Scroll Down
#
1700-1850
#
1850-1910
#
1910-1960
#
1960-1980
#
1980-2000
#
2000-today

Trend-ology

Fashion trends are constantly changing. A single shift in print, color, material, embellishment, or silhouette may quickly become a major new trend. Yet while the contemporary fashion press tirelessly reports the latest trend news, it offers scant insight into where trends originate.

Trend-ology investigates the diverse sources from which fashion trends have emerged over the past 250 years, including urban street style, art, music, film, and socio-political movements. The objects in the exhibition represent a wide variety of trends, with attention paid to source as well as to type (print, color,
and silhouette, for example). They range from nineteenth-century tartan dresses that were inspired by popular Scottish-themed novels, to twenty-first-century “high-low” collaborations, such as a Rodarte for Target sequined dress. The exhibition also highlights industry developments that have had an impact on how trends spread.

Close
Open

1700-1850

Trend-following may be a contemporary obsession, but the patterns of taste and preference that we call trends can be observed throughout fashion history. During the eighteenth century, for example, a trend for yellow emerged in the courts of Europe. Europeans had once negatively associated yellow with “heretics,” but in China it was an auspicious color associated with the emperor. Goods imported from and inspired by “the Orient” were gaining favor in Europe, and the popularity of chinoiserie elevated yellow’s cultural meaning.

Close
Open
  • The yellow color of these two ensembles was particularly trendy during the 18th century. Prior to this period, Europeans negatively associated yellow with “heretics,” but in China it was an auspicious color associated with the emperor. The transformation of yellow’s cultural meaning was prompted by the growing popularity of chinoiserie that developed with the influx of goods imported to Europe from China. Left: Dress Yellow silk faille, circa 1770, possibly USA, museum purchase, P88.14.6 Right: Man’s coat Yellow silk, circa 1790, USA, museum purchase, P80.5.8 Man's waistcoat Cream silk faille with multi-color silk embroidery, 1790-1800, possibly USA or England, Gift of Dr. & Mrs. Roger Gerry, 87.120.1

    The yellow color of these two ensembles was particularly trendy during the 18th century. Prior to this period, Europeans negatively associated yellow with “heretics,” but in China it was an auspicious color associated with the emperor. The transformation of yellow’s cultural meaning was prompted by the growing popularity of chinoiserie that developed with the influx of goods imported to Europe from China.

    Dress: Yellow silk faille, circa 1770, possibly USA, museum purchase, P88.14.6

    Man’s coat: Yellow silk, circa 1790, USA, museum purchase, P80.5.8

    Close
    Image Info
  • Dress, silk, circa 1812, Scotland, museum purchase, P88.9.1

    Dress

    In his novel, Waverly, Sir Walter Scott described the lands of Scotland as covered in tartan, and in preparation for a visit by King George IV, Scott organized a tartan dress code. The king was so impressed that he adopted tartan as his official attire and began a trend for this pattern.

    Silk, circa 1812, Scotland, museum purchase, P88.9.1

    Close
    Image Info
  • Shawls elaborately woven with the boteh motif (known today as paisley) were imported to Europe from Kashmir, India, as early as the 17th century. These rare and extravagant scarves were ideal for accessorizing the neoclassical fashions dominant around 1800. With the invention of the Jacquard loom in 1801, European weavers became able to mass-manufacture shawls of the same style, such as the one seen here, opening up the trend to a wider demographic of consumers. Dress, pale aqua silk satin, circa 1818, USA, The Museum at FIT, P85.19.1, museum purchase Shawl, off-white wool and silk, 1820-1850, possibly Scotland, the Museum at FIT, P86.71.2, museum purchase

    Dress and Shawl

    Shawls elaborately woven with the boteh motif (known today as paisley) were imported to Europe from Kashmir, India, as early as the 17th century. These rare and extravagant scarves were ideal for accessorizing the neoclassical fashions dominant around 1800. With the invention of the Jacquard loom in 1801, European weavers became able to mass-manufacture shawls of the same style, such as the one seen here, opening up the trend to a wider demographic of consumers.

    Dress: Pale aqua silk satin, circa 1818, USA, museum purchase, P85.19.1

    Shawl: Off-white wool and silk, 1820-1850, possibly Scotland, museum purchase, P86.71.2

    Close
    Image Info
  • Paisley became highly fashionable during the 19th century. While it originated in the boteh motif of luxurious Kashmiri scarves, the trend spread beyond accessories to decorate entire ensembles—as seen here in both a printed and a woven pattern. This transition began with the invention of the Jacquard loom in 1801, which allowed European mills, based largely in the town of Paisley, Scotland, to mass-produce woven versions of the design. Man’s dressing gown Wool with roller-printed paisley design, circa 1845, USA, The Museum at FIT, 76.208.7, gift of Mrs. Van Nostrand Dress Paisley shawl: jacquard woven wool, 1889, USA, The Museum at FIT, 89.154.12A, gift of Maria Burgaleta-Larson

    Paisley became highly fashionable during the 19th century. While it originated in the boteh motif of luxurious Kashmiri scarves, the trend spread beyond accessories to decorate entire ensembles—as seen here in both a printed and a woven pattern. This transition began with the invention of the Jacquard loom in 1801, which allowed European mills, based largely in the town of Paisley, Scotland, to mass-produce woven versions of the design.

    Left: Man’s dressing gown, wool with roller-printed paisley design, circa 1845, USA, gift of Mrs. Van Nostrand, 76.208.7

    Right: Dress, paisley shawl of jacquard woven wool, 1889, USA, gift of Maria Burgaleta-Larson, 89.154.12A

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • The yellow color of these two ensembles was particularly trendy during the 18th century. Prior to this period, Europeans negatively associated yellow with “heretics,” but in China it was an auspicious color associated with the emperor. The transformation of yellow’s cultural meaning was prompted by the growing popularity of chinoiserie that developed with the influx of goods imported to Europe from China. Left: Dress Yellow silk faille, circa 1770, possibly USA, museum purchase, P88.14.6 Right: Man’s coat Yellow silk, circa 1790, USA, museum purchase, P80.5.8 Man's waistcoat Cream silk faille with multi-color silk embroidery, 1790-1800, possibly USA or England, Gift of Dr. & Mrs. Roger Gerry, 87.120.1
  • Dress, silk, circa 1812, Scotland, museum purchase, P88.9.1
  • Shawls elaborately woven with the boteh motif (known today as paisley) were imported to Europe from Kashmir, India, as early as the 17th century. These rare and extravagant scarves were ideal for accessorizing the neoclassical fashions dominant around 1800. With the invention of the Jacquard loom in 1801, European weavers became able to mass-manufacture shawls of the same style, such as the one seen here, opening up the trend to a wider demographic of consumers. Dress, pale aqua silk satin, circa 1818, USA, The Museum at FIT, P85.19.1, museum purchase Shawl, off-white wool and silk, 1820-1850, possibly Scotland, the Museum at FIT, P86.71.2, museum purchase
  • Paisley became highly fashionable during the 19th century. While it originated in the boteh motif of luxurious Kashmiri scarves, the trend spread beyond accessories to decorate entire ensembles—as seen here in both a printed and a woven pattern. This transition began with the invention of the Jacquard loom in 1801, which allowed European mills, based largely in the town of Paisley, Scotland, to mass-produce woven versions of the design. Man’s dressing gown Wool with roller-printed paisley design, circa 1845, USA, The Museum at FIT, 76.208.7, gift of Mrs. Van Nostrand Dress Paisley shawl: jacquard woven wool, 1889, USA, The Museum at FIT, 89.154.12A, gift of Maria Burgaleta-Larson
  • Installation view
Close
MORE IMAGES

1850-1910

The industrial revolution of the nineteenth century led to certain capitalist developments that altered the way trends propagate. The department store, for example, offered clients one-stop shopping for a variety of goods at a faster turnover rate of stock than ever before, thus speeding up the pace of the trend cycle. Also, through the innovation of mail-order catalogues, department stores began marketing trendy items to a wider demographic of consumers.

Close
Open
  • The vibrant shades of green and blue seen here were created using “aniline” or synthetic dyes. Synthetic dyes were first introduced to fashion in 1856, when William Henry Perkin discovered a purple residue during a chemical experiment and combined it with a reduction process pioneered by Antoine Béchamp. The “Béchamp Reduction” allowed Perkin to mass-manufacture his new dyes quickly and cheaply, thus ushering in a trend for bright hues that became synonymous with late 19th-century fashion. The monochromatic, black suit seen here shows the trend for restrained dressing that has come to define 19th-century menswear. In stark contrast to the bright, aniline-dyed womenswear of the period, men gravitated toward black and other subdued colors. Left: Day dress Green silk faille, circa 1865, possibly USA, The Museum at FIT, P88.43.1, museum purchase Center: Man’s suit, black wool, circa 1860, USA, The Museum at FIT, P90.2.4, museum purchase Right: Dress Blue and white silk taffeta, circa 1878, USA, The Museum at FIT, P94.8.1, museum purchase

    The vibrant shades of green and blue seen here were created using “aniline” or synthetic dyes. Synthetic dyes were first introduced to fashion in 1856, when William Henry Perkin discovered a purple residue during a chemical experiment and combined it with a reduction process pioneered by Antoine Béchamp. The “Béchamp Reduction” allowed Perkin to mass-manufacture his new dyes quickly and cheaply, thus ushering in a trend for bright hues that became synonymous with late 19th-century fashion.

    The monochromatic, black suit seen here shows the trend for restrained dressing that has come to define 19th-century menswear. In stark contrast to the bright, aniline-dyed womenswear of the period, men gravitated toward black and other subdued colors.

    Left: Day dress, green silk faille, circa 1865, possibly USA, museum purchase, P88.43.1

    Center: Man’s suit, black wool, circa 1860, USA, museum purchase, P90.2.4

    Right: Dress, blue and white silk taffeta, circa 1878, USA, museum purchase, P94.8.1

    Close
    Image Info
  • In 1856, Queen Victoria’s Balmoral Castle was decorated in tartan upholstery, curtains, and carpet. The tartan pattern and green trim on the pagoda sleeve and bodice of the dress at the left complement the queen’s furniture. Despite shifts in silhouette, the trend emerged again during the 1880s in the United States. Left: Day dress Silk blend, circa 1852, possibly USA, The Museum at FIT, 70.15.15, gift of Mrs. Margaret Riggs Right: Dress Wool, velvet, circa 1880, USA, The Museum at FIT, P88.22.1, museum purchase

    In 1856, Queen Victoria’s Balmoral Castle was decorated in tartan upholstery, curtains, and carpet. The tartan pattern and green trim on the pagoda sleeve and bodice of the dress at the left complement the queen’s furniture. Despite shifts in silhouette, the trend emerged again during the 1880s in the United States.

    Left: Day dress
    Silk blend, circa 1852, possibly USA, The Museum at FIT, 70.15.15, gift of Mrs. Margaret Riggs

    Right: Dress
    Wool, velvet, circa 1880, USA, The Museum at FIT, P88.22.1, museum purchase

    Close
    Image Info
  • This luxurious silk brocade evening dress shows Charles Frederick Worth’s elaborate use of textiles and trims. The establishment of his couture house between late 1856 and early 1857 changed the structure of fashion. “Haute couture set up the idea of trends, new seasons, and rapid changing of fashion,” said sociologist Gilles Lipovetsky. Silk brocade, silk crepe, silk net, chenille, glass pearls, and seed beads, circa 1883, France, The Museum at FIT, 79.40.5, gift of Jessie L. Hill

    The House of Worth (Charles Frederick Worth) Evening dress

    This luxurious silk brocade evening dress shows Charles Frederick Worth’s elaborate use of textiles and trims. The establishment of his couture house between late 1856 and early 1857 changed the structure of fashion. “Haute couture set up the idea of trends, new seasons, and rapid changing of fashion,” said sociologist Gilles Lipovetsky.

    Silk brocade, silk crepe, silk net, chenille, glass pearls, and seed beads, circa 1883, France, The Museum at FIT, 79.40.5, gift of Jessie L. Hill

    Close
    Image Info
  • The construction of these women’s shirtwaists was influenced by menswear tailoring. The shirtwaist served a dynamic role in a woman’s wardrobe, enabling transitions from daywear to activewear. Throughout the 1890s, factories on the Lower East Side of New York began mass-produced shirtwaists, thus increasing its distribution and popularity. Shirtwaist Cotton, celluloid buttons, circa 1894, USA, The Museum at FIT, 76.108.3, museum purchase Shirtwaist and skirt Cotton, circa 1895, USA The Museum at FIT, P84.19.7, gift of Alison Beyea

    The construction of these women’s shirtwaists was influenced by menswear tailoring. The shirtwaist served a dynamic role in a woman’s wardrobe, enabling transitions from daywear to activewear. Throughout the 1890s, factories on the Lower East Side of New York began mass-produced shirtwaists, thus increasing its distribution and popularity.

    Left: Shirtwaist
    Cotton, celluloid buttons, circa 1894, USA, The Museum at FIT, 76.108.3, museum purchase

    Right: Shirtwaist and skirt
    Cotton, circa 1895, USA
    The Museum at FIT, P84.19.7, gift of Alison Beyea

    Close
    Image Info
  • This elaborately embellished dinner dress was custom made at the department store Lord & Taylor in New York. The advent of the department store allowed customers to select the latest fabrics, trims, and accessories under one roof. This innovation provided a wider demographic access to fashion at a faster pace than ever before. Black silk tulle, ivory silk taffeta, ivory lace, black sequins, circa 1905, USA, The Museum at FIT, P91.61.1, museum purchase

    Lord & Taylor Evening dress

    This elaborately embellished dinner dress was custom made at the department store Lord & Taylor in New York. The advent of the department store allowed customers to select the latest fabrics, trims, and accessories under one roof. This innovation provided a wider demographic access to fashion at a faster pace than ever before.

