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Vizcaya Museum and Gardens

January 26, 2020

Vizcaya Museum and Gardens

In my last post I wrote about my trip to Miami in December. During that trip I visited the Vizcaya Museum and Gardens. Before going there I had never heard of this museum. I had planned a few things to see in Miami before my vacation to Florida but the Vizcaya Museum and Gardens were not on the list. I discovered it when I was already in Florida and Googled what else there was to see in Miami. Vizcaya was one of those finds, and luckily without me realizing it, the hotel I chose was right down the road!

 

If you stay in a hotel, check the front desk for a $2.00 coupon off the entrance for Vizcaya. We happened to visit Vizcaya the morning we checked out of the hotel, and I that is when I saw the coupon! Meant to be? I think so. (Click pictures to enlarge)

 

History of Vizcaya- I wrote a bit about it here as well, but here are some basic facts on the Vizcaya Museum and Gardens.

  • The Deering family business was International Harvester, the leading manufacturer of agricultural machinery in the U.S.A in the 1900’s.

 

  • 1908-1912- Business man William Deering, father of James Deering, moves his family from  Chicago due to his declining health. They relocate to Coconut Grove, Miami.

 

  • 1914 – James Deering chooses Biscayne Bay to build his own home. Construction on the main house and village of Vizcaya begins.

 

  • 1918- Columbian/Italian, Landscape Architect, Diego Suarez begins garden planning.

 

  • 1921- Gardens complete.

 

  • 1923- James Deering passes, Vizcaya is inherited by his brother Charles.

 

  • 1927- Charles Deering passess, his daughters and family inherit Vizcaya.

 

  • 1950’s- Vizcaya is openned to the public seasonally. A category five hurrican hits Miami on Labor Day and haults Vizcaya from becoming a museum.

 

  • 1960’s Deering family members gives Vizcaya land and village to Dade County to turn it into a museum. They also give land to Catholic charities, that use it to build a hospital and a school.

 

  • 1980’s- The Pope and President Reagan visit Vizcaya.

 

  • 1991- Queen Elizabeth II visits.

 

  • 1994-Vizcaya becomes a national landmark.

 

  • 2016- Vizcaya celebrates its centennial anniversary.

 

  • The Main house includes 54 rooms, of which 34 are open to visitors. There is also the Vizcaya Village that was originally used by staff to do agricultural work, make use of workshops, work fields, tend to green houses and much more. It is currently being renovated to be opened for the public.

 

Inside the Main House of Vizcaya

The interior rooms consists of the first floor which holds a courtyard with reception rooms, library, music room and a dining room. While the second floor includes Deering’s personal rooms, guest bedrooms, breakfast room and one of the kitchens. The interior rooms were designed inspired by Italian artifacts and were installed with the modern amenities of the time period. Including a telephone, laundry room, refrigerators and other items that had not made it into everyone’s home yet.

 

Artwork inside Vizcaya

The house holds many artworks and masterpieces, mainly acquired directly from James Deering. Although some were received in the 1980’s, with the arrival of the Claire Mendal Collection. The Claire Mendel collection of artworks was acquired by Mendal in Europe in the 1950’s, after the end of WWII.

After WWII the art world came up with guidelines on how museums should research and present information on Nazi-era art to the public, to ensure they are presented accurately. Along with following these guidelines, The Vizcaya Museum has made it a mission to research and return the Claire Medal Collection to their rightful homes.

They have been able to return 1 piece of artwork to the National Museum in Warsaw. Research is still being done on the 33 other works of art in their possession, that were originally stolen by the Nazi’s.

The Gardens and property surrounding the Main House

The gardens and house have had some restorations to preserve the property from salt water erosion and natural weather occurrences like hurricanes. While some additions were also made, like the skylight covering the courtyard and café and shop for visitors.

Vizcaya can be used for event photography and they also host interactive events for the public. I absolutely love it and plan to go back, hopefully more then once. I highly recommend that you do as well. Let me know your thoughts in the comments and on social media. Have you been to the Vizcaya Museum and Gardens? Is it on your bucket list now?-T.S.

 

 

 

 

art fashion Fashion exhibit History The Metropolitan Museum of Art

Heavenly Bodies: Fashion and the Catholic Imagination Part 2

July 29, 2018

heavenly bodies part 2

Currently on display at the Met Museum on Fifth and the Cloisters in the fashion exhibition Heavenly Bodies: Fashion and the Catholic Imagination. Read part one here, the premise of this exhibition is fashions relationship with the Catholic religion and religions in general. Many of the designers showcased grew up in the Catholic church or still practice a belief. Items like Papal robes and other catholic dress were on loan to the museum. While the designer pieces were set among artifacts found in Medieval time periods or set in the Cloisters, a regal feeling building. To get a total understanding of how the exhibition flows, its best to visit both locations. Can’t make it? Keep reading, and don’t forget to read part one. Click images to enlarge.

 

Items From the Vatican.

These items were not allowed to be photographed. Only the artifact in the entrance was allowed to be photographed. Inside this portion of the exhibition were papal dress worn by Vatican Popes including crosses made of precious stones and gold, crowns, zucchetto skullcaps and various robes among other items.

Heavenly bodies

Chasuble Designed by Henri Matisse-1950

 

 

Treasures For Heaven I

Medieval churches held many treasures within them and like those found in the Cloisters, they inspired designers. Pieces that inspired them include alter frontals, stained glass, rosaries and more. This section included a piece by Alexander McQueen, which consisted of a S/S 1999 Ensemble made of plywood, leather, wood and lace. This piece was apart of the ‘No. 13″ collection where he explored the tension between man and machine. Pictures were not allowed.

 

Earthly Hierarchy

In this portion of the exhibition religious dress and color schemes are examined. It showcases the different religious dress within one religion, usually expressing a hierarchy and religious differences in dress between different religions. Focusing mainly on the Roman Catholic church where colors black, violet, white and scarlet are heavily used. They also highlight hue changes for specific occasions within Catholic proceedings.

 

 

The Habit

This religious dress worn by females usually consists of a tunic, a scapular or apron, a veil and a sash at the waist.

