The Fashion Show

A Project – The Fashion Showby Renee Binyamini, Sde Eliyahu
IntroductionTwo years ago I developed a project for my eighth grade girls’ class. The topic was Fashion. The girls put on a fashion show, which took them approximately two weeks. This school year I am teaching an eighth grade girls’ class again, and in light of experience gained over the last two years, I have revised the project. The project in its new form includes:• the targeted domains and benchmarks• a project outline (advance organizer) stating objectives and activities• a letter to the pupils with instructions for the project• the rubrics used to grade the project• a detailed description of one of the unit’s activities which incorporates the tool of comparing and contrasting• a self-evaluation form• my reflections on how two years’ experience with the Curriculum helped me modify the unit plan
Grade Level 10 Targeted Domains Standards
Access to Information Obtaining and using information from different sourcesLevelIntermediate Appreciation of Culture Becoming acquainted with norms and behaviors in a variety of cultures Presentation Presenting information and ideas about general topics
Targeted Unit Benchmarks Understanding the structure and conventions of different text types and using this knowledge as needed Being aware of different cultural behaviors and practices Presenting information taken from different sourcesAssessment Tools forTargeted Domains RubricsName of Unit The Fashion ShowIt should be noted that the project was preceded by activities from Mosaic (Davis, 1994, pp. 8 -16)
Summary of previous lessons Pages 8-16 of the book were used to teach the enabling skills needed to build a fashion show:• relevant vocabulary (different articles of clothing and adjectives that describe them)• review of the past tense, comparatives and superlatives• color and fashion• the function of different text types (descriptions, letters, invitations, ads)• social skills – working independently in groups• accessing information on fashion
Objectives ActivitiesPupils will decide what type of clothing to use, what clothing items to gather, and who will model each item. Pupils will form groups of 3-4, brainstorm and decide what type of fashion show to present, which clothing to model, and who will model each item.Pupils will write an ad or invitation, introduction to their show, and detailed description of each outfit modeled. Pupils will draft a copy for their fashion show, referring to the activity on comparing different text types.Pupils will perform their fashion shows. As stated each group will produce and perform their shows in front of the class.Pupils will document interesting points/details. While viewing the presentations, the class will complete a form indicating the main idea and details for each show.Pupils will assume the role of a magazine reporter at a fashion show. Pupils will write a magazine article.
Assessment GoalsPupils will assess themselves according to predetermined criteria, which are explained before the project begins and include assessment of their oral presentation (introduction, language, content), a written presentation (introduction, ad/invitation, description of clothing, magazine article) and a self-evaluation form.
Task Pupils will prepare for and perform a fashion show, act as reporters and write a newspaper article about the show.
Audience Their classmates
Procedure – instructions to pupils
1. Work in groups of 3-4.
2. Decide what type of clothing to model and try to be original. Suggestions: evening dresses, women’s/men’s clothing, babies’ clothing, sportswear.
3. Collect all items of clothing. Decide who will model what. Draft a description of each outfit (see step 5).
4. Write an ad inviting people to your fashion show (5 points).
5. Present your show to the class (10 points). Each member of the group must speak. Your show should include:• type of clothing you chose• some general information about this type of clothing• an introduction of each model and description of the clothes she is modeling
6. After viewing all the shows, assume the role of a woman’s magazine reporter and write an article on the shows.
Your written paper will include:• an introduction to the fashion show – what type of clothing is being modeled. Include some general information about the type of clothing (5 points).• the ad for your show (5 points).• a description of each outfit and some information on the model (10 points).• an article for a woman’s magazine (in the past tense!), with a report on at least two shows (10 points).
Rubric for the oral presentations
Type of clothing: __________________ Names of presenters: ______________________
1 point 2 points 3 pointsIntroduction Poor introduction – does not capture the audience.Little or no general information about type of clothing. Fair introduction – captures audience. Adequate general information about type of clothing. Good introduction – captures audience attention well.Substantial amount of general information about type of clothing.Language:Fluency & Accuracy Hesitant speech. Incomplete sentences, many grammatical errors. Some hesitation, simple speech, few grammatical errors. Speaks freely, nearly accurate language.Content Description does not match clothing. Simple description of clothing. Clear and detailed description of clothing.
Did all members present? Yes (1 point) No (0 points)Total Score__________
Fashion show: fashion reporter's notes
Presenters Type of Clothing Description
*Fill in the chart during the group presentations. This will help you summarize your article for the women’s magazine. Rubric for the written presentations Score
Introduction Poor introduction (minimal information). No general information about type of clothing. Many grammatical and spelling errors.
1-2 points Adequate introduction. Includes some general information about type of clothing. Some grammatical and spelling errors.

3-4 points Informative introduction.Includes detailed information about type of clothing. Almost no grammar or spelling errors. 5 points
Ad/Invitation Unclear and irrelevant information. Many spelling and grammatical errors.No drafts or revisions.
1-2 points Includes most of the required information (date, place, time). Some grammatical/spelling errors.One draft, no revisions.
3-4 points Includes all required information. Correct grammar and spelling.Drafts and revisions.
5 points
DescriptionOf Clothing
Describes some itemsof the clothing, but with minimal detail. Many grammatical and spelling errors. No drafts or revisions.
1-4 points Most clothing items are described accurately and in detail. Some spelling and grammatical errors.One draft, no revisions.
5-8 points Detailed description of clothes. Mostly correct grammar and spelling. Drafts and revisions.
9-10 points MagazineArticle No/poor introduction and conclusion. Reports on lessthan 2 shows. Many spelling and grammaticalerrors. No drafts or revisions.

1-4 points Fair introduction and conclusion. Reports on at least 2 shows but not in detail. Some spelling and grammatical errors.One draft, no revisions.
