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.
Although most of his designs were sold, commissioned, and displayed in his Venice atelier, Fortuny did branch out to other avenues of sales. He first allowed collections of his gowns, fabrics, and accessories to be sold in an upscale Paris boutique operated by Paul Poiret (Carrara 2021). This collaboration would have also been around the same time as Poiret’s greatest success, also pre-World War I. Poiret’s driving influence of Orientalism in all his designs closely mirrors some of Fortuny’s main inspirations as well – which most likely led to Poiret’s willingness to manage a boutique with Fortuny’s creations. Carrara (2021) also mentions that closely after this association began, Fortuny started to sell his designs in the Liberty of London store, as well as other shops in London, Paris, and eventually New York. These retailers catered to upper-class society; it is likely that his New York store is where this URI collection velvet jacket was originally purchased.
To this day, the company of Fortuny sells a contemporary collection of original patterned and colored textiles. Fortuny’s balance of fusing both art and science produced a successful legacy that continues to live on.
References
Augusta Auctions. 2019. "Fortuny Stenciled Evening Coat, Italy, 1920s." Augusta Auctions. New York City, November 13. https://augusta-auction.com/search-past-sales?view=lot&id=19935&auction_file_id=60.
Carrara, Gillion. 2021. "Fortuny, Mariano." Encyclopedia of Clothing and Fashion. February 17. https://www.encyclopedia.com/people/literature-and-arts/european-art-1600-present-biographies/mariano-fortuny.
Fortuny. n.d. "History." Fortuny. Accessed February 28, 2021. https://fortuny.com/history/.
n.d. "Fortuny Stenciled Velvet Jacket, c. 1930." Vintage Textile. Accessed February 28, 2021. https://www.vintagetextile.com/new_page_98.htm.
National Gallery of Australia. 1983. "Mariano Fortuny." National Gallery of Australia. https://cs.nga.gov.au/detail.cfm?img=90183_A&irn=90183&vid=2.
]]>Combining history, anthropology, and art, Mariano Fortuny (1871-1949) is revered as a maestro of creating dyed and patterned fabrics. His aspirations and inspirations came to him young; Mariano Fortuny was born into a renowned family of artists in Grenada, Spain, according to the history timeline on the Fortuny Foundation website. Fortuny’s move to the Italian city of Venice accounts for much of his famed work. Fascinated by different cultures of art, history, and romance, Fortuny sampled various techniques when creating his fabrics and garments. Incorporating Italian influence, Mariano Fortuny used handcrafted Murano glass beads from Venice, and created textile patterns with motifs that reflected his studies in the city's art museums. Venice, as an important center to the Renaissance textile trade with the Orient, (Carrara 2021) allowed him to draw upon Greek, Japanese, and Southeastern Asian methods for the handcrafting of each individual fabric and garment. His ideas also came from a rich source of ancient Persian and Islamic cultures (Vintage Textile n.d.). Typically, Fortuny would synthesize different elements from numerous cultural inspirations, tying them all together.
This jacket serves the function of both aesthetically pleasing quality of design, as well as comfort. The seams are slip-stitched, and hand sewn, as exemplified by the expertly concealed stitches in the folded edges of the jacket. Constructed from only three pieces (one back and two side fronts), with seams across each shoulder, under the arms, and down each side, the jacket has ample room for active movement. Made of silk velvet and lined with silk faille, the jacket could be worn in cooler temperatures as it has a heavy drape. Whether worn indoors or out, this jacket embodies all the qualities of Fortuny’s early twentieth-century luxurious designs.
Mariano Fortuny’s methods of hand stenciling and hand dyeing ensured that no two garments were alike, as they varied slightly in the artistic techniques employed to make them. The pattern on this jacket is hand stenciled with layers of subtly interchanging silver or gray pigment paint, reproducing the Renaissance fresco effect that Fortuny was so fond of, not only on the central area of the garment, but also along the edges. According to Vintage Textile (n.d.), Fortuny was obsessed with the art of color application and its intricate subtlety. His works became known as masterpieces, due to his self-taught expertise in the manufacturing, mixing, and application of naturally sourced textile dyes (Vintage Textile n.d.). His methods were to piece-dye cut lengths, frequently layering both natural and (later on) aniline dyes – and to even incorporating agents to resist previously applied colors – which resulted in the random, transparent irregularity depicted in this jacket (Carrara 2021). Carrara also notes that Mariano Fortuny combined metal powder with pigments that simulated the shimmering metallic thread commonly used in sixteenth-century velvets.