 

 

 

The Dominican Habit

Perhaps the most widely recognized Habit thanks to Hollywood is the Dominican Habit. Its black and white contrast has a  stronger visual appeal for designers, as opposed to the simple brown and plain white of other habits.

heavenly bodies part 2

Thom Browne A/W 2011-12

 

The Soutane

The  everyday dress of the secular clergy is the Soutane. Created in the late 12th century this garment usually has a white clerical collar, a floor length, long sleeves and 33 buttons. Daily dress is normally a black soutane with a sash and skullcap.

 

 

 

Ecclesiastical Fashion Show

The liturgical processions of the Roman Catholic Church have similarities to a fashion show. Both follow an orderly arrangement, involve active and passive participants and involve music. The following designs were put in a fashion show like order and were placed near the rolling film “Roma” by Federico Fellini in which there is an “ecclesiastical fashion show” scene.

 

 

 

 

Celestial Hierarchy I

Inspired by saints, angels and the hierarchy of the Roman Catholic Church. Angels, which usually are depicted as guides and messengers for humans, inspired many fashion designers.

 

 

The Dressed Madonna

Many designers created and continue to create garments for Madonna and Child sculptures. Featured here are vestments created by Ricardo Tisci and Yves Saint Laurent.

 

 

 

Celestial Hierarchy II

The designers showcased here were inspired by early Italian Renaissance paintings that were based on religious themes. Particularly inspiring were saints, angels, The Virgin and the work of painter Fra Angelico, who specified in frescos following this theme.

 

 

Mosaics I

Inspired by Byzantine art that showcases figures such as Christ, The Virgin Mary and more. Dolce and Gabbana were inspired by fresco paintings found in the Moreale Cathedral in Sicily.

 

 

Mosaics II 

The Gianni Versace dresses showcased here were inspired by mosaics of Ravenna’s Byzantine monuments. The mesh like material and cross take inspiration from elements Gianni saw in the Met when he visited “The Glory of Byzantium” exhibit in 1997.

 

 

Heavenly Bodies: Fashion and the Catholic Imagination will be on display at the Met on Fifth and the Cloisters until October 8th 2018. I hope you can check it out, and see how fashion is inspired by everything, even religion. Have you been able to visit the exhibit? What were your favorite parts? -T.S.

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How to visit all three NYC Met Museums within 2-3 Days

June 11, 2018

the met

Last week I did something I do quite often, visit the Met Museum every year to view their largest Costume Institute exhibition. Before they open this exhibition the museum host the MET Gala. Yes that Gala in which you ask yourself why are these celebrities dressing up or dressing weirdly? I’ll break it down a bit for people who are not in the fashion, media, art..etc world. Every year the Metropolitan Museum of Art features a few exhibitions, and one very large one. Anna Wintour from Vogue, board members and the Met Museum decide on a theme or designer to focus on or honor with the exhibition. In the past they have focused on Asia and Asian inspired fashion with China Through the Looking Glass or one of their most visited exhibitions Savage Beauty on Alexander McQueen after his death.  To attend this event, celebrities have to be invited by Anna Wintour and the team, of which they decide who sits where and they also depict the dress code, usually in connection to the theme of the exhibition. This years exhibition Heavenly Bodies: Fashion and the Catholic Imagination, inspired many celebrities to dress in Pope like attire. Some celebrities embrace the theme while others don’t, I personally love those that do. In order to attend this gala, celebrities pay around $30,000 per ticket which benefits the Costume Institute. This year the exhibition spans two locations of the Met Museum. The largest part of the  exhibition taking place at The Met on 5th ave and the second at The Met Cloisters in upper Manhattan. I was determined to visit them both and because I thought The Met Bruer had part of the exhibition I ended up visiting all three within two days. How can you do this? I’ll give you my tips below.

 

There are a few ways you can accomplish this and I am going to suggest one way for New Yorkers and one way for tourists. I think of it this way because normally New Yorkers will know which subways to take and how to find these subways quickly. Where as if you are a visitor you will probably need some time to figure out which subway to take, where you have to catch it, where you have to get off and where to go once off etc. If you are savy with directions or have a great app to help you it can speed up the process. I just suggest taking this into consideration and the fact that NYC blocks are a mile long and you’ll be looking up at buildings and not walking as fast. Now if you feel you want to do this in a different manner, go right ahead but after some thought and doing this myself these are my suggestions. With one Met Museum ticket you can visit all three locations within three consecutive days, thanks to its ticket policy. One ticket gets you into all three! So this means you only have to pay to get into one museum no matter which, and transportation. Take advantage of this and make sure to KEEP THE RECEIPT as each museum will ask for the receipt when you mention this policy!

 

Tourist: Your first stop should be the Met Breuer, the smallest of the three. This museum holds modern art including Picasso’s. The museum is small with only a few floors, with one currently closed for construction. It also has many large sculptures as opposed to alot of paintings, which in my opinion made the process of reading about and viewing the piece faster. It only took me an hour an a half to complete the museum, but you might be going a bit slower than I did so I’d say give yourself 2-3 hours here. It probably won’t take you longer than that because like I said, its small. If your hungry check out the café which has a patio area on the basement level of the museum.

 

Your next stop should be the Met on Fifth. The Met on Fifth is only seven blocks away from the Met Breuer, save yourself money and walk there! If its good whether, you won’t regret it, as the architecture of the upper east side is beautiful and the townhouse lined streets are peaceful. I love walking to the Met because of this simple fact, its like getting a quick peaceful break before you cross into the bustle of Museum Mile on fifth. The Met on Fifth is the largest of the museums and it is going to take you the rest of the day to get through it. Some of my favorite parts of the museum include the Costume Institute if there’s a fashion exhibition, the Egyptian Art wing, the Charles Engelhard Court in the American wing, the Medieval Art wing and the rooftop. The rooftop is open May-October and sometimes holds exhibitions while the views of the city are incredible.

