This is a material culture analysis, using Fleming’s Artifact Study Model, of a shift dress with a matching jacket from the University of Rhode Island’s Historic Textile and Costume Collection. Dr. Beverly D. Cusack, dean of the College of Home Economics at URI, donated the suit to the university in 1971. According to the accession notes, it was purchased in 1954 in New York for $350.00. The labels identify the designer as French couturier Guy LaRoche, that the garments were made in France by Maria Carine, and that it was sold by Hovland-Swanson. The jacket label has a hand-written number on the back of it, “14669_1”, possibly the design number from LaRoche. There is a tape label, with very faint and illegible handwritten text, sewn in the proper left back shoulder of the dress.

Dr. Cusack (née Downing) was born in 1923. She received a bachelor’s degree from URI and master’s and doctoral degrees from Columbia University. She was married to James E. Cusack. She joined the URI faculty in 1948, becoming dean in 1962. Dr. Cusack retired in 1974, and died a little less than a year later. (1)

This is a two piece set of shift dress and jacket in a cream color wool. Each is made of the same plain-weave, slubbed wool. The yarns are 2 ply, S-twist and the thread count (taken from the center back dress panel) is 26 yarns per inch vertically by 24 yarns per inch horizontally. The dress lining is a fine, almost transparent china silk, while dress facings are made of a slightly heavier rayon taffeta of the same color. This fabric may also have been used for the suit. For both garments, machine stitching is primarily used in the long seams and darts. Hand stitching was used for seam allowance finishes, attaching the closures, and hems.

The jacket has a slightly blouson silhouette and three-quarter length sleeves cut-in-one with the bodice, unusually long vertical bust darts, and princess seams on the front which are carefully patterned to match the underarm gusset seams. The center-front closure has three bound buttonholes wth cream-colored, plstic domed buttons. The waistband closes with hook and thread-chain bar, hidden by a small self-fabric bow.

The sleeveless shift dress consists of only three main pattern
pieces (see illustration). The silk lining is sewn as one to the fashion fabric. The dress has a slight shaping at the waist which comes from its unique darting and seaming. The dress closes in the center back with a hand-picked invisible zipper.

Research has determined that the original curatorial information is probably inaccurate. LaRoche did not open his maison until 1957 (2) and Hovland-Swanson was a department store located in Lincoln, Nebraska. A store directory confirms that they did have a Designer Shop. (3) ​Given these discrepancies, the suggested cost of the dress should be reconsidered as well.

The designer label is similar to others from the early 1960s, but no 1950’s labels have been found for comparison. Maria Carine opened in 1953, and manufactured authorized prêt-à-porter (ready to wear) for the haute couture (high fashion) designers. The fabrics were the same as those used in the couture versions and seams were hand-finished. In 1957 the company began exporting to the American market, which coincides with LaRoche’s opening. In 1967, Maria Carine was taken over by a rival company. (4) Given the timelines of the two companies, the ensemble dates to sometime between 1957 and 1967. The style and silhouette of the ensemble fits with late 1950s to very early 1960s haute couture design.

No comparable garments were found by LaRoche, in fact extant garments from his early years appear to be scarce. Patterns of LaRoche’s designs were licensed by Vogue Patterns by autumn of 1957. (5) Pattern illustrations between 1958 and 1960 have some similarities to the ensemble studied: bloused jackets, bows, the looser, rounded silhouette of the shoulders and arms, and the knee-length hem. His early patterns seemed to feature only fitted dresses, so a comparable shift pattern cannot be identified. The labels and the style of the design indicate that the ensemble is an authentic LaRoche design, not of haute couture manufacture, but from an authorized prêt-à-porter and very close to the original.

This ensemble straddles a period of tension between two culturally disparate eras, which of course was reflected in fashion. The conservative, consumeristic, and conformist 1950s had highly gendered clothing, with mature women as the ideal figure. Women’s fashions looked impractically backwards to previous historical eras, and a woman’s clothing was expected to reflect her husband’s success. Paris couture rose from the ashes of World War II and reigned supreme once more. A woman like Dr. Cusack, with not only a career, but a doctoral degree would have been an exception to this trend, although her work was within a socially acceptable field. Fashion in the 1960s, conversely, championed the underdeveloped adolescent figure, flipped to a trickle-up model, and blurred gender lines. The haute couture houses diversified with options like ready-to-wear in order to survive. (6)

The waistless “chemise” or “sack” style, the silhouette on which this ensemble is based, appeared in haute couture in 1957. Sears was offering mass-manufactured versions of this style as early as 1958. The de-emphasizing of the bust and waist through looser silhouettes at the time was seen as youthful. (7)​ ​​Women’s Wear Daily​’s coverage of LaRoche in the early years of his opening offers contemporary opinions for his early designs, as well as some insights from LaRoche himself.

LaRoche’s design philosophy was sensible, “wearable models but nothing sumptuous,” believing that haute couture shouldn’t be created in a vacuum. For LaRoche, texture, color, and silhouette were equally important. He strived for high craftsmanship without extravagant and expensive decoration that would be risky for business. Despite his market of a youthful consumer and his savvy licensing, he did not want any business relationships that would diminish the dignity of his work. (8)

Articles in the fashion press generally mirror LaRoche’s own views of his work. His early lines were described as young and forward-looking, colorful, wearable, and were recognized for their popularity on the American market. They were initially popular initially with the juniors market, then quickly shifted to women of various ages who were “young at heart.” One journalist pointed him out “for quality designs at non-fabulous prices.”

Initially his designs were viewed as avant-garde and similar to Givenchy. In an article about hemlines he was placed with Dior as being a more middle-of-the-road designer, not too extreme, but not out of date. Two years after his first collection the press pegged him as moving away from the avant garde. The public’s response to LaRoche’s first line was recorded by one journalist. They thought of them as “nice clothes,” “young and wearable,” and contrary to the aforementioned characterization of avant garde, “nothing extreme.” (9)

The ensemble studied is fairly consistent with many of the properties ascribed to LaRoche’s designs. The texture, color, and silhouette are equally balanced. It is made of high-quality materials and the construction is of a high standard. It doesn’t have extraneous or luxurious details such as embroidery or bejeweled trims and buttons. The dress is certainly youthful and forward-looking in its silhouette, shorter hemline, and lack of sleeves. Except for the impracticality of upkeep of an ivory-colored ensemble, it is certainly “wearable.”

Dr. Cusack, the donor, would have been in her mid to late 30s, and on the cusp of becoming a dean when purchasing this ensemble. Her age and position of authority contrasts with the idea of LaRoche’s designs as youthful, but not with the themes of desiring high quality, wearable clothes. Women in the 1950s and 1960s were faced with the new problem of determining what was appropriate to wear in a business setting. In the early 1960s, Jacqueline Kennedy’s style of a shift dress worn with a matching short jacket became a standard workwear choice. (10) Dr. Cusack’s ensemble is reminiscent of a man’s suit, but the overall effect is feminine, thereby balancing her gender with the gravity of her station. Light colors are sometimes associated with a higher economic status because of the trouble and expense of upkeep. In the workplace, however, dark colors are generally considered more professional, so perhaps this suit was for church, holidays, and social functions.

To the modern eye, LaRoche’s ensemble, as well his other early designs, look much like those of other couturiers of the period. This makes sense, given how much contemporary press compared him to other designers, and his desire to have a successful business more than to be known as an artist. Monocolor, pared-down styles with large buttons and a skimming silhouette, have primarily been revisited in modern media through old movies and television shows. Most people would associate such an outfit with Audrey Hepburn, Mary Tyler Moore, or Jackie Kennedy, for its understated chic. These women have achieved style icon status.

Their status was renewed with my generation in the 2010s with the show ​Mad Men​. Millennials were already familiar with retro style from watching classic movies with their grandparents and reruns on Nick at Nite and TVLand, as well satirical takes on midcentury media such as ​The Truman Show a​nd ​Pleasantville.​ It took ​Mad Men​, however, to spur mainstream fashion to a retro renaissance. Yet, with the rise of generation Z, a generation that loves ​Friends​ and considers 1990’s fashion as the new retro, one has to wonder if early 1960’s fashion will continue to be upheld as the epitome of chic in the future or be considered simply outdated. (11)

In opposition to generation Z’s love of normcore fashion, the opulence and progressiveness of the Roaring Twenties had already been predicted as a possible fashion influence for this decade. Some believe that history will repeat itself and post-pandemic life will take on the same flashiness in fashion to celebrate. The 1960s shift dress fashion was highly influenced by the 1920s, so it doesn’t seem unreasonable. On the other hand, many people have shifted away from cities to suburbia, and many women have dropped out of the workforce. Even if they return, perhaps a swing back to conservatism reminiscent of the 1950s or 1980s will occur in fashion. (12)

Footnotes

1) "Social Security Death Index," s.v. "Beverly Cusack" (1923-2075), Ancestry.com; “Dr. B. Cusack,” Obituaries, Providence Journal​, July 1, 1975, 64; “Dr. Beverly Cusack,” ​Providence Journal​, May 31, 1974, 13; “Cusack, Beverly (Downing),” Obituaries and Death Notices, ​Providence Journal​, July 2, 1975, 59.

2) Charlotte Mankey Calasibetta, ​Fairchild’s Dictionary of Fashion,​ 2nd ed. (New York: Fairchild Books, 1998), 643.

3) BAK, “Hovland-Swanson,” The Department Store Museum (blog), September 2001, http://www.thedepartmentstoremuseum.org/2011/09/hovland-swanson-lincoln-nebraska.html.

4) Lizzie Bramlett, “Laroche, Guy,” Label Resource, The Vintage Fashion Guild, July 18, 2021, https://vintagefashionguild.org/label-resource/laroche-guy/; Vintagiality, “Maria Carine,” Label Resource, The Vintage Fashion Guild, September 27, 2010, https://vintagefashionguild.org/label-resource/carine-maria/.

