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When an item of clothing enters our collection, its status is changed irrevocably. What was once a vital part of a person’s lived experience is now a motionless ‘artwork’ that can no longer be worn or heard, touched, or smelled. The exhibition endeavors to reanimate these artworks by re-awakening their sensory capacities through a diverse range of technologies, affording visitors sensorial ‘access’ to rare historical garments and rarefied contemporary fashions. By appealing to the widest possible range of human senses, the show aims to reconnect with the works on display as they were originally intended—with vibrancy, with dynamism, and ultimately with life.

Andrew Bolton, Curator in Charge, The Costume Institute.

Mr. Bolton is speaking about Sleeping Beauties: Reawakening Fashion, the current exhibition on at The Costume Institute.

And of course today is the first Monday in May, which means … it’s the day of the Met Gala!

The Met Gala has become way too much of a circus for me, even just visually. Every year it’s more and more extreme and outrageous. Last year actor Jared Leto showed up in a giant white cat suit (a nod to Karl Lagerfeld’s cat). Yes it was amusing, but why can’t we just stick to beautiful clothes? All this unnecessary spectacle takes away from what should be the focus.

The Upside-Down Rose Hat by Philip Treacy is part of Sleeping Beauties. Photo: Steven Meisel.

As for the exhibit, the descriptions are somewhat complicated yet intriguing. According to an article in Vogue (May, 2024), Sleeping Beauties is featuring only clothing from The Costume Institute’s own collection (of 33,000) and 75 pieces are new acquisitions, including a gown by Christian Dior and a headpiece by Philip Treacy. Using technology, some of the oldest and most fragile pieces in the collection will be “reanimated” and presented in such a way as to give the viewer a feel for how the garment was worn – in what environment, how did the wearer stand, what scents were in the room.

The idea behind Sleeping Beauties is that attendees will have an immersive experience that will include not just sight, but also sound, touch, and smell.

One of the consultants hired for the exhibition is Sissel Tolaas, a chemist and expert on scents. She has spent the last year studying the fragrances connected to garments included in the exhibition. Apparently, attendees will be able to catch a whiff of the “fragrance elements” associated with the various garments on display, not just perfume but the body of the wearer “her habits, her culture, her rituals, the foods she ate,” explains Tolaas.

Does this pique your interest? Sleeping Beauties: Reawakening Fashion is on May 10 through September 2, 2024 at The Costume Institute in New York City.

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Photo by Tembela Bohle on Pexels.com

I was in front of the mirror trying on a coat when I saw someone trying to edge in and I turned around and it was Julianne Moore. I was flabbergasted. I just thought to myself – You don’t need to be here.

Lynette Nylande – British writer and editor.

Nylander was speaking to Elle magazine (Feb. 2024 issue) about The Row sample sale in New York City.

Everyone, EVERYONE loves a deal. According to Elle, designer sample sales are usually a rare occurrence. But in the past year, brands such as The Row, Khaite, and Comme des Garcons have been unloading their extra inventory at as much as 80 percent off the retail price. Sounds great! Except the crowds are a nightmare with over 1000 people waiting just to get in the door. (And then of course there’s Julianne Moore edging into other people’s space. Sheesh!)

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The other day I pulled out a merino wool handbag that I don’t carry very often, but I love it for spring, especially Easter. It was made in Ireland by Boyne Valley Weavers and actually, I have two – one in vibrant purple and one in natural. I think this color is a standout.

Something else unique about this bag, the satin bow tie. How charming is that? I remember my mother telling me that I had to tie the ribbon as that’s what made the bag unique. I agree, and so I always do tie the ribbon into a nice big bow.

Bows are huge this season. Designers were showing bows all over the runways and now we see them on shoes, barrettes, gloves, embroidered onto fabric, anywhere a bow can go. So, I’ll do my subtle nod to the trend with my wool handbag from Ireland.

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We should stop and really consider what it is that we’re wearing every day. And how we came by it and what it means to us, and what we are saying through what we’re wearing.

Professor Dilys Williams – Professor of Fashion Design for Sustainability, London College of Fashion.

It’s Fashion Revolution Week! This is an annual event that recognizes the anniversary of the 2013 Rana Plaza collapse in Bangladesh, where 1,100, mostly women seamstresses, died and 2,500 people were injured. FRW is a movement that seeks to raise our awareness of what’s really going on in clothing/fashion industry.