 

By the time you are done with the Met on Fifth you’ll probably be too tired or it will be too late to attempt to go uptown as the MET closes at 5:30pm (Sun-Thurs) and the Met Cloisters at 5:15pm. You might feel like you didn’t see everything at the Met on Fifth and want to come back the second day. You are going to want to leave the Met Cloisters for the third day, as it takes a while to get up there and because it deserves a slow stroll through the grounds. The Met Cloisters is located inside Fort Tyron park in upper Manhattan, literally almost at the very end of Manhattan. From the Met on Fifth to the Cloisters the subway ride will take around an hour, and from the subway to the museum you are walking uphill. Give yourself time to walk slowly and take in the views of the flowers and nature of the park. I’m assuming you can take a taxi up but why would you, when you’ll miss the views and the nature. NOTE: Once you get off the train follow the signs that say Cloisters to find the elevator inside the subway station that will take you up to the entry of the park. If you attempt to walk from the subway, it will take long and it might be confusing. The park also has many hills and steps and you will be EXHAUSTED by the time you get there. I’ve walked there both ways and highly suggest finding that elevator!  Take your time in this museum, its small but gorgeous as it is filled with medieval art and the gardens and the architecture of the building are impeccably detailed.

 

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Local: YOU GOT THIS! I did it!

Now you may like the suggestions I made for tourists, and by all means follow them. But as a person who enters NYC via midtown I prefer going all the way up to the Met Cloisters first and coming back down to the Met Breuer in one day. Now the Met Cloisters connects via the A subway which runs on the west side of Manhattan, but the Met Breuer is on the east side. You would need to transfer to the C or B subway at some point or get off near Central Park and cross. It doesn’t take long if you walk NYC pace! I still enjoyed the park and I made it to the Met Breuer with hours to spare. From the east side of the park to the Met Breuer its only one block away. I did it this way and felt I saw everything both museums had to offer and got to stop and admire sections of the park I hadn’t before. I visited the Met on Fifth on a separate day, I suggest doing the same due to how big it is. Since I know my way around the museum on fifth, I knew exactly what I wanted to see. What I didn’t know and what you might not have realized is the ticket price for local NEW YORKERS is pay as you wish. College students of the NY, NJ and CT area can also pay as they wish. For non-New Yorkers it cost $25 to enter the museum, but like I mentioned above keep that ticket and receipt because it gets you into all three museums. This policy is fairly new, and a lot of people think it’s still pay as you wish for everyone, it is NOT. But it is well worth it if you visit all the museums!

 

Don’t miss the Picasso’s and Degas’s at the Met Breuer! They have the famous The Little Fourteen Year Old Dancer sculpture by Degas along with other modern art. The museum is the smallest of the three, with many sculptures and a floor currently under construction. You might be finished with more than enough time to visit the Met on Fifth! Take your time at the Cloisters, its like stepping out of New York and into a European medieval castle. The museum itself is small, but you are going to want to take in the details and beauty of the architecture, art and grounds. While Fort Tyron park is beautiful on its own. When at the Met on Fifth make sure to visit the Egyptian and Medieval sections and the rooftop, you wont’ regret that rooftop!

 

 

 

 

In whatever manner you visit the MET Museums I highly suggest you take advantage of the ticket policy. Locals who are just looking for something to do on a weekend or looking for ways to educate their kids are going to enjoy these museums. While tourists visiting for the first time are not going to want to miss the MET, it is a MUST. I hope this post encourages you to visit at least the MET on FIFTH, as I’ve been visiting this museum since I was a little girl and it is still one of my favorite places on earth.

 

Trains: A,B,C

Time: 2-3 Days

Cost: $25 per ticket + subway ride $2.75 per ride + if you are coming from outside NYC.

 

I will have a separate post on the Heavenly Bodies : Fashion and the Catholic Imagination. Have you ever visited all three museums as a local or tourists? Let me know in the comments and on social media!- T.S.

 

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Louis Vuitton Exhibition Rooms 6-10

December 10, 2017

If you pay attention to fashion news you probably already know that the Louis Vuitton exhibition, that has been a hit in other international cities has made its way to New York City. I made my way to the exhibition twice already and plan to go back before it closes. I wrote a review of the first 5 rooms of the exhibit which you can read here. The following is an overview of the next 5 rooms, which concludes the exhibition.

 

The Painting Trunk

Louis Vuitton’s relationship with the world of art began in 1924 when art dealer Rene’ Gimpel ordered a trunk for his business trips to New York, Paris and London. To meet the needs of artists like Rene, Louis Vuitton created larger trunks with drawers that could protect the artwork during travel. Returning to the companies roots of protective packaging caught the eye of the art world and soon other artists became customers as well. Masters of the art world such as the artist Matisse became clients of Louis Vuitton. Many artists developed close ties to the company and were given the opportunity to design one of a kind trunks. Over the years these ” artists in residence” have created new fabrics, patterns and designs for the house of Louis Vuitton. Louis Vuitton’s most recent collaboration has been with the artists Jeff Koons whose collection includes recreations of master works.

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Curio Trunks

During the 1900’s Gaston-Louis started buying trunks from previous customers to create his trunk collection. To start this process he would send certain customers a questionnaire to learn more about their trunks. Next the customers that returned the questionnaire, were sent an offer by Gaston to buy their trunks. The trunks in The Curio Trunks room consists of the trunks Gaston bought to create his collection.

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The Beauty of Fashion

Trunks for Stars

During the 1920’s and 1930’s the house of Louis Vuitton stepped beyond the trunk and started making beauty items, furniture pieces and specialty items. Hollywood’s starlets ordered velvet lined trunks along with the various new pieces the house was creating. Specialty pieces that were made for stars include a vanity case for Sharon Stone, wardrobe trunk for Katharine Hepburn and a suitcase and vanity set for Elizabeth Taylor. Stars around the globe continue to order from the house to help them with their travel and everyday needs.

 

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Exquisite Bottles

It was in 1927 that Gaston-Louis Vuitton created the first fragrance for Louis Vuitton, in an effort to expand the fields in which Louis Vuitton played. He cared just as much for the look of the bottle as he did the fragrance itself. Being so each time the house created a new fragrance Gaston would commission masters in the decorative arts field to design the bottles. The collaborations became a tradition for the house with its latest being in 2016 with designer Marc Newson.

