Head to Toe Fashion Ide Download
NEW YORK, October. 27, 2021 /PRNewswire/ -- The Museum at FIT (MFIT) presents Head to Toe, an exhibition that explores the history of Euro-American women'south fashion from 1800 through the early twenty-kickoff century by examining the function of accessories within the total ensemble. Accessories communicate socially constructed ideas, including femininity, sexuality, modesty, race, class, power, and modernity, every bit well equally illuminate changes in the broader social landscape. Although they are often seen as coincident to garments, accessories accept e'er been essential components of the fashionable ensemble, and serve as important objects for agreement how women express their personal identities.
"Accessories take become and then fundamental to fashion that they are inappreciably an accessory anymore," says Dr. Valerie Steele, director and chief curator of MFIT. "In fact, even in the nineteenth century, hats, gloves, parasols, and fans played an important role in mode, merely equally shoes, bags, and sunglasses do today. The exhibition curators, Melissa Marra-Alvarez and Elizabeth Way, have done a wonderful job showing how and why accessories e'er complete a await."
Head to Toe features approximately thirty garments and more than two hundred accessories from the permanent collection of MFIT. The show is organized chronologically, and for each historical period a small sample of the possible combinations of garments (daywear, formal wear, and outerwear) and accessories helps illustrate the intricacies and etiquette of Western women's fashion, showing its evolution and irresolute social context over 2 centuries.
The exhibition'southward introductory gallery features juxtapositions of historic and contemporary accessories, making connections over time. Whereas a woman during the mid-nineteenth century would have picked up a parasol for protection from the sun, a modern woman dons sunglasses. Beyond providing shade, both accessories give women an opportunity to disrupt the public gaze—either obscuring or revealing their faces—and both tin can act as clear signs of wealth and status. Even so, while parasols reinforced the nineteenth-century Western idealization of white, untanned skin as feminine, refined, and racially superior, during the twentieth century, sunglasses came to connote leisure time spent outdoors and an ineffable cool associated with youth cultures.
The first half of the exhibition focuses on the period between 1800 and 1940, with each section examining multiple accessories and highlighting those that were particularly of import to style at the time. During the early nineteenth century, for example, the fashion for slim Neoclassical gowns in sheer fabrics drove the popularity of reticules, or modest fabric handbags, which became a necessity equally the silhouette narrowed and no longer accommodated hidden pockets. These bags, exemplified in the exhibition by an exquisitely embroidered and embellished circa 1800 reticule, came to represent femininity on public display, where once it had been subconscious beneath skirts. The seemingly innocuous task of carrying i's feminine accoutrements was seen past some social commenters as a bold and vulgar spectacle.
During the Victorian era, rapid industrialization afforded heart course women access to luxury items previously reserved for the upper form. Gender roles became more than rigidly defined, and women were emphasized as the domestic and ornamented sex. In plough, female beautification became a tangible expression of social form, race, and overall femininity. On view is a satin and lace evening gown whose extravagant materials and revealing bodice projected the wearer'due south continuing and sexuality. This apparel would have been accessorized with items such as fans and shawls, which were desired every bit commodities, but also served as fashionable "weapons of seduction." Fans, in particular, were indispensable accessories at parties and balls. Evoking a nostalgia for eighteenth century aristocratic refinement, they were also tools employed by women to flirt and command attention through orchestrated gestures. A lavish brandish of fans, featuring an example by the Parisian fan-maker Duvelleroy, showcases the sophisticated level of craftsmanship and the performative value of these symbolically charged accessories.
The consumer revolution that led to the explosion of available fashion goods at increasingly accessible prices drove the demand for aspirational luxury accessories coveted by the middle class; a example on display shows a tardily nineteenth century mink fur muff, ivory-handled walking sticks, a silvery calling menu case, and silk stockings. 2 leather handbags, as well on display, illustrate a mod way new to the late nineteenth century. These bags, inspired past luggage designs, were applied accessories that represented an emerging independence for women as they progressively moved into the public sphere.
