By Lauren Michel,
February 27th, 2009 at 5:00 am
(Teaching)
One of the toughest challenges facing fashion designers today is counterfeiting and knock-offs. In teaching fashion, it’s part of my role to explain the difference between the two terms to my students. Counterfeiting is making a copy of someone else’s design, be it a dress or a handbag, and selling it while representing it as the real thing. A knock-off is copying another designer’s style, but not claiming to be the original designer item.
Ever see handbags labeled “Coach” and “Louis Vuitton,” priced far below retail and sold in locations like swap meets, flea markets, and county fairs? Those would be the counterfeits. Ever see a handbag with rainbow initials that aren’t LV (similar to the one pictured above), but which looks a lot like a Louis Vuitton monogram handbag? That would be a knock-off.
Another challenging concept to explain to students is plagiarism. According to my institution’s 2008-09 catalog, plagiarism may be any one of the following:
1. Verbatim copying without proper documentation of the source(s).
2. Paraphrasing without proper documentation of the source(s).
3. Unacknowledged appropriation of information or ideas from someone else.
Perhaps even more important than the above three points is that fact that even unintentional plagiarism is still plagiarism, for which students may still be penalized.
To sum up the definition of plagiarism in a recent classroom discussion, I emphasized the point that what matters most is that we give credit where credit is due. I’m still waiting to see if Zuhair Murad has given credit to Dior for inspiring Miley Cyrus’s Oscar gown.
As an aid to your own classroom discussions of counterfeiting in fashion and academic honesty, here are some resources you may find useful:
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In Milwaukee, “purse parties” (think Tupperware party) were found to have possible connections to organized crime in 2003.
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For more extensive reading on fashion counterfeiting, visit Counterfeit Chic, the blog of Susan Scafidi, the first US law professor to offer a course in Fashion Law.
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On the subject of academic honesty, here is how Computer Science Professor Ethan L. Miller from the University of California, Santa Cruz addresses the issue: he invokes something referred to as The Simpsons Rule as a means for avoiding collaborative cheating.
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For some more concrete tips on how to educate students about plagiarism, and how to avoid it, see excerpts from Barbara Gross Davis’s Tools for Teaching here, at the University of California, Berkeley’s Office of Educational Development.
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Finally, having saved the best for last, here is a blog post (from Dim Bulb by Jonathan Salem Baskin) about a South African brand that created knock-offs of its own t-shirts for two years as a marketing strategy to generate buzz and cache for itself.
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By Monica Sklar,
February 26th, 2009 at 5:12 pm
(Uncategorized)
As you regular readers know, I’ve periodically posted about my slow brewing resentment of favorite brand Converse for their lackluster customer service–which may be related to their confused brand identity and lack of focus in how to handle their spread-too-thin marketing and merchandising plans.
Anyway, to re-cap, the speciality extra long rubber laces in my John Varvatos designer Converse shoes are broken, rendering the shoes unwearable as other laces don’t work in the multi-eyelet sneaker. I’ve been calling and emailing Converse since September 15, 2008 (!!) to try to buy or somehow get a replacement pair of laces as they are not available as an independent item and there’s no way I’m buying a new pair of $90+ sneakers just for the laces. Out of desperation recently I almost pilfered them off a pair at a Saks outlet but decided it wasn’t worth it and wouldn’t that be a hilarious mug shot and Leno “Headlines“-like crime.
Anyway, after what seemed like endless emails and Converse saying they’d sent them, then saying they lost my info, then they would again, etc etc etc, today, SIX months after my first attempts to simply tie my shoes, I finally can say they arrived! And, low and behold, they actually sent two pair (which is what I requested since Harlo and I both have pairs but I never figured they’d do it after all that. ) They were in a mangled envelope that apparently had been eaten by some mail sorting machine and the most recent delay can be actually blamed on the USPS and not Converse.
Regardless, all of the other delays were Converse‘s fault for losing sight of who their customer is and how to service customers successfully. I had told them everything I could, that I’m a fan since my punk teens, that Harlo and I had our Converse shoes featured in a museum exhibit this past fall on sportswear, that I am a fashion instructor and fashion blogger and fashion Ph.D. and that I’d make sure to spread the news how awful they were starting to become. Do you think in my punk style book I’d happily write about the Ramones wearing Converse turning a legion of young punks and eventually emo kids onto the shoes if I didn’t get my *!% laces! I think not.
