effort were then made available for domestic use. Aluminum, in particular, was of great interest to textile manufacturers. Liebes was excited and inspired by these possibilities, especially the innovative ways in which they could be worked and manipulated. She once remarked in a lecture to design students in Chicago, “Consider the shining cellophanes, dull acetates, lacquered plastics, treated leathers, artificial horsehair, non-tarnishable materials and glass threads!” Dorothy Liebes is often credited as a vital part of the California Modernist movement, and in the 1940s and 50s she was one of the most well-known textile designers in the United States. In contrast to the neutral palette of many of her modernist contemporaries, Liebes is well known for her unexpected use of materials, vibrant color and pattern. She had a penchant for combining seemingly mismatched colors in a cohesive, visually pleasing manner. Liebes famously called color a “magic elixir” and her textiles were characterized by their rich vibrant hues. She coined this the “California Look”, which quickly was referred to as the “Liebes Look”. Dorothy Liebes was a talented weaver, but she was also a sharp businesswoman who believed that mass-produced textiles could reach wider audiences, regardless of client budgets. While still retaining a handwoven appearance, Liebes worked to design power-loomed fabric in a myriad of different styles and materials. Not only were her textiles accessible, but she made a powerful partner for industry. Liebes was a design consultant for companies such as DuPont, Dow, Bigelow-Sanford, and Goodall Fabrics of Sanford, Maine. A promoter of textile mass-production, she advised on the development of synthetic fibers, and assisted in the development of machinery that could replicate the aesthetic irregularities and unevenesses of hand-loomed fabrics. From 1955 to 1971 Liebes acted as DuPont's home furnishings consultant. As a spokesperson for the company, she helped the general public overcome adversities to synthetic fabrics. Liebes is recognized for introducing therapeutic craft programs for World War II veterans across America. In 1942, she was appointed as National Director, Division of Arts & Skills, American Red Cross. From 1961 to 1972, acclaimed artist Emma Amos worked as a designer/weaver for Dorothy Liebes. Awards Liebes was one of the first recipients of the Neiman Marcus Fashion Award at their launch in 1938. In 1946, one of her designs was chosen best textile by the American Institute of Decorators The following year, 1947, she received the Craftsmanship Medal from the