You’re not having it buried with you in giant Zip-Loc[sup]TM[/sup] bags? What will you wear in the afterlife? Don’t go naked into the ether!
Sayin’ ‘Stop, children, where’s that gown? Everybody stop! What’s going down?’
Are you going to Eve’s closet, dear?
eve-ning gowns and Scarves abound
Remember dopers, far and near
there’s enough to go around.
Tell her you’d love just to try on a shirt
or perhaps a vest (are you going to Eve’s closet, dear?)
There must, there must, be one piece or two
for you, doper, you’ll fit right in here.
Where have all Eve’s garments gone, long time passing?
Where have all Eve’s garments gone, long time ago?
Where have all Eve’s garments gone,
Museums took them, every one;
When will they ever learn; when will they ev-er learn?
Eve, the lady doper lived in Jersey
and had some vintage clothing that just wanted to be free
Eve found some curators tending to their wares
and asked them if they’d handle some of her old clothes with care
Together they would talk of that Jean Harlowe and gown
or revel in the past of all the derbys Eve had owned
the time just slipped away while they chatted on and on
curators came to see the clothes and dame and did they ever fawn
One day when Eve came walking up to give some more
she found a makeshift sign so crudely taped on the backdoor
It said “Our dear curator has taken a brief leave”
But Eve was wise and barged right in, crying “You do not deceive!”
The room was quickly silenced, the secret meeting done
Their plan to steal her clothes away was spelled out one by one.
She scorned and scoffed and huffed, a lady truly vexed
then, silent some, she spoke again, “My goodwill you have wrecked!”
Curators, Curators, take all these clothes
Swimsuits and hats
Ribbons and bows
In 50 years they’ll be rare as hen’s teeth
So please don’t just take Harlowe’s
For Zebra, send out some blouses
To set up the brand-new Doper wing
For Yamir, bonnets or handbags
And me, I’d look smashing in anything!
Curators, Curators, avoid the crush
Eve’s out of room
She’s in a rush
Playing at dress-up a girl can get burned…
So grab up the gowns
Snatch up the frocks
Snag all the suits
Pack up a box
And make off with all Eve’s clothes!
I know, it’s wretched, best I could do…
Unfortunately, I have no witty verse to offer!
Just seconding the notion of contacting the Kent State University Museum:
http://dept.kent.edu/museum/pr/donations.html
I’ve had the pleasure of attending a private behind-the-scenes tour of the fashion collection, and it was absolutely amazing.
Here’s a list of what I’ve got. It kills me to part with some of these treasures, but they belong ina museum environment, packed in acid-free tissue (which is why I don’t want to sell them on eBay and have them wind up as someone’s Halloween costume; these should not be worn):
Dresses
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Day dress, c1950, “Jomax” label. Bright red with abstract black and white pattern, full just-below-knee length, wide ballet neckline with bow at cleavage. Short sleeves.
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Day dress, knee-length, caps sleeves, WWII-era. Black rayon with yellow full-length yellow insert with enterprising pattern. -
Floor-length sleeveless evening gown, c 1934, tissue-thin silk chiffon, beige with pale floral pattern; matching white silk slip. Black stain at hem. -
Floor-length sleeveless evening gown, 1931, brilliant red silk velvet, bias-cut, with beaded and jeweled “cuff” around neckline and armholes. Matching belt with rhinestone clasp.
-
WWII-era cocktail dress, navy-blue rayon, three-quarter sleeves, decorative satin sash from waist to hem (navy and white polka dots).
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WWII-era plain “house dress,” blue cotton with white daisy pattern, buttons up front, short sleeves, knee-length.
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Cocktail dress (c1963), “Collector’s Items by Anne Fogarty” label, brilliantly multicolored, sleeveless, V-neck, knee-length, elaborately pleated (belonged to my mother).
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Day dress (c1963), cotton/poly, olive-green with “hand screened” owl print, label “The Junior Gentress, Valley Forge, PA”. Buttons up front, long sleeved, knee-length (belonged to my mother). -
Day dress, early 1930s, bright yellow rayon, self-belt, lace capelet attached.
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WWII-era evening gown, sleeveless, modest V-neck, snaps up side; violet silk-moiré (or silk-moiré effect, anyway).
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WWII-era day dress, navy-blue rayon, zips up side; knee-length, cap sleeves.
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WWII-era rayon day dress, very enterprising: wrap effect, tassels at shoulder and hip; bright red with green and white pattern; three-quarter sleeves; knee-length, zips up side.
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WWII-era day dress, olive-green rayon (faded in spots), cap sleeves, peplum, zips up side.
