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The Met Museums Irving Penn Exhibit

Irving Penn met museum

In the world of fashion photography certain names are known for their iconic work. Present day photographers like Annie Leibovitz and Patrick Demarchelier are known as “Vogue “ photographers. Known for their ability to capture a model or celeb in artful and transcendent picture. Irving Penn knew how to capture the iconic supermodels of the time in bold fashions and celebs like Audrey Hephburn in a clean and humanizing manor. Although he was known for his portiats of famous people he also enjoyed still life photography. A global photographer, he introduced different cultures to anyone who viewed his work. As a celebration of his centerian birthday the Irving Penn Foundation has gifted many of the prints showcased in the exhibition to the Met. The following are prints of Penns work covering fashion models, Vogue Covers, artist, designers and  actors and more.

 

Early street photography

Pens first camera was a twin-lens-reflex 2 &1/4 inch square format Rolleiflex. He used it while working as an assistant for Harper’s Bazaar graphic designer and art director,  Alexey Brodovitch. Penns work included photographs of shops, hand written ads and street signs in NY and Philly. His photography documented the time period of depression the U.S. was in. His techniques consisted of focusing and extreme cropping each picture. He also used this technique while on a trip to the southern U.S. in 1941 and again on a photo and painting trip in  Mexico.

irving penn, met museum

Rolleiflex 3.5 E3 Twin- Lens Reflex Camera with 75mm Carl Zeiss Planar Lens, 1961-64. Penn bought his very first Rolleiflex in 1938. This one he bought in 1964 and used it for portraits.Modified to Penn’s desire.

 

Still Life

Still life photography was his  favorite topic to photograph. The subject required discipline and creativity at its most challenging point for Penn. In still life photography he had to compose an image that could tell a story. He would often use traces of human interaction like a a lipstick stain on a glass to help interpret the story. The purpose was to make the viewer of this photography focus on the signs of life and the possible story behind the pictures.

Irving Penn

After- Dinner Games, New York 1947

Existential Portraits 1947-48

After serving in WWII Penn once again worked for Vogue. Art director Alexander Lieberman gave him the job of taking self portraits. The goal was to introduce culture to the pages of Vogue and broaden Penn’s career. Vogue picked the clients that would be photographed while Penn controlled the set. This job was a first for him as he never photographed famous people. His technique included positioning them at an angled corner. His sets had an unfinished feel to them which conveyed the feeling of deception that he believed self portraits could have.

Irving Penn Met museum

Truman Capote, New York, 1948

Vogue Covers 1934-2004

In total Penn photographed 165 Vogue covers, eclipsing any other photographer to date. He photographed many Vogue models and even married one. Lisa Fonssagrives was the equivalent of a super model in her time. She was also the highest paid model of that time period and her ability to pose effortlessly caught Penn attention and admiration. After they married they continued their work relationship as Vogue model and photographer. Their collaborations produced some of the most famous Vogue covers in fashion publication history. The extravagant changes in fashion during the 40’s and 50’s allowed Penn to create stare worthy photographs. Wide brimmed hats, cinched waist and billowy skirts created dramatic silluhotues for photography.

Irving Penn

Vogue Covers

 

 

Vogue Years 1947-51

After conquering portraits Penn’s mentor Lieberman wanted him to get a full education on what it meant to be a fashion photographer.  In Lieberman’s eyes he was still rough around the edges. Lieberman sent him to Paris to watch all the couture fashion shows to familiarize himself with the fashion scene. The massive thrall of fashion photographers vying for perfect shots in between editors and the rest of the fashion pros was overwhelming for Penn. He preferred a quiet and private studio, so one was appointed for him while in Paris. There the collections and models were brought to him to shoot, leading to his meeting with wife Lisa. In his Paris studio he shot the latest fashions by designers such as Balenciaga.

Irving Penn met museum

Women in Chicken Hat 1949-Wife Lisa Fonssagrives-Penn

Irving penn, the met museum

Dior dress 1949

Print Making

Penn liked to see what his worked looked like in different forms of prints. The first process included taking one photograph and printing it via a gelatin silver print in 1949.  Forty years later he printed the same picture on the newest gelatin silver print. He then printed the pictures in the 1960’s through the method of contact printing. Contact printing was considered an antique method of printing at this time. His method included enlarging negatives to his desired size and mounting each version to aluminum and coat them with layers of platinum and palladium. His experiments with types of print, tones, shadows, colors, scales and papers gave him freedom as a photographer. While other photographers strived for consistently perfect photography Penn searched for the interesting in each version.

