#Fort Wayne Museum of Art

[karmaalwayswins]

Fort Wayne Museum of Art "Print Room Talks: Elizabeth Catlett, Charles White, and Francisco Mora" (2022)

[ajl1963]

Deco Doings - August, 2023

Summer by William Welsch, 1931. Image from Pinterest. Here are some Art Deco related events happening this August –   Plattsburgh State Art Museum Origins: The Evolution of an Artist & His Craft, Selections from the Rockwell Kent Collection (In Person Exhibit)      Tuesday, November 8, 2022 – Friday, August, 11, 2023, 235 Myers Fine Arts, 101 Broad Street, Plattsburgh, NY. Museum Hours: Tuesday –…

[hometoursandotherstuff]

Thanks to dumbkatsure for sending this gorgeous 1905 granite stone, Chateauesque style house in Fort Wayne, IN. It has 7bds, 8ba, and is listed for $899,900. I'm surprised that it's under $1M. The owner must be anxious to sell b/c it's also been reduced $50K.

Isn't this an unusual entry? There's a foyer, and then it's open with columns on the left, framing the sitting area and wide stairs recessed to the right.

This is such an unusual placement of stairs. They're wide, intricately carved, and the landing is only 3 stairs up. It also has a large niche.

Beautiful dining room has an inlaid floor, coffered ceiling and wainscoting.

A hall has a doorway with columns and then another sitting area with columns, just like the ones in the entrance. The owners have their art collection displayed and described just like in a museum. This layout is so open.

I'm not sure what this room is, but it looks like that's a bar. Another beautiful room with a coffered ceiling and wainscoting. Stairs are visible in the hall. The owners don't have the home set up the way it's intended to be, as you'll see from the floor plan.

In this room, the owner has glass cases with many artifacts on display. It looks like some of the furniture is also a part of their collection. I can see a beautiful fireplace in the corner.

Next comes the cozy kitchen. It's cute, and they've got a matching gothic screen that forms a clever faux closet.

Looks like a cook's stove, but I wouldn't want art over it. I'd prefer a tile backsplash.

Their art decorates the walls going up the stairs, as well as the wall under the stairs. They even got lighting installed under the landing. I wonder why they like leaving doors open.

The primary bedroom has an alcove for the bed. Art with descriptive cards also decorates this room.

Lovely bedroom. It's also quite spacious.

The library has a beautiful fireplace and built-in shelving. There goes another open door.

The attic is beautifully finished. There's an apt. up here with a full kitchen.

A bed is tucked into a perfect space next to an exposed brick wall.

Outdoors, the gardens are stunning. Coming down the stairs, there are hedges, flowers and greenery lining paths to the street.

Beautiful entrance with a porch large enough for a bench.

They got some seating behind a stone wall with trees and a view of the street.

Ivy covered arbor with seating.

Here's another patio with an ivy covered entrance and the privacy of lush greenery.

This ivy covered castle-like home is a stunner and so fascinating.

It's on a .28 acre tree-filled lot. There's also an ivy-covered garage.

You can see the separation of the suburban neighborhood and the city.

https://www.zillow.com/homedetails/1202-W-Wayne-St-Fort-Wayne-IN-46802/246485632_zpid/

[kinodraws]

Your tattoos are SICK why are you in Indiana 🫠

honestly?

Indiana is a nice state to live in, I've not felt more at home anywhere else. My partner and I bought a house here 2 years ago, the cost of living is cheap/affordable, I live in a very queer-positive city, there's a lot to see and do here!

We have great restaurants, we're a very diverse city, we're centrally located to most of the other midwestern major metro areas (chicago/detroit/cincy/lexington/toledo), we've got pretty good public transport, we've got a huge queer community, we run and help support queer markets...

WHAT ELSE... Let me ask roach.

He says nice parks, great green spaces, a conservatory, a great zoo, great art events, we have a maker space, we even have an art museum that had an alphonse mucha exhibit a while back!

If you like a healthy blend of nature and city with a lot of queer diverse flavor thrown in, fort wayne is really the place to be.

EDIT: Oh yeah I forgot to say, we have some of the best and most comprehensive and easy-to-get medicaid (state health insurance) in the country.

It's how I got my top surgery covered with no cost to me :)

[jrothshank]

We visited the Fort Wayne Museum of Art (@fwmoa ) today to see the New Vistas exhibition, which includes this installation that Brooke and I collaborated on. This piece features 52 vases depicting 52 plants from our land, drawn by Brooke over the 52 weeks of 2020. https://www.instagram.com/p/Cmz0jTEPnC3/?igshid=NGJjMDIxMWI=

[joyfulcreationsstudiosblog]

Developing Artistic Skills Early: Art Classes for Children in Fort Wayne, Indiana

Encouraging creativity in children is essential for their overall development, and art classes play a crucial role in nurturing artistic skills from a young age. In Fort Wayne, Indiana, a variety of art programs are designed specifically for children, providing them with the tools and guidance needed to explore their creative potential. These classes not only enhance artistic abilities but also contribute to important life skills that will benefit children in numerous ways.

