ARCHIVE FASHION FREE
As she commented, “Men are free of the clothes problem. The gown has pockets because McCardell believed womenswear should have pockets just as menswear did, and so she put pockets in every design, including dresses.
With this evening gown, the pockets and yard-long sash are classic McCardellisms.
While she didn’t reproduce this design for sale, it features several self-named “McCardellisms,“ a term given to iconic design elements.
ARCHIVE FASHION PATCH
Right, a detail of the under arm shows sweat rot from extended wearing and a small patch where a newer piece of fabric was sewn into place. Left, a detail of the hem shows not only staining but a patch sewn by the designer to cover a loss from a previous wear. Details of the silk-finished rayon evening gown worn by Claire McCardell, c. The hem is dirtied and damaged from dragging the floor, and there are multiple repairs to the skirt and underarms, showing that she wore the dress many times. Claire clearly loved this dress as it is well-worn. This dress, designed and worn by McCardell proves that she was true to her word. Maryland Historical Society, Gift of Robert McCardell, 1998.43.27 As she put it, why wouldn’t other women want to wear the clothes that she herself wanted to wear? Pink evening gown, silk-finished rayon, designed and worn by Claire McCardell, c.1950. McCardell believed that American women like her, wanted to be comfortable while looking good. Instead, she created functional, easy-to-wear dresses that helped to shape “the American Look”. Claire McCardell (1905-1958) is a Frederick-born fashion designer who challenged the then-standard practice of copying French couture designs. Take, for example, the pale pink evening gown designed and worn by Claire McCardell from the 1940s. We can learn a lot about a person through their clothing. We use the Fashion Archives to tell stories from Maryland History, and we read our garments like someone might read a document in a traditional archive.
ARCHIVE FASHION ARCHIVE
At the Maryland Historical Society, our Fashion Archive holds over ten thousand articles of clothing and accessories spanning four centuries. People who are fans of Rick Owens are likely to search for pieces from this specific collection because 1) bragging rights, it's a very famous collection in the niche, 2) it's a beautiful collection from which many of the classic Owens silhouettes and styles today disseminate, 3) if you just love it you want to own as much of it as possible.Īnd then, as usual, to glamorise what isn't an entirely illegitimate term, it trickles down into regular vintage and second-hand selling to make 'archival Aritzia' seem worth buying because it's 'collectable' and therefore desirable.The term “archive” is most often associated with a large collection of historical records, but an archive can be a repository for any kind of historical collection. It was also the introduction of his dedicated menswear collections. Many collectors care about particular seasons and finding pieces from certain seasons in the second hand market - the older the season obviously the harder it is to acquire unworn (although some sites like YOOX do throw out the occasional 'archival' piece brand new).įor example, as it pertains to my interests, Rick Owens 2009 FW collection CRUST is considered to be one of Owen's most prolific collections. Personal archiving as opposed to archiving for the sake of prosperity. The term archival is inherently about collectability - that is, it's designed to target the buyers with an interest in collecting the brand in question. Some of the cheaper, more avant-garde, or harder to style pieces not being nearly as desired within the archive fashion community.” The second main factor that seems to contribute to whether or not an item becomes archive is the piece's stylistic longevity, that is to say how wearable will the item be in 5, 10, or even 25 years. However, simply being exclusive doesn't make a garment archival.
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