Risultati 183

Emanuel Weintraub, an alum of the Fashion Institute of Technology (New York, N.Y.), discusses his upbringing and family life in the Depression-era Bronx. He initially chose the Fashion Institute of Technology (New York, N.Y.) because it was free, and he received a scholarship. Weintraub briefly discusses his course work there in conjunction with work done at New York University. He graduated in 1947 with a degree in Industrial Management as part of the second graduating class of the Fashion Institute of Technology (New York, N.Y.). He discusses his professional start as a plant engineer at the Lily of France Corset Company and early interest in consulting work. After briefly describing his enlistment during the Korean War, Weintraub delves into the founding of his own consulting firm, Emanuel Weintraub Associates, Inc. The firm consults in three areas: industrial engineering and manufacturing, organization and organization structure, and marketing and market research. Weintraub describes his ongoing relationship with Fashion Institute of Technology (New York, N.Y.) presidents such as Marvin Feldman. Then, he discusses his company?s work in-depth; how they assess companies? organizational functionality and various national studies they have done to advance the field. Finally, Weintraub discusses the growth of off-shore production and how he thinks it will negatively affect marketing and other adjacent industries in the United States.

Rosalind Snyder, Founder Dean Emeritus 1944-1963 of FIT, discusses the Institute’s inception at the Central High School of Needle Trades, it’s founding vision, and it’s progression to a college-level institution. Snyder describes the educational trajectory that led to her initial post as Assistant Director alongside Dr. Mortimer Ritter at the Fashion Institute of Technology (New York, N.Y.). She describes the early demographics of students and the evolution of the Fashion Institute of Technology (New York, N.Y.)’s curriculum and educational policy, detailing close relationships with the fashion industry itself. Snyder discusses the spirit of collaboration and creativity in the early days of the Fashion Institute of Technology (New York, N.Y.), listing founding educators and innovators who helped the Institute flourish. Snyder pays particular attention to the 1950s wherein the Fashion Institute of Technology (New York, N.Y.) found a home on 27th street and, in 1951, was authorized as a community college; cementing its status as an academic institution of note. Snyder retired from her post in 1963, but asserts her continued belief in the permanence of the Fashion Institute of Technology (New York, N.Y.)’s unique vision of creative exploration.

In this interview, Karen Trivette interviews fashion illustrator Steven Stipelman about his career as a fashion illustrator and his work at the Fashion Institute of Technology.

President of FIT, Dr. Joyce F. Brown is interviewed by Karen Trivette on July 17th, 2019. They discuss Dr. Brown’s upbringing and how her past senior-level positions at the City University of New York prepared her for her role as President of FIT. She continues to discuss the difference between running a college community from running a corporation, and how she has placed four strategic planning initiatives in order to provide for the whole of the school.

This interview consists of two main portions, the first being a casual conversation between Vera Maxwell and Princess Grace while looking at a photo album. The second portion is a formal interview by FIT's John Touhey with Princess Grace.

In the first portion, Maxwell and Princess Grace reminisce on their times together in Switzerland and their mutual love of tweed. The photo album prompts conversation regarding the accelerating rate of change in fashion, various hemlines, and fashionable silhouettes. The loose fitting styles popular at the time of the interview prompt Maxwell to repeatedly mention classic tailoring and body types. Press coverage of the fashion industry as well as coverage of Princess Grace's style is also discussed.

In the formal interview with John Touhey, Princess Grace describes her relationship with Vera Maxwell and then moves on to discuss trends in women's fashion and how they relate to personal style. She mentions her particular distaste for the "sack look" (likely referring to the gunney sack dress) and mini skirts, both popular styles at the time of the interview. Dior, Saint Laurent, Ben Zuckerman, and Vera Maxwell are all mentioned as favorite designers. An American film actress before becoming the Princess of Monaco, Kelly often had a large hand in developing her film costumes and she discusses working with costumer Edith Head while filming with Alfred Hitchcock.

There is also an interview with Nancy White about 2/3rds into the transcript.

