The Brooklyn Museum recently partnered up with the Metropolitan Museum of Art to share the former institution's impressive costume collection consisting of over 25,000 pieces from the 18th-20th centuries. To celebrate the union, the two museums are presenting concurrent exhibitions - American Woman: Fashioning a National Identity at the Met and American High Style: Fashioning a National Collection at the Brooklyn Museum.
The Met's American Woman "explores developing perceptions of the modern American woman from 1890 to 1940 and how they have affected the way American women are seen today. Focusing on archetypes of American femininity through dress, the exhibition reveals how the American woman initiated style revolutions that mirrored her social, political and sexual emancipation" (from metmuseum.org). The exhibition is broken down into the six groups below (info taken from the exhibition notes).
The Heiress (1890s)- A woman whose inherited wealth enabled her to wear clothing from French luxury brands including Rouff, Hallee, Pingat, Doucet, Paquin, and Charles Frederick Worth.
The Gibson Girl (1890s)- Created by illustrator Charles Dana Gibson, the Gibson Girl debuted in Life Magazine in 1890. She was typically an aristocratic and athletic young woman who was tall, slim, and long-limbed, with classical features and thick, dark hair worn in a chignon. She wore simple, tailored suits and dresses and expressed her confidence, independence and self-determination playing sports like golf, tennis, horseback riding, bicycling, and swimming.
The Bohemian (1900s)- The Bohemian woman exerted her freedom and self expression through the arts (rather than sports like the Gibson Girl). She collected art, patronized artists, organized exhibits, and/or founded museums. Her wardrobe typically consisted of loose fitting, uncorseted silhouettes influenced by classicism, medievalism, and Orientalism designed by houses like Poiret, Callat Soeurs, and Liberty & Co.
The Patriot/Suffragist (1910s)- After seventy-one years of fighting for the right to vote, women were finally allowed to do so on August 18, 1920. The woman who fought this good fight often wore the latest fashions in a mix of three colors - purple, white and green (or gold), making herself visible and easily identifiable in public.
The Flapper (1920s)- The youthful, red-lipped, bob-haired, smoking and drinking Flapper flaunted sexual freedom instead of political (like the Suffragist). The slim, hip-less, small-chested Flapper was more androgynous than the Gibson Girl and favored a shapeless silhouette with a low-slung waist, designed by brands like Lanvin and Patou. The Flapper was young, flirty, urban, and contemporary.
The Screen Siren (1930s)- The Screen Siren is exactly what you'd picture, a sensuous, sophisticated glamorous woman who exuded self-confidence and independence. She preferred evening gowns cut on the bias to accentuate her curvaceous figure with the fabric either draping, twisting or wrapping for dramatic effects. Favored designers included Madame Gres, Madeleine Vionnet, Lanvin, and Chanel.
For 1940-The Present photos of famous, fashionable women from those decades flash on the walls in a room that blares that over-used and cheesy American Woman song. Overall, this exhibit feels forced and superficial, really only defining one type of American woman - an elite, privileged, wealthy one. Cutting off the exhibit at the 1930s seems a bit of a cop out too. What about the "We Can Do It" woman of the 40's who took jobs in factories during the war when all the men were off fighting? Or the wholesome bobby soxer of the 50's? The bra-burning hippy of the 60's? The disco diva of the 70's? The shoulder-padded business woman of the 80's? The Kinderwhore (the feminine/feminist grunge counterpart) of the 90's? I don't think many contemporary American women are going to relate to the show's narrow definition of who we are supposed to be or identify with the selected "archetypes" from whom we allegedly evolved. Perhaps someone should have informed the exhibition organizers that clothes do not make the woman. Judge for yourself at metmuseum.org. Through August 15th.
On the other hand, the Brooklyn Museum's American High Style is a terrific exhibit. Unlike American Woman, it isn't patronizing and doesn't try too hard. You can sense the museum's enthusiasm in sharing some of the highlights of its vast and wonderful costume collection with the public. The show is divided into six simple groupings, three focusing on individual designers and three focusing on works by different but related designers (info below taken from the exhibition notes).
The House of Worth, 1850s-1950s- Charles Frederick Worth (1825-1895) was the first to build a dressmaking business of international scope, establishing the blueprint for French couture houses. Born in England, Worth moved to Paris in 1846 where he opened the House of Worth, specializing in luxurious, high quality, made-to-order evening wear. His clientele included royalty, aristocracy, the famous, and the wealthy.
French Couture, 1900-1940 and French Couture, 1946-1970- The term "couture" is bandied about in all sorts of wrong ways these days. The literal translation of "haute couture" is "finest sewing." Elements of haute couture clothing include: innovative design, custom fitting, specialized handiwork, and the finest materials. A vast and stringent system in France organizes the design houses that produce haute couture collections.