    Black silk tulle, ivory silk taffeta, ivory lace, black sequins, circa 1905, USA, The Museum at FIT, P91.61.1, museum purchase

    Close
    Image Info
  • Evening dress Copper silk cut velvet, silk net, metallic thread, steel beads, 1907-1913, USA The Museum at FIT, 2013.51.1, gift of Dubois Family This dress shows signs of medieval influence in the gatherings down its sleeves, as well as in its raised waistline and square neck. During the mid-19th century, the Aesthetic dress movement promoted a return to pre-Renaissance forms, led by artists of the Pre-Raphaelite movement. By the early 20th century, such medieval elements had become part of high fashion—particularly in tea gowns that were designed to be worn at home. Dress Taupe wool, olive and fuchsia silk velvet, circa 1898, possibly USA, The Museum at FIT, 70.15.43, gift of Mrs. Margaret Riggs The natural green of this dress contrasts greatly with aniline-dyed hues that dominated fashion in the late 19th century. An interest in natural, muted colors, as well as stylized floral embroidery such as that seen here, first arose in the Aesthetic dress movement during the mid-19th century. Although radical when they first emerged, elements of this style were increasingly on trend by 1898.

    Left: Evening dress
    Copper silk cut velvet, silk net, metallic thread, steel beads, 1907-1913, USA
    The Museum at FIT, 2013.51.1, gift of Dubois Family

    This dress shows signs of medieval influence in the gatherings down its sleeves, as well as in its raised waistline and square neck. During the mid-19th century, the Aesthetic dress movement promoted a return to pre-Renaissance forms, led by artists of the Pre-Raphaelite movement. By the early 20th century, such medieval elements had become part of high fashion—particularly in tea gowns that were designed to be worn at home.

    Right: Dress
    Taupe wool, olive and fuchsia silk velvet, circa 1898, possibly USA, The Museum at FIT, 70.15.43, gift of Mrs. Margaret Riggs

    The natural green of this dress contrasts greatly with aniline-dyed hues that dominated fashion in the late 19th century. An interest in natural, muted colors, as well as stylized floral embroidery such as that seen here, first arose in the Aesthetic dress movement during the mid-19th century. Although radical when they first emerged, elements of this style were increasingly on trend by 1898.

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • The vibrant shades of green and blue seen here were created using “aniline” or synthetic dyes. Synthetic dyes were first introduced to fashion in 1856, when William Henry Perkin discovered a purple residue during a chemical experiment and combined it with a reduction process pioneered by Antoine Béchamp. The “Béchamp Reduction” allowed Perkin to mass-manufacture his new dyes quickly and cheaply, thus ushering in a trend for bright hues that became synonymous with late 19th-century fashion. The monochromatic, black suit seen here shows the trend for restrained dressing that has come to define 19th-century menswear. In stark contrast to the bright, aniline-dyed womenswear of the period, men gravitated toward black and other subdued colors. Left: Day dress Green silk faille, circa 1865, possibly USA, The Museum at FIT, P88.43.1, museum purchase Center: Man’s suit, black wool, circa 1860, USA, The Museum at FIT, P90.2.4, museum purchase Right: Dress Blue and white silk taffeta, circa 1878, USA, The Museum at FIT, P94.8.1, museum purchase
  • In 1856, Queen Victoria’s Balmoral Castle was decorated in tartan upholstery, curtains, and carpet. The tartan pattern and green trim on the pagoda sleeve and bodice of the dress at the left complement the queen’s furniture. Despite shifts in silhouette, the trend emerged again during the 1880s in the United States. Left: Day dress Silk blend, circa 1852, possibly USA, The Museum at FIT, 70.15.15, gift of Mrs. Margaret Riggs Right: Dress Wool, velvet, circa 1880, USA, The Museum at FIT, P88.22.1, museum purchase
  • This luxurious silk brocade evening dress shows Charles Frederick Worth’s elaborate use of textiles and trims. The establishment of his couture house between late 1856 and early 1857 changed the structure of fashion. “Haute couture set up the idea of trends, new seasons, and rapid changing of fashion,” said sociologist Gilles Lipovetsky. Silk brocade, silk crepe, silk net, chenille, glass pearls, and seed beads, circa 1883, France, The Museum at FIT, 79.40.5, gift of Jessie L. Hill
  • The construction of these women’s shirtwaists was influenced by menswear tailoring. The shirtwaist served a dynamic role in a woman’s wardrobe, enabling transitions from daywear to activewear. Throughout the 1890s, factories on the Lower East Side of New York began mass-produced shirtwaists, thus increasing its distribution and popularity. Shirtwaist Cotton, celluloid buttons, circa 1894, USA, The Museum at FIT, 76.108.3, museum purchase Shirtwaist and skirt Cotton, circa 1895, USA The Museum at FIT, P84.19.7, gift of Alison Beyea
  • This elaborately embellished dinner dress was custom made at the department store Lord & Taylor in New York. The advent of the department store allowed customers to select the latest fabrics, trims, and accessories under one roof. This innovation provided a wider demographic access to fashion at a faster pace than ever before. Black silk tulle, ivory silk taffeta, ivory lace, black sequins, circa 1905, USA, The Museum at FIT, P91.61.1, museum purchase
  • Evening dress Copper silk cut velvet, silk net, metallic thread, steel beads, 1907-1913, USA The Museum at FIT, 2013.51.1, gift of Dubois Family This dress shows signs of medieval influence in the gatherings down its sleeves, as well as in its raised waistline and square neck. During the mid-19th century, the Aesthetic dress movement promoted a return to pre-Renaissance forms, led by artists of the Pre-Raphaelite movement. By the early 20th century, such medieval elements had become part of high fashion—particularly in tea gowns that were designed to be worn at home. Dress Taupe wool, olive and fuchsia silk velvet, circa 1898, possibly USA, The Museum at FIT, 70.15.43, gift of Mrs. Margaret Riggs The natural green of this dress contrasts greatly with aniline-dyed hues that dominated fashion in the late 19th century. An interest in natural, muted colors, as well as stylized floral embroidery such as that seen here, first arose in the Aesthetic dress movement during the mid-19th century. Although radical when they first emerged, elements of this style were increasingly on trend by 1898.
  • Installation view
  • Installation view
Close
MORE IMAGES

1910-1960

During the 1920s, Jean Patou and Gabrielle Chanel designed chic, knit ensembles for their French clients, thus ushering in a trend for knitwear. This relaxed material was ideal for the new, active woman, who might be playing a round of tennis or walking around the city, shopping. During the 1930s, glamorous, bias-cut dresses seen in both Hollywood films and couture collections became a significant trend. In 1947, Christian Dior’s “New Look” revitalized haute couture. Within a year, this trend in silhouette spread from Paris to London and New York. It became particularly popular in the United States. In order to capitalize on the American market, Jacques Fath, Christian Dior, and, Jean Dessès designed ready-to-wear collections to suit the tastes of their American clienteles. Manufactured and sold exclusively in the U.S., such “satellite collections” became integral to the fashion cycle throughout the 1950s, disseminating couture trends through American department stores.

Close
Open
  • Purple silk damask with cotton velvet and fuchsia silk cord, 1912, France, museum purchase

    Paul Poiret dress

    Paul Poiret was renowned for his orientalism. The elongated, purple damask and velvet tunic seen here draws inspiration from fashions of the Near and Far East. According to fashion historian Caroline Millbank, Poiret’s “affinity with all things Eastern” went so far that he claimed “to have been a Persian prince in a previous life.”

    Purple silk damask with cotton velvet and silk cord, 1912, France, museum purchase, 2008.6.1

    Close
    Image Info
  • Left: Sweater, wool jersey, late 1920s, Austria, The Museum at FIT, P83.7.2, museum purchase The sleek diagonal lines on this sweater indicate the influence the Art Deco movement had on fashion. Designs rendered in jersey knitwear brought a relaxed aspect to 1920s fashion, while separates provided an option to mix and match pieces. Right: Blue and ecru wool, blue wool crepe, circa 1927, France, museum purchase, 2009.15.7 This chain stitch ensemble emulates sportswear designs by Jean Patou and Gabrielle “Coco” Chanel, whose jersey knit creations brought a casual, chic style to French fashion. Journalist Meredith Etherington-Smith said that Patou’s clients were “always adventurous, with notations of being sporty or at least looking as if they played tennis or golf, even if they didn’t.”

    Left: Sweater
    Wool jersey, late 1920s, Austria, The Museum at FIT, P83.7.2, museum purchase

    The sleek diagonal lines on this sweater indicate the influence the Art Deco movement had on fashion. Designs rendered in jersey knitwear brought a relaxed aspect to 1920s fashion, while separates provided an option to mix and match pieces.

    Right: Knitwear ensemble
    Blue and ecru wool, blue wool crepe, circa 1927, France, museum purchase, 2009.15.7

    This chain stitch ensemble emulates sportswear designs by Jean Patou and Gabrielle “Coco” Chanel, whose jersey knit creations brought a casual, chic style to French fashion. Journalist Meredith Etherington-Smith said that Patou’s clients were “always adventurous, with notations of being sporty or at least looking as if they played tennis or golf, even if they didn’t.”

    Close
    Image Info
  • This Chinese-style evening coat demonstrates the orientalism that became synonymous with modernity in early 20th-century fashion. Paul Poiret typified the new style in Paris, but the designs of Liberty & Co. led the trend in England. As fashion historian Sonia Ashmore points out, Liberty “pioneered the unstructured cut of Asian clothing as a means of liberating women from their corsets.” Deep blue silk, 1900-1925, England, The Museum at FIT, 90.190.11, gift of Elinor Toberoff

    Liberty & Company Evening Coat

    This Chinese-style evening coat demonstrates the orientalism that became synonymous with modernity in early 20th-century fashion. Paul Poiret typified the new style in Paris, but the designs of Liberty & Co. led the trend in England. As fashion historian Sonia Ashmore points out, Liberty “pioneered the unstructured cut of Asian clothing as a means of liberating women from their corsets.”

    Deep blue silk, 1900-1925, England, The Museum at FIT, 90.190.11, gift of Elinor Toberoff

    Close
    Image Info
  • Dramatic, fur-trimmed evening capes such as this were ubiquitous in high fashion of the 1920s. Characterized by opulent textiles and a cocoon-like silhouette, these coats were reminiscent of Chinese robes. While Poiret’s orientalist designs had been revolutionary ten years earlier, orientalism was now perfectly on trend on both sides of the Atlantic. Green silk damask and fur 1920-1925, USA, The Museum at FIT, 90.190.8, gift of Mr. and Mrs. Max and Elinor Toberoff

    Evening cape

    Dramatic, fur-trimmed evening capes such as this were ubiquitous in high fashion of the 1920s. Characterized by opulent textiles and a cocoon-like silhouette, these coats were reminiscent of Chinese robes. While Poiret’s orientalist designs had been revolutionary ten years earlier, orientalism was now perfectly on trend on both sides of the Atlantic.

    Green silk damask and fur
    1920-1925, USA, The Museum at FIT, 90.190.8, gift of Mr. and Mrs. Max and Elinor Toberoff

    Close
    Image Info
  • Left: Evening gown Silk satin, rhinestone, circa 1930, USA, The Museum at FIT, 75.80.1, gift of Lucinda S. Day This gown could be worn in a Hollywood film or to a gala affair. Champagne silk satins and rhinestone embellishments were used in black-and-white films to catch the light against dark backgrounds. Stars such as Jean Harlow, Joan Crawford, and Greta Garbo influenced the trend for these dresses. Right:Muriel King Evening gown and jacket Silk tissue faille, silk moiré, lamé, circa 1934, USA The Museum at FIT, 75.182.2, gift of Mrs. Louise Morgan Hook, Mrs. Anne Morgan Simoneau and Mr. J.P. Morgan, II in memory of their mother Mrs. Junius S. Morgan This bias-cut evening gown glistens as it moves, thanks to the combination of lamé and silk moiré. Muriel King found success as both a Hollywood costume designer and a fashion designer during the 1930s and 1940s. She translated costumes created for Ginger Rogers, Katharine Hepburn, and Rita Hayworth into glamorous dresses that could be worn off screen.

    Left: Evening gown
    Silk satin, rhinestone, circa 1930, USA, The Museum at FIT, 75.80.1, gift of Lucinda S. Day

    This gown could be worn in a Hollywood film or to a gala affair. Champagne silk satins and rhinestone embellishments were used in black-and-white films to catch the light against dark backgrounds. Stars such as Jean Harlow, Joan Crawford, and Greta Garbo influenced the trend for these dresses.

    Right: Muriel King Evening gown and jacket
    Silk tissue faille, silk moiré, lamé, circa 1934, USA The Museum at FIT, 75.182.2, gift of Mrs. Louise Morgan Hook, Mrs. Anne Morgan Simoneau and Mr. J.P. Morgan, II in memory of their mother Mrs. Junius S. Morgan

    This bias-cut evening gown glistens as it moves, thanks to the combination of lamé and silk moiré. Muriel King found success as both a Hollywood costume designer and a fashion designer during the 1930s and 1940s. She translated costumes created for Ginger Rogers, Katharine Hepburn, and Rita Hayworth into glamorous dresses that could be worn off screen.

    Close
    Image Info
  • Left: Adrian dress Velvet, gold metallic braid 1933, USA, The Museum at FIT, 70.8.4, gift of Metro-Goldwyn-Mayer, Inc. This Hollywood costume was worn by Greta Garbo in the film Queen Christina, and it influenced a fashion collection with the same title that sold in Macy’s Cinema Shop. The Tobé Report highlighted the collection in its weekly report covering the latest fashions and industry trends. Tobé was one of the first fashion advisory services; it began publishing its trend reports in 1927. Right: Charles Creed (H. Creed & Co.) suit Wool and wood, circa 1937, France, The Museum at FIT, 69.154.1, gift of Mrs. Janet Chatfield-Taylor The black Creed suit served as the fashion editor’s “uniform” during the 1930s. Bettina Ballard recalls her early years reporting on trends in Paris: “I would dress very carefully every morning, always the same black Creed suit, but a different hat and scarf.” Such a suit provided the working woman a professional look at a moderately affordable price during the depression.

    Left: Adrian dress
    Velvet, gold metallic braid
    1933, USA, The Museum at FIT, 70.8.4, gift of Metro-Goldwyn-Mayer, Inc.