5) “Fabrics at Retail: LaRoche, Patterson Styled Added by Vogue Patterns,” Fabrics at Retail, ​Women’s Wear Daily​, October 14, 1957.

6) Daniel Delis Hill, ​American Menswear: From the Civil War to the Twenty-First Century​ (Lubbock, TX: Texas Tech University Press, 2011), 210-12, 236-237, 285; Valerie Mendes and Amy de la Haye, ​Fashion Since 1900 (London: Thames & Hudson, Ltd. Hill, 2012), 158-60.

7) François Baudot, ​Fashion: The 20th Century​ (New York: Universe, 2006), 158; Joy Shih, ​Fashionable Clothing from the Sears Catalogs: Late 1950s​ (Atglen, PA: Schiffer, 1997), 27; Aileen Ribeiro, ​Dress and Morality​ (London: Batsford, 1986), 168; Jessica Daves, “Paris Collections,” ​Vogue,​ March 1958, 106.

8) “New House Concentrates on Low, Belted Straight Line,” ​Women’s Wear Daily,​ February 4, 1957, 4; A.D. Galloway, “Young Spirit in New Couturier’s First Show,” ​Women’s Wear Daily,​ February 26, 1957, 1; M.D. de la Prade, “Paris Says Normal, Supple Waist: Big Sleeves, Giant Pockets, Scooped Up Bateau Cited: Paris Fashions,” Women’s Wear Daily,​ January 19, 1959, 32; Bernadine Taub, “'A Couturier Should Concentrate On the Couture Business': Non-Conflicting Products,” ​Women’s Wear Daily​, April 6, 1959, 5.

9) Galloway, “Young Spirit”; “Trade Praises Dior’s Cuts, Lanvin’s Evening Clothes,” ​Women’s Wear Daily,​ August 8, 1957, 4; M.D.L., ​"Today...In Paris," ​Women’s Wear Daily, ​February 7, 1957, 2; Paris Bureau, “Paris...Late News,” ​Women’s Wear Daily,​ July 10, 1957, 40; John B. Fairchild, “Balenciaga, Givenchy Cited As Tops in Creative Fashion,” ​Women’s Wear Daily​, August 2, 1957, 1; Taub, “A Couturier,” 5; “Back From Paris, Trade Praises Dior's Chemises,” ​Women’s Wear Daily​, August 6, 1957, 4; John B. Fairchild, “Personalities of Paris Couture,” ​Women’s Wear Daily​, January 9, 1959, 23; D.L.W., “---’nice clothes’,” ​Women’s Wear Daily​, March 6, 1957, 2, 63.

10) Jennifer Paff Ogle and Mary Lynn Damhorst, “Dress for Success in the Popular Press,” in ​Appearance and Power​, eds. Kim K.P. Johnson and Sharron J. Lennon (Oxford: Bloomsbury Academic, 1999), Berg Fashion Library, http://dx.doi.org.uri.idm.oclc.org/10.2752/9781847887221/AANDPOWER0008​; Shari Sims, “Work and the Wardrobe: Women,” in ​Berg Encyclopedia of World Dress and Fashion,​ ed. Phyllis G. Tortora (Oxford: Bloomsbury Academic, 2010), Berg Fashion Library, http://dx.doi.org.uri.idm.oclc.org/10.5040/9781847888525.EDch031915.

11) Nancy Liu, “Friends: Why Generation Z LOVES the ’90s Sitcom,” CBR, March 8, 2020, https://www.cbr.com/friends-generation-z-loves-90s-sitcom/.

12) Pandora Amoratis, “The New Roaring '20s! Top Fashion Designers Reveal the Style Trends We Have to Look Forward to Post Pandemic,” ​Daily Mail​, January 20, 2021, https://www.dailymail.co.uk/femail/article-9161073/Top-fashion-designers-reveal-new-Roaring-20s-fashion-trends. html; Greta Jelen, “What a Return of The Roaring ‘20s Would Mean For Fashion,” ​L’Officiel,​ January 1, 2015; Jacob Gallagher and Rory Satran, “Fashion: No More Sweatpants: What We’ll Wear Post-Pandemic,” ​Wall Street Journal,​ May 22, 2020, https://www.wsj.com/articles/no-more-sweatpants-what-well-wear-post-pandemic-11590166062; Megan Cerullo, “Nearly 3 Million U.S. Women Have Dropped Out of the Labor Force in the Past Year,” CBS News, February 5, 2021, https://www.cbsnews.com/news/covid-crisis-3-million-women-labor-force/; Avery Hartmans, “Millennials and Gen Z are fleeing cities and buying up homes in the suburbs amid the coronavirus pandemic,” Insider, November 20, 2020, https://www.businessinsider.com/millennials-gen-z-leaving-cities-for-suburbs-amid-pandemic-2020-11.

References

Amoratis, Pandora. “The New Roaring '20s! Top Fashion Designers Reveal the Style Trends We Have to Look Forward to Post Pandemic.” ​Daily Mail,​ January 20, 2021. https://www.dailymail.co.uk/femail/article-9161073/Top-fashion-designers-reveal-new-R oaring-20s-fashion-trends.html.

“Back From Paris, Trade Praises Dior's Chemises.” ​Women’s Wear Daily,​ August 6, 1957.

BAK. “Hovland-Swanson.” The Department Store Museum (blog), September 2001. http://www.thedepartmentstoremuseum.org/2011/09/hovland-swanson-lincoln-nebraska. html.

Baudot, François. ​Fashion: The 20th Century​. New York: Universe, 2006.

Bramlett, Lizzie. “Laroche, Guy.” Label Resource. The Vintage Fashion Guild, July 18, 2021. https://vintagefashionguild.org/label-resource/laroche-guy/.

Calasibetta, Charlotte Mankey. ​Fairchild’s Dictionary of Fashion​. 2nd edition. New York: Fairchild Books, 1998.

Cerullo, Megan. “Nearly 3 Million U.S. Women Have Dropped Out of the Labor Force in the Past Year.” CBS News, February 5, 2021. https://www.cbsnews.com/news/covid-crisis-3-million-women-labor-force/.

“Cusack, Beverly (Downing).” Obituaries and Death Notices. ​Providence Journal (​ Providence, RI), July 2, 1975.

Daves, Jessica. “Paris Collections.” ​Vogue​, March 1958.
de la Prade, M.D. “Paris Says Normal, Supple Waist: Big Sleeves, Giant Pockets, Scooped Up

Bateau Cited: Paris Fashions.” ​Women’s Wear Daily​, January 19, 1959.

D.L.W. “---’nice clothes’.” ​Women’s Wear Daily,​ March 6, 1957.

“Dr. B. Cusack.” Obituaries. ​Providence Journal​ (Providence, RI), July 1, 1975.

“Dr. Beverly Cusack.” ​Providence Journal ​(Providence, RI), May 31, 1974.

“Fabrics at Retail: LaRoche, Patterson Styled Added by Vogue Patterns.” ​Women’s Wear Daily,​ October 14, 1957.

Fairchild, John B. “Balenciaga, Givenchy Cited As Tops in Creative Fashion.” ​Women’s Wear Daily,​ August 2, 1957.

Fairchild, John B. “Personalities of Paris Couture.” ​Women’s Wear Daily​, January 9, 1959.

Fleming, E. McClung. 1974. "Artifact Study: A Proposed Model." ​Winterthur Portfolio​ 9: 153-173.

Gallagher, Jacob and Rory Satran. “Fashion: No More Sweatpants: What We’ll Wear Post-Pandemic.” ​Wall Street Journal,​ May 22, 2020. https://www.wsj.com/articles/no-more-sweatpants-what-well-wear-post-pandemic-11590 166062.

Galloway, A.D. “Young Spirit in New Couturier’s First Show.” ​Women’s Wear Daily​. February 26, 1957.

Hartmans, Avery. “Millennials and Gen Z are Fleeing Cities and Buying Up Homes in the Suburbs Amid the Coronavirus Pandemic.” Insider, November 20, 2020. https://www.businessinsider.com/millennials-gen-z-leaving-cities-for-suburbs-amid-pand emic-2020-11.

Hill, Daniel Delis. ​American Menswear: From the Civil War to the Twenty-First Century.​ Lubbock, TX: Texas Tech University Press, 2011.

Liu, Nancy. “Friends: Why Generation Z LOVES the ’90s Sitcom.” CBR, March 8, 2020. https://www.cbr.com/friends-generation-z-loves-90s-sitcom/.

M.D.L. ​"Today...In Paris." ​Women’s Wear Daily, ​February 7, 1957.

Mendes, Valerie and Amy de la Haye. ​Fashion Since 1900​. London: Thames & Hudson, Ltd. Hill, 2012.

“New House Concentrates on Low, Belted Straight Line,” ​Women’s Wear Daily​, February 4, 1957.

Ogle, Jennifer Paff and Mary Lynn Damhorst. “Dress for Success in the Popular Press.” In Appearance and Power​, edited by Kim K.P. Johnson and Sharron J. Lennon. Oxford: Bloomsbury Academic, 1999. Berg Fashion Library. http://dx.doi.org.uri.idm.oclc.org/10.2752/9781847887221/AANDPOWER0008​.

Paris Bureau. “Paris...Late News.” ​Women’s Wear Daily​, July 10, 1957.

Ribeiro, Aileen. ​Dress and Morality.​ London: Batsford, 1986.

Shih, Joy. ​Fashionable Clothing from the Sears Catalogs: Late 1950s​. Atglen, PA: Schiffer, 1997.

Sims, Shari. “Work and the Wardrobe: Women.” In ​Berg Encyclopedia of World Dress and Fashion​, edited by Phyllis G. Tortora. Oxford: Bloomsbury Academic, 2010. Berg Fashion Library,http://dx.doi.org.uri.idm.oclc.org/10.5040/9781847888525.EDch031915.

