Tag Archives: style

Get Out Your Credit Cards for FNO

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Better use the holiday weekend to rest up, since Fashion’s Night Out happens next Thursday!

The tents are going up at Lincoln Center, the stores are getting ready for the onslaught, and the NYPD is gearing up for crowd control everywhere in the City.

Check out the New York event listings at the web site, or (if you’re not in NYC that night) the FNO worldwide or elsewhere US sites. Hey, there are even events planned in Wyoming and online, so there’s no excuse not to shop, contribute to a cause (by buying stuff from the collection), and have fun all night!

If you’re in NYC, start early, have a strategy, and be prepared for crowds. The web site lets you sort the 800-plus events by neighborhood, shopping category, and the type of event you’re hankering for (pop-ups, fashion shows, new product launches, charity-focused, DJs, designer appearances, and block parties).

Check out the video to get in the mood.

Eavesdropping on Schiaparelli, Prada, and Iris

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Don’t despair if you haven’t gotten to the Met’s Costume Institute show Schiaparelli and Prada: Impossible Conversations.  The Met’s put up a spectacular web site that lets you in behind the scenes, around the dining table, and inside the head of everyone’s favorite fashion icon, Iris Apfel.

If you get to the gallery this week before the show ends, expect large crowds (“normal” large, not like McQueen). Hopefully you’ll get close enough to the clothes to check out Schiaparelli’s innovative tree-bark rayon. If you can’t get there, preview the exhibition set-up on line, and go take the curator’s walk through (the second video from the top).

You can look through some of the images that the Met is sharing on line, but they don’t feature some of the in-person eye-poppers – the blue-squiggled Schiaparelli bridal veil on loan from Philadelphia, a color photo of Schiaparelli’s gold sari dress and veil (although the Horst photo is great), or Prada’s stuff with monkey and banana prints. [Prada quote: “I never thought people would want to wear clothes with monkeys and bananas on them.”]

One of the biggest complaints visitors have about the show is that it’s so hard to see and hear the “conversation” videos between Prada and Schiaparelli (played by Judy Davis, and, yes, someone did ask me “who played Prada?”).  Not  a problem, because all eight conversation videos are posted online (scroll to the bottom of the page).

If you have an extra hour in front of the computer, here’s the added bonus: the video of Iris Apfel discussing good and bad taste in contemporary fashion at the Met last June.  Who doesn’t want Iris’s amazing perspective on style?

If you don’t have the time, just check out The Rules by Elsa Schiaparelli, courtesy of Philadelphia’s 2005 exhibition site. Agree? Disagree? Well, maybe you’ll concur with Prada’s side of the conversation.

Curtain Comes Down on Follies

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Unfortunately, the show has closed: The Great American Revue exhibition at NYPL’s Library of Performing Arts at Lincoln Center ended its run last weekend.

Performer in one of The Passing Show revues (1912-1919), which spoofed politicians and Broadway shows (kind of like “Forbidden Broadway”)

Today, Broadway pretty much consists of musicals and dramas, but back in the day, the “tired businessman” was entertained by chorus lines, comics, impersonators, satirists, and the best songwriters. (Think Cohan, Berlin, Rogers & Hart.)

Perhaps the note found in the archives inside a Follies costume swatch book sums it up: “Costume designs are attached. Lyrics will be written if you are interested.”

This terrific NYPL show explored how follies and revues evolved between the years 1902 (the dawn of the Hammerstein Roof Garden shows) to 1938 (when topical revues of the Great Depression, such as Pins and Needles made their mark).

The curators’ chronology and commentary is brilliant, chronicling the four stages of development: beginnings, experimenting with formats, celebrating the “body as performance”, and the emergence of political satires (1930s). (Download the show’s mini-program to get the Cliff Notes version.)

