FIDM Museum Blog

American Fabrics Magazine: An Introduction

The FIDM Museum Special Collections hold a treasure trove of fashion ephemera. From personal and business archives to trade publications, these supplementary materials help us interpret the physical objects in the Museum's collection. Today, Registrar/Museum Coordinator Leigh Wishner, our resident textile aficionado, introduces you to a magazine that illustrates the importance of fabrics in fashion, and guided the textile industry in the mid-to-late 20th century: American Fabrics. 

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American Fabrics magazines, left to right: Fall 1970, # 88; Fall 1976, #108; 1985, #133. All magazines in post: FIDM Museum Special Collections, Gift of Carol Dawes, SC2011.1168

Evening gowns, cocktail dresses, business suits, casual sportswear, and athletic attire: what is the common denominator for all these forms of clothing? The answer, naturally, is textiles--but in fashion studies, textiles are surprisingly overlooked. Designers and their “signature styles” typically receive the most attention, but often, they couldn’t achieve that lauded status without choosing just the right fabric for each creation. For fashion historians, gaining insights into fabric construction and their associated uses can be challenging without the right primary source materials. Fortunately, The FIDM Museum’s Special Collections has an extensive archive of American Fabrics magazines, ranging from the 1940s to the 1980s. Each volume documents trends in women’s, men’s, and children’s fashions, as well as those for furnishings and industrial uses--all centered on the American textile industry.

American Fabrics, Spring 1952, #21: cover

American Fabrics Spring 1952, #21: Julliard advertisement

I admit: this publication is a personal obsession. Perhaps by the end of this post, it will be for you, too. I’d like to give you an overview in preparation for future posts that will highlight some of the talented stars of the American fabrics and fashion scene in the second half of the 20th century. As often as possible, I plan to make connections between what is found in the FIDM Museum collection and what is featured in the pages of this magazine. My goal? To bring fashion lovers and textile fanatics together, and underscore a registered trademark claim set forth in the magazine by the Juilliard woolens company: “Fine fabrics are the foundation of fashion.”

American Fabrics Summer 1966, #72: cover 

 

Maison Duvelleroy: Fan Purveyor Extraordinaire

Associate Curator Christina Johnson writes about the extraordinary Duvelleroy fans in the FIDM Museum Collection. The Fan Association of North America (FANA) generously supported the archival display of select fans in this blog for FANtasy: The Mona Lee Nesseth Fan Collection at the FIDM Museum.

Duvelleroy catalogue, c. 1903, Gift of Serge Davoudian, SC2019.1728.1

By the late nineteenth-century, the Parisian house of Duvelleroy was one of the most renowned fan purveyors in in the western world. Éventailliste (fan maker) Jean-Pierre Duvelleroy (1802-1889) founded his company in 1827.[1] Not only did Duvelleroy oversee the artistry of his namesake designs, he also patented important elements of their manufacture, such as an improved pleating mold and innovative hardware. Duvelleroy matched artistic and mechanical inclinations with keen business acumen, planning workshop space and boutiques to support an ample profit. By 1845, his workshops were located at 17, Passage des Panoramas, a well-known shopping arcade, and his boutique opened at 15, Rue de la Paix. The Paris-based house would change addresses over the years, but boutiques were always located near the latest tony shopping areas, such as the Boulevard des Capucines and Boulevard de la Madeleine in Paris.

Interior of Boutique Duvelleroy, about 1905. Published in: Madeleine Delpierre, L’ Éventail: Miroir de la Belle Epoque, Palais Galliera: 1985.

