Posts in the Object post category

Historicism: Halston

  • By The Museum at FIT
  • In Object post
  • On 15 Apr | '2015
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Today we bring you an excerpt from our Special Exhibitions Gallery on Halston + historicism:

Halston’s use of historical elements to create new collections was sparing. Rather than re-interpret the designs of those who came before him, he made subtle allusions to those designers whose work he most admired. He was inspired by body-revealing activewear and the sinuous, bias-cut gowns of Madeleine Vionnet from the 1930s, while primary influences from the 1940s included the cashmere sweater sets of Mainbocher and the ingenious ties and closures employed by Claire McCardell.

Halston evening ensemble, purple cashmere, c. 1973, USA, 88.29.2, gift of Elizabeth Pickering Kaiser

Halston evening ensemble, purple cashmere, c. 1973, USA, 88.29.2, gift of Elizabeth Pickering Kaiser

Like his predecessors, Halston rejected standard fit techniques, such as darts and waistbands; wherever possible, he removed linings and inner structures, as well as buttons and notions. He also painstakingly modified a small number of basic items that were worked and reworked until their proportions and fabrications became perfect.

Curator Patricia Mears reveals Halston’s approach to design in the book Yves Saint Laurent + Halston: Fashioning the 70s:

Halston also differentiated himself from his contemporaries (and most designers today), in that he had a strong belief in the process of evolution. Rather than espousing the slash-and-burn practice in which designers embraced and then quickly discarded trends, Halston painstakingly modified a small number of basic items that were worked and reworked until their proportions and fabrications were perfect.

(left) Halston, pajama set, silk crepe de chine, c. 1976, USA, 78.57.41, gift of Ethel Scull  (right) Halston, tunic, silk satin, 1976, USA, 84.11.2, gift of Sue Christine Hartman

(left) Halston, pajama set, silk crepe de chine, c. 1976, USA, 78.57.41, gift of Ethel Scull
(right) Halston, tunic, silk satin, 1976, USA, 84.11.2, gift of Sue Christine Hartman

Halston’s evolutionary process connected him to the work of past couturiers. Mears wrote that by “refreshing and updating the silhouettes, integrating more comfort, and blurring the lines between activewear, daywear, and evening clothes,” Halston created garments that were perfect for the modern jet-set lifestyles of the 1970s.

Halston often refined elegant examples of historic fashions, and as Mears noted, “one of the great aspects of his success was his ability to balance beauty and modernity.” The 1930s lounging pajama was one such example:

Halston modernized and formalized the 1930s pajama, an ensemble that was to be worn in either a casual, sporty environment or at home. On top, although there were numerous variations, Halston usually crafted his tunic with a set-in collar, deep V-neckline, long sleeves, a curved hem that covered the hips, and a slightly narrowed waist. His pants were svelte but not tight. By 1976, most sources record that Halston was cutting all such pants, especially those made of silk satin or crepe, on the bias. This technique insured a slim fit but also a certain degree of elasticity.

Halston jumpsuit, black silk jersey, c.1976, USA, 79.66.40, gift of Ethel Scull.

Halston jumpsuit, black silk jersey, c.1976, USA, 79.66.40, gift of Ethel Scull.

Halston’s “swimsuit dress” is one of many dresses he created that were inspired by halter neck dresses of the 1920s-30s and activewear from the 1930s. Halston channeled the elegance and freedom of movement found in these historical styles and re-contextualized them, making them suitable for the fast-paced lifestyles of the 1970s. Mears wrote that “While similar exposure of the body did exist in swimwear during the 1930s, Halston expanded the amount of skin on view, and took the idea from the beach to the ballroom.” The halter neck silhouette, bias-drape, and side cut-outs in Halston’s “swimsuit dress” are features similar to those found in this Madame Grès evening dress from c.1966-68. Mears connects and contrasts the work of Halston and Grès in an earlier post.

Madame Grès evening dress, black silk, c.1966-68, courtesy of Hamish Bowles. From the book Madame Grès: Sphinx of Fashion

Madame Grès evening dress, black silk, c.1966-68, courtesy of Hamish Bowles. From the book Madame Grès: Sphinx of Fashion.

Love this post? Share it on social media with the links below. The exhibition is on view through the end of the week, April 18, 2015—don’t miss it! Share your experience using #YSLhalston.