The Importance of Early Artistic Development

Fostering artistic skills early in life can lead to a range of benefits for children, including:

Enhanced Creativity: Engaging in art encourages children to think creatively and approach problems from different angles. This skill can translate to various aspects of their lives, including academics and future careers.

Improved Fine Motor Skills: Many art activities, such as painting, drawing, and sculpting, require precision and control. These activities help develop fine motor skills and hand-eye coordination, essential for tasks like writing and typing.

Increased Confidence: Completing art projects and receiving positive feedback can significantly boost a child’s self-esteem. The process of creating art allows them to express themselves freely, which fosters a sense of accomplishment.

Critical Thinking and Problem-Solving: Art encourages children to make decisions about colors, shapes, and materials, enhancing their critical thinking and problem-solving skills. They learn to evaluate their work and make adjustments, cultivating a growth mindset.

Art Classes for Children in Fort Wayne

There are art classes Fort Wayne Indiana tailored for children, ensuring that young artists can develop their skills in a supportive and engaging environment. Here are some noteworthy options:

1. Joyful Creations Studio

Joyful Creations Studio is a prominent destination for children’s art classes in Fort Wayne. Their programs cater to various age groups, focusing on different artistic mediums, including painting, drawing, and mixed media. Instructors at Joyful Creations emphasize creativity and exploration, allowing children to experiment with their artistic ideas while developing essential skills. The studio also hosts themed classes and workshops throughout the year, keeping the experience fresh and exciting.

2. The Fort Wayne Museum of Art

The Fort Wayne Museum of Art offers a range of art classes for children, focusing on traditional and contemporary art forms. Students can explore painting, sculpture, and drawing while learning about art history and cultural context. The museum's programs are designed to inspire creativity and help young artists connect with the broader art community. Classes often culminate in exhibitions, giving students the chance to showcase their work to family and friends.

3. Artlink

Artlink provides engaging art classes for children that focus on self-expression and creativity. Their programs cover various topics, including painting, ceramics, and mixed media. Artlink fosters a supportive environment where kids can explore different techniques and materials while learning from experienced instructors. The organization also encourages community involvement through exhibitions and collaborative projects.

4. The Art Farm

The Art Farm combines art education with environmental awareness, offering unique programs for children. Their classes often take place outdoors, allowing kids to create art inspired by nature. By incorporating natural materials and themes, The Art Farm fosters a love for creativity and the environment, encouraging children to think about their impact on the world around them.

5. Fort Wayne Community Schools

Fort Wayne Community Schools offer various art programs for elementary students, providing a structured environment for developing artistic skills. These classes cover traditional art forms, such as drawing and painting, as well as innovative practices like digital art. The programs emphasize the importance of creativity while allowing students to explore their artistic interests in a supportive setting.

Tips for Supporting Your Child’s Artistic Development

As a parent, there are several ways to support your child’s artistic journey:

Encourage Exploration: Allow your child to experiment with different art forms and mediums at home. Provide them with various materials, such as paints, markers, and clay, to inspire their creativity.

Celebrate Their Work: Display your child's artwork at home or share it with family and friends. Celebrating their creations fosters confidence and encourages them to continue exploring their artistic talents.

Participate Together: Engage in art activities with your child. Whether it's a simple painting session or a craft project, participating together can strengthen your bond and create lasting memories.

Visit Local Art Exhibits: Take your child to art galleries, museums, and local exhibitions to expose them to different artistic styles and inspire their creativity.

Conclusion

Art classes for children in Fort Wayne, Indiana, provide invaluable opportunities for developing artistic skills early on. By enrolling your child in these programs, you are fostering creativity, enhancing fine motor skills, and boosting their confidence. The supportive environment offered by local studios and organizations encourages young artists to explore their creative potential while learning essential life skills.

In a world where creativity is increasingly important, nurturing artistic talent from a young age can set the foundation for a fulfilling and successful future. With a wealth of options available in Fort Wayne, children have the chance to develop their artistic abilities and discover the joy of self-expression through art.

[film-classics]

Carole Lombard - The First Lady of Screwball

Carole Lombard (born Jane Alice Peters in Fort Wayne, Indiana on October 6, 1908) was an American actress who had a remarkable ability to convey both glamour and silliness onscreen. She is remembered as one of the definitive actresses of the screwball comedy genre, and thus has been dubbed "The First Lady of Screwball" in Hollywood.

Born to a wealthy family of German and English origins, Lombard moved to Los Angeles as a child. At the age of 12, her passion for sports landed Lombard her first screen role in 1921. The experience spurred her to audition for more film work without much success until 1924 when Fox signed her. Unfortunately, most of her appearances were bit parts in low budget movies, and her contract was not renewed.