Rarities- The dolls displayed in this section were gifts from France's Chambre Syndicale de le Couture Parisienne. The theme of the mannequins was 200 years of French Fashion, 1715-1906. Each doll was produced in 1949 and dressed in period clothing created by couturiers like Elsa Schiaparelli and Christian Dior.
Elsa Schiaparelli, 1934-1940- A couturiere known for her avant-garde, idiosyncratic style incorporating Surrealism, trompe l'oeil elements, experimental fabrics, bold prints with unorthodox imagery and colors, and opulent, whimsical detailing.
Charles James- Not formally trained as a designer, James used mathematical, architectural and sculptural concepts in his dressmaking. His highly structured shaped evening gowns of the late 40's/early 50's won him a well-deserved cult following.
American Woman Designers, 1920-1980 and American Men Designers, 1930-1980- The women in this group include: Bonnie Cashin, Carolyn Schnurer, Vera Maxwell, Claire McCardell, Elizabeth Hawes, and Madame Eta Hentz. These women began their design careers between the two world wars, creating the American sportswear aesthetic which became the country's most important contribution to 20th-century fashion. Postwar, male designers including Mainbocher, Norman Norell, and Gilbert Adrian designed for the high-end, ready-to-wear market.
American High Style also features an array of shoes and accessories as well as various design sketches interspersed throughout the exhibit. The exhibition is well edited and many of the items are timeless and completely wearable today. American High Style is definitely the stronger of the two exhibits and a must-see for fashion lovers. Learn more at brooklynmuseum.org. See my pics below (photos weren't allowed at the Met, so all my shots are from the Brooklyn Museum). Through August 1st.
Entrance to American High Style exhibit: (left to right) Bonnie Cashin, Evening Dress, 1945; Charles Worth, Walking Dress (top), 1885; Charles James, "Tree" Evening Dress, 1955; Norman Norell, Evening Ensemble, 1970-1
House of Worth: (left to right) Fancy Costume Dress, 1870; Reception Dress, 1885; Afternoon Dress, 1875
Rarities: 1906 Doll, Elsa Schiaparelli, 1949
French Couture 1900-40: (left to right) J. Suzanne Talbot, Evening Dress, 1925; Jeanne Lanvin, Evening Dress, Summer 1923; Madeleine Vionnet, Evening Ensemble, 1935
Elsa Schiaparelli: (left to right) Evening Dress, Spring 1937; Beach Ensemble, Summer 1932
Elsa Schiaparelli: Dress (with seed packet appliques), 1939-41
Elsa Schiaparelli: (left to right) Suit, 1939; Suit, 1937 and Hat, Winter 1936-7; Coat, 1932-5
Elsa Schiaparelli: Necklaces, Fall 1938
Charles James: (left to right) Evening Dress, 1948; Evening Dress, 1947
Charles James: (left to right) Butterfly Dress (made with 25 yards of tulle), 1955; "Diamond" Evening Dress, 1957
American Women Designers, 1920-80: (left to right) Carolyn Schnurer, Bathing Suit, 1950; Sundress, 1950; Claire McCardell, Beach Ensemble, 1944
American Women Designers, 1920-80: (left to right) Vera Maxwell, Ensemble, 1958; Bonnie Cashin, "The Tweed Toga" Emsemble, 1943 and Stirrup Pants, 1951
American Women Designers, 1920-80: (left to right) Elizabeth Hawes, "The Tarts" Dress, 1937; Madame Eta Hentz, Dress, 1944
American Men Designers, 1930-80: (left to right) Gilbert Adrian, "The TIgress" Evening Ensemble, 1949; Dinner Dress, 1944; Dinner Dress, 1944 (The two Dinner Dresses were inspired by Cubism and were created for Adrian's wife, actress Janet Gaynor.)
American Men Designers, 1930-80: (left to right) James Galanos, Evening Dress, 1955; Geoffrey Beene, Evening Dress, 1965; Arnold Scaasi, Evening Ensemble, 1961
American Men Designers, 1930-80: Halston, Evening Dress, 1975
French Couture, 1946-70: (left to right) Hubert de Givenchy, Evening Dress, 1960; Yves Saint Laurent, "Refrain" Cocktail Dress, 1958; Gabrielle Chanel, Cocktail Dress, 1965
French Couture 1946-70: (left to right) Jean Desses, Evening Ensemble, 1956; Madame Alix Gres, Evening Dress, 1969
I too enjoyed the latter, but maybe I should cross the former off my list? Hmmm...
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