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Aim Hisgh! [color advertisement; tear sheet]

Advertiser:
Container Corporation of America  Search this
Artist:
Bayer, Herbert, 1900-1985  Search this
Collection Creator:
Ayer (N W) Incorporated.  Search this
Extent:
1 Item (Ink on paper., 14.4" x 12.2".)
Container:
Box 142 (Series 3), Folder 1343-1344
Type:
Archival materials
Tear sheets
Advertisements
Date:
1943
Scope and Contents:
"Military production sights are set high - because quantities of metals, plastics, wood are released by new packaging in paper." Iluustration of planes flying toward the center of a target range finder by Herbert Bayer.
Local Numbers:
AC0059-0000213 (AC Scan)
Collection Restrictions:
The collection is open for research use.

Physical Access: Researchers must use microfilm copy. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Technical Access: Viewing the film portion of the collection without reference copies requires special appointment, please inquire; listening to audio discs requires special arrangement. Do not use original materials when available on reference video or audio tapes.
Collection Rights:
Publication and production quality duplication is restricted due to complex copyright, publicity rights, and right to privacy issues. Potential users must receive written permission from appropriate rights holders prior to obtaining high quality copies. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Container industry -- Equipment and supplies -- 1940-2000  Search this
Containers  Search this
Packaging  Search this
advertising  Search this
Genre/Form:
Tear sheets
Advertisements -- 1940-1950
Collection Citation:
NW Ayer & Sons, incorporated Advertising Agency Records, Archives Center, National Museum of American History
See more items in:
N W Ayer Advertising Agency Records
N W Ayer Advertising Agency Records / Series 3: Proof Sheets / Container Corporation of American, containers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86f950401-3b97-463f-a5dd-239b9da03cb1
EDAN-URL:
ead_component:sova-nmah-ac-0059-ref8617

Priscilla of Boston Collection

Creator:
Kidder, Priscilla C. (costume designer)  Search this
Priscilla of Boston.  Search this
Extent:
4 Cubic feet (14 boxes)
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Clippings
Tear sheets
Correspondence
Sketches
Date:
1940-1996
Summary:
This collection includes letters, sketches, style books, publicity photographs, tearsheets, articles and clippings, scrapbooks, and business documents relating to Priscilla Kidder, the Priscilla of Boston Company, and the American wedding industry. This collection is extraordinarily useful in documenting the development of wedding fashion during the last half of the 20th century. It also illustrates how a small, family-owned, woman-run business grew into a large, nationally known operation.
Scope and Contents:
The primary material in this collection consists of a few letters, mostly relating to fashion shows; photographic portraits of Priscilla Kidder, possibly from her days as a bridal gown model; sketches; and three different types of style books, one for store buyers containing information on ordering and on the various product lines, one for sales associates containing information helpful in selling the gowns and measuring and fitting the client, and one for factory Afloor girls" containing information about the construction of the gowns. Some of the style books were used by the company as "chicken books", i.e., annotated with scratch marks to indicate quantities of orders in each style, which designs were taken off line, etc. They also contain information on type of fabric and ornamentation used, yardage, measurements, available sizes, color, where advertised, and a brief description of each gown. These are arranged by line (i.e., Priscilla, Teeny, Contemporary Romantic) and thereunder by design number. Additionally, the collection contains some assorted internal business documents, but these are merely samplings of different kinds of company records and do not form a cohesive record of the business. The majority of the collection consists of secondary material from the 1950s to the 1990s, including publicity photographs, tear sheets from magazine advertising, newspaper clippings, and scrapbooks containing additional tear sheets and clippings and articles.

This collection is extraordinarily useful in documenting the development of wedding fashion during the last half of the 20th century. It also illustrates how a small, family-owned, woman-run business grew into a large, nationally known operation.
Arrangement:
The collection is divided into ten series.