    This Hollywood costume was worn by Greta Garbo in the film Queen Christina, and it influenced a fashion collection with the same title that sold in Macy’s Cinema Shop. The Tobé Report highlighted the collection in its weekly report covering the latest fashions and industry trends. Tobé was one of the first fashion advisory services; it began publishing its trend reports in 1927.

    Right: Charles Creed (H. Creed & Co.) suit
    Wool and wood, circa 1937, France, The Museum at FIT, 69.154.1, gift of Mrs. Janet Chatfield-Taylor

    The black Creed suit served as the fashion editor’s “uniform” during the 1930s. Bettina Ballard recalls her early years reporting on trends in Paris: “I would dress very carefully every morning, always the same black Creed suit, but a different hat and scarf.” Such a suit provided the working woman a professional look at a moderately affordable price during the depression.

    Close
    Image Info
  • The plaids and polka-dots on these sportswear ensembles show the playful side of American fashion. Claire McCardell and Tom Brigance created unique ready-to-wear designs that set them apart from more formal French fashion. This became the foundation for a sportswear style known as, “The American Look,” a term coined by Dorothy Shaver, then president of Lord & Taylor and an early promoter of American fashion. Left: Claire McCardell playsuit Cotton, 1946-1947, USA The Museum at FIT, 72.61.56, gift of Mr. and Mrs. Adrian McCardell Center: Playsuit Cotton, circa 1940, USA, The Museum at FIT, P84.32.1, museum purchase This playsuit is decorated with a photo-print of New York cityscapes. By removing the bolero the wearer can transition from the city to the beach—a practical feature for women who took advantage of the newly shortened, five-day work week, which allowed more time for leisure activities. Right: Brigance Sportsmaker jumpsuit Cotton, circa 1955, USA, The Museum at FIT, 77.186.40, gift of Gladys Solomon

    The plaids and polka-dots on these sportswear ensembles show the playful side of American fashion. Claire McCardell and Tom Brigance created unique ready-to-wear designs that set them apart from more formal French fashion. This became the foundation for a sportswear style known as, “The American Look,” a term coined by Dorothy Shaver, then president of Lord & Taylor and an early promoter of American fashion.

    Left: Claire McCardell playsuit
    Cotton, 1946-1947, USA
    The Museum at FIT, 72.61.56, gift of Mr. and Mrs. Adrian McCardell

    Center: Playsuit
    Cotton, circa 1940, USA, The Museum at FIT, P84.32.1, museum purchase

    This playsuit is decorated with a photo-print of New York cityscapes. By removing the bolero the wearer can transition from the city to the beach—a practical feature for women who took advantage of the newly shortened, five-day work week, which allowed more time for leisure activities.

    Right: Brigance Sportsmaker jumpsuit
    Cotton, circa 1955, USA, The Museum at FIT, 77.186.40, gift of Gladys Solomon

    Close
    Image Info
  • Left: Jacques Fath (manufactured by Joseph Halpert) dress and jacket Taffeta and velvet, circa 1953, USA, The Museum at FIT, 93.51.1, gift of Nettie Cahn Jacques Fath came to New York twice a year to design ready-to-wear collections suited to the tastes of his American clientele. Fath collaborated with manufacturer Joseph Halpert to articulate his vision of garments that would sell on the American market. The polka dots on this evening dress and jacket add flair to the ensemble. RIght: Jacques Fath two-piece dress Wool, circa 1947, France, The Museum at FIT, 68.136.3, gift of Mrs. Joseph Halpert The clean lines and button detail of this haute couture dress give it a deceptively simple appearance. Designer Jacques Fath skillfully hid the complex construction that creates the overall silhouette and drape of the skirt. Fath’s designs were youthful alternatives to the creations of Christian Dior.

    Left: Jacques Fath (manufactured by Joseph Halpert) dress and jacket
    Taffeta and velvet, circa 1953, USA, The Museum at FIT, 93.51.1, gift of Nettie Cahn

    Jacques Fath came to New York twice a year to design ready-to-wear collections suited to the tastes of his American clientele. Fath collaborated with manufacturer Joseph Halpert to articulate his vision of garments that would sell on the American market. The polka dots on this evening dress and jacket add flair to the ensemble.

    Right: Jacques Fath two-piece dress
    Wool, circa 1947, France, The Museum at FIT, 68.136.3, gift of Mrs. Joseph Halpert

    The clean lines and button detail of this haute couture dress give it a deceptively simple appearance. Designer Jacques Fath skillfully hid the complex construction that creates the overall silhouette and drape of the skirt. Fath’s designs were youthful alternatives to the creations of Christian Dior.

    Close
    Image Info
  • Left: Christian Dior evening dress, red machine lace, chiffon tape, tulle, circa 1950, France, gift of Nancy White, 77.115.5 The hourglass silhouette of this couture evening ensemble is known as the “New Look.” Christian Dior introduced it to the fashion industry with his Corolle collection of 1947. Characterized by a nipped-in waist, full skirt, and rounded shoulders, this ultra-feminine style became the dominant trend of the 1950s. Right: Anne Fogarty dress, red silk, circa 1954, USA, unknown origin, U.457 This full-skirted silhouette was a favorite style of American designer Anne Fogarty. Heavily influenced by Dior’s New Look, Fogarty marketed her version of the trend to modern housewives on a limited budget. In her book Wife Dressing, she recommends investing in petticoats that “take on the shape of the dress . . . since full-skirt styles change gradually season by season.”

    Left: Christian Dior evening dress, red machine lace, chiffon tape, tulle, circa 1950, France, gift of Nancy White, 77.115.5

    The hourglass silhouette of this couture evening ensemble is known as the “New Look.” Christian Dior introduced it to the fashion industry with his Corolle collection of 1947. Characterized by a nipped-in waist, full skirt, and rounded shoulders, this ultra-feminine style became the dominant trend of the 1950s.

    Right: Anne Fogarty dress, red silk, circa 1954, USA, unknown origin, U.457

    This full-skirted silhouette was a favorite style of American designer Anne Fogarty. Heavily influenced by Dior’s New Look, Fogarty marketed her version of the trend to modern housewives on a limited budget. In her book Wife Dressing, she recommends investing in petticoats that “take on the shape of the dress . . . since full-skirt styles change gradually season by season.”

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • Purple silk damask with cotton velvet and fuchsia silk cord, 1912, France, museum purchase
  • Left: Sweater, wool jersey, late 1920s, Austria, The Museum at FIT, P83.7.2, museum purchase The sleek diagonal lines on this sweater indicate the influence the Art Deco movement had on fashion. Designs rendered in jersey knitwear brought a relaxed aspect to 1920s fashion, while separates provided an option to mix and match pieces. Right: Blue and ecru wool, blue wool crepe, circa 1927, France, museum purchase, 2009.15.7 This chain stitch ensemble emulates sportswear designs by Jean Patou and Gabrielle “Coco” Chanel, whose jersey knit creations brought a casual, chic style to French fashion. Journalist Meredith Etherington-Smith said that Patou’s clients were “always adventurous, with notations of being sporty or at least looking as if they played tennis or golf, even if they didn’t.”
  • This Chinese-style evening coat demonstrates the orientalism that became synonymous with modernity in early 20th-century fashion. Paul Poiret typified the new style in Paris, but the designs of Liberty & Co. led the trend in England. As fashion historian Sonia Ashmore points out, Liberty “pioneered the unstructured cut of Asian clothing as a means of liberating women from their corsets.” Deep blue silk, 1900-1925, England, The Museum at FIT, 90.190.11, gift of Elinor Toberoff
  • Dramatic, fur-trimmed evening capes such as this were ubiquitous in high fashion of the 1920s. Characterized by opulent textiles and a cocoon-like silhouette, these coats were reminiscent of Chinese robes. While Poiret’s orientalist designs had been revolutionary ten years earlier, orientalism was now perfectly on trend on both sides of the Atlantic. Green silk damask and fur 1920-1925, USA, The Museum at FIT, 90.190.8, gift of Mr. and Mrs. Max and Elinor Toberoff
  • Left: Evening gown Silk satin, rhinestone, circa 1930, USA, The Museum at FIT, 75.80.1, gift of Lucinda S. Day This gown could be worn in a Hollywood film or to a gala affair. Champagne silk satins and rhinestone embellishments were used in black-and-white films to catch the light against dark backgrounds. Stars such as Jean Harlow, Joan Crawford, and Greta Garbo influenced the trend for these dresses. Right:Muriel King Evening gown and jacket Silk tissue faille, silk moiré, lamé, circa 1934, USA The Museum at FIT, 75.182.2, gift of Mrs. Louise Morgan Hook, Mrs. Anne Morgan Simoneau and Mr. J.P. Morgan, II in memory of their mother Mrs. Junius S. Morgan This bias-cut evening gown glistens as it moves, thanks to the combination of lamé and silk moiré. Muriel King found success as both a Hollywood costume designer and a fashion designer during the 1930s and 1940s. She translated costumes created for Ginger Rogers, Katharine Hepburn, and Rita Hayworth into glamorous dresses that could be worn off screen.
  • Left: Adrian dress Velvet, gold metallic braid 1933, USA, The Museum at FIT, 70.8.4, gift of Metro-Goldwyn-Mayer, Inc. This Hollywood costume was worn by Greta Garbo in the film Queen Christina, and it influenced a fashion collection with the same title that sold in Macy’s Cinema Shop. The Tobé Report highlighted the collection in its weekly report covering the latest fashions and industry trends. Tobé was one of the first fashion advisory services; it began publishing its trend reports in 1927. Right: Charles Creed (H. Creed & Co.) suit Wool and wood, circa 1937, France, The Museum at FIT, 69.154.1, gift of Mrs. Janet Chatfield-Taylor The black Creed suit served as the fashion editor’s “uniform” during the 1930s. Bettina Ballard recalls her early years reporting on trends in Paris: “I would dress very carefully every morning, always the same black Creed suit, but a different hat and scarf.” Such a suit provided the working woman a professional look at a moderately affordable price during the depression.
  • The plaids and polka-dots on these sportswear ensembles show the playful side of American fashion. Claire McCardell and Tom Brigance created unique ready-to-wear designs that set them apart from more formal French fashion. This became the foundation for a sportswear style known as, “The American Look,” a term coined by Dorothy Shaver, then president of Lord & Taylor and an early promoter of American fashion. Left: Claire McCardell playsuit Cotton, 1946-1947, USA The Museum at FIT, 72.61.56, gift of Mr. and Mrs. Adrian McCardell Center: Playsuit Cotton, circa 1940, USA, The Museum at FIT, P84.32.1, museum purchase This playsuit is decorated with a photo-print of New York cityscapes. By removing the bolero the wearer can transition from the city to the beach—a practical feature for women who took advantage of the newly shortened, five-day work week, which allowed more time for leisure activities. Right: Brigance Sportsmaker jumpsuit Cotton, circa 1955, USA, The Museum at FIT, 77.186.40, gift of Gladys Solomon
  • Left: Jacques Fath (manufactured by Joseph Halpert) dress and jacket Taffeta and velvet, circa 1953, USA, The Museum at FIT, 93.51.1, gift of Nettie Cahn Jacques Fath came to New York twice a year to design ready-to-wear collections suited to the tastes of his American clientele. Fath collaborated with manufacturer Joseph Halpert to articulate his vision of garments that would sell on the American market. The polka dots on this evening dress and jacket add flair to the ensemble. RIght: Jacques Fath two-piece dress Wool, circa 1947, France, The Museum at FIT, 68.136.3, gift of Mrs. Joseph Halpert The clean lines and button detail of this haute couture dress give it a deceptively simple appearance. Designer Jacques Fath skillfully hid the complex construction that creates the overall silhouette and drape of the skirt. Fath’s designs were youthful alternatives to the creations of Christian Dior.
  • Left: Christian Dior evening dress, red machine lace, chiffon tape, tulle, circa 1950, France, gift of Nancy White, 77.115.5 The hourglass silhouette of this couture evening ensemble is known as the “New Look.” Christian Dior introduced it to the fashion industry with his Corolle collection of 1947. Characterized by a nipped-in waist, full skirt, and rounded shoulders, this ultra-feminine style became the dominant trend of the 1950s. Right: Anne Fogarty dress, red silk, circa 1954, USA, unknown origin, U.457 This full-skirted silhouette was a favorite style of American designer Anne Fogarty. Heavily influenced by Dior’s New Look, Fogarty marketed her version of the trend to modern housewives on a limited budget. In her book Wife Dressing, she recommends investing in petticoats that “take on the shape of the dress . . . since full-skirt styles change gradually season by season.”
  • Installation view
  • Installation view
  • Installation view
Close
MORE IMAGES

1960-1980

The jet-set lifestyle of the 1960s enabled fashion photographers, editors, and socialites to travel to far-off locations, such as Africa, India, and Japan. This inspired a trend for “exotic” wardrobes, typified by the brightly patterned caftans and Pucci print ensembles featured in the pages of Vogue.
Throughout the twentieth century, music inspired fashion. During the 1970s, Halston’s slinky, silk jersey designs filled the dance floors of Studio 54.

Close
Open
  • Oscar de la Renta drew inspiration from non-western fashions when he created this vibrant, bejeweled caftan worn by Diana Vreeland, then editor in chief of Vogue. Caftans originated in the courtly dress of Islamic cultures. This high-fashion version is emblematic of a trend for the “exotic” that developed in the late 1960s. Left: Oscar de la Renta caftan, brocaded silk bark cloth in multi-color print and jeweled gold braid trim, circa 1963, USA, gift of Diana Vreeland, 79.147.4 The bright, graphic print on this dress is a signature element of Emilio Pucci’s designs. Similar ensembles became fixtures in Vogue during the 1960s. Set against the backdrop of exotic locations, such as the Indian temple seen in the fashion spread above, Pucci’s designs became wardrobe essentials for the jet set. Right: Emilio Pucci dress, multi-colored silk jersey, circa 1970, Italy, Gift of Robert Wells In Memory of Lisa Kirk, 91.241.95

    Oscar de la Renta drew inspiration from non-western fashions when he created this vibrant, bejeweled caftan worn by Diana Vreeland, then editor in chief of Vogue. Caftans originated in the courtly dress of Islamic cultures. This high-fashion version is emblematic of a trend for the “exotic” that developed in the late 1960s.