This silk velvet jacket was most likely intended for evening wear and public events. Mariano Fortuny specialized in these handcrafted garments that had a flare for opulence and lavishness, exemplified through the expensive techniques and fabrics used to make such garments. The combination of Delphos dress covered by a velvet jacket was initially popular for tea gowns.
Although most of his designs were sold, commissioned, and displayed in his Venice atelier, Fortuny did branch out to other avenues of sales. He first allowed collections of his gowns, fabrics, and accessories to be sold in an upscale Paris boutique operated by Paul Poiret (Carrara 2021). This collaboration would have also been around the same time as Poiret’s greatest success, also pre-World War I. Poiret’s driving influence of Orientalism in all his designs closely mirrors some of Fortuny’s main inspirations as well – which most likely led to Poiret’s willingness to manage a boutique with Fortuny’s creations. Carrara (2021) also mentions that closely after this association began, Fortuny started to sell his designs in the Liberty of London store, as well as other shops in London, Paris, and eventually New York. These retailers catered to upper-class society; it is likely that his New York store is where this URI collection velvet jacket was originally purchased.
To this day, the company of Fortuny sells a contemporary collection of original patterned and colored textiles. Fortuny’s balance of fusing both art and science produced a successful legacy that continues to live on.
References
Augusta Auctions. 2019. "Fortuny Stenciled Evening Coat, Italy, 1920s." Augusta Auctions. New York City, November 13. https://augusta-auction.com/search-past-sales?view=lot&id=19935&auction_file_id=60.
Carrara, Gillion. 2021. "Fortuny, Mariano." Encyclopedia of Clothing and Fashion. February 17. https://www.encyclopedia.com/people/literature-and-arts/european-art-1600-present-biographies/mariano-fortuny.
Fortuny. n.d. "History." Fortuny. Accessed February 28, 2021. https://fortuny.com/history/.
n.d. "Fortuny Stenciled Velvet Jacket, c. 1930." Vintage Textile. Accessed February 28, 2021. https://www.vintagetextile.com/new_page_98.htm.
National Gallery of Australia. 1983. "Mariano Fortuny." National Gallery of Australia. https://cs.nga.gov.au/detail.cfm?img=90183_A&irn=90183&vid=2.
The third set of components are three beaded tassels, one at every corner of the scarf. The tassels themselves are made from a braided cord the same shade of green as the lining. More delicate and decorative strands of thread are wrapped and woven into the tassel pattern in addition to the cord. However, the beads are the main attraction. Two golden beads, possibly enamel or glass, frame a Murano glass wedding cake bead that sits between each fabric corner and tassel. These beads have colorful spots and lines possibly made from copper infusions.
This scarf functions primarily as an aesthetic accessory as well as a functional one. While it would be useful in the late spring and early fall as a shield against the chill of the night, as a means of keeping out the cold it falls short when compared with shawls made of other materials. It is certainly more wearable due to the look of it as a fun piece to add to an ensemble.
While the early 20th century was riddled with war and revelry, it is the latter that led to the creation of this Fortuny scarf. The 1920s marked the end of the neccesity to live frugally during and immediately after WWI. With the Great War over, Europe celebrated by enjoying life in excess.
This scarf displayed the wealth of its owner through the designer's name and quality of material used. Additionally, the scarf acted as a status symbol, also because of the designer, as Fortuny was well known and his work was admired. This piece was meant to be shown off and lovingly gawked at by onlookers who knew not only the importance of the materials, but the importance of following trends as well.