In 1927, Lombard was involved in a car crash that left terrible gashes near her eye and her left cheek. She underwent reconstructive surgery and faced a long recovery. The accident caused her to re-evaluate her career, knowing she no longer could solely depend on her youthful good looks. She studied lighting and other tricks of the trade - not only to enhance her on-screen appearance, but to boost her knowledge of an industry she was determined to succeed in.

At the time of the crash, Lombard was already under contract with legendary slapstick comedy producer Mack Sennett. She signed on as one of Sennett Bathing Beauties and appeared in slapstick comedy shorts. This experience provided valuable training for her future comedic work.

After a string of film work, Paramount Pictures recruited Lombard in 1930. While she starred in a handful of well-received movies, the screwball Twentieth Century (1934) made her a major star. Her success continued when she was loaned to Universal Studios to star in the screwball comedy My Man Godfrey (1936), where she was nominated for an Academy Award for Best Actress. By 1937, she was one of Hollywood's most popular actresses and also the highest-paid star in Hollywood

As part of Hollywood’s early response to the Japanese attack on Pearl Harbor in 1941, the Hollywood Victory Committee was established, and Lombard was one of its earliest and staunchest supporters. Less than a month later, she traveled to her home state of Indiana for a war bond rally with her mother and raised more than $2 million in defense bonds in a single evening. Her party had been scheduled to return to California by train, but she was eager to reach home more quickly, so they boarded Transcontinental and Western Air Flight#3 that tragically crashed into Potosi Mountain. All 22 aboard, including Lombard and her mother were killed. She was only 33 years old. 

Legacy:

Nominated for the Academy Award for Best Actress for My Man Godfrey (1936)

Honored by having her Fort Wayne childhood home designated a historic landmark, The Carole Lombard House, in 1938

Was the first Hollywood star to propose profit participation: in 1938, she negotiated with Selznick International Pictures to take a reduced salary in exchange for a 20% cut of the distributor's gross

Chosen as ambassador for Napa and Beringer Vineyards during National Wine Week in 1940

Was posthumously award the Presidential Medal of Freedom for being the first woman killed in the line of duty in WWII by by President Franklin D. Roosevelt in 1942

Honored with a new Liberty ship in 1944, the U.S.S. Carole Lombard, that included a Distinguished Service Certificate given by the Treasury Department in its wheelhouse

Granted the Silver Medal Award by the Treasury Department in 1946 in recognition of her exceptional contribution to the US war effort

Has had a bridge named after her, the Carole Lombard Memorial Bridge, in Fort Wayne, Indiana since 1973

Portrayed by Jill Clayburgh in Gable and Lombard (1976), a biographical film based on her romance and consequent marriage to Clark Gable

Was the subject of a 2009 special exhibit at Seattle Art Museum, titled “Goddess of Laughter: The Comedies of Carole Lombard"

Named the 23rd-greatest female star of classic Hollywood cinema in 1999 by the American Film Institute

Ranked #38 on Premiere magazine's 100 Greatest Performances of All Time in 2006 for To Be or Not to Be (1942)

Honored as Turner Classic Movies Star of the Month for October 2008

Commemorated by the Criterion Channel with a special collection of 11 of her films in 2021

Has a star on the Hollywood Walk of Fame at 6930 Hollywood Boulevard for motion picture, which was shown in the movie Pretty Woman (1990)

[bitoftime]

Blog Post - Ellie Ivanova Ponti Currently residing in Texas, USA, Ellie Ivanova Ponti was born in Bulgaria. With an MFA in photography, she left the University of North Texas. She values the intricate relationship between photography and memory, which gradually changes or distorts to create a new one. She blurs the lines between the real and the imagined by using creative methods and techniques that allow photos to change even after they are taken and printed. Her images have appeared in numerous gallery and museum exhibitions across the country and are included in the permanent Human Rights Art collections at several institutions, including South Texas College and the Fort Wayne Museum of Art. Her work is incredible; I'm primarily interested in the Texas World War II reenactments. Although her photos appear to have been edited in a modern way, they also appear to have been taken a long time ago. I feel as though I am looking at staged photos from the World War, but it puts me back in time in a strange way. I find it quite amazing since it makes me feel uneasy. The editing that has been distorted to include additional items appears so authentic yet surreal.  Ivanova, Ellie. “Photographic Convergence - the Museum of Innocence.” ZoneZero, zonezero.com/en/open/407-the-museum-of-innocence. Accessed 7 May 2024.

[ldrm]

Ellie Ivanova

Ellie Inovava is a Bulgarian-born fine art photographer whose interests are interconnected with literature. She is interested in the experience of memory and identity with traditional and experimental formats. Ivanova has an MFA in photography from the University of North Texas and her works have been exhibited in several museums such as in in the Fort Wayne Museum of Art and Human Rights Art at South Texas College. She intends to move forwards with workshops to lead marginalized children to empowerment.

