The FIDM Museum Blog will be dedicated to showcasing selected garments and accessories from our fabulous collection, while also featuring occasional "behind the scenes" glimpses of museum life.the FIDM Museum is devoted to the exhibition and interpretation of dress and textiles. Our collection focuses primarily on the 19th and 20th centuries, with an emphasis on American and European..
On March 12, the world lost a fashion legend and true gentleman when Hubert de Givenchy passed away at the age of 91. Known for his elegant and ladylike clothes, Givenchy was the last of his generation of post-war French designers that gave new life to haute couture.
Evening dress Hubert de Givenchy , Autumn-Winter 1968-69 Gift of Mrs. Alfred Bloomingdale, 77.116.14
Born in 1927 as the son of a marquis, Givenchy knew from an early age he wanted to design dresses; he was inspired by a family trip to a Parisian fair that highlighted the fashions of Chanel, Lanvin, and other couture houses. He attended the École des Beaux-Arts in Paris for a year, and after apprenticing for fashion powerhouses such as Jacques Fath, Robert Piguet, Lucien Lelong, and Elsa Schiaparelli, the young designer launched his own label in 1952. He found success with his first collection by using affordable fabrics - a solution to the rising cost of textiles in Europe's recovering economy - and introducing stylish separates. The Bettina blouse, a lively embroidered flamenco-sleeve garment named for his fit model and PR Director Bettina Graziani, was an instant smash. At just 25, the handsome and statuesque designer was a breath of fresh air in the French fashion community.
Evening gown Hubert de Givenchy, Fall/Winter 1967-68 Gift of Mrs. Alfred Bloomingdale, 77.116.16
He will forever be linked with his muse and lifelong friend Audrey Hepburn. Hepburn, then relatively unknown, approached the sought-after designer as she prepared for her role as a transformed Parisian sophisticate in Sabrina (1954). After an initial mix-up (he thought he would be dressing Katharine Hepburn) the two made an immediate connection. He dressed the actress for her iconic roles in Breakfast at Tiffany's (1961), Funny Face (1957), and Charade (1963), among other films, and helped establish her renowned personal style; she praised, "His are the only clothes in which I am myself." Jacqueline Kennedy, Grace Kelly, and FIDM Museum founding donor Betsy Bloomingdale were just a few of the women that made up his high profile clientele.
Evening Jumpsuit Hubert de Givenchy, Fall/Winter 1968 Transfer from The Museum at the Fashion Institute of Technology, 97.291.13AB
Cristóbal Balenciaga also played a large role in Givenchy's life and career. He never hesitated to express his admiration of the Spanish designer, who became a close personal friend. Their ateliers were across from each other on the Avenue George V, leading to years of creative collaboration and mentorship. When Balenciaga closed his doors in 1968, unwilling to keep up with the faster changing pace of fashion, he referred his clients to Givenchy. Hubert continued to design at his house until 1995 - long after many of his colleagues had retired - continuing his legacy of beautifully constructed, sophisticated clothes. After he announced his retirement, he was quickly succeeded by John Galliano, Alexander McQueen, and Julien Macdonald. Riccardo Tisci, Artistic Director since 2005, handed the reigns to the brand's first female designer Clare Waight Keller in 2017. Though he mostly refrained from comment, Givenchy did reveal his unhappiness with the direction of his house in a 2007 Women's Wear Daily interview, stating "After all, one is proud of one's name."
Coat Hubert de Givenchy, 1968 Gift of Mrs. Alfred Bloomingdale, 97.291.6
Givenchy remained active in his retirement as an art and antiques collector and consultant, working with institutions such as the Louvre, Château de Versailles, and Christie's auction house. He was also the founding chairman of the Cristóbal Balenciaga Foundation, eventually opening the Balenciaga Museum in 2011. The FIDM Museum was very fortunate to work with Hubert de Givenchy in conjunction with our 2009 exhibition High Style: Betsy Bloomingdale and the Haute Couture. He participated in the documentary that accompanied the exhibition, sharing his remembrances of working with Mrs. Bloomindale and the couture process; you can watch his interview and Mrs. Bloomingdale's memories of the designer below. Monsieur Givenchy also generously provided the preface to Fabulous! 10 Years of FIDM Museum Acquisitions, 2000-2010. This catalog, written by Kevin Jones and Christina Johnson, accompanied the 2011 FIDM Museum exhibition of the same name. In it, Givenchy advises young designers to "look for concepts that lend nobility to fashion, which has always brought to us so much creativity, beauty, and elegance." Indeed, Hubert de Givenchy - couturier, scholar, aristocrat, and gentleman - will always be celebrated for the creativity, beauty, and elegance he brought to his own craft.
