With the Met Ball having kicked off last week that can only mean one thing: it’s time to start planning your summer exhibition visits!
One exhibition that has been getting a lot of press in the lead up to its opening (no not the Met!) is Richmond, Virginia’s Classical Allure: Richmond Style at The Valentine Museum. This is the inaugural exhibition for Kristen Stewart, formerly of the Fine Arts Museums of San Francisco, who is the new Nathalie L. Klaus Curator of Costume & Textiles at the museum, and it has involved everything from conservation of a coronation robe to Stewart’s exploration of the museum’s 40,000-object strong collection. From what the reviews show, it is definitely worth a visit in the area. Though knowing Kristen and her work, that is absolutely to be expected. The exhibition opened May 3 and will be up until January 31, 2016.
Emma is still away, so for this week’s post I will share a video from the V&A’s Alexander McQueen: Savage Beauty exhibition which opened in March. The video offers and inside view of the exhibition and features interviews with Claire Wilcox, Katy England, and Shaun Leane.
Have any of you seen Savage Beauty, either in London or New York? What did you think? Have any of you been lucky enough to see both versions of the exhibition? Please share your thoughts in the comments below.
Today Worn Through would like to present a guest post from Hannah Schiff, a current Master’s candidate in New York University’s Costume Studies program. Her research primarily focuses on the strange and unusual, centering on curiosities and outliers throughout history.
In addition to my passion for antique and vintage dress and textiles, I was drawn to Costume Studies in large part due to its interdisciplinary nature. A quintessentially human phenomenon, dress is linked to virtually all aspects of life, from fine art to politics, anthropology to economics. Fashion may often be marginalized or trivialized, but one may argue that this is done, in many instances, as a response to the overwhelming power clothing and textiles have over us.
In attending The Fourteenth Annual Richard Martin Visual Culture Symposium, an event hosted by the Costume Studies program at New York University, I was pleased to see the interdisciplinary nature of this field on full display. The four M.A. candidates and guest speaker, Dr. Alison Matthews David, made it clear through their dynamic and varied presentations that the boundaries of this discipline are limitless.
The evening began with the presentation of Fashion Victims: The Dangers of Dress Past and Present, by Dr. Alison Matthews David of the Ryerson School of Fashion. A rich and visually stimulating talk, Matthews David took the audience on a forensic journey through some of history’s darker moments in the conception of aesthetics. Her strong language (including references to “satanic mills” and “homicidal luxury”) acted as vibrant punctuation for a series of fascinating topics discussed, namely the intersection of disease and dress, toxic processes and dyes used, and fashion accidents.
Matthews David referenced this charmingly grim turn of the century poster representing the transformation of rabbits into hats (the source, as she explained, for the perennial favorite magic trick), in her discussion on the use of mercury in constructing hats.
Specific examples explored included the use of mercury in millinery, the 1778 development of an emerald green pigment created with arsenic, and the tragic death of a prima ballerina in 1862 after her tutu caught flame. Matthews David’s use of quotes from primary sources, and her deep exploration into the scientific, psychological, and sociological causes behind these varied fashion traumas made for an engaging talk. Her forthcoming book on the subject promises to be just as inspired as her presentation, and while waiting for its release I would encourage all who are able to see her work on display at the Bata Shoe Museum in Toronto.
The first M.A. candidate to present was Felicity Pitt with her talk entitled Bare-Cheeked Bicycling: Trick Cyclists and the Eroticism of Female Bicycle Riders, 1885-1900. This cheeky presentation chronicled the impressive feats, both on wheels and in society, of female daredevils at the turn of the century. Pitt’s research primarily focuses on 25 cigarette cards advertising these female performers, which reside in the collection of the Metropolitan Museum of Art.
Female trick cyclists of the nineteenth century wore scandalous (for the day) garments, Pitt argues, both out of necessity for movement and as an attraction.
The talk, centering on voyeurism, objectification of the female body, adoption of masculine influences in female dress, and displays of curiosity and taboos, demonstrated how these performers also engaged in impressive social feats in order to balance out their subversive behavior. “The mere sight of a woman riding at this time is a trick,” states Pitt, underscoring the fact that the athletic skill of these revolutionary women was perhaps only a piece of the equation which brought them notoriety.