This was an image taken from Ivanova's website. A very mystifying image, it does display her fascination when it comes to experimenting with the medium of photography. I cannot tell what sort of techniques she used to take this photograph but I assume she set the shutter speed low to get these visual effects or ran them through an editing software.

Ellie Ivanova Wesbite

[rasmasandra]

Traveling Across the USA Indiana

Exploring Fort Wayne and Bloomington Cities in the US state of Indiana Fort Wayne is located in northeastern Indiana. The Fort Wayne Museum of Art or FWMoA exhibits a wide range of mediums in American art. You’ll find over 7,000 paintings, sculptures, and delicate glass. Highlights include Indiana Impressionists, world-famous painters, and artisan glass cutters. The museum also hosts different…

[mcbrownartapp]

Virtual Sketchbook #1

1.) Five facts about Jackson Pollock and his work Autumn Rhythm No 30:

Jackson Pollock made his first “drip” or “action painting” in 1947, where he lays the canvas on the floor and used multiple methods of applying paint including drips, splatters, and brushworks from above.

Another one of Pollock’s paintings (No. 5, 1948) became the world’s most expensive painting of that time selling in May of 2006 for 140 million dollars.

Pollock had a movie Oscar winning movie made about him titled, “Pollock”.

Autumn Rhythm No. 30 was bought for $20,000 from Pollock’s estate following his untimely death at the age of 44 in 1956.

Autumn Rhythm No. 30 is currently at the Metropolitan Museum of Art.

My first thoughts when looking at Autumn Rhythm was that it seemed chaotic and a little overwhelming. Having little exposure in art and not fully comprehending intentions when it comes to abstract work, I felt like I wasn’t understanding what the artist was trying to convey. But the more I looked at it, I began to see the flow and movement in the patterns of paint. After researching the art piece and its creator, Jackson Pollock, I have come to learn that what I first saw as chaos is the opposite. Pollock purposefully and intentionally made each stroke, splatter, and drip the way that he wanted, making the abstract painting a uniquely beautiful piece or artwork.

Autumn Rhythm (No. 30) Jackson Pollock

2.) This is from a picture from a coloring book my mom finished while she was receiving treatment at Moffitt Cancer Center. She had just undergone a bone marrow transplant that required a very potent dose of chemo that left her unable to talk, walk, stand or do much else. She was, however, able to create the picture. She was fighting for her life and was still able to put bright, hopeful colors into it. This was an incredibly difficult time for my family and despite the odds, my mom pulled through and beat leukemia. I have this up in my room as a reminder of the strength it took to get through that time and to always try to look on the bright side.

3.) My name is Mary. I am a 29-year-old Caucasian female (recently turned 29, 30 is still aways away 😊).  I am from Fort Wayne, Indiana. My family used to vacation in Siesta Key and always dreamed of living in Florida. We finally were able to move to North Port in 2018. My favorite thing to do when I don’t have much going on is puzzles. My friends call me an old lady because I would rather stay in doing puzzles than go out most times. I have been a bartender/server since I was 19, which is long enough. I am very ready to finish college and begin on a new career path. A unique part of me is that I aspired to be a professional photographer, specializing in landscapes, architecture, and animals. My original major at SCF was Digital Photography, but after I became pregnant with my first child in 2022, I decided to switch to a more stable profession in the medical field. I hope taking Art Appreciation will allow me to learn more about my creative side and I can continue pursue photography as a hobby.

4.)

[ajl1963]

Deco Doings - July, 2023

Summer by William Welsch, 1931. Image from Pinterest. Let’s take a look at the Art Deco events happening in July. Plattsburgh State Art Museum Origins: The Evolution of an Artist & His Craft, Selections from the Rockwell Kent Collection (In Person Exhibit)      Tuesday, November 8, 2022 – Friday, August, 11, 2023, 235 Myers Fine Arts, 101 Broad Street, Plattsburgh, NY. Museum Hours: Tuesday –…

[jessicacarginmedia]

Artist Research Post 5- Ellie Ivanova

Bulgarian-born fine art photographer Ellie Ivanova uses her photography to highlight the manipulation of reality by memory and the creation of myths. She explores memory and identity in both traditional and experimental photography. Her signature style is set in haptic photography (when using perspective and depth to create interesting framing).

She is experimental in her photography and the way she formats which produces photographic objects that allow the image to evolve and shift its original image. She uses processes such as mordancage  ( an alternative photographic process that alters silver gelatin prints to give them a degraded effect), embedded photograms, stitching, ripping, and printed surface deformation to create unique effects. 

Her works, displayed in galleries and museums across the United States, are part of permanent collections, including those at Human Rights Art at South Texas College and Fort Wayne Museum of Art. According to Ivanova, her “processes and conceptual approaches through which images continue to evolve after they have been captured and printed, blurring the edges between the factual and the fictitious.” 