Hubert de Givenchy's preface to Fabulous! 10 Years of FIDM Museum Acquisitions, 2000-2010. This catalog, written by Kevin Jones and Christina Johnson, accompanied the 2011 FIDM Museum exhibition of the same name.
Evening dress Hubert de Givenchy, c. 1965 Gift of Mrs. Alfred Bloomingdale, S2006.116.25
Croquis Hubert de Givenchy, Date Unknown SC2009.116.757 Gift of Mrs. Alfred Bloomingdale
Croquis Hubert de Givenchy, Date Unknown SC2009.116.750 A-B Gift of Mrs. Alfred Bloomingdale
Croquis Hubert de Givenchy, Date Unknown SC2009.116.748 Gift of Mrs. Alfred Bloomingdale
Last night, Mark Bridges won Best Costume Design at the 90th Academy Awards for his work on the period film Phantom Thread…and he also walked away with more than just his Oscar statue! Bridges previously won the Academy Award in 2012 for The Artist, and was nominated in 2015 for Inherent Vice.
Bridges attended the opening reception of our Art of Motion Picture Costume Design exhibition, where his award-winning costumes are currently on display until April 7 alongside the other four Best Costume Design nominees (Luis Sequeira, The Shape of Water; Jacqueline Durran, Beauty and the Beast and Darkest Hour; Consolata Boyle, Victoria and Abdul). The FIDM Social Media team spoke with Bridges about working with frequent collaborator Paul Thomas Anderson, the challenges of designing for fictions couturier Reynolds Woodcock, and his advice to future costume students.
Mark Bridges at the opening of the FIDM Museum's Art of Motion Picture Costume Design exhibition on February 3, 2018.
On working with Director Paul Thomas Anderson:
I’ve done all of his films – we’ve been working together for 22 years. We started out together, and here we are today with a body of work that I’m really proud of. [Phantom Thread] was just a wonderful experience; we did it in London. Bless him for making a script that allowed me to do what I did…but I say that about Boogie Nights, I say that about There Will Be Blood, I say that about Inherent Vice!
Costume Designer Mark Bridge’s sketch of a gown for the character “Alma”, as played by Vicky Krieps, in writer/director Paul Thomas Anderson’s PHANTOM THREAD, a Focus Features release. Credit: Focus Features.
On design preparation:
Really, even though the subject matter changes, the process stays the same. We’re trying to serve the piece; how do we tell the story with clothes of that period, whether it’s with textures or colors? Of course we do research. What was going on at that time, and how do we make it specific to Reynolds Woodcock? Those were the challenges – still make it beautiful, photographable, and be able to deliver it, afford it, and tell a story.
Mark Bridge's Academy Award-winning costumes from Phantom Thread, on display now at the FIDM Museum.
On the pressure of designing for a fashion-based film:
I didn’t really feel pressure – there was pressure doing oil clothes in There Will Be Blood! You just never really know how it’s going to happen. It’s interesting to look back and find that one decision leads to another, such as an actor, or an actor’s idea, or a fabric. I found amazing green taffeta in Rome – I thought, okay, an American heiress, how about the color of money? Let’s have [her gown] be green. You’re inspired by fabrics you find, or an original dress that would never last a shooting day, but has style lines and designs that could help propel our story. It’s a lot of things that end up as the final product.
Mark Bridge's Academy Award-winning costumes from Phantom Thread, on display now at the FIDM Museum.
