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Notes
1. Other designers, like Madeleine Vionnet and Elsa Schiapareli, would later follow suit, though typically after closing their houses. In 1954, Vionnet donated 118 garments, her photographic archives, personal papers, and patterns to the Union Française des Arts du Costume (UFAC), now part of the Musée des Arts Décoratifs in Paris (see Kirke Citation2012 [1991]: 228, 240; Golbin Citation2009). In 1969, Schiaparelli donated 71 garments to the Philadelphia Museum of Art, followed by the donation in 1973 of 88 garments and 5800 original sketches to UFAC (see Blum Citation2003).
2. Woolf to Sackville West, February 2, 1933, in The Letters of Virginia Woolf, vol. 5, quoted in Coleman (Citation1982: 79, n. 13).
3. His efforts were all but in vain: in 1960, he developed a four-week college seminar in conjunction with Brooklyn Museum Design Lab curator Robert Riley entitled “The Calculus of Fashion,” though it was only taught once at the Rhode Island School of Design (RISD), and a Guggenheim fellowship received three years before his death to write a textbook detailing his esoteric theory of “Meta-Morphology” came to naught (see Reeder Citation2014: 47, 51).
4. As Coleman (Citation1982: 126, no. 114) notes, an alternative title for the dress was the “Abstract” ball gown.
5. Acc. no. 44.142.20A-B; for images of this dress, see the online exhibition Worth/Mainbocher: Demystifying the Haute Couture, http://collections.mcny.org/C.aspx?VP3=CMS3&VF=MNYO28_4.
Additional information
Notes on contributors
William DeGregorio
William DeGregorio is a PhD candidate at the Bard Graduate Center focusing on the history of the relationship between costume and museums.