Chorus line from Earl Carroll’s Vanities (1923-1940), which featured the Most Beautiful Girl in the World

Who knew that the original Hippodrome was also built by the team that built Coney Island’s Luna Park? Who knew that George White invented “souvenir programs”? Who knew that Martha Graham got her start in settlement-house venues way back when the Neighborhood Playhouse was at the Henry Street Settlement? Who knew that audience participation shows and mini-revues on rooftop eating-drinking gardens predated the Brooklyn Bowl mash-up by 100 years?

What You’ll Be Wearing in Space

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BioSuit™, a form-fitting next-generation spacesuit prototype by MIT aeronautics and astronautics professor Dava Newman displayed in the AMNH exhibition. © AMNH\D. Finnin

If the wizards at MIT have their way, the future look on Mars (for us) will be spandex, nylon, and polymer. It’s the look that’s featured in the soon-to-close show at AMNH, Life Beyond Planet Earth: The Future of Space Exploration.

Some of the highlights include a model of Yuri Gagarin’s 1961 space capsule (don’t walk by it in the entry to the show!), Soviet and US space helmets, the “smell” of the Moon, a model of Sir Richard Branson’s space-tourist vehicle, and a space elevator.  (Didn’t you ever wonder how you’d get back from another planet?)

There are two great interactive opportunities – sitting down at a small console to skim over the surface of Mars and a big, well-lit interactive table (near the spacesuit) that lets you and others trigger modifications to Mars that eventually transform it into a habitable Earth colony.

Again, you can’t beat those 1950s letters to the Hayden Planetariumto get the juices flowing about the promise of space travel. Now, were do we order the suits?

Exhibition model of the Vostok capsule, in which Yuri Gagarin became the first person in space on April 12, 1961. © AMNH\R. Mickens

Seventh-Century Fashionable

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If you’re running over to the Met to catch the Prada/Schiaparelli show in the next two weeks (don’t worry, it’s up until August 19), be sure to see the other rarely seen, worth-the-trip clothes – the robes, tunics, and kids’ stuff that’s straight from the Seventh Century.

It’s the textile/clothing room of the show Byzantium and Islam: Age of Transition. It’s not often you get to see clothes from 430-870 A.D., much less see a one-room summary of all the cross-cultural fashion trends.

It’s Byzantine fashion at it’s best, from a time when Greek Orthodox, Coptic, Christian, and Jewish lifestyles were all mixing and mingling across the Empire between the Seventh and Ninth Centuries.  Radio carbon dating of the fibers gave the curators a range of dates on the outfits, but let’s just call it even by saying “Seventh Century”.

In the fashion gallery of the show, you’ll see several tapestry-weave tunics (woven to shape), along with a small Egyptian kid’s fringed-trimmed hoodie (430-620 A.D.), a tunic with polychrome-pattered trim, and a huge, oversized Persian riding coat made of cashmere and wool. In a tapestry panel, you’ll see a veritable Vogue layout of various styles, including someone dressed in skins and boots below this more conservative tunic/mantle combo.  Did they really wear that?  You be the judge.

Amazingly enough, a lot of the coats and tunics come from the Met’s and the Brooklyn Museum’s own collections. Take a look and marvel at what curatorial care has wrought. (And check out the popular Samson silk fabric swatch in the adjacent gallery.)

Florence, Machine & McQueen

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Nostalgic for the Met’s McQueen show last year? In the run-up to 2012’s Costume Institute Gala at the Met next Monday, Vogue is running its fantastic video of last year’s gala featuring, well…everybody. Just try to count the famous faces in this video.

You’ll get a glimpse of the red carpet, the grand staircase, cater waiters, celebs, designers, Scottish bagpipers, the exhibition itself, and Florence holding forth at the Temple of Dendur with vocals, charisma, and lighting that Lee would have loved (very Plato’s Atlantis).

In case you didn’t know, this year’s fete will celebrate Schiaparelli and Prada, who are taking up residence at the Met through mid-August in an exhibit that opens to the public on May 10, featuring videos by Baz Luhrmann with fictional “conversations” between these two design icons. Preview some of the featured fashions and theme.

And be sure to set your calendar to see the live web stream of the glitterati on this year’s Costume Institute red carpet on May 7, sponsored by the Met, Vogue, and Amazon.