In a contemporary setting, this scarf offers a peek into the past-lived lifestyle of the 1920s. It is an insight to the materials, colors, and styles that were popular during that time. It is easy to imagine the effect this scarf would have on a woman; how it might make her feel glamorous. This is an effect that is still desirable today, and it is interesting to think about what modern accessories evoke that exquisite sense of glamor today. Even more interesting, is how this nearly century-old scarf still invokes an air of elegance in a contemporary audience.
References
Bailey Saxl, C. (2012, January 13). "Wedding Cakes": Venetian Fiorato Beads. Jewel Stories.
http://jewel-stories.blogspot.com/2012/01/wedding-cakes-venetian-fiorato-beads.html.
Encyclopædia Britannica, inc. Mariano Fortuny. Encyclopædia Britannica. https://www.britannica.com/biography /Mariano-Fortuny-Spanish-Italian-multimedia-artist-1871-1949.
Gallery of 1920s Vintage Clothing. Gallery of 1920s vintage clothing at Vintage Textile. https://www.vintagetextile.com/gallery_1920s.htm.
History. Fortuny. (2020, November 30) https://fortuny.com/history/.
]]>Mariano Fortuny (1871-1949) is a well known Spanish-born artist who built his career in Venice beginning in 1906, finding great popularity during the 1920s and '30s. A Fortuny shop opened in New York City at 509 Madison Avenue in 1928, after interior designer Elsie McNeill Lee persuaded Fortuny that she should be the exclusive American distributor of his garments and dresses. His legacy continues with a fashion house that produces the quality velvet goods and silks Fortuny was notorious for using. His best-known look is the Delphos dress, a gown of finely pleated silk that was inspired by classicism and the Renaissance.
The scarf has three major components: the fashion fabric is on the outer side, with a lining or the inner side, and tassels. The outer side, visible when the scarf is worn, is a velvet. This is arguably the most impressive piece of the scarf, as Fortuny was known for his velvets. The base weave is a lime green color while the velvet pile is a deep, navy blue. These contrasting colors give an illusion of shimmering material when the scarf is folded, as the green peeks through the blue pile to give a streak of vibrant color When laying flat, it would require a close inspection to see the green lying beneath the surface. It is striking to see the color-changing effect when the fabric is gently folded or draped, and it is easily imagined around a woman’s arms as she moves.
Another feature of the scarf is the pattern printed onto the velvet. The large, repeating filigree pattern was stencilled onto the velvet; these sections have a stiff and slightly crusty texture. The color of the pattern shows as a slightly lighter blue than the pile.
The lining, the side that would rest against the body of the wearer, is an intense chartreuse green color. The material itself is a satin weave of what is probably silk. Taking a fiber analysis sample would have damaged the garment, so it is more favorable to assume that it is silk that gives the scarf lining its soft texture.
The third set of components are three beaded tassels, one at every corner of the scarf. The tassels themselves are made from a braided cord the same shade of green as the lining. More delicate and decorative strands of thread are wrapped and woven into the tassel pattern in addition to the cord. However, the beads are the main attraction. Two golden beads, possibly enamel or glass, frame a Murano glass wedding cake bead that sits between each fabric corner and tassel. These beads have colorful spots and lines possibly made from copper infusions.
This scarf functions primarily as an aesthetic accessory as well as a functional one. While it would be useful in the late spring and early fall as a shield against the chill of the night, as a means of keeping out the cold it falls short when compared with shawls made of other materials. It is certainly more wearable due to the look of it as a fun piece to add to an ensemble.
While the early 20th century was riddled with war and revelry, it is the latter that led to the creation of this Fortuny scarf. The 1920s marked the end of the neccesity to live frugally during and immediately after WWI. With the Great War over, Europe celebrated by enjoying life in excess.
This scarf displayed the wealth of its owner through the designer's name and quality of material used. Additionally, the scarf acted as a status symbol, also because of the designer, as Fortuny was well known and his work was admired. This piece was meant to be shown off and lovingly gawked at by onlookers who knew not only the importance of the materials, but the importance of following trends as well.