5-8 points Comprehensive introduction and conclusion.Reports on at least 2 shows in detail.Nearly all correct spelling and grammar (uses past tense).Drafts and revisions.
9-10 points
Activity using comparison
Goal for comparison: Pupils will compare and contrast the text types: description, ad, invitation, a magazine review. Strategy: 1. Pupils are given 4 different types of writing:a. an ad in a newspaper for an art showb. an invitation to an art showc. a description of a paintingd. a magazine review of the art show
2. Pupils are given a compare/contrast chart. In groups, they select the characteristics to be compared/ contrasted. Pupils present their ideas, and fill in the chart: (teacher’s hidden agenda: to elicit the following characteristics: structure, type of information expected, type of language).
Items Ad Invitation Description Review Similarities Differences ConclusionsCriteria Structure Type of Information Type of Language
Self-evaluation form(You may answer in Hebrew if it helps you to express yourself more clearly.)
Actions:1. The most interesting part of the project was __________________________________________________because ______________________________________________________________________________
2. The most useful thing that I learned was _____________________________________________________because ______________________________________________________________________________
3. The most difficult thing that I had to do was __________________________________________________because ______________________________________________________________________________
Feelings:1. I felt (excited/ frustrated/enriched/irritated/satisfied) by the project because_____________________________________________________________________________2. For me, working in groups was ___________________________________________________________because _____________________________________________________________________________3. I feel (proud/satisfied/dissatisfied) with the final product because _____________________________________________________________________________
Reflections
When I taught this unit two years ago, my planning was as follows:• I mapped out all the activities in the book, page by page.• I matched the activities with a benchmark in the curriculum (the draft copy). Every activity had a parallel benchmark.• I planned the fashion show and created the rubrics.
This time, I planned differently:• I set the performance task (fashion show).• I determined my set benchmarks.• I added the assessment tools (rubrics).• I mapped out the unit from the beginning, deciding which activities in the book and in the project would help me reach the benchmarks.
Most importantly, while setting lesson objectives, I never used the word “understand” – I always tried to replace it with a performance verb. Planning this way was much more meaningful for me, as I was always aware of where I was going and what I wanted my pupils to be able to do.

The global fashion industry

The global fashion industry Geography Year 9 About the unitIn this unit pupils develop their understanding of the global nature of economic activity and development through a study of the fashion industry. They investigate the interdependence between people, places and environments in this industry and through this study begin to understand the concept of globalisation, ie how what happens in one part of the world affects people everywhere. The activities are developed around the focus of the fashion industry, but if this topic is not suitable for pupils in a particular school an alternative could be used, eg toys, electrical equipment, processed foods. Many of the activities rely on using material from development education centres and particular internet websites. These are listed in the ‘Resources’ section. This unit is expected to take 8–11 hours. Key aspectsGeographical enquiry and skillsPupils will:• ask geographical questions• suggest investigation sequences• analyse evidence and draw conclusions• appreciate values and attitudes• communicate appropriately• use extended geographical vocabulary• use atlases/globes/maps• use secondary evidence• draw maps, plans and graphs• communicate, including using ICTKnowledge and understanding of placesPupils will:• describe scale contexts• explore interdependence and global citizenshipKnowledge and understanding of patterns and processes Explored through:• economic activity • developmentKnowledge and understanding of environmental change and sustainable developmentPupils will study:• sustainable development ExpectationsAt the end of this unitmost pupils will: describe and explain a range of human processes and recognise that these interact to produce distinctive characteristics of economic activity, such as the global fashion industry; appreciate the many links and relationships that make countries in different states of development, involved in the fashion industry, dependent on each other; appreciate that different values and attitudes, including their own, may have different effects on people’s lives, especially in less economically developed countries (LEDCs); suggest relevant geographical questions and an appropriate sequence of investigations into globalisation issues; select and use effectively a range of skills and sources of evidence; present well argued summaries and begin to reach substantiated conclusionssome pupils will not have made so much progress and will: describe and begin to explain human processes and recognise that these interact to produce some distinctive characteristics of economic activity, such as the global fashion industry; recognise some of the links and relationships that make countries in different states of development, involved in the global fashion industry, dependent on each other and how people in LEDCs may be affected by actions of people in more economically developed countries (MEDCs); begin to suggest relevant geographical questions and begin to select and use appropriate skills and sources of evidence to help them investigate globalisation issues; begin to suggest plausible conclusions and present their findings both graphically and in writingsome pupils will have progressed further and will: describe and begin to explain interactions within and between human processes and identify how these interact to produce distinctive characteristics of the global fashion industry; understand that many factors, including people’s values and attitudes, influence the decisions made about fashion clothing manufacture in LEDCs; appreciate that the lives of the people who live there are affected by actions and changes in other places, especially MEDCs; appreciate that considerations of sustainable development affect planning and management of resources; identify geographical questions and establish their own sequence of investigations into globalisation issues; select and use accurately a wide range of skills and evaluate critically sources of evidence; present full and coherently argued summaries of their investigations and reach substantiated conclusions Prior learningIt is helpful if pupils have:• studied two countries in different states of development• explored reasons why differences in development exist• used socio-economic