But, today they arrived, so unless they do something else to screw it up, Converse has been removed from my list of shameful apparel companies who care oceans more about their bottom line than their customer satisfaction. Don’t they know how closely tied (no pun intended) those ideas are anyway?!
I did a project last year for school about punk fashions reinterpretation and proliferation throughout the Mall of America and it was a fun study of design symbolism and style evolutions. I think a good follow up sister study would be to look at companies that had formerly boasted a strong focus on their target markets (such as Converse and subculture although I know the brand started and maintained other target markets), and then look at how they handle growth, brand development, and movement into new markets.
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By Heather Vaughan,
February 25th, 2009 at 5:00 am
(History of Dress, Uncategorized, Videos)
Feb. 1933, 'She Done Him Wrong', by and with Mae West, and Cary Grant, Noah Berry, Owen Moore, Gilbert Roland. Rochelle Hudson and David Landau. Directed by Lowell Sherman. A Paramount Picture. © Bettmann/CORBIS
Here is the third installment of my interview (from November 2008) with Christina Johnson, Collection Manager of the Museum at the Fashion Institute of Design & Merchandising. In the last post, Christina talked about the Versace and Gernrich collections. This week, she’ll discuss a very special collector and a collection of Mae West clothing and objects.
Heather: Are there any other new acquisitions of particular interest?
Christina: Well, there’s the Mae West donation. A private collector of Mae West memorabilia contacted us about a year ago and invited us to come to his apartment to look at his collection.
Heather: How many pieces?
Christina: I would say we took 30 pieces.
Heather: And how many did he have that he wanted you to take?
Christina: . . . maybe… 200 pieces?
Heather: Can you talk a little bit about your process of elimination, what do you look at to decide what to take?
Christina: Sure. So he had many more pieces than we had room for. The way we select pieces is first of all condition: It has to be in excellent condition. We would prefer not to take something that is really damaged or extremely soiled because it is a distraction when it’s on exhibition. There are some things that we do make exceptions for, but for the most part it has to be in very good to excellent condition. So he had some things that were very damaged that needed major conservation and we do not have a conservation department yet so we chose to leave those items.
Heather: One quick question – if somebody wants to donate something and they maybe have some stains on the pieces, would you advise that try to clean it themselves or check with you first?
Christina: Check with us first, absolutely. And we have taken things that needed conservation, and we have sent things out to be conserved. We also have taken some things to hold onto, until we do get our own conservation department.
Heather: Can you continue describing the ways in which you decide to take pieces?
Christina: It has to be a very striking design. It has to be a show-stopping piece. It can’t be bland in any way. And so it was amazing that Mae West wore these and that is one reason we took these. In and of themselves, they are exhibition pieces. Had Mae West’s name not been attached to them, they still would have been fabulous.
Heather: And the pieces you took, were they primarily couture, or were they Hollywood?
Christina: They were not French Haute Couture, but were couture-quality. . They were a lot of handmade lingerie by Juel Park. Joel Park was a made to measure lingerie designer. Marlene Dietrich and a lot of old Hollywood actresses had Juel Park lingerie. So, there were a lot of negligee sets, full-length satin nightgowns with robes that had insertions of handmade lace. We took a few corsets from the 1940s and 50s, but they had a Victorian feel. They really looked Victorian.
Mae West Corset. c. 1945. Gift of Kevin Thomas in Memory of Dolly Dempsey. FIDM Museum Collection. Copyright FIDM Museum.
Heather: And that totally fits in with Mae West’s image.
Christina: Exactly, so we really wanted those corsets. But really, I want to tell you about the shoes we took. We were floored when we saw the shoes. We walked into a bedroom, (things were spread out all over the house so we could see them) and the entire floor was covered in shoes, probably 35 pairs. Day wear, evening wear, cowboy boots, everything. Everything was custom made by a local Los Angeles shoe designer. As we know, she was a very curvy woman, but she was also very petite, short woman. So oftentimes when she was on stage, or in real life – as often her stage and real life merged – she wanted to appear more statuesque, so she always wore extremely high heels. All of her high heels, her day wear, the heels are about six inches. We have gold kid, we have red brocaded satin in a Chinese pattern, we have silver kid – amazing pieces..
Mae West Foot Print for Custom Shoe. c. 1945. Gift of Kevin Thomas in Memory of Dolly Dempsey. FIDM Museum Collection. Copyright FIDM Museum.