    Left: Oscar de la Renta caftan, brocaded silk bark cloth in multi-color print and jeweled gold braid trim, circa 1963, USA, gift of Diana Vreeland, 79.147.4

    The bright, graphic print on this dress is a signature element of Emilio Pucci’s designs. Similar ensembles became fixtures in Vogue during the 1960s. Set against the backdrop of exotic locations, such as the Indian temple seen in the fashion spread above, Pucci’s designs became wardrobe essentials for the jet set.

    Right: Emilio Pucci dress, multi-colored silk jersey, circa 1970, Italy, Gift of Robert Wells In Memory of Lisa Kirk, 91.241.95

    Close
    Image Info
  • Left: Mary Quant dress Color-blocked wool jersey, circa 1965, England, The Museum at FIT, 2012.27.1, gift of Mary Quant The “miniskirt” style of this dress became an emblem of London youth culture during the 1960s. Designer Mary Quant pioneered the trend from Bazaar, her boutique on the Kings Road in London. Quant drew inspiration for her designs from the minimalist styles of 1950s beatniks, as well as the short-skirted, flat-shoed ensembles of tap dancers. Center: André Courrèges dress Orange textured wool, white appliqué, 1967-1968, France, The Museum at FIT, 90.163.3, gift of Mrs. Walter Eytan The “miniskirt” became a fixture in the work of André Courrèges, who wanted to infuse his couture with a youthful and futuristic sensibility befitting the Space Age. Courrèges likely would have accessorized a dress such as this with boots, a helmet-like hat, and perhaps goggles. Right: Geoffrey Beene dress Navy wool, white vinyl buttons and bow 1967, USA, The Museum at FIT, 85.151.5, gift of Rose Simon By 1966, the “miniskirt” had reached the United States, and the New York Times declared it to be “the most important British import since the Beatles.” Here, New-York-based designer Geoffrey Beene has created his own version. While more conservative in length and cut than its British counterpart, the vinyl bow at the collar gives Beene’s dress a youthful and futuristic note.

    Left: Mary Quant dress
    Color-blocked wool jersey, circa 1965, England, The Museum at FIT, 2012.27.1, gift of Mary Quant

    The “miniskirt” style of this dress became an emblem of London youth culture during the 1960s. Designer Mary Quant pioneered the trend from Bazaar, her boutique on the Kings Road in London. Quant drew inspiration for her designs from the minimalist styles of 1950s beatniks, as well as the short-skirted, flat-shoed ensembles of tap dancers.

    Center: André Courrèges dress
    Orange textured wool, white appliqué, 1967-1968, France, The Museum at FIT, 90.163.3, gift of Mrs. Walter Eytan

    The “miniskirt” became a fixture in the work of André Courrèges, who wanted to infuse his couture with a youthful and futuristic sensibility befitting the Space Age. Courrèges likely would have accessorized a dress such as this with boots, a helmet-like hat, and perhaps goggles.

    Right: Geoffrey Beene dress
    Navy wool, white vinyl buttons and bow
    1967, USA, The Museum at FIT, 85.151.5, gift of Rose Simon

    By 1966, the “miniskirt” had reached the United States, and the New York Times declared it to be “the most important British import since the Beatles.” Here, New-York-based designer Geoffrey Beene has created his own version. While more conservative in length and cut than its British counterpart, the vinyl bow at the collar gives Beene’s dress a youthful and futuristic note.

    Close
    Image Info
  • Left: Granny Takes a Trip, Man’s suit Acetate satin, cotton, velveteen, circa 1971, England, The Museum at FIT, 2001.55.1, museum purchase The red, black, and cream stripes in this man’s suit exemplify the foppish style of 1960s swinging London. Outlandish suits from the boutique Granny Takes a Trip were described as “a 1960s reinvention of fin-de-siècle dandyism.” This boutique boosted an eclectic array of one-of-a-kind garments, originating a variety of trends. Center: Mr. Fish, man’s jacket Wool, metallic, circa 1970, England, The Museum at FIT, 2008.15.1, gift of Wendy Sacks and Joseph Holder The orange and metallic psychedelic print on this man’s jacket captures the flamboyant style of the Peacock Revolution. Michael Fish said that at his London boutique, Mr. Fish, “I tried to break down frontiers for men.” His tailored garments with peculiar prints attracted an elite clientele that included David Bowie and members of the Rolling Stones. Right: Jacques, man’s three-piece suit Wool, circa 1965, USA, The Museum at FIT, 84.79.1, gift of Mr. Lee Stewart The tall, standing collar and single row of buttons on this jacket were inspired by the Nehru suit, a style originating in India. The Beatles were photographed wearing Nehru jackets while on a trip to India, sparking a trend that spread to the United States. Sammy Davis, Jr. was rumored to own over 200 Nehru suits.

    Left: Granny Takes a Trip, man’s suit
    Acetate satin, cotton, velveteen, circa 1971, England, The Museum at FIT, 2001.55.1, museum purchase

    The red, black, and cream stripes in this man’s suit exemplify the foppish style of 1960s swinging London. Outlandish suits from the boutique Granny Takes a Trip were described as “a 1960s reinvention of fin-de-siècle dandyism.” This boutique boosted an eclectic array of one-of-a-kind garments, originating a variety of trends.

    Center: Mr. Fish, man’s jacket
    Wool, metallic, circa 1970, England, The Museum at FIT, 2008.15.1, gift of Wendy Sacks and Joseph Holder

    The orange and metallic psychedelic print on this man’s jacket captures the flamboyant style of the Peacock Revolution. Michael Fish said that at his London boutique, Mr. Fish, “I tried to break down frontiers for men.” His tailored garments with peculiar prints attracted an elite clientele that included David Bowie and members of the Rolling Stones.

    Right: Jacques, man’s three-piece suit
    Wool, circa 1965, USA, The Museum at FIT, 84.79.1, gift of Mr. Lee Stewart

    The tall, standing collar and single row of buttons on this jacket were inspired by the Nehru suit, a style originating in India. The Beatles were photographed wearing Nehru jackets while on a trip to India, sparking a trend that spread to the United States. Sammy Davis, Jr. was rumored to own over 200 Nehru suits.

    Close
    Image Info
  • In reaction to the mass-produced, capitalist material culture of the 1950s and early 1960s, an anti-establishment subculture developed in San Francisco. Its anti-fashion aesthetic, commonly referred to as “hippie” style, promoted re-used, natural materials and drew inspiration from folk art and Native American dress. Tie-dye, seen in this tank top, was popular, as were recycled garments, such as these jeans that were embroidered and patched by their owner. Left: Giorgio di Sant’Angelo ensemble: skirt and vest Red cotton broadcloth, grosgrain ribbon, red suede, shells, buttons, feathers, and tiger-eye stone 1968, USA, The Museum at FIT, 88.1.153C-D, gift of Marina Schiano Giorgio di Sant’Angelo took inspiration from hippie street style for his high-end ready-to-wear. This long, floral-print skirt plays on hippie peasant skirts, while the suede vest taps into what fashion historian Joel Lobenthal describes as “the hippies’ infatuation with the ensembles of Native Americans.” Sant’Angelo appropriated an innately anti-fashion aesthetic, elevating it to high fashion. Right: Halston evening ensemble Silk chiffon, circa 1970, USA, The Museum at FIT, 89.165.74, gift of Marilyn Evins

    In reaction to the mass-produced, capitalist material culture of the 1950s and early 1960s, an anti-establishment subculture developed in San Francisco. Its anti-fashion aesthetic, commonly referred to as “hippie” style, promoted re-used, natural materials and drew inspiration from folk art and Native American dress. Tie-dye, seen in this tank top, was popular, as were recycled garments, such as these jeans that were embroidered and patched by their owner.

    Left: Giorgio di Sant’Angelo ensemble: skirt and vest
    Red cotton broadcloth, grosgrain ribbon, red suede, shells, buttons, feathers, and tiger-eye stone, 1968, USA, The Museum at FIT, 88.1.153C-D, gift of Marina Schiano

    Giorgio di Sant’Angelo took inspiration from hippie street style for his high-end ready-to-wear. This long, floral-print skirt plays on hippie peasant skirts, while the suede vest taps into what fashion historian Joel Lobenthal describes as “the hippies’ infatuation with the ensembles of Native Americans.” Sant’Angelo appropriated an innately anti-fashion aesthetic, elevating it to high fashion.

    Right: Halston evening ensemble
    Silk chiffon, circa 1970, USA, The Museum at FIT, 89.165.74, gift of Marilyn Evins

    Close
    Image Info
  • Left: Halston jumpsuit Silk jersey, circa 1976, USA, The Museum at FIT, 79.66.40, gift of Ethel Scull The body-revealing cut-away sides of this jumpsuit were designed to be seen on the dance floor at Studio 54 and other discos of the 1970s. “A designer is only as good as the people he dresses,” said Halston, who created slinky designs for an elite clientele that included Ethel Scull, Liza Minnelli, and Bianca Jagger. Right: Nik Nik shirt Nylon, circa 1971, Italy, The Museum at FIT, 81.190.1, gift of Mr. Jack Hyde Yves Saint Laurent pants Silk satin, 1972, France, The Museum at FIT, 91.111.10, gift of John Brooks Adams The back of this shirt features a graphic of a long playing vinyl disc, tying it to the disco scene of the 1970s. The trend in nightclubs was for brightly colored, form-fitting ensembles, as exemplified by John Travolta’s wardrobe in Saturday Night Fever. Nik Nik, an Italian brand, designed fitted, nylon, button-down shirts for men and women.

    Left: Halston jumpsuit
    Silk jersey, circa 1976, USA, The Museum at FIT, 79.66.40, gift of Ethel Scull

    The body-revealing cut-away sides of this jumpsuit were designed to be seen on the dance floor at Studio 54 and other discos of the 1970s. “A designer is only as good as the people he dresses,” said Halston, who created slinky designs for an elite clientele that included Ethel Scull, Liza Minnelli, and Bianca Jagger.

    Right: Nik Nik shirt
    Nylon, circa 1971, Italy, The Museum at FIT, 81.190.1, gift of Mr. Jack Hyde
    Yves Saint Laurent pants
    Silk satin, 1972, France, The Museum at FIT, 91.111.10, gift of John Brooks Adams

    The back of this shirt features a graphic of a long playing vinyl disc, tying it to the disco scene of the 1970s. The trend in nightclubs was for brightly colored, form-fitting ensembles, as exemplified by John Travolta’s wardrobe in Saturday Night Fever. Nik Nik, an Italian brand, designed fitted, nylon, button-down shirts for men and women.

    Close
    Image Info
  • Left: Stephen Sprouse man’s jacket Nylon, clear sequins 1988, USA, The Museum at FIT, 88.66.4, gift of Richard Martin The print of this jacket was inspired by stickers that Stephen Sprouce observed on the underside of skateboards. He immediately purchased a stack of such stickers from a record store, then cut and manipulated them to create this montage of punk band names. The collection that included this jacket has been described as Sprouse’s “haute couture version of street trash.” Center: Boy of London jacket Screen printed cotton, vinyl, zippers, circa 1978, England, The Museum at FIT, 98.140.3, museum purchase Right: Seditionaries (Vivienne Westwood and Malcolm McLaren) shirt Cotton, plastic rings Circa 1978, England, The Museum at FIT, 98.140.2, museum purchase Both the jacket and the shirt seen here utilize bondage straps, a nod to the S&M subculture as appropriated by the punk movement. During the late 1970s, Boy of London and Seditionaries were the places to go in London for punk styles. Punk became a mainstream fashion trend by the early 1990s.

    Left: Stephen Sprouse man’s jacket
    Nylon, clear sequins
    1988, USA, The Museum at FIT, 88.66.4, gift of Richard Martin

    The print of this jacket was inspired by stickers that Stephen Sprouce observed on the underside of skateboards. He immediately purchased a stack of such stickers from a record store, then cut and manipulated them to create this montage of punk band names. The collection that included this jacket has been described as Sprouse’s “haute couture version of street trash.”

    Center:
    Boy of London jacket
    Screen printed cotton, vinyl, zippers, circa 1978, England, The Museum at FIT, 98.140.3, museum purchase

    Right:
    Seditionaries (Vivienne Westwood and Malcolm McLaren) shirt
    Cotton, plastic rings
    Circa 1978, England, The Museum at FIT, 98.140.2, museum purchase

    Both the jacket and the shirt seen here utilize bondage straps, a nod to the S&M subculture as appropriated by the punk movement. During the late 1970s, Boy of London and Seditionaries were the places to go in London for punk styles. Punk became a mainstream fashion trend by the early 1990s.

