FIDM Museum Blog

1970s Gunne Sax dresses

 

Gunne Sax's aesthetic has been described as feminine, nostalgic, Victorian, old world and romantic. Though the brand is now closely associated with formal and bridal wear, its origins date back to late '60s San Francisco. In 1969, San Francisco boutique Gunne Sax needed a house designer. Enter Jessica McClintock, an elementary school teacher with a life-long interest in fashion. When a friend told McClintock of the opening at Gunne Sax, she applied immediately. In a testament to the freewheeling spirit of 1960s San Francisco, McClintock was hired despite her lack of formal training in fashion design or clothing manufacture. In the beginning, McClintock designed small collections of about 20 garments. Within a few months the San Francisco department store I. Magnin started retailing Gunne Sax dresses. The mood of Gunne Sax was based on McClintock's personal vision: "I brought to [Gunne Sax] my own concept of clothing based on romance--nostalgia created by a mixture of prints, ribbons, laces, muslins and braids. It was 1969, the "mini" era was ending, and the Gunne Sax "Country," "Edwardian," and "Prairie" era was beginning."¹ 

Gunne Sax by Jessica McClintock
c. 1975
Gift of Roxanne, Byrnadette & Frank DiSanto
95.817.1

Top five posts of 2011--Louella Ballerino crop top, 1946

 

First published in July 2011, the second most popular post of 2011 describes how a serendipitous find dramatically altered our understanding of a midriff-baring 1940s crop top in our collection.

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In 2003, a black and coral crop top was donated to the FIDM Museum. The top is of coral silk, with black silk appliques in a stylized floral pattern. Accompanying the donation was a snapshot of the donor actually wearing the top. We love this kind of supporting documentation! Here's the photo, taken someplace in southern California and dated 1946.

Photo of donor in the coral and black crop top
1946
Gift of Patricia Marks

During the mid 1940s, the crop top, or midriff top, was widely popular. Exposed midriffs were seen in swimsuits, playsuits and even evening gowns. A Jan 1946 fashion spread in the New York Times highlighted full-length evening gowns with exposed midriffs and cut-out backs. The accompanying copy reads, "Fashion is baring the midriff this season not only for sports wear, but for evening."¹ As the photo above documents, the bare midriff was more than a trend promoted by the fashion press; it was also adopted by the woman in the street.

Thierry Mugler suit, 1998

 

Thierry Mugler
S/S 1998 Ready-to-wear
Museum Purchase
2005.5.22AB

The work of Thierry Mugler is noted for its theatricality and an emphasis on exaggerated, aggressive femininity. Mugler began his career as a freelance designer in the early 1970s; by the end of the decade he had opened his first boutique in Paris. From the beginning, Mugler used fashion to create a stylized feminine archetype: "square shoulders, slender waist, full hips and tight skirt-preferably slit to the hip."¹ Mugler presented his designs in spectacular runway shows that resembled stage productions. You can watch the La Chimere (A/W 1997/8) couture collection presentation here. At about 2:22 the mythical human/animal Chimere herself appears. Her costume clearly demonstrates the inherent theatricality of Mugler's aesthetic.

1890s shirtwaist

The shirtwaist first emerged in the 1860s as a casual, daytime alternative to the matched bodice and skirt ensembles worn by nearly all well-dress women. Most frequently worn by young women, the shirtwaist was usually paired with a dark colored skirt and accessorized with a belt or sash. The Garibaldi, a high-necked, long sleeved shirtwaist styled to resemble the uniforms worn by the troops of celebrated Italian hero Guiseppe Garibaldi, was the first style of feminine shirtwaist to become widely popular. Though the Garibaldi was occasionally made from red or black wool, it was more commonly fabricated in white cotton. In 1862, Godey's Lady's Book suggested that the new fashion for the Garibaldi shirt worn with a skirt was "destined to produce a change amounting to revolution in ladies' costume."¹ Given the rapidly growing popularity of the shirtwaist among women, this would prove to be an accurate prediction.

Shirtwaist
Silk
1890-99
Gift of Ann Jensvold
2003.793.7AB

Norman Norell flower coat

"Flower power" is usually associated with the late 1960s hippie aesthetic, but flowers were actually a popular decorative motif throughout the decade. The early years of the 1960s witnessed a proliferation of stylized and patently artificial floral forms, while real or "natural" flowers dominated the late 1960s. Often used as a motif in textile designs, flowers also appeared as three-dimensional embellishments on garments and accessories. Elaborate headdresses and hair ornaments made particularly good use of artificial flowers during 1964-65. The hand-dyed silk organza flowers on this 1963 Marc Bohan for Christian Dior evening gown are an early example of 1960s flower fever from the haute couture. The April 1, 1965 issue of Vogue praised floral patterned garments for evening wear in an editorial titled "The Garden of Evening." This flower-covered Norman Norell evening coat, though not featured, would have been a perfect fit for the Vogue editorial. Hand-dyed silk flowers in shades of pink and white are stitched to the coat, which is lined in pink silk. A center-front opening is hidden by the oversize flowers.