In a contemporary setting, this scarf offers a peek into the past-lived lifestyle of the 1920s. It is an insight to the materials, colors, and styles that were popular during that time. It is easy to imagine the effect this scarf would have on a woman; how it might make her feel glamorous. This is an effect that is still desirable today, and it is interesting to think about what modern accessories evoke that exquisite sense of glamor today. Even more interesting, is how this nearly century-old scarf still invokes an air of elegance in a contemporary audience.
References
Bailey Saxl, C. (2012, January 13). "Wedding Cakes": Venetian Fiorato Beads. Jewel Stories.
http://jewel-stories.blogspot.com/2012/01/wedding-cakes-venetian-fiorato-beads.html.
Encyclopædia Britannica, inc. Mariano Fortuny. Encyclopædia Britannica. https://www.britannica.com/biography /Mariano-Fortuny-Spanish-Italian-multimedia-artist-1871-1949.
Gallery of 1920s Vintage Clothing. Gallery of 1920s vintage clothing at Vintage Textile. https://www.vintagetextile.com/gallery_1920s.htm.
History. Fortuny. (2020, November 30) https://fortuny.com/history/.
“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.
]]>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.
Paige Bailey, graduate student in the Master's program of the Dept. of Textiles, Fashion Merchandising and Design, reached out to Tom and Linda Platt via their facebook page at the beginning of her research on this dress during the Spring 2021 semester. A short email discussion with Tom of Tom and Linda Platt revealed the history and provenance of the gown. Tom was able to confirm that this dress was designed in 1989 and is from the 2000 Collection. The dress style number identifies it as 2082, titled “A NIGHT TO REMEMBER.” This gown is a sample garment, which is why there is no sizing tag alongside the designer tag. This sample gown was gifted directly to the donor.
Tom described Lorraine de Wet Howes, the donor, as his best friend. She was a fashion model in London before she immigrated to the US. From 1976 to 2000, Lorraine was the Head of the Apparel Design Department at the Rhode Island School of Design (RISD); she hired Tom Platt as an Assistant Professor in 1978. He commuted from New York to Rhode Island for five years before directing his focus to his own budding design business. The couple created their first collection, the TOM AND LINDA PLATT COLLECTION, in 1982.
They remained close and still have a phone chat every Friday morning. Tom gave the gown to Lorraine to wear at one of the annual RISD fashion shows. Tom and Linda have gifted Lorraine multiple garments over the years. The RISD has a few donations from Lorraine that are either a creation by the hands of Tom and Linda, or a garment that Lorraine created using a Platt pattern.
Tom Platt confirms that the materials for the dress begin with an outer layer of black knit. The lining fabric is a black jersey knit. The entire gown is covered in black sequins that are likely made of polyvinyl chloride (PVC) and 6mm in diameter. The simple jewel neckline and bottom of the fitted sleeves are bound with a plain weave fabric made with a lamé faille, giving these edges a slight sheen. The zipper (Talon brand), as well as the hook and eye are made of metal painted black.
This sequined sheath dress has a boxy, heavy feel due to the large shoulder pads and lack of shaping in the upper torso. There are no darts, gussets, or princess seams, but the side seams form a curving shape to the hips and taper the skirt inward down to the hem. The shoulder pads make the top of the gown the widest part. The sleeves are tight to the arms of the person wearing it. All of the black sequins give the gown a shiny, PVC-like look when viewed from a distance.
This gown could easily be imagined worn on a runway, a red carpet, a charity ball, or as a fun party gown in the 1980s. The versatility is an interesting facet not only of this gown, but the increasingly multi-purpose mindset that was emerging in the ‘80s and following decades. A garment could have multiple uses and be worn multiple times, while in earlier decades, colors and styles were segregated by events and the hours in which the garment was to be worn.
Elements of this garment are still being produced by Tom and Linda Platt today. Their personal outlook on fashion stresses that they believe high-quality fashion lasts forever and transcends trends, an idea reflected in their current garments. Similar shapes, design choices, and fabrics appear across their portfolio, including the use of black or dark sequins and dresses with slits (This is evident in their patterns, ready-to-wear, and custom garments). Their website, tomandlindaplatt.com, has more examples of clothes that play with shape and texture in a similar manner.