Irving penn met museum

Girl Drinking (Mary Jane Russell) 1960-2000

Cusco 1948

In November of 1948 Penn went on a fashion assignment for Vogue to Lima, Peru. After  he completed the assignment he traveled Peru on his own. He found himself in Cusco’s Andes mountains where he rented a studio for portrait taking. There he photographed the locals and passing visitors in their traditional wool clothing. These portraits  introduced a deeper physiological affect to his photography. So much so that Vogue ended up printing these pictures in the story “Christmas in Cuzco” in their 1949 December issue. This publication helped bring images of people and cultures America knew little to none about. Although Penn shot the pictures in black and white, Vogue published them in color. Giving the vibrant local clothing an opportunity to shine.

Irving Penn, the met museum

Many Skirt Indian Woman, Cuzco, 1948

 

the met museum ,irving penn

“Christmas in Cuzco” Vogue, December 1949

 

Small Trades 1950-51

During July of 1950 Penn was once again shooting couture collections for Vogue in Paris. While there he took on a new project of photographing trade workers. He continued the project making it his longest series ever by capturing the trade workers of London and New York City. His techniques included photographing the small trades workers in their work attire and tools on the same studio he shot models and famous clients. The set, lighting and backdrop for his small trade series were the exact same in his fashion photography. He felt that doing so equalized the workers to the elite that he photographed. Vogue once again published these pictures in their 1950’s publication.

Met museum, irving penn

Marchande de Ballons-Balloon Seller, Paris 1950

irving penn,the met museum

Potissiers or French Pastry Chefs, Paris 1950

Nudes 1950-51

During this time period Penn experimented with the silver process of printing and overexposing his pictures. After this process he then bleached them which produced different prints.

Classic Portraits 1948-62

At this point in Penn’s career he was one of the most sought out photographers in fashion and beyond. He worked for Vogue while also working in advertising. People who were asked to sit for Penn no matter how famous or wealthy considered it an honor. To prepare himself for the task of these portraits Penn studied the art of Goya, Daumier and Toulouse-Lautree. Their work conveyed focus, lighting and immediacy that Penn hoped to convey in his portraits. For Penn the toughest part about photographing a famous person was getting them to drop their persona.  Penn did so by meeting them in simple blue jeans and talking over coffee before beginning. During the session Penn would encourage his client to be as comfortable as they wanted to be. In the end their relaxed nature gave Penn the exact picture he wanted.

Irving Penn, the met museum

Audrey Hepburn, Paris, 1951

Met museum, Irving Penn

Pablo Picasso at La Californie , Cannes 1957. This was taken after Picasso pretended not to be home, so Penn climbed over the gate. Penn patiently worked with the moody artist,

Cigarettes, 1972

In the 1950’s Penn worked on ads for cigarette ads, although he despised the act of smoking. His cigarette series was a look at how society was in a disruptive time in history. Riots, Vietnam war, police corruption and New York City in bankruptcy and the governments willingness to promote cigarettes inspired the photos. Around this time his mentor Alexey Brodovitch died of cancer in result to his smoking habit. The smashed cigarette buds in gutters signified a painful moment in time not only for Penn but for the country.

irvirving penn, the met museum

Cigarette No. 82, New York 1972

 

Worlds in a Small Room

After serving in WWII Penn was inspired to travel the world and take pictures of different cultures. During 1967-71 he did just that for Vogue. With only a tent to serve as a studio Penn photographed locals of the Pacific and Africa. Although he did not intend on it, these pictures are reminiscent of invaders colonizing a newly conquered world. Vogue once again published the pictures, focusing on the local clothing and jewelry that were already inspiring the fashion of the 60’s.

Irving penn the Met museum

Man With Pink Face, New Guinea, 1970. Published in color for the Vogue 1967-1971 issues.

Time Capsules

The photos in this collection range from the 60’s to the 21st century. Inspirations include the youthquake and modern fashion of the 60’s. Theses pictures also explore the notions of nostalgia, fantasy, lost innocence and vanity. Penn was also inspired by the death of his wife in 1992 and his own aging. For Penn there was beauty in death and this inspiration was used in his late fashion photograph.

 

Designer Issey Miyake New York, 1988. Miyake and Penn were friends and creative collaborators for fourteen years. Both equally inspired by each others work.

