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Archival description
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US NNFIT SC.166 · collection · 1920-1972 (bulk 1970-1972)

This collection holds documents and photographic materials including correspondence between Robert Riley, Janet Gaynor, and others concerning research for the FIT exhibition, Adrian Retrospective, 1971.

Riley, Robert
Fashion show invitations
US NNFIT SC.465 · collection · 1928-2016

This collection is comprised of fashion show invitations from French couture houses and American fashion brands.

Fashion Institute of Technology (New York, N.Y.). Gladys Marcus Library, unit of Special Collections and College Archives
US NNFIT SC.424 · collection · 1939-2008

This collection contains a diverse assortment of business and personal items pertaining to French-born fashion designer Pauline Trigère dating to 1939 - 2008 and encompassing the period of her New York fashion career, retirement and after her death in 2002. It includes fashion and personal photographs, marketing materials, tear sheets, correspondence, scrapbooks, original illustrations, packaging, (including hang tags and labels), two hand-drafted paper patterns, and philanthropic records, (including records of her involvement with the Fashion Institute of Technology). In addition to paper items, the collection includes her awards, various types of media such as slides, slide carousels and videocassettes, as well as fragrance bottles and packaging for her perfume Liquid Chic, Trigère brand hosiery in original packaging, three pairs of Beth Levine shoes, two suitcases, and a rustic La Tortue house-sign.

Trigère, Pauline
US.NNFIT.SC.493 · collection · 1948 - 1950

This collection contains training materials for Bloomingdales used by Nicole Emmerich Teweles as well as drafts and final copies of the Tobé Report, where Teweles was a Junior Editor.

Teweles, Nicole Emmerich
US.NNFIT.SC.485 · collection · 1969

This collection contains contact sheets and photographic negatives of designs by Jo Copeland, Larry Aldrich, Hannah Troy, Havey Berin, Mignon and J.H. Bridals.

The New York Couture Business Council
US NNFIT SC.FITA.3.20.4.9.1.4 · item · 1990 September 5
Part of Academic Affairs records

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.

Lauren, Ralph
Publications
US NNFIT SC.479.2.3 · folder · 1990-2018
Part of Ethan Minsker collection, 1990-2021

This folder contains published paperbacks titled Rich Boy Cries for Momma and Barstool Prophets, Antagonist Press zine no. 3, East Coast Exchange articles written by ethan H. Minsker, and short illustrated works.

US NNFIT SC.479 · collection · 1990-2021

This collection contains the art, film, published zines and unpublished works by Ethan H. Minsker created betweeen 1990-2021.

Minsker, Ethan H., 1970-
Personal sketches and art
US NNFIT SC.479.3.4 · folder · 1995
Part of Ethan Minsker collection, 1990-2021

This folder contains a personal notebook of Ethan Minsker containing his sketches and personal notes. This folder also contains a copy of Dictionary of the Arts written by Martin L. Wolf which Minsker modified with drawings within the text.

Film records
US NNFIT SC.479.1.2 · folder · 1996-2011
Part of Ethan Minsker collection, 1990-2021

This folder contains various media including the original films The Dolls of Lisbon and Anything Boys Can Do. Movie posters, critic reviews, press clippings, promotional materials, and screening information are included in this folder.

Zines
US NNFIT SC.479.2.2 · folder · 2003-2019
Part of Ethan Minsker collection, 1990-2021

This folder contains issues numbered 15-32 of the Psycho.Moto zine created by Ethan H. Minsker.

Media
US NNFIT SC.479.2.4 · folder · 2009-2016
Part of Ethan Minsker collection, 1990-2021

This folder contains periodical articles and interviews featuring Ethan Minsker and his work.

Film records
US NNFIT SC.479.1.3 · folder · 2009-2015
Part of Ethan Minsker collection, 1990-2021

This folder contains full size movie posters titled, The Man in Camo, This is Berlin not New York, and Self Medicated.

US NNFIT SC.FITA.3.20.4.9.1.89 · item · 1982 June 02
Part of Academic Affairs records

This interview opens with Mollie Parnis talking about her latest project, a prize for three young journalists that she began in memory of her son. She then segues into the origins of her company and her early biography. She commenced her career by designing blouses after being frustrated at the quality of the designs while working in a design showroom on Madison Avenue. The Parnis-Livingston company began in a studio Seventh Avenue about five-years after Mollie Parnis and Leon Livingston married in 1930, with Mollie designing and Leon managing the business needs. After her husband died in 1960 she closed the business for three-months. Diana Vreeland convinced Mollie to stay open by putting two of her sketches in Harper’s Bazaar. The name of the business remained Parnis-Livingston until 1970 when it changed to Mollie Parnis. She now has three divisions: Mollie Parnis, Inc.; Mollie Parnis Studio; and Mollie Parnis at Home. Upon success, she began doing philanthropic work, including a grant foundation called “Mollie Parnis Dress up Your Neighborhood”; scholarships at FIT and Parsons; and the aforementioned journalistic prizes. Topics touched on include: the impersonalization of the current fashion industry; her friendship with various First Ladies, including Mamie Eisenhower, Lady Bird Johnson, and Nancy Reagan; how the changes in the industry have necessitated changes in her business-model, including the prevalence of licensing from designers in the 1980s.

Parnis, Mollie
US NNFIT SC.FITA.3.20.4.9.10.1 · item · 2014 January 6
Part of Academic Affairs records

April Calahan, Curator of Manuscripts at the Special Collections and College Archives unit of the Fashion Institute of Technology library, interviews street style fashion photographer Jamel Shabazz. Mr. Shabazz talks of his life growing up in New York City as a child of divorce. He recalls how he started learning photography in Germany while serving in the armed forces. He began documenting his world in 1980 when he began taking photographs of young people who reminded him of his own life growing up, and found his camera facilitated his ability to engage with and mentor young people. He talks about the importance of mentorship, the trust that he honed between him and his subjects. He discusses how discounted clothing was often purchased from stores around Delancey and Orchard streets in the 1970s as well as other hubs where urban fashion originated from. He compares the photographic work he's done in the studio to his preference to shooting on the street. Calahan and Shabazz review the specific processes behind a number of Shabazz's favorite photographs. He finally discusses his respect for FIT, and his reasons for donating a collection of photographs to FIT's archive, and how important he believes photography is for documenting history. Alex Joseph, editor of Hue Magazine, joins in as interviewer to ask Mr. Shabazz about his personal clothing collection, which consists of pieces he designed himself or has kept over several decades, and which he uses in his fashion shoots. Finally, Mr. Shabazz recalls how fashion has changed over time.

Shabazz, Jamel, 1960-