The 1980s was a time of power suits, puffy sleeves and shoulder pads, and evening gowns made from shiny, modern materials such as lamé, sateen, taffeta or acetate. Dramatic effects included big bows, ruffles and pleats, tiered skirts, or fabric that would shine. Some of these design elements have withstood the test of time, as evidenced by the use of sequined material in contemporary Tom and Linda Platt designs. This dress can be worn to multiple types of events, transcending fads that quickly come and go. It is interesting to see not only the amount of foresight the Platts had in the late 1980s, but the success they continue to enjoy. So far, their designs are still touching multiple generations of varying incomes, depending on how they acquire their Platt garments.
This garment stands as a testament to American designers who are successful in the international high-fashion industry. Many designers have come from America, but their legacies have been shadowed by the fashion powerhouse that is Europe. Tom and Linda Platt continue to make desirable fashion that competes alongside established European fashion houses. Trends come and go, but good design remains as a mark of designers who make clothing for the love of art.
References
Bailey, P., & Platt, T. (2021, April 12). Tom Platt Interview. personal.
Design Group. (n.d.). V1506. SomethingDelightful. https://somethingdelightful.com/v1506.
Poshmark. (n.d.). Tom and Linda Platt Sequined evening dress. Poshmark. https://poshmark.com/listing/Tom-and-Linda-Platt-Sequined-evening-dress-
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.
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
]]>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
The latest head designer, Demna Gvasalia, began in 2015. Demna connected his own history with the love of street fashion and the brand’s penchant for draping and broad shoulders that showcase the female silhouette. “Tongue-in-cheek pop culture references, including a mountain of graffiti used as the set of his latest show, along with a sportswear aesthetic, reinvent the brand once more.” (Fashion Quarterly, 2020).
Balenciaga set the standard for haute couture, influencing many designers in his time, and in our modern day. His sculptural approach to design was very complex because of his knowledge of cut and construction. “Balenciaga alone is a couturier in the truest sense of the world. Only he is capable of cutting material, assembling a creation, and sewing in hand, the others are simply fashion designers.” (Victoria and Albert Museum, 2021). Balenciaga paved the way for modern fashion by being bold, creating new silhouettes, and ultimately using his Spanish heritage to be his most authentic self.
References
Admin. “Balenciaga.” Vintage Fashion Guild, 17 July 2010, https://vintagefashionguild.org/label-resource/balenciaga/.
Baudot, Francois. Fashion: the Twentieth Century, Universe, 1999, p. 158.
Charleston, Beth Duncuff. Metmuseum.org, 2004, www.metmuseum.org/toah/hd/bale/hd_bale.htm.
“Cristobal Balenciaga.” The St. James Fashion Encyclopedia: a Survey of Style from 1945 to the Present, by Richard Martin, Visible Ink Press, 1997, pp. 28–32.
“Cristóbal Balenciaga: A Timeless Legacy - Cristóbal Balenciaga Museoa - Google Arts & Culture.” Google, Google, 2011 https://artsandculture.google.com/exhibit/crist%C3%B3bal-balenciaga-a-timeless-legacy-cristobal-balenciaga-museoa/ywJyh4WFJqdgIg?hl=en.
Fashion Quarterly. “A Short History of Balenciaga.” FQ, 15 Dec. 2020, www.fq.co.nz/gallery/short-history-balenciaga/.
Hughes, Tyler. “Ocean Lawn, The Firestone Estate, Newport RI.” The Gilded Age Era, 1 Jan. 1970, https://thegildedageera.blogspot.com/2012/12/ocean-lawn-firestone-estate-newport-ri.html.
Martin, Richard. The St. James Fashion Encyclopedia: a Survey of Style from 1945 to the Present, Visible Ink Press, 1997.
Orr, Lois. “Elizabeth Parke Firestone: Her Couture Collection and Her Role as a Woman of Influence .” University of Akron, 2006.
Thieme, Otto Charles. Simply Stunning: 200 Years of Fashion from the Cincinnati Art Museum, Cincinnati Art Museum, 1988.
