In contrast to last weeks book, which was the heavily illustrated Fashion and the Art of Pochoir, this weeks selection is all about the words. Couture Confessions: Fashion Legends in Their Own Words, by Pamela Golbin (Chief Curator of Fashion and Textiles at the Musée des Arts Décoratifs in Paris) is a compilation of words, opinions and thoughts written or spoken by a number of high profile (and deceased) 20th century fashion designers jig sawed together so that they appear to have been interviewed by the author. It is a clever way to bring a fresh perspective to these long-gone artists. This particular construct places greater emphasis on the designers’ personalities, as well as their design sense and communication styles.
I’ve read the introduction and part of the first ‘interview’ and really do want to read more. I’m learning about designers I thought I knew pretty well (like Poiret, Chanel, Balmain, and McQueen, among others) and it feels like pleasure reading, rather than academic’s ‘versions’ of designers. That said, the academic information is more readily available than in some other texts (yeah for chapter endnotes!)
The introduction is similarly constructed as an interview between the author, Pamela Golbin and Hamish Bowles. In it, she draws parallels between issues faced by the fashion industry now, and those that have been faced historically. One particularly timely point is the perennial problem of the speed of Fashion. Prior to his relatively recent departure from Dior, Raf Simons spoke to Cathy Horyn about it. Here, Golbin notes that historically designers “all had issues with time management, if I can put it that way. Whether it’s Poiret or Lanvin or McQueen, they all speak about that fact that they don’t have enough time to design their collections; that they have to keep producing in order to satisfy the demand.” (12)
Designer ‘interviews’ included in this nifty resource are: Paul Poiret, Jeanne Lanvin, Madeleine Vionnet, Gabrielle Chanel, Elsa Schiaparelli, Cristóbal Balenciaga, Christian Dior, Madame Grès, Pierre Balmain, Yves Saint Laurent, and Alexander McQueen. They are all represented in their own words, with the exception of Balenciaga: “Quite simply because he never gave an interview during his entire career, except or the one he agreed to at the end of is life. I couldn’t think of publishing this book without having Balenciaga in it, so I chose to have his peers speak about him. It says a lot about how respected he was within the fashion community…” (13)
To give an example of what these chapters are like, here is a brief section of the ‘interview’ with Paul Poiret:
What is your contribution to the vocabulary of couture?
Some have been good enough to say that I exercised a powerful influence over my age, and inspired an entire generation. it would be presumptuous of me to agree, and I must say it makes me feel uncomfortable; though if memory serves, when I started out all color was absent from fashion.”
Could you elaborate on that, please?
The faintest of pinks, lilac, swooning mauve, light hydrangea blue, watery green, pastel yellow, and the barest beige — all that was pale soft, and insipid was held in high esteem. So I decided to let a few wolves into the sheep’s pen — reds, greens, violets, bleu de France that raised the voices of the rest.”
I’m eager to read the other chapters to see what new subtle nuances can be learned of these already well-documented designers. The book ends with a very brief round-table style group discussion with all the designers statements that answer the question, “What is Fashion?.” Ultimately, this book is an insightful, useful, and inspiring resource for both the novice and established fashion historian (especially one looking for designer’s in their own words).
As a part of my need to play catch up (I took on too many projects recently), I’m starting a summer series to share the giant stack of new books that have come through my front door. And you’ll be happy to know that I’m focusing on the good ones! I (and a few contributors), will be covering everything from the fashion illustration history, some major new works cover 20th century fashion history, new works on the field of dress, Hair (and more as the books roll in!) Stay tuned !
First on my list of ‘must read’s’ this summer is the giant, beautiful and highly informative Fashion and the Art of Pochoir: The Golden Age of Illustration in Paris by April Calahan and Cassidy Zachary (Thames & Hudson, November 2015). The fact that the book is dedicated to Dr. Lourdes Font (“whose passion and vast knowledge have inspired an entire generation of fashion historians”), tells me that these authors are on point and know their stuff (#FontFan over here!)