 

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Sophisticated Dandies

Not only were silver screen actresses customers of Louis Vuitton, but so were actors. Many of the first were French actors that ordered foot and wardrobe trunks. The actors also ordered garment bangs and toiletry bags that helped push the brand into the menswear arena. In the 1920’s the making of canes with carved heads was another collaboration opportunity for the house and different artists to create unique pieces.

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Collaborations

Besides artists the house has collaborated with individual designers over the years. The introduction of different designers to Louis Vuitton began in 1996 when Azzedine Alana, Manolo Blahnik, Romeo Gigli, Helmut Lang, Isaac Mizrahi, Sybilla and Viviene Westwood were invited to collaborate with the house. This event helped mark Louis Vuitton’s one-hundredth anniversary. In 1997 Louis Vuitton officially entered the  fashion sphere with a ready-to-wear line. Guiding this new avenue for the brand was Marc Jacobs, the artistic director of the ready- to-wear line for almost 16 years. Jacobs used many of the artistic collaborations as inspirations for his collections. The designers that took on the role as Artistic Director after Jacobs departure also used artists and authors to create unique collections.

 

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The Music Room

Other than making trunks for clothing, art and writing the house of Louis Vuitton has been known to make trunks for musical artists as well. Delicate musical instruments have been stored in these special order trunks. Violins, guitars and more have found a safe haven for travel with Louis Vuitton.

Louis Vuitton

 

Louis Vuitton Loves America

In 1893 Georges Vuitton made his first step into the U.S market when he attended the Chicago World’s Fair. While there he met John Wanamaker, owner of the first ever department stores. A few years later in 1898 Wanamaker put Louis Vuitton in his New York and Philadelphia stores. By the roaring 20’s Louis Vuitton had become the luxury luggage of choice for people all over the country.

Fast forward to 1997 to one of the most memorable Louis Vuitton eras which is when Marc Jacobs became Artistic Director. The designer guided the brand into the new millennium and held the position as Artistic Director for 16 years. During this time he made iconic collaborations with various artists including Yayoi Kusama who introduced her signature polka dot and Stephen Spouse who created graffiti inspired designs. Currently guiding the Louis Vuitton brand through each season is Nicolas Ghesquiere whose dressed celebrities like Taylor Swift and Nicole Kidman among others.

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Louis Vuitton

Louis Vuitton by Nicolas Ghesquiere worn by Riley Keogh at the 2014 Amfar Ceremony

 

Louis Vuitton

Louis Vuitton by Nicolas Ghesquiere 2017 worn by Ruth Negga for the Golden Globes

Louis Vuitton

Louis Vuitton by Nicolas Ghesquiere 2017 worn by Michelle Williams

Louis Vuitton

Nicolas Ghesquiere for Louis Vuitton worn by Taylor Swift at the 2016 Met Gala.

Louis Vuitton

Nicolas Ghesquiere for Louis Vuitton worn by Jennifer Connelly at the 2017 Met Ball.

 

Louis Vuitton

Louis Vuitton by Marc Jacobs and artist Stephen Spouse printed roses skirt.

Louis Vuitton

Louis Vuitton by Marc Jacobs, feather headpiece and mink short dress and graffiti legging.

 

 

 

 

 

 

 

 

 

 

 

 

 

Louis Vuitton

Marc Jacobs for Louis Vuitton. Worn by Madonna at the 2009 Met Ball.

 

I hope you get to see this amazing and encompassing exhibition. If you don’t I hope you’ve enjoyed my reviews. I learned so many interesting facts of a brand that I’ve worked for in the past, but had no idea of!

The Louis Vuitton Volez, Voguez, Voyagez exhibition will be on display at the New York Stock Exchange building on 86th Trinity Place in the financial district until January 7th 2018.

T.S.

Accessories art Beauty fashion Fashion exhibit Jewelry shoes The Museum at FIT

FIT’s School of Art and Design Graduating Exhibition

June 18, 2017

FIT Museum

Recently on display at the Museum at FIT was the work and thesis projects of the graduating class of 2017. Many know FIT is a prestigious school for fashion, but it also teaches many of the arts. The exhibition showcased students work from all sixteen major areas of study. The exhibition was showcased in various areas of the museum and the school itself.

Accessories Design

For their final steps to achieving their degree’s students were instructed to create a collection around the concept of  ” Design Perspective”. Each took on a different interpretation to create their collections. Students used research on consumers, seasons, and inspirations to bring them to life. They created pieces belonging to either footwear, handbags, millinery (hats), or art. Every piece exhibited was judged and selected by FIT staff and fashion industry critics.

 

FIt Museum Museum at FIT Mujseum at FIT

 

Advertising Design

The students of advertising design were to creating content that reaches today’s public. Not only do these final projects advertise a product , they become one with the consumer. The students created experiences, much like we are used to today. To bring out an emotion or thought, not simply an agreement to buy. The advertisements  reflect much of what is currently happening and resonates with exhibition viewers.

Museum at FIT Museum at FIT

Computer Animation and Interactive Media

Graduates from the computer animation and interactive media program also focused on engaging with the viewer. They created apps, games,  environments and more that integrated their knowledge of technology design. This particular class used many personal experiences and social causes in their work. Race, sexuality, religion and how they felt about these topics came across in these pieces.

Museum at FIT

Fabric Styling

The class in fabric styling forecasted the color story of Summer/ Spring 2018. Through market research, trend forecasting and four colors they showcased the latest in women’s wear and home décor. Much of the public does not realize how ahead of time forecasters like these students are. Their work is continually a year ahead of its time.

Fashion Design

Fashion Design students used their expertise with fashion design art, CAD, journaling, and art portfolio to create their final designs. Their work was critiqued and selected by industry critics, guest designers and professors who mentored these students. On the judging day the selecteded looks were included in the BFA Future of Fashion runway show. Once the looks were selected the students work with experienced models for their final fittings. Students in the individual categories of Children’s Wear, Intimate Apparel, Knitwear, Special Occasion and Sportswear showcased their looks in the fashion show. Through these steps the students’ personal take on fashion design evolved and prepared them for their careers.