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Evening gown (c1962), “Mr. Blackwell Custom” label, skintight gold lamé covered in black lace. Sleeveless, boat-neckline, boned at bodice (belonged to my great-aunt).
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Very groovy minidress, c1968, made of black knit with silver-metal thread shot throughout. Belled sleeves and hem. “Pearl” buttons down front.
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WWI-era day dress, navy-blue rayon, cap sleeves, zips up side. Tiny decorative daisies at neckline and hip pockets.
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Black silk-velvet evening gown, early 1930s, bias-cut, gathered cap sleeves, boat neckline, one hook at back of neck.
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Very enterprising WWII-era day dress, bright-green rayon with crazy hats and hatboxes pattern. Cap sleeves, zips up side, slight ruffle at waist.
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Evening gown, WWII-era, pale violet (rayon?), cap sleeves, zips up side, but faux-buttons at gathered bodice. Floor-length with front slit to knee. Matching belt.
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White silk and lace dress, c1905, long-sleeved, high collar, slight train, very elaborate workmanship, very fragile.
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Ladies’ silk suit, c1910 (skirt and bodice hook together). White with gray vertical stripes, three-quarter sleeves, lace appliqués on bodice. Excellent condition.
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White silk-satin “Jean Harlow gown,” c1933, elaborately bias-cut, sleeveless with cowl back, hooks and snaps along seams. Excellent condition, gorgeous.
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Evening gown, c1912, lavender silk, chiffon butterfly sleeves with jeweled hem, high waist, train; neckline is square-cut with gold-lace insert and jeweled edges. Gorgeous, fragile.
Miscellaneous
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Heavy silk-satin evening cloak, 1940s, burgundy, floor-length, fastens at neck with flowered Bakelite button.
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Black-silk kimono with silver and gold embroidery on back and colorful lining (brought from Japan, WWII, by my father).
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1930s/40s black long-sleeved wrap blouse. Labels: “Tailored by Adelaar,” “Imported French matte jersey by Kobe.”
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Sheer black silk-chiffon teddy, probably early 1930s.
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Black rayon blouse, probably 1940s, cap sleeves, clear-plastic flower buttons up back, heavy “silver” necklace attached.
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1940s/50s bathing suit, madras, one-piece. Label: “The Kahala, made in Honolulu, 100% cotton, imported Indian madras, hand washable” (belonged to my mother).
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1940s blouse/jacket, navy-blue rayon, with white daisy pattern. Three-quarter sleeves, slight peplum.
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Ruffled petticoat, late 19th century, white cotton, floor-length with slight train. Front panel replaced.
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Yellow silk skirt with delicate white floral pattern, c1870s (room and shape for bustle). Very delicate.
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Dressing gown, late 1930s, peach-colored, heavy silk satin. Long sleeves with buttons at cuffs; gown buttons at one shoulder. Matching belt.
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Dressing gown, late 1920s, delicate silk chiffon in violent red lined in equally violent purple; deep, elaborate ruffles at sleeves and hem. Matching belt.
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1930s brassiere, peach satin and white lace; fastening wraps all the way around to hook in front (belonged to my grandmother).
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Plum and peach silk camisole, early 1930s, thin straps, lace V-insert at neckline (belonged to my grandmother).
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White rayon slip with silver-thread stripes on bias pattern, probably 1930s. Label: “Safetyseam.”
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Black “stole” of velvet studded with tiny rhinestones, lined in rayon. Maybe 1950s?
Hats
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Mid-1930s slouch “Garbo” hat, faded violet felt, with moiré hatband (“Doeskin” and WPA labels).
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Blue-velvet toque (1940s/50s?) with faded purple hatband
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Shiny black-straw hat with wide brim (1940s?), red silk flower at base of crown
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c1930 combination cloche/slouch hat, black felt, with art-deco rhinestone pin on bow.
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c1934 day hat, to be tilted over one eye, straw-colored, with decorative buttons and stitching.
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Classic “Clara Bow tam” as seen in Sears catalog, 1927, blue and purple velvet, with black-jet fringe.
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Late 1930s/early ’40s black felt hat with wide front brim (to be worn on back of head), “Gimbel Brothers” stamp.
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Black felt cocktail hat, 1930s, tiny, with bow and rhinestone pin, “Play Topper” label.
Shoes
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Gold-lamé spike heels, c1960, pointed toes, “Radiants” label printed on sole (purchased from Edith Massey in Baltimore, 1970s).
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Fire-engine red spike heels, c1960, pointed toes.
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Classic “disco sandals,” 1977, platform wooden soles, canvas ankle-and toe straps, high chunky heels.