Not only does Ivanova shoot her photography but she also runs the Third Eye Workshops, which offers photography workshops for children and youth in Roma communities in Bulgaria. These workshops can empower low-income children by providing tools for visual self-expression.

I think Ivanova’s photography is very unique, I love how in her process of creating art she destroys it. This to me is a unique technique I have not come across yet. So often we are trying to ensure that our images are discernible and sharp but Ivanova goes against this. She mixes both studio art and photography to create beautiful works of art. What I can learn from Ivanova is to experiment with different techniques and mediums and not to limit myself in the editing process of my photography. 

[venusstadt]

The Met Gala. Fashion Week. Two facets of the New York fashion scene that are now so ubiquitous that it’s hard to imagine what the fashion industry would be like without them.

So it’s surprising that, despite how well-recognized these two events are, very few people discuss Eleanor Lambert, the woman who started it all.

Hello, and welcome to VENUSSTADT, a channel devoted to discussing women and gender in the realm of arts and culture. I’m Jiana; today, I’ll be covering Eleanor Lambert, the famed fashion publicist who helped lift the American fashion industry into international prominence.

EARLY LIFE.

Eleanor Olive Lambert was born August 10, 1903, in Crawsfordville, Indiana (Collins 2004), a city which at the time had around 6,700 citizens. Her father, Henry Clay Lambert, was a newspaper publisher-turned-circus advance man, going ahead of companies like Ringling Brothers and P.T. Barnum & Bailey during tours to publicize show dates, leaving behind his five children, including Eleanor, with their mother Helen (Collins 2004).

Early on, Eleanor displayed an interest in the arts. She attended the John Herron Art Institute in Indianapolis to study sculpture, using the money she earned from cooking and preparing meals for other college students and writing a shopping column for The Indiana Star and the Fort-Wayne Journal Gazette (Collins 2004). After marrying her first husband and moving to Illinois, she briefly attended the Art Institute in Chicago (Collins 2004). However, she eventually gave up her sculpting dreams, saying, “I have always loved and been inspired by beauty, but I realized quite early on that my own artistic production was mediocre. One has to know when one isn’t up to the task” (Thurman).

In 1925, Lambert moved from Illinois to New York City (Collins 2004). By this time, she had divorced her first husband, and made a living of around $32 a week writing a fashion newsletter called  Breath of the Avenue and working as a book publicist (Collins 2004; Harbster 2012). After observing her passion for promotion, Franklin Spears, her boss at the book company, recommended she start her own publicity business using his office (Wilson 2003; Collins 2004). Thus, she struck it solo, visiting various art galleries on New York’s 57th street and offering to do publicity for them for a weekly fee of $10 ($165 today), an offer which 10 galleries accepted (“Eleanor Lambert” 2022). Her early artist clients included Isamu Noguchi, Salvador Dali, and Jackson Pollock (Collins 2004; Harbster 2012). Eleanor also represented large entities, such as the American Art Dealers Association and the Whitney Museum of Art when it was founded in 1930 (Collins 2004).

CAREER.

Eleanor first entered the fashion world in 1932, after being contacted by designer Annette Simpson, who saw Eleanor’s publicity work in a newspaper (Collins 2004; Diliberto 2009). Though Annette never ended up paying Eleanor for any promotion work, she did inspire Lambert to go into fashion promotion (Collins 2004).

At the time Eleanor had arrived in New York, American designers were not as recognized as those in Paris, which was the fashion capital of the world (Harbster 2012) and had been since the days of King Louis XIV, who used the French fashion industry as a “soft power” to culturally dominate the Western world (Diliberto, 2009). Department stores and manufacturer’s encouraged American designers to copy Parisian designers, and most wealthy women got their clothing directly from Paris (Diliberto, 2009). Plus, New York fashion magazines like Harper’s Bazaar, Vogue, and Women’s Wear Daily exclusively covered French designers (Harbster 2012).

When Eleanor became interested in the fashion world, she decided she wanted to change this. According to Vanity Fair’s Amy Fine Collins, Lambert figured, “If American art was recognized as a legitimate school…why not American fashion? And why, for that matter, did Americans design anonymously, with only a manufacturer’s name on the label, when their French counterparts were world-famous?” (Collins 2004).

Diana Vreeland, who at the time was an editor for Harper’s Bazaar, basically called Eleanor crazy when Eleanor shared this idea, but Eleanor did not let this stop her (Collins 2004)! She began to shift to fashion publicity and put her all into promoting American designers, including supporting the Museum of Costume Art when it was founded in 1937 (Nemy 2003; Young 2012). Later, when the Museum was absorbed into the Metropolitan Museum of Art and became the Costume Institute, Eleanor Lambert devised a fundraising dinner referred to as the Costume Institute Benefit (Young 2012).

By 1939, her clients included, according to Jennifer Harbster, “department stores, beauty brands, perfumes, [and] American and European fashion designers” as well as “hotels, art galleries, nightclubs, [and] restaurants” (Harbster 2012).