FIT Museum Museum at FIT Museum at FIT

 

Fine Arts

Fine Arts graduates were tasked with answering the question “How does a young artist create work that is relevant in our  contemporary culture?” Their work answered this question by adding their personal experience’s and identity to demonstrate advertising, consumerism, environmental issues, and social media. The proximity to multiple museums in NYC helped them cultivate their thoughts and creative process. They are now able to create fine art relevant to the ever changing society.

 

Museum at FIT

 

Graphic Design

Graphic design students were to write their thesis exploring the past, present and future on the topic they chose. Through the use of graphic media the students expressed their thoughts. With the images and words they selected they offered a fresh perspective on what’s occurring in today’s society. All the work displayed was critiqued by professionals in graphic design.

Musuem at FIT Museum at FIT Museum at FIt

Illustration

Students of the illustration program used their traditional and digital art media experience to creatively problem solve. The issue being how to create images for commercial distribution that targets specific audiences. Through their personal style, technique, expression and body of work cultivated at FIT they were able to solve the issue.

Museum at FIT Museum at FIT Museum at FIT

Interior Design

The class of interior design took their education in problem solving, space planning  and research to create their own perspectives. Their perspectives and the issues of sustainability, culture and constructions helped them create their thesis. The objective was to create interiors that looked great and spoke to the viewers. Unlike other students Interior design students created their final projects with aesthetic, functional and program constraints. To work around these limitations they used materials, colors and furnishings to create their interior design stories.

Museuma at FIT museum at FIT

Jewelry Design

Jewelry Design graduates created jewelry with design, craft, economics and ethics in mind. They also thought of sustainability and social responsibility when creating their pieces. They used both modern and ancient techniques to create their jewelry. Their work is to be viewed as both jewelry and individual works of art.

Musuem at FIT Museum at FIT

 

 

Menswear

The menswear graduating class created their final thesis much like a tailor makes suits.  They showcased their designs in their portfolios to their class during a presentation. Next they created their muslin, a plain white fabric designers use to create the base of their designs. Once their muslins were criticized and reworked they began the final process. Finished fabrics and tailoring techniques were then used to create their final menswear pieces. Finally their work was critiqued by well known menswear designers and put on display. Past graduating classes have been critiqued by John Varvatos, Italo Zucchelli for Calvin Klein and John Bartlett.

 

 

Packing Design

The students of the packing design program worked to advance the principals wing branding and packing design. They used innovative techniques to reach the consumers of food, beverage and home products. They also created designs to speak to packing designs to reach the consumers of beauty, personal care and technology products. They were tasked to create the designs within the constraints of conceptual development, graphic execution, production and compliance requirements.  They also took into account marketing and what would be their competition.

Museum at FIT Museum at FIT

Photography

Students of the graduating photography class expressed political views, fashion trends, and emotions. They also used documentary photography and  their personal experiences with family and their childhood to inspire their final captures.Their photography much like those of regarded professional photographers have the ability to impact the societal culture of the present and future.

FIT museum

Textile/Surface Design

Textile/Surface Design students created textiles of painted, woven, and screen printed techniques. They implemented classical forms of textile creation with innovative new technologies. They created their own aesthetics within the requirements of the textile industry. Their final pieces showcase the students ability to create new textiles that are creative, full of required techniques and its ability to be  marketable.

Museumat FIT Museum at FIT Mueseum at FIT

Toy Design

The class of Toy Design uses imagination to help develop kids self -image. Students created toys that help create a healthy lifestyle of play. Their toys also challenge critical thinking in the child who plays with them. Students incorporated community issues, culture, nature into their interactive children’s games. The toys ranged from stuffed animals, board games, digital worlds and more.

Muesuma t FIt Museum at FIt

 

Visual Presentation and Exhibition Design

The Visual Presentation and Exhibition Design program focuses on the ability create environments that inspire, inform and persuade the viewer. Students created life size mock ups of events such as a retail space, display, museum exhibition, event or individual place. The students process included the design process and market analysis with the help of industry experts. Their designs were reviewed in an exhibition and finally developed digitally and physically.

Musuem at FIT Museum at FIT

 

 

It was immensely interesting to see what the future of the creative fields have in store. There is no shortage of creativity with students like these and the colleges that mold them into productive creators. As I walked through the exhibition I was not only learning about these creative majors but remembering my own time in college. There are more details and hours that go into the final product of a creative industry than consumers and viewers realize.

T.S.

art fashion Fashion exhibit History The Metropolitan Museum of Art Uncategorized

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

June 4, 2017

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 Museum at FIT’s Adrian: Hollywood And Beyond

April 2, 2017

Last month at the Museum at FIT along with the two other exhibitions I covered, Adrian : Hollywood and Beyond was on display. Known originally for his costume creations  at Metro-Goldwyn-Mayer,  Gilbert Adrian went on to create his own fashion line. During his career as a costume designer he created costumes for over 250 films, dressing stars like Katharine Hepburn and Joan Crawford. Many of the films were blockbusters whose costumes inspired ready to wear designs. Stores like Macy’s  opened “cinema shops” that showcased outfits inspired by these costumes. Throughout the exhibition you see the respect Adrian had for the art of fashion, fabric and all the details needed to create memorable pieces.  The relationships he had with textile manufacturers allowed him to create some of his most “awed at” pieces. A glossary guide provided by the museum helped all who saw the exhibition  understand the intricate techniques Adrian used in his costumes and fashion line. If you are an retro movie lover like I am, you will recognize some of the costumes and movies as well.

When Adrian opened his first fashion boutique in 1942 in Beverley Hills his clients were not movie stars, but the everyday American woman. Adrian’s time as a costume designer led him to understand prints and how to cut and sew them to their full potential. For the movie the Wizard of OZ his understanding of patterns and how they stood out on a black and white film led him to make memorable costumes. Dorothy was purposefully outfitted in the blue and white gingham (check) dress that popped in the black and white film and in Technicolor.

Gilbert Adrian

Applique’: A new design created when a small piece of fabric or contrasting material is applied to the original fabric. Cuts are attached through stitching the edges to the original fabric.

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In this gown Adrian allowed the print to be the focal point. He used Draping and Applique to create the shoulders shadow effect.

fashion at the museum at FIT

Adrian used draping for the back of this dress.