“V&A · Introducing Cristóbal Balenciaga.” Victoria and Albert Museum, 2021, www.vam.ac.uk/articles/introducing-cristobal-balenciaga
This two-piece women’s suit was donated by Michael McKenna and Carlos Benevides, owners of Artifice of Warwick, Rhode Island. The suit is comprised of a double-breasted jacket and straight skirt, made from a navy and white wool tweed fabric. The jacket relies on a princess seam and dart on each side front, and three panels on each side of the center back seam to achieve a highly structured fit. Other details include four sets of navy-colored buttons with bound buttonholes, a lining of navy blue, and turned up cuffs. The skirt, 29 inches long from the narrow waistband to the front hem, is unlined, with a waist measuring 23 inches. The fitted shape indicates that the suit was probably made in the early 1950s, after the “New Look” emerged post-WWII.
Accession records indicate that the garment was “reportedly owned by Mrs. Firestone.” Artifice, LLC was a business dealing in high-end resale of designer clothing in Warwick, Rhode Island. The label, at the back of the jacket neck, appears to have been removed and re-sewn into the garment after the donation. It reads, “Balenciaga, 10 Avenue George V. Paris”. The skirt appears to have been reworked. The lining has been removed and the hem stitching is unprofessional. The waistband may have been altered as the side seams and darts don’t align and the metal zipper is clumsily hand sewn into the left side seam. It has been narrowed, leaving an exposed inner raw edge. However, the wide seam allowances and hand sewn seam finishes indicate the garment’s couture beginning.
Elizabeth Parke Firestone (1897-1990) was the daughter-in-law of Harvey S. Firestone, Sr., the founder of Firestone Tire and Rubber Company. Elizabeth believed in representing her husband, family, and the Company. She also believed in the power of her personal appearance and always dressing her best. “Her personal appearance and her homes were elegant and highly admired by others…. Every detail of her wardrobe was important to her, and she strove for perfection….” (Orr, 2006). Traveling to Europe often, she developed relationships with many couturiers. Balenciaga was referred to as her favorite because he always provided her with the look she liked. “Balenciaga catered to women on the best-dressed list who were willing to pay his top prices. His designs were known for this perfect fit and their relation to art, both of which were important to Elizabeth.” (Orr, 2006). The Firestones owned a home in Newport, Rhode Island and the family donated numerous garments and accessories to the Historic Textile and Costume Collection after Mrs. Firestone's passing. The navy blue suit in the URI collection may well have been made for Mrs. Firestone: a Christian Dior suit in the Historic Textile and Costume Collection known to have been worn by her has a waistline measurement of 23 inches and similar size jacket.
Cristóbal Balenciaga was born in Spain on January 21, 1895. Studying needlework and dressmaking with his mother, a seamstress, inspired him to go into the world of fashion. He began his own tailoring business with the help of a wealthy neighbor and patroness, the Marquesa de Casa Torres, who sent him to Madrid to receive formal training in tailoring (Martin, 1997). Balenciaga opened his first fashion house around 1914/15 in San Sebastian. Other stores followed in Barcelona and Madrid before the Spanish Civil War prompted a move to Paris.
The House of Balenciaga opened in 1937 on Avenue George V and quickly became the most expensive couture house in Paris. Balenciaga changed the silhouette of women’s clothing during the 1950s with the introduction of his designs for a tunic, chemise, and suit. He removed the waist from dresses, used his knowledge of pattern-making and construction to create unusual forms, and favored heavy fabrics to create architectural silhouettes. He is credited with developing the sack back and baby doll dresses of the 1950s. “With the methodical skill of an expert tailor, he created garments of fluidity and grace…He was able to drape, cut, and fit his own muslin patterns, known as toiles.” (Charleston, 2004). The clothing he designed was different than the typical, curvy hourglass shape that Dior designed.
Balenciaga’s Spanish heritage influenced many of his luxurious designs. His frequent motifs included flamenco dresses, matador outfits, and black lace (Victoria and Albert Museum, 2021; Arts and Culture, 2011). Later in his career, Balenciaga produced new shapes that were never before seen in women’s fashion. “His garments lack pretension because they are characterized by self-assured couture of simple appearance and reserve in style.” (Martin, 1997).