We also have pairs of her stage shoes. These are pairs that we call ‘double decker shoes’ because they are one high heel pump on top of another high heel pump. The top high heeled shoe in a neutral color is where her foot would go. That pump would sit on top of an oversized high heel pump so that the toes of the bottom high heel stick out of the bottom of the gown. In that way it looks like she’s wearing the bottom pump. For some reason they didn’t just make extra tall platforms. They are essentially 9 inch platforms. She also had cowboy boots, and go-go boots. These all date to the 1940s for the most part. It was truly amazing to see all of these.
Stage Shoes worn by Mae West. 1950s. Gift of Kevin Thomas in Memory of Dolly Dempsey. FIDM Museum Collection. Copyright FIDM Museum.
Heather: And did you take gowns at all?
Christina: He did not have gowns. The collector had some stage costumes, but they were from her very later years in cabaret and we don’t really collect that. It just wasn’t right for our collection.
Tune in next week for the concluding portion of the interview! In the meantime, check out this trailer for the Mae West movie, “I’m No Angel” from 1933.
2 Comments
By Monica Sklar,
February 24th, 2009 at 5:00 am
(Conferences and Calls for Papers, Jobs)
If you live in Metro Detroit the KRESGE ARTIST FELLOWSHIPS might be a good way to fund your work in dress/design either applied or criticism. See below:
GUIDELINES:
Kresge Arts in Detroit is providing significant financial support for eighteen (18) Kresge Artist Fellowships annually, each consisting of a $25,000 award and customized Professional Development opportunities for emerging and established Metropolitan Detroit artists in the Visual, Performing, and Literary Arts.
The Kresge Artist Fellowships recognize eighteen (18) artists whose commitment to innovation and artistic achievement are evident in the quality of their work. The Fellowships recognize creative vision and commitment to excellence within a wide range of artistic disciplines, including artists who have been classically and academically trained, self taught artists, and artists whose art forms have been passed down through cultural and traditional heritage. The Fellows are selected through an open, competitive, and blind process as judged by an independent Fellowship Panel.
Kresge Artist Fellowships in the Visual Arts are awarded in odd years (i.e. 2009, 2011, etc.); Kresge Artist Fellowships in the Performing and Literary Arts are awarded in even years (i.e. 2010, 2012, etc.).
DEADLINES FOR APPLICATIONS:
VISUAL ARTS-FEBRUARY 27, 2009
PERFORMING AND LITERARY ARTS-FEBRUARY 26, 2010
ANNOUNCEMENTS:
2009 FELLOWS IN THE VISUAL ARTS-JUNE 2009
2010 FELLOWS IN THE PERFORMING AND LITERARY ARTS-JUNE 2010
The Kresge Artist Fellowships are given each year to artists in the Visual, Performing, and Literary Arts (alternating each year between the Visual Arts and the Performing/Literary Arts).
Year One:
VISUAL ARTS
Such as: art and technology, book arts, ceramics, collage, drawing, fiber, video art, glass, installation, metalwork, painting, photography, printmaking, sculpture, and interdisciplinary work that includes at least one of these arts disciplines.
Year Two:
PERFORMING ARTS
Limited to: choreography, music composition, performance art, playwriting, sound art, and interdisciplinary work that includes at least one of these arts disciplines.
LITERARY ARTS
Limited to: art criticism in all disciplines (including visual, literary, and performing arts), creative non-fiction, fiction, poetry, and interdisciplinary work that includes at least one of these arts disciplines.
There are lots more details on the application procedures and eligibility at their website.
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By Monica Sklar,
February 24th, 2009 at 5:00 am
(Uncategorized)
THE CITY UNIVERSITY OF NEW YORK
Assistant Professor – Fashion Marketing
Teach undergraduate level courses in fashion marketing and technology in the fashion industry,
including fashion merchandising, fashion coordination, small business management, advertising
techniques, marketing strategies, and retail management. The program provides students with an
in-depth knowledge of apparel industry and fashion cycles.
Students learn to:
• Develop and implement marketing strategic plans.
• Analyze marketing in the fashion industry.
• Use technology in fashion design and marketing.
In addition, faculty members are expected to:
• Engage in research leading to refereed publications.
• Participate in activities traditionally associated with a full-time, tenure –track academic
appointment.
