Rei Kawakubo’s spring 2017 collection featured enormous garments that engulf the body, such as this geometric tartan “dress.” Her designs have typically embraced abstraction and, more recently, a non-functional style. Since 2014, her collections have consisted of garments that bridge the gap between art and fashion, moving into uncharted territory.
Wool, spring 2017, Japan, Gift of Julie Macklowe, 2017.50.1
Audacious aesthetics characterize this embellished couture ensemble. According to Valerie Steele, Lacroix was not simply a designer of opulent clothes, he was also a witty iconoclast unafraid to go over the top. “I believe in maximalism,” proclaimed Lacroix. “Minimalism has never had a place for couture clients.”
Christian Lacroix Ensemble (Left) Silk, cotton, lace, metal, glass, wood, raffia, cord, spring 1991, France, Gift of Anonymous, 2014.63.2
This dress overlays intricate prints with black geometric intrusions, giving its look a futuristic edge. Etro is known for its vivid displays of color and print. The brand’s fall 2013 collection was inspired by the digital age, yet drew from a multitude of influences: Renaissance ceilings, 19th-century ethnic textiles, and Russian ceramics.
Etro Dress (Right) Digitally printed wool and silk, leather, fall 2013, Italy, Gift of Jill Hemingway, 2019.16.1
Yves Saint Laurent’s admiration for modernist painter Piet Mondrian was evident in his fall 1965 collection, inspired by the artist’s geometric abstractions. While beaded trim enhances the geometry of this gown, internal corsetry, which ensures that the dress hangs straight, belies its simple appearance. In 1965, Harper’s Bazaar lauded this collection for comprising “the dresses of tomorrow.”
Silk crepe, sequins, glass beads, fall/winter 1965-66, France, Museum purchase, 2014.38.2
Exaggerations of size and proportion are hallmarks of maximalist fashion, expressed here by an oversized bow. Agatha Ruiz de la Prada’s colorful, eye-popping designs
are often hard to miss. The hand-painted polka dots on this dress deliver an additional layer of whimsy and visual appeal.
Silk taffeta, spring/summer 2014, Spain, Gift of Agatha Ruiz de la Prada, 2014.44.1
Breaking with convention, Yohji Yamamoto’s avant-garde designs reimagine the relationship between garment and body. This architectonic corset top uses geometric abstraction to obscure the female form, evoking cubist sculpture. Yamamoto’s use of unorthodox materials is also a nod to minimalism in art.
Wood, metal, fall/winter 1991, Japan, Anonymous donor, 2010.1.2
The dandy emerged from the “great male renunciation” as a modern exemplar of sartorial purity and restraint — a true fashion minimalist. He presented exquisite standards of dress, against which a single specific detail — such as an elegant cane — could stand out. By the 1850s, the English dandy’s style was so significant that it had influenced men’s dress in France and the United States.
Man’s evening coat Wool, circa 1850, USA, Gift of Robert Riley, 82.33.2
Walking stick Black lacquer, wood, ivory, sterling silver, circa 1900, USA, Gift of Stella Fischbach, 76.138.1
Man’s top hat Silk, wool, circa 1875, USA, Gift of The Estate of Warren M. Harlan, 84.178.1
By the 1770s, Anglomania had introduced new ideas into fashion, promoting an “informal” mode of dress. The shift toward a simpli ed aesthetic is evident in this suit, which boasts none of the overt extravagance of earlier Rococo designs. Its lush silk and vivid color offer a restrained sense of luxury.
Man’s suit (Left) Silk velvet, metallic thread, circa 1790-1800, France or England, Museum purchase, 2010.98.1
White chemise gowns were radically simple in appearance and egalitarian in their cut and color. With its slender elegance of line, this style was intended to reference classical drapery and emphasized a truth of form. Fashion historians have noted that the chemise dress was “not as simple in semiotics as it was in shape.”