Fashion at the Muesum at FIT

Adrian original evening dress 1947. Print designed by Salvador Dali for Wesley Simpson, Inc. Textile by American Enka Corporation.

 

 

Bias: When fabric is cut on a bias or at a 45 degree angle instead of the straight (Parallel)or cross-grain (perpendicular) the fabric has more elasticity. This elasticity allows the fabric to drape easier.

HOLLYWOOD FASHION

Adrian Original wool suit jacket 1950. In this jacket Adrian used inset strips of bias cut fabric. This intricately sewn garment includes pockets constructed of six separate pieces.

 

 

Design Repeat: An aspect of all patterned fabrics. Design repeat refers to the distance between where the pattern starts, repeats and begin again. Sometimes hard to distinguish in certain patterns.

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1944 Time and Country ad. Adrian collaborated with Bianchini- Ferrier a French textile mill in NYC. Adrian not only created the dress but helped create the design repeat print on the dress.

museum at FIT

An example of a collaboration and print Adrian used.
Bianchini-Ferier, Inc Warp-Printed silk taffeta, circa 1949 and printed rayon circa 1949.

Adrian fashion

On the right you see that Adrian chose the print in silk taffeta to make an evening gown that was featured in Vogue 1949.

 

 

 

 

 

 

 

 

 

 

Draping: A form of constructing garments. Fabric is placed directly on the form or model, the designer then begins folding and pinning parts of the fabric to create the desired form. The fabric can be removed to create a pattern of the draped fabric or left draped as the final result.

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Adrian Custom couture evening dress silk jersey 1942. Adrian used silk jersey in both his costumes and fashion line. For this dress he draped a single width of jersey on the bias. The bias created the front drape while the rest of the fabric falls over the shoulder.

For this costume worn in the 1952 movie “Lovely to Look At” Adrian manipulated the silk jersey. The pleating he created allowed the textile to stretch and create a hood and sleeves.

 

 

Inset: A design similar to applique’. A small shape is cut out of a larger piece of fabric, where another textile is cut and sewn into the cutout, filling that space. The purpose of the inset can be functional or decorative. The inset can help with fit or create an interesting pattern. The inset can be the same pattern as the base fabric or entirely different.

HOLLYWOOD FASHION

Adrian Original wool suit jacket 1950. In this jacket Adrian used inset strips of bias cut fabric. This intricately sewn garment includes pockets constructed of six separate pieces. The insets include the strips on the upper chest bodice and pockets.

Mitering: When two pieces are gathered diagonally, preferably at a corner. This manipulation of the fabric allows crisp corners in garments. Mitering is also used to create dramatic prints.

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Adrian original Day Dress 1943. The mitered stripes create a chevron pattern. Adrian’s construction narrows at the waist and widens at the shoulders. This was the trend of the moment.

 

Fashion

 

Piecing: Much like solving a puzzle, in piecing different shaped pieces of fabric are sewn together forming one fabric. It involves measuring and cutting each piece of fabric so they fit perfectly into each other.

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Piecing: Adrian Original Rayon Crepe 1945

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For this three piece ensemble Adrian pieced together shapes like a puzzle to create the illusion of a print. Many of these creations were inspired by art work by Picasso and were named after artists.

 

 

 

 

 

 

 

 

 

 

Screenprinting: A technique that creates prints on fabric. This multistep process includes covering and protecting the parts of fabric not meant to receive the print. Then a mesh screen is placed on top of the fabric and the first color is applied. The colored ink is pushed through the screen onto the fabric. The fabric is dried and the process is repeated until the final print desired is created.

Adrian Original Two Piece evening ensemble 1944. This print distracts from the couture techniques. Adrian manipulated the fabric.

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Adrian Original Printed Rayon crepe circa 1947. Adrian added dramatic swags at the sleeves and skirts. The print is of classic theater scenes.

Screenprint can also be seen in the evening dress above under the term applique’. The screenprint was designed by Salvador Dali for the Wesley Simpson, Inc.

 

Tailoring: A form of construction used to make suits and garments with structure. This technique is used to design suits and jackets. The designer uses a mannequin to pin, stitch , mark and trim fabric creating a template. The template is traced on paper creating the pattern needed to create a garment.

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Mittered Stripes

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Middle Ensemble: Adrian Original suit 1945. Textile by Pola Strout Wool circa 1945. This suit appeared in Vogue and was part of Woman’s everyday look. The stripes are mitered and the textile is pieced together.

Textile Converter:  Textile conversion companies create masters of textiles. The masters are suitable for weaving and printing at textile mills. The design masters are original creations or replicas of artists like Dali that are printed on plain unfinished fabric known as “griege”. The fabric can then be manipulated or altered in  any form a designer wishes.

Fashion at the Muesum at FIT

Adrian original evening dress 1947. Print designed by Salvador Dali for Wesley Simpson, Inca. Textile conversion by American Enka Corporation.

Textile Design: The image, color, texture or design that is on a textile. Textile designs are created through printing or weaving. Stripes, plaid and ikat are all forms of textile design. Textile design fabric can then be finished with dyeing, printing, embroidery, beading and applique’.

 

fashion at FIT

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Adrian Original circa 1951. Adrian placed the fabric at right angles so that the stripes of the silk mousseline would be visible. The silk also adds volume, a trend of the 1950’s.

 

 

 

 

 

 

 

 

 

 

Textile Regulation: During WWII materials like fabric were needed for military  supplies. In 1942 the War Production Board imposed Regulation L-85. This imposed restrictions on the use of cotton, silk, nylon, wool, leather and rubber for anything other than parachutes, uniforms and other supplies. Designers also had restrictions on the amount of material they could use. To keep up with the newest trends, designers became resourceful through shortening lengths and narrowing cuts.

This print distracts from the couture techniques. Adrian manipulated the fabric. As the dress was made in 1944, it was during a time of textile regulation.

 

Adrian’s costume’s in the movies  1938 “Sweethearts” , 1939 “The Women”, and  1952 “Lovely to Look At”.

As I walked through this exhibition I felt like I was back in my textile class in college. One of my favorite classes, as the creating of fabric and what you can make with one length of it is endless. As Adrian showed in his costumes and collections, with respect and knowledge for fabric and its creators there are endless creative possibilities in fashion.