Following Pitt, Anna Burckhardt presented a strikingly original topic entitled Walking Weavers: Ethnicity, Gender, and Tradition in Contemporary Indigenous Columbia. As the title suggests, this research has a strong anthropological component, and is a refreshing contribution to a field dominated by the study of Western dress throughout history. Burckhardt spoke passionately about the gendering of weaving and themes of reviving tradition in spite of geographic and cultural displacement.
Mama Rosa, a member of the community at La Maria in Piendamó, Columbia, weaves a chumbe, a band of cloth essential to female cultural expression.
Specifically looking at the chumbe, a woven band of cloth, usually in bright colors, Burckhardt illustrated how this woman-woven textile is an umbilical chord which connects the woman’s hand to the land of her people. Burckhardt’s personal experiences conducting research in the reservations of Silvia and La Maria in Columbia lent further support to her discussion, and her visual aids, many of which were pictures she took during her time there, offered undoubtable proof of the agency and support system weaving provides for these indigenous women.
Continuing on the thread of autonomous women, Bruckhardt was followed by Stephanie Kramer presenting You Look Good in My Dress: Courtney Love, Grunge and the Role of Gender in Postmodern Subcultural Style. Of the topics presented, Kramer’s was perhaps most accessible to the audience, for while grunge may have emerged as a subculture, it rapidly gained media attention and made household names of musicians such as Courtney Love and Kurt Cobain. However, while much existing scholarship (and press) have traditionally focused on the male contributions to the grunge sound and aesthetic, Kramer shows the strong influence wielded by Love by placing her within the framework of theorist Simone de Beauvoir.
Kramer illustrates the significance of Courtney Love’s role in the grunge movement by placing her life within the theoretical framework established by Simone de Beauvoir.
Tracing Love’s journey through the three phases of womanhood de Beauvoir outlined, Kramer provided compelling support for her assertion that Love subverted each of them. Above all, Kramer’s use of quotes from Love, such as “I am a woman. I depend on artifice as I have been taught,” vastly legitimized the agency of a woman commonly ridiculed by the media rather than seen as an originator of a trend and a figure consciously in control of her image.
Rounding out the evening, Eric Zhang brought levity to the symposium with his presentation Just Landed Like Fresh Tilapia: Race, Gender, and Ambivalence in Asian American Drag Performance. Zhang, like Burckhardt, provided a much needed discussion about a minority rarely represented in fashion or academia. Tracing the construction of identity of several drag queens featured on various seasons of the television series, RuPaul’s Drag Race, as well as queens who have not participated in the show, Zhang looks critically at the ambivalence of gender and race in Asian American drag culture.
In both visual and rhetorical terms, many Asian American drag queens express the complexity of their cultural identities.
Assessing the “rhetoric and aesthetic of race,” Zhang locates these performers as falling “somewhere in between being Asian and American,” calling the audience’s attention to the tensions present between race, gender, and the presentation of the two. Although video clips from Drag Race elicited laughter from the audience, they also provided solid evidence supporting Zhang’s interpretation of the complex relationship between gender, race, and the development of a performer’s persona and personal ideologies.
As the vastly divergent presentations of The Fourteenth Annual Richard Martin Visual Culture Symposium illustrate, Costume Studies is a discipline with endless possibilities for research. Trauma induced by fashion, female trick cyclists at the end of the nineteenth century, the links between tradition, textiles, and cultural identity in Columbia, the subversion of gender norms and theory by a female grunge music and style pioneer, and the search for identity among Asian American drag performers may all be seemingly disparate subjects. At their heart, however, they are tied together with intersecting themes of gender, race, identity, and the impact of dress and textiles, and have been masterfully woven together by the five scholars to show the numerous impacts fashion has on human experience.
Opening Image Caption: Open until June 2016, The Bata Shoe museum in Toronto plays host to Fashion Victims: The Pleasures & Perils of Dress in the 19th Century.
Did you attend the symposium? What did you think? Have you attended other symposia with student speakers that you would like to share with Worn Through readers? Please feel free to share your thoughts and impressions in the comments below.
April seems to be filled predominantly with exhibitions that are about to close — so this week’s column will be filled with a lot of “last chance to see” notifications. That being said, there are a couple of new exhibitions, and some upcoming events that I’m sure many of you won’t want to miss.