On designing for House of Woodcock in Phantom Thread:
Paul asked if it could be a spring fashion show. That was a bit of a question, because [Reynolds Woodcock] is not exactly the most spring-like person! He’s kind of testy and cranky, and plus it’s London. What is London spring? What is his mood, what are his creative outlets? What are the fabrics that House of Woodcock uses? So what we ended up with in the fashion show was still using velvet, and umbrellas as accessories. If it’s a floral, it’s based in black and purple and dark green – it’s not the happiest floral. It’s just trying to give a sense of a little bit of stormy, but have it be a trademark Woodcock. It’s interesting to sit back and think what the garments are, what would be fresh but also what would say something about him.
Costume Designer Mark Bridge’s sketch of a gown for the character “Alma”, as played by Vicky Krieps, in writer/director Paul Thomas Anderson’s PHANTOM THREAD, a Focus Features release. Credit: Focus Features.
On the characters of Phantom Thread:
Another layer of the designing was the day to day lives of these actors and the characters. It was really fun in that way. There are two design stories going on in this film. We tell the story of real people, like a fisherman’s daughter who becomes a couturier’s muse, and then there is also the design of Reynolds Woodcock. So we have to think about time and place, 1955 London, what are the fabrics that are hallmarks in the House of Woodcock, what kind of man is he – how does he see the world and how does he create? That was interesting too on another level, designing from someone else’s mind-set. I am trying to tell the stories of people’s lives as well as the story of a creative mind. It was really fun to do the two levels of storytelling.
Costume Designer Mark Bridge’s sketch of a gown for the character “Cyril”, as played by Lesley Manville, in writer/director Paul Thomas Anderson’s PHANTOM THREAD, a Focus Features release. Credit: Focus Features.
On advice to Costume Design students:
I think at an early stage I had some really good advice: do as much as you can, and see as much as you can. I have notebooks from when I used to go to theater where I grew up…they say “bold plaid – comedy.” What were the hallmarks of costuming for comedy? I love looking at them. It’s second nature now, but then it was very analytical. See things – good things and also maybe some not-so-good things, and then you decide what’s good and bad! I think a big part is staying healthy with your mind with your body; people can get run down. Look around too. We all get too focused – especially in this day and age with computers. Just sit there and watch people go by. What can you tell about their clothes? Who is that person? And then you use that in a character. Museums – love them. Fabric store – adore them. Love it all.
Costume Designer Mark Bridge’s sketch of a gown for the character “Countess Henrietta Harding”, as played by Gina McKee, in writer/director Paul Thomas Anderson’s PHANTOM THREAD, a Focus Features release. Credit: Focus Features.
The FIDM Museum is excited to announce our Summer Internship Program is open for applications. Interns work closely with FIDM Museum staff and receive valuable hands-on training in museum practices. We are currently seeking talented and motivated graduate students to assist with a variety of projects.
The Museum offers two funded opportunities and several volunteer positions. All applicants should be currently enrolled in a graduate program in fashion history or museum studies; consideration will also be given to students beginning their graduate program in Fall 2018.
The Lori and Sal Santamaura Summer Study Grant is open to U.S. citizens. This Study Program will include a collections-based project, cataloging, research, and installation experience. Additionally, the student will have the opportunity to shadow each FIDM Museum staff member and participate in educational field trips to other local collections. They will work on a FIDM Museum collections-based research project of their choice; findings will be presented on the FIDM Museum Blog.
The Donald and Joan Damask Summer Study Grant is open to U.S. citizens. This opportunity focuses on collections management projects determined by collections staff. Additionally, a research project of the students’ choice will be presented on the FIDM Museum Blog.
Both the Santamaura and Damask Grants are eight weeks in duration over the summer months (35 hours per week during business hours; schedule to be arranged with supervisor) and consists of a $1,000 stipend; $500 will be paid to the student on their first day at the FIDM Museum, and the remaining $500 will be given on the day of their completed internship.
Volunteer internships (non-funded) are also available. Assignments may include exhibition installation, research, cataloging, or digitization. We accept students seeking academic credit; interns must make appropriate arrangements with their academic institution. Summer interns must commit to working 35 hours per week for eight weeks.
Applications (cover letter and resumé) for internships are due April 1, 2018. Applications will be reviewed upon receipt, and qualifying applicants will be interviewed prior to beginning the program. Applicants will be considered for all internship opportunities. On your application, please inform the FIDM Museum if you cannot accept a non-funded internship.