When he closed in 1968, many of his loyal customers experienced a real loss. Almost two decades later, a new wave of designers brought the brand into the twenty-first century (Fashion Quarterly, 2020). In 1987, The Bogart Group obtained the rights to Balenciaga. Michael Goma was the first designer to be in charge of designing colorful ready-to-wear collections. This was important because Balenciaga never made RTW collections, only couture pieces for his clients (Fashion Quarterly, 2020). Goma was followed by Josephus Thimiste in 1992, then in 1997 Nicolas Ghesquiere was chosen as the head designer. Ghesquiere is considered one of the most significant fashion voices of the early 2000s; the influence of his gladiator boots and hyper-floral prints now part of the house’s legacy (Fashion Quarterly, 2020).
Alexander Wang became head designer of Balenciaga from 2012 to 2015, his time notable because Wang paid homage to Balenciaga with his cocoon coats, peplums, and bubble skirts, all referenced with an American twist. Wang promoted the brand by designing for the red carpet; his dresses were worn by stars such as Lady Gaga and Julianne Moore (Fashion Quarterly, 2020.)
The latest head designer, Demna Gvasalia, began in 2015. Demna connected his own history with the love of street fashion and the brand’s penchant for draping and broad shoulders that showcase the female silhouette. “Tongue-in-cheek pop culture references, including a mountain of graffiti used as the set of his latest show, along with a sportswear aesthetic, reinvent the brand once more.” (Fashion Quarterly, 2020).
Balenciaga set the standard for haute couture, influencing many designers in his time, and in our modern day. His sculptural approach to design was very complex because of his knowledge of cut and construction. “Balenciaga alone is a couturier in the truest sense of the world. Only he is capable of cutting material, assembling a creation, and sewing in hand, the others are simply fashion designers.” (Victoria and Albert Museum, 2021). Balenciaga paved the way for modern fashion by being bold, creating new silhouettes, and ultimately using his Spanish heritage to be his most authentic self.
References
Admin. “Balenciaga.” Vintage Fashion Guild, 17 July 2010, https://vintagefashionguild.org/label-resource/balenciaga/.
Baudot, Francois. Fashion: the Twentieth Century, Universe, 1999, p. 158.
Charleston, Beth Duncuff. Metmuseum.org, 2004, www.metmuseum.org/toah/hd/bale/hd_bale.htm.
“Cristobal Balenciaga.” The St. James Fashion Encyclopedia: a Survey of Style from 1945 to the Present, by Richard Martin, Visible Ink Press, 1997, pp. 28–32.
“Cristóbal Balenciaga: A Timeless Legacy - Cristóbal Balenciaga Museoa - Google Arts & Culture.” Google, Google, 2011 https://artsandculture.google.com/exhibit/crist%C3%B3bal-balenciaga-a-timeless-legacy-cristobal-balenciaga-museoa/ywJyh4WFJqdgIg?hl=en.
Fashion Quarterly. “A Short History of Balenciaga.” FQ, 15 Dec. 2020, www.fq.co.nz/gallery/short-history-balenciaga/.
Hughes, Tyler. “Ocean Lawn, The Firestone Estate, Newport RI.” The Gilded Age Era, 1 Jan. 1970, https://thegildedageera.blogspot.com/2012/12/ocean-lawn-firestone-estate-newport-ri.html.
Martin, Richard. The St. James Fashion Encyclopedia: a Survey of Style from 1945 to the Present, Visible Ink Press, 1997.
Orr, Lois. “Elizabeth Parke Firestone: Her Couture Collection and Her Role as a Woman of Influence .” University of Akron, 2006.
Thieme, Otto Charles. Simply Stunning: 200 Years of Fashion from the Cincinnati Art Museum, Cincinnati Art Museum, 1988.
“V&A · Introducing Cristóbal Balenciaga.” Victoria and Albert Museum, 2021, www.vam.ac.uk/articles/introducing-cristobal-balenciaga
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.
]]>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.