Major opportunities to support the fashion industry came in the 1940s, after Eleanor became the New York Dress Institute’s press director (Nemy 2003; Collins 2004; Harbster 2012). World War II began in Europe in 1939, and in June 1940, Paris fell under Nazi occupation (De La Haye 2020). Like the rest of the French art scene, the Paris fashion industry took a hit as its aesthetics were deemed by the Nazis to be “corruptive” and “degenerate.” Its fashion publications shuttered, and resources refocused on servicing Nazi elite as opposed to the rest of the world (De La Haye 2020).

With Paris now isolated, there was a void in fashion which multiple New York department stores and manufacturers sought to fill with American products. That same year, the New York Dress Institute formed during the war to promote New York fashion and fill this void (Collins 2004). To advertise clothing, they initially approached the J. Walter Thompson agency, who created ads based heavily on pro-American propaganda (Collins 2004). The advertisements chided American women for only having one dress in Paris’ absence, while another utilized imagery of Martha Washington tending to dying soldiers (Collins 2004). Though these ads helped the dresses sell, the department store owners considered them tacky, and sought Eleanor’s expertise (Collins 2004).

The first thing that Eleanor did when she became the Dress Institute’s press director was demand they promote their designers (Collins 2004). This was accomplished by forming the Dress Institutes’ “Couture Group,” a group of the manufacturer’s best designers, which included Nettie Rosenstein, Jo Copeland, Maurice Rentner, and Hattie Carnegie (Collins 2004).

To further promote the Couture Group and American designers, Lambert in 1943 created New York Press Week (Collins 2004) where journalists could convene in one building on Seventh Avenue to cover collection showings (Diliberto 2009; Harbster 2012). Whereas prior to Press Week, only local NY journalists could cover collection showings, Eleanor offered to pay for the travel expenses of non-NY journalists so that they could spread the word in other areas of the United States (Collins 2004). Only a third of the journalists Eleanor invited showed up to the first Press Week in January 1943 (Diliberto 2009), but the novelty and convenience of Press Week helped it become more popular and respected as years went by.

One other idea that Eleanor implemented for the Dress Institute was the International Best-Dressed list, which began shortly after she became press director in 1940 (Collins 2004; “Eleanor Lambert” 2003). The idea wasn’t wholly original; Eleanor had borrowed it from the Paris Best-Dressed List, which had ceased operations under Nazi occupation as well (“Eleanor Lambert” 2003).

“I was desperate, reaching for anything that might help,” Eleanor said later of her decision to appropriate the list (Collins 2004).

To start, she sent out fifty ballots to international fashion experts like John Frederics, Jo Copeland, Lilly Daché, and the Vogue and Harper’s Bazaar editors (Collins 2004). The first list was topped by a woman named “Mrs. Williams;” others included socialites Dorothy H. Hirshon (then Dorothy Paley) and Millicent Rogers (Collins 2004). The second list in 1941 included fashion icons and celebrities like Diana Vreeland, Barbara Cushing, and Rosalind Russell, as well as Madame Chiang, and Wallis Simpson, Duchess of Windsor (Collins 2004).

People included on the list were informed by a telegram, that stated:

“I have the honor to inform you that you have been designated to the newly created Fashion Hall of Fame of the International Best-Dressed Poll conducted annually by [the] Couture Group [of the] New York Dress Institute in permanent recognition [of] your distinguished tasted in dress without ostentation or extravagance. Announcement will be made January 5, meanwhile confidential” (Collins 2004).

The list was rather influential. People begged to be on the list, with one person even trying to bribe Eleanor with $50,000 (Collins 2004). First Lady Eleanor Roosevelt once wrote a complaint to Eleanor Lambert because she was not included on the list; while Byron Foy, a filmmaker whose finances were being investigated, complained that his wife was on the list because he didn’t want it to seem like his wife was spending too much money on fashion (Collins 2004). But the list wasn’t without its detractors. One of the most vocal was John Fairchild, editor-in-chief of Women’s Wear Daily, who called the list “a gimmick and a bunch of rot” (Collins 2004).

John Fairchild and Eleanor Lambert were basically industry rivals (Wilson 2003). John, the grandson of Fairchild Publishing founder Edmund Fairchild and turned Women’s Wear Daily into the “fashion Bible” during his tenure, worked briefly in Paris and was known for making or breaking designers (he was famous for feuds with designers like Valentino, Balenciaga, and Givenchy), heavily promoted Parisians and was often at odds with Eleanor over her promotion of Americans (Collins 2004).

“Fairchild wanted to decide everything to do with fashion,” former Tiffany & Co. director John Loring said to Vanity Fair in 2004. “If it weren’t for Eleanor, his power would’ve been absolute” (Collins 2004).