Evening coat
Norman Norell
c. 1965
Gift of Clarissa Dyer
2003.794.3

Alexander McQueen, you will be missed.

All of us at the FIDM Museum were saddened and shocked to learn of Alexander McQueen's death. Such a tremendous loss of creative talent is difficult to comprehend. McQueen's aesthetic was provocative and never shy of pushing limits. Individual garments (recent examples include "armadillo" shoes and bone patterned suits) were provocative, as were the narratives that inspired each collection. In addition to his creative abilities, McQueen was a master of his craft, with many calling him the finest woman's tailor of his generation. For anyone who questions the impact of a provocative designer on everyday dress, take a look at the jeans you're probably wearing right now. If they're low-waisted, you have Alexander McQueen to thank, as he first introduced the low-cut "bumster" trouser in the mid-nineties.

Tailored suit

In the 20th century, the tailored suit became a standard uniform for professional working women. Consisting of a jacket and skirt in matched or closely coordinated fabric, it developed in the late 19th century as an evolution of specialized garments worn for outdoor activities such as horseback riding, croquet and bicycling. Like its sporting predecessors, the tailored suit had a function: it served as a professional uniform for the newly emerging class of women who worked outside the home as educators, social workers and clerical employees. Tailored suits were also worn for leisure activities like travel or an afternoon promenade. With styling borrowed from menswear, most tailored suits featured solid colors and a minimum of decorative trim.

Two-piece suit
1913-1914
Gift of the Manlove Family
2006.870.33AB

Lanvin

As designer for Lanvin since 2002, Alber Elbaz has brought new life to what had become a house on the periphery of fashion. Founded in 1885 as a millinery shop, Lanvin flourished under the direction of its founder, Jeanne Lanvin. Lanvin excelled in the creation of elegant, sophisticated garments with a distinct silhouette and inventive surface decoration. After Lanvin's death in 1946, a series of designers headed the house, though none to such acclaim as Jeanne Lanvin herself. It was only with the hiring of Alber Elbaz that Lanvin began to return to a position of prominence. Though Elbaz's designs for Lanvin are lauded for their modernity, it is possible to find traces of Jeanne Lanvin's aesthetic running throughout his work.

Evening dress
Winter 2004
Alber Elbaz for Lanvin
Gift of Barbara Bundy
2006.37.8

Marimekko

With its oversized imagery and brightly clashing colors, Marimekko textiles are unmistakable. The Finnish company began in 1951 as a textile design firm specializing in hand silk-screened cotton fabric. The patterns created by Marimekko designers were a departure from traditional Finnish floral patterns, though the graphic, modern Marimekko imagery was definitely inspired by aspects of Finnish heritage and landscape. To promote their textile designs, the founders of Marimekko created a collection of unrestrictive garments utilizing their textiles. From the beginning, Marimekko garments were loose and unstructured, meant to allow freedom of movement. Marimekko gained widespread popularity in the United States when Jackie Kennedy purchased several Marimekko dresses in 1960, which she wore throughout her husband's presidential campaign.

Belted dress
Marimekko
1972-74
Gift of Dora Lou Davis
2004.835.1AB

Sonia Rykiel

Sonia Rykiel's signature garment is the striped sweater. Her earliest versions were shrunken, body-hugging "poor boy" sweaters with horizontal stripes designed in the early 1960s. The use of soft, knit fabric (often striped) became a trademark, earning Rykiel the title "Queen of Knitwear." Rykiel intended her knitwear to take shape on the body, so early in her career, she encouraged woman who wore her garments to forgo undergarments. When she opened her eponymous Left Bank boutique in 1968, it quickly became symbolic of the 1960s movement way from haute couture and towards youthful ready-to-wear.

Rykiel's designs from the 1970s and 80s often suggest silhouettes popular in earlier decades. Drop-waisted dresses similar to those seen in the 1920s were a particular favorite as were wide-legged pants. Though the pant and sweater ensemble below dates from the 1980s, it could have been worn by a daring woman of the 1930s or 1940s, such as Katharine Hepburn.

Wool knit ensemble
Sonia Rykiel
1980-82
Gift of Patricia G. Waldron, M.D.
2002.149.15AB