The La Sylphide Gown, designed by Charles James, was worn by Miss Esme O’Brien when she came out as a New York debutante in 1937 (a sylph is a lovely, slim young woman or girl).
Henri Lédéchaux bred the French hybrid rose Madame Ferdinand Janin in 1875. It was imported into the United States in 1886, where it was renamed American Beauty.
Bridesmaid dress hunting can be a lot of fun, especially when you have these incredible 2021 fall trends according to the newly released fall bridesmaid dress collection of AW Bridal to choose from.
Of course, you must first determine who will pay for the bridesmaid dresses. Even so, you spend it, and the bride should also have some say about what the bridesmaids wear, whether that’s specifying a specific color to match your color scheme, or requesting a particular aesthetic to match your wedding themes, such as boho or glam. And you should unquestionably have the power to veto.
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It may be difficult to discern in the dim museum lighting, but the front of this bright Pink Dress features the scene of a rocket launch, and was created in 1968 by American graphic artist Harry Gordon at the height of the international space race.
An identical rocket image adorns the dress’ back. This and other screen-printed paper dress designs by Gordon were manufactured by UK-based company Poster Dress, Ltd. Selling for about $3.00 each and fabricated from tissue, wood pulp and rayon mesh, the dress came with the proclamation: ‘Toughness is woven into the non-woven fabric for long, l-o-n-g wear, and should you tire (which is doubtful), just cut open all the seams and hang it on your wall as a mammoth poster.’
Photographed in The Museum at FIT in Manhattan.
Among the most popular types of evening wear during the 1920s were loose, sleek, chemise-style dance dresses with sleeveless armholes and wide-cut necklines, which could be pulled directly over the head.
Profuse embellishment, often consisting of glass and metal components that would capture and refract light when in motion, counterbalances the minimalism of form. This 1920s Evening Dress by an unknown, possibly French or American designer, is made from a yellow cotton plain weave embroidered with gold metal paillettes, gold glass bugle beads, clear glass beads and seed beads, and clear glass crystals. These extravagant fashions were devised to glimmer within modern environments newly illuminated by electricity. They also mirror artistic tendencies at the time, such as the Art Deco attributes of geometric lines and shapes, contrasting metallic tones, and an overall streamlined modernity in form.
Photographed as part of the Exhibit In Pursuit of Fashion: The Sandy Schreier Collection, which closed in early 2020, at The Metropolitan Museum of Art in NYC.
New York’s Museum of Natural History always has one or two special exhibits that require purchase of an extra ticket above the standard price of admission, but that’s because they are worth it. One of the museum’s current special exhibits is called The Nature of Color, and it is just fantastic. The exhibit is immersive and contains many different galleries and rooms. For example, the Red Room highlights how the color red can mean status, power, and fertility while simultaneously representing sports teams, political parties, and religions. The centerpiece of this room is a flowing Red Silk Chiffon and Organza Gown created especially for the The Nature of Color by fashion designer Brandon Maxwell.
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Technically, a parabola is a symmetrically mirrored U-shape. Pierre Cardin began working with the parabola in the 1950s, particularly in the 1957 Lasso collection. With the introduction of stretch fabrics and hoops in the 1960s, those sweeping, graceful parabolic drapes became amplified, evolving into ellipses and cones.
Some of Cardin’s “Parabolic” fashions collapse flat, are easily packed, and emerge as before — like his earlier Cardine dresses, which could be twisted, rolled and stowed effortlessly into luggage. Developed alongside Cardin’s investigations into furniture sculpture, the big, sculptural shapes of the Parabolic dresses were likewise designed to be seen in 360 degrees. And since they were made of stretch fabric, they had a bounce reminiscent of his “Kinetic” dresses from 1972.
Referencing his earlier “Lasso” or “Eye of the Needle” designs done in wool and mohair, in 1990s’ Parabolic Evening Gown, Cardin creates the shape as a pink and green silk parabola.
Photographed in The Brooklyn Museum.