—MM

Historicism: Yves Saint Laurent

  • By The Museum at FIT
  • In Object post
  • On 24 Mar | '2015
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Today we bring you an excerpt from our Special Exhibitions Gallery on Yves Saint Laurent + historicism:

Historical pastiche was a key element of Yves Saint Laurent’s work during the 1970s. He experimented repeatedly with styles of both the Belle Époque and the Interwar years. These pieces displayed his indebtedness to the legacies of Christian Dior and Gabrielle “Coco” Chanel. Dior’s ultra-femininity, romanticism, and interest in volume re-emerge in Saint Laurent’s homages to the Belle Époque, complete with full skirts and gigot sleeves.

Yves Saint Laurent, evening dress, green silk taffeta, 1972, France, 88.89.1,  gift of Mary Russell

Yves Saint Laurent, evening dress, green silk taffeta, 1972, France, 88.89.1, gift of Mary Russell

In the book accompanying the exhibition, curator Emma McClendon wrote that YSL’s historical influence spanned centuries:

Some of his most dramatic historical homages looked back to the nineteenth century, and even further to Renaissance and Elizabethan periods. The period of the “Belle Époque,” late in the nineteenth-century in France, held a particular fascination for Saint Laurent through the writings of Marcel Proust. The designer often likened himself to the novelist and kept a quote from his famed text À la recherche du temps perdu on his work desk.

Saint Laurent Rive Gauche  evening ensemble, color-blocked velveteen, 1970, France, 76.2012.2, gift of Mary Blume

Saint Laurent Rive Gauche evening ensemble, color-blocked velveteen, 1970, France, 76.2012.2, gift of Mary Blume

McClendon noted the tension between the contemporary and the historical in some of YSL’s historicist designs:

This push-pull between pastiche and masquerade leant a unique quality to Yves Saint Laurent’s historical work, which can be seen clearly in the Rive Gauche ensemble from 1970. With its fitted sleeves that billow out after the elbow, laced bodice, and use of velvet, this color-blocked look is an exercise in historical fantasy.

For Saint Laurent, history provided inspiration from which to create some of his most provocative and memorable designs. As McClendon wrote, he used historical reference to “pull and meld multifaceted elements together to create a new form of the contemporary.”

For more on YSL + historicism, be sure to read the essay in the companion book. Love this post? Share it on social media with the links below, and tweet using #YSLhalston.

-MM

Exoticism: Yves Saint Laurent

  • By The Museum at FIT
  • In Object post
  • On 20 Mar | '2015
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Today we bring you an excerpt from our Special Exhibitions Gallery on Yves Saint Laurent + exoticism:

Yves Saint Laurent’s use of the ‘exotic’ was deeply rooted in the French artistic and literary tradition of orientalism. Within this tradition, clothing—punctuated by distinctive accessories, prints, and vibrant colors—plays a crucial role in creating an exotic fantasy that is immediately recognizable to a western audience. Saint Laurent turned to “exoticism” during the 1960s in order to challenge the traditional evening gown. By the mid-1970s, he was using the exotic to inform some of his most opulent and fantastical creations, such as his “Ballets Russes” and “Opium” couture collections. … During this period, Rive Gauche was Saint Laurent’s laboratory, a place where he could experiment freely with new themes and ideas.

Yves Saint Laurent evening ensemble, green and silver brocade, 1964, France, 2014.15.1, gift of Cristina Noble

Yves Saint Laurent evening ensemble, green and silver brocade, 1964, France, 2014.15.1, gift of Cristina Noble

In the book accompanying the exhibition, curator Emma McClendon discusses ensembles from MFIT’s permanent collection:

This evening ensemble, for example, from the winter collection of 1964, evokes the style of a sherwani coat worn by men in India, with its front button closures, vibrant brocade textile, and overall silhouette. Likewise, Saint Laurent’s early interest in folkloric traditions can be seen in the elaborate patchwork skirt of this couture ensemble from 1969.

Yves Saint Laurent evening ensemble, multi-color silk organza, satin, and taffeta, 1969, France, gift of Stella Fischback

Yves Saint Laurent evening ensemble, multi-color silk organza, satin, and taffeta, 1969, France, 75.108.9, gift of Stella Fischback

McClendon continues:

This early experimentation in couture resulted in a rich lexicon of exotic-style separates that became part of Saint Laurent’s signature style during the 1970s. His exotic essentials included peasant blouses, tunics, pajama sets, harem pants, and a multitude of ethnically inspired accessories.