“Social Security Death Index.” s.v. “Beverly Cusack” (1923-2075). Ancestry.com. Accessed March 11, 2021.

Taub, Bernadine. “'A Couturier Should Concentrate On the Couture Business': Non-Conflicting Products.” ​Women’s Wear Daily,​ April 6, 1959.

“Trade Praises Dior’s Cuts, Lanvin’s Evening Clothes.” ​Women’s Wear Daily​, August 8, 1957.

Vintagiality. “Maria Carine.” Label Resource. The Vintage Fashion Guild, September 27, 2010. https://vintagefashionguild.org/label-resource/carine-maria/.

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Dean of the College of Home Economics, 1962-1974
University of Rhode Island]]>
The dress has 40” bust circumference; 36” waist circumference; 40” hip circumference (101.6 cm; 91.4 cm; 101.6 cm)
Length from high shoulder point to hem is 41 1⁄4” long (104.75 cm)
To fall at just below the knee, the wearer would have to be around 5’7”  (1.7 meters)

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This sweater vest is royal blue and features a narrow cable down the short center front. The vest is cropped to end at the natural waist. It has a fairly high and wide square neck opening. The tag at the back of the neck identifies the designer as Perry Ellis, that it is hand-knitted, and that it is a size P. The tag in the side seams states that it is Style 5044, is 100% cotton, and is dry clean only.

The sweater vest is undoubtedly an authentic Perry Ellis piece. In 1978, for his first collection under his own name, Ellis used American-made, hand-knit sweaters and in 1979 he debuted his signature single-cable sweater. (1) There were three Perry Ellis lines for three different price levels: Collection, which was designer/couture, Portfolio, which was a lower-priced mass market version of Collection, and Perry Ellis America. Perry Ellis America was a mass market collaboration with Levi Strauss & Company, but set at designer prices. (2) This label appears to be from the Collection line.

During his lifetime, Ellis’s design style was described as inventive and unique, young and modern but also sophisticated, whimsical, playful of proportion, and wholly American. He was even compared to the legendary Claire McCardell. Within the context of its origins, the sweater vest studied embodies these traits with its cropped length and single-cable. A traditional sweater would feature all-over cabling. The single-cable is the perfect example of Ellis’s modus operandi: slight subversion of classic dress. At the time the single-cable was “a minimalist touch that somehow made a sweater look cool, modern, and equally good on women and men.” (3)

There was a philosophical depth to his choice of hand knits over machine knits. Ellis felt that there was an authenticity to more natural yarns and localized production. Furthermore, he believed that “There is a lot of love in a hand-knit sweater that a machine can’t fake.” This in turn mirrored his personal philosophies, “Fashion is low on my list of priorities-first comes love, then family and friends,” and “I don’t make fashion; I make clothes.” The remembrances by his friends and colleagues of his generous spirit and caring nature consistently emphasize that he cared deeply for everyone with whom he interacted, and that he did not allow his work in fashion to alter his ethics and standards. When fans who could not afford his sweaters requested patterns, Ellis gladly complied, licensing patterns with Woman’s Day and Vogue. He then went a step further and licensed with Burren International to create kits of his sweaters for home knitters, complete with beautiful wooden needles and a Perry Ellis label. He knew they would not be significantly profitable, rather it was meant as a gesture of goodwill to his fans, and so they did not water down or alter the designs in the kits from those he showed on the runway. (4)

Attempts to contact the donor have so far been unsuccessful, so unfortunately her perspective was not able to be included in this analysis. One can, however, speculate on her relationship to the piece. Katherine Persky is a strategic planning consultant who lives in New York City and has worked with fashion and cosmetics companies. She attended Princeton from 1975 to 1979 and received a B.A. in Classics. Possibly she was one of the Princeton cheerleaders who graced Ellis’s first runway show in 1978, or perhaps she knew one of them and was introduced to Ellis’s work that way. Regardless of how she came to find the world of Perry Ellis, given the quantity of his work that she invested in and has subsequently donated to institutions, (The Rhode Island School of Design and the Met Costume Institute being two) it is assumed that she loved his styles. Demographically, she was the ideal Perry Ellis customer. Ellis garnered a cult-like following early on, which expanded to include women of all ages, despite his reputation for youthful designs. He claimed to design for women who didn’t spend much time thinking about fashion, but who still wanted to look good while feeling comfortable. By designing collections that built on each other, he supported as well as encouraged his customers to mix pieces to express their individual style. Perhaps most importantly, his clothes did not objectify women or overshadow them. (5) In wearing his clothes, Persky probably felt confident, comfortable, young, and individualistic, but still respectably dressed for an intelligent career woman.

Ellis used American-made, hand-knit sweaters in his first collection in 1978, and this became an important distinguisher of his work because no one else was doing this at that time. In fact, he initially relied on the proprietor of a yarn store and her network of local knitters to produce them because the fashion industry lacked the infrastructure he required. Given that the label does not specify where it was made (others say China or British Crown Colony of Hong Kong), it is very likely that this was one of those early sweaters. Besides being credited with reviving the hand knitting industry in the United States of America, he also was credited with reviving an interest in hand knitting as a hobby. This ties the sweater vest to issues around current efforts to re-shore and localize apparel production again (not to mention yet another hand knitting revival), which is considered an important part of sustainability. Even Ellis was eventually forced to succumb to the capitalist economy, switching to larger production shops and offshore manufacturing. (6) Companies today can take his story as inspiration that change will not be easy, but hopefully well worth the effort.

Sadly, Ellis’s legacy is bound up in the legacy of the AIDS epidemic. The disease took him away in 1986, after only a decade of designing. Without Perry Ellis, his design philosophy, and his commitment to quality as a backdrop to the sweater vest, this humble garment falls flat to the contemporary audiences. After his death, his brand became exclusively mass market, losing its vibrancy, nuance, and cultural significance. When he is remembered, it is more for his influence on menswear, although in popular knowledge his legacy has been almost completely eclipsed by another icon of preppy design, Ralph Lauren. (7) If Ellis had lived, we can only guess at how he might have continued to change and inspire American fashion.

The author’s own experience in getting to know the brand exemplifies some of the issues of Ellis’s legacy. Her introduction to Perry Ellis around 2006 was dull, shapeless men’s basics sold inexpensively at TJ Maxx, including a pathetic version of his signature single-cable sweater. Ellis’s sweaters were now machine-made of synthetic fibers which formed thin, cheap fabrics and packed into the general racks, where they were often marked down to ridiculously low prices. These types of sweater vests were worn at the time by unfashionable, male grade school teachers. As a costume designer, the author often relied on such sweaters for dressing characters like stodgy fathers or nerds on a tight budget. The single cable was no longer a statement of modern whimsy and youth. The author had assumed it was simply a cheap way for the company to make a slightly different sweater without the expense of full cabling.

Now far out of their original context, even many of Ellis’s original designer pieces no longer feel understated, just underwhelming or perhaps odd. While it is unlikely that the brand itself will be fully restored, fashion heritage institutions can help educate the general public about Perry Ellis’s legacy. His designs were classic, well-made and long-lasting, and therefore quite sustainable. The silhouettes and colors he often used are even experiencing something of a renaissance, so perhaps the time is ripe for a new generation to appreciate his designs. If nothing else, the memories of Ellis as a shining exception to the otherwise cold, catty, and capitalist business of fashion deserve to be upheld as an ideal for all to transform the industry.

Footnotes

1) Jeffrey Banks, Erica Lennard, and Doria de la Chapelle, Perry Ellis: An American Original (New York: Rizzoli, 2013), 123, 155, 167.

2) Banks, Lennard, and de la Chapelle, Perry Ellis, 69-70.

3) Banks, Lennard, and de la Chapelle, Perry Ellis, 23-4, 42-5, 80, 114, 123-4.

4) Banks, Lennard, and de la Chapelle, Perry Ellis, Frontispiece, 94-96, 123-125; David Lipke, “Perry Ellis’ Rise to Stardo,” DNR, January 31, 2005, as cited in Banks, Lennard, and de la Chapelle, Perry Ellis, 123; Tuite, Seven Sisters Style, 115-116.

5) Katherine Persky, “Katherine Persky,” LinkedIn, accessed April 25, 2021, https://www.linkedin.com/in/katherinepersky/; Banks, Lennard, and de la Chapelle, Perry Ellis, 32, 44, 56 155; Tuite, Seven Sisters Style, 111-113.

6) Banks, Lennard, and de la Chapelle, Perry Ellis, 123-5; Tuite, Seven Sisters Style, 115-116; Emma Cosgrove, “Why Reshoring the Textile Supply Chain is Easier Said than Done,” Supply Chain Dive, July 13, 2020, https://www.supplychaindive.com/news/reshoring-textile-supply-chains/580928/.

7) Banks, Lennard, and de la Chapelle, Perry Ellis, 282-3; Bee-Shyuan Chang, “Perry Ellis Still Has Something to Say,” New York Times, April 11, 2012, https://www.nytimes.com/2012/04/12/fashion/a-designers-legacy-lives-on-in-mens-wear.html?_r=0.

References

Banks, Jeffrey, Erica Lennard, and Doria de la Chapelle. Perry Ellis: An American Original. New York: Rizzoli, 2013.

Chang, Bee-Shyuan. “Perry Ellis Still Has Something to Say.” New York Times, April 11, 2012. https://www.nytimes.com/2012/04/12/fashion/a-designers-legacy-lives-on-in-mens-wear. html?_r=0.

Cosgrove, Emma. “Why Reshoring the Textile Supply Chain is Easier Said than Done.” Supply Chain Dive. July 13, 2020. https://www.supplychaindive.com/news/reshoring-textile-supply-chains/580928/.

“Ensemble spring/summer 1982.” The Met. Accessed April 17, 2021.https://www.metmuseum.org/art/collection/search/95192.