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • Oscar de la Renta drew inspiration from non-western fashions when he created this vibrant, bejeweled caftan worn by Diana Vreeland, then editor in chief of Vogue. Caftans originated in the courtly dress of Islamic cultures. This high-fashion version is emblematic of a trend for the “exotic” that developed in the late 1960s. Left: Oscar de la Renta caftan, brocaded silk bark cloth in multi-color print and jeweled gold braid trim, circa 1963, USA, gift of Diana Vreeland, 79.147.4 The bright, graphic print on this dress is a signature element of Emilio Pucci’s designs. Similar ensembles became fixtures in Vogue during the 1960s. Set against the backdrop of exotic locations, such as the Indian temple seen in the fashion spread above, Pucci’s designs became wardrobe essentials for the jet set. Right: Emilio Pucci dress, multi-colored silk jersey, circa 1970, Italy, Gift of Robert Wells In Memory of Lisa Kirk, 91.241.95
  • Left: Mary Quant dress Color-blocked wool jersey, circa 1965, England, The Museum at FIT, 2012.27.1, gift of Mary Quant The “miniskirt” style of this dress became an emblem of London youth culture during the 1960s. Designer Mary Quant pioneered the trend from Bazaar, her boutique on the Kings Road in London. Quant drew inspiration for her designs from the minimalist styles of 1950s beatniks, as well as the short-skirted, flat-shoed ensembles of tap dancers. Center: André Courrèges dress Orange textured wool, white appliqué, 1967-1968, France, The Museum at FIT, 90.163.3, gift of Mrs. Walter Eytan The “miniskirt” became a fixture in the work of André Courrèges, who wanted to infuse his couture with a youthful and futuristic sensibility befitting the Space Age. Courrèges likely would have accessorized a dress such as this with boots, a helmet-like hat, and perhaps goggles. Right: Geoffrey Beene dress Navy wool, white vinyl buttons and bow 1967, USA, The Museum at FIT, 85.151.5, gift of Rose Simon By 1966, the “miniskirt” had reached the United States, and the New York Times declared it to be “the most important British import since the Beatles.” Here, New-York-based designer Geoffrey Beene has created his own version. While more conservative in length and cut than its British counterpart, the vinyl bow at the collar gives Beene’s dress a youthful and futuristic note.
  • Left: Granny Takes a Trip, Man’s suit Acetate satin, cotton, velveteen, circa 1971, England, The Museum at FIT, 2001.55.1, museum purchase The red, black, and cream stripes in this man’s suit exemplify the foppish style of 1960s swinging London. Outlandish suits from the boutique Granny Takes a Trip were described as “a 1960s reinvention of fin-de-siècle dandyism.” This boutique boosted an eclectic array of one-of-a-kind garments, originating a variety of trends. Center: Mr. Fish, man’s jacket Wool, metallic, circa 1970, England, The Museum at FIT, 2008.15.1, gift of Wendy Sacks and Joseph Holder The orange and metallic psychedelic print on this man’s jacket captures the flamboyant style of the Peacock Revolution. Michael Fish said that at his London boutique, Mr. Fish, “I tried to break down frontiers for men.” His tailored garments with peculiar prints attracted an elite clientele that included David Bowie and members of the Rolling Stones. Right: Jacques, man’s three-piece suit Wool, circa 1965, USA, The Museum at FIT, 84.79.1, gift of Mr. Lee Stewart The tall, standing collar and single row of buttons on this jacket were inspired by the Nehru suit, a style originating in India. The Beatles were photographed wearing Nehru jackets while on a trip to India, sparking a trend that spread to the United States. Sammy Davis, Jr. was rumored to own over 200 Nehru suits.
  • In reaction to the mass-produced, capitalist material culture of the 1950s and early 1960s, an anti-establishment subculture developed in San Francisco. Its anti-fashion aesthetic, commonly referred to as “hippie” style, promoted re-used, natural materials and drew inspiration from folk art and Native American dress. Tie-dye, seen in this tank top, was popular, as were recycled garments, such as these jeans that were embroidered and patched by their owner. Left: Giorgio di Sant’Angelo ensemble: skirt and vest Red cotton broadcloth, grosgrain ribbon, red suede, shells, buttons, feathers, and tiger-eye stone 1968, USA, The Museum at FIT, 88.1.153C-D, gift of Marina Schiano Giorgio di Sant’Angelo took inspiration from hippie street style for his high-end ready-to-wear. This long, floral-print skirt plays on hippie peasant skirts, while the suede vest taps into what fashion historian Joel Lobenthal describes as “the hippies’ infatuation with the ensembles of Native Americans.” Sant’Angelo appropriated an innately anti-fashion aesthetic, elevating it to high fashion. Right: Halston evening ensemble Silk chiffon, circa 1970, USA, The Museum at FIT, 89.165.74, gift of Marilyn Evins
  • Left: Halston jumpsuit Silk jersey, circa 1976, USA, The Museum at FIT, 79.66.40, gift of Ethel Scull The body-revealing cut-away sides of this jumpsuit were designed to be seen on the dance floor at Studio 54 and other discos of the 1970s. “A designer is only as good as the people he dresses,” said Halston, who created slinky designs for an elite clientele that included Ethel Scull, Liza Minnelli, and Bianca Jagger. Right: Nik Nik shirt Nylon, circa 1971, Italy, The Museum at FIT, 81.190.1, gift of Mr. Jack Hyde Yves Saint Laurent pants Silk satin, 1972, France, The Museum at FIT, 91.111.10, gift of John Brooks Adams The back of this shirt features a graphic of a long playing vinyl disc, tying it to the disco scene of the 1970s. The trend in nightclubs was for brightly colored, form-fitting ensembles, as exemplified by John Travolta’s wardrobe in Saturday Night Fever. Nik Nik, an Italian brand, designed fitted, nylon, button-down shirts for men and women.
  • Left: Stephen Sprouse man’s jacket Nylon, clear sequins 1988, USA, The Museum at FIT, 88.66.4, gift of Richard Martin The print of this jacket was inspired by stickers that Stephen Sprouce observed on the underside of skateboards. He immediately purchased a stack of such stickers from a record store, then cut and manipulated them to create this montage of punk band names. The collection that included this jacket has been described as Sprouse’s “haute couture version of street trash.” Center: Boy of London jacket Screen printed cotton, vinyl, zippers, circa 1978, England, The Museum at FIT, 98.140.3, museum purchase Right: Seditionaries (Vivienne Westwood and Malcolm McLaren) shirt Cotton, plastic rings Circa 1978, England, The Museum at FIT, 98.140.2, museum purchase Both the jacket and the shirt seen here utilize bondage straps, a nod to the S&M subculture as appropriated by the punk movement. During the late 1970s, Boy of London and Seditionaries were the places to go in London for punk styles. Punk became a mainstream fashion trend by the early 1990s.
  • Installation view
  • Installation view
  • Installation view
Close
MORE IMAGES

1980-2000

Twenty years after Halston’s slinky, silk jersey designs filled the dance floors of Studio 54, hip-hop artists such as Run-DMC and Salt-N-Pepa inspired Karl Lagerfeld’s 1991 Chanel collection. A dramatic example is his version of the gold “dookie” chain, which he festooned over an iconic Chanel wool suit.

The 1990s became known as the era of “logomania.” Luxury companies such as Gucci, Louis Vuitton, Versace, and Moschino began to conspicuously brand their garments, transforming them into status symbols of consumption. In reaction to these flashy fashions, designers such as Prada, Calvin Klein, and Helmut Lang created minimalist collections in black, gray, white, and nude color palettes, devoid of brand names.

Close
Open
  • The prominent necklace of this ensemble was a key accessory in Karl Lagerfeld’s 1991 “hip hop” collection for Chanel. Lagerfeld drew direct inspiration from hip hop artists such as Run-DMC and Salt-N-Pepa, replicating distinct street styles such as the gold “dookie” chain. By festooning the necklace over an iconic Chanel wool suit, Lagerfeld marked hip hop’s official ascent to the high fashion runway. Suit: pink cotton, wool and synthetic blends, synthetic tweed, and white cotton, Spring 1994, France, Gift of Chanel Inc., 94.80.1 Necklace: gold plated metal, Fall 1991, France, Gift of Depuis 1924, 2013.56.1

    Karl Lagerfeld for Chanel suit and gold plated necklace

    The prominent necklace of this ensemble was a key accessory in Karl Lagerfeld’s 1991 “hip hop” collection for Chanel. Lagerfeld drew direct inspiration from hip hop artists such as Run-DMC and Salt-N-Pepa, replicating distinct street styles such as the gold “dookie” chain. By festooning the necklace over an iconic Chanel wool suit, Lagerfeld marked hip hop’s official ascent to the high fashion runway.

    Suit: pink cotton, wool and synthetic blends, synthetic tweed, and white cotton, Spring 1994, France, Gift of Chanel Inc., 94.80.1

    Necklace: gold plated metal, Fall 1991, France, Gift of Depuis 1924, 2013.56.1

    Close
    Image Info
  • Left: Comme des Garçons (Rei Kawakubo) Dress Navy blue and tan polka-dot, and white wool Circa 1983, Japan The Museum at FIT, 93.139.6 Gift of Ms. Roberta Smith The asymmetrical waistline, loose fit, and added panel of this dress are characteristic of Rei Kawakubo’s deconstructed designs for her label, Comme des Garçons. This style shocked the press when Kawakubo began showing in Paris in 1981. Nevertheless, key retailers, such as Joan Burstein of Brown’s in London, quickly began stocking Kawakubo’s work and promoting her avant-garde aesthetic. Center: Issey Miyake dress Muted plaid linen, Spring 1984, Japan, The Museum at FIT, 89.64.90, gift of Alan Gilliland This dress bears the hallmarks of the new Japanese aesthetic that emerged in the early 1980s: loose-fit, muted color palette, deconstructed details, and elements drawn from traditional Japanese workwear. Issey Miyake had been cultivating this style since 1970. For this reason, according to fashion historian Yuniya Kawamura, Miyake “is considered the founding father of the new fashion trend.” Right: Yohji Yamamoto jacket Black rayon and linen, 1983-1984, Japan, The Museum at FIT, 88.63.2, gift of Alan Rosenberg The black color of this jacket was a signature element of Yohji Yamamoto’s early designs. In 1981, he started showing in Paris, as did Rei Kawakubo. They ushered in a trend for conceptual clothing anchored by the use of black, unfinished details, and an unconventional fit that came to define a new school of Japanese design.

    Left: Comme des Garçons (Rei Kawakubo) dress
    Navy blue and tan polka-dot, and white wool, circa 1983, Japan, The Museum at FIT, 93.139.6, gift of Ms. Roberta Smith

    The asymmetrical waistline, loose fit, and added panel of this dress are characteristic of Rei Kawakubo’s deconstructed designs for her label, Comme des Garçons. This style shocked the press when Kawakubo began showing in Paris in 1981. Nevertheless, key retailers, such as Joan Burstein of Brown’s in London, quickly began stocking Kawakubo’s work and promoting her avant-garde aesthetic.

    Center: Issey Miyake dress
    Muted plaid linen, Spring 1984, Japan, The Museum at FIT, 89.64.90, gift of Alan Gilliland

    This dress bears the hallmarks of the new Japanese aesthetic that emerged in the early 1980s: loose-fit, muted color palette, deconstructed details, and elements drawn from traditional Japanese workwear. Issey Miyake had been cultivating this style since 1970.
    For this reason, according to fashion historian Yuniya Kawamura, Miyake “is considered the founding father of the new fashion trend.”

    Right: Yohji Yamamoto jacket
    Black rayon and linen, 1983-1984, Japan, The Museum at FIT, 88.63.2, gift of Alan Rosenberg

    The black color of this jacket was a signature element of Yohji Yamamoto’s early designs. In 1981, he started showing in Paris, as did Rei Kawakubo. They ushered in a trend for conceptual clothing anchored by the use of black, unfinished details, and an unconventional fit that came to define a new school of Japanese design.

    Close
    Image Info
  • Left: Donna Karan bodysuit and wrap skirt Wool jersey, Fall 1985, USA, The Museum at FIT, 2000.32.7, gift of Carolyn Gottfried The bands on this wrap skirt can be tied in alternate ways to produce a number of different looks. In Donna Karan’s first collection, she introduced her “seven easy pieces” concept: a wardrobe of interchangeable garments that could be worn in various combinations. They became staples for the urban career woman of the 1980s. Right: Thierry Mugler suit Light green cotton corded twill, black gabardine, circa 1987, France, The Museum at FIT, 97.125.4, gift of Reeva Starkman Mager The padded shoulders and narrow skirt of this suit are characteristic of a trend known as “power dressing” that emerged during the 1980s. According to Vogue in 1984, “power suits” drew on menswear elements as a form of “armor” for female executives: “The overscaled proportions and authoritative lines of men’s clothes give the wearer a look of dash and swagger, power and assurance.”

    Left: Donna Karan bodysuit and wrap skirt
    Wool jersey, Fall 1985, USA, The Museum at FIT, 2000.32.7, gift of Carolyn Gottfried

    The bands on this wrap skirt can be tied in alternate ways to produce a number of different looks. In Donna Karan’s first collection, she introduced her “seven easy pieces” concept: a wardrobe of interchangeable garments that could be worn in various combinations. They became staples for the urban career woman of the 1980s.

    Right: Thierry Mugler suit
    Light green cotton corded twill, black gabardine, circa 1987, France, The Museum at FIT, 97.125.4, gift of Reeva Starkman Mager

    The padded shoulders and narrow skirt of this suit are characteristic of a trend known as “power dressing” that emerged during the 1980s. According to Vogue in 1984, “power suits” drew on menswear elements as a form of “armor” for female executives: “The overscaled proportions and authoritative lines of men’s clothes give the wearer a look of dash and swagger, power and assurance.”

    Close
    Image Info
  • Christian Lacroix’s vibrant turquoise evening dress demonstrates a trend for flashy luxury that reached its apex in the late 1980s. A recent article in the New York Times called it a period that “belonged unmistakably to Christian Lacroix,” whose designs “became status items for a new generation of shoppers . . . looking for a way to live it up and show it off.” Turquoise satin, circa 1988, gift of Mrs. Martin D. Gruss, 2009.16.23

    Christian Lacroix evening dress

    Christian Lacroix’s vibrant turquoise evening dress demonstrates a trend for flashy luxury that reached its apex in the late 1980s. A recent article in the New York Times called it a period that “belonged unmistakably to Christian Lacroix,” whose designs “became status items for a new generation of shoppers . . . looking for a way to live it up and show it off.”

    Turquoise satin, circa 1988, gift of Mrs. Martin D. Gruss, 2009.16.23

    Close
    Image Info
  • Carolyne Roehm evening set: gown, jacket

    Carolyne Roehm evening set: gown, jacket

    The ornate matelassé of this jacket was elaborately hand-embroidered. Such opulent materials became hallmarks of Carolyne Roehm’s “entrance making” designs. “I’m not out to dress Middle America,” Roehm unabashedly told the New York Times, “just that portion that goes to places where they need dressier clothes and can afford them.”