In the 50s, Eleanor represented designers, manufacturers, and industry groups like International Silk Association—basically most of the fashion industry (Collins 2004). Her day-to-day tasks included sending pictures to newspapers, arranging TV interviews, and admitting journalists to press week (Collins 2004).

“There wasn’t a soul on Seventh Avenue who didn’t have Eleanor behind her,” Joe Eula, who helped Eleanor produce the March of Dimes, said to Vanity Fair. “If you couldn’t afford her, and you wanted her, she’d work for free” (Collins 2004).

Eleanor took a brief break in 1959 when her second husband, Seymour Berkson, died of a heart attack. She went through deep depression, which she used her work to pull herself out of (Collins 2004).

After 1960, following the election of JFK, First Lady Jackie Kennedy, as well as her sister Lee Radziwill and friend Jayne Wrightsman, were all included on the Best-Dressed List (Collins 2004). Previously, Eleanor had helped Jackie endear herself to the American fashion press by introducing Jackie to Oleg Cassini after Jackie had been criticized by Women’s Wear Daily for wearing French fashion (“Museum at FIT”).

In 1962, Eleanor parted ways with the Dress Institute after what Vanity Fair called “a clash…between manufacturers and designers over Press Week show dates (which she viewed as a battle between commerce and creativity)” (Collins 2004).

From there, she went on to found the Council of Fashion Designers of America, the goal of which was to “further the position of fashion design as a recognized branch of American arts and culture” and to “advance [the trade’s] artistic and professional needs” (CFDA Staff 2012, 10).

“I’ve always said that getting people together as a community helps further their identity as a whole,” Eleanor later told WWD. “We were a group of people of equal qualifications and equal thoughts about moving forward” (CFDA Staff 2012, 10).

While the implementation of Press Week, the Best-Dressed List, and the CFDA all helped boost the American fashion industry’s reputation domestically, perhaps the Eleanor’s best and most well-known effort was the 1973 Battle of Versailles, which helped boost the credibility of American fashion designers internationally (Collins 2004; Harbster 2012).

Gerald van der Kemp, then the curator of Versailles, suggested that Lambert arrange a fundraising event to help restore the queen’s bedroom in Palace of Versailles (Wilson 2003; Fashion By Look 2013). To generate press, Eleanor conceptualized the Grand Divertissement á Versailles, best known as Battle of Versailles, in which American and French fashion designers would face off against each other (Harbster 2012; Borelli-Persson 2022).

Eleanor chose designers Bill Blass, Stephen Burrows, Oscar de la Renta, Anne Klein, and Halston to represent the Americans, while Givenchy, Yves St. Laurent, Marc Bohan for Dior, Pierre Cardin, and Emmanuel Ungaro were chosen by Marie-Hélène Rothschild and a committee (Harbster 2012). The guest list for the event included figures like Princess Grace of Monaco and Madame Grès, and a weeks’ worth of parties preceded and followed the event (Borelli-Persson 2022).

The Battle of Versailles wasn’t simply a battle of designers, but a battle of culture as well. Josephine Baker and Liza Minelli performed for the French and Americans, respectively; and the difference in the way of the old guard versus the new was evident in the Parisian’s direction choices—a star-studded cast, elaborate performances, grandiose set pieces—as opposed to the New Yorker’s snappy, relaxed flow (Borelli-Persson 2022).

Though the feature-film length display of the French designers certainly affirmed their grandiosity, the consensus among the guests and press who attended was that the American designers took the night, with their laid-back presentation, lively models, and up-to-date tastes.

“The entire French half of the evening was built around glories of the past,” journalist Eugenia Sheppard wrote for the Los Angeles Times in December 1972. “The Paris designers who opened the evening’s entertainment…did everything in their power to confirm the rumor that made-to-order fashion is going out of date. The stage settings were about as contemporary as a bustle and equally as cumbersome” (Borelli-Persson 2022).

In an interview with Women’s Wear Daily shortly before her death, Eleanor Lambert said that she did not set out to “prove” the worth of American designers to the French, and that she only intended for the event to be fun (Wilson 2003). Still, she also said:

“We sure did prove we were equal. People threw their papers in the air and screamed and yelled. It was wonderful. I do feel very proud that American designers are equal to anyone in the world, including the French. They should have had that equality. Versailles was a hilarious and unforgettable thing. It was exciting because, by accident, it became a special thing that proved a point” (Wilson 2003).

In addition to showcasing the talents of New York designers, the Battle of Versailles also had the effect of highlighting Black American talent, such as designer Stephen Burrows and models Pat Cleveland and Bethann Hardison (Keong 2016) and led Givenchy to start its black model cabine consisting of Cleveland, Hardison, Billie Blair, Alva Chinn, Jennifer Brice, and Ramona Saunders (Keogh 2018).

