The mini skirt. Claimed to be invented by Mary Quant in London, and premiered around 1964, this now iconic skirt style has become both the symbol of fashion in the 60s and an image of a youth-oriented fashion, still alive today. But while Mary Quant was creating her version in London, so was Pierre Cardin in Paris, surrounded by many other designers that, along with him, created newer, fresher fashionable styles, filled with the livelihood of a younger generation born in the offset of the war. Yves Saint Laurent, Karl Lagerfeld, Sonia Rykiel… they were all members of the new innovative class of fashion designers that emerged in Paris during the decade, reshaping the decades-old couture scene in France, and reviving—refashioning—the city. This new livelihood is precisely what Paris Refashioned, 1957–68, on view on the main gallery in the Museum at FIT until this Sunday, April 15, explores.
Fashion. If you’ve been reading along for the past year or so, it might be quite evident that what fascinates me the most about fashion is its capacity of communication: through our choices of clothing we send messages to the world about who we are, what we think, how we view the world. But fashion—the clothes we wear—is also about reinvention. In moments of change, fashion and self-fashioning are among the main tools used for the creation and expression of our new identities.
Sara Berman’s closet, now on view at the Met Museum, reveals the story of her life and her reinvention as a woman.
Past the galleries of Medieval art, with fairy tales narrated by the tapestries on their walls, and welcomed by a short glimpse of the most beautiful Chinese ceramics, the Metropolitan Museum of Art exhibits the Costume Institute’s latest creation: Manus x Machina. The exhibition, which transformed the renown Lehman wing into the cupola of a Florentine Renaissance church, opens with the dress that inspired it. Designed by Karl Lagerfeld as the closing garment for his autumn/winter 2014-15 haute couture collection for Chanel, and made with synthetic diving-suit material, its surface soft as a whale’s skin, the dress extends about 6 metres backward, its train showcasing the most perfect intersection of manus and machina. The brocaded pattern was first hand-drawn by Lagerfeld, then pixelated with a computer aid. Rhinestones were inserted using a heat press, and the gold paint and pearls were embroidered by hand, taking the artisans no less than 450 hours of manual labor in the completion of this masterpiece. If the dress presents a pregnant figure, made specifically for the model who wore it down the catwalk a few years ago, it also presents the conception of the most recent creative vision of the curatorial genius that is Andrew Bolton, curator in chief of the Costume Institute.