Click here for more info.
or click here for the general website
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By Heather Vaughan,
February 23rd, 2009 at 12:22 pm
(History of Dress, Uncategorized)
I couldn’t resist pointing this out to WT readers. I was going through my regular ‘gossip blog’ eye-candy this morning (having completely ignored the Academy Awards when they were on last night -in favor of some much needed research work) and came across this photo of Miley Cyrus in the Los Angeles Times. Do you recognize it?
While the Los Angeles Times focused mainly on “Little Mermaid” aspect of her choice and hurled Disney related insults, this gown (designed by Zuhair Murad) immediately reminded me of another, historically relevant gown in a museum collection, shown below on the left.
(Click here for a larger –and zoom-able image)
It is a 1949 “Venus” “Junon” gown by Christian Dior, on the website at the de Young Museum in San Francisco. The skirts are incredibly similar, with obviously different bodice treatments. UPDATE: The Met, Costume Institute in New York has this gown and it is described as: “Junon, Dress, fall/winter 1949–1950, House of Dior (French, founded 1947), Design House; Christian Dior (French, 1905–1957), Designer French cotton; Gift of Mrs. Byron C. Foy, 1953 (C.I.53.40.5a–e)”
Another blog (Superficial Diva) also reported this, and found another version of Venus for side-by-side comparison. While clearly not an exact replica, Murad‘s design does borrow heavily from the Dior version. My question is how did this Dior piece get into his design, and how did Cyrus come to wear it? Did she know of the Dior dress? Did her stylist?
The red carpet often serves as a venue for vintage or historic reminiscences, such as when Jennifer Lopez wore the Jackie O, 1960s style dress by Valentino. One has to wonder what the rational is. I gather that in Lopez’s case it was an obsession with the celebrity of Jackie O – but for Cyrus, I’m not so sure.
I might suggest that its an additional way to focus media attention on one star, over the others walking the red carpet. Perhaps its simply another media hook. It’s anyone’s guess – but it’s likely there was a publicist involved. Cyrus (or her stylist) may have been looking to reference ‘old Hollywood,’ given her previous choice of red carpet attire, and focus on the glitz and glamour of Hollywood even in an economic downturn. Historically, the poorer the country, the brighter Hollywood shines.
UPDATE: The de Young may not in fact have “Junon” (but have the sister gown from the above photo, Venus). The photo of Junon alone is below:
8 Comments
By Monica Sklar,
February 23rd, 2009 at 5:00 am
(Conferences and Calls for Papers)
Women’s Wear Daily hosts a series of forums/summits throughout the year. Below I’ve listed some that might be of interest you you.
1.) WWD Global Sourcing & Supply Chain Forum
For Sourcing & Supply Chain Executives
March 11, 2009
Fashion Institute of Technology
New York City
The focus is on back-end operations—efficiency, optimization, and geography. Topics will include new trade climate in Washington, opportunities and efficiencies in technology, geographic and economic dynamics around the globe, social responsibility and environmental issues.
For more information on this event please contact:
Email
212.630.4947
2.) WWD Beauty Forum
For Beauty Brand and Retail Executives
April 23, 2009
Condé Nast Theatre
New York City
Beauty marketers and brand managers will attend this important meeting on what is happening at retail with brands. New retail formats, innovative ways of reaching consumers, new product trends and customer research will all be covered.
For more information on this event please contact:
Email
212.630.4947
3.) WWD Technology Forum – Retail & the New Customer Experiences
For Apparel, Retail, Marketing & Technology Executives
June, 2009
Fashion Institute of Technology
New York City
Loyalty programs, social networking, mobile marketing, e-commerce? These state of the art initiatives are transforming how customers interact with brands today. This meeting gives a full overview of what works and what doesn’t — and includes many ideas brands can act on without huge investments.
For more information on this event please contact:
Email
212.630.4947
4.) WWD Branding Forum – Luxury Redefined
For Branding And Marketing Executives
September 9, 2009
Condé Nast Theatre
New York City
The WWD Branding Leadership Forum is a one-day event featuring keynote presentations from some of the smartest retailers and brands in new and established distribution channels.
For more information on this event please contact:
Email
212.630.4947
5.) WWD Media Summit
For Retail, Fashion And Media Executives
October, 2009
New York City
The WWD Media Summit is a one-day event addressing the turbulence of today’s media marketplace as brand-generated content, social marketing, mobile media and personalized experiences redefine the rules of information distribution and consumption.
