Poiret exhibition review from 2007….

(Originally blogged October 14, 2009)

Image courtesy of the Metropolitan Museum of Art

While cleaning up some files I found a review of the Poiret exhibition I wrote for the Costume Society of Ontario (I also posted it on the Vintage Fashion Guild’s site at the time.) It was a great exhibtion, so here is my review once again – from the summer of 2007, the Metropolitan Museum of Art’s exhibition ‘Poiret: King of Fashion’:

Unlike the Met’s 2005 commercial-looking Chanel display or last summer’s theatrical and borderline content-free ‘Anglomania’ show, Poiret: King of Fashion avoids the pitfalls of its predecessors. Like Poiret’s clothing designs, this exhibition is colourful and elegant. Hand painted two-story theatrical backdrops of spring gardens, party-light strewn terraces, and dark Oriental lounges set the scene for the groupings of garments.

Most of the clothes from the Costume Institute’s collection were made for Poiret’s muse-wife Denise and were acquired by the Institute in 2005 in Paris at an auction of Denise Poiret’s clothes. The garments do not overly favour glamour but show a realistic balance of smart walking suits, exotic embroidered coats, block printed tunic dresses, harem trouser evening gowns, classically draped negligees, and elaborate beaded party dresses.

Image courtesy of the Metropolitan Museum of Art

It becomes abundantly clear through the fifty gowns on display why most fashion historians call Poiret the founder of modern fashion. Famous for abandoning the corset, Paul Poiret (1879 – 1944) used simple cuts, luxurious fabrics and saturated colours to create his designs. The chemise dress, originally known as a ‘minute robe’ because it could be made up so quickly, was an early brush with modernism along with his straight hanging pleated skirts and kimono cut coats. Poiret revived harem trousers with little success but much publicity and introduced a ‘T’ shaped blouse that was essentially a forerunner of the T-shirt. Poiret’s interest in historical and exotic sources was obvious in his designs but he was not a tailor – Poiret draped his clothes. Poiret was also an excellent businessman and knew how to use the press to promote his designs. Understanding the power of celebrity, he hob-knobbed with the artsy crowd of his day and dressed actresses on and off stage. He was also the first designer to create a scent – Rosine, in 1911.

Image courtesy of the Metropolitan Museum of Art

If I have to find fault with this exhibition, I would point to the lack of identification of prop clothes such as Fortuny Delphos dresses under Poiret theatre coats and various hats to complete 1920s daytime ensembles. At first I wasn’t sure I liked the elongated grey- toned alien-eyed mannequins but I see the inspiration for the installation was borrowed from contemporary artists of Poiret’s day, in the same way Poiret borrowed ideas for his clothes. The mannequin faces resemble Modigliani portraits and because of this, they are the perfect choice for Poiret clothes. However, when it comes to depicting hair, the stylized mannequins become problematic. Organdy knotted hairstyles look intentionally but not always successfully like turbans.

For me, the most controversial element appeared at the entrance and exit of the exhibition. Here, digital animated presentations show how a length of fabric was folded and sewn into two different garments. The dress from which the presentation was created is lit up behind the scrim for the finale. I know museums often feel they have to use technology to appeal to their audience and these presentations did draw crowds but did they really teach anything that could not have been learned faster and better in a simple line drawing? No. In fact the problem with the presentations was their speed where clever little tucks and pleats were glossed over too quickly for anyone to understand exactly how Poiret had manipulated the fabric. I usually tend to see presentations like these more as gimmicks than educational tools but I am sure others will disagree. Regardless, these are minor issues and hardly worth mentioning in what is an overall landmark costume exhibition – the best I have seen produced by the Met.

The oversized $65.00 book on Poiret offered to accompany the exhibition is a glorious all-colour publication with close-up shots of details. However, many of the garments photographed in the catalogue do not appear in the exhibition and those garments that are in both book and exhibition appear on different mannequins, so don’t expect the book to be a catalogue of the exhibition, it is not. Regardless, the book is a worthy purchase and an important addition to any library of fashion history.