Dress (Right) Cotton muslin, 1803-1805, USA, Museum purchase, P91.95.2
Intricate embroidery such as that seen on this suit was among the most costly elements of French court dress. Lavish attire was required for court dress. By the 1770s, a degree of informality had entered French fashion, inspired by the English taste for simplicity.
Striped velvet, silk embroidery, circa 1785, France, Museum purchase, P83.19.10
Tailored styles borrowed from menswear were popular in the everyday dress of women by 1910. Suits with shorter skirts, such as this striped denim ensemble, were in increasingly great demand. “Simplicity of dress prevails,” noted Vogue in 1915.
Walking Suit (Left) Cotton denim, circa 1916, USA, Museum purchase, P85.35.2
Gabrielle Chanel Dress (Middle) Silk crepe, circa 1927, France, Gift of Mrs. Georges Gudefin, 80.13.2
Ensemble (Right) Wool knit and crepe, circa 1929, France, Museum purchase, 2009.15.7
Charles Frederick Worth, often considered the “father of the haute couture,” was an artist of luxury and opulence. This dress features an intricate arrangement of French silks and rich ornamentation typical of 19th-century couture. It was the fantasy of many women to be dressed in a Worth gown.
Silk brocade, glass, faux pearls, seed beads, circa 1883, France, Gift of Jessie L. Hill, 79.40.5
Consistent with the rise of democracy and capitalism, the frock coat — suitable for many occasions and affordable for most — became an emblem of composure and efficiency. According to Ann Hollander, the “immortality” of the English tailored male “is manifest in the continuing life of tailored suits among men and women of the modern world.”
Broadcloth, circa 1870, England, Gift of George E. Dix, 72.86.6
Essential fashion accessories, women’s hats assumed extreme proportions by the early 20th century, often reaching up to two feet in diameter. Extensive trimmings, such as lavish silk flowers or fanciful rare birds, served to distinguish the social standing of the owner. This weighty example is supported by a rigid metal wire frame.
Straw, silk, faux flowers, circa 1908, France, Museum purchase, P83.19.12
Adrian constructed this suit by inventively cutting and piecing together a striped textile to emphasize broad shoulders and a narrow waist. It showcases his ability to create visually arresting garments using pattern, structure, and construction. Adrian rose to the challenge of designing under wartime restrictions by creating clothes that “registered taste without extravagance.”
Gilbert Adrian Textile by Pola Stout Suit (Left) Wool, circa 1945, USA, Gift of Jeannette Swift, 66.110.1
Claire McCardell Dress (Right) Printed cotton, metal, 1952-53, USA, Gift of Estelle Kilbourne, 75.95.1
Sandal (Bottom) Wood, elastic, 1938-1940, USA, Museum purchase, P89.55.38
This handbag resembles a Victorian nosegay of violets and pansies, flowers reminiscent of the sentimental culture of that era. Schiaparelli’s imagination was boundless, and her designs introduced a certain theatricality to fashion. The decorative whimsy of Schiaparelli’s designs has been described as an “appropriation of female masquerade.”
Velvet and silk, circa 1938, France, Museum purchase, P87.19.1
This long, satin and rhinestone evening dress accentuates the female body and is an example of the “modern,” streamlined aesthetic of the 1930s. Light- reflecting fabrics were well suited for black and white photography, as well as the silver screen. In turn, movies helped make these styles extremely popular.
Silk satin, circa 1930, USA, Gift of Lucinda S. Day, 75.80.1
Arcing panels of yellow chiffon and embroidered, vibrant gold sequins swirl and sweep across this dress, moving around the body to project a sense of dynamism and speed. The new freedoms experienced by women in both their clothing and their lifestyles found expression in the energy and joie de vivre of the flapper.
Chiffon and sequins, circa 1928, USA, Gift of Mrs. John A. Birch, 72.83.2
Stephen Burrows takes the simple T-shirt — a ubiquitous example of utilitarian clothing — and turns it into a sensual dress with an anti-establishment sensibility. Constructed from fluid fabrics, his colorful, body-conscious garments prioritized movement. Burrows’s trademark zig-zag stitching in contrasting colors was a precursor to the deconstructed look of the 1980s.
