“Paris, Capital of Fashion” at The Museum at FIT

3 octobre 2019

“Paris, Capital of Fashion” at The Museum at FIT

In an undated image provided by The Museum at FIT, from left, two dresses from about 1755-1760 and a fall 2000 haute couture design by John Galliano for Christian Dior with an underskirt and a metal frontpiece, at The Museum at FIT in New York. Two new exhibitions in New York detail the evolution, and survival, of the fashion industry in France. (The Museum at FIT via The New York Times).

NEW YORK - Paris is widely regarded as “the most glamorous and competitive of the world’s fashion capitals” (to quote The New Yorker). But how and why did Paris acquire this reputation? The history of Paris fashion is usually presented, simplistically, as a genealogy of genius, dominated by “the great designers,” “kings,” or “dictators of fashion.” Paris, Capital of Fashion (September 6, 2019, through January 4, 2020) will be the first exhibition to explore the cultural construction of Paris as the capital of fashion.

Curated by Dr. Valerie Steele, director of The Museum at FIT, it will feature approximately 100 objects, dating from the 18th century to the present. The exhibition will be accompanied by a scholarly book, Paris, Capital of Fashion (Bloomsbury, 2019), edited by Steele, who is also the author of Paris Fashion: A Cultural History. In addition, there will be a free symposium on October 18, 2019.

Robe à la française, 1755-1760, France. The Museum at FIT, P82.27.1. Photograph by Eileen Costa © The Museum at FIT

Christian Dior (John Galliano), dress, fall/winter 2000-2001 haute couture. Photograph © Guy Marineau. © The Museum at FIT.

Paris, Capital of Fashion opens with an introductory gallery that places Paris within a global context, presenting it in dialogue with other fashion capitals, especially New York. By presenting an original couture suit by Chanel together with a virtually identical licensed copy sold by Orbach’s department store, for example, the exhibition demonstrates how the idea of Paris fashion “works” across fashion cultures, appealing to elite American women and making money for American manufacturers and retailers.

Entering the main gallery, visitors are immersed in the mythic glamour of Paris fashion as the exhibition traces a trajectory from royal splendor at Versailles to the spectacle of haute couture today. An 18thcentury robe à la française is juxtaposed with a haute couture creation for Christian Dior, which was inspired by Marie Antoinette. Clothing and accessories will be drawn from museums in Europe, Britain, and North America, as well as from couture archives and private collections.

The development of the haute couture transformed women’s fashion from an artisanal craft into big business and high art. In the late 19th century, Charles Frederick Worth praised his American clients, saying they had “the faces, the figures, and the francs.” Among his dresses on display is the famous “Electric Light Dress” worn by New York’s Mrs. Cornelius Vanderbilt II. After World War II, the haute couture entered a new golden age from 1947 to 1957 and, by the 1980s, the haute couture was recognized as part of the unique patrimony of France.

Gabrielle Chanel, evening cape, 1927, France. The Museum at FIT, 96.69.15. © The Museum at FIT.

Jacques Fath for Joseph Halpert, cocktail dress, 1952, USA, The Museum at FIT, 2013.19.1. Photograph by Eileen Costa © The Museum at FIT.

Christian Dior (Stephen Jones), top hat, fall 2000, France, The Museum at FIT, 2003.70.1. © The Museum at FIT.

In today’s era of globalization, foreign designers often choose to show their collections in Paris, home to luxury conglomerates such as LVMH and Kering. In a world with many fashion cities, Paris defends its title of world capital of fashion by producing and maintaining the aura of Paris fashion.

September 6, 2019 – January 4, 2020

Emile Pasquier, ballgown, 1889-1890, France. The Museum at FIT, P91.55.6. © The Museum at FIT.

Adrian, film costume worn by Gladys George in the MGM film Marie Antoinette, 1938, USA. The Museum at FIT, 70.8.2. © The Museum at FIT.

Agnes-Drecoll, evening dress, circa 1934, France. Collection of Newark Museum, Gift of Mrs. Wells P. Eagleton, 1940. IL2019.2.2. Photograph by Eileen Costa © The Museum at FIT.

Perugia, shoes, 1940, France. The Museum at FIT, 2003.100.17. © The Museum at FIT.

Madame Grés, dress, circa 1945, France. Lent by Hamish Bowels. IL2019.5.11. Photograph by Eileen Costa © The Museum at FIT.

Christian Dior, dress, spring, 1951, France. The Museum at FIT, 68.143.20. Photograph by Eileen Costa © The Museum at FIT.

(L) Suit by Gabrielle Chanel, 1966, France. (R) Licensed copy of a Chanel day suit, c. 1967, USA. © The Museum at FIT.

Yves Saint Laurent, suit, spring/summer 1967, France. Lent by Hamish Bowles. IL2019.5.18. Photograph by Eileen Costa. © The Museum at FIT.

Stephen Burrows, evening dress, 1973, USA. The Museum at FIT, 2000.97.1. Photograph by Eileen Costa. © The Museum at FIT.

Jean Paul Gaultier, dress, fall 1984, France. The Museum at FIT, P92.8.1. © The Museum at FIT.

Patrick Kelly, dress, fall 1986, France. The Museum at FIT, 2016.48.1. Photograph by Eileen Costa. © The Museum at FIT.

John Galliano, ensemble, spring 1992, England. The Museum at FIT, 2017.80.2. Photograph by Eileen Costa. © The Museum at FIT.

Karl Lagerfeld for Chanel, jacket, fall/winter 1996, France. Lent by Hamish Bowles. IL2019.5.5. Photograph by Eileen Costa. © The Museum at FIT.

Jean Paul Gaultier, dress, spring/summer 1998, France. Lent by Jean Paul Gaultier. IL2019.4.1. Photograph by Eileen Costa © The Museum at FIT.

John Galliano for Christian Dior, dress, spring/summer 1999, France. Lent by Hamish Bowles. IL2019.5.8. Photograph by Eileen Costa © The Museum at FIT.