To submit your application or for additional information, contact us via email: info@FIDMmuseum.org. We look forward to hearing from you!
Associate Curator Christina (left) with Carson Poplin (right), the 2017 Sal & Lori Santamaura Study Grant recipient!
It's our most elegant and refined event of the year...the FIDM Museum Fashion Council Royal Tea is back! This year's tea on Friday, March 2 promises to be particularly special, as it will celebrate the exhibition that honors the achievements of the Fashion Council: Acquiring Beauty: FIDM Museum Fashion Council, Est. 2011. First, enjoy a delicious traditional tea party in an enclosed tent on the lovely Grand Hope Park lawn, followed by a presentation on royal dress by Curator Kevin Jones. After a private tour of the Acquiring Beauty and Art of Motion Picture Costume Design exhibitions, there will be a surprise ‘Royal Proclamation’ at the end of the festivities! As always, proceeds from the event benefit the FIDM Museum Acquisition Fund.
See the invitation below for more details, or purchase tickets here. Hurry, seats are filling up fast!
This question greets FIDM Museum visitors as they enter the gallery for our 26th annual Art of Motion Picture Costume Design exhibition. As the stunning array of costumes on display prove, a movie would be nothing without these talented visual story-tellers! On Saturday, February 3, the Costume Design community came together to salute the work of 2017 film designers represented in the gallery, including all five Academy Award-nominees for Best Costume Design:
Mark Bridges, Phantom Thread Luis Sequeira, The Shape of Water Consolata Boyle, Victoria & Abdul Jacqueline Durran, Darkest Hour Jacqueline Durran, Beauty and the Beast
In addition to the 100 costumes on display from 25 films, the exhibition now boasts an exciting new digital feature: we asked our featured Costume Designers to share sketches, mood boards, reference images, fabric swatches, fitting photos, and other supporting materials to demonstrate the process of building a costume from sketch to set. These materials are available to view on an interactive tablet in the exhibition. Four behind-the-scenes featurettes on specific films - Star Wars: The Last Jedi, Phantom Thread, Jumanji, and Dunkirk - will also enlighten our visitors as they explore the gallery.
Art of Motion Picture Costume Design is open now until April 7. Our hours are Tuesday - Saturday, 10 am - 5 pm, and as always, admission is free. We encourage you to take non-flash, personal use photos; feel free to share on social media, tagging @fidmmuseum and using the hashtag #ArtofCostumeDesign!
Stay tuned for another post delving into our newest History Gallery exhibition, Acquiring Beauty: FIDM Museum Fashion Council, Est. 2011, also now open! Scoll through to catch a glimpse of our elegant opening night festivities. All photos courtesy of Alex J. Berliner/ABImages.
An elegant sketch by FIDM instructor and world-renowned artist Nancy Riegelman greets our visitors in the gallery entrance; two additional Riegelman sketches can be seen in the exhibition
Barbara Bundy, FIDM Museum Director, Mark Bridges, Academy Award-nominated Costume Designer for Phantom Thread, and Catherine Adair, Vice President of the Costume Designers Guild
Star Wars: The Last Jedi; Costume Designer Michael Kaplan
Inside the glamorous red carpet tent
Mayes C. Rubeo, Costume Designer for Thor: Ragnarok
Ellen Mirojnick, Costume Designer for The Greatest Showman, Costume Designer Julie Weiss, and Stacey Battat, Costume Designer for The Beguiled
The Greatest Showman; Costume Designer Ellen Mirojnick
Arianne Phillips, Costume Designer for Kingsman: The Golden Circle
Colleen Atwood's 2017 Best Costume Design Oscar statue, received for her work on Fantastic Beasts and Where to Find Them
Colleen Atwood, Academy Award Winning Costume Designer and Tonian Hohberg, President of FIDM
Academy Award-nominated Victoria & Abdul; Costume Designer Consolata Boyle
Laura Jean Shannon, Costume Designer for Jumanji: Welcome to the Jungle and Luis Sequeira, Academy Award-nominated Costume Designer for The Shape of Water
Academy Award-nominated Beauty and the Beast, Costume Designer Jacqueline Durran
Mandi Line, Costume Designer and FIDM Alumna
Mona May, Costume Designer and FIDM Alumna and Nick Verreos, FIDM Alumnus
Fashion Stylist Joe Zee
TJ Walker, Cross Colours Co-Founder and Angela Dean, Fashion Designer and FIDM Alumnus
Vintage Dealer and FIDM Museum Volunteer Kevin Fernando
The FIDM Museum is proud to collaborate once again with the Pasadena Museum of History lecture series in conjunction with their current exhibition, Royals of Pasadena: Rose Queen and Royal Court. We invite you to join Museum Coordinator Leigh Wishner for her presentation "From Fragile to Funky: Flowers in Fashionable Fabrics, 1500-2000" this Thursday, February 8, from 6 pm - 8 pm.