    Green silk matelassé, 1989, USA, The Museum at FIT, 89.157.1, gift of Carolyne Roehm

    Close
    Image Info
  • Left: Hans Schreiber evening dress Silk chiffon, 1992, Germany, The Museum at FIT, 96.39.1, gift of Hans Schreiber The front of this dress was intentionally left unfinished, yet Hans Schreiber brought an elegant aspect to the look by individually layering strips of frayed silk chiffon. Like his predecessors, Martin Margiela and Ann Demeulemeester, Schreiber attended the Royal Academy of Fine Arts in Antwerp, Belgium, which has been called “the training ground for deconstructionism.” Right: Ann Demeulemeester jacket, skirt, blouse, glove, and boots Wool, suede, 1996, Belgium, The Museum at FIT, 97.71.1, gift of Ann Demeulemeester: Collection Fall/Winter 96-97 Ann Demeulemeester altered the construction of a traditional suit by turning the jacket on the bias, thus giving it an asymmetrical appearance. The New York Times credits Demeulemeester and Martin Margiela with “rupturing the close-knit cabal of the fashion establishment in Paris.” Demeulemeester’s finely tailored suits brought a feminine touch to the deconstruction movement.

    Left: Hans Schreiber evening dress
    Silk chiffon, 1992, Germany, The Museum at FIT, 96.39.1, gift of Hans Schreiber

    The front of this dress was intentionally left unfinished, yet Hans Schreiber brought an elegant aspect to the look by individually layering strips of frayed silk chiffon. Like his predecessors, Martin Margiela and Ann Demeulemeester, Schreiber attended the Royal Academy of Fine Arts in Antwerp, Belgium, which has been called “the training ground for deconstructionism.”

    Right: Ann Demeulemeester jacket, skirt, blouse, glove, and boots
    Wool, suede, 1996, Belgium, The Museum at FIT, 97.71.1, gift of Ann Demeulemeester: Collection Fall/Winter 96-97

    Ann Demeulemeester altered the construction of a traditional suit by turning the jacket on the bias, thus giving it an asymmetrical appearance. The New York Times credits Demeulemeester and Martin Margiela with “rupturing the close-knit cabal of the fashion establishment in Paris.” Demeulemeester’s finely tailored suits brought a feminine touch to the deconstruction movement.

    Close
    Image Info
  • Left: Helmut Lang dress Black polyester, black silk satin, chartreuse silk gauze, black elastic, Spring 1997, USA, The Museum at FIT, 2009.32.3, gift of HL – art A trend for minimalism was flourishing by 1997, in contrast to the logo-drenched garments and conspicuous luxury of late-1980s and early-1990s high fashion. Along with Calvin Klein, Austrian-born Helmut Lang was a defining figure in the movement away from embellishment and toward clean lines and pared-down design. Within minimalism, black was a significant color. Center: Calvin Klein dress Rayon jersey, Fall 1996, USA, The Museum at FIT, 97.36.2, gift of Calvin Klein The sleek lines and hues of this dress are typical of the minimalist aesthetic of the 1990s. Calvin Klein describes his clients as “Americans who like simple, comfortable, but stylish clothes—but with nothing over scale or extreme.” Minimalism became a megatrend that stretched across multiple industries, including architecture, as evidenced by Klein’s flagship store, designed by John Pawson. Right: Ralph Rucci evening dress Wool crepe, circa 1997, USA, The Museum at FIT, 2011.14.10, gift of Judith Corrente This dress appears to be simple, but close examination reveals its meticulous construction. Ralph Rucci placed darts throughout the neck and waist, “giving every seam . . . a purpose.” The elegance and poetry of Japanese tea ceremonies has served as inspiration for Rucci’s designs.

    Left: Helmut Lang dress
    Black polyester, black silk satin, chartreuse silk gauze, black elastic, Spring 1997, USA, The Museum at FIT, 2009.32.3, gift of HL – art

    A trend for minimalism was flourishing by 1997, in contrast to the logo-drenched garments and conspicuous luxury of late-1980s and early-1990s high fashion. Along with Calvin Klein, Austrian-born Helmut Lang was a defining figure in the movement away from embellishment and toward clean lines and pared-down design. Within minimalism, black was a significant color.

    Center: Calvin Klein dress
    Rayon jersey, Fall 1996, USA, The Museum at FIT, 97.36.2, gift of Calvin Klein

    The sleek lines and hues of this dress are typical of the minimalist aesthetic of the 1990s. Calvin Klein describes his clients as “Americans who like simple, comfortable, but stylish clothes—but with nothing over scale or extreme.” Minimalism became a megatrend that stretched across multiple industries, including architecture, as evidenced by Klein’s flagship store, designed by John Pawson.

    Right: Ralph Rucci evening dress
    Wool crepe, circa 1997, USA, The Museum at FIT, 2011.14.10, gift of Judith Corrente

    This dress appears to be simple, but close examination reveals its meticulous construction. Ralph Rucci placed darts throughout the neck and waist, “giving every seam . . . a purpose.” The elegance and poetry of Japanese tea ceremonies has served as inspiration for Rucci’s designs.

    Close
    Image Info
  • Hanging: Maison Martin Margiela sweater Wool, cotton, nylon, 1991, France, The Museum at FIT, 91.175.1, gift of Richard Martin Maison Martin Margiela two bundle of socks Wool, cotton, nylon 1993, France, The Museum at FIT, 95.19.2, gift of La Maison Martin Margiela Right: Maison Martin Margiela sweater Wool, cotton, nylon, 1993, France, The Museum at FIT, 95.19.1, gift of La Maison Martin Margiela These two sweaters were constructed using old, woolen military socks like the ones seen here. The exposed straight pins and unfinished seams emphasize the Belgian deconstructed style championed by Martin Margiela. Fashion journalist Amy M. Spindler has said that “Mr. Margiela is the reluctant leader of a revolutionary movement in fashion—deconstructionism—that has permeated everything from haute couture to street dressing.”

    Hanging: Maison Martin Margiela sweater
    Wool, cotton, nylon, 1991, France, The Museum at FIT, 91.175.1, gift of Richard Martin

    Maison Martin Margiela two bundle of socks
    Wool, cotton, nylon
    1993, France, The Museum at FIT, 95.19.2, gift of La Maison Martin Margiela

    Right: Maison Martin Margiela sweater
    Wool, cotton, nylon, 1993, France, The Museum at FIT, 95.19.1, gift of La Maison Martin Margiela

    These two sweaters were constructed using old, woolen military socks like the ones seen here. The exposed straight pins and unfinished seams emphasize the Belgian deconstructed style championed by Martin Margiela. Fashion journalist Amy M. Spindler has said that “Mr. Margiela is the reluctant leader of a revolutionary movement in fashion—deconstructionism—that has permeated everything from haute couture to street dressing.”

    Close
    Image Info
  • Left: Tommy Hilfiger man’s ensemble Coated nylon, denim, cotton, 1999, USA, The Museum at FIT, 99.122.2 Gift of Tommy Hilfiger, USA Timberland boots Waterproof Nubuck, leather 2013, USA (from a 1973 design), The Museum at FIT, 2013.88.1, gift of Timberland This puffer jacket, logo t-shirt, and baggy pants ensemble was a popular style among hip-hop artists of the 1990s. The preppy style of Tommy Hilfiger was favored among these musicians, perhaps because it projected an image of wealth. Hilfiger came to endorse a number of hip-hop artists, including Raekwon and Aaliyah. Right: Dapper Dan of Harlem jacket Lambskin leather and “High-Tek Leather," circa 1985, The Museum at FIT, 2013.87.1, gift of Dapper Dan of Harlem The print on this jacket was designed to imitate the logo of the luxury German brand MCM. Daniel Day’s “Dapper Dan of Harlem” boutique became renowned for custom creations covered in luxury logos, such as Louis Vuitton and Gucci. His boutique stayed open 24 hours, catering to a celebrity clientele that included hip-hop artists LL Cool J and Run D.M.C., who ushered in the era of logomania.

    Left: Tommy Hilfiger man’s ensemble
    Coated nylon, denim, cotton, 1999, USA, The Museum at FIT, 99.122.2
    Gift of Tommy Hilfiger, USA

    Timberland boots
    Waterproof Nubuck, leather
    2013, USA (from a 1973 design), The Museum at FIT, 2013.88.1, gift of Timberland

    This puffer jacket, logo t-shirt, and baggy pants ensemble was a popular style among hip-hop artists of the 1990s. The preppy style of Tommy Hilfiger was favored among these musicians, perhaps because it projected an image of wealth. Hilfiger came to endorse a number of hip-hop artists, including Raekwon and Aaliyah.

    Right: Dapper Dan of Harlem jacket
    Lambskin leather and “High-Tek Leather,” circa 1985, The Museum at FIT, 2013.87.1, gift of Dapper Dan of Harlem

    The print on this jacket was designed to imitate the logo of the luxury German brand MCM. Daniel Day’s “Dapper Dan of Harlem” boutique became renowned for custom creations covered in luxury logos, such as Louis Vuitton and Gucci. His boutique stayed open 24 hours, catering to a celebrity clientele that included hip-hop artists LL Cool J and Run D.M.C., who ushered in the era of logomania.

    Close
    Image Info
  • Left: North Beach Leather man’s jacket Leather, Fall 1989, USA, The Museum at FIT, 91.192.1, gift of Michael Hoban Right: North Beach Leather man’s jacket Cotton, 1991, USA, The Museum at FIT, 91.237.1, gift of Richard Martin The eight-ball emblem seen here was worn and appropriated by hip-hop artists such as Salt-n-Pepa. The jacket became an inter-city status symbol during the early 1990s. As the trend spread to the suburbs, knock-offs made of cotton, such as the one on the right, were sold for half the price.

    Left: North Beach Leather man’s jacket
    Leather, Fall 1989, USA, The Museum at FIT, 91.192.1, gift of Michael Hoban

    Right: North Beach Leather man’s jacket
    Cotton, 1991, USA, The Museum at FIT, 91.237.1, gift of Richard Martin

    The eight-ball emblem seen here was worn and appropriated by hip-hop artists such as Salt-n-Pepa. The jacket became an inter-city status symbol during the early 1990s. As the trend spread to the suburbs, knock-offs made of cotton, such as the one on the right, were sold for half the price.

    Close
    Image Info
  • Left: Cheap and Chic by Moschino jacket Taupe acetate crepe, black satin, 1992-1993, Italy, The Museum at FIT, 2005.40.10, gift of Michael Sherman The company name “Moschino” is emblazoned on this jacket, and the words “Signed Garment” are conspicuously embroidered on its back. Moschino was known for his playful comments on the logo-obsessed fashion industry of the early 1990s. As fashion historian Rebecca Arnold described it, “This satirical word play at once undermines the wearer’s status claim . . . yet adds a kudos of self-awareness.” Right: Gianni Versace suit Black wool, leather, metal buttons and hardware, 1992, Italy, The Museum at FIT, 98.20.5, gift of Judith Corrente & Willem Kooyker Versace adorned this suit with metallic buttons that display his company’s distinctive logo. It features the head of Medusa—a woman from ancient Greek mythology who was transformed into a monster as punishment for her seductive and lustful actions. This made her the ideal heroine for Versace’s unique brand of sexually expressive clothing.

    Left: Cheap and Chic by Moschino jacket
    Taupe acetate crepe, black satin, 1992-1993, Italy, The Museum at FIT, 2005.40.10, gift of Michael Sherman

    The company name “Moschino” is emblazoned on this jacket, and the words “Signed Garment” are conspicuously embroidered on its back. Moschino was known for his playful comments on the logo-obsessed fashion industry of the early 1990s. As fashion historian Rebecca Arnold described it, “This satirical word play at once undermines the wearer’s status claim . . . yet adds a kudos of self-awareness.”

    Right: Gianni Versace suit
    Black wool, leather, metal buttons and hardware, 1992, Italy, The Museum at FIT, 98.20.5, gift of Judith Corrente & Willem Kooyker

    Versace adorned this suit with metallic buttons that display his company’s distinctive logo. It features the head of Medusa—a woman from ancient Greek mythology who was transformed into a monster as punishment for her seductive and lustful actions. This made her the ideal heroine for Versace’s unique brand of sexually expressive clothing.