 

 

Late Still Life

Throughout the years working at Vogue Penn not only did many creative jobs for the magazine but also shot still life photography on his own time. From 1975- 2007 he produced four series of still life. Street Material, Archaeology, Vessels and Underfoot were the titles of these four projects. The subjects were rags, metal parts, old bottles and other miscellanies items. He liked to sketch these items and find a way to bring the items to life in his photography. He achieved this through his positioning or pairing of the items.

the met museum, irving Penn

Three Poppies ” Arab Chief”, New York 1969

I always knew of this iconic photographer due to his revered fashion photography but it was so interesting learning about Irving Penn the man. He was a constant student of his craft willing to push himself past the norms. His work brought different cultures and fashions closer to western civilization. His ability to transcend a persons personality and give life to a still object is what made him the most revered photographer of his time.

Had you heard of Penn? What are your thoughts, let me know in the comments and on social media.

Learn More Here!

T.S.

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The Met’s: Rei Kawakubo of Commes des Garcons, Art of the In-Between

The Met Museum

Currently on display at the Metropolitan Museum of Art is the “Art of the In-Between”. The exhibition is a look into creator of Commes des Garcons, Rei Kawakubo’s inspirations and work. Rei founded Commes des Garcons (French for “like some boys”) in 1969. Rei’s expression of fashion is one of disruption. Her designs are what we in the industry call Avant Garde. They are unconventional and challenges what society accepts as fashion.

1.Absence/Presence

Much of her work revolves around two notions, koan mu (emptiness) and ma (space). The exhibition explores nine translations of in-betweenness through Rei’s collections and explores the  emptiness in conventional clothing. The architectural displays and circular path that visitors walk through to view the exhibition are inspired “Mu” and “Ma” the Zen Buddhism symbolizim for emptiness and space. Ma also translates to void and volume. Ma is both something with and without shape, much like Rei’s voluminous designs.

The Met Museum The Met Museum

 

2.Design/ Not Design

Rei doesn’t have a formal design education, her self education allowed her to explore how to design unconventionally. Many times her inspiration comes from a word or abstract image. Many of her collections are inspired by fusion, imbalance, the unfinished, elimination and design without design. These templates for her work are also rooted in the Zen Buddhist principle wabi-sabi.

The Met Fashion musuemThe Met Museum

3.Fashion/ Antifashion

During the late 1970’s and early 80’s Rei moved away from her traditionally Japanese inspired collections. Her need to design something with strength led her to become a modern archetypal designer. Her goal was one of originality or ” newness” and has been what defines all of her collections. Fashion/ Antifashion showcases Rei’s early 80s collections. The color story of predominately  black expresses the thought of mu (emptiness) while the shapeless and oversized garments express ma (space).

 

4.Model/Multiple

Rei has also explored the contrast of original work and the replicas that are made. In Model/ Multiple Rei’s collection Abstract Excellence the pieces take on these differences. The repetition of clothes not only represents replicas but uniformity. Her pieces in this collection have very little differences.This showcases the rift between original art and designs and knockoffs. Many of these techniques have been used in the fashion industry and are being used today in fast fashion.

Met Museum fashion

5.High/Low

The collection “Motorbike Ballerina” expresses the ties between elitist and pop culture.  High society forms of dressing like a tutu and a low society form like a biker jacket are combined. Street style takes on high end fashion and the collection explores how society see’s both.

The MET MueseumFashion at the Met Museum

 

In the collection “Bad Taste” Rei explores what bad taste is. Style associated with punk which are made with cheaper fabrics like polyester are combined with high end tulle for tutus. Her goal was to shine a light on what upper society sees as good taste. While combining those exact forms of bad taste with what society might view as good taste.

 

The Met Museum

6.Then/Now

In the collections Modern Sweetness, Sweeter Than Sweet, Body Meets Dress-Dress Meets Body, Inside Decoration and White Drama Rei travels through both modern and historical fashion. As a designer her work has been constantly influenced by fashion history. It can be seen in these collections that consists of silhouettes that are from the 19th century.

The Met Museum The Met Museum

 

In her collections Broken Bride, White Drama and Ceremony Rei explores the movement of time through life experiences. Birth, marriage and death are expressed through what Rei and much of society think about these time periods. The traditions we believe in during these periods of living are expressed both in ways we recognize and don’t.

7.Self/Other

Self/ Other explores what fashion looks like when boundaries are crossed. This part of the exhibition showcases how Rei’s work blurs the lines between East/ West, Male/ Female and Child/ Adult. East and West displays what eastern and western cultures clash in fashion. Male/ Female fuses what we typically recocnize as male attire with womenswear. While Child/ Adult focuses on what age appropriate dressing while using the Japanese cultural aspects of Kawaii (cuteness). A form of dressing made popular by the Japanese youth who use playful aspects in their dressing.