Fleming, E. McClung. 1974. "Artifact Study: A Proposed Model." Winterthur Portfolio 9: 153-173.

grittscloset. “Vintage 80s 90s Perry Ellis Wool Cardigan Hand Knit.” Ebay. Accessed April 17, 2021, https://www.ebay.com/itm/Vintage-80s-90s-Perry-Ellis-Wool-Cardigan-Hand-Knit-/2650 69026146?hash=item3db7585b62%3Ag%3ANc0AAOSwK8dgOZ9N&nma=true&si=194VXbV4JVx5F4FWRbHeDfEfhQk%253D&orig_cvip=true&nordt=true&rt=nc&_trksid =p2047675.l2557.

“Perry Ellis, sweater, 1983.” RISD. Accessed April 17, 2021, https://risdmuseum.org/art-design/collection/sweater-2000116?return=%2Fart-design%2 Fcollection%3Fsearch_api_fulltext%3Dperry%2Bellis.

Persky, Katherine. “Katherine Persky.” LinkedIn. Accessed April 25, 2021. https://www.linkedin.com/in/katherinepersky/.

room6_vintage. “80s Perry Ellis Hand Knit 2tone Cable Sleeve Wool Turtleneck Cropped Sweater S.” Ebay. Accessed April 17, 2021, https://www.ebay.com/itm/80s-Perry-Ellis-Hand-Knit-2tone-Cable-Sleeve-Wool-Turtlene ck-Cropped-Sweater-S-/164631571422hash=item2654ce6bde%3Ag%3A6hAAAOSwH n1f939I&nma=true&si=194VXbV4JVx5F4FWRbHeDfEfhQk%253D&orig_cvip=true& nordt=true&rt=nc&_trksid=p2047675.l2557.

spring77575. “Vintage Perry Ellis Women's Sweater Vest, Silk/ Cotton Small Hand Knit 70's.” Ebay. Accessed April 17, 2021. https://www.ebay.com/itm/114319671890?hash=item1a9dfbc252:g:ml8AAOSw2VpfGm DM.

Tuite, Rebecca C. Seven Sisters Style. New York: Rizzoli, 2014.

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Zandra Rhodes (b. 1940) is something of an icon. She has been a part of the fashion world for the past fifty-plus years and has transformed the way people view textile design and printing. Rhodes inspires those who dress a little differently and is an excellent role model for those who think outside the box, having overcome many challenges to get to where she is today.

This cream-colored wool sweater, decorated with large faux pearls and narrow ruffles of knit, was donated to the university by Miles and Shirley Fiterman. Miles Fiterman was one of the first to start a business selling pre-fabricated homes after World War II. A consummate businessman, the company expanded to include forty-one states before being sold. The Fiterman’s were well known as wealthy dedicated art collectors and philanthropists.

The garment is knit primarily in the stockinette stitch, with a 2/2 knit and purl ribbing at the waist that has been turned under to form a double layer. The decorative elements at the neck and on the cuffs are knit in stockinette stitch and also turned under. Large faux pearl beads have been sewn into the ends of each ruffle at both the collar and cuffs. Pink wool has been used to define the cuff and collar details, with a row of pink yarn knit into the armscye as well. Sweaters can be found in a number of Rhodes’ collections; she learned to knit as a child. Her sweater designs and yarns are available from several suppliers, including the West Yorkshire Spinners and Ravelry. Two sweaters with similar construction and design elements to this example were found in Zandra Rhodes Collections from 1980.

Zandra Rhodes was born on September 19th, 1940. Her mother, who worked in the industry, introduced Zandra to the world of fashion. Rhodes studied textile design at Medway College of Art and the Royal College of Art in London, graduating from there with a degree in home furnishing textile design.

Rhodes opened a boutique with Sylvia Ayton in 1968, called the Fulham Road Clothes shop.  Ayton designed the clothing while Rhodes supplied the textile designs. After going their separate ways in 1969, Rhodes decided to open her own retail outlet in West London. During the seventies, Rhodes’ success increased until she was at the forefront of British fashion. Her dynamic, colorful, and bold prints were seen as anti-establishment while also becoming popular.  Rhodes inspired, and was inspired by, the punk aesthetic, introducing deconstructed designs, exposed seams, and strategic rips into her clothing. The London street culture and punk movement inspired Rhodes to experiment with chains to ornament her garments. In 1977, Zandra released her signature collection of torn black and pink jersey with holes and safety pins. In the next few years she became an internationally acclaimed designer whose iconic work was seen on red carpets and runways and celebrities such as Princess Diana.

Rhodes is the founder of the Fashion and Textile Museum, whose mission is to showcase contemporary fashion and textile design. Oopened in 2003, the museum offers several exhibitions a year and hires out exhibitions around the world. It operates under the auspices of Newham College in London. In 2010, Rhodes was appointed a Chancellor of the University of Creative Arts, a university focused on art and design. She served until 2018, and maintains a connection to the university through a gallery space named in her honor and special digital collectin projects.

Zandra Rhodes had to learn to stand on her own two feet to achieve success. She never followed fashion’s rules. She continues to make it up as she goes along, inspiring future designers to keep fashion from becoming too serious.

References
Bawden, Juliet. A sneak peak at Zandra Rhodes archived knit wear. March 9, 2019 .https://creativecolour.org/2019/03/09/a-sneak-peak-at-zandra-rhodes-archived-knit-wear/.  

Borrelli-Persson, Laird. Golden Lady: Zandra Rhodes Celebrates 50 Years in Fashion. Vogue. September 25, 2019. https://www.vogue.com/article/zandra-rhodes-50-years-of-fabulous-anniversary-exhibition-in-london. 

Fogg, Marnie. Zandra Rhodes. Love to Know. December, 2013.  https://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-designers/zandra-rhodes. 

Jordan, Chelsea. Zandra Rhodes. 20th Century Designers. Fashion Institute of Design and Merchandising. Retrieved April, 2021, from https://chelseajordanfidm.wordpress.com/zandra-rhodes/#:~:text=Rhodes%20has%20received%20recognition%20from,the%20Queens%20latest%20Honours%20List. 

Teich, Jessica. Zandra Rhodes on the Enduring Punk Aesthetic. The Boston Globe. October 17, 2012. https://www.bostonglobe.com/lifestyle/style/2012/10/17/designer-zandra-rhodes-textiles-creativity-and-enduring-punk-aesthetic/5gZappqruf68CWhkxOJY9O/story.html. 

World Biographical Encyclopedia. Zandra Lindsay Rhodes. Prabook. April 2014.  https://prabook.com/web/zandra.rhodes/1311286. 

Zandra Rhodes. (n.d.). Women's International Center. Retrieved April, 2021, from http://www.wic.org/bio/zrhodes.htm#:~:text=Zandra%20Rhodes%20was%20born%20in,of%20study%20was%20textile%20design. 

Zandra Rhodes. (n.d.). Cooper Hewitt. Retrieved April, 2021, from https://collection.cooperhewitt.org/people/18042039/bio. 

Zandra Rhodes Digital Study Collection. (n.d.). Retrieved April, 2021, from http://www.zandrarhodes.ucreative.ac.uk/2013/02/zandras-first-collection.html.

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Savanna Crowther
Susan J. Jerome, MS '06]]>
Arnold Scaasi (1930-2015) donated this evening gown, used in his 1991 Autumn/Winter show, to the Historic Textile and Costume Collection in 1997. This was a remarkable year for the designer, in which he received the Council of Fashion Designers of America Lifetime Achievement Award, saw the publication of Scaasi: A Cut Above and was the subject of a retrospective at The New York Historical Society titled “Scaasi: The Joy of Dressing Up.” The year ended with his being honored as a “Living Landmark” by the New York Landmarks Conservancy “for his professional distinction and personal caring to preserve the ‘Best of New York City.’” In this year his company donated a “group of clothes from the important original couture collections of Arnold Scaasi” to “prestigious institutions” including the University of Connecticut, the Preservation Society of Newport County, and the Historical Society of Palm Beach County as well as URI.

Arnold Scaasi was a Canadian-born, Parisian-taught, American designer known for his flamboyant designs with bright colors, loud florals, and expert draping and shaping. He was incredibly successful throughout his schooling and apprenticeships and made his name early on with a collection of tailored coats and suits for Dressmaker Casuals in 1955. Even these everyday garments had his fanciful flare, with his signature unique matching linings for blouses and dresses. He worked for other businesses in his early career, while also doing custom work out of his New York apartment. Scaasi opened his couture salon in 1964 and would dominate American fashion for the next thirty years. His renown grew until he was one of the most sought after designers in North America for high society women and celebrities. It was not uncommon, at the height of his success, for upwards of forty guests to be wearing Scaasi, either couture or ready-to-wear, at a single event. He was known for giving his clients something that wasn’t being done by anyone else. Scaasi died in 2015 at the age of eight-five.

This dress is a heavy, flocked satin fabric in medium tone orange colors, quite a tame design for Scaasi, as he was known for mixing unusual fabrics and colors for eveningwear. It is likely the dress was in storage between its appearance in the 1991 fashion show and its 1997 donation to the HTCC, as no photos showing the dress on the runway, on a celebrity, or in any type of exhibition have been found.

The dress is in overall good condition, however the condition and construction on the inside is uneven in quality. The inside of the bodice has the most damage, either due to it being constructed fairly quickly or quick repairs or adjustments done to prepare the dress for the runway. There are no noticeable rips or holes in the skirt layers of tulle and the skirt lining appears to be in perfect condition. All hems, gussets, and sleeve gathers appear to have been handsewn, generally with a whipstitch, while the foundation seams have been sewn by machine.

Arnold Scaasi did not often make many distinctions between Fall/Winter and Spring/Summer collections. This dress was made of a heavy fabric patterned with paisley flocking, with multiple layers of stiff tulle for fullness, and an inner lining, likely silk. The satin is a medium shade of orange and the flocking is a darker red-orange color. The tulle is a bright red and the inner lining skirt is medium shade of red-orange.