Three Days of the Condo: A Fashion Odyssey in New York

(Originally blogged July 29, 2009)

For several years now we have been enjoying mini holidays to New York when our Manhattan friends ask us to cat sit and look after their condo while they go out of town, and this past weekend was our latest journey to the Big Apple.

As soon as we arrived on Friday, we headed to the Forbes Galleries. We had missed the chance to see the Faberge eggs while they were still owned by the Forbes Foundation (they have since been repatriated to Russia and apparently Malcolm Forbes never really liked them anyway — they were bought for publicity and investment reasons.) It is a charming boutique museum that showcases Forbes’ personal collections of tin and lead soldiers, model boats, early Monopoly boards, and trophies and mementos. Alongside the permanent collections are galleries with changing exhibitions that include a display of purses entitled Pocketbook Anthology. This temporary exhibition displays handbags made from materials ranging from glass beads and precious metals to duct tape and cigarette packages. The Forbes galleries are free and the variety of its exhibitions should mean there is something appealing for everyone. We also met the nicest and most helpful security guard in all of New York at the Forbes.

‘Hermaphrodite’ dress, Isabel Toledo

‘Caterpillar’ dress, Isabel Toledo

The worst security guard award might go to our next destination – The Museum at the Fashion Institute of Technology (FIT). This museum is a New York gem but first you have to find it, and a lack of signage and arrogant modern architecture make it difficult to locate. The snarling Cerberus guards treat you like a problem from the moment you arrive – especially if you walk towards the washroom, across the cavernous lobby without asking their permission. The three or four guards on duty have walkie talkies that are always on full volume, over which are constant ‘roger, roger, over and out’ messages that break the deafening silence within the galleries.

In the basement galleries (accessed through what look like fire escape double doors) is the feature exhibition – a retrospective of the designs of Isabel Toledo. Admittedly I knew little of Toledo until Mrs. Obama wore her green wool lace dress on inauguration day. In fact, that very garment is on loan from the White House for the duration of the exhibition. Cuban-born Toledo is difficult to define. Her work shows a lot of Spanish influence, superb detailing, intricate pattern cuts, old fashioned fabrics, and a great deal of influence from designers such as Balenciaga, Gernreich, and especially Madame Gres. Each collection grows in a different direction, sometimes bordering the ridiculous such as a brassiere designed for drag queens and her ‘pubic hair’ bikini (a ‘hairy’ fabric bikini with a vulgar name but don’t worry, no pubic hairs were actually involved in its manufacture) to Avant-garde designs of asymmetrically draped and gathered dresses with odd folds and peekaboo seams – hardly the same style of dressmaking as Mrs. Obama’s elegantly simple inaugural suit! Because of this, each of Toledo’s genres need to be looked at independently.

The upstairs gallery at FIT was a fashion timeline with the theme of Fashion and Politics. There are great garments to look at, but overall the theme falls down because the collection can’t support an even presentation of fashions influenced by politics. The collection looks to youth movements, reform movements, influences of war, patriotism and other themes to complete the timeline. However, regardless of whether the theme works or not, the clothes on display are wonderful.

Dorian Leigh wearing hat by Paulette, Paris, 1949

Saturday began with a visit to the International Centre of Photography to see the Avedon photographic retrospective. Avedon’s photography career began as soon as he was demobilized in 1945 and within five years his name was synonymous with high fashion. As a surprise, a small exhibition of photographs by David Seidner, taken during the restoration and remounting of the 1945 Theatre de la Mode dolls in 1990, was on display in the cafe, including one of the dolls in its original Lelong blue and white silk dress. This was a treat for me as I have never seen one of the dolls in real life until now and they are quite large – just over two feet tall!

Lucien Lelong Theatre de la Mode doll, 1945

After an overpriced and underwhelming lunch from ‘wichcraft in Bryant Park (sorry Tom Colichio), we went to the Central Library for an exhibition on Literary Paris under Nazi Occupation. It was overwhelming with far too much text and not enough interesting artifacts or images but in all fairness, it was put together by a library and reading is what they do… To continue with the wartime theme, we saw ‘A Woman in Berlin’ at the Angelika Film Centre that evening. The film is about the Soviet occupation of Berlin at the end of the war and one woman’s struggle to maintain her dignity. It is an important film for the subject matter, and will certainly take its place alongside other films that tell the stories of World War II like Downfall, The Pianist, and Hope and Glory.