Highly illustrated and beautifully designed, the book appears to be a happy marriage of style and substance, full of interesting looking, well-documented essays (yeah for footnotes in a legible size!). The book covers 1908-1925, and focuses on the “centuries-old hand-stenciling technique known as pochoir,” though it does include a good many photographs for garment comparison. I love this time period, and love that this book is an easy reference to the well-loved and such famous illustrations and artists. I can’t wait to dig in !
“Collectively, the ten publications featured in this book document a fashion revolution, in terms of both the clothing depicted and the practice of fashion illustration itself. The groundbreaking illustration styles seen in the pages of these albums and magazines were born out of the need to represent the rapid modernization of fashionable dress that occurred in the first two decades of the century.”
Heather (Vaughan) Lee is an author and historian, whose work focuses on the study of dress in the late 19th through the 20th century. Covering a range of topics and perspectives in dress history, she is primarily known for her research on designer Natacha Rambova, American fashion history, and the history of knitting in America. More on Heather’s career can be found here.
Founded in 2011, Fashion Historia explores the history of fashion (and related events and exhibitions) with a focus on California and the West Coast. It includes book reviews, historical research, theoretical discussion and invites feedback from other scholars in the field. Contact Me Here.
The Costume Society of America recently hosted its 42nd Annual Meeting and National Symposium, titled The Full Cleveland: Dress as Communication, Self-Expression, and Identity, in Cleveland, Ohio. The symposium opened with a keynote address by Teri Agins, author of Hijacking the Runway: How Celebrities Are Stealing the SpotlightfromFashion Designers. Agins discussed the ongoing phenomenon of celebrities creating their own clothing lines. She entertained the audience with celebrity stories she collected while writing for The Wall Street Journal. Her talk provided an insider’s view into who actually designs these lines, who is the most successful, who started the trend, and why it is leading today’s clothing industry. She discussed lines started by Donald Trump, Jennifer Lopez, Carlo Santana, P. Diddy and of course the Kardashians. At the opening reception attendees including Executive Director, Kristen Miller Zohn and Tina Bates, author of A Cultural History of Uniforms, dressed up in their best rendition of the Full Cleveland (a 1970s ensemble complete with a white belt and matching white shoes).
A variety of academic papers were presented on topics such as costume design, ethnographic clothing, material culture analysis, and teaching costume studies. Below are a few selected highlights. Lauren Boumaroun, Ph.D candidate in UCLA’s Cinema and Media Studies program presented on the wardrobe of Saul Goodman in the television series Better Call Saul. Boumaroun discussed how the character built a visual identity through referencing the wardrobes and persona of other onscreen stars such as Matlock. Elizabeth Semmelhack, Senior Curator at The Bata Shoe Museum and curator of Out of The Box: The Rise of Sneaker Culture spoke about the origins of the sneakers and their connection to hip hop and menswear. She highlighted famous styles such as Chuck Taylor’s All Stars, Puma’s Clyde, Nike’s Air Force One and Air Jordans, along with the various designer collaborations. Winner of the Stella Blum Student Research Grant, Matthew Lee Hale, Ph.D candidate at Indiana University presented his ongoing research Cosplay: Creating the Body Fantastic. Hale documented the process of creating the elaborate costume for Cosplay conventions such as San Diego’s Comic Con. Ashley Garrin, Ph.D from Iowa State University discussed a case study of African American women’s hair as a symbol of individual and collective identity during the civil rights movement. Her presentation was divided into three areas: boundaries, consciences, and negotiation, which create a collective identity construct. The Costume Institute at the MET was the winner of the Richard Martin Exhibition Award for Charles James: Beyond Fashion. Jan Reeder provided a behind-the-scene look of how the exhibition was put together. Reeder explained the process of having the conservation team creating mock ups of pattern pieces for the animation team. The finished animation allowed the viewer to see the complex construction of James’ dresses. These animations will be available online in the next few months.