This dress features a low, straight neckline and a seamless front. Bows cover each point where the sleeves connect to the bodice, one on either side of both the front and back. The sleeves are quite full and poufy, having been gathered and hand sewn with a whip stitch to give them shape. It is most likely that they were draped on a form or model and then cut and sewn rather than patterned. The sleeves could be worn on or off the shoulder. The Arnold Scaasi tag has been sewn into the proper left of the bodice next to the zipper. Eight pieces of boning around the entire waist support the bodice and give a corseted effect. A diamond-shaped gusset, cut on the bias, on each side of the bodice gives the dress its narrow waist.

The outer skirt has two side seams and one seam at the center back to allow for the inset of the zipper, with a lining of four pieces beneath. Both the outer and inner lining skirt have a horsehair trim. Layers of tulle begin about mid-way down the skirt to give the dress its fullness. White and black thread was used to attach the tulle, as it would be easier to find and adjust rather than using a matching thread. The multiple layers of tulle and stiffened hems of the outer fabrics would give a sort of floating illusion to the dress as the model walked the runway.

A tag in the center front hem of the outer skirt was sewn on upside down so when the skirt is lifted up by someone not wearing the dress, the tag is right side up. Handwritten on the tag is 9146. The number 91 likely indicates the year the dress was presented, 1991. The meaning of the number 46 is more unclear but could possibly indicate the position of the dress in the fashion show or that it was the forty-sixth garment made for the collection.

Scaasi was known for exciting and innovative designs and did not often create similar couture or runway garments. A 1992 couture gown with a comparable design was found on a designer vintage clothing website. Both gowns have the same full, a-line skirt, narrow waist, and poufy sleeves. Structurally, they both have horsehair in the hems, tulle for fullness, and silk inner linings with boning in the bodice. They are rather simple designs, visually, but stand out due to their unique and bold fabrics. This was a hallmark of Scaasi toward the end of his career; he shifted from intricate cuts to simpler shapes with more reliance on fabrics than on construction.

The dress in its entirety is reminiscent of styles past. Its flat, seamless bodice with a low, straight neckline, wide set sleeves, and corset-like boning is similar to dress styles seen around Europe throughout the 1500s. The fuller back of the skirt harkens back to the bustle, popular throughout the late 1800s and early 1900s in varying sizes; it is almost like a pared down version of the 1860s gowns that were flat in the front and larger in the back, creating a sort of elliptical shape. The oversized sleeves are similar to the dramatically poufy sleeves of the 1830s and 1890s but would not be out of place in the 1980s either. Scaasi seems to have pulled inspiration from throughout history to create a gown that exudes a general feeling of historic dress, while keeping it modern enough to be desirable to the contemporary woman.

This dress did not have much of a life. It seems to have landed in a one and done situation; worn for a fashion show, possibly photographed, and then more than likely placed in storage for six years. Donated to the HTCC, it was again stored in what is affectionately referred to as “The Scaasi Closet.” This gorgeous gown, a rich and distinct design, subtle and therefore more interesting in its contrast to Scaasi’s other louder designs, hasn’t been able to be loved. The dress has been admired and fawned over by all who have seen it since its re-emergence. It is much the same with Scaasi himself. His brand isn’t as well known by contemporary generations who weren’t dressed by Scaasi himself. Great clothes and great designers always deserve a second chance to be admired.

References

“C.1992 Arnold Scaasi Couture Deep Green Velvet & Embroidered Silver Thread & Sequin Dress.” 2021. Shrimpton Couture. Accessed April 12. https://www.shrimptoncouture.com/collections/designer-arnold-scaasi/products/c-1992-arnold-scaasi-couture-deep-green-velvet-embroidered-silver-thread-sequin-dress.

De Young, Justine. 2019. “1500-1509.” Fashion History Timeline. June 7. https://fashionhistory.fitnyc.edu/1500-1509/.

Morris, Bernadine, and Arnold Scaasi. 1996. Scaasi: A Cut Above. New York: Rizzoli International Publications.

“Tudor Fashion.” 2021. Royal Museums Greenwich. Accessed April 24. https://www.rmg.co.uk/stories/topics/tudor-fashion.

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Susan J. Jerome]]>
According to a letter from the donor Rita Grossman, this Givenchy coat is one of several couture pieces she had custom-made in Paris between 1955 and 1974. Grossman cut out the labels to avoid paying a duty tax. The coat and the other designer garments donated by Grossman were appraised by D. Ghelerter at Cora Ginsburg LLC, who authenticated the 1960s Givenchy provenance prior to the donation.

The double-breasted coat design includes a convertible collar with notched lapels and long raglan sleeves. A self-fabric belt attaches across the back with plastic dome buttons colored to match the bright orange wool twill. This fabric is used as both the outer material and the coat lining, with a plain weave, stiff inner lining fabric between that is visible through a small hole. The coat closes in the front with both bound and in-seam buttonholes and the dome buttons. The classic structure of the coat, with the curved horizontal seam just below the bust, single darts sewn from the shaped front side seams and the shaped side back seams, creates a garment that skims across the wearer.

Hubert de Givenchy (1927-2018) was one of the top haute couture designers of the 1960s. His coats and suits were frequently mentioned in the fashion press and appear to have been what he was best known for at the time. When he opened in the mid-50s, he was considered the most exciting new designer, very modern and youthful. An article from Women’s Wear Daily, published in 1965, gives a fascinating glimpse into his career at the time, with a list of opinions from various fashion professionals. Some considered his influence to be rapidly declining because he was showing the same styles over and over. Others refuted this, or at least confirmed that even if his designs were not avant garde, they still sold. Constantly compared to his idol and teacher, designer Cristobel Balenciaga (1895-1972) (they were often paired as simply “B & G”), some suggested that Balenciaga’s early influence on him had stifled Givenchy’s creativity. What is clear is that his clothes remained popular with well-dressed, young, wealthy, society women who could afford haute couture. Other descriptors of his work and those who wore it included “chic,” “austere, severe, and prim,” “understated,” and “elegant.”

At the close of the decade, Givenchy considered himself the last of the true haute couturiers, still making elegant, classic clothes for private clients. This sentiment was reiterated more critically by the press, who added that his clients were all now middle-aged. Givenchy decided to stay with the style he claimed he inherited from Balenciaga, not wishing to participate in what he thought were popular vulgar and shocking fashions. For him, “fashion” and “couture” were two separate things: couture endures the test of time.

While the coat’s overall design certainly places it in the category of chic, one wonders if the eye-searing color signaled some other meaning to contemporary audiences. The color is none of the adjectives associated with his work: understated, austere, prim, elegant. It is brash and loud.

Givenchy’s legacy is linked to that of his muse, Audrey Hepburn, although he is also known for his work for Jacqueline Kennedy (including the dress she wore for the White House tour). Both are given perennial best-dressed status to this day. A statement made in 1965 still rings true today as to why Givenchy’s work remains the epitome of chic: “My customers like the way Audrey Hepburn looks and are influenced by [Givenchy] in this way.” Hepburn’s third wedding dress, the only one by Givenchy, was recently identified as a new source of inspiration for modern brides who have scaled back due to the pandemic.

A modern woman could wear this coat today and not look outdated, although it would be somewhat in contrast to the deconstructed, eclectic looks of the 1990s that have recently made a comeback. This imaginary woman would not be “in fashion” in that sense, but no one could say that she wasn’t stylish. The coat walks the fine line of being both chic and modern that have come to be considered Givenchy’s signature style. The bold color assures those who glimpse it that the wearer is confident and full of life. The tailoring lines are a blend of feminine and masculine - another modern touch for a woman who wants to be taken as seriously as a man, but who still feel womanly and likes to wear dresses. Unlike the cumbersome, petticoated, voluminous skirts of the 1950s, styles replaced by Givenchy’s iconic Balloon and Baby Doll dress designs, this coat’s silhouette requires no special undergarments or torturous shoes; it can pass through doorways, and easily be driven in.

The primary difference between “then" and "now,” is that women of diverse ages and appearances would want to wear this coat, not just the young, wealthy socialites of the 1960s. One can picture it as a new red coat option for Jane Fonda for Fire Drill Fridays, or on Kamala Harris or Michelle Obama at a political event (although the color red is associated with the Republican party), just as easily as one can imagine it on a young person headed for their first job interview, trying to look more sophisticated than they feel inside. Just as Givenchy hoped, his couture style has stood the test of time.

References

Baudot, François. Fashion: The 20th Century. New York: Universe, 2006.

Beard, Peter. “Fashion: The Next Shape-Moves, Pouffed Back, Shawled Suit.” Vogue, August 15, 1963.

Brady, James W. “Charade of the Beautiful and the Banned: Givenchy.” Vogue, August 28, 1964.

Cable Fairchild News Service. “Great Sportive: Three Key Paris Houses Share Same Fashion Mood.” Women’s Wear Daily, August 2, 1963.

Clark, Rebekah. “Why Audrey Hepburn and Mandy Moore are Inspiring the Next Generation of Brides.” Grazia, March 25, 2021. https://graziamagazine.com/articles/audrey-hepburn-mandy-moore-wedding-dress/.

Dryansky, G. Y. “Givenchy.” Women’s Wear Daily, February 19, 1969.

“Eye.” Women’s Wear Daily, February 3, 1964.

“The Fit.” Women’s Wear Daily, August 8, 1963.

Fleming, E. McClung. 1974. "Artifact Study: A Proposed Model." Winterthur Portfolio 9:153-173.

Major, John S. “Givenchy, Hubert de.” In The Berg Companion to Fashion, edited by Valerie Steele. Oxford: Bloomsbury Academic, 2010.http://dx.doi.org.uri.idm.oclc.org/10.5040/9781474264716.0008085.

Mendes, Valerie and Amy de la Haye. Fashion Since 1900. London: Thames & Hudson, Ltd. Hill, 2012.