The Met Museum The Met Museum

8.Object/Subject

Object/ Subject focuses on the form of our bodies and drasticly changing the way it looks and how we think about it. In this part of the exhibition the collection Body Meets Dress- Dress- Meets Body challenges that notion. The looks include extreme padding challenging what society thinks is a beautiful body. These deformed looks contrast with the traditional cuts of fabric and prints of gingham.  The line between  dress or the object and subject the body are blurred.

Met Museum

9.Clothes/ Not Clothes

Once again Rei felt the need for reinvention and in 2014 left behind the the notion of newness in presute of making “objects for bodies’.  In the ninth installation the collection is broken down in to nine categories. In Clothes/ Not Clothes Rei introduced forms that have never been introduced to fashion. The collection is a constant rif on what can be worn and what is simply expressional pieces. They have similarities but also have considerable differences.

The Met Museum

9.1  Form/Function

Form/ Function features the collection Not Making Clothing. Continuing her search of objects for the body she created the piece as if she were not a designer. The pieces are structured, three dimensional and don’t form to the body naturally. The cuts and forms are similar to a dolls whose clothing is too big. The pieces seem cut and pasted together and don’t look as if they should go together. (Picture above)

 

9.2  Abstraction/ Representation

The collection “invisible clothes” in 9.2 challenges the thought of the body being dominate over clothing. Recognizable forms of clothes like an arm are obscured through the voluminus shapes. In doing so body and the form of the dress become one. There is not a clarity of what is body and what is dress. The goal is to see clothes not as clothes but as a form of the body.

The Met MuseumThye Met Museum

 

 

9.3 Beautiful/Grostesque

In Beautiful/ Grotesque Rei’s collections ” Holes” and ” Monster”showcase how Rei’s 1980’s collections were criticized by Western society as grotesque. Although to Rei they were simply different forms of beauty. The collection “Monster” delves into humanity, fear and going beyond what we see as common sense. Rei once again goes against ordinary fashion by creating pieces that are big and can be perceived as both beautiful and ugly. The knots and twist of the garments are meant to expand what people see as beauty.

The Met Museum

 

 

9.4 War/Peace

War/ Peace showcases the collections ” Flowering Clothes” and “Blood and Roses”. These collections are Rei’s response to the unjust events in society. Her reactions to what is happening around us is never literal, but symbolic. Her reactions and knowledge of history inspired her to create these collections. Throughout history the symbol of the rose has been used to represent both good and bad. ” Flowering Clothes” focuses on the positive connotations associated with roses. The pieces are inspired by the strength, happiness and positivity of a rose. “Blood and Roses” focuses on the dark significance a rose can have. It’s inspired by the historical use of a rose in war, political and religious clashes. In “Blood and Roses” Rei used both expressional and literal expressions of the topic with the color of bold red.

The Met Museum

9.5 Life/Loss

When one looks at Rei’s clothes they must understand that she is not an intellectual designer but an emotional one. Her own feelings inspire the collections, even those of fear and doubt. Her collections are a look into her intense emotions and spirituality. Life/Loss expands on the collection in Then/ Now with theme of transition. In Life/ Loss the concepts of the memory of a subject and memorialization of something are explored.

The Met Museum

Life/ Loss presents the collection ” Ceremony of Separation” which brings to the forefront the feelings of pain of losing someone and the beautiful ceremonies we put on to say good bye. The dresses in this collection are translations of traditional mourning dresses. The clothes are sad but extravagant with delicate lace representing how fragile life is. This collection is similar to her earlier collection “Square” where the clothes are made of one square of fabric and express the ritual of pilgrimage. The “Square” and “Ceremony of Separation” collections both explore the traditional outlets of expression during these points in life.

9.6 Fact/Fiction

Fact/ Fiction demonstrates Rei’s expressions through storytelling. The collections ” Blue Witch”, “Lilith”, “Dark Romance”and “Witch”. The collections are filled with strong silhouettes and mix menswear with womenswear.  Although the traditional forms in menswear are distorted. In all three collections menswear  becomes a feminine piece like a skirt.  The collections are pieces of dismantled and distorted, mashed together women and men’s wear. They are also expressions of  the fictional topics, witches and  storybooks.