indicators to compare places• undertaken a geographical enquiry using different source material• practised asking and answering geographical questions• developed skills of data presentation, cartography and interpretation of statistical data• played a trading game/completed a role-play simulation of real-life eventsLanguage for learningThrough the activities in this unit pupils will be able to understand, use and spell correctly words relating to:• international trade and development, eg globalisation, development, trade, production, consumption, corporation, transnational corporation (TNC), gross domestic product (GDP), human development index (HDI), socio-economic indicators, export, import, interdependence, MEDC, LEDC, International Monetary Fund, World Bank, World Trade Organisation (WTO), United Nations, balance of trade• manufacturing, eg technology, resources, supply and demand, negotiation, competition, perceptionSpeaking and listening – through the activities pupils could:• ask different sorts of questions, to extend their thinking and refine ideasReading – through the activities pupils could:• recognise the author’s viewpoint and how it affects meaningWriting – through the activities pupils could:• write closely argued text where precise links and connections are made within sentences ResourcesResources include:• fashion advertisements (magazine or video)• writing frames for a variety of genres• world maps• atlases• dictionaries• development statistics sourced from textbooks or CD-ROMs• TNC information from textbooks, magazine/newspaper articles or the internet• global economic data and information• ‘heads and tails’ cards for the word wall/glossary activities• textbooks, CD-ROMs and word-processing packages• card sorting activity role cards for people in the production chain – consumer, retailer, brand owner, manufacturer and factory worker• leaflets for the fair trading activity and codes of conduct for workers• the development compass rose (DCR), available from Development Education Centre (DEC), Birmingham • Development Education Association (DEA) publications• websites, eg – www.tidec.org – (DEC, Birmingham) – globalisation project and links to associated websites; also includes lesson plans for teaching about globalisation– www.cafod.org.uk/ – article about Asian garment industry and globalisation– www.globalexchange.org/ – articles about fair trade and current news stories about global trade issues– www.cleanclothes.org/ – includes lengthy reports on many ‘labels’– www.corpwatch.org – a US website with information about several companies– www.oneworld.org – up-to-date news from around the world• organisations:– Labour behind the label, c/o Norfolk Education and Action for Development (NEAD), 38 Exchange Street, Norwich• journal/magazine articles:– ‘Just do it’. Down to Earth, Vol 5, No 5 (November 1996)– ‘Globalisation – an alternative view’. New Internationalist (November 1997)– New Internationalist (July 1997)– New Internationalist (October 1997)• photopacks, eg– The clothes line, Oxfam– Can you be different? (DEC, Birmingham)• trading games, eg– The trading game, Christian Aid– Trading trainers game, Christian AidFuture learningThe issues studied in this unit provide a basis for later study at GCSE level and may be developed further as part of a PSHE or citizenship programme.LinksThe activities in this unit link with:• other geography units – unit 12 ‘Images of a country’, unit 16 ‘What is development?’, unit 24 ‘Passport to the world’• mathematics – calculating accurately, interpreting data, drawing conclusions, using correlation• ICT – using desktop-publishing, word-processing, graphing and audio-video presentation packages; • key skills – working with others, problem solving• citizenship/PSHE – global community, justice issues• personal development – economic and industrial understanding (EIU)• English – work on speech writing and delivery
Key question: What is meant by the global fashion industry?To be able to ask geographical questions and issues.To be able to identify the main features of the global industry. • Students brainstorm The ideas about the global fashion industry- identify links and ideas about the fashion trade.• Students use card sort activity in pairs. Students put statements into those they agree with and those they don’t.• Students explore the images of advertisements- what images they portray, who are they aimed at? Etc. Begin to introduce ideas about production, consumption, trade links etc. Produce wall display on A3 in groups 1 lesson



1 lesson Geography IntrapersonalInterpersonalKinaestheticvisual Card sortmagazines Formative- informal marking of class work Identify the main features of the global industry.Key questions: How does the fashion industry connect people around the globe?To be able to select and use appropriate graphical techniques to present evidence on maps and diagrams. To be able to use socio-economic indicators. • Students ask 5 people the name brand of their favourite outfit e.g. Nike. Then ask them to look at where the label says it is made. Students then place the country of manufacture and where the brand is based onto a world map with an arrow connecting the two.• Students then look at the average earning etc for each country they mention on the map-use student atlas to help with this. Student then evaluate findings.• Class discussion on who is a “fashion victim”- relating to the research carried out previously.• Students then write a newspaper article based on ‘Who is the real fashion victim’ 1 lesson






20 mins
30 mins Geography Interpersonal World mapAtlas Formative- informal marking of class work Illustrate and describe how the fashion industry connects people around the global.
Describe and explain the patterns of global connections.Key Question: How does world trade work? How does this affect the countries involved? How have trade patterns changed? To be able to describe how are countries interdependent with each other.To be able to identify different levels of development.To consider other people’s view points and values. • Students are introduced to the idea of world trade. Students examine how LEDC’s and MEDc’s are interdependent with each other. • Student take part in the trade game-team teach if possible.• Students then discuss the game come to conclusions about what the game taught them. The groups then write up their experiences. 1 lesson

1lesson
30 mins Geography Intrapersonalkinaesthetic Trading game package.Places text book Formative- Informal marking of class work Describe and explain the pattern of interdependence between LEDC’s and MEDC’s.
Describe and explain how global markets work and how the process may have different groups of people. Key questions: what do we mean by ‘globalisation’? To be able to describe globalisationTo be able to ask geographical question. • Discuss the meaning of globalisation i.e. how what happens in one part of the world affects another.• Look at what happens because of globalisation e.g. migration. 1 lesson Geography interpersonal Worksheet on globalisation Formative- Informal marking of class work Describe globalisation.
Describe and explain the effects of globalisation.Key questions: How does globalisation affect the fashion industry?