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Black-satin evening slippers, 1930s, Cuban heels, cut-out at toes, “Daniel Green” stamped on sole.
October 29th
(AP New York) Police have today arrested the “mystery woman” who allegedly vandalized an inflatable figure of the cartoon character “Scooby Doo.”
November 1st
(AP New York) It has been reported that several well-known museums are vying for the 20th century clothing collection of the notorious “Scooby Slasher” Ms Eve X________.
Where did you get all this nifty stuff?
I wonder if contacting the Antiques Road Show would hook you up with someone in the know.
Well, here’s a list of experts in the textile collectibles area (from the Antiques Roadshow site):
Appraisers specializing in
Rugs, Quilts and Textiles
Sally Ambrose
Ambrose Appraisal Service
Leavenworth, WA
Caroline Ashleigh
Caroline Ashleigh Associates, Inc.
John A. Buxton
Antiques Appraiser and Consultant
Dallas, TX
Carl Crossman
Consultant
Northeast Auctions
Portsmouth, NH
H. Peter Curran
Wayside Exchange and Antiques
Wilton, CT
Antoine de Vermoutier
Independent Appraiser
New York, NY
Nancy Druckman
Senior Vice President
Director of the American Folk Art Department
Sotheby’s
New York, NY
Donald Ellis
President and Founder
Donald Ellis Gallery
Ontario, Canada
Ken Farmer
Owner
Ken Farmer’s Auctions & Estates
Radford, VA
James A. Ffrench
Director
Beauvais Carpets
New York, NY
J. Michael Flanigan
Antiques Dealer
J. M. Flanigan American Antiques
Baltimore, MD
Michael B. Grogan
President, Grogan & Company
Dedham, MA
Karen M. Keane
Partner, Chief Executive Officer
Skinner, Inc.
Boston, MA
Jo Kris
Director, Oriental Rugs & Carpets
Skinner
Boston, MA
Gloria Lieberman
Vice President
Director of Fine Jewelry
Skinner
Boston, MA
Mary Jo Otsea
Vice President
Oriental and European Carpets Dept.
Sotheby’s
New York, NY
Peter Pap
Peter Pap Oriental Rugs
Dublin, NH
Elisabeth Poole
New York, NY
Hadji Rahimipour
Director, Oriental Rugs & Carpets
Butterfield & Butterfield
San Francisco, CA
Beth Szescila
Appraiser of Fine Art and Antiques,
Szescila Appraisal Service
Houston, TX
Mark Topalian
Specialist, Rugs & Carpets Dept.
Doyle New York
New York, NY
One of these people might be affiliated with a museum or know of someone who can properly preserve your frocks.
I had no luck with museums or historical societies, and the colleges hinted that the clothes would be used in productions.
So I just mailed lists of what I have to Christie’s and Sotheby’s, and asked if they’d be interested in adding some or all of my collection to their next available costumes/textiles sale.
Hey, Eve could you send me a list too? The wardrobe folks I know in film advised me who I should NOT contact. While there are a few places that would store them in museum-like archives, they would be made available to both film and theatre productions which woulnd’t work out. However, there may be Canadian museums that may be interested – I just have to follow up with someone who said she knows someone, who knows someone who can help put me in touch with the right people.
The garment world, it is explodin’.
Necklines flarin’, buttons loadin’
They’re old enough to kill, but not for gloatin’
You don’t believe in stays, but what’s that strap you’re totin’
And even the East River has bodies floatin’
But you tell me
Over and over and over again, my friend
Ah, you don’t believe
We’re on the Eve of destruction.
List above.
I see from the list that there are no lacy undergarments available. I understand that there’s a very big market for those types of garments (preferably freshly worn).
How long has that been there??? Da-amn, I’m going blind!
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Sheer black silk-chiffon teddy, probably early 1930s.
-
1930s brassiere, peach satin and white lace; fastening wraps all the way around to hook in front.
-
Plum and peach silk camisole, early 1930s, thin straps, lace V-insert at neckline.
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White rayon slip with silver-thread stripes on bias pattern, probably 1930s.
Evidently, I’m going blind as well.
#4 sounds pretty hot
Eve,
You might want to give the folks at the Philadelphia University School of Textiles and Materials Technology a call. They have a fashion design program, and might really like your collection.
This school was the first textile school in America, formerly the Philadelphia College of Textiles and Art.
School House Lane & Henry Avenue
Philadelphia, PA 19144-5497
Tel: 215.951.2750
Eve, that collection is worth thousands of dollars. Are you sure you don’t want to sell it? A museum would be nice but if you can’t find one there’s no point in keeping them if someone will buy them.