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US NNFIT SC.FITA.3.20.4.9.1.126 · Pièce · 1979 November 13, 16, and 20
Fait partie de Academic Affairs records

Robert L. Green interviews Pauline Trigère in part one. In part two, we see the different phases of garment production at Trigère, Inc. with an inside look at Mme Trigère cutting a coat and making decisions about fabrics and designs.
Three interviews between Robert L. Green of the Fashion Institute of Technology and American fashion designer, Pauline Trigere. This first interview covers Trigere's arrival in New York City from Paris in 1937, her start in fashion through the coat business run by her husband and by her brother, her brief work at Ben Gershel as Travis Benton's assistant, and then her work as assistant designer at Hattie Carnegie. Trigere explains how this last job led to her opening her own business in 1942, which turns the conversation towards the long work required in fashion and the over saturation of the fashion design field. Trigere also speaks repeatedly of American fashion and French fashion, and the importance of "style" versus "fashion" and how she has tried to make "style" a key element in her designs. Toward the end of the interview, Trigere comments on her ability to change over time, in taste and opinion. She then goes on to speak of her stature as an American designer and how it has affected her. In the second interview, Trigere goes further into the topic of the American fashion designer and the relationship between French couture and American design. The beginning of the conversation covers the effects of WWII on fashion, specifically in America. Trigere returns to the story of her time working under Travis Banton at Hattie Carnegie, which leads from Banton's style to Trigere's own style. Trigere's process of creating a collection is described at length and there is some discussion of the fashion press. In addition to her design process, Trigere discusses her use of store-wide meetings and the importance of the sales team. There is some discussion of architecture, sculpture, and the modern use of space in interiors. Trigere talks about the necessity of compromise over time in regards to materials and there is a lengthy discussion about knowing the customer, and how she may differ by region. This conversation focuses on Palm Beach and ends with an acknowledgment of the power of influence and exposure. In the third interview Trigere returns to a number of topics which were briefly mentioned in the first two interviews. In particular, Trigere starts with the full story of how she became close with American fashion designer Adele Simpson. Next, she elaborates on the role of her longtime assistant, Lucie Porges. Porges and Trigere had been working together for 28 years at the time of this interview. This leads to a discussion on the role of the assistant in the fashion world and the role of the designer in guiding her assistants. Trigere, who was teaching at the Fashion Institute of Technology at the time of this interview, shares her beliefs regarding the best methods of educating future designers. Trigere's process of draping is explored along with her full creative process. In discussing the skills required to conduct proper fittings, Trigere touches on the changing couture client. A brief discussion on the art of packing and shopping for a careful wardrobe turns to a discussion on the changing economy and its effect on fashion. The recession is not explicitly mentioned but this interview did take place at the time of the oil crisis in America. In regards to authenticity, Trigere compares Parisian couture copies to American knock-offs, arguing that these are two different scenarios. Trigere's hiring of black model Beverly Valdes in 1961 is discussed in the context of 7th avenue fashion's resistance to non-white models. Before discussing her own beliefs and personal life, Trigere describes the ideal "Trigere Woman" to be an educated family woman who is dynamic and not frivolous. Trigere's personal beliefs and home life are discussed with special focus on her connection to turtles, her early life as an immigrant, family, her country house: 'La Tortue', her students, and her passion for gardening. The conversation ends with a discussion on the difficulty of keeping work and personal life separate.

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US NNFIT SC.FITA.3.20.4.9.10.13 · Pièce · 2018 January 9
Fait partie de Academic Affairs records

Lawrence Abrams met with April Calahan of FIT Special Collections on January 9, 2018 to discuss his mother Miriam Abrams' career in fashion. Ms. Abrams grew up in the industry; her family owned and operated a girls coat manufacturing business, but lost it during the depression. To bring in extra money to help her family, Abrams found a position sketching designs for Billy Gordon, an American couturier. After leaving Billy Gordon, Abrams worked for other influential American designers, such as Hattie Carnegie and Adele Simpson. Lawrence Abrams imparts that even though his mother’s designs were big sellers, she was relatively unknown because before the 1970s, designers rarely had their name on the label; most often it was the manufacturer/owner of the business’s name inside the garments. Miriam Abrams was particularly successful designing for the half size market (garments for a “mature” figure). Later in the interview, Lawrence Abrams reveals that he too is a designer, starting out designing jewelry before moving into fashion. His jewelry was sold at major department stores, including Macy’s, Altmans, and Lord and Taylor. After leaving the jewelry/accessory business to take care of his mother in her old age until her death in 1993, Lawrence joined an Italian fashion house and worked with them creating one-off garments.