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • The prominent necklace of this ensemble was a key accessory in Karl Lagerfeld’s 1991 “hip hop” collection for Chanel. Lagerfeld drew direct inspiration from hip hop artists such as Run-DMC and Salt-N-Pepa, replicating distinct street styles such as the gold “dookie” chain. By festooning the necklace over an iconic Chanel wool suit, Lagerfeld marked hip hop’s official ascent to the high fashion runway. Suit: pink cotton, wool and synthetic blends, synthetic tweed, and white cotton, Spring 1994, France, Gift of Chanel Inc., 94.80.1 Necklace: gold plated metal, Fall 1991, France, Gift of Depuis 1924, 2013.56.1
  • Left: Comme des Garçons (Rei Kawakubo) Dress Navy blue and tan polka-dot, and white wool Circa 1983, Japan The Museum at FIT, 93.139.6 Gift of Ms. Roberta Smith The asymmetrical waistline, loose fit, and added panel of this dress are characteristic of Rei Kawakubo’s deconstructed designs for her label, Comme des Garçons. This style shocked the press when Kawakubo began showing in Paris in 1981. Nevertheless, key retailers, such as Joan Burstein of Brown’s in London, quickly began stocking Kawakubo’s work and promoting her avant-garde aesthetic. Center: Issey Miyake dress Muted plaid linen, Spring 1984, Japan, The Museum at FIT, 89.64.90, gift of Alan Gilliland This dress bears the hallmarks of the new Japanese aesthetic that emerged in the early 1980s: loose-fit, muted color palette, deconstructed details, and elements drawn from traditional Japanese workwear. Issey Miyake had been cultivating this style since 1970. For this reason, according to fashion historian Yuniya Kawamura, Miyake “is considered the founding father of the new fashion trend.” Right: Yohji Yamamoto jacket Black rayon and linen, 1983-1984, Japan, The Museum at FIT, 88.63.2, gift of Alan Rosenberg The black color of this jacket was a signature element of Yohji Yamamoto’s early designs. In 1981, he started showing in Paris, as did Rei Kawakubo. They ushered in a trend for conceptual clothing anchored by the use of black, unfinished details, and an unconventional fit that came to define a new school of Japanese design.
  • Left: Donna Karan bodysuit and wrap skirt Wool jersey, Fall 1985, USA, The Museum at FIT, 2000.32.7, gift of Carolyn Gottfried The bands on this wrap skirt can be tied in alternate ways to produce a number of different looks. In Donna Karan’s first collection, she introduced her “seven easy pieces” concept: a wardrobe of interchangeable garments that could be worn in various combinations. They became staples for the urban career woman of the 1980s. Right: Thierry Mugler suit Light green cotton corded twill, black gabardine, circa 1987, France, The Museum at FIT, 97.125.4, gift of Reeva Starkman Mager The padded shoulders and narrow skirt of this suit are characteristic of a trend known as “power dressing” that emerged during the 1980s. According to Vogue in 1984, “power suits” drew on menswear elements as a form of “armor” for female executives: “The overscaled proportions and authoritative lines of men’s clothes give the wearer a look of dash and swagger, power and assurance.”
  • Christian Lacroix’s vibrant turquoise evening dress demonstrates a trend for flashy luxury that reached its apex in the late 1980s. A recent article in the New York Times called it a period that “belonged unmistakably to Christian Lacroix,” whose designs “became status items for a new generation of shoppers . . . looking for a way to live it up and show it off.” Turquoise satin, circa 1988, gift of Mrs. Martin D. Gruss, 2009.16.23
  • Carolyne Roehm evening set: gown, jacket
  • Left: Hans Schreiber evening dress Silk chiffon, 1992, Germany, The Museum at FIT, 96.39.1, gift of Hans Schreiber The front of this dress was intentionally left unfinished, yet Hans Schreiber brought an elegant aspect to the look by individually layering strips of frayed silk chiffon. Like his predecessors, Martin Margiela and Ann Demeulemeester, Schreiber attended the Royal Academy of Fine Arts in Antwerp, Belgium, which has been called “the training ground for deconstructionism.” Right: Ann Demeulemeester jacket, skirt, blouse, glove, and boots Wool, suede, 1996, Belgium, The Museum at FIT, 97.71.1, gift of Ann Demeulemeester: Collection Fall/Winter 96-97 Ann Demeulemeester altered the construction of a traditional suit by turning the jacket on the bias, thus giving it an asymmetrical appearance. The New York Times credits Demeulemeester and Martin Margiela with “rupturing the close-knit cabal of the fashion establishment in Paris.” Demeulemeester’s finely tailored suits brought a feminine touch to the deconstruction movement.
  • Left: Helmut Lang dress Black polyester, black silk satin, chartreuse silk gauze, black elastic, Spring 1997, USA, The Museum at FIT, 2009.32.3, gift of HL – art A trend for minimalism was flourishing by 1997, in contrast to the logo-drenched garments and conspicuous luxury of late-1980s and early-1990s high fashion. Along with Calvin Klein, Austrian-born Helmut Lang was a defining figure in the movement away from embellishment and toward clean lines and pared-down design. Within minimalism, black was a significant color. Center: Calvin Klein dress Rayon jersey, Fall 1996, USA, The Museum at FIT, 97.36.2, gift of Calvin Klein The sleek lines and hues of this dress are typical of the minimalist aesthetic of the 1990s. Calvin Klein describes his clients as “Americans who like simple, comfortable, but stylish clothes—but with nothing over scale or extreme.” Minimalism became a megatrend that stretched across multiple industries, including architecture, as evidenced by Klein’s flagship store, designed by John Pawson. Right: Ralph Rucci evening dress Wool crepe, circa 1997, USA, The Museum at FIT, 2011.14.10, gift of Judith Corrente This dress appears to be simple, but close examination reveals its meticulous construction. Ralph Rucci placed darts throughout the neck and waist, “giving every seam . . . a purpose.” The elegance and poetry of Japanese tea ceremonies has served as inspiration for Rucci’s designs.
  • Hanging: Maison Martin Margiela sweater Wool, cotton, nylon, 1991, France, The Museum at FIT, 91.175.1, gift of Richard Martin Maison Martin Margiela two bundle of socks Wool, cotton, nylon 1993, France, The Museum at FIT, 95.19.2, gift of La Maison Martin Margiela Right: Maison Martin Margiela sweater Wool, cotton, nylon, 1993, France, The Museum at FIT, 95.19.1, gift of La Maison Martin Margiela These two sweaters were constructed using old, woolen military socks like the ones seen here. The exposed straight pins and unfinished seams emphasize the Belgian deconstructed style championed by Martin Margiela. Fashion journalist Amy M. Spindler has said that “Mr. Margiela is the reluctant leader of a revolutionary movement in fashion—deconstructionism—that has permeated everything from haute couture to street dressing.”
  • Left: Tommy Hilfiger man’s ensemble Coated nylon, denim, cotton, 1999, USA, The Museum at FIT, 99.122.2 Gift of Tommy Hilfiger, USA Timberland boots Waterproof Nubuck, leather 2013, USA (from a 1973 design), The Museum at FIT, 2013.88.1, gift of Timberland This puffer jacket, logo t-shirt, and baggy pants ensemble was a popular style among hip-hop artists of the 1990s. The preppy style of Tommy Hilfiger was favored among these musicians, perhaps because it projected an image of wealth. Hilfiger came to endorse a number of hip-hop artists, including Raekwon and Aaliyah. Right: Dapper Dan of Harlem jacket Lambskin leather and “High-Tek Leather," circa 1985, The Museum at FIT, 2013.87.1, gift of Dapper Dan of Harlem The print on this jacket was designed to imitate the logo of the luxury German brand MCM. Daniel Day’s “Dapper Dan of Harlem” boutique became renowned for custom creations covered in luxury logos, such as Louis Vuitton and Gucci. His boutique stayed open 24 hours, catering to a celebrity clientele that included hip-hop artists LL Cool J and Run D.M.C., who ushered in the era of logomania.
  • Left: North Beach Leather man’s jacket Leather, Fall 1989, USA, The Museum at FIT, 91.192.1, gift of Michael Hoban Right: North Beach Leather man’s jacket Cotton, 1991, USA, The Museum at FIT, 91.237.1, gift of Richard Martin The eight-ball emblem seen here was worn and appropriated by hip-hop artists such as Salt-n-Pepa. The jacket became an inter-city status symbol during the early 1990s. As the trend spread to the suburbs, knock-offs made of cotton, such as the one on the right, were sold for half the price.
  • Left: Cheap and Chic by Moschino jacket Taupe acetate crepe, black satin, 1992-1993, Italy, The Museum at FIT, 2005.40.10, gift of Michael Sherman The company name “Moschino” is emblazoned on this jacket, and the words “Signed Garment” are conspicuously embroidered on its back. Moschino was known for his playful comments on the logo-obsessed fashion industry of the early 1990s. As fashion historian Rebecca Arnold described it, “This satirical word play at once undermines the wearer’s status claim . . . yet adds a kudos of self-awareness.” Right: Gianni Versace suit Black wool, leather, metal buttons and hardware, 1992, Italy, The Museum at FIT, 98.20.5, gift of Judith Corrente & Willem Kooyker Versace adorned this suit with metallic buttons that display his company’s distinctive logo. It features the head of Medusa—a woman from ancient Greek mythology who was transformed into a monster as punishment for her seductive and lustful actions. This made her the ideal heroine for Versace’s unique brand of sexually expressive clothing.
  • Installation view
  • Installation view
Close
MORE IMAGES

2000-today

 In the twenty-first century, fashion trends emerge and spread in faster and more complex ways than ever before. The advent of fast fashion, the internet, and social media has expanded the global environment. The dynamic pace of the trend cycle prompted the 2012 New York Times headline, “Freedom of Choice: In Fashion, Are Trends Passé?” However, fashion forecasting companies have made researching and predicting trends a profitable business, proving that distinct styles continue to emerge and fade. Fashion designer Jean Paul Gaultier aptly points out that “designers are the catalysts of their time; their role is to translate the changes, the mutations, the evolution of society.” As culture continues to evolve, so, too, do trends in fashion.

Close
Open
  • John Galliano brought camouflage to the House of Dior. He described the irony of the print’s evolution: “Originally designed to conceal male soldiers,” it began “adorning women’s bodies in the objective of enhancing their attractiveness to the opposite sex.” In 2001, Worth Global Style Network (WGSN) called camouflage “the biggest trend of the year.” Silk taffeta, net, crepe de chine, crocodile-embossed plastic, 2001, France, museum purchase, 2002.15.1

    John Galliano for Christian Dior dress

    John Galliano brought camouflage to the House of Dior. He described the irony of the print’s evolution: “Originally designed to conceal male soldiers,” it began “adorning women’s bodies in the objective of enhancing their attractiveness to the opposite sex.” In 2001, Worth Global Style Network (WGSN) called camouflage “the biggest trend of the year.”

    Silk taffeta, net, crepe de chine, crocodile-embossed plastic, 2001, France, museum purchase, 2002.15.1

    Close
    Image Info
  • Left: Vera Maxwell Speed Suit Nugal (elastic jersey), 1976, USA, The Museum at FIT, 79.49.78, gift of Vera Maxwell Vera Maxwell’s Speed Suit was designed to help the busy career woman get dressed in 17 seconds. Fashion scholar Sarah Scaturro interprets the meaning of Maxwell’s choice of print: “If camouflage was integral for the armed male, it was equally important for the females who had left the sphere of their home to venture into the public realm.” Right: Claude Sabbah God is Camouflage in the Seventh Year Itch Dress Synthetic chiffon, denim 2001, USA, The Museum at FIT, 2013.35.1, gift of Claude Sabbah and Kelly Millions Moroccan-born designer Claude Sabbah incorporates the American flag into the lining for the bodice of this dress and uses camouflage as his signature print. He describes camouflage as representing “all of the human contradictions: life and death, war and peace, love and hate. God is camouflage.”

    Left: Vera Maxwell Speed Suit Nugal (elastic jersey), 1976, USA, The Museum at FIT, 79.49.78, gift of Vera Maxwell

    Vera Maxwell’s Speed Suit was designed to help the busy career woman get dressed in 17 seconds. Fashion scholar Sarah Scaturro interprets the meaning of Maxwell’s choice of print: “If camouflage was integral for the armed male, it was equally important for the females who had left the sphere of their home to venture into the public realm.”

    Right: Claude Sabbah God is Camouflage in the Seventh Year Itch Dress Synthetic chiffon, denim 2001, USA, The Museum at FIT, 2013.35.1, gift of Claude Sabbah and Kelly Millions

    Moroccan-born designer Claude Sabbah incorporates the American flag into the lining for the bodice of this dress and uses camouflage as his signature print. He describes camouflage as representing “all of the human contradictions: life and death, war and peace, love and hate. God is camouflage.”

    Close
    Image Info
  • John Bartlett man’s suit, yoga bag, dog leash This colorful rendition of camouflage is a playful twist on the traditional military pattern. John Bartlett created the print by layering images of his pit bull, Tiny Tim. Bartlett says that this motif represents “Tiny Tim and all of his three legged glory.” Cotton, ultra-suede, canvas, nylon, Spring 2011, USA The Museum at FIT, 2013.58.1, gift of John Bartlett

    John Bartlett man’s suit, yoga bag, dog leash

    This colorful rendition of camouflage is a playful twist on the traditional military pattern. John Bartlett created the print by layering images of his pit bull, Tiny Tim. Bartlett says that this motif represents “Tiny Tim and all of his three legged glory.”

    Cotton, ultra-suede, canvas, nylon, Spring 2011, USA
    The Museum at FIT, 2013.58.1, gift of John Bartlett

    Close
    Image Info
  • Left: Maison Martin Margiela for H&M sweater Cotton, polyamide, wool, and acrylic, 2012, USA The Museum at FIT, 2013.61.4, gift of Fred Dennis Maison Martin Margiela for H&M skirt Wool, 2012, USA The Museum at FIT, 2013.84.1m gift of Ariele Elia In 2012, Maison Martin Margiela collaborated with H&M to release a collection of heritage classics, including his trouser skirt. Margiela’s 1991 sock sweater inspired this new one (note that sock heels were used to accommodate the curves of the shoulders and elbows). Thus, 22 years after their debut, Margiela’s avant-garde garments hit the mainstream market. Center: Topshop (Kate Moss) dress Polyester, Spring/Summer 2009, England, The Museum at FIT, 2013.86.1, museum purchase This Liberty print dress was designed by British supermodel Kate Moss for the UK fast-fashion company, Topshop. By fusing Moss’s celebrity with the legacy of Liberty & Co., an historic, London department store, Topshop endowed the dress with a certain “Britishness.” Topshop’s anglophile approach sets it apart from other fast-fashion companies like Zara and H&M. Right: Zara ensemble: jacket, skirt, sweater, boots Cotton, wool, leather, and synthetics, Fall 2013, Spain The Museum at FIT, 2013.70.1, museum purchase This Zara ensemble was inspired by a runway look from Céline’s Fall 2013 collection. Zara has built a multi-billion dollar business selling clothing “adapted” from high fashion runways, at a turnover rate of as little as two weeks. This has led Daniel Piette of LVMH to describe Zara as “possibly the most innovative and devastating retailer in the world.”

    Left: Maison Martin Margiela for H&M sweater
    Cotton, polyamide, wool, and acrylic, 2012, USA
    The Museum at FIT, 2013.61.4, gift of Fred Dennis

    Maison Martin Margiela for H&M skirt
    Wool, 2012, USA
    The Museum at FIT, 2013.84.1m gift of Ariele Elia

    In 2012, Maison Martin Margiela collaborated with H&M to release a collection of heritage classics, including his trouser skirt. Margiela’s 1991 sock sweater inspired this new one (note that sock heels were used to accommodate the curves of the shoulders and elbows). Thus, 22 years after their debut, Margiela’s avant-garde garments hit the mainstream market.

