June 29, 2023

Karl Lagerfeld: A Line of Beauty at The Met

“The Costume Institute’s spring 2023 exhibition will examine the work of Karl Lagerfeld (1933–2019). Focusing on the designer’s stylistic vocabulary as expressed in aesthetic themes that appear time and again in his fashions from the 1950s to his final collection in 2019, the show will spotlight the German-born designer’s unique working methodology. ”

— The Met

Every spring I make my way over to The Met to see the new fashion exhibit and it’s a tradition that I hope I never stop. It’s a very love/hate experience, which is what makes it so fun for me. They can be beautifully whimsical or absolute train wrecks. So let us begin…

Okay, so THIS is a wonderful way of displaying a clothing exhibit (above). Black dresses should be again white backgrounds and vice versa. It’s also at eye level, with just enough distance away so that you can see the intricate details. How is this not standard procedure for showing pieces at this point?

I don’t love the two-floor showing of these ones (above) but at least they’re lighted properly. It would’ve been nice to see them up close, but maybe I’m just too picky when it comes to Met curation decisions. Although if I’m going to see a designer exhibit, it isn’t insane of me to want to actually see the vintage, designer pieces. But I digress.

Early 70s Fendi mink fur? SIGN ME UP. Not only do I love old pieces, I absolutely love vintage fur when it’s maintained so well. It’s legit history you’re looking at, incredibly beautiful history. The cut of this cape is breathtaking.

At first glance, I hated this but when I read that it was a cape (why was it not shown with its opening?) I’m way more onboard. Capes need to come back. Especially ones that make you look like you’re some sort of chic fairy godmother.

An 80s Chloe dress? Perfection. I would have loved to see the front of it, but that wasn’t in the cards. It should be law that all dresses have fun back details.

I really didn’t love this clearly-Lagerfeld 80s dress mainly because I don’t love his signature style at all. It’s edgy but without any substance.

The detailing of this Chanel dress is gorgeous (especially the neck and the wrist area), it’s so fun but, like, a structured kind of fun. It does seem like a nightmare to wear, but so lovely to look at. (And I just realized that they also showed it at their 2016 exhibit!)

If it’s got tulle, mesh, feathers or any kind of netting - I’m 99% gonna be into it. Absolutely love this dress. And it’s hard to tell in a still photograph but it shimmers ever so slightly in the light.

THE BEADING, MY GOD. This dress screams patience and elegance at once and I’m enthralled with it.

As much as I love the feathers, my favourite part about this piece is the shape. I’ve never seen a dress that achieved this type of shape before, which is wild to realize and beautiful to witness.

Overall, a small portion of the collection was fun but there were too many modern pieces (from the 2000s) and the majority of them were too high up to even see. And I think I love an exhibit that covers more than one designer and instead focuses on a theme rather than a person. But if you like to just peruse designer items from the past, definitely make your way to The Met before it closes on July 16th.

IMPORTANT TIP: Before you enter the exhibition, you must join the virtual exhibition queue via QR code once you’re inside the museum (there’s a QR code sign beside the main entrance ticket line). No advance or timed tickets required and access is first come, first served.

The exhibit runs until July 16th, 2023.

Past fashion exhibits I’ve seen at The Met:

2016’s Manus x Machine (Fashion in an Age of Technology)
2018’s Heavenly Bodies: Fashion and the Catholic Imagination (not a full post, but a brief summary)
2019’s Camp: Notes on Fashion
2021’s In America (Part One): A Lexicon of Fashion (as well as the updated Part One that a few months later)
2022’s In America (Part Two): An Anthology of Fashion

March 6, 2022

In America: A Lexicon of Fashion Exhibit at The Met

by Liz Heather in Best of NYC

the met in america costume institute nyc

One of my favourite things to do each year is to visit The Costume Institute inside The Metropolitan Museum of Art. Next to the rooftop exhibit, it’s my second favourite thing to do there. Here’s a description of the exhibit that’s been on display since September.

“Approximately 100 men’s and women’s ensembles by a diverse range of designers from the 1940s to the present are featured. Enclosed in scrimmed cases that represent three-dimensional “patches” of a quilt, they are organized into 12 sections that explore defining emotional qualities: Nostalgia, Belonging, Delight, Joy, Wonder, Affinity, Confidence, Strength, Desire, Assurance, Comfort, and Consciousness.”

— The Met

It’s a two part exhibit and the second part will be opening on May 7, 2022 and I absolutely cannot wait for it. Here were my favourites from part one.

“For his autumn/winter 2021–22 collection, Michael Kors celebrated the fortieth anniversary of his womenswear line with a presentation that included reinterpretations of designs from his past collections. This gold-sequined dress, paired here with a cashmere coat that has a coordinating sequin-embroidered lining, is a reprisal of a design he debuted in 2000 and a nod to one of Norman Norell’s favored combinations. The ensemble exemplifies Kors’s facility for executing opulent garments in a relaxed manner intended to offer the wearer a sense of confidence and ease.”