To ask geographical questions. • As a class chose an item of fashionable clothing e.g. trainers. Students then brainstorm who was involved in making this product e.g. factory worker. Student then give results to the class. Then discuss the amount of people actually involved.• Students then take part in a role play. Each student takes on the role of a person in the line of production, they answer questions such as who do they work for? What is their life like? Etc. Students then present to the class.• Ask pupils to suggest how the price of the chosen product should be split among the chain. Identify the real winners and loser of the chain. 20 mins



1 lesson



20 mins Geography InterpersonalAudiovisual Role play material Grade presentation Identify the links in a chain
Identify the experiences in people in the fashion industry.Key questions: How does globalisation affect people at a local level? What happens if the chain is broken?• To be able to compare their own experiences with those of others• To be able to explore the effect of differences in development on the quality of life of different groups of people • To be able to produce a written or verbal report • Students identify the effects of globalisation on the factory workers at the start of the chain. Students watch exploitation video. Students then prepare a newspaper article on the exploitation of child workers.• Help pupils to explore the impact of a break in the chain, eg resulting from a reduction in demand for the product, a strike at the factory producing the item in an LEDC or the closure of a chain of stores which sells the product in an MEDC. 1-2 lessons Geography Visualintrapersonal Exploitation videoBreak in chain worksheet Formative- Informal marking of class work Describe and explain the exploitation of child workers.
Describe the effects of a break in the production chain.
Key question: Who are the winners and losers in the globalisation process? Is this fair?• To be able to use secondary sources of evidence in their research• To be able to consider the effects of differences in development on the quality of life of different people • Discuss with pupils who are the ‘winners’ and ‘losers’ in the globalisation process. Refer to previous lesson and the video and the case study example studied, and ask pupils, in groups, to brainstorm ideas about the future of trading and how inequalities can be tackled. Ask them to share their responses with the whole class.• Use the information about the factory worker to get pupils to complete a ‘justice trail’ activity. Pupils may use a table to compare the similarities and differences between their lives and those of the factory workers. • Ask pupils to brainstorm ideas about fair trading, monitoring production in LEDCs.• Ask pupils to design a ‘flyer’ using a word-processing or desktop-publishing package, to publicise the issue they have just brainstormed. 1-2 lessons Geography Kinestheticinterpersonal ICT Room Formative- Informal marking of class work Describe and explain who are the winner and losers.
Writw an impersonal overview of the state of globalisation and how it should be monitored.Key questions: What might the future be like?• To be able to justify orally or in writing a personal opinion about issues• To be able to appreciate the world as a global community and the political, economic, environmental and social implications of this• To be able to explore the idea of sustainable development and its implications • In preparation for a synthesising piece of formal objective writing, pupils could be asked first to decide and present their own views on globalisation as the text of a speech to be read to the class. This would be a first person account requiring them to refer to facts and evidence, but allowing for opinion and emotive response as well.• Following presentation of a selection of speeches, help pupils to pull together the various viewpoints and evidence to plan a piece of extended writing which: explains what globalisation is and what its effects are; considers the extent to which effects are good or bad; makes predictions for the future; and considers the issue of sustainable development. This should be formal writing, and pupils’ attention should be drawn to the differences between their first person speech and their third person overview account. 1-2 lessons Geography InterpersonalIntrapersonal Best books Formative marking and levelling of best books. • use extended vocabulary correctly • express their own opinion about the globalisation process and the future of world trade, supported by appropriate facts and evidence• write an impersonal overview of the state of globalisation, and possible future developments including sustainable development

Fashion & Flair!

Fashion & Flair!
A short list of new titles in fashion and costume, including some neat ephemera, and a complete run of Fleur Cowles’s Flair PLUS the Annual PLUS the extremely rare numbered pre-publication issue.
FEATURED: Richard Martin and Harold Koda, Diana Vreeland: Immoderate Style (New York: Metropolitan Museum of Art, 1993). The ultimate Vreeland volume, a lipstick-red (what else?) portfolio of snips and snipes from her “friends”, in a leopard-print (what else?) slipcase. Gorgeously and appropriately designed by Stephen Gan, co-founder of Visionaire and creative director of, what else, Harper’s Bazaar, with cut-out initials restraining the 32-page essay by Martin and Koda, bound in glossy red wraps, and the collection of 36 tributes and other stuff, including her recipe for caviar pie, her photograph taken by The Best, and a memo to her staff which is a hoot—these are loose and nearly all single sheets, although a couple are four-panel, all on card. Published to coincide with an exhibition at the Costume Institute. Everything is in Fine condition: the loose cards, the bound essay, the portfolio, and the slipcase. There aren’t many of these around. $350.00.
Hommage à Joséphine Baker (Paris: Bobino, 1975). Souvenir program for Baker’s last engagement, a retrospective, including 25 photographs (black and white and color) from various stages of her career, and written/signed tributes from a wide variety of French and international names. Near-Fine in stiff wraps with slight wear to edges. $100.00.
Ellen Moers, The Dandy: Brummell to Beerbohm (London: Secker & Warburg, 1960; 1st edition). The standard work on men’s fashions in the 19th century, with chapters careening between England and France. 15 black and white plates, all drawings, as it should be. Scholarly, well-written, with good notes and index. Near-Fine hardcover binding with light wear in Very Good dust jacket with moderate shelf rubbing, slightly sunned spine covering, and a couple of short closed tears to the top edge and spine head. $35.00.
Costumes Parisiens: Journal des Dames et des Modes, Vol I 1912-1913, Vol II 1913-1914 (Milan: F. M. Ricci, 1980). Both volumes of this classic collection of fashion plates by such designer-/illustrators as Leon Bakst, Georges Barbier, Bernard Boutet de Monvel, Umberto Brunelleschi, Louis Bureau, H. Robert Dammy, Etienne Drian, Francisco Javier Gosé, Paul Iribe, Pierre Legrain, Charles Martin, Lucien Robert, Ismaël Mari Smith, Fernand Siméon, J. Renée Souef, Maurice Taquoy, and Armand Vallée. 184 color plates in all, showing predominantly women’s fashions, but including men, children, accessories, and decorative arts. Near-Fine in stiff wraps as issued with very light shelf rubbing. Sold as a set. $65.00.
