Cora Harrington

@cora.bsky.social

22374 Followers 332 Following

Aspiring Fashion Historian. MA student in Fashion & Textile Studies. Formerly The Lingerie Addict.

Cover of In Intimate Detail: How to Choose, Wear, and Love Lingerie by Cora Harrington. Book cover has pastel pink background with black lace lingerie set front and center. Text is black. Book is surrounded by baby’s breath flowers on neutral background.
IMDB line credit for Debra Pugh as fashion designer for Jem and The Holograms
Side by side image of ad for North Beach Leather in American Vogue March 1985 issue featuring two models in purple: one in spaghetti strap ruched dress and the other in blazer and pants. Right is of main character Shana in the ruched dress with white blazer on top.
Individual American Vogue covers for the dates indicated in the post
24 individual and unique costumes from Jem and the Holograms in a variety of colors and silhouettes for the main characters.
4 members of Jem and the Holograms from left to right: Aja, Jem, Kimber, Shana. Aja and Shana are playing guitar. Kimber is playing keytar, and Jem is singing into microphone. Aja has blue hair and wears a pink shirt and purple miniskirt. Jem has pink hair and wears a pink minidress with fringes belt. Kimber has red hair and wears blue capris, white blazer, and pink blouse underneath with cuffs that peek through end of sleeves. Shana has purple Afro and wears purple dress with silver blazer on top. The background is yellow, orange, purple color gradient. Jem logo is in bottom left corner.
Historical price conversions are a core area of concern and interest in costume studies. For fashion historians, curators, or reenactors, the question is: how does one explain the equivalent price of something worn in the past to someone in the present? I suggest a more quantitative understanding of historical prices will help researchers, professors, writers, and others better interpret the garments they examine, both within the field of costume studies as well as other disciplines such as literature, art studies, and sociology. The ambition of this paper is to showcase an alternative tool for fashion researchers to translate and explain historical fashion prices to a contemporary audience beyond simple Consumer Price Index tracking. The instrument this paper proposes is called Measuring Worth, which offers the possibility of wage tracking over time as another way to interpret historical prices.
Cora stands to the side of a lettering that reads in cursive script “All That Glitters.” She wears a black sequined, just below the knee dress, with large gold bugle bead bow. The dress has sleeves to the elbows. Her hair is down and she’s wearing large crystal earrings.
Cora wearing a gold sequin dress and black ankle boots standing next to the text “All That Glitters” on the wall and a small sign that says, “Presented by the School of Graduate Studies and the Museum at FIT.”
Rectangular image featuring large size text “All That Glitters…” in elegant cursive script with February 26-March 25, 2025 in smaller type beneath it. To left of text is image of dressed mannequin wearing white cheongsam with large gold sequin flowers and curves.
White linen embroidered gown, sleeveless with low narrow empire bodice with drawstring, narrow inner panels, inner lacing to centre front, gathered back and long train, embroidered in chain stitch with floral sprigs overall, bust 72cm, 28in; together with a fine Dakha stole/veil of the finest plain Indian muslin; and a plain scarlet pashmina long shawl (3)
Photo is of late 19th century European court dress featuring red bodice embroidered with purple, gold, and white flowers, white underskirt embroidered with purple, white and gold flowers, and red velvet train embroidered with purple, white, and gold flowers. The velvet fabric of the bodice and train and the satin fabric of the skirt are probably domestically produced, while the chrysanthemum pattern is Japanese embroidery. This taireifuku was donated to the Costume Museum by the grandson of Emperor Meiji.
Photograph of American inventor and abolitionist Thomas L Jennings, taken first half of 19th century. Jennings is a thin Black man in an informal 3 piece suit.
Detail of embroidery on robe a la francaise, featuring floral sprigs, bows, metallic lace, metal spangles, metal strips, and ribbons on cream silk background
Photo of a silk robe a la francaise. Dress is flat, but not fully extended. Features spangled embroidery and floral embroidery throughout and ruffled, elbows length sleeves
Photo is of two miniature “female form” mannequins, one covered in white knit cloth and the other covered in black knit cloth, side by side
Cover of Costumes and Textiles of Royal India by Ritu Kumar. There is a photograph of small child in decorated attire and jewels to the right, and a wide border of printed fabric to the left. Color is black and white tones,.
Photo is of model with dark straight hair posed in front of navy painted wall. Model wears a long sleeve and long leg onesie with an all-over, multicolor print of large moths.
Lanky blonde woman with damp, long hair sitting in bath tub wearing dark gray sequined dress and dark gray mermaid tail. The ends of her tail fin are on the red brick floor and a bar of soap is near them.
Screenshot from fitnyc.edu Top of screenshot is detail image of Paco Rabanne wedding dress made of plastic tiles joined together with metal rings. Tiles are glitter, pearlescent, and opaque white. Text: FIT's School of Graduate Studies, in collaboration with The Museum at FIT, presents All That Glitters..., a new exhibition conceived and organized by graduate students in FIT's MA Fashion and Textiles Studies program. All that glitters is not always gold -it can be any medium that catches the light, shines, and reflects. The post-World War II era saw a blossoming of new textiles and technologies that changed the relationship between fashion materials and light. All That Glitters... explores surfaces that shine, focusing on themes of material production, social and financial values, and conservation. It examines not only the bright side of these materials, but also their darker side-including their environmental impact and their use in protests, such as "glitter bombing."
R.A.: So you remember your past lives? P.R.: Three thousand years ago, I was the oldest Egyptian priest during the time of Amenophist III and IV. I taught religion to Amenophist IV, who later changed his name to Akenaton. When Akenaton was killed by the priests of Thebes, I killed his half-brother, the young prince Tutankhamen. When I was in architecture school there were all these Egyptologists. The most famous is Clement Robuchon. When I told this story to the architects and specialists, everyone laughed. They explained that Tutankhamen wasn't murdered but rather he had died of natural causes. I replied that no, I had in fact killed him by breaking his neck. The only one who believed me was Clement. Fifteen years ago American Egyptologists exhumed the mummy of Tutankhamen, and they discovered that he had a broken neck. L.E.: No way! P.R.: The Egyptologists asked in disbelief, "How did you know?" and I replied, "Easy, I'm the one who killed him."