For more information on this event please contact:
Email
212.630.4947
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By Monica Sklar,
February 20th, 2009 at 5:00 am
(Academic Research & Related, Uncategorized)
Grants, Grants, Grants. Urgh.
I have spent much of my time the past few days working on a grant proposal to try to drum up some dough for my dissertation. So tonight I slaved over one of the final components, the abstract, and I had to take what is currently about 100 PAGES of writing and condense to a 100 WORDS abstract.
Generally, as you know, abstracts are more like 200+ words, or even longer, so 100 words was a real effort in restraint. PCA/ACA requires (I think) 150 words for their conference submissions, which is tough, but even that final 50 gives you a little more leeway.
So, after going blind staring at the screen trying to magically get multiple words to morph into new single uberwords (and calling in Harlo to help once I finally went blind) this is what I came up with (word count-98-HA!):
Many individuals feel their complete self contains multiple identities. One can align himself with varied identities through manipulation of body, clothing, and accessories as a visual unit; known as the ‘apparel-body-construct’ (DeLong, 1998). ‘Punk’ and ‘worker’ are identities where dress is imbued with meaning and may produce tension when combined. What are punk individuals’ experiences concerning the apparel-body-construct for their workplace environments? Through surveys and interviews the objective is to understand aesthetic processes regarding varied identities. This research increases knowledge about subcultural lived experiences and may be an example of multiplicity in modern dress behaviors and in life.
Copyright 2009 M Sklar
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By Monica Sklar,
February 19th, 2009 at 10:38 pm
(Teaching, Uncategorized)
I’ve been writing fairly regularly on my endeavor into using a lot of films in my lecture course on an overview of fashion combined with ethics. Here are my latest developments.
“Scratch the Surface” was awful and totally dated. The black and white was probably in an effort to make it look timeless yet oddly it made it look even more stuck in a previous era of inexpensive documentary videos. I skimmed through the whole thing looking for valuable content for my students (or myself) and although it was a sort of treat to see Phoebe Cates and other 80s celebs talking modeling details it was mostly useless. Sort of like a diary of the model at the center of it, and although I respect her desires to try to break down the walls of the modeling world, it didn’t really work and was more of an exercise in journaling. Hence, I didn’t show it.
“Marc Jacobs/Louis Vuitton” has a sightly weird, overly intimate sense of humor coming from the narrator, but is fun and lively, and has good basic insight into the marketing and branding machine that is a major house (Vuitton), particularly with its comparisons to Jacobs’ smaller house. We’re all familiar with (and love) Jacobs and he is a treat to watch at work, in what this French TV show claims is the first complete view into his working world. Also, it is in English, which is helpful for the students, especially at 8:30am. I plan on showing my students the first 25 minutes which pretty much gets through the history and the primary issues of brand development and marketing, and then we’ll discuss it. I’ll let you know how it works out.
I’ve only got about 4 films left in my Netflix queue. Any suggestions?
1 Comment
By Heather Vaughan,
February 18th, 2009 at 5:00 am
(History of Dress, Uncategorized)
Rudi Gernreich. Maxi Dress. 1970-72. FIDM Museum Purchase. FIDM Museum Collection. Copyright FIDM Museum.
Here is the next installment of my interview (from November 2008) with Christina Johnson, Collection Manager of the Museum at the Fashion Institute of Design & Merchandising. In the last post, Christina explained the history and scope of the collection. Now, we get into some of the details of what the Museum has:
Heather: What other kinds of sub-collections do you have?
Christina: We have the Rudi Gernrich Archive, which was given to us just after his death in 1985. It is a few thousand pieces, which include samples from the 1950s to the 1980s – right before he died.
Heather: I know I’m jumping ahead a bit, but how do you acquire most of your new objects?
Christina: Mostly, we rely on donations. We will take a look at anything. You never know what is going to walk through the door. We do have a small budget to purchase items. FIDM College also purchases items.
Heather: I know that a good number of institutions have support organizations to help with the acquisitions of new objects. – such as the de Young Museum has the Textile Arts Council or the Costume Council for LACMA.
Christina: No we don’t have anything like that yet, but we are working on establishing a costume acquisition endowement fund.
Heather: So getting back to the Gernrich collection.
Christina: The collection includes patterns and samples, notions and fastenings he never used, many examples of knitwear, and many specialty pieces. One is an art piece made up of bicycle parts, including bicycle chains, handlebars and the reflectors that went on the bust. It’s a great piece.