Lambert continued promote American fashion until closing her office in 2002, as she was approaching the age of 100 (Wilson 2003). Tiffany & Co. was among her last clients (Wilson 2003). Though she wasn’t incredibly interested in contemporary fashion after her retirement, and declared fashion shows no longer worth looking at, her last public appearance was at New York Fashion Week, a month before her death in October 2003 (Wilson 2003; “Eleanor Lambert” 2003).

LEGACY.

Much of what Eleanor instituted continues to function today. Press Week has since evolved into New York Fashion Week, and other fashion weeks, such as those in Milan, Paris, and London, capture the attention of fashion buyers, journalists, and enthusiasts twice a year in the spring and fall (Diliberto 2009). The International Best-Dressed List is now controlled by Vanity Fair, who Lambert bequeathed it to prior to her death (Collins 2002). The Costume Institute Benefit, known today as the Met Gala, is now controlled by Vogue editor-in-chief Anna Wintour. ‘Fashion’s Biggest Night’ continues to draw massive attention to the New York fashion scene and raises millions of dollars for the Costume Institute each year (Widjojo 2022). The Council of Fashion Designers of America is currently run by Steven Kolb, its CEO & President, and fashion designer Tom Ford, who functions as chairman. It continues to foster and highlight American designers through its annual awards ceremony, scholarships, and grants.

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SOURCES

“Eleanor Lambert: Defining Decades of Fashion.” YouTube, uploaded by Fashion By Look, 21 November 2013, https://youtu.be/inaLhwknn0g. 

“Eleanor Lambert.” Telegraph, 10 October 2003, https://www.telegraph.co.uk/news/obituaries/1443712/Eleanor-Lambert.html. Accessed 12 December 2022.

Borelli-Perrson, Laird. “Everything You Need to Know About the Battle of Versailles Before Seeing “In America: An Anthology of Fashion.” Vogue, 25 April 2022, https://www.vogue.com/article/everything-you-need-to-know-about-the-battle-of-versailles-before-seeing-in-america-an-anthology-of-fashion.

Collins, Amy Fine. “The Lady, the List, the Legacy.” Vanity Fair, 1 May 2004, https://www.vanityfair.com/news/2004/04/eleanor-lambert200404. Accessed 12 December 2022.

Diliberto, Gioia. “Eleanor of Seventh Avenue: Where Fashion Week Came From.” Huffington Post, 9 November 2009, https://www.huffpost.com/entry/eleanor-of-seventh-avenue_b_268619.

Harbster, Jennifer. “Eleanor Lambert—Empress of Seventh Avenue.” Library of Congress, 19 January 2012, https://blogs.loc.gov/inside_adams/2012/01/eleanor-lambert-empress-of-seventh-avenue/. 

Keogh, Pamela. “How Hubert de Givenchy Brought Diversity to the Runway.” Vanity Fair, 13 March 2018, https://www.vanityfair.com/style/2018/03/hubert-de-givenchy-pat-cleveland.

Keong, Lori. “Relive the Magical Fashion Battle of Versailles.” The Cut, 8 March 2016, https://www.thecut.com/2016/03/relive-the-magical-fashion-battle-of-versailles.html.

Nemy, Enid. “Eleanor Lambert, Empress of Fashion, Dies at 100.” New York Times, 8 October 2003, https://www.nytimes.com/2003/10/08/nyregion/eleanor-lambert-empress-of-fashion-dies-at-100.html. Accessed 12 December 2022.

Thurman, Judith. “Eleanor Lambert: Fashioning a Lifestyle.” Hearst Magazines, March 2001, http://proxy.library.vcu.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,url,cookie,uid&db=f5h&AN=4111195&site=ehost-live&scope=site.

Widjojo, Conchita. “History of the Met Gala: How it Turned from Fundraiser to Fashion’s Biggest Night.” Women’s Wear Daily, 27 April 2022, https://wwd.com/fashion-news/fashion-scoops/met-gala-history-how-it-turned-from-fundraiser-to-fashions-biggest-night-1235167840/. 

Wilson, Eric. “Eleanor Lambert Celebrates an American Fashion Century.” Women’s Wear Daily, 6 August 2003, https://wwd.com/fashion-news/fashion-features/eleanor-lambert-celebrates-an-american-fashion-century-723223/.

Young, Greg. “The Origin of the Met Gala and its Surprising Roots in the Lower East Side.” The Bowery Boys, 1 May 2012, https://www.boweryboyshistory.com/2022/05/the-met-gala-and-the-mets-costume-institute-trace-their-origins-to-a-lower-east-side-playhouse.html.

[jrothshank]

More of my work from the New Vistas exhibition at Fort Wayne Museum of Art (@fwmoa ). This exhibition explores the integration of landscape and ceramics, with pieces from five regional artists. Bryn was my collaborator on 2 of the large jars depicting floral and rainbow imagery. (at Fort Wayne Museum of Art) https://www.instagram.com/p/Cm1ejXUryNf/?igshid=NGJjMDIxMWI=

[amethystsoda]

Definitely coming back again to study these beauties before the show ends 😭💕