At the Museum at FIT, Yves Saint Laurent + Halston is closing on April 18, while Faking It closes on April 25. These are, by all accounts, incredible exhibitions so go see them while you can.
Also in New York, the french institute : alliance française‘s Fashion Talk for April is a conversation with Proenza Schouler taking place on April 15. Tickets are still available according to the website.
At the Kent State Museum, Inside Out: Revealing Clothing’s Hidden Secretshas been open for about a month and is getting rave reviews. This exhibition takes a somewhat radical approach to revealing the craftsmanship that goes into clothing construction, according to the website, “This exhibition showcases these secret inner-workings that are usually out of sight.” Definitely worth a visit if you can reach it. While there you can see their many concurrent exhibitions, as well as the retrospective Geoffrey Beene: American Ingenuity which opened in January.
In San Francisco, High Style — which I reviewed here two weeks ago – is still open at the Legion of Honor. And Oscar de la Renta: His Legendary World of Style is still open at the SCAD Museum in Savannah, Georgia.
In Los Angeles, African Textiles and Adornment: Selections from the Marcel and Zaira Mis Collectionjust opened this week at LACMA, and the 23rd Annual Art of Motion Picture Costume Design exhibition at the FIDM Museum will be closing on April 25.
In Portland, registration is still open for the Costume Society of America-Western Region event for the V&A’s Italian Style exhibition, which is up at the Portland Art Museum.
As always, if you have been to any of these exhibitions and want to share your thoughts, or if you have an event or exhibition you want to let Worn Through readers know about feel free to leave a comment below, or to email me the details!
There are a number of exhibitions opening and closing this month in North America!
At the SCAD Museum of Art in Savannah, Georgia, Oscar de la Renta: His Legendary World of Style has been up since February 9 and will be open until May 3, 2015.
The Chicago History Museum has launched a travelling exhibition, Inspiring Beauty: 50 Years of the Ebony Fashion Fair, which will have several stops. This month it is at the Milwaukee Art Museum until May 3, before moving on to the Minnesota History Center on May 22. Click on the exhibition link above to see all the places this fascinating exhibition will be.
In New York, at The Jewish Museum, Helena Rubenstein: Beauty is Power is closing on March 22. And at The Museum at FIT, three exhibitions are up until April. Yves Saint Laurent + Halston: Fashioning the 70s closes April 18, while Lauren Bacall: The Look is closing April 8, and Faking It: Originals, Copies, and Counterfeits is closing April 25.
In Toronto, the Bata Shoe Museum‘s Fashion Victims: The Pleasure and Perils of Dress in the 19th Centuryis still up and very popular, I hear. If you can’t make it immediately, don’t fret, the exhibition will be up until June 30, 2016.
In California, High Style: The Brooklyn Museum Costume Collection is opening this Saturday, March 14, at the Legion of Honor in San Francisco. While at the FIDM Museum in Los Angeles, the 23rd Annual Art of Motion Picture Designexhibition is up until April 25, and Opulent Art: 18th-Century Dress from the Helen Larson Historic Fashion Collectionis on display until July 4.
Last but not least, Italian Style: Fashion Since 1945 has arrived at the Portland Art Museum and will be open until May 3. The Western Region of the Costume Society of America will be having an event on April 25. For more information about the event and to register, please check out the event page.
Opening image: Oscar de la Renta’s dress for Beyoncé from the SCAD Art Museum web page for the exhibition.
Last month I was lucky enough to attend the Fashion, Dress and Society in Europe during World War One conference, co-hosted by Dominique Veillon, Lou Taylor, Adelheid Rasche and Patrick Fridenson, and held at l’Institut Français de la Mode in Paris on December 12th and 13th, 2014.