“Paris 3 Look: The Gentle Woman Mood.” Women's Wear Daily, January 22, 1964.

Paton, Kathleen. “Best-Dressed Lists.” In The Berg Companion to Fashion, edited by Valerie Steele. Oxford: Bloomsbury Academic, 2010.http://dx.doi.org.uri.idm.oclc.org/10.5040/9781474264716.0001815.

Russell, Mary. “The Fashions: Paris Givenchy.” Women’s Wear Daily, July 29, 1968.

Russell, Mary. “Paris Givenchy.” Women’s Wear Daily, August 1, 1967.

“The State of Givenchy Today.” Women’s Wear Daily, June 23, 1965.

Stern, Bert. “Fashion: Snapped-up Looks.” Vogue, January 15, 1963.

“The Trends.” Women’s Wear Daily, August 19, 1963.

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According to a letter by the donor it is one of her several custom-made Paris couture pieces from between 1955 and 1974. Grossman cut out the labels in order to avoid paying duty. The coat and the other designer garments donated by Grossman were appraised by D. Ghelerter at Cora Ginsburg LLC, who authenticated the 1960s Givenchy provenance.]]>
The Russian Collection]]> Yves Saint Laurent (1936-2008) launched his prêt-à-porter, or ready to wear collection he titled Rive Gauche in 1966, at the beginning of what was to become a standard practice for fashion designers. This coat is from Saint Laurent’s famous Russian Collection, presented in 1976. Saint Laurent, who was born in French Algeria and grew up living on the Mediterranean, was often influenced by non-western cultures. The New York Times quoted him, in an interview published just months after the Collection’s debut, as saying, “They are derived from the typical clothes of Austria, Morocco, Czechoslovakia, Russia,” he said. “Ethnic clothes. Very loose, not complicated.” Saint Laurent later said he was inspired by the way Russian peasants lived and existed outside of the Russian politics; living simple lives. He was also inspired by Russian fantasy and heroines in Russian literature. Fashion writer Bernadine Morris used such terms as “haute peasant look” and “elegant peasants” when describing the braid-edged jackets. “Sometimes the jackets are sleeveless, but always braid-edged.”

At the time this coat was produced, the United States and the Union of Soviet Socialist Republics were exchanging art items to be displayed at museums in both countries as a successful attempt at reducing Cold War tensions. The Metropolitan Museum of Art sponsored such a show in December, 1976, which showcased meticulously embroidered peasant outfits alongside the wedding dress of Catherine the Great. In response, society women wore pieces from the Russian Collection to the opening, which only increased the collection’s popularity. When the collection debuted, it was the most expensive fashion show ever produced.

The exterior of this coat is an extremely thick, felted wool dyed a rich, deep purple. The braided trim colored purple and green is also made of wool. The lining is a satin fabric, and there are five purple, plastic, dome-shaped buttons that fasten the coat down the front. The two pockets on the front are slashed pockets with upturned flaps. The coat itself is semi-fitted due to the center seam down the back. The garment is entirely sewn by machine, in keeping with its being ready-to-wear. The design in both construction and appearance is very simple. What stands out is the richly colored purple wool felt accented with the braiding. This trim, run along the front, bottom, cuffs, sleeves and armscye, gives the coat an Eastern European feeling.

The provenance of the coat is traceable to the original owner, Grace Nissman, who purchased it in Chicago according to curatorial records. Neiman Marcus opened a Rive Gauche boutique in Northbrook, Illinois around the time, making it the location the coat was likely purchased at (Hindman, 2021). The woman who purchased it was very aware of the latest trends. Yves Saint Laurent was a name on the lips of anyone with any interest in fashion, and his Russian Collection was hailed as revolutionary. The versatility of this coat also speaks to how useful and wise a purchase it would be, considering that it could be worn appropriately at different times and events. While Rive Gauche was ready-to-wear, it would still have been an more expensive than other available coats.

One of most interesting aspects of the Russian Collection (and the coat, by extension) was its power to sway the public opinion of Russia. Tensions between Russia and the West were still difficult at the time this collection came out, causing it to be met with either of two responses: the Russian Collection was groundbreaking and breathtaking, or it was an outright display of Communist sympathy. The former seems to have become the more accepted idea, as this collection is still celebrated today by museums and fashion historians.

At a time where Russia was not looked upon favorably, Yves Saint Laurent celebrated the country’s art, history, and folklore, reminding the public that Russia had more to offer than what Western countries expected at the time. Not only is this collection a good example of cultural appreciation, it is an example of the impact art can have on everyone. Yves Saint Laurent combined the art of fashion with the art of Russia, making something beautiful on a global scale.

References

Hindman Auctions. (2021, March 16). Yves Saint Laurent's Peasant Collection, In Search of the Eternal Present. Hindman. https://hindmanauctions.com/blog/yves-saint-laurents-peasant- collection-in-search-of-the-eternal-present#_edn1.

McClendon, E. (2015, March 3). Yves Saint Laurent's Rive Gauche Revolution. Yves Saint Laurent + Halston. https://exhibitions.fitnyc.edu/blog-ysl-halston/yves-saint-laurents-rive-gauche -revolution/.

Morris, Bernadine, “Saint Laurent was Hailed and Adored.” The New York Times, April 7, 1976, page 47.

Morris, Bernadine, “Peasant Luxe.” The New York Times, August 15, 1976, page 49.

Seeling, C. (2000). Yves Saint Laurent. In Fashion: The Century of the Designer 1900-1999 (pp. 354–367). story, Konemann.

Trifonova, E. (2016, August 1). Yves Saint Laurent and Russia: A love affair that continues to this day. Russia Beyond.https://www.rbth.com/multimedia/history/2016/08/01/yves-saint-laurent-and -russia-a-love-affair-that-continues-to-this-day_617065.

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Rive Gauche
The Russian Collection]]>
Pierre Balmain (1914-1982) was one of the most revolutionary designers of his time. His architectural studies and subsequent work for Edward Molyneux and Lucien Lelong shaped him into the designer he became. Balmain created the ‘new French style’ which included chic tailored suits and, most famously, his elegant evening wear. Expanding to the American market caused him to face backlash from his peers, but eventually, they too expanded to America.

Balmain had an instinct for design and technique that catered to an elegant and sophisticated woman. He preferred simplicity rather than lavish or bold designs and avoided following trends.

Pierre Balmain was born on May 18th, 1914 in Saint Jean de Maurienne, France. His father owned a drapery business while his mother and sister owned a fashion boutique, exposing Balmain to fabric and fashion at an early age. Originally an architecture student at École des Beaux-Arts, at age twenty he began working as a sketch artist for the House of Piguet. Pierre quickly advanced, and began working for the House of Molyneux in 1934. Balmain worked for Lucien Lelong before opening his own house in 1945.

The House of Balmain was an immediate success. Gertrude Stein wrote “From Dark to Day” for Vogue in response to Balmain’s first show, most of it a memoir of her friendship with the young man during WWII with statements such as “Alice Toklas insists that one of her suits [that Balmain made for her during the war] was as wonderful as any he was showing at his opening….” This publicity helped guarantee Balmain’s good fortune.

By the end of the decade, Balmain had extended his business to New York City and entered a new market with a perfume called “Jolie Madame.” In 1951 he  established a company in the United States to manufacture and sell his ready-to-wear clothing line. This was at a time when French designers were concerned about keeping control of the fashion industry, focusing on the French market and dressing French women and those who could afford the high prices. Balmain’s expansion to the United States and into the ready-to-wear market, were perceived by some as a rejection of, and possible weakening of, this dominance.

During his career, Balmain designed the garments for a Broadway show, TV shows, Hollywood stars on and off the screen, and the flight attendants for TWA and Malaysia-Singapore airlines. Although Balmain was an influential and inspirational designer from the1950s through1980, his business deals led to the dilution of his name as a high-end designer, as luggage, jewelry, and other accessories joined the brand once successful at selling women’s clothing and perfume. Balmain believed that the ideal of elegance in clothing came from simplicity. The French designer offended the American fashion press by stating that Seventh Avenue [in New York City] fashion was vulgar. “As a couturier, he wasn’t interested in fashion per se; rather he sought to dress women who appreciated an elegant appearance and possessed sophisticated style.”

It is interesting to note that Balmain was asked to design the wardrobe for Queen Sirikit of Thailand when she accompanied her husband on a six-month long state tour in 1960. This began a long association between the two which lasted until Balmain’s death in 1982. Colin McDowell suggests that this relationship lowered Balmain’s reputation for some, who considered the Queen “had little to do with French high fashion.”

This garment is made from a dark blue fabric called linen crash. The term “crash” is used to identify fabric made with yarns spun from a variety of fiber lengths. Lower quality (shorter) fibers are spun with the longer flax fibers to utilize as much of the plant as possible. This combination of long and short fibers creates a nubbly yarn that, when woven, produces a textured material. Cotton, flax, and jute or other fibers can be combined during the spinning process. Often used for toweling, drapes and other household textiles, linen crash became popular for clothing after WWII.

The sleeveless gown’s design is simple, with a semi-fitted bodice shaped with a single dart stitched vertically from the waistline seam in each side front. The bodice fabric is cut on the bias which provides some ease for the wearer. The slim skirt is cut with a center back seam and a seam down each side of the front, into which a pocket has been placed. Cut on the straight grain, the skirt fits with just a few gathers along the center front and a short dart on each side back. A narrow stand-up collar completes the use of the blue linen. The garment closes in the center back with a hand-picked zipper. The garment is fully lined with a dark blue, satin weave fabric installed entirely by hand.

Known for using sophisticated satins and taffetas with rich beaded elements, Balmain decorated this gown, made from what some may consider a plain material, with glass, metal and wood beads and charms. The decorations set off the simple neckline, each pocket opening, and a separate belt. The fabric used for the belt is an off white twill variation, also used to highlight the neck and pockets. These choices for fabric and decoration are in keeping with the movement for using natural elements in clothing that began in the 1970s.

