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Pagoda In James's ranking of his top four creations, the Pagoda came in at number four for its emphasis on the "fine art of tailoring." Originally designed in 1954, Harper's Bazaar featured the suit in its July 1955 issue,

Pagoda In James's ranking of his top four creations, the Pagoda came in at number four for its emphasis on the "fine art of tailoring." Originally designed in 1954, Harper's Bazaar featured the suit in its July 1955 issue,

James, a piano prodigy, manipulated favorite arrangements of structural details into varied compositions, much like musical themes and variations. The neckline, halter, and cap sleeves of this lithe crepe dress are a riff on the designer’s predilection for splitting and overlapping pattern pieces and their extensions.

James, a piano prodigy, manipulated favorite arrangements of structural details into varied compositions, much like musical themes and variations. The neckline, halter, and cap sleeves of this lithe crepe dress are a riff on the designer’s predilection for splitting and overlapping pattern pieces and their extensions.

Black silk satin with shirt styling and 3/4 sleeve having black grosgrain ribbon trim to the collar, turn-back cuff, angled bodice tucks and angled pockets, self buttons front and above cuff, set-in waist, padded hip, flaring skirt with center front pleat continuing to hem from buttons, back having two opposing wide pleats.

Black silk satin with shirt styling and 3/4 sleeve having black grosgrain ribbon trim to the collar, turn-back cuff, angled bodice tucks and angled pockets, self buttons front and above cuff, set-in waist, padded hip, flaring skirt with center front pleat continuing to hem from buttons, back having two opposing wide pleats.

Sketch, Charles James, 1950-57; paper, graphite. The Metropolitan Museum of Art (2009.300.3606)

Sketch, Charles James, 1950-57; paper, graphite. The Metropolitan Museum of Art (2009.300.3606)

Pagoda In James's ranking of his top four creations, the Pagoda came in at number four for its emphasis on the "fine art of tailoring." Originally designed in 1954, Harper's Bazaar featured the suit in its July 1955 issue,

Pagoda In James's ranking of his top four creations, the Pagoda came in at number four for its emphasis on the "fine art of tailoring." Originally designed in 1954, Harper's Bazaar featured the suit in its July 1955 issue,

The coat of this suit references the jackets of the Incroyables of the French Directoire and the dandies of the English Regency. The collar, cut high as in the historical precedents, falls in soft folds and wrinkles like the neckerchief of a fop

The coat of this suit references the jackets of the Incroyables of the French Directoire and the dandies of the English Regency. The collar, cut high as in the historical precedents, falls in soft folds and wrinkles like the neckerchief of a fop

sleeveless afternoon dress made of white crepe, v neckline & revers. centre front closure, hip length jacket also in white crepe, rises to an inverted V at the ctr front waist, above-elbow sleeves are cut in one with the body. met museum

sleeveless afternoon dress made of white crepe, v neckline & revers. centre front closure, hip length jacket also in white crepe, rises to an inverted V at the ctr front waist, above-elbow sleeves are cut in one with the body. met museum

Black wool jersey with curved 3/4 sleeve having pinched and angled button cuff, bodice with curved seam incorporating sleeve in two pieces, straight center front seam split to form wired half collar, pencil skirt having two front pleats aligning with bodice seams, and angled folds over hip meeting at center of back over flaring back overskirt with bias cut silk faille lining having rows of diagonal stitching. Grosgrain interior waistband with hook and eye closure, partial silk lining.

Black wool jersey with curved 3/4 sleeve having pinched and angled button cuff, bodice with curved seam incorporating sleeve in two pieces, straight center front seam split to form wired half collar, pencil skirt having two front pleats aligning with bodice seams, and angled folds over hip meeting at center of back over flaring back overskirt with bias cut silk faille lining having rows of diagonal stitching. Grosgrain interior waistband with hook and eye closure, partial silk lining.

Suit Coco Chanel, 1950 The Museum at FIT

Suit Coco Chanel, 1950 The Museum at FIT (OMG that dress!)

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