“America is not like a blanket—one piece of unbroken cloth, the same color, the same texture, the same size. America is more like a quilt— many patches, many pieces, many colors, many sizes, all woven and held together by a common thread.”
—Jesse Jackson, 1984 Democratic National Convention
So begins “In America: A Lexicon of Fashion,” celebrating the 75th anniversary of The Metropolitan Museum of Art’s Costume Institute and running through Sept. 5, 2022. This is the first part of The Costume Institute’s two-part consideration of American fashion. The second part, “In America: An Anthology of Fashion” (May 5 through Sept. 5, 2022) will present clothing and accessories from the 18th century on in dialogue with the period rooms in which they’ll appear. Frankly, we can’t wait for that show.
In the meantime, “A Lexicon of Fashion” offers 100 men’s and women’s designs from the 1940s to the present in scrimmed cases presented mainly in the two-gallery Anna Wintour Costume Center. The cases, which are meant to evoke the patches of a quilt, are grouped into 12 sections that organizers Andrew Bolton, the Wendy Yu curator in charge of The Costume Institute, and Amanda Garfinkel, assistant curator. say describe the emotional qualities of American fashion – “Nostalgia,” “Belonging,” “Delight,” “Joy,” “Wonder,” “Affinity,” “Confidence,” “Strength,” “Desire,” “Assurance,” “Comfort” and “Consciousness.”
Word-bubble headpieces offer aspects of each category. So in “Belonging,” which contains four “flag sweaters,” Ralph Lauren’s is associated with “idealism”; Tremaine Emory’s, “affirmation”; Tommy Hilfiger’s, “solidarity”; and Willy Chavarria’s, “isolation.”
It’s hard to imagine, however, that the concept of the show as a three-dimensional quilt is going to resonate with visitors as they slowly snake through aisles of vitrines in the center’s tight quarters. And the outfits don’t always seem to match the accompanying words. A black silk georgette dress (2019-20) by Vera Wang, with black twill shorts and a black charmeuse bra, is accompanied by the word “romance.” Why not “naughty” or simply “sexy”?
Then, too, the offerings are so eclectic that it’s hard to find the common fashion threads, pun intended. American individualism may be one. The other is that fashion has become so embracing that all of the styles on view feel fresh and contemporary.
Certainly, you have to admire American designers’ breadth. From Isaac Mizrahi’s pink baby doll dress as shrunken ball gown (autumn/winter 1994-95), labeled “sweetness,” to Rodarte’s 1930s Hollywood glam electric-blue silk organza gown (autumn-winter 2019-20), labeled “ebullience,” “Lexicon of Fashion” has something for everyone, which may be why it’s hard to pin down.
Those searching for greater cohesiveness – and a lot more breathing space – are flocking to “Christian Dior: Designer of Dreams,” through Feb. 20 at the Brooklyn Museum. https://www.timeout.com/newyork/museums/christian-dior-designer-of-dreams
As we’ve noted in another post on this blog, Dior’s fitted jackets, full midi skirts and cinched tulle ball gowns – all flattering to the feminine silhouette – defined the postwar “New Look” and return to romance. The exhibit pays homage to this and Dior’s worthy successors (including Yves Saint Laurent and John Galliano) in 200 works and 22,000 square feet that play with perspective, offering color-coded cabinets of curiosities, movie-set glamour and “conversations” between the works and the museum’s spaces.
It seems that for once The Met has been outdone by a crosstown rival.
For more, visit metmuseum.org and brucemuseum.org.
Tags: fashion, Costume Institute, Anna Wintour Costume Center, “In America: A Lexicon of Fashion,” Brooklyn Museum, “Christian Dior: Designer of Dreams,” Yves Saint Laurent, John Galliano, Isaac Mizrahi, Vera Wang, Christian Dior, The Metropolitan Museum of Art