A packed program featuring 60 speakers, the conference brought together academics, curators, journalists and independent researchers from across Europe and North America. Dominique Veillon, director of research at l’Institut d’Histoire du Temps Présent, opened the conference on Friday with an overview of the massive social, political and cultural upheaval which took place during the four years of World War One. The rest of the morning’s speakers included Mary Lynn Stewart on marketing haute couture in America, Catherine Join-Dieterle on the fashion magazine l’Art et la Mode, Adelheid Rasche on fashion images in Paris, Berlin and Vienna, Amy de la Haye on British Women’s Land Army uniforms, Alexandra Palmer on war and fashion in Canada, and Lourdes Font on American buyers, designer and journalists in Paris. I especially enjoyed Rasche’s presentation on her exhibition ‘Wardrobes in Wartime 1914-1918,’ which used graphic works from the Lipperheid Costume Library at the National Museum in Berlin.
In the afternoon, attendees heard from Victoria Rovine on French fashion and colonial influence, Margaret Vining and Barton C. Hacker on American female military uniforms, Guillaume de Syon on French aviation uniforms, Patricia Tilburg on the patriotic cockade-making French garment workers, and Marguerite Coppens on French and Belgian lacemaking. Lou Taylor from the University of Brighton concluded the first day of the conference with a paper discussing British nurses’ uniforms and their appropriation by upper-class women volunteers, raising issues of class tension, control and authority through the use of clothing.
On the second day, papers were grouped by subject and presented simultaneously in three different rooms. I had been deliberating my choices since the Eurostar train ride over on Thursday and was now faced with a few difficult decisions. For the morning’s first session, I chose the ‘Images of War’ panel of speakers, featuring Muriel Berthou-Cresty on Adolf de Meyer’s photography for Vogue, Cally Blackman on fashion in the autochromes of Albert Kahn’s Archives de la Planète, Änne Söll on Viennese men’s fashion magazine Die Herrenwelt, and Enrica Morini on Italian fashion magazine Margherita. Four presentations accompanied by beautiful, vivid imagery, I was particularly struck by Blackman’s study of autochromes, early colour photographs which have been under-used by fashion historians to date.
‘Haute Couture & Couturiers’ was the theme of the second session I chose, with papers presented by Ana Balda on haute couture consumption in Spain, Emmanuelle Polle and Johanna Zanon on the early years of Jean Patou, Sophie Kurkdjian on the wartime fashion publications of Lucien Vogel, and Katy Conover on haute couture in England. The highlight from this session for me was Polle and Zanon’s presentation, as I am thoroughly enjoying my copy of Polle’s recent book on Patou and could not help but envy the author’s unprecedented access to the Patou family archives.
In the afternoon, I must confess that I skipped out on the third session to visit the Sonia Delaunay: Les Couleurs de l’Abstraction exhibition at the Musée d’Art Moderne de la Ville de Paris. Although I would have liked to attend one of the three sessions (‘War in the Archives,’ ‘Women & Identity,’ ‘Women during the War’), the exhibition certainly did not disappoint – stay tuned for Hayley-Jane’s review of the exhibition for Worn Through in the coming weeks.
Returning for the final session of the conference, I just barely managed to get a seat for the ‘Production & Consumption’ session upstairs in a smaller classroom. Papers presented by Suzanne Rowland on ready-made blouses in Britain, Marta Kargol on dress production and homemade clothing in the Netherlands, Marie McLoughlin on the evolution of the trench coat, and Laura Casal-Valls on fashion production and consumption in Barcelona provided an excellent conclusion to the conference, albeit with a slightly dramatic trench coat controversy. Final comments by Lou Taylor and conference organizers Maude Bass-Krueger and Sophie Kurkdjian, along with an excellent bistro dinner that evening, rounded out a weekend very well spent in Paris.
Overall, Fashion, Dress and Society in Europe during World War One brought together a very interesting and diverse group of presenters. My only suggestion for improvement would have been the addition of simultaneous translation, as nearly half of the papers were delivered in French but not all attendees were French speakers. However, many of the presenters were prepared with translated copies of their papers to distribute or bilingual presentation slides, and all were willing to answer questions following their talks in either language.
Image Credits: http://histoiredemode.hypotheses.org/1498 (first image, second and third author’s own)
Museums, universities, and the Costume Society of America are ringing in the new year with new events, and exhibitions new and old.
The Costume Society’s Western Region has just opened registration for its first program of the year: a guided tour of Hollywood Costume led by CSA-WR-member Dr. Deborah Nadoolman-Landis. The event will take place at the Academy of Motion Pictures museum on February 7, 2015. Registration is open until February 2. For more information and to register follow this link.
