slack Suit and Coverall pattern
Simplicity
1942-45
2003.46.10
Gift of Andrea Tice In Memory of Carmelita Johnson