Pierre Balmain was a great influence and inspiration to the fashion industry. He used the basic principles of fashion to inspire his designs and create for elegant and sophisticated women. His successors, who included Oscar de la Renta,  took his techniques and designs and built them into the modern world. Many are inspired by his work and his ability to create something out of nothing. Balmain is considered to be one of the founding members of the ‘New Look’ or ‘New French Look’ and this is how he is best remembered today.

References

AnHistorian. (2020, 07 02).
Style History: Balmain. An Historian About Town. https://anhistorianabouttown.com/history-of-balmain/

Balmain: The History of a French Powerhouse. (2021, February 10). FarFetch. https://www.farfetch.com/style-guide/icons-influencers/balmain-style-couture-heritage- and-youthful-opulence/

Blumberg, N., Bhutia, T. K., & Pauls, E. P. (2020, June 25). Pierre Balmain. Britannica. https://www.britannica.com/biography/Pierre-Balmain

Crash. (April 2021). Beloved Linens. https://www.belovedlinens.net/fabdico/Crash.html

Donahue, C. (n.d.). Reeling Back the Years. Her. Retrieved 2021, from https://www.her.ie/style/reeling-back-the-years-history-of-fashion-house-balmain-118389

Dudbridge, S. (n.d.). Balmain Biography. Catwalk Yourself. Retrieved 2021, from http://www.catwalkyourself.com/fashion-biographies/balmain/

The Editors of Encyclopedia. (July 1998). Crash Cloth. Britannica. https://www.britannica.com/topic/crash-cloth

Fashion A-Z. (n.d.). Business of Fashion. Retrieved 2021, from https://www.businessoffashion.com/education/fashion-az/darts#:~:text=Darts%20are %20a%20dressmaker's%20punctuation,pressed%20down%20to%20one%20side.

Major, J. S. (2013, December). Pierre Balmain. Love to Know. https://fashion- history.lovetoknow.com/fashion-clothing-industry/fashion-designers/pierre-balmain

Mar, L. (2020, June 22). A Brief History of Balmain. History of Yesterday. https://historyofyesterday.com/a-brief-history-of-balmain-fce4e21e931f

Major, J. (2014, March). Pierre Balmain. 20th Century Designers. https://20thcenturydesignersfinalproject.weebly.com/pierre-balmain.html

McDowell, Colin. March 2, 2016. “News & Analysis: Pierre Balmain (1914-1982) in The Business of Fashion in the https://www.businessoffashion.com/articles/news-analysis/pierre-balmain-1914-1982/

Pierre Balmain- Fashion Designer Encyclopedia. (2021). Encyclopedia of Fashion. http://www.fashionencyclopedia.com/Ba-Bo/Balmain-Pierre.html

Stein, Gertrude. “From Dark to Day.” Vogue, Vol. 106, iss. 10, December 1, 1945, p. 126-127. Accessed through the Vogue database at the University of Rhode Island Robert L. Caruthers Library.

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Donor information states that this dress, and a second Balmain dress donated to the Collection, were owned and worn by her mother-in-law.]]> Susan J. Jerome, MS '06]]>

The dress is pieced together with several coordinated printed fabrics. The neckline trim, cuffs, waistband, and the print following the princess style lines are made of one design. The sleeves and skirt are made of a matching floral print. The bodice is a third, similar but unique print. The dress is fully lined with a blue satin fabric of undetermined fiber. This dress features definitive art nouveau influences in the printing of the fabric, typical of the bohemian style dresses in the 1970s. It features a color palette that evokes the contrast of complementary colors without being too shocking to the eyes. 

The donor of this dress, Dorothy Small, gave a number of other designer clothes to the Historic Textile & Costume Collection, including Pucci garments which she seems to have worn often. This dress, even with the Malcolm Starr label, is ready to wear, designed with an upper-middle or upper-class woman in mind to be worn at a casual dinner or cocktail party.

Malcolm Starr (1924-2008) was an American ready to wear designer from the late 1960s until 1976. The company was originally opened in the 1940s by his father. Upon hs death in 1969 Malcolm took over running the business. The brand was best known for its daywear dress and jacket sets as well as beaded and sequined shift dresses. Starr was one of the first companies to lease manufacturing facilities in Hong Kong, China and Japan for decorating garments with beading, embroidery and applique work.

The designer, Youssef Rizkallah, worked at Malcolm Starr from 1969-1975. Rizkallah was an Egyptian designer known for his use of jewel tones. Prior to joining the brand, his clients included the Queen of Jordan and the wives of Middle Eastern diplomats. He left the Malcolm Starr label in 1975 to launch his own women’s wear line.

A second designer identified with the Malcolm Starr brand was Elinor Simmons. She arrived to design at Malcolm Starr early in the 1960s, apparently leaving in 1972. Both designers had their name connected to Malcolm Starr on clothing labels. An internet search has uncovered little about either of these designers. However, the Fashion Institute of Technology Library's special Collections contains a "formidable collection" of working and finished sketches by Rizkallah.

References

Admin. (2010, July 18). Starr, Malcolm. Retrieved April, 2021,from https://vintagefashionguild.org/ label-resource/starr-malcolm/

Art nouveau And 1960s: A Psychedelic Dream. (2016, October 06). Retrieved April, 2021, from
https://byronsmuse.wordpress.com/2016/10/06/art-nouveau-and-1960s-a-psychedelic-dream/

BombshellVintagePDX. (n.d.). Vintage Malcolm STARR International dress / 1970s rizkallah.
Retrieved April, 2021, from https://www.etsy.com/listing/551803927/vintage-malcolm-starr-international
ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=
malcolm%2Bstarr&ref=sr_gallery-2-30&from_market_listing_grid_organic=1&frs=1

Calahan, A., & On, P. (2019, April 22). Egyptian elegance: YOUSSEF RIZKALLAH. Retrieved April, 2021, from https://blog.fitnyc.edu/materialmode /2018/10/18/egyptian-elegance-youssef-rizkallah/

Cotto, W. (2008, March 21). Manufacturer Malcolm starr. Retrieved April, 2021, from
https://wwd.com/fashion-news/fashion-features/manufacturer-malcolm-starr-460606/

Dresses for women - boho, cute and casual dresses. (n.d.). Retrieved April, 2021, from
https://www.freepeople.com/dresses/

Dresses for women: Unique dresses online. (n.d.). Retrieved April, 2021, from
https://www.anthropologie.com/dresses]]>
Designed by Rizkallah
"Made in the British Crown Colony of Hong Kong"]]>
The dress is believed to have been made between the years 1975 and 1980. McFadden (b. 1938) launched her first collection in 1973 and patented her “Marii” pleating technique two years later. She began Mary McFadden Inc. in 1976, which focused on evening gowns using this Marii technique, as well as handcrafted elements including hand-painting, quilting, beading, and embroidery. Despite being a ready-to-wear line, much of the work was still done by hand. McFadden shut down her couture house in 2002 but denied rumors of financial difficulties; her partner claimed she wanted to focus on her new and more successful ready-to-wear line.

McFadden’s favored fabric was a polyester charmeuse she found while in Australia. Charmeuse, from the French word for “female charmer,” is a lightweight satin weave with the warps crossing over four or more weft threads, creating a fabric that is shiny on one side and dull on the other. She compared the drape to “liquid gold” or “ancient Chinese silk” (McFadden 2011). The fabric would be dyed in Japan in accordance with a particular collection and then sent to the United States to undergo the heat transfer pleating process. McFadden named the pleating fabric “Marii” pleating, a Japanese version of her name, Mary. The color for this dress is a mint or light green; from numerous examples this appears to have been a popular color McFadden used for her dresses. Sometimes called “Fortuny Pleating”, the technique ensured a permanent pleating that wouldn’t fall out with wear or travel. The Fortuny reference comes from designer Mariano Fortuny, who had his own couture house from 1906 until 1946. He employed a very similar style of pleating for which he became quite well-known.

Heavy beading and embroidery decorate the bodice of the dress, with chain stitching in various colors, small springs arranged into flower shapes, and beading in various shapes, including circles, half circles, tulips, and dashes. The decorations were made separately and sewn onto the dress as a large, completed piece; basting stitches are visible on the inside skirt along the bottom of the waistline decoration. McFadden studied sociology and anthropology at Columbia University for a time and was also well-traveled, and this shows in her designs. This particular dress, along with the more obvious Grecian look of the pleats, seems to have a Middle Eastern influence, with its bright colors and various shapes and symbols. McFadden reused many elements in her designs because she was unconcerned with trends, unlike most other designers. What was important to her was creating wearable art and showcasing the different cultures, both contemporary and ancient, that inspired her designs. 

The dress is well constructed, but on close inspection it lacks some couture-level sewing. There is a hand picked zipper, but the basting stitches remain along the majority of its length. There appear to be basting stitches left in a few other places, such as along the top of the skirt where the waistline decoration is attached. There are also dotted line marks for two darts on either side of the inner lining however there is no evidence of darts being sewn there. The quality of the craftsmanship suggests that it may have been a prototype or that “couture” in the United States means something different than in Europe. Couture for this dress may mean “custom made.” The garment has been made smaller, also suggesting that Mrs. Annenberg owned and wore the garment for a number of years.

The original owner of the dress, Mrs. Janet Annenberg Hooker lived a lavish lifestyle, with homes in Manhattan, Palm Beach, and Newport; the Newport home was never lived in, as she purchased the home in 1992 and soon after her health began to decline. Married three times to wealthy men, and with a fortune of her own, she made a great deal of charitable donations, most notably to the Smithsonian. It is likely that Mrs. Hooker was in the spotlight throughout her life and would certainly want to look the part. A Mary McFadden gown was sure to make someone stand out, with its unique pleating, bright colors, and bright decorations. Mrs. Hooker seemed to never compromise on style; a photo of her in another Mary McFadden gown is dated to 1988, when Mrs. Hooker would have been eighty-four. This dress would have allowed Mrs. Hooker to indulge in the dramatic styles of the seventies and eighties, while the short sleeves and more modest neckline would have provided the coverage that older women tend to prefer.