Her colorful lecture, illustrated with images from museums around the world, will span five hundred years of flowers that never fade in apparel and furnishing textiles. Whether woven or printed, embroidered or embellished with trompe l’oeil petals and three-dimensional bouquets, or pushed to their abstract limits in design, flowers continually captivate and provide endless sources of natural inspiration to fashion designers and interior decorators.
For more information and to purchase tickets, visit the Pasadena Museum of History website!
Straw Hat Karl Lagerfeld, Spring/Summer 1988 FIDM Museum Purchase 2007.5.5
Silk fabric swatch Wiener Werkstatte, 1910-1912 Gift of Robert Fortunoff 99.274.98
Aerophane Gown, c. 1833 Helen Larson Historic Fashion Collection FIDM Museum Purchase: Funds generously donated by Linda & Steven Plochocki 2017.5.44
Have you ever attended a FIDM Museum event? A Luncheon & Lecture Day, Royal Tea, Wine Dinner, Gala Night, or even a trip abroad? If so, you're already familiar with the FIDM Museum Fashion Council, our institution's dynamic support organization! This fashionable fundraising group was established in 2011 to help raise money for the Helen Larson Historic Fashion Collection, and to promote the Museum's educational mission. It's scope has grown tremendously in the past seven years; the group is now an essential part of the FIDM Museum's overall acquisition and programming projects.
We want to recognize Fashion Council members for their tireless hard work with an exhibition that shows just how important their efforts have been for the Museum's Collection. We are delighted to announce the opening of Acquiring Beauty: FIDM Museum Fashion Council, Est. 2011 on February 6, 2018 in the FIDM Museum History Gallery. This 'Gallery of Wonders' will show an eclectic mix of historic garments, accessories, and textiles - chosen exclusively because they represent the very best of their kind - and all underwritten (or as they say, 'adopted') collectively or individually by our Fashion Council members.
Thank you FIDM Museum Fashion Council for the enthusiasm and depth of outreach you bring to every stylish fund-raising event. This exhibition celebrates your dedication, and welcomes those who would like to join the fun! Below, get a preview of just a few of the outstanding objects featured in this one-of-a-kind exhibition.
Bodice worn by Lady Mary Douglas at the Coronation of King George III Great Britain, 1761 Cloth of gold, gold & silver thread, spangles Helen Larson Historic Fashion Collection, 2017.5.32 FIDM Museum Purchase: Funds raised by the FIDM Museum Fashion Council [2011-2015]
Kostio de War Metallic Knit Ensemble, 1937 2015.5.66A-C FIDM Museum Purchase: Funds raised by the FIDM Museum Fashion Council, 2017
Evening dress, Fall/Winter 2008-9 Commissioned 2010 Alexander McQueen Museum Commission, Funds provided by Karen Coombs-Jordan 2010.5.73
Norma Kamali Jumpsuit, c. 1984 2013.5.13 FIDM Museum Purchase: Funds generously donated by Linda & Steven Plochocki
Duvelleroy Cat Fan, c. 1900 2016.975.8AB Gift of Fashion Council Member Mona Lee Nesseth
Zandra Rhodes Evening Ensemble, Fall 1981 2015.5.33A-C FIDM Museum Purchase: Funds raised by the FIDM Museum Fashion Council, 2015
Meet Ultra Violet 18-3838, the 2018 Pantone Color of the Year that is “symbolic of counterculture, unconventionality, and artistic brilliance.” Claude Monet, Queen Victoria, and a galaxy far, far away are all associated with this enigmatic color - not to be confused with ultraviolet, a light on the spectrum not visible to the human eye. While the color of the year typically mirrors current trends in fashion, interiors, and industrial design, this year’s thoughtful shade is “a true reflection of what’s needed in our world today,” according to Laurie Pressman, Vice President of the Pantone Color Institute. This selection marks a departure for the famed color theorists – a future prediction rather than a present-day commentary.