Carl-Zeiss-Stiftung Jena, A Spectacle of Spectacles: Exhibition Catalogue (Leipzig: Edition Leipzig, 1988). 178-page catalogue, nearly all plates, with text by Joachim Töppler, Gerard L’E. Turner, and Clause Baumann (“Eyeglasses and Art”), plus an index of the items. It’s not all glasses, by the way; also included are graphic works, including work by Durer, van Leyden, Goltzius, Jacques Callot, and Rembrandt, among others. Fascinating combination of design, technology, and art. Fine hardcover binding in Fine dust jacket with a tiny ding to the spine tail, in a lightly sunned cardboard sleeve. $30.00.
Swords Into Ploughshares (Metropolitan Museum of Art Costume Institute, 1995). Catalogue for an exhibition held September 7-November 27, 1995. Richard Martin and Harold Koda appear to have thought about the pea jacket, the safari suit, and camo when they decided to take this look at the influence of military uniform on everyday dress. The irony, as they point out, is that the original uses of embellishments on uniforms-epaulets were supposed to protect the shoulders-soon became mere decoration on them. 18 color plates and a clever use of foldouts. Fine condition in card as issued, in original shrink wrap. $40.00.
Bernadine Morris, Valentino (New York: Universe, 1996). One of the Universe of Fashion series, with a Foreword by Grace Mirabella. One must have everything already written about Valentino in this year of his Retirement and celebration. 80 pages, nearly all plates (color and black and white photographs and sketches). Fine hardcover binding in Very Good to near-Fine dust jacket lightly soiled from shelving. $20.00.
Martin, Richard and Harold Koda, Haute Couture (New York: Metropolitan Museum of Art Costume Institute, 1995). 118-page catalogue for an exhibition held December 7, 1995-March 24, 1996, with text by Martin and Koda organized according to the history and techniques of haute couture. The color plates are fascinating, especially those showing the details of tailoring and sewing. Lots of recognizable dresses, including the Duchess of Windsor’s wedding gown. As new in stiff wraps as issued. $25.00.
Baron Emile de L’Empese, Die Kunst des Krawatten-bindens unterrichtet in Sechzehn Lektionen (Paris: Librarie Universelle, 1827; Bonn: Dieter Arenz, 1987). Otherwise, “The Art of Tying a Necktie in 16 lessons”. Facsimile of a most important document in the age of the Dandy, with wonderful color frontispiece from the original showing “M. Emile” with a perfect cravat. 136 pages of text in German, and then…four foldout plates from the original edition with line drawings showing the how-to in great detail. Small enough to fit into a modern pocket (if not an early 19th century one). In Fine condition in wraps with decorated covers. $45.00.
Agnes Brooks Young, Stage Costuming (New York: Macmillan, 1927; first edition). Young was the Costume Director of the Cleveland Playhouse, and has illustrated this text herself with line drawings. There are also four half-tones, including one of Ruth Page in “Dance of a Marionette” and another of Eva Le Gallienne in “La Locandiera”. Very Good in boards with tight spine, faded lettering to spine covering, and light wear. $15.00.
Issey Miyake by Irving Penn (Tokyo: Issey Miyake Design Studio, 1990; limited edition of 3000). A double treat: Miyake’s clothes and Penn’s photographs. In addition, the book was designed by Ikko Tanaka. 48 pages, with 33 gorgeous plates (captioned as thumbnails at the rear of the book). No text; not necessary. Truly a collector’s item. This copy about Fine condition with minor bump to the top front corner; in boards as issued without dust jacket. $125.00.
Caroline Goldthorp, From Queen to Empress: Victorian Dress 1837-1877 (New York: Metropolitan Museum of Art Costume Institute, 1988). 88-page catalogue for an exhibition held December 15, 1988-April 16, 1989, with an excellent text and the usual detailed captioning of the plates. In addition to the Queen’s clothes, French fashion plates and examples of period costume are included, nearly all in color. Fine in stiff wraps. $20.00.
Museum of Costume [at the] Assembly Rooms, Bath (Bath England: City Council, 1980). 40-page catalogue with lots of color plates illustrating the diversity of the Museum’s holdings from 17th and 18th century fashion to infants’ clothes, dolls and toys, and jewellery. Near-fine in stiff wraps with faint sunning to edges, previous owner’s name inside front cover. $10.00.
Richard Martin, Cubism and Fashion (New York: Metropolitan Museum of Art, 1998). 160-page hardcover catalogue for an exhibition held December 10, 1998-March 14, 1999, with an excellent text by Martin, a bibliography, and dozens of color plates: drawings, models, photographs, everything Cubism. Fine hardcover binding in Fine dust jacket. $25.00.
La Belle Assemblée 1995 (New York: Metropolitan Museum of Art Costume Institute/N.Y.U., 1996). 18-page booklet describing new acquisitions of books, periodicals, and archives by the Library at the Costume Institute, with an introduction by Richard Martin and 4 plates. Very useful reference. Fine in wraps as issued. $12.00.
Portraits of Helena Rubinstein (New York: Helena Rubinstein Foundation, 1976). 18-page brochure that documents the Foundation’s collection of portraits by an amazing range of artists: Dali, Dufy, Laurençin, Portinari, Graham Sutherland, Tchelitchew…when did you last hear these names mentioned in the same breath? No plates, but a color reproduction of Sutherland’s 1959 portrait on the cover. Fine in wraps. $12.00.
Richard Martin, Wordrobe (New York: Metropolitan Museum of Art Costume Institute, 1997). Martin’s attempt to reconcile textile and text, beginning with a quote from Nathaniel Hawthorne about a certain Letter. 24-pages, all color plates, and only one t-shirt. Fine in stiff wraps as issued. $15.00.