Additional symposium tours included a behind the scenes tour of the Rock and Roll Hall of Fame and Museum vault. The collections manager unveiled some of the most covetable items in their collection and explained their storage methods. One of their most interesting pieces was Lady Gaga’s famed meat dress. This piece is on display in their new exhibition Louder Than Words, which examines the political messages disseminated through music. Gaga wore this dress to make the statement about the US military’s “don’t ask don’t tell” policy, stating, “If we don’t stand up for what we believe…we’re going to have as much rights as the meat on our bones.” Prior to entering into the museum collection, a taxidermist was consulted on how to conserve the dress made of Argentinian red meat. The collections manager explained that the process was similar to dehydrating beef to create jerky. An unforeseen complication was maintaining the structure of the dress. During the dehydration process the dress lost its form. A structure was later put underneath to provide some stability to the dress. To create the original red color of the dress, it was later dyed to mimic the deep red color of the raw meat. Some argue that the conservation has its ethical issues. To learn more about the process visit this article.
Other highlights of the visit were Flavor Flav’s oversized clock he wore around his neck; Janet Jackets leather jacket worn at Super Bowl XXXVIII during her infamous wardrobe malfunction; a pair of teal snakeskin shoes worn by Keith Moon from the WHO, and a pair of green rhinestone platform boots worn by Peter Criss of KISS. The glass pyramid building is a masterpiece designed by I.M. Pei and has memorabilia including cars and hot dogs suspended from the ceiling. The multiple levels of the museum hold a gems ranging from John Lennon’s acoustic guitar to costumes worn by Elvis, The Beatles, KISS, Funkadelic, and Beyoncé to name a few.
While venturing outside the hotel I stumbled across an Art Deco facade with “The Arcade” written in gold. Upon entered I was blown away by the bright light beaming in from the curved glass ceiling. I had been transported back to the Victorian era and in awe of the five stories of shop windows. The Arcade was the first indoor shopping mall in American built in 1890 by John D. Rockefeller. In 2011 the Hyatt had undertaken the task of restoring The Arcade and converting it into a hotel, shopping, and dining area. Another incredible example of restoration downtown is the Cleveland Trust Rotunda. Originally designed as a bank in 1908 by George Brown Post, (architect of the New York Stock Exchange), it has been transformed into Heinen’s, the most luxurious grocery store and wine bar. Many CSA attendees finished off the conference with a glass of wine under the blue and green stained glass Rotunda.
For more photos, please visit the gallery:
Ariele Elia, assistant curator of Costume and Textiles, Museum at the Fashion Institute of Technology (FIT); she has curated or co-curated a number of exhibits including: “Faking It: Originals, Copies, and Counterfeits,” “Fashion and Technology,”and “Global Fashion Capitals.” Currently she is co-curated “Black Fashion Designers,” set to open December 2017. Elia has lectured on at Oxford, NYU, Eyebeam, and the University of Rhode Island. Her essay, “The Wardrobe of the Modern Athlete: Activewear in the 1930s” was published in the book Elegance in an Age of Crisis: Fashion of the 1930s. Elia is currently writing an essay about the influence of deep sea on fashion for the catalog Expedition: Fashion from the Extreme. She holds an M.A. in Fashion and Textile: History, Theory, and Museum Practices from FIT, as well as a B.A. in Art History from Saint Mary’s College of California. More posts by the Author »
What better place to learn about Romanticism than the Wadsworth Atheneum? Founded in 1842 and named for Daniel Wadsworth, the museum is a wonderful example of Gothic Revival architecture. Its turreted towers and narrow windows give the building the effect of a medieval castle. The architecture is a far cry for the ideal of the previous generation—the Grecian or Roman neoclassic temple.
Defining Romanticism is not easy. Yet, the strains of Romanticism still resonate today. Gothic to Goth:Romantic Era Fashion & Its Legacy (through July 10, 2016) examines how dramatically the different themes affected art and dress from approximately 1815 to the Civil War.
Romanticism was a reaction to the Age of Enlightenment. Instead of glorifying reason, its proponents gloried in nature, explored the darkest depths of the imagination, and harked back to the medieval period, considered the most sublime period in history by critics like John Ruskin and Augustus Pugin. The novels of Sir Walter Scott gave readers dramas of knights and fair maidens set in sweeping landscapes. Ironically, the Industrial Revolution was actually changing the countryside of both Great Britain and the United States. The coal fired industries and cities crowded with a new poor working class were the depressing reality.