Fred Pomerantz, long-time CEO and founder of Leslie Faye, discusses his start in the ready-to-wear business at age 10. Although he was briefly fired for insubordination, by age 18 he was running all of M.B. Kaufman. He then went into business with his brother, Michael. Pomerantz Brothers sold fur coats, and Fred talks colorfully of his sales methods. After enlisting as a teen during World War I, Fred attended a training camp. He talks about being the only Jewish person there and how, after being bullied to the point of being hospitalized, he came back and gained the respect of the rest of the camp. After a falling out with his brother ended their joint business endeavor, Fred founded Fred Pomerantz, Inc. and started in the dress business. That would lead him to found Silver Pom, for which he procured a factory in Mechanicsville, New York. Fred eventually moved to California to get into the retail business. He mentions proximity to Hollywood and tells the story of inviting 100 people to see him act in a Cary Grant film, only to find that his scene had been cut. Fred got into the retail business out west to little success and eventually returned to New York where he took a job with a piece goods house. Fred talks about the launch of Pommette and the realization of his dream to open Leslie Fay: a firm encompassing fashion, fashion shows, and annual advertisements in major women’s magazines. He tells a colorful anecdote about Dorothy Dean of AMC, and mentions his column in Women’s Wear entitled, “If I Was the King of Garment Town.” Fred goes on to say that Leslie Fay was the first company to produce petite dresses, and details his hard policies on sales. Leslie Fay went public in 1962 and Fred began building management up and increasing staff, while ensuring the maintenance of exceptional quality control. Fred also discusses two presidents of his company: Zachary Buchalter and John Pomerantz, his son.

In this interview, Robert L. Green interviews costume and fashion designer Bob Mackie about his life and career. They discuss his methods and his experiences with specific projects and the costume industry. They discuss their experiences with Edith Head, as well as Mackie's work with a wide variety of celebrities.

Robert L. Green interviews photographer Karl Gernot Keuhn about his life and career as a photographer. They spend a considerable amount of time discussing Gernot Keuhn's project photographing elderly female Hollywood celebrities, and view photographs taken by Keuhn.

John Touhey interviews Vera Maxwell over several days in the winter of 1979 about her childhood, her entry into and experiences in the fashion industry, as well as where she sees it going.

This interview with Ralph Lauren explores his life growing up in the Bronx and how he started his career in the fashion industry. He provides insight to his design process and the company products, which vary from clothing to furnishings and linens.

Hazel Bishop, a pioneer in the cosmetic industry, was the founder of Hazel Bishop Inc., which developed an early indelible lipstick. She was the administrative head of Cosmetics, Fragrance, and Toiletries Curriculum of the Fashion Institute of Technology and a financial analyst covering the cosmetic-and-health-related securities for Evans and Company. This interview, conducted in May, 1981, explores Bishop’s career growth, her invention of a long lasting lipstick, her experience as a stockbroker/expert on cosmetic stocks, the fragrance/beauty industry as a whole and the opportunities it provides for FIT graduates.

On December 8, 1977, Phyllis Feldkamp sat down with Eleanor Lambert to discuss Lambert’s decades-long career. Lambert reveals her first steps into the fashion industry as an art student in the midwest and how she got her start in New York City. Lambert touches on many aspects of the New York fashion industry of the mid-century, sharing tidbits about the American designers with whom she crossed paths. Lambert elucidates her involvement with helping establish The Costume Institute of the Metropolitan Museum of Art as well as her varied roles in working with The New York Dress Institute, The Couture Group and Press Week, The Council of Fashion Designers of America, and The National Council of the Arts. Lambert culminates by discussing her position as coordinator of the COTY American Fashion Critics Awards and an amusing anecdote about Norman Norell, winner of the first “Winnie” award. A fashion show in Moscow, which Lambert had a hand in organizing, acted as somewhat of a dress rehearsal for, arguably, the defining moment of American fashion, the Battle of Versailles. Lambert came up with the idea as a fundraiser for Versailles palace, then in disrepair, and organized the American designers who would represent the country; this show ultimately proved to the world the talent and capability of the American fashion industry.

In this interview, Robert L. Green interviews award-winning costume designer Patricia Zipprodt in her studio. They discusses the process of designing costumes for the theater and her use of apprentices to help with costume research.

This interview with Liz Claiborne discusses her experiences as she worked her way up as a designer. She describes her past work with designers and firms such as Ben Reig, Omar Kiam, Dave Schwartz, Juniorite, and the Rhea manufacturing company. Claiborne provides insight to the growth of her own company and all of the factors that go into the production of it.

In this interview Liz Claiborne sat down with Estelle Ellis to discuss all aspects of Liz Claiborne Inc. Aware that her label represents a promise between her brand and the customer, Claiborne insists on being a part of every aspect of the design process for each label, from the initial color choices (which Claiborne stresses as being of paramount importance) to the final sample edits. Claiborne reveals the difficulties she faces when working with the menswear and childrenswear departments. In explaining why the Liz Claiborne company hires so many interns, Claiborne makes a point to explain the importance of learning on the job.