Diana Vreeland and Christopher Hemphill, Allure (Garden City: Doubleday & Company, 1980; first edition stated). While there are a number of anthologies of fashion photography, there’s only one of these: Vreeland knew most of the greats of her time, published them, and collected them; she provides a running commentary throughout the book; she doesn’t neglect images made by street and news photographers. So this ultimately becomes a book about her eye. 208 pages, all black and white images. Near-Fine lipstick-red hardcover binding with bit of wear to spine ends in Very Good+ dust jacket with light wear to edges and ends, faint sunning/yellowing to white ground. $45.00.
Twister: The Celebrated Ingenious and Exotic in Fashion (Melbourne, Australia: National Gallery of Victoria, 2002). 16-page catalogue from the very first exhibition at The Ian Potter Centre, a gallery space at the NGV for fashion and textiles. Illustrated entirely in color, annotated, and featuring, no surprise, the celebrated (Magg, Des Kirwan, Lizzy Gardiner, Leigh Bowery, et al.), the ingenious (Hall Ludlow, Johanna Preston, Pacific Sisters, Rude Boy, Akira Isogawa, et al.), and the exotic (Jenny Bannister, Andrew McDonald, and a couple of 19th century objects made by unknowns). Fine in card. $15.00.
AND…
An Imaginary East. 20-minute VHS tape containing archival footage, interviews, and photographs of the costumes included in “Orientalism: Visions of the East in Western Dress”, an exhibition mounted at the Metropolitan Museum Costume Institute in 1994. Directed by Jerrilyn Dodds and produced by Christopher Noey. $10.00.
The Story of Fashion: Program 1: Remembrance of Things Past. 60-minute VHS tape, one of a series by Eila Hershon and Roberto Guerra with the artistic advice of Karl Lagerfeld, narrated by Diana Quick. The liner notes say that Program 1 “traces the fashion of haute couture from Worth through Coco Chanel, as revealed in the rise and fall of the corset and reflected in the wardrobes of the era’s most famous women”. $20.00.
AND…
Essence of Quality: Comme des Garçons: Noir (Kyoto, Japan, 1993). 16-page promotional brochure for the Noir line designed by Rei Kawakubo which became the core of an exhibition held at the Kyoto Costume Institute. Three color plates and color cover—they may be paintings AND clothes, rather than paintings OF clothes. Essay by Richard Martin and Harold Koda of the Metropolitan Museum of Art Costume Institute. As a bonus, a huge color poster for the show is included. Both brochure and poster in Fine condition in paper envelope as issued; note that the poster was originally folded to fit into the 10.5” x 15” envelope. Sold as a set. $50.00.
AND A FINAL AND:
A complete run of Flair: The Monthly Magazine (February 1950 through January 1951), including the very scarce limited and numbered pre-publication edition, and the Annual, which was released after the magazine’s demise. As a bonus, the catalogue from Fleur on Flair: A Magazine and Its Legacy, the 2003 exhibition at Pratt Manhattan Gallery is also available. The short-lived culture magazine lavishly produced by Fleur Cowles, covering the fine arts, fashion, entertainment, and related, is, from this vantage point, a unique achievement in publishing history and a prolonged snapshot of what people were wearing and buying in 1950...
All of these issues are in Very Good to Fine condition, meaning that there is minor wear to the corners and edges and perhaps some shelf-rubbing. Major flaws are noted in the individual descriptions, which also include the major highlights of each issue. OFFERED AS A LOT at $1750.00.
Pre-publication issue, circulated in September 1949. This copy has two front covers: the over-cover is cream-colored, textured in a woven pattern, with green lettering and the die-cut opening. Inside the over-cover is: "This is number 731 [handwritten in blue ink] of five thousand/pre-publication copies of FLAIR, the magazine for moderns, of which the first issue will appear early in 1950"; the contents page dates it as September 1949. The issue is the same size as the published ones, and has about as many pages (numbered to 118, while the actual February issue has 130 pages), including advertising (the rear cover has an ad for the Lincoln Cosmopolitan Convertible, while the Chrysler Crown Imperial is featured on the rear cover of the February issue). The same production gimmicks are here, various page weights and finishes, bound in materials, etc. Very unusual to find one of these, particularly in this condition, which is near-Fine with light wear to the edges and spine ends.
Volume I, Number 1 (February 1950): Lucien Freud’s “Girl With Roses” postcard bound in; Jean Cocteau’s “Letter to Americans” bound in; short story, “The resemblances Between a Violin Case and a Coffin” by Tennessee Williams; features on the Windsors’ Paris house, Dr. Frank Netter (medical illustrator), and Johnson’s Glass House.
Volume I, Number 2 (March 1950): Hedda Sterne’s “Portrait of Jeane Owens” postcard bound in; Hoyningen-Huené’s full-page photograph of Elizabeth Taylor, fashion photographs; and a feature on Spain ; Dali on “The Gypsy Angels of Spain”; portraits by Steinberg bound in; editorial by Margaret Mead; features on Max Weber and Augusto Genina’s film “Sky Over the Marshes”.
Volume I, Number 3 (The Paris Issue, April 1950): Watercolor by Kenneth King; Profile of Evangeline Bruce, “Easter: Passion & Resurrection” by Mauriac; the Paris Collections; feature on Fontainebleau on tissue bound in; photographs of Parisiens including one by Kertesz; editorial by Simone de Beauvoir; Andre Bauchant card bound in; “Paris is a Man’s Town” booklet bound in; Colette’s “Sido and I”; cartoons by Dubout and Peynet.