The "new woman" of the early twentieth century adopted a less formal mode of dress inspired past tailored menswear styles; however, the popularity of intricate lace "lingerie" dresses, worn as formal 24-hour interval wear, proved that a gustatory modality for the decorative all the same prevailed. An elaborate "garden political party" ensemble, featuring a slim, modern silhouette is accessorized with an oversized plumed hat and elegant parasol. Oversized hats elaborately embellished with silk flowers and exotic feather reached extreme proportions by the early twentieth century, becoming not only the about prominent accompaniment in women'southward fashion, but also overt symbols of the leisure class.
World War I, nevertheless, exerted a powerful upshot on Western way, extinguishing many lingering Victorian formalities and disrupting established norms. War conditions fostered new attitudes toward dress. Hemlines lifted, hats grew smaller, and shoe styles varied. Although extravagance was considered distasteful, women were nonetheless encouraged to wait stylish, turning to accessories to enliven their outfits. A selection of quiet just distinctive shoes highlights their increased visibility, and an embroidered black silk handbag, circa 1915, is an example of a versatile manner fabricated pop during the state of war.
Women's fashion modernized dramatically during the 1920s and 1930s. Although many nineteenth century accessories remained in style, their design reflected modernistic aesthetics such as art deco, and increasingly utilized new materials such as plastics. Although the social etiquette of fashion relaxed slightly, hats, gloves, and stockings were worn mostly. Shortened hemlines brought unprecedented focus to shoes as an of import fashion accessory. Examples of 1920s and 1930s shoes include casual leather brogues and canvas oxfords, equally well as embellished and colorful high-heeled pumps and sandals.
As the exhibition continues, accessories are examined in groups that reflect movements in fashion and society. A patriotic austerity descended on fashion during World War II equally rationing limited way's taste for the extravagant. Women were encouraged to purchase applied clothes, such as a versatile "little black wearing apparel," which could be easily accessorized to bear them from day to evening. A big display of 1940s accessories—ranging from a pair of patriotic red, white, and blueish leather pumps to a whimsical turban-style lid by Lilly Daché—shows how accessories became the focal point of fashion used to enliven plain dress.
Post-state of war high fashion was nostalgic, looking back to nineteenth century ideals of femininity, which created a focus on "courtly" accessories. Style was dominated by Parisian couturiers, including Christian Dior, Cristóbal Balenciaga, and Pierre Balmain. Couture houses offered their own accessories to match and coordinate with their wearable; they were oftentimes created in conjunction with accessories designers. On view are silk shoes designed by Roger Vivier with a matching clutch from? Christian Dior, and ruddy suede elbow-length gloves created by Tréfousse for Balmain. The "American Expect" created by designers such equally Claire McCardell challenged haute couture with sportier styles, including scarlet gingham driving gloves and bright yellowish sunglasses. McCardell ofttimes worked with the dancewear company Capezio to create frail yet practical flats and sandals.
Youth culture was a major influence on fashion during the sixties. The Mods, for example, embraced fun, brightly colored,plastic clothing and accessories. Vibrant hosiery from Trimfit, marketed with the face of British Modernistic model Twiggy, shows the subculture'due south impact on the wider style world. In French republic, the space-age designers responded to Youthquake styles with futuristic accessories like André Courrèges's slit white sunglasses and Paco Rabanne's gilt metal link purse.
The hippies were an influential fashion tribe of the late 1960s and early 1970s that started as an anti-establishment move with a unique, practise-it-yourself expect, which was quickly adopted past the way mainstream. A brightly embroidered suede "granny" boot, modeled on vintage footwear, shows the commercialization of the hippies' maverick style. Individuality in fashion was stressed during the seventies, and accessories were essential to solidifying a cohesive await. A corrupt Judith Leiber white snakeskin clutch and modernist silver jewelry by Elsa Peretti exemplify the style of New York's sophisticated disco nightlife scene, whereas a Gucci pocketbook and leopard-patterned Manolo Blahnik pumps from the end of the decade were loftier-condition designer accessories that working women could buy for themselves.