Stephen Burrows Dress (Left) Rayon jersey, circa 1973, USA, Gift of Mrs. Chris Chase, 76.123.1
This spare, body revealing jersey jumpsuit facilitates freedom of movement. Halston’s minimalist fashions — fluid and deceptively simple in construction — were favored by the trend-setting disco crowd at Studio 54. His close friend and mentor Martha Graham wrote that, “Halston understood the drape of fabric and the body’s movement beneath it; he understood elegance.”
Halston Jumpsuit (Right) Silk jersey circa 1976, USA, Gift of Ethel Scull, 79.66.40
While the bishop sleeves and shoulder smocking detail seen here were in keeping with the romantic retro looks influencing 1970s fashion, saturated hues and a cartoon- like, butterfly print show the influence of psychedelic graphic art. This dress also highlights a shift from the mini to fashionable maxi-length silhouettes influenced by earlier hippie styles.
Thea Porter Dress (Right) Acetate, circa 1973, England, Gift of Ethel Scull, 71.21.27
This white wool minidress was shaped using welt seaming, which allows it to stand away from the body, prioritizing a purity of form. André Courrèges’s minimal Space Age aesthetic offered the modern look of ready-to-wear and the craftsmanship of couture. Synonymous with youth, his futuristic designs infused fashion with a dose of optimism and vitality.
André Courrèges Couture dress (Left) Wool, circa 1968, France, Gift of Rodman A. Heeren, 72.112.19
André Courrèges Boots (Bottom) Kid leather, 1965, France, Gift of Sally Cary Iselin, 71.213.18
Marcello Jumpsuit Double knit wool (Right) circa 1970, Italy, Gift Joe & Renee Tritico in Memory of Jeffrey Geiger, 95.72.1
The silhouette of this dress by British couturier Hardy Amies recalls the bustled dresses of the Belle Époque, underscoring the romanticism of postwar fashion. Amies experimented widely with color and texture to create overtly feminine gowns. In 1954, he said, “I will economize in no way when it comes to the material or labor that is put into a dress.”
Silk shantung, circa 1948, England, Gift of Dolores Gray, 2000.88.1
Paraphernalia was a New York boutique with a minimalist silver and white interior that catered to a young clientele. This mini dress features a concentric design, a nod to the extraordinarily influential op-art movement, which used optical illusions to create a sense of movement and depth. Art itself became a fashion motif during the 1960s.
Wool and mohair, circa 1966, USA, Gift of Beauregard Houston Montgomery, 86.12.1
Laser-cut slashes on this coat that reveal the wearer’s body recall a 16th -century decorative technique, while the absence of a lining allows the slashes to change shape with the wearer’s movements. Martin Margiela was notorious for his “deconstructed” designs that had an unfinished appearance and alluded to the process of creation. His designs questioned the conventions of fashion and luxury.
Maison Martin Margiela Coat (Left) Wool, fall/winter 1990-1991, Belgium, Gift of Stella Ishii, 2008.80.3
Helmut Lang Dress (Right) Dress, Nylon, fall/winter 1994-95, USA, Gift of HL – art, 2009.32.1
The austere, second-hand look of garments by Rei Kawakubo challenges western notions of beauty and femininity. This dress has loose- fitting layers that can
be draped to the wearer’s tastes, creating a shapeless, asymmetric silhouette and rede ning the relationship between body and garment. Avant-garde for its time, the work of Japanese designers introduced a conceptual approach to minimalist fashion.
Rayon, circa 1983, Japan, Gift of Janet Cooper, 2008.77.1
Intricate patterns of gold-tone studs, silver beadwork, and rhinestones cover the surface of this ensemble. Versace introduced the use of flashy hardware to fashion, and this particular design evokes a Byzantine extravagance, while alluding to historic codes of power and luxury. Versace’s impudent designs established a new elegance.