The dress shows how inspiration can span decades and even centuries. Both Fortuny and McFadden were likely inspired by the pleats commonly found in ancient Greece, and despite the clear similarities between Fortuny’s pleats and McFadden’s, she has denied taking direct inspiration from his collections alone. It is more likely that they both looked back in time over other cultures and found inspiration in the same Greek statues.

There is also a timelessness in McFadden’s gowns, with the pleats spanning decades of her designs and her tendency to have a simple skirt paired with a more lavish bodice. These dresses will never go out of style, only simply become vintage. They are not so stuck in the trends and traditions of the time they were made that they cannot be easily translated to a new era; even if elements were to go out of style, the elegance of the gown would remain and it would be coveted, as it is now, as a beautiful vintage garment. Nothing truly remains out of style and that is proven by the pleats that spanned millennia.

References

Admin. “McFadden, Mary.” Vintage Fashion Guild, July 23, 2010.https://vintagefashionguild.org/label-resource/mcfadden-mary/. 

“Dress.” metmuseum.org. The Metropolitan Museum of Art. Accessed April 9, 2021. https://www.metmuseum.org/art/collection/search/762103. 

Fogg, Marnie. “Mary McFadden.” LoveToKnow. LoveToKnow Corp. Accessed April 9, 2021. https://fashion-history.lovetoknow.com/fashion-clothing-industry/mary-mcfadden. 

Grossoird, Sophie. “'Delphos' Dress , Mariano Fortuny.” Palais Galliera | Musée de la mode de la Ville de Paris. Accessed April 9, 2021. https://www.palaisgalliera.paris.fr/en/work/delphos-dress-mariano-fortuny. 

“Hooker Emerald.” Hooker Emerald - Smithsonian Institution. Accessed April 12, 2021. https://geogallery.si.edu/10002707/hooker-emerald. 

“Hooker Yellow Diamonds.” Hooker Yellow Diamonds - Smithsonian Institution. Accessed April 12, 2021. https://geogallery.si.edu/10002731/hooker-yellow-diamonds. 

“Janet Annenberg Hooker - Google Arts & Culture.” Google Arts and Culture. Google. Accessed April 9, 2021. https://artsandculture.google.com/entity/janet-annenberg-hooker/m043zpj8?hl=en. 

“Mary McFadden Couture Ensemble 1990's Vintage.” Regeneration Vintage. Accessed March 29, 2021. https://www.regenerationvintage.com/products/mary-mcfadden-couture- ensemble. 

“Mary McFadden Fortuny Pleats Plisse Green Embroidered Maxi.” Etsy. Accessed March 29, 2021. 

“Mary McFadden Gown SOLD.” Cheeky Vintage. Accessed March 29, 2021. https://cheeky- vintage.myshopify.com/products/mary-mcfadden-gown. 

“Mary McFadden.” Couture: Dresses & More - 67 For Sale at 1stdibs. Accessed April 9, 2021. https://www.1stdibs.com/creators/mary-mcfadden/fashion/. 

“Mary McFadden.” FIDM Museum Blog, January 28, 2011. https://blog.fidmmuseum.org/museum/2011/01/mary-mcfadden.html. 

Matthews, Dyese. “Fashion Archeologist and Household Name: Mary McFadden.” Textiles and Clothing Museum, November 9, 2018. https://textilesclothingmuseum.wordpress.com/2018/11/09/fashion-archeologist-and- household-name-mary-mcfadden/. 

Mayhew, Augustus. “Best Friends: Jewish Society in Old Palm Beach.” New York Social Diary, January 28, 2020. https://www.newyorksocialdiary.com/best-friends-jewish-society-in- old-palm-beach/. 

Nemy, Enid. “Janet A. Hooker, Philanthropist, Dies at 93.” The New York Times. The New York Times, December 16, 1997. https://www.nytimes.com/1997/12/16/nyregion/janet-a- hooker-philanthropist-dies-at-93.html. 

“NMWA Celebrates the Work of American Fashion Designer Mary McFadden in Mary McFadden: Goddesses.” NMWA, June 11, 2020. https://nmwa.org/press/nmwa- celebrates-work-american-fashion-designer-mary-mcfadden-mary-mcfadden/#:~:text=After%20working%20as%20a%20publicist,%E2%80%9CMarii%2C 

%E2%80%9D%20pleated%20polyester.
Vogue. “McFadden Couture to Close.” British Vogue. British Vogue, August 20, 2002.
https://www.vogue.co.uk/article/mcfadden-couture-to-close. 

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Couture label sewn onto the belt]]> The Preservation Society of Newport County]]> This dress is 55 1⁄4” from the top of the sleeve to the hem of the skirt, with a 20” zipper at the center back. The sleeves are 14 1⁄2” inches long, with the pleated fabric sewn in a way that creates a twisted, tulip-like shape. The neckline is square at both the front and the back. The waistline decoration, over which a belt can be placed, is 15 1⁄2” across the front and 4 1⁄4” wide, in a slightly skewed rectangular shape. 

There is also a detachable belt, almost a cummerbund, meant to cover up the waistline decoration for a slightly more subdued style, with pleats running in the horizontal direction. The belt is 35 1⁄2” long from bottom corner to bottom corner. It is 4” wide from top to bottom corner at the end, but throughout the length of the belt, it spans between 4 1⁄4” to 4 1⁄2”.

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This sleeveless, shift-style dress was made in Italy of brown wool gabardine by Emanuel Ungaro (1933-2019), probably within the first few years of Ungaro Paralléle, the label Ungaro launched in 1968 after establishing his company in 1965.

The garment was donated to the university in 1987 by Isabelle Weinstein, described in her obituary as “a lifelong resident of Providence [RI]”. Ms. Weinstein was born in 1921 and would have been in her late 40’s if she purchased and wore this dress. Her daughter, Jacalyn Brookner (1945-2015), a graduate of Wellesley College and noted artist, environmentalist, and educator, would be a candidate for the original owner of this dress. An article in the Providence Journal wrote that at the beginning of Bob Dylan’s career he accepted Jacalyn’s invitation to their home, where he visited the family and played the piano. The short hemline, casual design and shift-style, popular in the 1960s and early 1970s, would be a more fashionable outfit for a woman in her mid 20s than one almost 50 years of age.

The dress buttons up the front using seven large brown and white buttons with bound buttonholes. The 2-inch wide leather belt sits at the natural waist. There is a patch pocket on each hip and another over the proper right bust, each with a flap folded to the outside and secured by a button. The dress is fully lined. A brand tag with “emanuel ungaro / paralléle - paris” is stitched to the back of the neck with a size 12 tag sewn underneath. A “Made in Italy” tag is sewn along the proper right side seam.

Ungaro’s father was a tailor, originally Italian, who had moved his family to France prior to his son’s birth because of fascist uprisings. Ungaro was quoted in the Boston Globe (1965) as saying, “My father is like a god to me. He taught me to respect line and quality, and to take pains with every stitch.”

After working for three years in his father’s tailoring business, determined to make a career in fashion, he left his hometown for Paris when he was 21 or 22. There he worked in the tailoring industry. In 1958 Ungaro became employed at Cristóbal Balenciaga’s (1895-1972) fashion house, where he spent six years absorbing Balenciaga’s ideas about line, color, and how to drape fabric on the body. In 1964 he moved to the house of André Courrèges (1923-2016), who had also once worked for Balenciaga and recently produced his revolutionary “Space Age” collection. Ungaro established his own business in 1965 and by 1972 was established as a designer of significance. His clients included Jacqueline Kennedy Onassis and Catherine Deneuve.

According to Ungaro's obituary in The Guardian, he launched his ready-to-wear line, Ungaro Parallele, in 1968 to guarantee a steady stream of revenue to help finance his couture enterprise. This dress's label dates to this time, with his name spelled out in the upper line and the words paralléle - paris underneath. None of the label's words have capital letters. The horizontal label is simple, reflecting the simple lines of the dresses that form the Paralléle line.

Ungaro became known for his use of patterns and colors, combining geometrics with florals on bright silks. The business remained successful through the 1970s and 1980s, expanding into the men's clothing market as well as producing perfumes for both men and women. The following decade, however, saw a decline in his business fortunes and in 1996, Ungaro sold a majority interest of the company to Salvatore Ferragamo. He retired in 2005.

References

Genzlinger, Neil. Emanuel Ungaro Obituary, New York Times, December 23, 2019. 

Gunther-Rosenberg, A. (2003, October 11). House of the week - Providence contemporary stands out from the crowd. Providence Journal (RI), pp. E-04. Available from newsbank: access world news – historical and current: https://infoweb-newsbank-com.Uri.Idm.Oclc.Org/apps/news/document-view?P=worldnews&docref=news/1524D43777573C80.

Horwell, Veronica. Emanual Ungaro Obituary, The Guardian, December 25, 2019. 

Isabelle Weinstein, Obituary (2009) - Providence, RI - the Providence Journal. (2009, december 12). Retrieved March, 2021, from https://www.Legacy.Com/obituaries/providence/obituary.Aspx?N=isabelle-weinstein-weinstein&pid=137196564

Maison Emanuel Ungaro. (2019, February 25). Retrieved March, 2021, from http://www.Ungaro.Com/maison/

Ungaro, Emanuel. (2010, July 22). Retrieved March, 2021, from https://vintagefashionguild.Org/label-resource/ungaro-emanuel/

Yaeger, L. (2019, December 23). From the archives: A Celebration of Emanuel Ungaro's Work In Vogue. Retrieved March, 2021, from https://www.Vogue.Com/article/emanuel-ungaro-tribute-french-fashion-designer

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Ungaro Parallele label]]> Susan J. Jerome, M.S. '06]]>