The prototype-conscious eighties saw a return to dressing upwards, and manner became a prominent symbol of success. Designer accessories, such as a pair of Charles Jourdan "power heels," underscore the newfound sense of ease in which women flaunted their wealth and condition. However, a number of youthful, music-driven subcultures also emerged with their own distinct sense of style. A gilded lamé "fez" by Stephen Jones illustrates the gender-bending New Romantics aesthetic. As a predominance of manner tribes influenced fashion, accessories once more helped to navigate sartorial displays of allegiance and dissonance, too every bit modernity and power. On view are style accessories influenced by music genres, such equally New Wave and hip hop, that underscore this notion.
Sartorial expression grew more individualized during the nineties. While subcultural influences continued to assert their sway on style, women took more possession than ever over their manner choices, adopting them to reflect individual lifestyles. For example, a 1998 Vivienne Tam skid clothes is displayed with a choice of footwear that would dramatically change the tone of the ensemble—a pair of rugged Dr. Martens boots and ultra-feminine pink Manolo Blahnik mules. This dichotomy highlights the powerful sartorial statement each footwear option communicated.
By the end of the millennium, handbags and shoes dominated as the most prominent accessories in women'southward fashion. Among the shoes and handbags on display are Christian Louboutin'southward lavender Pensée pumps (the first style to characteristic his iconic red sole), Martin Margiela'south avant garde Tabi boots, a mitt-painted Fendi Baguette handbag, and Christian Dior'due south Diorissimo saddle bag. Today, bags and shoes go on to reign supreme in the stylish woman's wardrobe, while essential accessories of the by such as parasols and fans are all simply forgotten. During the last twenty years, new accessories, such as designer jail cell phone cases and face masks have emerged to reflect current lifestyles. Head to Toe invites viewers to examine the history and changing roles of women's accessories, and to contemplate their ongoing importance to both individual style and wider sociocultural movements.
Caput to Toe is curated past Melissa Marra-Alvarez, curator, Education and Research; and Elizabeth Manner, associate curator, Costume. It is on view from Nov 17, 2021 through May 8, 2022.
The Museum at FIT
The Museum at FIT, which is accredited past the American Alliance of Museums, is the only museum in New York Metropolis defended solely to the art of way. Best known for its innovative and award-winning exhibitions, the museum has a drove of more than than l,000 garments and accessories dating from the 18th century to the nowadays. Like other mode museums, such as the Musée de la Mode, the Style Museum, and the Museo de la Moda, The Museum at FIT collects, conserves, documents, exhibits, and interprets way. The museum's mission is to advance knowledge of fashion through exhibitions, publications, and public programs. Visit fitnyc.edu/museum.
The museum is part of the Fashion Institute of Engineering (FIT), a Land University of New York (SUNY) higher of art, design, business, and engineering that has been at the crossroads of commerce and creativity for 75 years. With programs that blend easily-on practice, a potent grounding in theory, and a broad-based liberal arts foundation, FIT offers career instruction in nigh 50 areas, and grants associate, bachelor'southward, and master's degrees. FIT provides students with a complete college feel at an affordable cost, a vibrant campus life in New York City, and industry-relevant preparation for rewarding careers. Visit fitnyc.edu.
The Couture Council is a philanthropic membership group that helps support the exhibitions and programs of The Museum at FIT. The Couture Quango Laurels for Artistry of Fashion is given to a selected designer at a benefit luncheon held every September. For information on the Couture Council, call (212) 217-4532 or electronic mail couturecouncil@fitnyc.edu.
Museum hours: Midweek–Friday, noon–eight pm; Saturday-Lord's day, 10 am–5 pm. Closed Monday, Tuesday, and legal holidays.
Admission is free.
For press avails and images: https://bit.ly/3aWGI9E
Contact: Steven Bibb, steven_bibb@fitnyc.edu
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