Volume I, Number 4 (May 1950): Cover art by Sylvia Braverman (The Flair hybrid Rose); “The New Expense Account Society” by John O’Hara; “The Flower of Flowers” by Katherine Anne Porter bound in; “Fables in Song” by Theodore Roethke; “On Stony Ground” by William Sansom; a Marlon Brando photograph; rose-themed dresses designed for the issue by Balmain and Charles James; Potpourri tissue booklet bound in; travel to Sicily; the Teatro Cifalo puppets; and Redouté, of course.
Volume I, Number 5 (The Vacation Issue, June 1950): Article on Big Sur country with Robinson Jeffers and Henry Miller; “I Was With It” by Gypsy Rose Lee, bound in pamphlet with illustrations by Julio de Diego; “I Came From Yonder Mountain” by Evan S. Connell, Jr.; New England scenes by Walker Evans and Mary Faulconer; color woodcuts by Antonio Frasconi; profile of Mari Sandoz; photographs by John Szarkowski and Hazel Frieda Larsen; fashions by Claire McCardell; Trigger’s truck and horse trailer; Archie Tenter, western artist, in his Jackson Hole studio.
Volume I, Number 6 (All Male Issue, July 1950): Article on sports by Bob Considine; Jim Thorpe; female “types”, with Teresa Wright, Jane Russell, Lili Palmer, Fay Emerson; “Vision of Don Juan” by Dawn Powell; profile of Paul Smith, SF Chronicle publisher and feature on his house; “Animal Life” by Edwin O’Connor; Gary Cooper and his closet; travel to Africa; poem by Ogden Nash with photo; “The Master of Fire”, barbecue booklet bound in; photographs of Ruth Brown and Sarah Vaughan; “George Cukor and the Belles”; photograph of John Ford and John Wayne.
Volume I, Number 7 (College Review Issue, August 1950): Articles on Iowa’s School of Creative Writing, other academic writing programs; “It’s Oppie” [Robert Oppenheimer] and other nerds on campus, with photograph by Richard Litwin; profile of “Miss Charlotte” Haxhall Noland, headmistress of Foxcroft; “Big Men on Campus and What They’re Wearing”; college architecture, featuring Aalto (MIT), Breuer (Vassar), FLW (Southern Florida), Saarinen (Drake, Iowa), and Florence Knoll (interiors, Michigan); Harvard Lampoon material booklet bound in; Hoyningen-Huené’s photographs of a production of Wilde’s “Salome”; profile of Vijaya Lakshmi Pandit, first U.N. delegate from India; feature on The Theatre Workshop at Howard University. Bottom front corners with a tiny dog-ear.
Volume I, Number 8 (New York Issue, September 1950): Cover art by Pallavicini; photograph of Manhattan made for the magazine by Martin Munkacsi; stained glass window card bound in; editorial by Clare Boothe Luce; “80 Years of Bernard Baruch” by Robert Ruark; the city by Steinberg bound-in pamphlet and two-page spread; Broadway society, including Julie Harris and Montgomery Clift; cartoon of the U.N. building by Gerard Hoffnung; photo layout by Louis Faurer. Repaired with archival tape to spine, re-gluing.
Volume I, Number 9 (At Home and On the Town, October 1950): Cover by Pallavicini, with caricatures of “Call Me Madam” cast, writers, and director by Reginald Massie; profile of Marguerite Higgins; “Endearing” perfume blotter bound in (no scent); article on organized crime by Robin Harris; “Call Me Merman” by Robert Rice with sketches by Raoul Pene du Bois; “The Real Perle Mesta” by Eleanor Roosevelt; Altamont, Wolfe’s home, 50 years later; Hoyningen-Huene fashion photos (Madame Valentina); “Glass” by Alexander Calder, mobile designed for the magazine; “Reflections on Parties” bound in pamphlet; Italian sculptor Pericles Fazzini; Maya Deren text and photos on Haiti; “How To Avoid a Square Stomach” by Roger Price.
Volume I, Number 10 (Country Living issue, November 1950) : 18th century painting, “Death of the Fox” by John Wooton on under-cover; profile of Justice William O. Douglas; editorial by GB Shaw; theatre designs by Raoul Dufy, cartoons by Helen Hokinson, sketches by Pallavicini; “Satchmo” by Tallulah; “Redheads”, with Moira Shearer and Arlene Dahl; cartoons of orchestra conductors by G.A. Hoffnung; American skiing pamphlet bound in; James Gunther’s “The Two Emperors of Japan”; “One Foot in the White House: A Study of Averill Harriman”; foldouts on holiday entertaining.
Volume I, Number 11 (Christmas Giving issue, December 1950): Profile of Wanda Landowska; editorial by Genevieve Tabouis; “Christmas at Bowen’s Court” by Elizabeth Bowen; 12 days of Christmas illustrated by G.A. Hoffnung bound in pamphlet; “The Ox and the Ass” by Jules Supervielle; James Michener on travel to Hawaii; “Hepburn” by Richard Gehman; drawings by Edward Kasper; foldout, the Altenberg Altar Cloth; Elizabeth Arden’s Arizona Maine Chance; Trees by Pallavicini; two-page spread on Roberto Rossellini’s St. Francis.
Volume II, Number 1 (The New Year, January 1951): Over-cover by Victor Vasarely; undercover by Rene Gruan; profile of Lewis Douglas; editorial by Oveta Culp Hobby; collections of satirical cartoons about the magazine’s die-cut covers; “Life With Papa” by Mary Hemingway; “The New Society in Moscow” by Vasili Kotov, illustrated by Martin Bliss; “Walter Lippmann” by Richard H. Rovere; “The Lady and the Bear” by Theodore Roethke; [Ronald] Searle’s Girls; “Winston Churchill, Artist”; British Festival sketches by Barbara Jones; London sketches by Francis Marshall; London art and theatre (Francis Bacon, Lucien Freud, Tyrone Guthrie, Peter Brook); “London Made Easy” by Iris Ashley pamphlet bound in; travel to London with illustrated map by Leonard Rosoman; “The Texture of India” fashion article by Santha Rama Rau; “Just Press the Button” by Ogden Nash with drawing by Robert Osborn; “Tortilla B Flat: A Serenade to John Steinbeck composed on the typewriter” by Eddie Condon. Front over-cover lightly stained.