Sons Jules (1839-unknown) and Georges (1856-1930) worked for their father, and continued the family business after his passing in 1889. The London branch of the house opened in 1861 and was overseen by Jules. Meanwhile, Georges was responsible for the continuation of the French workshops and boutiques, which expanded beyond Paris to the resort towns of Nice and Deauville by the early twentieth century.  Duvelleroy fans were advertised in their yearly catalogues and shipped around the globe. Newspapers and magazine advertisements proclaimed: “For Birthday, Presents, Weddings--The largest and most artistic collection in the world. Fans sent on approval and made to match dresses.”[2] Georges Duvelleroy successfully expanded the company’s offerings from the latest handfan designs to custom orders, specialty purses, opera glasses, and antique fans. What follows are highlights from the FIDM Museum’s Duvelleroy collection.

Fan and detail, c. 1903, Gift of Mona Lee Nesseth, 2013.975.16A/B

A shopping guide included an entry for the famed Duvelleroy establishment in 1897:

"We are reminded of the high reputation enjoyed by Duvelleroy…. His pretty shop is an artistic study of all that is newest in Parisian fans, and of the best that has been handed down to us from days of old. M. Duvelleroy has fans to suit all purses, inexpensive as well as costly, all possessed of the cachet of perfect taste."[3] 

Both Jean-Pierre and Georges had abiding interests in eighteenth-century fan artistry. Father maintained a collection of prints and engravings, while son continued to amass an important collection of antique fans. These items from the “days of old” were often used as revivalist design inspiration, as seen in this example featuring carved mother-of-pearl sticks and a hand-painted courting couple dressed in styles similar to the 1780s (but note the lady’s hat and hairstyle are spot-on c. 1903!). Similar to embellishments decorating eighteenth-century evening attire, metal sequins stamped in circular, leaf, and star shapes were sewn onto the leaf by hand.

FIDM Museum Special Collections Archives

We often share pieces from the FIDM Museum Special Collections, but did you know our holdings include several design archives? Today we’re giving you an overview of the archives in our collection, featuring personal papers, photographs, clippings, business records, sketches, and assorted ephemera from prominent 20th century fashion figures.

Mid-20th century sketch and fabric swatches in the Tina Leser Archive

Tina Leser

The Tina Leser (1910 – 1986) Archive, donated by the designer’s husband, contains sketches, fabric swatches, and scrapbooks from this mid-century American designer known for her elegant global-inspired aesthetic. Her vibrant painted sketches show several colorway fabric options, and are often accompanied with beautiful fabric swatches. Read about how this overflowing archive was processed here.  

Photo from the Betsy Bloomingdale Archive; Mrs. Bloomingdale is pictured at the opening of the LA Music Center in January 1965, wearing a Marc Bohan for Dior gown in the FIDM Museum collection

Betsy Bloomingdale

Betsy Bloomingdale (1922 – 2016) became a founding donor to our institution in 1977, giving a selection of haute couture from her wardrobe. Over the years, she donated over 180 ensembles and hundreds of croquis, culminating in the 2009 exhibition High Style: Betsy Bloomingdale and the Haute Couture. Associate Curator Christina Johnson is currently processing her personal archive, consisting of papers, calendars, scrapbooks, photos, invitations, and more. From Air Force One to the Battle of Versailles, Betsy’s papers provide invaluable documentation of late-20th century fashion.  Watch Christina Johnson examine one of the donated gowns and matching croquis in our Unboxing series.

Lightbox with slides from the Michel Arnaud Fashion Photography Archive, featured in the 2018 FIDM Museum exhibition Capturing the Catwalk

Michel Arnaud

Renowned photographer Michel Arnaud (b. 1944) spent over twenty years of his career (1974 – 1997) capturing international runway shows. In 2000, he donated his vast collection of slides – more than 180,000 in total – to the FIDM Museum. The Michel Arnaud Fashion Photography Archive is in the process of being digitized, with several images available on our Google Arts & Culture platform. The archive was the subject of the 2018 exhibition Capturing the Catwalk: Runway Photography from the Michel Arnaud Archive, curated by Meghan Hansen.

Professional papers from the Nancy Dinsmore Archive: hand-written notes on a 1980s Jane Fonda fashion shoot for a Harper's Bazaar editorial feature

FIDM Museum YouTube Channel

The FIDM Museum is proud to introduce our newly-launched YouTube channel, home of our extensive collection of video content.