Saint Laurent Rive Gauche evening caftan, black rayon velvet and gold lame, 1976, France, 88.81.1, Gift of Paloma Picasso Accessories

Saint Laurent Rive Gauche evening caftan, black rayon velvet and gold lame, 1976, France, 88.81.1, gift of Paloma Picasso Accessories

Saint Laurent Rive Gauche ensemble, red, white, and blue cotton, 1977, France, 81.218.4, gift of Mrs. James Levy

Saint Laurent Rive Gauche ensemble, red, white, and blue cotton, 1977, France, 81.218.4, gift of Mrs. James Levy

McClendon points out fashion historian Florence Müller’s assertion that, “Saint Laurent’s travels were essentially imaginary ones, those preferred by a resolutely stay-at-home man.”1 Yves Saint Laurent’s “exotic” was an imaginary creation, crafted from an assemblage of French literary and artistic allusions. McClendon:

Halston and Saint Laurent arrived at the exotic from very different directions: Halston looked to the dress of non-Western cultures to expand his methods of construction. Saint Laurent, however, viewed the exotic through the thick lens of French culture, and used it to transform the look of his clothes through multifaceted bricolage.

1. Florence Müller, “Exoticism in the Designs of Yves Saint Laurent: A Lesson in Fashion,” Yves Saint Laurent. New York: Abrams, 2010, p. 256.

____________________________

For more on YSL + Halston and their use of exoticism, be sure to read the essays in the book Yves Saint Laurent + Halston: Fashioning the 70s. Love this post? Share it on social media with the links below, and don’t forget to tweet us with #YSLhalston.

-MM

Yves Saint Laurent + Halston: Capes

  • By The Museum at FIT
  • In Object post
  • On 12 Mar | '2015
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As curators Patricia Mears and Emma McClendon began selecting objects for the exhibition, they discovered striking similarities in the two designers’ work from the early years of the 1970s. Their findings are on view in the exhibition: garments by both designers displayed side-by-side, showing how they tapped into the zeitgeist of the 1970s.

Installation, Yves Saint Laurent + Halston: Fashioning the 70s. Exhibition design, Kimberly Ackert, 2015. Photographer: Eileen Costa © MFIT

Installation, Yves Saint Laurent + Halston: Fashioning the 70s. Exhibition design, Kimberly Ackert, 2015. Photographer: Eileen Costa © MFIT

In the #YSLhalston book, Mears describes fashion during the 1970s:

“This dichotomous decade – sandwiched between the counter-culture 1960s and the opulent 1980s – witnessed the demise of haute couture’s majestic reign and the simultaneous ascension of designer-led conglomerates.

…For some, it was and remains the twentieth century’s nadir of style and sophistication, when the postmodern, eclectic mélange of vintage clothing (now a stylistic mainstay) first became an integral part of many women’s wardrobes – accompanied by a pastiche of elements that incorporated menswear, ethnic clothing, and historical revivals of the not-so-distant past. Many, however, believe this explosion of diversity made the 1970s a highly creative period. Still others view the decade as an era of elegance, pervaded by a revival of the streamlined styles of the interwar years.”

Pictured together, these two cape ensembles are a perfect example of how Yves Saint Laurent and Halston responded to the decade with similar stylistic ideas, yet stayed within the distinct parameters of their respective design vocabularies. Both capes have a hooded silhouette, a single closure at the neckline, and are constructed of beige wool. Yet the ensembles, viewed side-by-side, markedly reveal both designers’ individual aesthetic.

(left) Saint Laurent Rive Gauche ensemble, off-white wool, brown velveteen, and off-white nylon, 1976, France, 83.190.43, gift of Marina Schiano (right) Halston ensemble, off-white wool, 1970, USA, 2003.100.10, gift of Robert Renfield

(left) Saint Laurent Rive Gauche ensemble, off-white wool, brown velveteen, and off-white nylon, 1976, France, 83.190.43, gift of Marina Schiano
(right) Halston ensemble, off-white wool, 1970, USA, 2003.100.10, gift of Robert Renfield

Yves Saint Laurent’s designs were often based on romantic notions of the “exotic,” which were rooted in history, theatre, and French literary and artistic traditions. Influenced by the work of Paul Poiret and Léon Bakst, he infused his designs with elements of fantasy, crafted with ornate surface ornamentation and sumptuous fabrics. In this example, the tassel closure and velveteen hood, both trimmed with gold braid, evoke Saint Laurent’s notions of fashion fantasy—a visionary “exotic” fueled by his imagination.