Series 1: Letters

Series 2: Items related to Priscilla Kidder

Series 3: Design sketches

Series 4: Style books

Series 5: Publicity photographs

Series 6: Advertising tear sheets

Series 7: Articles and clippings

Series 8: Scrapbooks

Series 9: Assorted business documents

Series 10: Miscellany
Biographical / Historical:
Priscilla Kidder actively participated in every aspect of the wedding industry for almost fifty years. She was a nationally known figure whom journalists often referred to as the "Dior" of bridal design. Priscilla Comins Kidder was born in Quincy, Massachusetts in 1918. After finishing high school she opened a small yarn shop in the community. After completing her education in retail design at the New England School of Design, she took a job at R.H. White's department store in Boston, Massachusetts. At R.H. White's she worked her way up from model to sales associate to assistant buyer in the bridal department.

The limited selection of bridal gowns available to women in the early 1940s moved Priscilla Kidder to leave R. H. White in 1945 to start her own bridal salon, which would offer a broader selection of bridal lines to a variety of brides. With the help of her husband, who became the financial consultant, she opened "The Bride's Shop" at 129 Newbury Street. It grossed $10,000 in its first week of business.

Priscilla of Boston Company grew at a rapid pace, and quickly established a national reputation. The company prided itself on innovation, and its designers blended ongoing fashion trends with classic looks to create various dress styles. One difference which distinguished Priscilla of Boston gowns from those of other bridal manufacturers in the 1940s was the decoration on the gowns. Wedding gowns at that time tended to be simple without a substantial amount of ornamentation. Priscilla was the first designer to use large amounts of lace to decorate her gowns.

Over the years Priscilla of Boston has had numerous bridal lines, in addition to the custom work that the company continued to do. In addition to the "Priscilla" line, the company started the "Betsy" line, named for Priscilla Kidder's daughter, which was created in 1960 for the woman who wanted an inexpensive dress. The "Teeny" line, later renamed the "Petite" line, was a more sophisticated title, created for the small woman. The most recent line created, in 1980, was the "Contemporary Romantic" line, a less formal gown for the refined woman. Priscilla of Boston also designed dresses for bridesmaids, mothers of brides, and debutantes.

Priscilla of Boston grew quite large, with stores and factories in Massachusetts and New York. Despite the growth of the business, which at one point manufactured more than two thousand dresses a month, the company always maintained a small, personal atmosphere. The company did not unionize, but instead functioned on a profit-sharing basis. Mrs. Kidder continuously attempted to influence the bridal industry in the United States. She stressed running a business that focused on New England morality and maintaining its family atmosphere. Priscilla Kidder also believed that a bridal showroom should hire a consultant who was near the age of the brides-to-be and was a person whom the customers could relate to.

Priscilla Kidder, along with her sister Natalie, designed the bridal gowns for the company when it first opened in 19434. She soon turned the duty over to a small team of designers. Priscilla Kidder's favorite designer was John Burbidge. His preference for elaborate gowns matched Priscilla Kidder's taste. Although she stopped designing, she stayed involved in the creative process, overseeing each sketch. Priscilla also was directly involved with the stores that marketed her gowns. She traveled throughout the United States to hold fashion shows or visit showrooms. On these trips she advised brides on how to make their weddings the most special day of their lives. She kept a high profile in the media and she created a distinctive image for herself that helped sell her products.

Among Priscilla Kidder's many accomplishments are: being chosen to design Grace Kelly's bridesmaids' gowns for her wedding to Prince Rainier in 1956; having one of her gowns selected by Luci Baines Johnson for her 1966 wedding; and designing Julie Nixon's bridal gown in 1968 and Tricia Nixon's in 1971. Priscilla Kidder credits herself with three innovations within the bridal industry. She was the first to create a petite line for the smaller woman. She also introduced gowns with pale pink coloring beneath the white fabric for a trompe l'oeil effect, and introduced a style with silk shantung. In 1993 Priscilla Kidder sold her family business to Priscilla Kaneb.
Provenance:
Collection donated by Priscilla Kidder, founder of Priscilla of Boston, December 17, 1996.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Wedding costume -- 1940-2000  Search this
Women in business -- 1940-2000  Search this
Women costume designers -- 1940-2000  Search this
Fashion design -- 1940-2000  Search this
Costume design -- 1940-2000  Search this
Genre/Form:
Scrapbooks -- 20th century
Photographs -- 20th century
Clippings -- 20th century
Tear sheets -- 1940-2000
Correspondence -- 20th century
Sketches -- 1940-2000
Citation:
Priscilla of Boston Collection, 1940-1994, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0557
See more items in:
Priscilla of Boston Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8a211c23d-8122-4736-b8b6-84ea7d267552
EDAN-URL:
ead_collection:sova-nmah-ac-0557
Online Media:

Pillsbury Company Bake-Off Collection

Collector:
Pillsbury Company  Search this
Extent:
2.15 Cubic feet (7 boxes)
Type:
Collection descriptions
Archival materials
Print advertising
Tear sheets
Cookbooks
Videotapes
Date:
1933-1998
Scope and Contents:
Material documenting Pillsbury's Bake-Off from its inception in 1949 through its 50th anniversary in 1999. Papers include primarily cookbooks issued after Bake-Offs, biographies of contestants and VHS videos of five Bake-Offs.
Arrangement:
The collection is arranged into fivce series.

Series 1: Historical Background Series 2: Cookbooks, 1933-1998

Series 3: Bake-Off Contestants, 1957-1998

Series 4: Videotapes of Bake-Offs, 1950, 1955, 1968, 1976, 1996

Series 5: Advertisements, 1949-1983
Historical:
The Pillsbury Company donated these materials to the Archives Center in 1999 as part of the company's celebration of its fiftieth anniversary of the Pillsbury Bake-Off. The inspiration for the contest was to acquire recipes using Pillsbury's Best Enriched Flour for placement inside bags of the flour. The first contest, held in New York City's Waldorf Astoria in 1949, was so successful that Pillsbury decided to hold the contest each year. In the mid-1970s, however, the Bake-Off began to be held every other year with the result that the 50th anniversary Bake-Off in 1998 was, in fact, the 38th contest. An indicator of the status of this on-going baking event, especially in its early years, was the attendance of Eleanor Roosevelt at the first contest, the Duke and Duchess of Windsor at the second, and Mamie Eisenhower in 1962.
Provenance:
Collection donated by The Pillsbury Company, through Ms. Jackie Peterson (letter from Craig Orr to her, April 5, 2001).
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Contests -- United States  Search this
Food  Search this
Housewives -- United States  Search this
Baking  Search this
Baked products  Search this
Cookery, American  Search this
Genre/Form:
Print advertising
Tear sheets -- 1940-2000
Cookbooks
Videotapes
Citation:
Pillsbury Bake-Off Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0690
See more items in:
Pillsbury Company Bake-Off Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8de1356a4-28a8-42ea-ae72-60faf4ca28b7
EDAN-URL:
ead_collection:sova-nmah-ac-0690
Online Media:

Breck Girl. [Kim Basinger as a bride.] [Print advertising tear sheet.]

Advertiser:
Breck, John H., Inc.  Search this
Artist:
Williams, Ralph William  Search this
Names:
Basinger, Kim  Search this
Collection Creator:
Williams, Ralph William  Search this
Breck Company.  Search this
Dial Corporation.  Search this
American Cyanamid Company  Search this
Sheldon, Charles  Search this
Extent:
1 Item (col., 29 x 21 cm.)
Container:
Box 9, Folder 10
Type:
Archival materials
Tear sheets
Print advertising
Scope and Contents:
Portrait of Kim Basinger as a bride, .
Local Numbers:
Ivorydata4 1173

03065112 (Scan No.)
Restrictions:
Unrestricted research use on site by appointment. Reproduction restrictions due to copyright.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Hair -- Care and hygiene  Search this
Shampoos  Search this
Women in advertising  Search this
Brides  Search this
Endorsements in advertising  Search this
Genre/Form:
Tear sheets -- 1940-2000
Print advertising
Collection Citation:
Breck Girls Collection, ca. 1936-1995, Archives Center, National Museum of American History.
See more items in:
Breck Girls Collection
Breck Girls Collection / Series 3: Print Ads / Breck Girls
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep887dda4b2-b8a3-4178-a1e2-c508dfb7de5d
EDAN-URL:
ead_component:sova-nmah-ac-0651-ref952

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