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McCardell came out on stage at the end, and the audience â composed of many of the editors and writers who had championed her career in their pages â rose and gave her a long ovation. Jun 3, 2020 - Explore Ginger Jackie's board "Claire McCardell", followed by 287 people on Pinterest. Claire McCardell also did some accessories, including gloves and sunglasses. The Metropolitan Museum of Art. Her wardrobe was based on jersey halter neck tops and jersey skirts. Love the idea of play clothes even though I’m getting ready for a workday. According to a chapter on McCardell written by Sally Kirkland in a book about American designers, McCardell was on vacation when the buyer showed up in August at Townley and, unhappy with the fall collection, asked to see something else. Through radiation treatment, and a pain so severe it felt âas though my stomach will fall on the floor at times,â as she wrote her parents, McCardell continued to work. Klein wanted McCardell back as head designer, against Geissâs objections. The person who can remember the models and sketch them for wholesale houses in the United States can make a fortune.â The American buyers, McCardell wrote, âtry to get as many sketches as possibleâ without paying the Parisian houses for the designs. âGeiss is such a dope,â she told her parents. At Townley, the buyer was intrigued by what he saw. McCardell was âa giant of American culture and of fashion,â says Paola Antonelli, senior curator of the department of architecture and design at MoMA, but âsomething happened that made us forget her, and I cannot really understand what it was.â, It may be that, as with her Monastic dress, the elegantly pragmatic genius of her work seeped into the culture at large. Thanks! The press raved that it âcreated more comment and discussion than any dress in years,â causing it to become a best-selling design of 1938. ), The Monastic came to market at a time when the ready-to-wear industry in America had yet to grasp sizing for the masses. By 1934, McCardell had wearied of lugging trunks of clothes on her semiannual trips to Paris, so she conceived of five interchangeable pieces of clothing that were easy to pack, and to mix and match. McCardell prefigured todayâs multifaceted designer-led brands when she expanded her line to include bathing suits and jewelry and sunglasses and wedding dresses and childrenâs attire. The legend of how a simple wool dress forever changed American fashion begins, like many good stories, with a dramatic coincidence. Soon the Monastic was prevalent enough that it was declared an open item. The legend of how a simple wool dress forever changed American fashion begins, like many good stories, with a dramatic coincidence. A little-known designer named Claire McCardell was at work in the Seventh Avenue headquarters of Townley Frocks, a clothing manufacturer. âYou didnât show me that one.â Indeed, the design hadnât been included in the fall collection that the buyer had just viewed because Townleyâs owner, Henry Geiss, believed it wouldnât sell. Her 1938 âMonasticâ dress, a bias cut, tent-like garment with a rope tied waist that once on the body molded to it, could be worn day or evening. The pattern has been stored in a craft envelope with this magazine page attached. McCardellâs innovations included the monastic dress, a free-flowing garment resembling a monkâs cassock that when belted at the waist fit any figure. She found them fussy and refused to use them; Geiss ordered them sewn into the clothes anyway. While the fashion industry gathered in Paris for the new collections, McCardell often went on jaunts to other countries during these trips â mining the museums, the street life and the flea markets of cities for fresh ideas. âSheâs the only woman shoe manufacturer in the world.â Perhaps it was then that McCardell understood the power of a market gap and a bold female vision. Sep 28, 2017 - Explore Erin's board "Claire McCardell", followed by 540 people on Pinterest. OOP Claire McCardell Cloisters dress pattern Claire McCardell Town & Country dress pattern. As one news report later described it, McCardell was hurrying across the â¦ Claire McCardell was a well known fashion designer who revolutionized women’s fashion in America. After viewing the Paris shows, Diana Vreeland, the famed editor of Vogue and Harperâs Bazaar, wrote to McCardell: âIt is the most curious thing as I look at the French dresses in 1956. Unused. By allowing women to shape the garment to their own body, belting it wherever comfortable, McCardell, according to April Calahan â curator at New Yorkâs Fashion Institute of Technology library and a co-host of the podcast âDressed: The History of Fashionâ â was âsolving a massive problem that existed for the production of ready-to-wear: the problem of fit.â. After her death, McCardellâs family elected not to keep the label going. A 33-year-old career woman, single and living in Manhattan, McCardell loathed the trendy crinolines that got stuck in revolving doors and the bodices that âlaced [women] to breathless,â leaving them unable to âcross the street without help,â as she later wrote in an essay. (Photos from the Maryland Historical Society). Orrick arrived at the hospital on a cold January day and helped McCardell into a red wool suit. Townleyâs business boomed. Introduced the concept of adult âplay clothes,â as seen in the jersey âdiaperâ bathing suit, the âbubbleâ swimsuit, harem pajamas, and other easy to wear costumes. Weâre sorry, comments for this post have been closed. McCardell topped the popularity of the Monastic with designs like her Popover, a wrap-front dress with a built-in matching potholder that retailed for under $7. McCardell dress made from corded cotton, early 1950s. Even still, her boss refused the request, believing that designers should work behind the scenes. By the early 1940s, World War II had effectively shut down the Paris fashion industry. In 1948 McCardell seethed in her personal journal: âAre we returning to the dark ages when American designers were not allowed to think for themselves? This has my daydreaming of all sorts of things to make. In 1940, however, Townley revived under a new partnership between Geiss and businessman Adolph Klein, a savvy young salesman from Brooklyn. Adolph Klein, who later became a partner at Townley, referred to McCardellâs clothes as âsome damned weird stuff.â He once told a reporter: âWith these dames you donât know where they get their inspiration. McCardell, Womenâs Wear Daily later noted, had âferretted out in Paris a French peasantâs navy, woolen hooded cape that swept around her anklesâ and now she had âbrought it home to wear over her ski clothes.â The article marveled at how McCardell âleaps a year or so ahead of the design trend and never hesitates to wear the most extreme costumes she has turned out.â. Around that time, there were rumblings of change in the American fashion industry. (Bettmann Archive). Thank you for the excellent post. Dior said he wanted to âsave women from nature,â and he reintroduced the corset. She rarely wore high heels, preferring flats, and she wore little makeup, save a swipe of silvery eye shadow above her hazel eyes. Zippers returned to the backs of dresses. New York City. That day, McCardell was clad in a dress that she had sewn: a red wool shift with no padded shoulders or darts, and no sewn-in waist to structure the body into the idealized hourglass silhouette. At a time when men ruled fashion, this cadre of women â department store owners, buyers, magazine editors, public relations professionals and designers â would band together to popularize what they called the American Look and put New York, for the first time, on the fashion map, establishing events like New Yorkâs seminal Fashion Week. I love the belt…and the fact that Claire really made wearing flats, mules trendy. At school, McCardell found a like-minded friend in Mildred Orrick. McCardell was inspired by Vionnet and Chanel when studying in Paris in 1926. In the hundreds of articles written about McCardell over her career, she was often depicted as a shy and restrained small-town girl who had miraculously made it in the big city. âBut even into the 1940s and â50s,â she notes, âsociety was very resistant to what was radical and marvelous about McCardell.â Her brilliance was in her deep understanding of how a body truly moves: âMcCardell wanted women to feel and to look better.â, Over the decades, McCardellâs life and clothes have seen numerous revivals and retrospectives at museums, including at the Fashion Institute of Technology and the Maryland Historical Society. (Maryland Historical Society), From left: A plaid dress made and worn by McCardell, circa 1945; an evening gown made and worn by McCardell, circa 1940s; a McCardell dress made of fabric designed by Marc Chagall, circa 1955.
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