The Romantics sought to dress like the figures from the past mixing elements from different periods of history. In the first section we see a 1820s pelisse with a jagged edging on that looks like the architectural edging of a castle. This is combined with slashing inspired by the Renaissance on the collar, a ruff around the neck and sleeves that recall paintings from the Tudor court. The gown is displayed next to an 1852 painting which shows young couple enjoying the sight of an Irish castle glowing in the early evening light. It is this combination of art and cultural items of the period with its dress that make this exhibit so memorable.
Curator Lynne Zacek Bassett has chosen five themes to tell the story of the period—historicism, religion, nature, color and “fancy” design, and emotion. The historicism section expands on the information we were given as we entered the gallery. It begins with a gown that shows the evolution from the neoclassical “empire” style. The simple cotton muslin from 1815-20 is embroidered with leaf or “paisley” motifs and features slashing on its tiny puffed sleeves. Much more elaborate is the next pairing, an 1830s silk dress with a lower waist, voluminous puffed sleeves and a fuller skirt covered in gold bullion embroidery with large paisley motifs on the border. Next to this gown is a parlor stove also embellished with similar fancy motifs.
Two paintings in this section underline the way Romantics used the fashions of the past. An Italian Renaissance work from 1574 shows a noblewoman wearing a robe with sleeves that have a puff at the shoulders and an open neckline edged in a standing ruffled collar, next to her portrait is the portrait of Mrs. John Bliss from around 1826. Mrs. Bliss’ dress could have been lifted by her dressmaker from the 1574 portrait. She is wearing the same style sleeve and collar.
Striking use of color and pattern were another characteristic of the Romantics. New dyes discovered by scientists of the Industrial Revolution allowed women to decorate themselves and their interiors with layer on layer of pattern. Magazines published patterns that enabled women to make “fancy” items themselves. People consumed turkey red calico, exquisitely embroidered aprons and pelerines, made beaded bags and fanciful caps. The clothing in the section which includes two beautiful embroidered silk aprons and a beaded bag from 1833 give us an idea of how deep this love of embellishment ran.
Religion, at least the Protestant version of it, was another major influence. The Second Great Awakening sparked emotional camp meetings across the country. Believers glorified Gothic architecture believing its arches were from the most perfect period of Christian history. The arch was also a reminder to look to the sky for the Lord’s help and was repeated over and over in the art and fashion of the day. Clothing changed again in the 1840s. The huge sleeves collapsed, the waist lowered still more, and the bodice neckline dipped to the edges of the shoulders. A fine example of the new look is a silk satin dress from the 1840s with a bodice covered in ruching and a wedding dress, pelerine, and reticule commissioned by an American missionary in Burma for her sister. The wedding dress is a sign that even the very devout loved beautiful clothing, perhaps in spite of themselves! The love of the fancy recurs in this gallery a fan edged in Gothic arches, and reticule decorated with canvas work, and a beaded watch chain amply decorated with religious symbols, the gift of a young women to her special beaux.
Closely connected to the religious fervor of the Romantics was their love of nature. There are so many examples of this in literature, the poems of Byron, Shelley, and Wordsworth, all poets who claimed their poetry came to them in a rush of divine inspiration which they wrote down without editing or revising. In the United States artists, especially those of the Hudson River School, glorified the nation’s landscape with huge panoramas of the waterways and mountains set against spacious skies. Colors were supposed to combine with nature, not stand out, like the while columns of neoclassical buildings. Clothing followed these rules too. A dress in this section is one many women of the 1840s would have owned—a silk gown in a “drab” color. The olive green color would have blended in perfectly with the surrounding landscape.
Finally, the Romantics were proud of their passionate nature. This passion could delve into sentimentality which was considered a virtue, another change from the careful calculation of the preceding Age of Reason. This was the era the white wedding dress came into vogue. Queen Victoria was married in one, of course, but the color white was a symbol of purity. So a white wedding dress would emphasize the bride’s pure state as she entered matrimony. The dresses in this section are examples from the states of a woman’s life. There is a beautiful wedding dress from 1836, a rare calico maternity dress, an equally rare nursing dress with a gather panel in the front that allowed the breast to be exposed, a housedress, and finally, a mourning dress from the mid=nineteenth century. Mourning was the ultimate expression of emotion and wearing the proper mourning garb was an important part of a woman’s life. However, the ultimate expression of sentimental love and sorrow was the proliferation of hair jewelry. There are some beautiful examples here, including a bracelet of braided hair with a miniature of a young woman with flowing blonde hair festooned with a garland of flowers and a complete set—brooch, earrings, and bracelet—with tiny “acorns” that symbolize the oak tree, considered a protection from evil.
