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Posts Tagged ‘fashion history’

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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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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I remember walking in and just being hit with the sense – Oh my god, they’ve bottled this. They have absolutely crystalized everything that I hate about high school and put it in a store.

Moe Tkacik – American journalist.

Tkacik is speaking about her experience at the retail store Abercrombie and Fitch in the documentary White Hot: The Rise and Fall of Abercrombie and Fitch.

Once I walked into the A&F located in the Westfield Mall in downtown San Francisco. It was loud and it was dark and I walked right back out.

I just watched this fascinating documentary and there’s quite a story to A&F – the rise under CEO Mike Jeffries – financial success – illegal business practices – mottos such as “we go after the cool kids.” Apparently, corporate managers really did not want what they considered unattractive people to work in their stores or even to buy their clothes.

Did you know that A&F was originally a sporting goods store? It opened in 1892 and sold everything outdoorsy – golf clubs, tennis rackets, camping gear, hunting rifles, sports clothing, and so on. When business declined in the 1980s, Limited Brands bought A&F and revamped it, selling an American collegiate look to teenagers. It was a huge hit, until it wasn’t.

As I said, this is quite a story! White Hot is currently streaming on Netflix.

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Vogue cover, April 1, 1910.

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Photo by Skylar Kang on Pexels.com

I somehow persuaded the managing editor’s office that Issie needed my help with shoots, and spent a blissful six months working for her. I would arrive at 10, dressed in my uniform of black jeans and a black polo neck (all I could afford then), and sit in the dark corner Issie had been allocated in the spacious fashion editor’s room (her ebullience distracted the other editors, who placed her as far away as possible). I would start organizing what we were going to do that day … Invariably the phone would ring about 11, with Issie on the line saying, ‘Darling – could you come round to Elizabeth Street? Had too much gin last night.’ I’d grab a black cab, head over to Belgravia, sit by Issie’s narrow four-poster bed taking notes, and spend the rest of the day executing her wishes.

Plum Sykes – British fashion journalist.

This quote is from the article, Goodbye Vogue House, in Vogue magazine, December 2023. The British Vogue magazine headquarters (called Vogue House) is relocating after decades in the same Mayfair building. Three former staff members, including Sykes, chimed in on their memories of working at British Vogue.

Sykes was at Vogue in the early 1990s working for the dynamo fashion icon Isabella Blow (Issie).

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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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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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After The Ball: Formal Wear in the Big City is one of the sections of Fashioning San Francisco: A Century of Style on now at the de Young Museum. Image courtesy of the Fine Arts Museums of San Francisco.

Opening night gives San Francisco a chance to get the fashion jump … and the well-dressed women make the most of their chance.

A quote from an article in Life magazine, 1952.

Check back tomorrow for my review of Fashioning San Francisco: A Century of Style.

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