The last day in New York began with the Guggenheim museum – I know, it’s not a fashion museum but we saw it a few years ago looking a little shabby with an exhibition that didn’t really appeal, so we decided to give it a second chance and I am glad we did. The building has been fully restored, and to celebrate its 50th anniversary an exhibition of Frank Lloyd Wright’s architectural drawings filled the spiral hallway from top to bottom. The highlight was the one artwork on display – the curtains Wright designed in 1955 for his Wisconsin theatre; these are huge and use a abstract of green and red appliques on a natural linen ground with black lines – reminiscent of a Prairie style stained glass lampshade he might have designed fifty years earlier.

However, the highlight of the visit was a painting exhibition celebrating the original collection of non-objective art made by the curator of the Guggenheim collection in the 1950s, James Sweeney. I don’t think I have ever been in a 1950s museum filled only with 1950s artwork. When all the walls are covered with canvasses, they talk to each other. All you had to do to slip back into 1959 was imagine the T-shirt clad visitors in cocktail dresses and tuxedos, eating smoked oysters and drinking Manhattans.

We often go to the Neue Gallerie and although their current exhibition didn’t appeal we still wanted to go to their cafe Sabarsky for lunch. Although the quality of food at an art gallery is usually the same as the quality of art in a restaurant, this doesn’t hold true for the Cafe Sabarsky which offers a wonderful array of Austrian desserts. While we were talking in our booth waiting for our salads, a tall, slim woman wearing a smart black pantsuit and brown and white polka-dot scarf tied about her neck, was seated at the booth next to us. It was Diane Keaton! Kenn, who faced away from her towards the other patrons in the restaurant, said it was distracting to see people constantly glancing over. I actually felt a bit sorry for her because she, like all famous people, must live her life constantly aware of being watched. I did notice how she mastered the use of the cell phone as a means to deflect attention — with a phone in hand she could look around the restaurant and not have to acknowledge eye contact with other patrons.

Charles James Dresses, late 1940s

The final museum on our agenda was the Metropolitan Museum of Art. Annoyingly, this museum was overcrowded on the day of our visit. It was difficult to see anything for people sticking their cameras in front of you with a sort of ‘photograph everything now so we can go home and admire the art later’ approach to museum visitation. Our destination was the exhibition Model as Muse. The exhibition begins in the late 1940s and quickly skips across the 1950s, recreating a couple of famous fashion photographs. Hallways between each section were at a shuffle’s pace and by the time I got into the 1960s, I had stopped reading the text out of frustration. The 1960s are shown with lighting effects that create the impression of a night club, and the couture is shown up high, suggesting gogo girls, some on twirling pedestals. Oddly, there are iconic gowns shown in this exhibition that were photographed at the time on famous models like Twiggy and Penelope Tree, but these images are not shown in conjunction with the dresses. Vogue and Harper’s Bazaar magazines are displayed but at pages irrelevant to the garments shown on mannequins.

Giorgio Sant Angelo evening dresses, early 1990s

The entire 1970s are represented by Halston and Yves St. Laurent dresses shown in a recreated corner of Studio 54 and the entire 1980s are missing… The 1990s and 2000s are shown in department store-like window scenes with silly display techniques, overwrought backgrounds, and Tim Burton hairstyles. The exhibition has little to do with models as muses – it’s really about the history of the supermodel, and even then, there are missing gaps of information. I have seen fabulous exhibitions at the Met, like Poiret, and good exhibitions, like Chanel and Dangerous Liasons, but this exhibition just looks like it cost a lot of money, exhibits far too much new stuff, and was designed specifically for the red carpet party opening. The Met might have the best costume collection in the world (now that it has acquired the Brooklyn Museum’s collection) and I hope we see it soon because this exhibition was very disappointing…

The balance of our trip was spent eating, shopping and of course, walking everywhere, but that’s New York!