Claire McCardell wearing her “Future dress,” 1945. Photo by Erwin Blumenfeld. Image courtesy of The Metropolitan Museum of Art. Photo © The Estate of Erwin Blumenfeld 2023
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Model in Claire McCardell trouser set at twilight, photo by Serge Balkin, 1946
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Sabine and Janet Stevenson model Claire McCardell swimsuits on the Gaspe Peninsula of Canada, 1946 | Genevieve Naylor
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'claire mccardell beach ensemble + dress, 1944' in high style: masterworks from the brooklyn museum costume collection at the metropolitan museum of art - jan glier reeder (2010)
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1950 Cotton dress by Claire McCardell (USA)
(Museum at the Fashion Institute of Technology)
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• Woman's Raincoat.
Designer/Maker: Claire McCardell (United States, Maryland, Frederick, active New York, New York City, 1905-1958)
Date: 1954
Medium: Cotton and cotton velveteen
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US Vogue May 1, 1956
Lucinda Hollingsworth wears a red calico cotton coat and coat dress set. Suit, in Wm. Simpson Cotton. By Claire McCardell. Hat, by Lilly Daché. Handbag; Milch. David Webb Jewelry. “Grand Chelem” lipstick: Lucien Lelong.
Lucinda Hollingsworth porte un ensemble manteau et robe-manteau en coton calicot rouge. Costume, en Wm. Coton Simpson. Par Claire McCardell. Chapeau, de Lilly Daché. Sac à main; Milch. Bijoux David Webb. Rouge à lèvres "Grand Chelem" : Lucien Lelong.
Photo Karen Radkai
vogue archive
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Claire McCardell: Evening Gown (1950)
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Dress, 1954. Claire McCardell.
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Cotton dress by Clare McCardell, 1955, USA.
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1945
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One-piece swim costume by Claire McCardell, photographed by Kay Bell for Vogue, May 1946
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claire mccardell, 1946 in less is more: minimalism in fashion - harriet walker (2011)
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Racing home from the flea market, 21-year-old Claire McCardell, future fashion designer and leader of the "American Look," rushed into her dormitory room at Parson’s Place des Vosges campus in Paris. Pulling a crumpled wad of satin out of her bag, she grabbed her seam ripper and, very carefully, started disassembling a Madeleine Vionnet gown, determined to unlock the mysteries of couture construction before flawlessly sewing the garment back together.
....
Years later, while discussing her predilection for deconstructing couture garments, McCardell stated she was, “learning about the important things—the way clothes worked, the way they felt, where they fastened.” She would later use this couture education to create impeccably cut and constructed garments. However, her clothing wasn’t just for the uber-wealthy who could afford haute couture wardrobes—her designs would hang in the closets of everyone from suburban housewives to the fashion doyenne Diana Vreeland.
McCardell gave fashion the popover dress, the Capezio black ballet flat, and always put pockets in her dresses.
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