Learn Your ABCs (of Fashion)

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Can you name a fashion designer for every letter of the alphabet? Test your skills by visiting FIT Fashion and Textile History Gallery to see Fashion, A-Z.

FIT uses its street-level gallery to showcase its permanent collection of 50,000 garments and 30,000 textiles, and this time they’ve decided to test your alphabet skills as well, by starting with Armani and Alaia arranging the installation mannequins right through to Yohlee and Zoran.

Boudicca ensemble, Fall 2006, England, museum purchase

If you miss it, don’t worry. This is only Part 1 of the total extravaganza. Part 2 begins May 23.

Beaton Leaving New York

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It’s the final countdown at the Museum of the City of New York’s tribute to Cecil Beaton’s New York Years – an installation of scrapbooks, books, drawings, stage costumes, set designs, and photographs by one of the 20th century’s leading chroniclers of celebrity, night life, and royalty.

The array of fashion, society, stage and screen icons is astonishing – from deWolfe and Elsa Maxwell through Monroe, Garbo, both Hepburns, and right up to Jagger…all shot in New York, many for Vogue (including that famous photo of those Charles James gowns).

You’ll get the idea as you step back in time via this British Pathé film documenting Beaton’s 1968 exhibition at London’s National Portrait Gallery.

And who knew there was a licensed fabric collection inspired by his work? Check out this blog featuring some his best photos.

Walk the US Fashion Timeline

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There’s a few more days to walk among 50 years of American fashion history at FIT in Impact: 50 Years of the CDFA, a partnership between FIT and the Council of Fashion Designers of America.

The collaboration includes an interactive timeline that steps through some of the most significant moments in the industry over five decades.  If you can’t get to the gallery to play with this iPad production, take a walk through history online, or enjoy E!’s  YouTube tour with the show’s curator.

Oscar, Geoffrey, Zac, Carolina – They’re all here. The main exhibition space is lined with 100 iconic work, each chosen by the designer to reflect their best – Halston’s liquid gold strapless dress (1976), Diane’s leopard print wrap ensemble (1974), Ralph’s Navajo-inspired knit jacket and concha belt (1981), and Donna’s wrap skirt with oversize belt and matching cuff (1985).

High-drama awards go to Zac Posen’s sculpted red gown (think Charles James) and Norma Kamali’s parachute fabric and feather creation (think Alexander McQueen).

 

After Easter Bonnets

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Easter’s over, but the bonnets are still on display for one more week at Bard. Be sure to catch Hats: An Anthology by Steven Jones, with significant historic headwear pulled from the stellar collection at the Victoria & Albert Museum in London.

It’s three stories of mini-collections grouped into themed cases for Helmets, Turbans, Hoods, Straw, Paper, Felt, Feathers, and Flowers. The surprise is trying to decide which are contemporary, vintage, or truly antique. Typically here in the States we don’t get to see gems such as a knit wool apprentice cap from 1550 London, and a leather jester’s hat from the 1600s.

More modern chapeaux include a case of NYC designers (Eugenia Kim and Patricia Underwood), a felt beret from Mary Quant, a creation from Lola Hats made entirely of The New York Times, and many, many celeb hats, including those worn by Maurice Chevalier, Gypsy Rose Lee, Leigh Bowery, Mick Jagger, Cecil Beaton, the Mousketeers, and Warhol’s wig.

Perhaps the most startling object in the display isn’t a hat at all, but a facsimile of a handwritten letter (dated November 14, 1960) from Jackie Kennedy to Bergdorf’s custom millinery sales chief Martha O’Conner, describing and sketching the pillbox hats (to be made by Halston) she envisioned for JFK’s upcoming inauguration. In the bottom margin, Jackie adds, “P.S. It was so pleasant when I didn’t have to wear hats. I still feel absurd in them.”

Check out the on-line highlights and the installation views, (or the client salon or the gallery from the original 2009 V&A show) but there’s no substitute for experiencing three stories of creative, delightful, and historic hats in person.