    Center: Topshop (Kate Moss) dress
    Polyester, Spring/Summer 2009, England, The Museum at FIT, 2013.86.1, museum purchase

    This Liberty print dress was designed by British supermodel Kate Moss for the UK fast-fashion company, Topshop. By fusing Moss’s celebrity with the legacy of Liberty & Co., an historic, London department store, Topshop endowed the dress with a certain “Britishness.” Topshop’s anglophile approach sets it apart from other fast-fashion companies like Zara and H&M.

    Right: Zara ensemble: jacket, skirt, sweater, boots
    Cotton, wool, leather, and synthetics, Fall 2013, Spain
    The Museum at FIT, 2013.70.1, museum purchase

    This Zara ensemble was inspired by a runway look from Céline’s Fall 2013 collection. Zara has built a multi-billion dollar business selling clothing “adapted” from high fashion runways, at a turnover rate of as little as two weeks. This has led Daniel Piette of LVMH to describe Zara as “possibly the most innovative and devastating retailer in the world.”

    Close
    Image Info
  • 
Left: Rodarte evening dress, black and nude net, wool, black leather, beads, cheese cloth, and metal gauze, spring 2010, USA, museum purchase Right: Rodarte for Target evening dress, polyester crepe chiffon, 2009, USA, gift of The Fashion and Textile Studies Department and the School of Graduate Studies

    
Left: Rodarte evening dress
    Black and nude net, wool, black leather, beads, cheese cloth, and metal gauze, spring 2010, USA, museum purchase, 2010.65.1

    This evening dress was inspired by a trip to Death Valley taken by the Mulleavy sisters of Rodarte. They wanted to bring out the “ugly, yet beautiful” aspect of the California condor. They meticulously deconstructed various materials and pricked holes in the leather to resemble the bird’s skin, giving the collection a dark and gothic quality.

    Right: Rodarte for Target evening dress
    Polyester crepe chiffon, 2009, USA, gift of The Fashion and Textile Studies Department and the School of Graduate Studies, 2011.30.1

    Rodarte chose an x-ray print of a ribcage for this dress in order to give it a “dark undercurrent.” Such imagery directly translated Rodarte’s aesthetic to its line for Target in a way that could be inexpensively mass-produced. Target’s “Design for All” collaborations allow designers to reach a wider demographic at an affordable price.

    Close
    Image Info
  • Left: Rad Hourani unisex ensemble Viscose/polyester/spandex blend crepe, leather, 2013, France, The Museum at FIT, 2013.55.1, gift of Rad Hourani Rad Hourani’s unisex ensembles consists of everything from a boxy silhouette to high heel booties. In 2012, Hourani was invited by the Chambre Syndicale to create the first haute couture collection of unisex garments. Hourani says, “The aesthetic I’m creating is not a man going to a woman’s wardrobe or a woman wearing men’s clothes. It’s a completely unisex vision.” Right: Rad Hourani unisex ensemble Ribbed silk, viscose/polyester/spandex blend crepe, silk crepe, leather, 2013, France, The Museum at FIT, 2013.55.2, gift of Rad Hourani The trend of unisex appears again and again in fashion history; Hourani’s rendition, however, truly redefines the gender roles and codes. Fashion historian Valerie Steele says we are now witnessing the “mainstreaming of gender-bending,” exemplified by the “hipster” style of skinny jeans, layered shirts, and Dr. Martens.

    Left: Rad Hourani unisex ensemble
    Viscose/polyester/spandex blend crepe, leather, 2013, France, The Museum at FIT, 2013.55.1, gift of Rad Hourani

    Rad Hourani’s unisex ensembles consists of everything from a boxy silhouette to high heel booties. In 2012, Hourani was invited by the Chambre Syndicale to create the first haute couture collection of unisex garments. Hourani says, “The aesthetic I’m creating is not a man going to a woman’s wardrobe or a woman wearing men’s clothes. It’s a completely unisex vision.”

    Right: Rad Hourani unisex ensemble
    Ribbed silk, viscose/polyester/spandex blend crepe,
    silk crepe, leather, 2013, France, The Museum at FIT, 2013.55.2, gift of Rad Hourani

    The trend of unisex appears again and again in fashion history; Hourani’s rendition, however, truly redefines the gender roles and codes. Fashion historian Valerie Steele says we are now witnessing the “mainstreaming of gender-bending,” exemplified by the “hipster” style of skinny jeans, layered shirts, and Dr. Martens.

    Close
    Image Info
  • All the pieces of this ensemble were designed exclusively for the Parisian boutique Colette – “a store that has become a byword for cool,” according to Suzy Menkes of The International Herald Tribune. Famed for its limited edition, and often unconventional, collaborations with companies as diverse as Ralph Lauren and Disney (seen in the t-shirt at right), Colette has built a trendy reputation on its fusion of high fashion and street style. These collaborations have in turn set the standard for similar partnerships across the industry. Erdem x Colette dress Black silk satin, 2013, England, The Museum at FIT, 2013.53.1, gift of Colette Vuarnet x Colette sunglasses Blue plastic, 2013, France, The Museum at FIT, 2013.53.4, gift of Colette Pony x Colette sneakers Blue synthetic material, rubber, cotton, 2013, USA, The Museum at FIT, 2013.53.7, gift of Colette Ralph Lauren x Colette bag White and blue leather, metal, 2013, USA, The Museum at FIT, 2013.53.5, gift of Colette Colette iPhone cover White plastic, 2013, France The Museum at FIT, 2013.53.6, gift of Colette

    All the pieces of this ensemble were designed exclusively for the Parisian boutique Colette – “a store that has become a byword for cool,” according to Suzy Menkes of The International Herald Tribune. Famed for its limited edition, and often unconventional, collaborations with companies as diverse as Ralph Lauren and Disney (seen in the t-shirt at right), Colette has built a trendy reputation on its fusion of high fashion and street style. These collaborations have in turn set the standard for similar partnerships across the industry.

    Erdem x Colette dress
    Black silk satin, 2013, England, The Museum at FIT, 2013.53.1, gift of Colette

    Vuarnet x Colette sunglasses
    Blue plastic, 2013, France, The Museum at FIT, 2013.53.4, gift of Colette

    Pony x Colette sneakers
    Blue synthetic material, rubber, cotton, 2013, USA, The Museum at FIT, 2013.53.7, gift of Colette

    Ralph Lauren x Colette bag
    White and blue leather, metal, 2013, USA, The Museum at FIT, 2013.53.5, gift of Colette

    Colette iPhone cover
    White plastic, 2013, France
    The Museum at FIT, 2013.53.6, gift of Colette

    Close
    Image Info
  • Carol Lim and Humberto Leon have positioned Opening Ceremony as a global trendsetter, selling a variety of products under constantly shifting themes. Initially, these themes focused on particular countries, featuring street style objects alongside creations by up-and-coming designers. Drawing inspiration from Korea,they carried this global interest into the design of their first runway collection, which included this ensemble. Opening Ceremony (Humberto Leon and Carol Lim) ensemble; dress, jacket, tunic, shoes Neoprene, leather, suede, metal, Spring 2014, USA, The Museum at FIT, 2013.54.1, gift of Opening Ceremony WGSN Textile Forecast Autumn/Winter 2014-2015, released September 13, 2013

    Carol Lim and Humberto Leon have positioned Opening Ceremony as a global trendsetter, selling a variety of products under constantly shifting themes. Initially, these themes focused on particular countries, featuring street style objects alongside creations by up-and-coming designers. Drawing inspiration from Korea,they carried this global interest into the design of their first runway collection, which included this ensemble.

    Right: Opening Ceremony
    (Humberto Leon and Carol Lim) ensemble; dress, jacket, tunic, shoes
    Neoprene, leather, suede, metal, Spring 2014, USA, The Museum at FIT, 2013.54.1, gift of Opening Ceremony

    Left: WGSN Textile Forecast Autumn/Winter 2014-2015, released September 13, 2013

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • Installation view

    Installation view.

    Close
    Image Info
  • John Galliano brought camouflage to the House of Dior. He described the irony of the print’s evolution: “Originally designed to conceal male soldiers,” it began “adorning women’s bodies in the objective of enhancing their attractiveness to the opposite sex.” In 2001, Worth Global Style Network (WGSN) called camouflage “the biggest trend of the year.” Silk taffeta, net, crepe de chine, crocodile-embossed plastic, 2001, France, museum purchase, 2002.15.1
  • Left: Vera Maxwell Speed Suit Nugal (elastic jersey), 1976, USA, The Museum at FIT, 79.49.78, gift of Vera Maxwell Vera Maxwell’s Speed Suit was designed to help the busy career woman get dressed in 17 seconds. Fashion scholar Sarah Scaturro interprets the meaning of Maxwell’s choice of print: “If camouflage was integral for the armed male, it was equally important for the females who had left the sphere of their home to venture into the public realm.” Right: Claude Sabbah God is Camouflage in the Seventh Year Itch Dress Synthetic chiffon, denim 2001, USA, The Museum at FIT, 2013.35.1, gift of Claude Sabbah and Kelly Millions Moroccan-born designer Claude Sabbah incorporates the American flag into the lining for the bodice of this dress and uses camouflage as his signature print. He describes camouflage as representing “all of the human contradictions: life and death, war and peace, love and hate. God is camouflage.”
  • John Bartlett man’s suit, yoga bag, dog leash This colorful rendition of camouflage is a playful twist on the traditional military pattern. John Bartlett created the print by layering images of his pit bull, Tiny Tim. Bartlett says that this motif represents “Tiny Tim and all of his three legged glory.” Cotton, ultra-suede, canvas, nylon, Spring 2011, USA The Museum at FIT, 2013.58.1, gift of John Bartlett
  • Left: Maison Martin Margiela for H&M sweater Cotton, polyamide, wool, and acrylic, 2012, USA The Museum at FIT, 2013.61.4, gift of Fred Dennis Maison Martin Margiela for H&M skirt Wool, 2012, USA The Museum at FIT, 2013.84.1m gift of Ariele Elia In 2012, Maison Martin Margiela collaborated with H&M to release a collection of heritage classics, including his trouser skirt. Margiela’s 1991 sock sweater inspired this new one (note that sock heels were used to accommodate the curves of the shoulders and elbows). Thus, 22 years after their debut, Margiela’s avant-garde garments hit the mainstream market. Center: Topshop (Kate Moss) dress Polyester, Spring/Summer 2009, England, The Museum at FIT, 2013.86.1, museum purchase This Liberty print dress was designed by British supermodel Kate Moss for the UK fast-fashion company, Topshop. By fusing Moss’s celebrity with the legacy of Liberty & Co., an historic, London department store, Topshop endowed the dress with a certain “Britishness.” Topshop’s anglophile approach sets it apart from other fast-fashion companies like Zara and H&M. Right: Zara ensemble: jacket, skirt, sweater, boots Cotton, wool, leather, and synthetics, Fall 2013, Spain The Museum at FIT, 2013.70.1, museum purchase This Zara ensemble was inspired by a runway look from Céline’s Fall 2013 collection. Zara has built a multi-billion dollar business selling clothing “adapted” from high fashion runways, at a turnover rate of as little as two weeks. This has led Daniel Piette of LVMH to describe Zara as “possibly the most innovative and devastating retailer in the world.”
  • 
Left: Rodarte evening dress, black and nude net, wool, black leather, beads, cheese cloth, and metal gauze, spring 2010, USA, museum purchase Right: Rodarte for Target evening dress, polyester crepe chiffon, 2009, USA, gift of The Fashion and Textile Studies Department and the School of Graduate Studies
  • Left: Rad Hourani unisex ensemble Viscose/polyester/spandex blend crepe, leather, 2013, France, The Museum at FIT, 2013.55.1, gift of Rad Hourani Rad Hourani’s unisex ensembles consists of everything from a boxy silhouette to high heel booties. In 2012, Hourani was invited by the Chambre Syndicale to create the first haute couture collection of unisex garments. Hourani says, “The aesthetic I’m creating is not a man going to a woman’s wardrobe or a woman wearing men’s clothes. It’s a completely unisex vision.” Right: Rad Hourani unisex ensemble Ribbed silk, viscose/polyester/spandex blend crepe, silk crepe, leather, 2013, France, The Museum at FIT, 2013.55.2, gift of Rad Hourani The trend of unisex appears again and again in fashion history; Hourani’s rendition, however, truly redefines the gender roles and codes. Fashion historian Valerie Steele says we are now witnessing the “mainstreaming of gender-bending,” exemplified by the “hipster” style of skinny jeans, layered shirts, and Dr. Martens.
  • All the pieces of this ensemble were designed exclusively for the Parisian boutique Colette – “a store that has become a byword for cool,” according to Suzy Menkes of The International Herald Tribune. Famed for its limited edition, and often unconventional, collaborations with companies as diverse as Ralph Lauren and Disney (seen in the t-shirt at right), Colette has built a trendy reputation on its fusion of high fashion and street style. These collaborations have in turn set the standard for similar partnerships across the industry. Erdem x Colette dress Black silk satin, 2013, England, The Museum at FIT, 2013.53.1, gift of Colette Vuarnet x Colette sunglasses Blue plastic, 2013, France, The Museum at FIT, 2013.53.4, gift of Colette Pony x Colette sneakers Blue synthetic material, rubber, cotton, 2013, USA, The Museum at FIT, 2013.53.7, gift of Colette Ralph Lauren x Colette bag White and blue leather, metal, 2013, USA, The Museum at FIT, 2013.53.5, gift of Colette Colette iPhone cover White plastic, 2013, France The Museum at FIT, 2013.53.6, gift of Colette
  • Carol Lim and Humberto Leon have positioned Opening Ceremony as a global trendsetter, selling a variety of products under constantly shifting themes. Initially, these themes focused on particular countries, featuring street style objects alongside creations by up-and-coming designers. Drawing inspiration from Korea,they carried this global interest into the design of their first runway collection, which included this ensemble. Opening Ceremony (Humberto Leon and Carol Lim) ensemble; dress, jacket, tunic, shoes Neoprene, leather, suede, metal, Spring 2014, USA, The Museum at FIT, 2013.54.1, gift of Opening Ceremony WGSN Textile Forecast Autumn/Winter 2014-2015, released September 13, 2013
  • Installation view
  • Installation view
Close
MORE IMAGES
prevnext