FIDM Museum Blog

Fashion Birthday: Miuccia Prada

Happy birthday to Miuccia Prada, born on May 10, 1949! Prada, the creative force behind her family's 100 year old company, has a knack for distilling her interests (in and outside of fashion) into influential collections that chart the course of fashion. Miuccia Prada's design philosophy revolves around a version of aspirational dressing: "Clothes should always represent your vision of yourself...or what you want to represent—even if it's only for one night."¹ Her approach to design is thoughtful. Rather than providing pat answers regarding her inspiration for a particular collection, Miuccia Prada offers explanations that hint at her interest in connecting fashion with broader cultural issues. Regarding her Spring 2013 collection, Prada declared, "Dream is forbidden, nostalgia is forbidden, to be too sweet is not good. Everything we used to feel historically, now you can't enjoy. The clothes are the expression of this impossible dream."²

Prada pumps
2003-2004
2005.5.91AB
Museum Purchase

Merlot-Larchevêque day ensemble, c. 1867

Day Ensemble
c. 1867
Madame Merlot-Larchevêque
Museum Purchase
2008.5.45A-C

The rise of France's haute couture industry in the mid-nineteenth century coincided with the astounding growth of industrial family fortunes in the United States. Couturiers astutely recognized the profits to be gained from catering to "new money." Privileged American women had the time and means to travel to Paris to acquire seasonal wardrobes. In 1867, Madame Merlot-Larchevêque (active c. 1855-1880s) advertised her dressmaking establishment in the most popular American women's magazine of the time, Godey's Lady's Book. Her showroom was located on the Boulevard des Capucines across from the luxurious Grand Hotel and, conveniently, English was spoken there. Godey's described the luxurious textiles from which a lady could commission a gown: "We enter the inner sanctum of Mme. Merlot Larchevêque, and see tissues of the most exquisite hues, of the richest textures, and in an unprecedented variety, thrown round in the greatest profusion."¹ The brilliant aniline-dyed color of this silk faille and taffeta gown was fashionably termed "sulphur yellow."²

1 Godey's Lady's Book (February 1867), 204.
2 Godey's Lady's Book (November 1867), 460.

Sarah Elizabeth Craft’s Easter bonnet, 1852

According to superstition, wearing new clothes on Easter Sunday ensures good luck throughout the coming year. Those with a cynical bent might suspect this superstition was developed by retailers, but it predates contemporary holiday-themed marketing campaigns. A saying attributed to Poor Robin's Almanack, a series of almanacs first published in the late 17th century, indicates the belief is at least several hundred years old: "At Easter let your clothes be new, Or this be sure you it will rue."

Poised between winter and spring, Easter marks a symbolic transition from cold weather to warmer temperatures. During the Victorian era, Easter was both a solemn religious occasion and an appropriate time to replace a tired winter wardrobe with cheerful spring attire. It marked the beginning of the spring social season and the first time it was permissible to wear new clothing after the austerity of Lent. In 1890, Harper's Bazar described Easter Sunday as the day that "new bonnets and spring gowns first see the light."¹ 

Girl's bonnet
1852
Silk taffeta & silk ribbon
Museum Purchase
2009.5.73A

Green in fashion

Thanks to Pantone, avoiding a pinch on St. Patrick's Day will be much easier this year. According to their decree, 2013 is the year of emerald green, a rich jewel tone "that enhances our sense of well-being, balance and harmony."¹ Due to Pantone's promotion of the color, retailers are well-stocked with garments and accessories featuring emerald and other shades of green. So, if you wear green on St. Patrick's Day, you'll be sporting the most fashionable color of 2013 and immune to the painful pinches given to those who shun green clothing on this informal holiday.

In the FIDM Museum collection, we are fortunate to have some wonderful green garments and accessories. In honor of both St. Patrick's Day and Pantone's color of the year, today's post features an emerald green silk bonnet from the late 19th century. Want to see another emerald garment from our collection? Revisit our post on James Galanos' vivid 1950s cocktail dress.