This week is an opportunity for all of us to think about our fashion and clothing choices. Where and how can we cut back? I believe what we wear matters and I’m taking Professor Williams’ quote seriously. Particularly, what we are saying through what we’re wearing?

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Martin wearing her own designs for her spring 2024 show in Milan. Photo: Vogue.

Color, print, and pattern all evoke an energy, a frequency, and when you’re wearing them, you can feel different. A lot of people are doing this subconsciously, putting on those pink pants! It’s one way to raise your vibration.

J.J. Martin – American fashion and home goods designer and founder of La DoubleJ.

This is a quote from an interview with Martin in Vogue magazine, winter 2024.

Martin believes in the power of energy and approaches her designs with that in mind. She’s known for busy, bold prints in bright colors for both her clothing and homewares, which are all made in Italy.

I’ve noticed that I’m drawn to certain colors at different times. All of a sudden for seemingly no reason, I want to surround myself with purple, bright green, or yellow. Most recently it was mauve or soft pink – I just couldn’t get enough of it, like candy, and I think it’s because I find it a comforting shade. Patterns also call out to me; often it’s plaid but this past year polka dots are my thing because they’re such fun. Perhaps subconsciously I’m shifting my vibe. Whatever is happening, I’m enjoying it!

How about you, readers? What colors and patterns are you attracted to this spring?

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More is more and less is a bore.

Iris Apfel (1921-2024) – Designer and fashion icon.

If anyone could pull off the idea of more and more and more, it was Iris Apfel. She was a fashionable independent spirit. RIP.

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Ann Lowe in 1963.

Jackie was so sweet and shy that I felt like putting my arms around her and squeezing her. Once she opened up, she would talk with me about anything. We sat on the couch and she said, ‘Will this red do for the bridesmaid dress?’ And I said no, and she laughed and said, ‘Well, all right then, you find the red.’ I brought her the shade of pink I loved best and she said, ‘You like that shade and so do I. Our minds work together.

Ann Lowe (1898-1981), American fashion designer.

In this quote Lowe was speaking about working with Jacqueline Bouvier.

Lowe was known for the fabulous gowns she created for brides and debutantes, including the wedding gown that Jacqueline Bouvier donned when she walked down to aisle to marry John F. Kennedy in 1953.

Image from the picture book Only the Best: The Exceptional Life and Fashion of Ann Lowe, by Kate Messner, Illustrations by Erin k. Robinson.

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L to R: Elaine Walteroth, Nina Garcia, Christian Siriano, Brandon Maxwell.

Over the holidays, I discovered Project Runway Season 17 was available on Netflix streaming. What fun! I hadn’t seen PR in years and so I jumped right in and watched one episode a day.

I was hooked from the start. I really like the new host, fashion model Karlie Kloss*, who replaced Heidi Klum and, although I’m a big fan of Tim Gunn, Christian Siriano (former PR contestant and winner in 2007) as mentor is much more engaged with the designers. Newcomer fashion designer Brandon Maxwell brings a Michael Kors bite to the judge panel along with returning Elle editor Nina Garcia. Also new to the lineup is Teen Vogue editor Elaine Walteroth.

Several things struck me watching the new version of PR:

  1. In general the judges were more sympathetic than in the past, particularly Kloss. Also they got up and took a close look at the construction of the clothing after each runway show – I love being in on that and hearing their comments to one another.
  2. This group of contestants seemed like really nice people. There were a couple who had bad attitudes (and weak sewing skills), but they were quickly eliminated. Other than just one other unpleasant contestant who made it to the final five, everyone was warm and friendly and they seemed to really bond with one another.
  3. Also, they helped each other! That was amazing to see – if anyone wanted to talk through their design, needed advice, didn’t know how to do this or that, there was always someone willing to step up and help. Plus they gave each other a lot of hugs. That’s not to say there wasn’t a little throwing shade during the one-on-one with the camera, but there was very little mean spiritedness.
  4. In past PR seasons there were some contestants who had almost non-existent sewing skills and I wondered how the heck they got on the show. In season 17 most of these contestants were very skilled and that made the challenges more competitive for them and interesting for us to watch.

One thing that I always come away with after a season of Project Runway is inspiration. I really enjoy the exposure to what designers from around the country are doing and thinking.

