Designer mary mcfadden biography for kids
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Sighs & Whispers
In my newsletter earlier this month on Mary McFadden’s hosting style, I mentioned that I had interviewed her in I received quite a few requests for the interview, both as comments or over email, so I am including it below. That year the Ornstein family, the then-owners of the Manhattan Vintage Show (it was sold in early ), told me they were interested in doing something on Mary for one of their shows. I called her up and it was decided that I would interview her for the show’s brochure and curate a small exhibition from her personal archive that would greet all shoppers as they entered the building. In her apartment, I dug through a very packed closet and tightly packed bags of tremendously beautiful garments—no perfectly organized archive for her at the time—to exhibit as prime examples of her oeuvre and hopefully inspire vintage shoppers to start collecting Mary’s designs. If I am able to find photos, I will send them out in the future.
Below is the inte
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Mary McFADDEN - Fashion Designer Encyclopedia
Articles
Tucker, Priscilla, "Mary Had a Little Dress," in the New York daglig News, 6 April
Foley, Bridget, "Mary McFadden: A New Type of Tycoon," in New York Apparel News, March
Rafferty, Diane, "Beyond Fashion," in Connoisseur (New York),October
Thurman, Judith, "Power Gives You an Aura, Says Mary McFadden," in Mirabella, September
Gross, Michael, "Mary, Mary, Quite Contrary: The Life and Loves of Mary McFadden," in New York, 26 March
"The Designers Talk Passion, Whimsy and Picassos," in ARTnews (New York), September
Horyn, Cathy, "A Mary-Tale Romance," in the Washington brev, 9June
"New York: Mary McFadden," in WWD, 4 November
© AP/Wide World Photos.
Friedman, Arthur, "McFadden Exits Seventh on Sixth…," in WWD, 21 March
"MMCF's New Society," in WWD, 25 July
"Mary McFa
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Dress
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Designer Mary McFaddenAmerican
Not on view
Mary McFadden’s anthropological approach to fashion design finds a perfect expression in this pleated column dress. Drawing on ancient cultures and civilizations, McFadden created her own pleated synthetic fabric, the “marii” fabric, named after the designer. The synthetic charmeuse fabric originated in Australia, was then hand-dyed in Japan and machine-pressed in the U.S. She frequently stated that there was no greater beauty than pleated cloth on the human column and that her “marii” fabric had “to fall like liquid gold on the body, like Chinese silk”. This unadorned dress leaves the body in its natural shape and does not constrict it, taking its maxim from Eastern modes of dress such as the Japanese kimono and the Greek chiton. McFadden was known to place her models under the pediment of the New York Public Library, so they would look l