Catwalk History slideshow from the 2018 exhibition Capturing the Catwalk: Runway Photography from the Michel Arnaud Archive, now available to watch on YouTube 

Start your viewing with Curator Kevin Jones’ introduction of the FIDM Museum Collection, then browse the playlists to find videos organized by categories, such as Fashion Photography or Art of Motion Picture Costume Design. Videos in these playlists will take you behind-the-scenes of our exhibitions with additional educational content like slide shows, interviews, and gallery tours. For example, you can now take a virtual walk-through of our 2011 exhibition FABULOUS! Ten Years of FIDM Museum Acquisitions – keep your eye out for our beloved Alexander McQueen Peacock Dress!

Visitors browse the exhibition FABULOUS! Ten Years of Museum Acquisitions, 2000 - 2010, 2011

You can also find the full-length documentary that accompanied our 2009 exhibition High Style: Betsy Bloomingdale and the Haute Couture, featuring interviews with Oscar de la Renta, Hubert de Givenchy, James Galanos, Adolfo Sardina, and more.

Betsy Bloomingdale attends opening night of High Style: Betsy Bloomingdale and the Haute Couture, 2009

Catch up on our signature social media series, FIDM Museum Unboxings and Collection Conversations; all episodes will now be available on both Instagram and YouTube. Discover crafty new skills from Collections Manager and Mount Maker Carolyn Jamerson in her online tutorials (including the technique behind her famous paper wigs).

Paper wigs by Carolyn Jamerson, Art of Television Costume Design 2017; RuPaul's Drag Race costumes by Zaldy

Make sure to hit the subscribe button to stay up to date on the FIDM Museum’s latest videos, and comment below to tell us what you'd like to see more of on the channel! 

Scott Barrie

In 1966, Women’s Wear Daily highlighted the innovative work of a young New York designer fresh on the scene: Scott Barrie (1941 - 1993). Inspired by Madame Grès and the sinuous gowns of the 1930s, Barrie’s fashions were based on his experiments with draping, resulting in a collection of flattering, flowing dresses and pants that heralded the disco styles to come in the 1970s. He stated, “I have never worked in fabrics like matte jersey before, and I am discovering how exciting they can be...I am going to do things which you haven’t seen anywhere before.”^[1]

Scott Barrie with Pat Cleveland and Grace Jones after his Spring 1974 fashion show. Photo: Pierre Schermann, courtesy of Penske Media/Shutterstock

Scott Barrie, a pioneer of Black fashion design, was born Neal Clyde Barr in the small town of Apalachicola, Florida. Barrie’s interest in fashion was encouraged by his West Indian grandmother, a professional dressmaker.^[2] He learned to sew by watching her work, telling Ebony magazine in 1980, “I practically grew up under that machine, pedaling the thing for her. Naturally, by instinct you pick up the basics very early on.”^[3] His godmother was also a designer, and Barrie observed her making clothes for famous jazz singers such as Della Reese, Sarah Vaughn, and Dinah Washington.^[4]

Scott Barrie in Vogue Patterns, September/October 1978. Photo: Chris von Wangenheim

Barrie studied briefly at the Philadelphia Museum College of Art before moving to New York to attend the Mayer School of Fashion. Eager to begin his career, he took on several freelance jobs throughout the 1960s - including an apprenticeship with legendary Black designer Arthur McGee and a sketch artist position at Vogue Patterns. Though he was finding success with contract design work, in his own words, “What I wanted more than anything was to have my own business - my own name on the door.”^[5] He achieved this in 1969 when he launched Barrie Sport, Ltd. in partnership with Stephen Marks, husband of commercial model and frequent client Robbie Wolfe.^[6] Bloomingdales and Henri Bendel were among the first high-end stores that purchased Barrie Sport garments, allowing him to open his Seventh Avenue showroom in December 1972. Naomi Sims, a celebrated Black model, was a close friend of Barrie’s and often wore his designs for her high-profile press appearances. She helped him drum up business by modeling free of charge, and advised him on which designs to include in his collections.^[7]

