#textilecollector #textilecollection #fabriccollector #collectingvintage #patternplayusa #20thcenturydesign #textiledesign #textilehistory #designhistory #textiledesigner #americandesign #artistdesignedtextiles #modernism#midcenturymodern #moderndesign #patternonpattern #vintagestyle
#vintagefashion

...or do you wait for an accumulation of goodies and then have a little cataloguing party?! What info do you capture in your process? Do you dx regularly? Do tell!

Which of these recent acquisitions (ready for their close ups📸) should I share first?!

There are some nice examples from this collection at the @mfahouston 🍂🍃🍂

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#calisterthomas #designworksbedfordstuyvesant #patternplayusa #20thcenturydesign #textiledesign #textilehistory #designhistory #textiledesigner #ddandleslietillett #thetilletts #americandesign #blackdesign #blackdesigners

This series of fabrics was not produced by DWBS, but by P. Kaufmann, who operated Woodco. Thomas had left DWBS by the debut of this "Benin Empire" collection, which she noted were inspired by a collection of 14th-century African sculptures in the Field Museum of Natural History, Chicago.

"I was very excited about the idea. It's hard enough to find a job anyway, especially if you're black, and the idea of doing this kind of work and with other black people really appealed to me. Here I can design anything the way I want. Here, I have real freedom."

Guess the repeat is on this one? Nearly six feet. Six feet!!! It's almost as if photographer Carl Van Vechten was placing human subjects next to Frank's work for scale. One of the most palampore-inspired Frank design, which is reason enough to love it.

#carlvanvechten #harlemrenaissance #carmendelavallade #mattiwildadobbs #chesterhimes#joseffrank #modernism #moderndesign #scandinaviandesign #scandinavianmodern #patternplayusa #sayitwithtextiles #20thcenturydesign #textiledesign #textilehistory #designhistory #textiledesigner

This ensemble appears in Women’s Wear Daily’s feature on the exhibition, and a Simpson advertisement in Vogue (April 1945) shows McCardell’s dress, accessorized with matching slip-on shoes. Dynasty/Pottery was prominently displayed in a “Museum Prints” advertisement in Vogue’s December 1945 issue.

—was preceded by a color slide show of the fabrics used and the artworks from which the designs were derived. Wesley Simpson’s textiles comprised the second group shown; McCardell led with a halter-neck dress, followed by a playsuit with “umbrella-shaped shorts" under a sleeveless tunic coat.”

Claire McCardell of Townley Frocks, Inc. was the designer paired with Bemelmans’s print for two creations premiered in a “fashion promenade” for the in the central hall of the Morgan Wing on March 20, 1945. Each grouping of garments—five in total, encompassing 34 distinctive day and evening looks

Bemelmans’s original sketch for this pattern is also shown. Simpson asked Bemelmans to contribute designs based on Metropolitan Museum of Art artifacts, which where then shown in the museum's 1945 show, “American Fashions and Fabrics.”

specifically, a large buff-colored jar purchased from Egyptologist Howard Carter. It was produced on ribbed cotton and a drapey, slubbed rayon “shantung,” as is the green example (@coraginsburg) manufactured by the North-Carolina based Enka firm, which promoted its innovative synthetic fibers.