A master of soft construction, Halston was both experimental and expansive in his design methods. With a meditative, in-depth approach, he continually refined his design methodology over the course of his career. The result was clothing that allowed the body freedom of movement—a luxe sportswear that was both effortless and masterfully executed. This cape, with its harmonious proportion and clean lines, is an adroit example of Halston’s modernist sensibility.

Stay tuned for more objects from the exhibition, curatorial insights, and behind-the-scenes interviews. Love this post? Share it on social media with the links below. Check out #YSLhalston on social media by visiting our online exhibition.

-MM

Menswear: Halston + Ultrasuede

  • By The Museum at FIT
  • In Object post
  • On 26 Feb | '2015
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Today we bring you an excerpt from our Special Exhibitions Gallery on Halston + menswear:

“Halston perfected a spare but luxe choice of unisex elements that became the foundation of his daytime designs for women. These pieces were nearly identical to the daily uniform that Halston himself wore: a cashmere turtleneck, a matching cardigan or loosely cut jacket, and a pair of trim trousers. His most famous garment, the shirtwaist dress, was a subtle adaptation of a man’s shirt. Made of Ultrasuede, a machine washable fabric, the shirtwaist dress was subtle and sexy, with buttons that commenced at the breastbone rather than the neckline. It became a fashion staple.”

Halston at the Plaza Hotel, New York, 1978. Photograph by Roxanne Lowit. © Roxanne Lowit.

Halston at the Plaza Hotel, New York, 1978. Photograph by Roxanne Lowit. © Roxanne Lowit.

Halston first saw Ultrasuede on Issey Miyake in Paris in 1971. Miyake was wearing one of his own designs made with Ultrasuede, and when Halston saw the fabric, he believed it was waterproof. Halston’s first Ultrasuede design was a trench coat which absorbed water rather than repelling it. It was a happy accident, however; he designed the Ultrasuede shirtwaist dress soon after, also known as the shirt-dress.

Left: Halston ensemble, off-white polyester poplin, c. 1972, USA, 76.69.19, Gift of Lauren Bacall Right: Halston coat, purple Ultrasuede, c. 1974, USA, 78.242.170, Gift of Mrs. Jefferson Patterson © MFIT

(left) Halston ensemble, off-white polyester poplin, c. 1972, USA, 76.69.19, Gift of Lauren Bacall
(right) Halston coat, purple Ultrasuede, c. 1974, USA, 78.242.170, Gift of Mrs. Jefferson Patterson © MFIT

Halston’s shirtwaist dress was first known as “model number 704,” and it was introduced in the fall of 1972. In the book accompanying the exhibition, curator (and MFIT deputy director) Patricia Mears outlines the elements of construction that made this dress more than a “copy” of a man’s shirt:

In many ways, its construction is like that of a man’s shirt: it has a set-in collar; a yoke in back; long, set-in sleeves that end in a two-button cuff; and is rather straight cut. Halston subtly modified a number of these elements: the collar is a bit oversized and sharply pointed. The sleeves are tighter than those of a man’s shirt and are set into smaller armholes, and the shape is slightly A-lined. The most dramatic difference from its menswear antecedent is the placement of the buttons, which commence at the breastbone rather than at the neckline. For more and more women early in the 1970s, a slim figure achieved though diet and exercise had become the beauty standard. Many young women also embraced the concurrent trend of discarding their brassieres. Halston obliged them and his shirtwaist dress was, according to some, the first low décolletage seen on an item of daytime sportswear. It is further feminized with the inclusion of a separate but matching wide belt that could be wrapped in any manner the wearer chose.

Halston shirt dress, tan Ultrasuede, 1972, USA, 82.193.4, Gift of Mrs. Sidney Merians © MFIT

Halston shirt dress, tan Ultrasuede, 1972, USA, 82.193.4, Gift of Mrs. Sidney Merians © MFIT

Mears continues:

“Menswear informed his best-known designs, and found its way into many of Halston’s key garments. Yet Halston did not opt to create women’s clothing that looked as if it was literally borrowed from a man’s wardrobe. Instead, he created a range of classic pieces that reflected his own, subtly unisex style.”

For more on Halston + menswear, be sure to read the essay in the book Yves Saint Laurent + Halston: Fashioning the 70s. Love this post? Share it on social media with the links below, and don’t forget to tweet us with #YSLhalston.

-MM