— The Met

“Tom Ford is well known for the overt sex appeal of his designs, which reveal and accentuate the body with fluid fabrics and body-conscious silhouettes. Ford’s spring/summer 2018 collection borrowed from the sharp lines of his men’s suits. This evening dress is constructed of tightly ruched black net wrapped over the broad, padded shoulders and around the upper arms, mimicking the square shape of a man’s jacket. From the waist to the hem, the net is loosely draped in sheer folds, revealing the hips and legs beneath. ”

— The Met

“In Donna Karan’s first collection for her own label, she introduced a concept that became known as “Seven Easy Pieces.” This series of coordinated separates—bodysuits, trousers, skirts, and jackets—could be variously combined for different occasions and formed the foundation of a modular wardrobe. These fashions offered the wearer an alternative language of professional dress that was both commanding and feminine, while providing a sense of assurance due to their comfort, ease of coordination, and compatibility with work and personal life. ”

— The Met

“In her designs, Claude Kameni uses fabrics often referred to as African wax prints. These vividly colored and densely patterned textiles, which have an enduring history of popular use in West and Central Africa, were originally inspired by batik, or wax-resist, cloth from Indonesia. The dynamism of Kameni’s work is indebted to the synergy she creates between these vibrant patterns, her strong silhouettes, and the body of the wearer. In this dress, the pattern is arranged to complement the curves of the figure and accentuate the flowing tiers of the skirt.”

— The Met

“The double-hooded sweatshirt displayed here features two neck holes with only one set of sleeves. Part of Bstroy’s “Sweet Screams” collection, it was presented on the runway on two models as if they were craving companionship. Intended for an individual wearer, the garment’s second hood effectively lays limp on the shoulder, suggesting a dystopian future of loneliness and isolation.”

— The Met

“A piece of embroidery executed in his native Haiti and shared with him by his sister Brigitte inspired the first of Fabrice Simon’s beaded designs. Beaded garments based on embroidery patterns he drafted himself would become his signature. As in this dress, they often retain the lively and spontaneous quality of a drawing. Previous experience as a textile designer likely honed his ability to create patterns that harmonize with the body in the finished garment.”

— The Met

“Musicals of Hollywood’s Golden Age provided inspiration for Rodarte’s autumn/winter 2019–20 collection, which featured designs that offer a fantastical counterpoint to the costumes brought to life on screen by women such as Ginger Rogers. In this dress, the designers created a sense of animation through their careful handling of the fabric. Dense, cascading ruffles enveloping the skirt spring gently in tandem with the wearer’s movement, giving way to open, petal-like layers at the shoulders that generate more buoyancy. ”

— The Met

“Titled “Nothing Is Forever,” Vaquera’s spring/summer 2021 collection explored the potential of an “anything goes” approach to dressing in a post-pandemic world. The design trio—known for its campy sensibility and fashion-outsider status—played with the idea of innerwear as everyday outerwear, incorporating lingerie and bedroom details throughout the collection. This oversized boa boasts an exuberant jumble of jersey, tulle, and lace, as if the wearer wrapped themselves in lingerie-strewn bedding and unabashedly walked out the door.”

— The Met

You can see glimpses of the past exhibits if you’re at all interested…

And if you don’t find yourself in NYC and still want to take a look at some of the exhibit, then take a look at this video below or you can see all of the pieces on display over here.

UPDATE: The Met also added new pieces to this collection in 2022 and I wrote about them over here.

December 20, 2018

Fashion Climbing by Bill Cunningham - A Review

by Liz Heather in Reviews

Remember the documentary about the wonderful Bill Cunningham? That’s the reason this book got read. And while it’s a wildly insightful look into the fashion world of the forties, fifties and sixties - I was hoping for it to be more of a memoir of his whole life. It kind of makes sense that it wasn’t, though, since he was a notoriously private man. In any case, very pleased to have read it, best parts ahead.

“The wearing of clothes at the proper place and time is so important. That’s because they tell a story - not only about the wearer, but also about her time. How dare one not pay attention to the world one lived in, a world filled with the gorgeous tragedy of what is happening now, never to be repeated.”
“Zooming down the mountainside in freshly fallen snow, between the fir trees laden with fluffy white, I can’t begin to tell you what a wonderful feeling it is when you feel all alone in the world, sliding down at terrific speed. I always felt it was the perfect place to commune with God.”
“I believed in starting each week doing the thing you love most. Luckily, my love was flowers. At five thirty each Monday, I’d go down to the New York flower market, where all the colors of nature brightened the early morning. I would buy armfuls of fresh flowers to perfume my salon for the week. This is a practicing luxury I still indulge in, and one that makes all my weeks happy. Monday shouldn’t be drudgery. More people should start off doing what they enjoy most.”
“It’s funny how you get so patriotic when someone steps on you.”
“Sometimes even I myself am afraid to submit to my subconscious inspiration, for fear of being ridiculous, but no matter how wild or vulgar an idea seems at its conception, within five years someone is sure to come up with it. My suggestion to anyone who is creative is: never hold back.”
“Only the people who are willing to sacrifice the security and comforts of the establishment, and fight for their individual beliefs, cause the developing changes of the world.”
“Why is everyone afraid to be themselves in their home cities?”
“High fashion does gravitate around society, who claim to have taste. It’s only because they have the time, money, and places to wear trendsetting creations. It’s a ridiculous belief that money brings taste; it definitely doesn’t. As a matter of fact, it often merely allows one to enjoy bad taste with louder vulgarity.”

All in all, good book.