Press photo of Scott Barrie with model Naomi Sims wearing his designs; New York, 1968

Naomi Sims wearing Scott Barrie in Virginia Slims ad; Vogue, June 1, 1972, page 65

Royal Relic: Documentation and Ongoing Research (Part Two)

 

We're back with Part Two of Curator Kevin Jones' series on an exciting new acquisition: an exquisite evening ensemble belonging to Queen Alexandra. In this post, Kevin tracks existing documentation of Queen Alexandra's wardrobe and connects it to this newly discovered object. Plus, he turns to royal wardrobe scholar and renowned fashion historian Dr. Kate Strasdin for her expert opinion.

Want to learn more about Kate and Kevin's collaboration on this project? Watch our Instagram Live on Friday, May 15 at 11 am PST for the first FIDM Museum Collection Conversation, a Q&A between Kate and Kevin! They will discuss the significance of the ensemble, what it means for Dr. Strasdin's ongoing research, and answer questions from viewers. If you have a question you'd like to submit, we invite you to leave a comment on this post. 

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The FIDM Museum’s latest acquisition is a beautifully embroidered evening ensemble made for Queen Alexandra of England at the time she was newly crowned. The three-piece outfit is synergistic with a wool blouse, also in our collection, that she wore as the new Princess of Wales forty years before. After waiting decades to ascend the throne, Edward VII finally became king on January 22, 1901, on the death of his long-reigned mother, Queen Victoria (1819-1901). The first year of mourning allowed time to prepare for the coronation (and Edward’s recovery from an emergency appendicitis), which finally took place in Westminster Abby on August 9, 1902.

King Edward VII and Queen Alexandra in coronation robes, 9 August 1902. Photographer: W & D Downey (active 1855-1941). Royal Collection Trust, RCIN2933174.

By this time, Alexandra had left off deep mourning and wearing dull black crepe. For the coronation year, she dazzled in spangled court dresses that showed off her celebrated figure and status as the highest titled woman in the United Kingdom and its dominions. By this stage in her life (nearing 60 years), Alexandra’s daywear was British made, but her evening attire was mostly French. She mainly patronized three couturiers in Paris: Morin-Blossier, Laferrière, and Favre.

Designer’s label in Reception Bodice, Henriette Favre, Paris, ca. 1902-06. FIDM Museum Purchase: Funds donated by Barbara Bundy, 2020.5.21A/C.

This ensemble was created by the latter, and is typical of the house style when compared to other examples worn by Alexandra. Henriette Favre (dates unknown; worked at least from the 1890s to the 1910s) specialized in allover embroidered patterns, especially favoring flat metal sequins that gave maximum glitter under incandescent lights.

Sleeve detail, Reception Bodice, Henriette Favre, Paris, ca. 1902-06. FIDM Museum Purchase: Funds donated by Barbara Bundy, 2020.5.21A/C.

Paper Flowers Pattern

The FIDM Museum is full of fabulous floral fashions - now, you can make your own sartorial stems at home! Inspired by the gorgeous blooms in our collection, we've created a pattern for paper flowers. The materials are simple, but the possibilities are endless; from corsages to centerpieces, headbands to picture frames, it just takes a little glue and a lot of imagination. Use our easy-to-follow template to start, then let your creativity take over. Amp up the scale to make a unique piece of wall art, or try different petal shapes to replicate your favorite posy. Best of all, Mother's Day is right around the corner - give your mom a homemade bouquet, or make flowers together to celebrate! Don't forget to tag us in your creations using #FIDMMuseum and #FIDMMuseumFamily.

Click here to download the paper flower template. Before you begin, check out a few floral objects from the FIDM Museum collection to inspire your projects!