At the end of the exhibit we are reminded that the Romantic influences return even in our technocratic age. The exhibit closes with some examples from the present day, including the Steampunk and Goth movements. There is a stunning gown by Alexander McQueen from 2007. The black velvet dress has silver beading which appears to shoot across the bodice like a bolt of jagged lightning. McQueen was fascinated with the macabre and dark side of history. This dress honors an ancestor who was executed as a witch in Salem. McQueen’s successor, Sarah Burton, used the Goth theme in 2013, with a short coat that references Renaissance priest and boots that recall Puritan fathers of the seventeenth century. One of the most interesting pieces her is a “Vampire Suit” created by Jean Paul Gaultier, but styled by the owner Richard Patrick Anderson to create his own special mood.
“How did granny details become so compelling?” Vogue magazine asked in Fall 2015 as part of feature on the resurgence of Romantic fashions. Gothic to Goth shows us that The Romantic influence never really went away, and that its aesthetic is vital enough to be reinvented by generation after generation. By showing the many strains that fed Romanticism this exhibit carves out a special place in the spring/summer exhibit season. You will think about this one for a long time.
Stewart is currently an adjunct professor of Fashion Studies at Montclair State University. She has a Master’s degree in Fashion and Textile Studies from the Fashion Institute of Technology (FIT) and a BA in English Literature from Dickinson College. She has a longtime interest in millinery and milliners and is currently working on a social history of American milliners. She lives in New York City, right behind FIT! More posts by Nadine Stewart »
At the end of March this year, the USPS made an announcement about a forthcoming stamp featuring American author Henry James (1843–1916). What you might not know is that the USPS hired me to consult on the accuracy of the fashion depicted on the stamp.
The stamp features a profile of the author in later life in the foreground, with a scene from his The Ambassadors (1903) in the background. It was the depiction of the two characters in a canoe that were of concern, so I focused my efforts on boating attire in and around 1903 (as the author did not provide very detailed description of their clothing). (Fascinating side note, Boston outlawed kissing in canoes in 1903)
Society in general was much more formal at this time. From what I understand of the female character, ironically named Madame de Vionnet, she was beautiful and somewhatrefined.
She would have more likely been wearing a hat – a straw boater or a picture hat (especially as James included a mention of a hat). She would have been wearing wrist-length puffed sleeves, had a defined/corseted waist, and a pigeon or bloused top (yes, much more formal, even for a ride in a boat). She may have been dressed in all white, or she may have had on a dark skirt with a white blouse (aka shirt and waist). Her blouse would more than likely have been high-necked.
The man’s attire would also have been more formal – with a stiffened arrow collar and bow-tie, and with the addition of hat. This image of photographer Edward Steichen on his honeymoon in 1903 suggests the style I mean:
Unfortunately, I was contacted to review the stamp fairly late in the process, and so despite the information I provided, no alterations were made to the stamp (pictured below). Nonetheless, it was still an interesting excuse for research and learning more about the connection(s) between fashion and literature. (For those who want more, there is Henry James and the Art of Dress)
There is no way I can write a definitive history of Prince’s Fashion a few hours after his shocking death. The scope and depth of his impact both musically and culturally, are far too great. Suffice it to say, stylistically, the man was on par with the likes of David Bowie, Freddy Mercury, or Michael Jackson (and in retrospect seems to me like a mash-up of those three). The Cut (New York Magazine’s blog) has a good slideshow of his style.
His looks were often gender-bending, and that seemed only to bolster his sex appeal. He frequently pushed the envelope – both in the way he dressed on stage and in balking corporate music control. He frequently used ‘shock value’ in his stage style in a career that spanned four decades.