But before ultra violet “lights the way to what is yet to come,” where has the inventive shade taken us before? Purple has quite the storied history, from Julius Caesar demanding heliotrope-hued togas after seeing Cleopatra’s purple palace, to a certain pop star’s favorite shade of rain. It can represent royalty and wealth, spirituality and meditation, the universe and discovery, or technology and development. It is an important color in traditional mourning attire, as it marks the transition into ‘half-mourning,’ when certain hues such as mauve, grey, and cream are introduced back into the black wardrobe.
Textile swatch, 1880-1910 Silk jacquard Gift of Robert Fortunoff 99.274.222
Missoni dress, c. 1985 Wool Gift of Jo Holzman S2006.871.7
The pigment had its origins in the first millennium B.C. in the form of purpura, or Tyrian purple, created by collecting the glandular mucus of tiny shellfish called murex. As it was incredibly labor intensive and expensive to make the color (hundreds of thousands of mollusks were needed to dye a single garment), purple was restricted to royalty and the extremely wealthy for centuries, at times regulated by strict sumptuary laws. Purple did not become egalitarian until the mid-19th century, when a young chemist stumbled on the formula for synthetic color dye. William Henry Perkin was attempting to synthesize quinine from coal tar as a treatment for Malaria when he noticed the by-product of his experiments was an attractive shade of purple – a discovery that would revolutionize fashion.
Marc Bohan for Christian Dior Croquis Autumn/Winter 1981-1982 Gift of Betsy Bloomingdale SC2009.116.213
Rudi Gernreich jacket, c. 1963-1964 Plush velvet FIDM Museum Purchase G2009.5.79
In addition to transforming the textile industry, Perkin’s 1856 innovation of aniline dyes prompted what English journal Punch satirically referred to as “Mauve Measles” – the spread of an infectious addiction to newly available purple ribbons, gowns, bonnets, gloves, fans, and slippers. Empress Eugénie, wife of Napoleon III, went wild for ‘Perkins purple’ in 1857, and Queen Victoria heightened the mania when she wore a velvet mauve gown to her daughter’s wedding in 1858. Pale shades of purple were later the staple of Impressionist painters, who believed they had finally found the color of the atmosphere. The Impressionists used violet rather than black to represent shadows, and were so liberal in their use of the shade that critics accused the group of “violettomania.”
Emmanuelle Khanh sunglasses, 1975-1985 Plastic Gift of Dorothy Washington Sorensen 2010.1110.104AB
Blouse, 1909-1911 Silk taffeta Gift of Marie-Jo Dulade-Coclet 2011.1154.2
Artists’ devotion to purple did not wane in the 20th century. Fauvists such as Henri Mattise embraced violet in their brightly contrasting canvases. Georges Lepape used saturated shades of purple in his striking pochoir illustrations of Paul Poiret’s fashions. Other creatives viewed violet as a gateway to imagination; Frank Lloyd Wright reportedly wore a purple cape to foster inspiration. The psychedelic counter-culture of the 1960s and 70s embraced ultra violet with black lights and hallucinogenics – the color is often seen in the era's posters and album covers, including Jimi Hendrix's 1970 hit single Purple Haze. Vogue paid homage to the popular hue with a 1994 fashion editorial of the same name starring Kate Moss.
Vogue, November 1994, FIDM Museum Special Collections.
Textile swatch, 1910-1940 Silk brocade Gift of Robert Fortunoff 99.274.192
Perhaps sensing our society’s need for a positive year ahead, Pantone’s color choice “communicates originality, ingenuity, and visionary thinking that points us toward the future.” Here’s to more invigorating violet fashion choices in 2018!
