One of the easiest forms of self-expression for many women has been dressing themselves. Whether that be for a gala to a workout class. dressing and accessorizing ourselves is one of the quickest ways to express ourselves to others. To make our presence known through print, cut, color, and detail without even uttering a word. Or to simply blend into the crowd of blazers and pantsuits. Whichever you choose, your ability to do, is largely thanks to the women designers of the past. Even iconic accessories, that are staples for brands have been in large part to the work of a woman. Not to mention the Costume Insitute itself, is thanks to a woman who wanted to perseve fashion history. While of course there were men of importance that impacted the way we dress today, there were also those that simply took a woman’s idea and brandished his name on it. Shocker? No. That is why an exhibition like that of Women Dressing Women, which lasted into Women’s History Month was timely. The exhibition brought forth the names of designers never recognized either due to lack of rights, media attention, or lack of those willing to advocate up until the successful and well-deserved spotlit names of today. The exhibition focused on concepts that tell the story of women within the fashion industry including anonymity, visibility, agency absence/omission, and finally progress and success.
In the 20th century war and the need for women to take over fashion houses and become figureheads advanced the need for women to become entrepreneurs within the fashion realm. Taking on roles they were not allowed to in the past, breaking past the role of a dressmaker in a fashion house. Although still largely unrecognized this led to the rise of designers such as the Callot Soeurs (the Callot Sisters fashion house), Huet & Cheruit (Marie Huet and Louise Cheruit) and those still recognized today such as Lanvin (Jeanne Lanvin) and Vionnet (Madeleine Vionnet).
In the 1920’s women like Claire McCardell, under the house of Townley, introduced spaghetti straps, pockets, and ties into womenswear. These new inventions were pushed back on by manufacturers who did not want to make clothing with these details. Her persistence with her creations and that of getting credit for her work made her one of the first women to successfully get her name on the garment label.
Models were also finding a greater voice in the 20s as seen with Jessie Franklin Turner who became more involved in the fashion industry by working as a retail buyer and then designer of her label. Her dedication to learning different parts of the fashion industry led her to serve on the board of directors for the Museum of Costume Art, now known as the Costume Institute at the Met.
Fortuny, a popular designer in the 30s became largely known for the multi-pleated “sizeless-gown” that became one of the most popular fashion trends of the period. This design was created by his partner Henriette Nigrin. Although Mario Fortuny does credit Nigrin in his notes, patents for this popular design were placed under Fortuny’s name. The lack of legal protections offered to women during this period allowed the misattribution and credit to stand with Fortuny. Many cultural institutions are in the process of crediting Nigrin’s name under her rightful designs.
By 1945 designers like Vera Maxwell created the “Speed Suit” adding functionality to sophisticated clothing. During this era, the speed suit became symbolic of the women’s independence movement in America. As, once again, war pushed women into workplace spaces they were once not allowed.
By the 50’s 60’s ready-to-wear was more popular than couture and this allowed Bonnie Cashin to create the “kiss lock” and “bucket bag” at Coach. It also allowed women designers to bypass the need for manufacturers and create relationships with small boutiques. Younger women looking for less custom-made clothing and formality in the way they dressed, looked to boutiques and designers to create ready-made easy clothing. This revolution in the way women created and bought clothes went hand in hand with societal issues, many times with boutiques not only selling to their community but being a home base for discussions on social and political issues.
Women of color had even less advocacy during this period, many times not receiving any recognition, like that of Ann Lowe who created Jacqueline Kennedy’s wedding gown in 1953. Because of her exclusion, there is still research being done into her fifty-plus career in fashion.
In the 80’s Diana Vreeland pushed for an exhibition on Madame Gres, through her persistence the exhibition was granted in 1994. This became the Mets’ first solo exhibition dedicated to a woman fashion designer. Similarly, in 2017 curator Andrew Burton pushed for the exhibition of fashion house Comme des Garcons led by Rei Kawakubo, who at the time was the first living woman designer to be granted an exhibition. Both Gres and Kawakubo pushed boundaries and introduced unseen, and many times otherworldly fashion concepts.
In the 2000s Sarah Burton led the house of Alexander McQueen after his passing. Leading the house for almost 13 years, she surpassed expectations and pressure, keeping Alexander McQueen’s distinct vision alive while moving the brand forward creatively. In the same spirit of progress, Iris Van Herpen pushed the fashion industry further introducing garments made of 3-D printing.
Women designers of today are giving a voice to the disabled, indigenous communities, and climate issues while being socially aware through their collections. Like that of Chloe’s Autumn/Winter 2022-23 collection created by Uruguayan-born designer Gabriela Hearst. For this collection, Hearst collaborated with the nonprofit Nest Guild and the quilters from Gee’s Bend Alabama, an African American community, whose women have preserved the art of quilting.
There are so many women designers I did not mention, who have impacted the way the fashion industry works, the trends and classics we wear, and who have, through their work, pushed society forward. It’s only a matter of research and recognition that continues to uncover that impact. Who is your favorite woman in the fashion industry (designer or otherwise)? Let me know in the comments!-T.S.
What do you think?