We just recently, in 2006, obtained a Gianni Versace menswear archive worn by one man. It consists of about 2000 pieces from the early eighties up to 1997, the year of Versace’s death. It has all the printed silks, all of the suits, underwear, socks, bathing suits – all worn by a Los Angeles man. He died in 1998, the year after Versace died.
Portion of Gianni Versace archive in storage. Gift of Joan Worth in Memory of Marvin Worth. FIDM Museum Collection. Copyright FIDM Museum.
Heather: What can you tell me about that donor?
Christina: He was a producer here in Los Angeles who only wore Versace, from the first collection, right through to the last. All the studded jackets – all of it. The donation also included photographs of the donor wearing the items. He passed away and his wife put it away for about 10 years, and she really wanted it to go to a museum. Most museums couldn’t accept such a large donation, but she wanted it to stay together. It was actually this collection that was the impetus for our recent purchase of our Compact Storage system, because we really wanted it but didn’t have room for it. Compact Storage will allow us to fit about 30% more in our storage rooms.
Heather: Can you tell me a little bit more about your experience with getting the Versace collection?
Christina: When we went into the closets, they had not been touched since his death. His jewelry was still laid out. It was a beautiful cedar-lined closet. The door was locked because he and his wife had separate closets, and after he died she just locked the door and that’s it. She had an appraiser come to look at a few things, but other than that she hadn’t touched anything. And we got it all! We had an art handler come to help with moving the collection. It was amazing.
Heather: So what else can you tell me about the FIDM Museum collection as a whole?
Christina: Our collection is very strong from 1900 to about 1960. Very strong. We have amazing designer pieces.
Heather: Not just California pieces, yes?
Christina: No, not just California pieces. We are strong in California designers to be sure but overall we have a very high-level collection of couture, upscale designers, childrenswear and we also have menswear.
Gilbert Adrian. Evening gown.1948. Gift of Bob Diamond. FIDM Museum Collection. Photo by Brian Sanderson. Copyright FIDM Museum.
Heather: What can you tell me about your new acquisitions? The ones you are really excited about.
Christina: We do buy on eBay, usually from dealers we’ve purchased from in the past – either through their websites or at vintage shows and I found this amazing feather pelerine cape from the 1820s/30s.
Heather: Wow.
Christina: It’s a short cape, so it would have been called a pelerine and it is covered with iridescent peacock feathers and then spotted pheasant feathers. The entire cape is just covered in rows of these feathers. It’s a burlap base and the feathers are hand sewn onto this burlap. The lining is swan’s down. I had recognized it because the V & A museum has a similar one, except their piece has two long lappets down the front. It’s the same shape though, with the same kind of feathers. It’s reproduced in their Fashion in Detail. So when I saw it on eBay, my jaw dropped. I was so excited, and we were able to buy it at a reasonable price. It’s the kind of a piece that could really make an outfit. The 1820s and 30s were all about accessories. There were a lot of white or light colored dresses, so when you add a belt or a pair of shoes or that cape — that’s when it all snaps into place. And we really need things from that era. It’s so hard to find things like that out here on the west coast, settled so recently.
Pelerine. c.1830. Museum Purchase. FIDM Museum Collection. Copyright FIDM Museum.
Heather: So what other pieces have been excited about?
Christina: We recently acquired a Rudi Gernrich dress that was not represented in the original Gernreich donation. There are still a few pieces that we don’t have and that we’re always looking for. So we purchased a “Japanese Schoolgirl” outfit from Fall 1967. It is a black double-knit wool mini-dress with a white peter-pan style collar and a red tie down the center front.
Rudi Gernreich. “Japanese Schoolgirl” dress. Fall 1967. Purchase. FIDM Museum Collection. Photo by Brian Sanderson. Copyright FIDM Museum.
Heather: Is it children’s wear?
Christina: No, it’s a woman’s dress, modeled after a Japanese schoolgirl’s uniform. He also made one in a check pattern, but we have the black one. We also acquired the hat. The hat is extremely rare – only about four or five were made and we got one of them. It’s a very large black wool, toque type hat. Our hat was made for Carol Channing.
That’s it for this weeks installment of our interview, but there will be more next time!
P.S.: FIDM Museum Curator Kevin Jones and the current exhibition, the 17th Annual Art of Motion Picture Costume Design, were featured in a Threadbanger Video (released yesterday).
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