Girl's Dress, c. 1897 Crepe paper Gift of Steven Porterfield 2007.897.3
Day Gown, 1845-1846 Silk taffeta FIDM Museum Purchase 2008.5.39A-C
Dress, c. 1915-1917 Silk/Cotton Gift of the Manlove Family 2006.870.55
Thierry Mugler Alien Eau de Parfum, 2006 Glass, plastic, lucite FIDM Museum Purchase F2006.5.20A-D
 “Announcing Pantone 18-3838 Ultra Violet, Pantone Color of the Year 2018,” Pantone.com, https://www.pantone.com/color-of-the-year-2018.
 Annalisa Barbieri, “The Invention of the Color Purple,” The Guardian, March 12, 2015, https://www.theguardian.com/lifeandstyle/2015/mar/12/the-invention-of-the-colour-purple.
 Regina Lee Blaszczyk, The Color Revolution (Cambridge: The MIT Press, 2012), 22.
 Alexxa Gotthardt, “What Art History Tells Us about the Color of the Year,” Artsy.net, December 7, 2017, https://www.artsy.net/article/artsy-editorial-art-history-tells-ultra-violet-pantones-color-year.
 Alison Matthews David, Fashion Victims: The Dangers of Dress Past and Present (London: Bloomsbury Visual Arts, 2015), 107.
 Kassia St. Clair, The Secret Lives of Color (New York: Penguin Random House LLC, 2016), 170.
Now that the year is coming to an end, it's time to start planning your fashion adventures for 2018...we are thrilled to announce that our next Fashion Council Voyage destination is SPAIN! We will embark on a professionally guided tour of Madrid and the Basque and Rioja regions, all while enjoying exclusive culinary experiences, behind-the-scenes excursions, and of course plenty of fashion history (including a visit to the gorgeous Balenciaga Museum in Getaria). Read on for the itinerary and pricing details - hurry, spaces are limited!
Travel dates: October 7 - October 14, 2018
Deadline to sign-up: January 30, 2018
Deposit due: February 15, 2018
More information: Contact Joanna Abijaoude at firstname.lastname@example.org, or call 213-623-5821 ext. 2226
*Subject to change
Day 1: Sunday, October 7 - Madrid
5:00 pm or earlier: Guests arrive at the hotel, NH Palacio de Tepa, at their leisure. Meet at 5 pm for our introductory get-together in the hotel lounge.
6:00 pm: Argo Private City Club, Plaza Santa Ana. Drinks, tapas, and an introduction to Spanish cuisine, with a tasting of Clos de L’Obac wines with winemaker Carles Pastrana.
The FIDM Museum Fashion Council, now in its sixth year, continued to grow and bring new members into our museum family. Their signature events, including the Royal Tea and Luncheon & Lecture Day, combine education, entertainment, fundraising, and most importantly, fun! 2018 is sure to be their most energizing year yet, with a spring exhibition dedicated to their acquisition efforts and another Fashion Council Voyage in the fall (stay tuned for more details...).
This year, the FIDM Museum achieved our greatest acquisition to date: a group of rare and significant objects from The Helen Larson Historic Fashion Collection. The purchase includes women’s and men’s clothing from the 18th century to the 1930s, and features royal dress and examples of 19th and 20th century haute couture. The acquisition was the conclusion of a seven-year fundraising project, and we are extremely grateful to the FIDM Museum Fashion Council and many generous donors for helping us bring these important objects into our collection.
Finally, we were thrilled to announce our partnership with American Federation of the Arts on the upcoming exhibition Outdoor Girls: Sporting Fashion, 1800 to 1960. The touring exhibition will launch in Los Angeles in 2020 before travelling to domestic and international venues, and will be accompanied by a beautifully photographed catalogue.
These milestones made 2017 a year to remember in the history of our institution, but we have no intention of slowing down. Fostering education and sharing our collection with the world remains our mission, and in the coming years we have so many exciting plans to do just that.
We wish you and yours a wonderful holiday season and a happy New Year, and we thank you for your continued support of the FIDM Museum!
Top row L to R: Kevin Jones, Christina Johnson, Peter Lam, Joanna Abijaoude, and Barbara Bundy; Bottom row L to R: Carolyn Jamerson, Meghan Hansen, and Leigh Wishner.
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