1 book, undated, containing color, themes, fabric swatches, shoes, gloves and hosiery trends.
Sans titre1 book from Fall/Winter 1986/1987 containing cloth color samples and fabric swatches for womenswear
Sans titre1 book from Spring/Summer 1998 containing cloth color samples and fabrics for menswear
Sans titre1 book from Fall/Winter 1998/1999 containing cloth color samples and fabric swatches for menswear
Sans titre1 book from Spring/Summer 1997 containing cloth color samples and fabric swatches for menswear
Sans titre1 binder from Summer 1998 containing themes and color combinations.
Sans titre1 binder from Summer 2003 containing cloth color samples, swatches, themes, and color and fabric for accessories.
Sans titreMale and female figures in a dancing setting with a jazz group. Female wearing a dress and a shawl with a fur trim, the male wears a suit & a top hat. Black and white ink; Signed.
Sans titreFigure in fringed blue bustier over black sheer gown (framed); Color: watercolor; Signed lower right.
Sans titreFemale figure with long evening gown, shawl & headpiece leaning on mantle; color: watercolor & ink; Signed.
Sans titre"To Tatiana," female bust with hand in neck wearing polka dotted gloves and hat; color: watercolor & ink; Signed
Sans titre"Comtesse de Munoz" Seated female figure on an arm chair wearing a pearl necklace, a black dress and a cloche hat; Black and white ink; Signed
Sans titrePortrait of Emily Chan; Black and white: charcoal; Signed
Sans titrePortrait of Cathy Hardwick; Color: charcoal and colored pencils; Signed
Sans titreFigure in resort wear on chaise lounge; Black and white: charcoal, brush and wash on gray paper; Signed
Sans titreStylized figure in black gown with collaged designs (framed); Color: gouache and collage; Signed
Sans titreOld man in wheelchair with male and female figures; Black and white: charcoal; Signed
Sans titreThis item is a disc drive containing images of Morton Kaish illustrations.
FIT course catalog covering the 1954-1955 academic year.
This interview discusses Annette Green's contributions to The Fragrance Foundation. It begins with a discussion on the history of the company, Green's initial introduction and eventual rehabilitation of the foundation, and it's current position in the industry. Green discusses her involvement with starting the Cosmetic and Fragrance Program at FIT.
Sans titreThis 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.
Sans titreThis conversation has three main components: first, Tomchin discusses his work in the home furnishings department, consolidating the department into one cohesive collection under the guidance of a fashion director, similar to the structure of the clothing departments. This allowed the department to present more fully developed design ideas to the customer, encouraging the customer to work as her own decorator, just as the fashion departments allowed her to be her own stylist. Next, Tomchin speaks at length about Bloomingdale's emphasis on exclusivity of product, whether through the development of Bloomingdale's own signature products, through the introduction of new international products through the country promotions, or through the collaborative efforts between Bloomingdale's and manufacturers to create products that would be of special interest to the Bloomingdale's customer. This convseration focuses heavily on the importance of the educated buyer in understanding other cultures and being able to translate the excitement of products to the customer. Finally, Tomchin speaks to the major contributions and milestones of Bloomingdale's CEO Marvin S. Traub, who opened 5 new Bloomingdale's stores during the first 8 years of Tomchin's tenure with the department store. Traub is described as having a parental sense of care and interest in the store and as having a level of respect for the customer that translated into thoughtful selection and exhibition of products.
Sans titreFourth of four in Surreal Robe Series: robe with classical heads; Black and white: graphite and ink finished illustration; Signed
Sans titreAlfred Sloan discusses his life growing up in NYC, his time in the service, and how he got to FIT.
Sans titreFramed 18 x 16" black and white photograph of model Pat Cleveland seated at the dinner table wearing a coat with a large fur collar and cuffs.
Volume 9 includes coverage of Mainbocher's designs for the theatre from 1947 to 1951. He dressed Tallulah Bankhead in Private Lives; Ruth Gordon for her roles in The Leading Lady, The Smile of the World and A Month in the Country; Ethel Merman in Call Me Madam; Elliott Nugent and Betty Field in Not for Children; and ?? in Point of No Return. Folders include a typed contents page, many of the original programs for these shows and articles from Flair and Newsweek magazines. This scrapbook also contains articles from The New York Times Magazine, Collier's, Life, New York Post Week-End Magazine and Vogue; handwritten notes to Mainbocher from actor Henry Fonda and playwright Russel Crouse; and telegrams from actress Mary Martin and producer Leland Hayward.
Chair of the Textile Development and Marketing Department Ingrid Johnson discusses developments in textile studies since her start at FIT in 1981. Johnson notes that course work has evolved from a more science-oriented approach to one that favors reverse-engineering textiles to fit end-use applications. She then illustrates the end-use applications of various fibers. Johnson describes her work as a home furnishing fabric developer before being recruited by Arthur Price to join FIT, and goes on to discuss successful alumni placement at companies such as Liz Claiborne, J. Crew, and Patagonia. Johnson notes the complexity of international sourcing and product development, and then describes the invention of EcoSpun, a recycled polyester textile, patented by alumni of the program. She discusses close connections with the industry and professional organizations such as the Textile Distributors Association. Finally, she describes the demographics of FIT’s student body and how the school attracts students with its international reputation.
Sans titreArticles and interview of Theodore Fred Kuper about the origins of the Fashion Institute of Technology (New York, N.Y.), conducted by the Oral History Research Office of Columbia University in 1969. "These reminiscences of Theodore Fred Kuper refer to the creation and development of the Fashion Institute of Technology, a Community College of the City of New York under the program of the University of the State of New York, together with the creation of the Educational Foundation for the Fashion Industry. The tape recording of these recollections was started on September 29, 1967 by Lionel White, Fashion Institute, serving as recorder for Columbia University Oral History Office and continued from time to time in California by Mr. Kuper until completion on August 15, 1969." Kuper describes the Fashion Institute of Technology (New York, N.Y.)'s roots in the immigrant-run garment industry. He details early leaders in its development, and how, under the leadership of personalities such as Shirley Goodman, they sought support and funding to expand the institution's reputation and place in New York City.
Sans titreIn this interview, Bauer discusses his career as a male model, working first in Europe and then the United States from roughly 1968 through the early 1990s. Bauer discusses his professional and personal relationships with modeling industry insiders Jerry Ford, Joey Hunter, Nina Blanchard, and actress Barbara Stanwyck.
Sans titreThis 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.
Sans titreThree cut and pasted figures, two in dirndls, one in jacket dress; Black and white: brush and wash; Signed
Sans titreFigure in nubby wool princess coat with umbrella; Black and white: charcoal, crayon and wash; Signed
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