The Flair Annual (New York: Cowles, 1952). Oversized hardcover volume, with of course a die-cut cover, designed by Federico Pallavicini. 228 pages, organized into “chapters”, such as Flair for Communications, Flair for Sentiment, …for Travel, …for Americana, …for Art, and …for Winter. The same production approach as in the magazine, including gate-legs, some die-cut; Katherine Anne Porter’s “The Flower of Flowers” booklet bound in; a series of painted portraits of artists’ wives (Alexander Brook, John Carroll, Paul Clemens, Lester Bentley); “Walker Evans at Santa Monica”; a Steinberg drawing (in color); a Degas sketchbook; Modigliani’s nudes; double-page spread in color of “The Sleeping Musicians” by Rufino Tamayo; “Salvador Dali’s Mimicry in Nature” with die-cut owl/butterfly. Overall, very little content is repeated from the run of monthly issues, and this volume has much less color than was used in them. Further, there is no fashion! The paper quality has caused most pages to tone slightly over time. The boards show light wear to the corners, edges, and spine ends; the gilt decoration on the spine covering and the front board has darkened somewhat.
Fleur on Flair: A Magazine and Its Legacy (New York: Pratt Manhattan Gallery, 2003). 8-panel folio catalogue (self-mailer) for an exhibition held June 5-July 26 to celebrate the 50th anniversary of the publication. Lots of color illustrations from the magazine—there’s even a die-cut. Fine on coated stock as issued with small bump and crease to lower corner.
TERMS: All items subject to prior sale.
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Shipping: Items shipped within the US via Priority Mail unless otherwise requested, charge to be determined by zip code and weight; all shipments over US$100 insured. Overseas shipments billed at cost, determined at time of order, plus a modest handling charge.
Returns: Items may be returned in the condition shipped within 10 days of your receipt of them for store credit, including one-way shipping.

Ethical Fashion Preview during New York Fashion Week September 14th 2009

August 31, 2009 – The Ethical Fashion Preview, created by Nolcha and Bel Esprit Showroom, will debut at the Carlton Hotel on Madison on September 14, 2009, during New York Fashion Week; supported by Aveda, Clarins Skin Spa, EDUN LIVE and Starbucks. This event will spotlight fashion designers who create collections using environmentally friendly materials and processes, and manufacture their collections respecting fair trade and fair wage principles.
In a short time Nolcha has grown to become the platform for emerging and independent fashion talent to be educated, network and showcase their work on a global stage making a stamp worldwide for its resources, business advice and continually expanding tools. Each season, Nolcha seeks the latest upcoming collections and produces catwalk shows and events in New York and London, spotlighting independent designers to press, retailers and industry figures.
Eight Bel Esprit members representing the United States, the United Kingdom, the Netherlands, Germany and France will bring creative and chic luxury fashion with a commitment to respect for the world and its inhabitants to the Nolcha Fashion Week: New York Ethical Fashion Preview debut; including Article 23, Elena Garcia, Emesha Nagy and L’Shandi.
Deborah Pokallus, Founder of Bel Esprit, states; “The Bel Esprit designers are excited about this new event during New York Fashion Week and Nolcha’s support of ethical fashion. New York an international fashion capital, and to spotlight fair trade and ecological fashion during Fashion Week is a tremendous statement about the growing importance of ethical fashion in the global market.”
The Ethical Fashion Preview welcomes PlayBack Clothing to the roster. PLAYBACK is a new company that makes t-shirts and sweatshirts from recyclable materials through their own patent-pending process. This Brooklyn based company is on a mission to dissolve the uncomfortable, expensive, cardboard-look of past sustainable clothing, and replace it with a hip new twist of quality, style and color. PLAYBACK Clothing creates their own fabrics by recycling cotton scraps and plastic bottles, revolutionizing the look, feel, and standards of eco-apparel forever.
The mix of accessory and apparel designers include Ana Guiterrez, Castaways Design, Ms Bo Dangles, Passchal, PKD Spa and Redhanded Bags.
To register for this event visit www.guestcode.com and enter code 391
For more information about The Ethical Fashion Preview contact:Kerry Bannigan kerryb@nolcha.com
For more information about Bel Esprit Showroom contact:Deborah Pokallus belesprit@ureach.com
About Nolcha Fashion Week: New YorkAward Winning Nolcha Fashion Week held simultaneously with New York Fashion Week consists of runway shows featuring emerging and independent designers, accessory exhibition, industry networking events and fashion business seminars held by reputable industry New York fashion business figures. www.nolchafashionweek.com
About NolchaNolcha is an award winning multi-faceted media and events platform, offering opportunities in the New York fashion business market, and operates an online fashion network, a print publication, and major annual events for the independent fashion industry and related retail businesses. Nolcha offers cost effective resources to aspiring and veteran fashion professionals; initiatives include Nolcha online, Nolcha Fashion Week: New York, London Fashion Week partner events, Independent Retail Week and Dress the Band competition. www.nolcha.com
About Bel Esprit ShowroomBel Esprit, an online showroom where young, independent designers could exhibit their collections to the worldwide fashion buyer and press audience around the clock. The Bel Esprit showroom exhibits the collections of innovative and creative international designers committed to respect for the world and its inhabitants, and through its worldwide network, gives designers opportunities to participate in international fashion events and trade shows, exposure in fashion magazines and press, along with marketing, PR, sales and distribution assistance. www.belesprit.net