Wool, silk, metal, rhinestones, fall 1991, Italy, Gift of Hans, Kazuko & Siv Nilsson, 2018.12.40
The multi-colored geometric print of this ensemble was inspired by the 1980s Italian design movement known as Memphis. Reacting to the austerity of Modernism, Memphis embraced bright colors and an “outrageous” aesthetic, pushing the limits of “acceptable taste.” In 1981, Karl Lagerfeld famously decorated his Monte Carlo home with Memphis furniture.
Wool gabardine and wool crepe, 1984-85, France, Gift of Diane A. Fogg, 2011.18.10
The severe shoulders and body-conscious silhouette of this metallic dress project the ostentatious glamour and self-confidence that defined 1980s fashion. Exaggerated silhouettes were symbols of strength, and Thierry Mugler’s designs transformed women into futuristic femmes fatales, whose “superpowers were seduction and self-assurance.”
Silver metallic lamé, circa 1979, France, Gift of Clarins Fragrance Group/Thierry Mugler Perfume, 2004.49.4
This limited edition “Airmail” dress is made of Tyvek, a durable, synthetic, paper-like material. It can be folded up, and literally sent via mail — the ultimate synthesis of fashion and function. Technology and transformation are reoccurring leitmotifs in the work of visionary designer Hussein Chalayan, who produced this dress at a time when designers were contemplating the wardrobe of the future.
Tyvek®, 1999, England, Anonymous donor, 2001.65.1
This slip dress by Calvin Klein is made of smooth jersey that slinks across the body, accentuating a lean silhouette. During the 1990s, Klein’s fashion conveyed a composed and controlled sensuality that appealed to young people. Bernadine Morris of the New York Times noted, “There is nothing to distract: No jewelry . . . no flashy seams. Everything is reduced to essentials.”
Rayon jersey, 1996, USA, Gift of Calvin Klein, 97.36.3
Francisco Costa’s spring 2009 collection was a meditation on cubes and prismatic forms. The architectural silhouette of this coat projects a clean geometry commonly associated with minimalist art. By the mid-2000s, a “new austerity” had entered fashion, which was described by journalist Harriet Walker as being “concerned with an architectural purity.”
Calvin Klein Collection (Francisco Costa)
Coat (Left) Silk, Lucite, Spring 2009, USA, Gift of Calvin Klein, Inc., 2010.52.2
Bao Bao Issey Miyake Planet bag (Bottom) Polyester and elastane, 2015, Japan, Gift of Issey Miyake USA Corp., 2016.7.1
Ultraluxe materials are the essence of couture. Armani’s Privé line embraces the excesses of luxury, while emphasizing red carpet glamour, as seen in this dress made of 100,000 “Diamond Leaf” Swarovski crystals arranged in graduated rows. In 2005, while the stock market soared, the Chambre Syndicale de la Haute Couture welcomed Armani as a “corresponding member.”
Silk, Swarovski crystal beads and rhinestones, fall 2007, Italy, Gift of Giorgio Armani, 2008.67.1
Alexander McQueen’s What a Merry Go Round collection juxtaposed beauty and vulgarity, and it was enhanced by accessories such as this Tahitian pearl-and-pheasant-claw necklace designed by Shaun Leane. Leane and McQueen often collaborated, pushing boundaries of material and scale. After the stark minimalism of the 1990s, fashion gravitated toward spectacle and theatre.
Tahitian pearls, Pheasant claws, silver, What a Merry Go Round collection, fall/winter 2001-2002, England, Museum purchase, 2018. 3.1
Overt, classic luxury merges with a vibrant visual aesthetic inspired by Japanese manga comics in this multicolored, monogram handbag by artist Takashi Murakami. In 2002, Murakami, known for synthesizing ne art and popular culture, was invited to collaborate with Louis Vuitton. His handbag was beloved by celebrities and became one of the “it” accessories of the early 2000s.