The Met Museum

9.7 Order/Chaos

When Rei formed “Comme des Garcons” her goals were “newness” and independence. She pursued independence of conventional subjects and expression. This search lead her to appreciate street style and the punk culture. Both going against the grain of tradition and what society thinks is fashion. In “Order/ Chaos” combines history and the theme of transition. The collection “18th- Century Punk” uses the traditional silhouettes of the 1700’s combined with 1970’s punk aesthetics. The pieced together collection recalls the collection “Adult Delinquent” which was also inspired by the punk movement.

The Met Museum

 

9.8  Bound/ Unbound

In Bound/ Unbound the collection “The Future of the Silhouette” made not of clothes necessarily  but of objects for the body is on display. Here fabric is replaced by synthetic wadding  that is constructed around the body. They take inspiration from the collection used in Then/ Now without the historical references. The pieces are distorted hourglass forms that become parts of the body like that of the Body Meets Dress- Dress Meets Body collection. The pieces are binding to the body without arm holes, pressing against the notion of what accepted beauty is. The goal is not to give a body purpose, place or period in which to be but to simply exist between these aspects of life.

The Met Museum

 

Rei’s work will not instantly make you think of fashion, but of expressionism. Once you are able to understand what she is expressing , you will be able to understand and see the fashion in it. Much of it is not meant to be worn but translate and affect how society thinks and feels about what’s acceptable in fashion and beauty. It is a story of the “art of the in-between.”

The exhibition Rei Kawakubo: Commes des Garcons/ Art of the In- Between is on display at the Met until September 4th. I enjoyed learning more about this fascinating designer and hope you do to. Her take on fashion and its emotional connections are what I relate to most. Let me know if you visit the exhibition and what your thoughts are. Pay attention to my Instagram for more pictures throughout the week.

T.S.

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The Met’s Masterworks: Unpacking Fashion

Currently at the Met’s Costume Institute is Masterworks: Unpacking Fashion. Visitors are given a peek into the Costume Institutes archives from the eighteenth century to twenty first. Not only has the museum acquired one of the largest collections in the world but one that includes Masterworks. Masterworks are labeled as such due to the garment ‘s technical qualities that have pushed the process of garment making forward. The qualities that deemed each piece a masterwork changed as eras progressed. Curators chose pieces that complemented each other no matter the time period. Essentially showing how fashion reacts to the past, present and future.

18th Century Masterworks: Quality of Materials

During the 1800’s the craftsmanships of embroidery, textiles, weaves and tailoring are what constitute masterwork. As the silhouettes of garments did not change much during this period it was the use of intricate techniques that made them masterworks. The Robe Volant, or one piece gown with a tight bodice, flowing front and back pleats was the typical style worn by women and girls. During this time the reference to lingerie  through  fuller proportions was seen as indecent and as a result so was the wearer. The shape was also frowned upon as people believed pregnancies due to affairs could be hidden. The simple silhouettes allowed the detailed damask or brocade prints to be the showcase of the garment. The making of a garment was through the process of draping fabric on a bodice and folding pleats rather than cutting and sewing.

Fashion

Robe Volant 1730 French and Robe A La Francaise 1760

 

Men’s attire for this period was inspired by new trade relations between Britain and Asia. An influx of new materials and styles such as silk and kimonos originated from China, India, Persia and Turkey changed the fashion of Europe. All of these cultures inspired the Banyan a casual house gown worn by British men. Depending on details like fit, cut or quilting they would be adorned at home or out at casual events. This coat’s European silhouette combined with Asian materials and styles was seen as elegant and fashionable. Men who wore a Banyan were considered well traveled with great fashion sense. Again simple lines and tailoring were used allowing detailed embroidery, bold patterns and bright colors to be the focus point of the garment.

fashion

British Blue Banyan 1760-70 and Red Suit 1770-80

During this same time period French fashion was pushing the boundaries and blurring the lines on what was acceptable for women to wear. Striped prints took the place of embroidery, a trend influenced by Asian relations. The print now being used for both female and male attire was previously associated with socially excluded populations. Men’s riding coats, cape collar and lapels were some of the masculine trends implemented into the Redingote or women’s dresses. To the dismay of  French magazines and their progressive efforts the public viewed the this trend as a perverse mixing of gender roles.

historical fashion

1790s Men tailcoat and 1787 Women’s Redingote

19th Century Masterworks: Technical developments in tools and speed and changes in  silhouettes

This century saw quick changes in a garment’s silhouette as opposed to the 18th century, which relied on materials to progress fashion. The use of bustles, crinolines and corsets was introduced drastically changing the form of a woman’s body. Technical abilities in cutting and sewing progressed with the introduction of the Jacard loom and the sewing machine. These tools allowed for garments to be made faster, cheaper and created ready-made or ready to wear accessibility. During this period the introduction of  Haute Couture by designer Charles Fredrick Worth was also pushing fashion forward. His tradition of labeling his pieces introduced the notion that a designer was a creator and artist.