"Kate Greenaway" bonnet
c. 1880-89
Museum Purchase
2004.5.11

Silk handkerchiefs, c. 1926

These charmingly presented silk handkerchiefs prove that the whole is usually greater than the sum of its parts. Their colorful, festive packaging elevates them to something memorable. Carefully folded and arranged to form full skirts, the hand-painted handkerchiefs add dimensionality to a beguiling printed background. Because they're so prettily packaged, they probably retailed as a gift item. As declared in a 1924 Vogue advertisement: "Let that last-minute gift be Handkerchiefs! They are always appropriate and sure to be appreciated."¹

Handkerchiefs
c. 1926
Gift of Yvonne Sone
2010.796.1A-F

Moschino Couture! evening gown, 1992

Made of rainbow-hued silk satin, this Moschino Couture! evening gown was worn to an early 1990s costume ball. Though we have few details about the event, if all the costumes were this eye-catching, it was surely a splendid evening. Any guesses as to the identity the wearer wanted to assume? Think of a well-known historical figure, one who supposedly said, "Let them eat cake!"
Evening gown
Moschino Couture!
1992
Gift of Eden Riegel
2010.1007.1

Fashion Birthday: Hubert de Givenchy

Couturier Hubert de Givenchy was born on this day in 1927. Now retired, Givenchy is one of the last living couturiers to have learned his art during the golden age of the haute couture. His training began in 1945 when he took a position with Jacques Fath. By December 1951, when Givenchy opened his own couture house, he had trained under Jacques Fath, Robert Piguet, Lucien Lelong and Elsa Schiaparelli. Vogue highlighted Givenchy's February 1952 debut collection, calling it "one of the most news-worthy happenings in Paris this spring."¹ The collection was notable for its emphasis on separates, including the crisp white Bettina blouse, modeled by Bettina Graziani. A version of the Bettina blouse is seen in this March 1952 Life magazine article on Givenchy's debut collection.

Evening dress
Hubert de Givenchy
Autumn-Winter 1968-69
Silk velvet, cockerel feathers
77.116.14
Gift of Mrs. Alfred Bloomingdale

Red and black ensemble, 1894-96

In the 1890s, most women’s dresses were made-to-measure. Though ready-made clothing was increasingly common, garments that required a precise fit or featured delicate embellishment were typically custom-made, either by the wearer herself, or by a trusted seamstress. Though some women had the financial means to purchase their wardrobes in Paris, most women relied on the advice of their (hopefully up-to-date) dressmaker, example gowns made in the latest style, or on printed descriptions of new fashions. Fashion magazines gave detailed descriptions of stylish garments so that women could make, or have made, approximations of the styles described. This passage from June 1894 is typically detailed: "A dainty organdie with a pale lavender ground, deeply spotted with deep purple flowerets, has two simple six-inch ruffles finishing the skirt, each ruffle trimmed with two rows of narrow moire ribbon in the deep purple shade."¹ The description continues, providing the reader with enough information on cut, material, and embellishment to enable the creation of a similar garment. Simple line drawings sometimes accompanied these written descriptions.

Woman's ensemble
1894-96
Silk
Gift of the Manlove Family
S2006.870.22AB

Butterflies abound

Though we're not a natural history museum or a science center, we have lots of butterflies in our collection. No taxidermy specimens here, FIDM Museum butterflies are woven, printed, painted, and embroidered. Our curatorial team has no specific intent to collect garments and accessories decorated with butterflies, but the popularity of the motif makes it easy to acquire compelling pieces featuring this colorful, winged insect. According to our Curator Kevin Jones, "I would never accept an object into the collection just because it has a certain motif. It would have to be fab for a number of other reasons."

Butterflies can be found on every continent, with the exception of Antarctica. Diverse cultures have developed symbolic interpretations of the butterfly, many of which focus on its dramatic life-cycle. Hatching from the egg as a larva or caterpillar, the insect grows and eats until it reaches the chrysalis stage. During the chrysalis, a shell forms around the caterpillar, protecting the insect as it undergoes a metamorphosis into a beautifully colored butterfly. In ancient Greece, butterflies represented the soul, while Christian interpretations use the butterfly's life-cycle to symbolize resurrection. In parts of Asia, pairs of butterflies represent marital harmony and happiness. Butterflies have also been used to symbolize the transience of childhood, and are often used to decorate garments worn by little girls.

Child's "Dainty Blossom" Ensemble
Daisy Stanford
Hand-painted silk
c. 1925
Museum Purchase
2003.5.24A-C

Blue corset, c. 1868-1874

Corset
c. 1868-1874
FIDM Museum Purchase
2011.5.28

In the late 1860s, the fashionable bodice fit smoothly over a curvaceous corset that emphasized the bust. Skirts flared from a high, compressed waist, so corsets were shaped to place somewhat less pressure on the hips. The resulting silhouette, though hidden under layers of fabric, was a shapely hourglass. As seen in in our blue silk satin corset, godets at hip and bust allowed for a relatively roomy fit. Strategically placed whalebone, cane or steel boning shaped the corset, compressing the body into the desired silhouette. Because of its full bust and rounded hips, the wearer's waist would appear relatively small in comparison, regardless of its actual size. When fully laced and fastened, the waist circumference of this corset is about 22 inches.