To bat away the mid-winter blues I recommend staying in with a cozy throw, a cup of tea, and Project Runway Season 17.

* Karlie Kloss has since left the show.

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I have always believed that breaking rules is what makes clothes interesting. It is what I’ve done in different ways for my entire career. I love mixing fabrics and shapes in unexpected ways – the classic with the modern, the rugged with the elegant. There are no limits, as long as it’s done with a certain taste level.

Ralph Lauren – American fashion designer.

Ralph Lauren is one of my favorite designers. I appreciate his always tasteful designs and his nod to the past.

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Image courtesy of the Fine Arts Museums of San Francisco.

Congratulations to the de Young Museum and Laura Camerlengo, Associate Curator of Costume and Textile Arts at the Fine Arts Museums of San Francisco for their latest fashion exhibition, Fashioning San Francisco: A Century of Style, open now through August 11, 2024.

There has been much anticipation among the local fashion crowd for this exhibition that features over 100 high and couture fashion pieces worn by prominent SF Bay Area women and created by top designers including:

  • Lucile
  • Jeanne Lanvin
  • Rei Kawakubo
  • Christian Dior
  • Vivienne Westwood
  • Christopher John Rogers
  • Alexander McQueen 
  • and many more – more than 50.

The Fine Arts Museums has an impressive and extensive collection of 20th and 21st century women’s fashions thanks to generous donations by Bay Area women. This is the first time in more than 35 years that pieces from the collection have been shown. Additionally there are pieces loaned to the exhibit by locals including Sherri McMullen, East Bay resident and owner of McMullen, an Oakland boutique named by Vogue and Women’s Wear Daily as among the premiere fashion retailers in the country.

Christopher John Rogers, 2021. Image courtesy of the Fine Arts Museums of San Francisco.

I was disappointed to have missed the Press Preview, but did I attend the Members Preview Day and I appreciated getting a different perspective. There was a certain excitement in the air and I enjoyed hearing people’s comments and reactions as well as chatting with fellow fashion enthusiasts, including Lee, a Bay Area resident who as a designer herself was interested in taking a close look at construction. She pointed out to me that a 1955 Dior dress has zippers underneath the sleeves.

Backed by lightweight curtains with subtle architectural designs, Fashioning San Francisco is divided into seven sections that smoothly transition from one to the next: after the 1906 earthquake, the little black dress, suits, global influences, fashion as art, formal wear, and a small collection of shoes.

While attendees moved from section to section a soundtrack of mid-century standards played in the background. I asked fellow attendee, Aldona what she thought of the music and she said that she hadn’t noticed. After listening for a moment she commented, “It’s like we’re at a party.” It did feel like a party and suddenly I craved a cocktail.

“Junon” Christian Dior, 1949. Image courtesy of Fine Arts Museums of San Francisco.

But we were already giddy looking at the dazzling fashions surrounding us. Particularly in the formal wear section, where two well-known evening gowns by Christian Dior – Junon and Venus – with their fairytale sparkle called out to the crowd.

I was also drawn to the suits and one that caught my eye was a 1999 John Galliano for Dior: wool slacks and a jacket designed to wear backwards. I would have loved to have seen it from the back. Another Galliano that I liked was an ensemble with a short black jacket that had unexpected cutout detail on the sleeves.

John Galliano jacket, 1996. Love that detail!

Something new (at least to me) was the use of two levels of mannequin displays, called “balconies” one on top of the other. I liked the simplicity and use of space, plus it felt fresh and it offered viewing from a distance – why not bring opera glasses? Also new and great fun is Snap AR Activation, which allows attendees to “try on” some of the couture in the exhibit. Stand in front of a screen and like magic it will drape your reflection in a beautiful gown. (Don’t miss it – it’s located downstairs from the main exhibit.)

Well-Suited. The John Galliano for Dior suit I mention is center bottom. Image courtesy of the Fine Arts Museums of San Francisco.

For a deeper dive, Laura Camerlengo has edited a 336 page catalogue that accompanies this exhibit and includes detailed images, information about who owned and wore some of the pieces, and essays by fashion historians.

The exhibition catalogue is available in the museum shop.

I walked through the exhibition three times and could have circled again and again and still spotted something I didn’t see before and that’s a good reason to buy the book.

Fashioning San Francisco: A Century of Style is a fashion feast. Don’t miss the party. Click here for tickets.

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