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School of Fashion Industries
The mission of the School of Fashion Industries is to provide a challenging, creative, efficient and professional, technical and academic training for students of the City of New York. The faculty and administration of our school, in collaboration with the cooperation of parents and students and with the support of the apparel industry, seek to provide a unique learning experience and a specially designed program for all students who have interest in a field related to fashion. The school has devised programs which merge academic and vocational knowledge and skills, helping students to meet all graduation requirements and to see the unity in diversity of learning.
night "> http://www.himfr.com/buy-evening_purple/" night> purpleAdmission to the School of Fashion Industries is highly selective. Students must complete an application to the Board of Education take school examination that includes a technical aptitude test and submit a portfolio. Students should not have formal training in the arts and many students who have little drawing application skills. For prospective students, the school offers brochures in most high schools and several open houses during the year including a mock school day with classes of 15 minutes.
These murals were painted between 1939 and 1940 by Ernest Fiene [7] [8] and have the status of benchmark. Below is a description of these murals, adapted and condensed from a student handbook written in late 1950. [9] light the walls in the auditorium of the School of Fashion Industries, agitation and unusual murals painted by Ernest Fiene attract the eye and mind of all who behold them. Addition to be a beautiful work of art, these images have the function of representing in a dramatic and moving the long generation of hope and despair, and high level of social and industrial achievement in the needle trades.
The first panel is titled "The victory of light over darkness." Disorganized society symbolizes be channeled through the light. The background shows old Castle Garden, and immigrants who come from there, fleeing the racial animosity and oppression in Europe. These immigrants, of many races and creeds, go to the left at a typical East Side street. The CDR shows the old New York skyline which is now the Customs and in the far distance appears a rosy light of a future horizon.
In the foreground from right to left are sweat shop, work at home, and conditions of child labor. Ominously hovering over this group is a great green figure symbolizing greed. In his right hand holds the cut fabric, typifying what was known in the needle trades as "the struggle for the package." Packets, as depicted, were auctioned by the lower-class manufacturers to more bidders. This practice creates a real threat to the general public due to unsanitary conditions in which the clothes are made. There seems no need to emphasize the harrowing and brutal poverty struggle for the work involved for the work themselves. For manufacturers and decent craftsmen in the industry was in great danger and the constant threat of insecurity.
Illustrates the core group of men, women, and children performing homework packets, the kind which is pictured right under the guise of greed. The line of people carrying bundles was a familiar sight on the lower East Side.
The large figure on the left, representing the Enlightenment points with his right hand to a group that symbolizes the 1911 fire in the Triangle, a terrible event in the history of the needle trades, which seemed the culmination and summary of all the injustices and poor conditions in which workers of that time suffered. When there was a fire in the factory of the Triangle Waist Company, panic followed, the workers ran to the door that could only be opened inwards, and in the press, no one could get the door open to everyone. Girls were crushed, and some jumped from windows, others were burnt to death.
For some time before the fire, the pressure grew to make changes radicals in the industry, culminating in a general strike cloakmakers in 1910, as a result, future leaders have combined their efforts to establish agreements between workers and the direction that led to the dramatic realization of the Protocol of Peace, the beginning of a new ear and constructive role in the needle trades.
It should be noted in section illustrating the development of immigrants in the workshops of the last two figures are numbered. These numbe3rs have special meaning: No. 42 was Max Meyer, and No.43 was her father. Alsace had left because he could not bear the humiliation of the invasion and occupation of Prussia. (Max Meyer became a leader in the apparel industry and one of the founders of the School of Fashion Industries.)
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In the second panel (on the opposite wall), the needle five operations are shown working together in harmony. In the top center LadiesGarment workers are on the left are the shoemakers, on the right are the furriers, insert panel on the right shows the hatters, and the left shows the working men clothes. Each of the five sections illustrating the various processes and tools used in the industry. (When the school opened its doors as the School of Needle Trades central five trades were taught, using tools shown in the panel.)
The group portrait at the bottom center represents a key personalities in the raising of standards in the industry. Represent government, education management and unions. The figures are, from left to right, seated: Sidney Hillman, a former president of the Confederation of Workers clothing; Dudley Sicher, philanthropist, August Bellanca, ACW, Gov. Herbert H. Lehman, President Roosevelt, Mayor LaGuardia, David Dubinsky, president of the ILGWU; Max Zaritsky, chair, hat, cap and Women Workers Union. Standing From left to right: Maurice tenants, Walter K. Marks, Samuel Klein and Samuel Deitsch, manufacturers and industry spokesmen, Stephen Voorhees, architect and president of the Vocational Advisory Committee; Hillquit Morris, Max Meyer, president, embroidery Education of the Committee, Senator Robert F. Wagner, Raymond V. Ingersoll, Brooklyn Borough President, Mrs C Roger Bacon, civic leader, Nathan Ohrbach; Gustave Straubenmuller, a pioneer in education voicational, Luigi Antonin, first vice-president ILGWU, Ernest Fiene, muralist.
To the left is Union Health Center and how it works. Insertion in the right panel shows workers at a play, the scene in the stage of being "on Sunday Park at the ILGWU magazine, "pins and needles."
The final two sections illustrate the current and future achievements. These include semi-anatomical figure with the Housing Project Knickerbocker right and the left section with the woman and the child's education that symbolizes and recreation. The buildings immediately to the memorial fund housing projects of the Confederation clothing for workers? Union.
And it extends across the panel are words taken from "Song of General Axe" by Walt Whitman, poet of democracy, of American States, of all mankind: The main forms arise! The forms of democracy, always projecting
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