I’m sure in the flood of tributes to come, more memorable outfits will surface. But for my money, nothing was better than the first time I ever heard or saw him, which was in the 1984 film, Purple Rain. Below is his costume from that film, by costume designer Marie France. Following that is a performance of “Purple Rain” that just might make you cry.
On Sunday, July 10, 2016, following the International Conference, CSA Western Region is hosting a morning mini-symposium and an afternoon tour of the Ukrainian Cultural Heritage Village (transportation is included).
Although the Royal Alberta Museum is closed for renovations, attendees will get a private look at special pieces from their collection. The morning will include a special slide tour of local textile collections by guest speakers, and attendees will hear from the 2014 Jack Handford Intern about her experiences at the De Young Museum in San Francisco, and the benefits of this semi-annual award. After enjoying a box lunch attendees will depart via provided transportation to the Ukranian Culture Heritage Village, a living history museum.
9:15-12 Morning program at the Museum Theatre:
Slide tour: Highlights of the Costume Collection of the Western Canadian History program. The collection houses over 25,000 articles of dress and domestic textiles related to life in Alberta.
Paper: Hutterite Samplers and Embroidered Calligraphy, Lucie Heins, assistant curator Western Canadian History.
Paper: Costume Storage: Addressing Conservation and Curatorial Interests at the de Young Collection Jack Handford Internship presentation by Christina Frank, MA.
Paper: An introduction to Ukrainian textiles in Alberta, Larisa Cheladyn. Slide presentation of costuming and household textiles, with some reference to religious and other unique items will be the preparation for our afternoon tour.
12 – 1:30 Catered lunch at the museum. Have your lunch in the sunny theatre lobby or outdoors in the museum’s park-like setting above the North Saskatchewan River valley.
1:30 Luxury coach to the Ukrainian Cultural Heritage Village, a 160-acre living history museum tracing the history of Ukrainian settlement in east central Alberta. Enjoy a one-hour tour by costume curators Joy Schellenberg and Becky Dahl. Participants will have one hour on their own at the Village before traveling back to Edmonton on the bus.
In an effort to get blogging about the fashion history projects on my plate right now, I’m sharing this photo of an in-progress paid project, a knitting history project! It relates to Victorian Knitting, War Comforts, and continues to appear up into the 1920s, 1930s and even up through the 1950s and 1960s. Once completed it will be over 6 feet long and three feet wide (I’ve been working on it –off and on–for almost a year). I’ll reveal more (of course) once the project is completed and published.
Does the textile pattern remind you of anything?
Guesses are welcome in the comments (Unless I’ve already talked to you about it!)
It is with great pleasure that I present to you a guest review of Fairy Tale Fashion (on view through April 16, 2016 at the Museum at FIT in NYC) by Nadine Stewart:
We live in a post-modern age, a world in which we constantly hear about the wonders of technology, the stunning array of new sources of information, and the variety of the global marketplace. The world of fairy tales seems banished, its tales too full of old virtues and fears to be relevant to us today. And yet, we long for fantasy, for wonder, for a world of imagination in which many of the answers are hidden or obscure.
This is particularly true of the world of fashion. Though we often dream of clothes that will fulfill our dreams, the language of the fashion world often encourages us to engage with the ever shifting trends of the global marketplace. The world of dreams that fairy tales illuminate is too often discounted.
Yet the fantasy that fairy tales give us has been seeping back into the current fashion world. Perhaps it was there all the time and we simply ignored it. Fairy Tale Fashion shows how rich these influences are by linking garments and accessories to fifteen tales that range from the familiar stories of the Brothers Grimm to The Wizard of Oz, G. Frank Baum’s yarn from the beginning of the 20th century.
The idea for this exhibit had been percolating in the back of Curator Colleen Hill’s mind for some time when she saw pictures of Dolce & Gabbana’s Fall 2014 collection that used fairy tale influences extensively. Now, after researching the subject for over a year, she says she is surprised no one had explored the subject before, especially since the concept of a garment with magic powers is so central to many of the tales. Indeed, Hill feels our obsession with shoes, the accessory that has morphed into an object of dreams for many women, is one of the first examples of the onset of fairy tales in our carefully assembled uniforms for work and play.