Hat
Christian Dior
c. 1950
FIDM Museum Purchase
2014.5.79

Evening Coat
Norman Norell
c. 1967
Gift of Clarissa Dyer
2003.794.3      

Evening gown
Marc Bohan for Christian Dior
Spring-Summer 1963
77.116.3
Gift of Mrs. Alfred Bloomingdale

Royalty Revealed: Discovering a New Acquisition (Part One)

 

FIDM Museum Curator Kevin Jones shares a very exciting (and regal!) new acquisition in today's post. In this two-part series, learn how the Museum found this object, collaborated with a colleague across the pond to verify its origins, and its significance to the scholarship of royal dress. 

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The FIDM Museum acquires objects for upcoming exhibitions, research projects, and just because they are beautiful. Sometimes years pass before they are displayed in our galleries, but all of our collections are readily available by appointment and, increasingly, online for anyone with an interest in fashion history. We have had garments and accessories donated by individuals or families with no prior connection to the Museum, and from long-standing supporters who know the kinds of objects we desire. Additionally, we are contacted by, or reach out to, dealers who might have something of interest. And, of course, we follow the international auction market. Occasionally, the trail to an object is circuitous, popping up at random, and leading us to places we would not otherwise find. This is what happened with our latest acquisition!

Facebook post by Delilah Jago on “Fashion Historians Unite!,” March 4, 2020.

I follow “Fashion Historians Unite!” on Facebook, and Delilah Jago, whom I do not know personally, posted on March 4, 2020 about an upcoming vintage clothing sale in Victoria, Australia. Curious about the collection from seeing the image attached to the advertisement—and not having heard of Steve Graham Auctioneer—I clicked on the link and quickly scrolled through the 500+ lots on my phone; it was a single-owner sale that also included furniture. I suddenly stopped at Lot 474. In a couple of small photos, I could see a magnificent evening ensemble with matched reception bodice, ball bodice, and trained skirt of black silk satin overlaid with black Chantilly lace embroidered with thousands of minute silver metal sequins, glass beads, jet, and prong-set rhinestones.

Ball Bodice, Henriette Favre, Paris, ca. 1902-06. FIDM Museum Purchase: Funds donated by Barbara Bundy, 2020.5.21B/C.

Reception Bodice, Henriette Favre, Paris, ca. 1902-06. FIDM Museum Purchase: Funds donated by Barbara Bundy, 2020.5.21A/C.

Evening Skirt, Henriette Favre, Paris, ca. 1902-06. FIDM Museum Purchase: Funds donated by Barbara Bundy, 2020.5.21C/C.

FIDM Museum Word Search

You might want to get out your magnifying glass for the next FIDM Museum Family Activity: we've put together a Fashion Designer Word Search! Look for twenty designers listed in the jumble; remember, the names will be spelled out horizontally, vertically, diagonally, and even backwards...

Download your copy of the Word Search by clicking this link, and don't forget to share your results with us using the hashtag #FIDMMuseumFamily. If you find yourself stumped, not to worry - we'll release a key on our social media accounts next week. 

The FIDM Museum Deco Fan

The FIDM Museum was thrilled to acquire an original fan by master fan-maker Sylvain Le Guen, commissioned to accompany a contemporary gown with an Art Deco motif in our collection. Associate Curator Christina Johnson walks us through the process of how this fan came to fruition, from commission to creation. 

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The FIDM Museum Deco Fan. Commissioned 2019. Commissioned Gift of Mona Lee Nesseth, 2019.5.78AB

Fan Reverse

It isn’t every day that a museum has the opportunity to commission a couture-quality fan, but thanks to the generosity of Mona Lee Nesseth, the FIDM Museum recently did just that! Created by Maître d’art Éventailliste Sylvain Le Guen, the FIDM Museum “Deco” fan beautifully represents a cultural tradition of French fan artistry merged with a contemporary approach to fashion aesthetics.

Le Figaro Modes, January 15, 1903. Bibliothèque nationale de France