Monogram canvas, leather, and metal, 2003, France, Museum purchase, 2010.56.2
The conspicuous detailing of this ensemble includes a trim of embroidered teeth and glass eyeball buttons. It is emblematic of an enchanting, dramatic style that was prominent in fashion just after the turn of the millennium. Jun Takahashi’s sartorial mash-ups have been described as “strange but beautiful.” His spring 2005 collection was an homage to surrealist lm director Jan Svankmajer.
Wool, chiffon, satin, striped cotton, glass and mother of pearl, cotton
embroidery, spring 2005, Japan, Museum purchase, 2008.47.2
This versatile pleated shift dress from Stella McCartney’s organic line retains the tailored streamlining the designer is known for, while minimizing fabric waste: the garment boasts origami-like folds to economize on cutting pattern pieces. Amidst a nancial crisis of 2007, the growing desire for practical well-designed clothing made McCartney’s brand of environmental minimalism increasingly relevant.
Hemp burlap, cork, 2009, England, Gift of Stella McCartney, 2010.46.1
Referred to as the “John Galliano of India,” Manish Aurora merges the colors and luxe embroideries of traditional Indian dress with contemporary images of Bollywood. “I’ve always liked juxtaposing and blending elements from distinct worlds together . . . I feel like these elements unite in cohesion and speak a colorful language,” he said.
Cotton, silk, leather, spring 2006, India, Museum purchase, 2007.58.1
This dress challenges aesthetic boundaries by merging minimalist and maximalist aesthetics within the same garment. For his spring 2011 Jil Sander collection, then creative director Raf Simons took inspiration from the haute couture. Here, he used bold color and exaggerated proportions to suggest “the idea of maximalism” within an otherwise minimalist garment.
Silk and cotton blend, spring 2011, Germany, Gift of Jil Sander, 2012.40.2
The reductive simplicity of this dress combines sensuality with minimalist sophistication. Cushnie et Ochs’s designs project a sense of female empowerment. In 2010, Carlie Cushnie and Michelle Ochs stated, “Our collections plays with stereotypes. It’s a reflection of the duality women face daily: the librarian and the vixen.”
Cushnie et Ochs Two-piece evening dress (Left) Synthetic, fall 2015, USA, Gift of Cushnie et Ochs, 2016.67.1
Ellery Dress (Middle) Polyester crepe, 2016, Australia, Gift of Emma McClendon, 2019.24.1
Julia y Renata Dress and overskirt (Right) Cotton blend, spring 2019, Mexico, Gift of Julia y Renata, 2019. 10.1
Adidas Stan Smith II sneaker (Bottom) Leather, rubber, 2018, Germany, Museum purchase, 2019.17.1
Balenciaga’s Triple S sneaker features an aggressively clunky silhouette, a stacked sole, and an $895 price tag. Released in 2017, it took the “ugly” dad-sneaker trend to extremes. Popular among millennials — a third of the global luxury goods market — the sneaker’s audacious aesthetics are attributed to Instagram culture, which creates a demand for products that pop on screen.
Leather, suede, manmade, rubber, 2018, France, Museum purchase, 2018.48.1
Richard Quinn, recipient of the inaugural Queen Elizabeth II Award for British Design, is known for audacious prints. His fall 2018 collections featured models engulfed in head- to-toe florals with voluminous silhouettes. Vogue addressed the theme of concealment prevalent in numerous 2018 collections, citing the #MeToo movement, “Instagram vainglory,” and gender assumptions.
Polyester blend, spandex, silk, fall 2018, England, Museum purchase, 2019.6.1
Contrasting animal prints are tempered with a white harness sling bag that gives this ensemble the elegant balance that designer Phoebe Philo is known for. The appeal of animal patterns derives from their exotic, often sexual, connotations. Céline’s fall 2015 collection verged on the maximal, and addressed Philo’s ideas about the authenticity of glamour and sexuality.
Silk, wool, leather, metal, rubber, fall 2015, France, Gift of CÉLINE, 2018.42.1