T.S.

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The Museum at FIT’s Paris Refashioned 1957-1968

March 19, 2017

Paris Fashion

Paris the birth place of Haute Couture has given the fashion industry an endless amount of designers and fashion staples. During the 50’s and 60’s London was seen as the epicenter of all fashion innovation. However Paris Refashioned showcases how Paris was also a leader in trend making during this era. Like London the young people of Paris were infusing their music, art and outlook on life into fashion. Many of these innovations and new styles changed the course of fashion and are still worn today.

Patis Fashion

YSL Couture 1965. This famous “Mondrian Dress” became one of YSL’s most famous pieces. Inspired by the paintings of Piet Mondrian. Although YSL was not the first to introduce this style it was one of his most well known peices. Many believed YSL was inspired by the color-blocked dresses of designer Michele Rosier.

 

In the late 1950’s Parisian couturiers like Pierre Cardin, Hubert de Givenchy and Yves Saint Laurent started to receive recognition for the radical and progressive designs they made under respected fashion houses. Yves Saint Laurent introduced the trapeze dress or the “A Line dress” under the House of Dior. A style that became so successful it cemented his place in the fashion industry. Not only was the dress a success for the House of Dior, it influenced the relaxed and younger trends that came after.

Paris Fashion

Yves Saint Laurent, Rive Gauche Line 1967. Ready-to-Wear pantsuit. It was modeled by supermodel Twiggy in Vogue. YSL loved dressing women in pants, as he believed they were no less feminine.

Paris Fashion

YSL Rive Gauche line. Ready-To-Wear raincoat fall 1966. The Rive Gauche line was YSL’s response to the Ready-To-Wear growth in Paris. This line was a fun and more affordable alternative to his Saint Laurent Couture.

Yves Saint Laurent Couture Coat 1966. Inspired by the 19th Century French uniform. The Spring 1962 collection that this coat is a part of introduced his Couture house to Paris.

Paris fashion

Pierre Cardin Couture coat circa 1958
After Christian Dior’s death Pierre Cardin was one of the contenders for taking over the House of Dior. Although that postion was filled by YSL, Cardin was known for giving edge to suits and coats like this one.

 

 

 

 

 

 

 

 

 

 

 

 

During the 1960’s Cristobal Balenciaga’s understudy André Courre’ges  made drastic changes to what Couture could look like. He also changed the manner in which fashion shows were conducted. His 1964 ” Space Age” collection introduced futuristic day-wear in place of the traditional eveningwear couture collection. During the fashion show models quickly strut down the runway to upbeat music. A surprise for the audience who were used to a relaxed runway show where models strolled and stopped in intervals for viewing.

Paris Fashion

André Courreges. Couture dress 1968. A couture designer who knew how to combine ready to wear with couture this dress is both modern and classic. The use of vinyl, a material usually used by ready-to-wear designers is combined with classic chiffon in this dress.

The rise of ready-to-wear in the 50’s and 60’s by Parisian designers created an economic influx in the fashion industry. Their modern designs also attracted a larger clientele who wanted more options than what couture designers were providing.  These designers became known as “stylistes” and introduced  “ready-to wear” to French fashion and society. These designers also changed how ready-to-wear fashion was perceived. Off the rack fashion or “confections” were originally known for being poor in quality and design. The quality in which designers like Karl Lagerfeld and Sonia Rykiel produced their pret-a-porter lines rooted  ready-to-wear into a respected category in Parisian fashion.

Paris Fashion

Karl Lagerfeld for Chloe’. Ready-To-Wear 1967. This hand painted evening dress was part of Lagerfeld’s entry into Ready-to Wear and depart from Couture in 1964.

Paris fashion

Madame Gres Couture evening gown 1960. This A-line dress combines sculpture and the modern loose silhouette.

Paris fashion

Left: Sonia Rykiel Ready-to-wear polo dress 1966.
Right: Sonia Rykiel Ready-to-wear 1965. The cuffs on this dress are removable and inspired by menswear. This small detail allowed the wearer to change the look or easily wash the dress.

 

While some Couturiers embraced pret-a-porter others found if difficult to include a ready- to -wear line into their collections. Designers like Balenciaga, Madame Gres and Chanel did not switch to ready-to-wear but infused the new trends into their collections by hiring younger designers. While some couturier survived the shift in Parisian fashion some designers like Balenciaga were forced to shut their doors and reopen later on. The survival of Couture depended on the flexibility of the Couturiers.

French Fashion

Chanel Couture ensemble 1968. This collection was critiqued as not being “young enough”. Although others believed French women would love the collection simply because it was “Chanel”.

Paris fashion

Chanel Couture 1959.. This collection was her reentry into fashion after a retirement period. Her cuts remained classic and her connection with magazine editors allowed her collection to be showcased in magazines despite the classic style of the collection. Although the prints and colors were a bolder selection that her previous collection.

Paris Refashioned 1957-1968 will be open until April 15, 2017 at the Museum at FIT. Let me know if you visit this exhibition and what your thoughts are.

T.S.

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The Museum at FIT’s Black Fashion Designers

February 27, 2017

Currently on display at the Museum of FIT is the “Black Fashion Designers” exhibition.  Just in time for Black history month the exhibition showcases both African and African American designers. Fashion ranging from the 1950’s to the present is on view, along with the history of challenges African American and African designers have faced within the fashion industry. The exhibition focuses on an array of classifications for these designers such as eveningwear, menswear, street style and six more categories.

Breaking into the Industry

As in most of the U.S.A during the 1950’s the fashion industry was a segregated profession. Taught the craft of sewing primarily by a loved one the inclusion of Black designers into the industry only began slowly during  the 1960’s. During this time some designers were able to learn the business side of the fashion industry while they worked in Seventh Avenue manufactures. Ann Loewe was taught sewing by her grandmother a former slave. Her designs became well known by the American wealthy in the 1950’s and 1960’s. Her specialty were wedding gowns and debutante dresses for the elite.

Museum of FIT

Left:Anne Loews wedding dress 1968. Right Ethiopian designer Amsale wedding dress fall 2016

 

The Rise of the Black Fashion Designer

The Civil Rights movement, music and African American culture became prevalent in influencing the fashion of the day. Disco music and the African American musicians inspired the designs of the 1970’s. Their designs were beginning to influence not only New York fashion but that of Paris and London.