fashion

Paul Poiret Opera Coat 1911

Fashion History

House of Worth 1898

 

 

 

 

 

 

 

 

Early Twentieth Century Masterworks: Innovation and Reinvention

War World One like many other aspects of society affected fashion. Simple garments with less body restrictions was the norm. Haute Couture masters such as Paul Poiret and  Madeleine Vionnet embraced the uncorseted frame by using the draping method. As usual fashion and art intertwined with the surrealist movement inspiring collections by Elsa Schiaparelli and Charles James. As some designers looked to the future others looked to the past. Jeanne Lanvin’s mid-eighteenth  century inspired pieces included techniques used in the 1800’s. Techniques such as simpler silhouettes with bold embroidery and prints were used again .

Left:Madeleine Vionnet 1929 Haute Couture, inspired by the past and future fashion.
Right: John Galliano Spring/Summer 1999. Inspired by Madeline Vionnet gowns.

Fashion

Both House of Lanvin Haute Couture
Left: Traviata Robe De Style Winter 1928. Right Robe De Style 1926-27

 

 

 

 

 

 

 

 

 

 

Late Twentieth Century Masterworks: Cultural Combinations, Youth Dominance and Couture’s Survival

At this point in fashion the popularity of Haute Couture was waning as the boom of ready to wear excelled. Designers like Yves Saint Laurent guided couture into relevancy by combining traditional couture elegance and modern street style. Cristobal Balenciaga  looked to the past and continued implementing 17th century structures with modern details. While punk visionary Vivienne Westwood lead the uprise of deconstructive fashion. Influences for her 1970’s,80’s and continuous collections included the fashion of the 17th-19th centuries.

Historical fashion

Left : Yves Saint Laurent Rive Gauche Spring Summer 2014. Right Yves Saint Laurent 1971. The Rive Gauche line by YSL used inspiration from the 40s.

Fashion History

Chicago Jacket by House of Dior by Yves Saint Laurent Autumn/Winter 1960-61. Referenced a moto jacket but couture made.

 

 

Contemporary Masterworks: Rebellion, Expression of the times, Garments with multiple meanings

Masters of the moment included Hussein Charlatan, Martin Margiela, Yohji Yamamoto, Issey Miyake and Alexander McQueen. The advancement of the deconstructive technique by Margiela unveiled the intricate details of the construction of a garment. A process normally only seen by the designer. The use of unconventional materials was introduced and paired with traditional couture techniques. Materials like porcelain and wood were transformed and conformed to a women’s shape. By doing this designers expanded the relationship between a women’s body and clothing as well as peoples traditional ideas of fashion. Pop culture, politics and perceptions were also questioned and applied to the creation of a garment. From my recollection of my college days even the  history of a country and its fashion inspired collections. Alexander McQueen and John Galliano both designed the traditional corset with  progressive materials like coiled wire.

Fashion

Yarmoto 2006-2007 Black silk, plastic and cashmere wool bustier. Issey Miake 1880-81 red molded polyester resin and cellulose nitrate bustier

history fashion

Pannier hooped petticoat 1760-70.

 

 

 

 

 

 

 

 

 

The Harold Koda Gift

Curators are preservers of art who expand the lifespan of each piece. By doing so they allow art to live beyond its prime and introduce generations of observers to a historical world. This is what Harold Koda did as Curator in Charge at the Costume Institute for fifteen years before retiring in January of 2016. In tribute to him current Curator in Charge Andrew Bolton and Met Trustee Anna Wintour commissioned thirty designers to donate selections of their archives to the Met. Each  piece chosen held significance for Honda and found a purposeful position in the existing collection. Designers recalled their admiration and relationship with Koda that was cultivated through collaborations for the Costume Institute.

Fashion History

Philip Treacy “Paphiopedilum Philippines Hat. Spring/Summer 2000

Historical Fashion

Maison Margiela by John Galliano Coat Dress 2015-16

 

 

 

 

 

 

 

 

 

The exhibit gives an inside look at how fashion continues to be influenced by history. It showcases how innovative designers find a way to move fashion forward with techniques of the past and future.  Masterworks:Unpacking Fashion will be on through February 4th 2017. Metropolitan Museum of Art 1000th 5th Ave, NY,NY,

T.S.