Sans titre
US NNFIT SC.FITA.3.20.4.9.4.13 · Pièce · 1994 November 11
Fait partie de Academic Affairs records

This is an interview with David Zeigler who began at FIT’s continuing education division in 1956 following a transfer from the Board of Education. At the time, the school was still based in the Central Needle Trades High School. Zeigler discusses contentions within the English department, the formation of a union in response, and how he came to be elected as the first faculty president of FIT. Zeigler mentions various faculty in his department and emphasizes how deeply he became entrenched in faculty committees due to political forces. Zeigler oversaw the yearbook as well. He then talks about Marvin Feldman and how, coming from West Point, Feldman had to adapt to FIT’s sense of openness. Zeigler discusses the union’s positive impact on the school and what it was like to teach first-generation students, being a proud child of immigrants himself. He then delves into the design of his coursework and how pedagogy has evolved over the years. Zeigler was retired at the time of the interview, but still publishing his own writing as well as taking courses in Yiddish to reconnect with his upbringing. Zeigler returns to a discussion on his challenging time as Chair and what he looked for in faculty. He then talks about liberal arts as key in the development of citizens of a democracy, but notes that some highly successful alumni did not excel in his course. Zeigler discusses the founding of the school and personalities such as Morris Haft who gave the school a familial feel. And finally, Zeigler makes an emphatic statement on the importance of his time teaching at FIT.

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Karen Bjornson interview, 2010 April 8
US NNFIT SC.FITA.3.20.4.9.5.13 · Pièce · 2010 April 8
Fait partie de Academic Affairs records

Karen Trivette interviews model Karen Bjornson for the Ford Model oral histories series. The interview explores Bjornson’s start in modeling, her interaction with Wilhelmina right out of high school, and even shares her personal romantic life. Bjornson discusses her most memorable modeling experiences and what it was like to work with designers such as Halston and Ralph Rucci.

Sans titre
US NNFIT SC.396.1.13 · Pièce
Fait partie de Mainbocher collection

Volume 13 contains coverage of Mainbocher's theatrical designs, primarily for Mary Martin, but also for actresses Lynn Fontanne, Betty Field and Lauren Bacall from 1951 to 1959. In addition to her work on the Broadway stage, Martin starred in the television version of "Born Yesterday" and headlined her own six-month tour, "Music with Mary Martin." For the latter she wore twenty original dresses by the designer, seven of which she modeled in a preview fashion show. Folders include a typed contents page, two different Playbills for "The Sound of Music" and the cover from an original copy of Life magazine from November 23, 1959. Martin appears in a Mainbocher wedding gown from "The Sound of Music."

Paul Leblang interview, 1989 December 28
US NNFIT SC.FITA.3.20.4.9.9.13 · Pièce · 1989 December 28
Fait partie de Academic Affairs records

In this 1989 interview Estelle Ellis interviews Paul Leblang about his time as a Senior Vice-President and Marketing Executive at Saks Fifth Avenue. They discuss the evolution of Saks' folio (or catalogue) business; the creation and implementation of the Fifth Avenue Club; the need for Saks to expand beyond the purview of evening wear; and how a store must expand while still maintaining consistent quality control. They touch upon the changing roles of women in society and how stores must adapt to this generational shift and how the oversaturation of retail stores in American society led to the closure of many of the retail greats, including Bonwit Teller.

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US NNFIT SC.FITA.3.20.4.9.1.132 · Pièce · 1979 December 12
Fait partie de Academic Affairs records

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.

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