One is reminded of the pervasiveness of fairy tales in the first gallery, whose theme is “Fashion and Story Telling.” The first garment we see is a red hood. The memories of Red Riding Hood come flooding back. One wall is full of illustrations of famous authors like Arthur Rackham and John Tenniel, artists whose work in linked forever with the stories they illuminated. Below these pictures is a case of storybooks, old and new, including and ingenious pop-up book from the 1950s that tells the story of Cinderella. The newest book re-tells the Cinderella tale with characters dressed in David Bowie costumes and a Karl Lagerfeld fairy! Across from the books hang the photographs of Kirsty Mitchell, an artist who creates her own world of dreams. Her elaborate pictures show a wonderland of beauty with swirling butterflies, fields of blue wildflowers, and women in diaphanous gowns.
But it is in the main gallery where enchantment takes effect. Exhibit designer Kim Arkert has created a special space through the use of draped translucent scrims that separate each story section. An enchanted forest is created though simple graphics of dark twisted tree branches.
Hill went back to the old versions of these stories. Many of the plots have a dark side with none of the relentless sunny optimism of Disney. This gives the curator the chance to include film clips of older movies, such as Jean Cocteau’s surreal Beauty and the Beast from 1944 and three lively versions of Cinderella, two by film pioneer Georges Melies from 1899 and 1912 and one by George Nichols made in 1911. The clips remind us that these stories have been a source of inspiration for artists over the centuries long before Walt animated them.
But, it is the clothes that tell the story. Hill has chosen a mix of garments and accessories that show influences from the 18th century to present. Because this is not a show featuring one designer this exhibit gives us a chance to see a wide range of fashion from the 21st century that utilize stunning techniques. this is apparent in the first section which features a series of red hoods that ranges from a simple wool hooded cape from the 18th century to a version by Comme des Garcons with a huge patent leather hood and a cape of wide strips of red fabric that hang like streamers from the neck.
Further long, Charles James’ Sirene and Swan gown, dresses that are iconic examples of masterful construction, stand near a mermaid gown by Jean Louis Sajaji appears to float like seafoam with an astonishing train that bubbles up into space. In the Cinderella section two of the most interesting gowns relate to Cinderella’s life before she was transformed by her fairy godmother. The London designer Giles contributed a white evening gown with a sheer overlaid surface that appears to have been burned. It stands next to another masterpiece of distressed material, a gown by Yoshiki Hishinuma made of sheer fabric covered with film that was torn by hand and heated to crimp the material unevenly. The destruction of the material on both gowns makes them more interesting that some of the sparkling sequined dresses nearby.
In the modern fashion runway show designers strive to create a story for the creations. Thom Browne always has a such a theme. In 2014 his models paraded down the runway wearing surreal animal heads. His tweed suit with raw seams from that collection is topped by a stunning “bear head,” a frame wrapped with tweed. It is the perfect fashion version of an enchanted fairy tale prince. Next to the “bear” is Browne’s version of “Rose Red,” a woman’s suit notable for the fabric Browne created from graduated circles of wool dripping with red lace.
Mixed in with the gowns are iconic accessories—a “glass” slipper that is actually clear acrylic spun from a 3D printer, a poison apple bag by Judith Leibner that glitters temptingly, and, of course, shoes by the current king of fantasy shoe design, Christian Louboutin. His ruby slippers, red shoes, and glass slippers sparkle with crystals, but his “Lion” stilettos in for the Beast story are the most captivating with their rhinestone claws and embroidered toes that give the effect of dainty lion’s paws.
Not all the clothing was directly inspired by a fairy tales, but this exhibit shows us how much imagination and fantasy is at work in the world of fashion. We look to that world to recreate and re-establish ourselves. Today, even with a world full of high tech fabrics and materials, we still are drawn to the fantastic. In May, the Metropolitan Museum of Art will debut its annual exhibit from the Costume Institute. This year’s theme is fashion and technology. A look at the preview pictures shows many garments that could clothe fairy tales figures today. Fairy Tale Fashion reminds us we still hunger to re-invent ourselves in the garments of our dreams. There’s always room for a magic garment or two no matter how modern we are.”