 

Museum of FIT

James Daugherty green jumpsuit 1974 and Jon Higgins dress 1980-85

 

 

Eveningwear

The 19th century was an important time for Black fashion designers in the eveningwear arena. Their use of different techniques and craftsmanship afforded them the opportunities to dress elite clientele like Princess Diana and Beyoncé. The attention from high end retailers such as Bergdorf Goodman had African and African American designs being sold on Fifth Ave.

FIT Museum

Ann Lowe 1955 dress and B.Michae 2015 silk brocade dress.

                          

Street Influence

During the 1980’s Hip Hop and it’s culture influenced the trends of fashion. The use of oversized jackets and pants were being used by the youth of New York City. What the fashion industry call’s the ” trickle up” movement  of street style influencing the runway occurred. This movement shook the fashion industry into recognizing the market of hip hop and its youth. Unfortunately this led to high end designers being influenced by the movement without crediting the originators of the trend. Although this has slowly changed and the trickle up movement is now more appropriately used by design houses such as “Public School”. ” Public School” streetwear and high fashion fusions often stump critics and is hard to define on weather it is streetwear or not. Designer Virgil Abloh of the brand “Off-White” uses streetwear to express issues in society like climbing the corporate ladder. His purpose in making streetwear is to add an intellectual layer to a style of clothing that is often seen as cheap.

FIT Museum Exhbit

Pyre Moss fall 2015 and Off -White Ensemble 2015

FIT Musem Exhibit

Right: Public School Fall 2016. Left Xuly.Bet Fall 2016.Off White Ensemble Fall 2015 .

 

Activism

Activism in the African American society has given designers a chance to showcase their designs while infusing their culture and message. Activism prompted designers to revive the Afro hairstyle and traditional African textiles. The use of fashion allowed these designers to express their frustrations and hopes during times of oppression. Activism and fashion have collided expressing certain messages important to the designers and the public. As it was used in the past by African American communities as an outlet of social injustice it is also used today. We’ve seen particular clothing and  accessories like hats to convey a social injustice message in the Women’s March and on the runway. Most recently in the Missoni closing of their Fall 2017 Ready To Wear collection.

The Mueseum of FIT

Left: Patrick Kelly denim dress 1987. Above Patrick Kelly t-shirt. Right: Stoned Cherrie T-shirt and Tsonga skirt 2010.

Menswear

During the late 1970’s black designers were making an imprint in menswear both in the US and in London. Andrew Ramroop was the first black designer to work on the famous Savile Row in London.  Meanwhile designer Jeffrey Banks infused American prep style with traditional colorful tweeds in New York. In the early 2000’s elaborate suits fit for royalty were combined with street flare on the Sean John runway. Menswear continues to be pushed by black designers as they change proportions, add new designs and play with the idea of masculinity in suits.

FIT Museun

Patrick Kelly 1989

FIt Museum

Casey- Hayford fall 2015. Agi & Sam fall 215

FIT Museum

Sean John Fall 2008. Maurice Sewell 2003

 

Black Models

During the 1950’s Ebony magazine began the ” Ebony Fashion Fair”. The fair discovered and launched the career of supermodel Pat Cleveland among others.  It was one of the only platforms or magazine’s besides “Jet” magazine showcasing black models. African American designers were also given a spotlight to showcase their designs during the fair. In 1973 the fashion show ” The Battle of Versailles” a fundraiser for the restoration of the Versailles Palace featured five American ready to wear designers and five French couturier’s. It not only gave the American designers recognition but featured ten black models. The freedom of movement given to the models made an impact on what a model was allowed to do on the runway. Black models have been muses for designers like Stephen burrows and Azzadine Alana in the 1990’s. Model Alva Chinn became a favorite of Oscar de la Renta, Halston and Stephen Burrows. Although there are more models of color on the runway now, they are still in the minority. Supermodel Liya Kebede has given back to her native Kenya by working with the World Health Organization. They have given Ethiopian weavers a platform to showcase their work and contribute to the  Ethiopian economy.

Come des Garcons jacket, Azzedine Alaia bustier and pants. Pierre Hardy shoes. Styled by model Veronica Webb. Iemlem by Liya Kebede spring 2014

Ebony Magazine 1974 ” The Big Whirl of Fashion” featuring their fashion fair.

US Vogue and Vogue Italia

 

African Influence

African culture has inspired many designers, but can be interpreted in an incorrect manner. For an African American designer the ability to interpret  African influence in their designs is a chance to explore and portray their heritage with respect and understanding. Nigerian designer Lisa Folawiyo adds modern touches to the Ankara, a traditional West African fabric. The designer has been known to add custom prints and embellishments to the fabric in her collections.  Scarification an ancient African tradition is one of  the influences for designer Mimi Plange. The influences of scars can be seen in her 2013 leather curved line dress. While designer Christie Brown uses traditional African textiles to design modern clothing.

Left :Patrick Kelly 1988. Right Stella Jean 2015

Middle: Mimi Plange
Right: Christie Brown
Left: Lisa Folawiyo

 

 

 

 

 

 

 

 

Experimentation

Designer Jon Watson known for dressing the contestants of  beauty pageants experimented with silhouettes. In the late 1950’s he stepped away from his traditional hourglass form to an innovative pleated evening coat. It was innovative because it stood away from the body reflecting Parisian couture. Designer Brenda Waites experimented with 13th century techniques such as macramé knotting in her 1970’s collection. Punk and British tailoring were combined in designer Joe Casely-Hayford’s 2000 collection. He as well as most Black designers fight against the label of “black designer” for the more appropriate “designer” label.

Left:Jon Weston coat 1957
Middle: Brenda Waites Boiling tunic 1970’s
Right: Bryan Lars Union suit 1987

Left” Epperson dress 2008
Right: Joe Casely-Hayford 2000 Ensemble

 

The exhibition is open until May 16, 2017 at the Museum of FIT on 7th Ave and 27th St. Let me know if you got to visit this exhibition.

T.S.

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