Also in Los Angeles, the FIDM Museum is preparing to open the 23rd Annual Art of Motion Picture Costume Design exhibition. Open from February 10 through April 25, 2015 and the main FIDM campus, I understand they have costumes from Maleficent among many others.
At the Phoenix Art Museum, well-known fashion and textile scholar Dr. Kimberly Chrisman-Campbell will be giving a lecture today, January 14th, on her new book, Fashion Victims: Dress at the Court of Louis XVI and Marie Antoinette. The lecture begins at 12:30 and will be preceded by a luncheon at 11:30. While there you should see the museum’s current fashion exhibition: Fashioned in America which opened in October and is up until March 15.
In New York, the Bard Graduate Center has announced that they will be featuring Fashioning the Body: An Intimate History of the Silhouette, opening April 3 and up until July 26. At the Museum at FIT, their latest exhibition, Faking It: Originals, Copies, and Counterfeits is on display until April 25.
At Kent State, Geoffrey Beene: American Ingenuity will open on January 29 and be up until August 30. While there you can also check out American Jewelry Design Council: Variations on a Theme: 25 Years of Design, The Great War: Women and Fashion in a World at War (which I previously did a virtual review of here), Entangled: Fiber to Felt to Fashion (entering its last weeks), and Fashion Timeline.
I am most grateful to reader, Leesa, in Toronto for telling me about Politics of Fashion/Fashion of Politics at the Design Exchange museum, which will be closing on January 25.
Are there any events or exhibitions you would like to promote here on Worn Through? Have you been to any of these exhibitions or events? What did you think? Feel free to share your thoughts or event and exhibit recommendations in the comments below. Or to email me the information.
I had already talked about a fashion auction here when I had reviewed the Elsa Schiaparelli exposition at Christies. I had intended to post today an article about the Sonia Delaunay exhibition held at The Musée d’Art Moderne but my attention was caught last week by the announcement of a major vintage and contemporary fashion auction held until today at Millon & Associés and I thought I could share that first. As often with fashion auctions, not much is said about the history and origins of the items sold: when individuals decide to sell off intimate belongings, it rarely has something to do with very positive compromises. But the catalogue is definitely eye candy for fashion amateurs with a heterogeneous selection of fashion and accessories from the 1930s to the present time.
Christian Dior Ensemble, 1979-1980
Copyright: PB Fashion
The auction is not a celebrity sale but it does provide us with interesting pieces such as a Jeanne Lanvin 1939 wedding dress, a 1960 Chanel white tweed jacket, a 1971 Bill Gibb ensemble and of course the star object: an Yves Saint Laurent Mondrian 1965 dress….just to name a few. The 400 pieces on auction resemble the ideal wardrobe of an elegant Parisienne with its fancy furs, exquisite accessories and international garments.The Mondrian dress is a true piece of history of fashion and a major example of the combination of art and fashion – Yves Saint Laurent paying tribute to the constructivist lines of the artist, Piet Mondrian. The dress also brought an innovative comprehension of haute couture that was no longer only made of frills, flounces and strass but could also be strikingly minimalist.
Yves Saint Laurent, Mondrian dress, 1965
Copyright: PB Fashion
To whom do such auctions address themselves? I would say, everyone. The fashion lovers, institutions and private collectors…Some buy items they could not afford at full price (such as the contemporary pieces or the attractive Hermès and Chanel handbags), others invest in fashion as they would do in art pieces (I remember one of my childhood friend’s mother who possessed an exquisite black dress that had belonged to Marilyn Monroe and who displayed it with pride and passion) and finally the museums that enrich their fashion and costume collections with rarely seen objects.
Jeanne Lanvin Wedding Dress, 1939
Copyright: PB Fashion
Yet a fashion auction (and its exposition) has nothing to do with the solennel and formal atmosphere of a fashion museum display: the public is allowed to touch, even try on, speak loud…the whole while fighting upon prices and enjoying an enthralling ambience of heart-racing and fighting for one’s favorite item.
The iconic Mondrian dress is ultimately the big draw of the auction (I’ll update this post once the reached selling price is known and why not its buyer, by any chance!) while the accessories attract a younger crowd interested in fancy shoes and bags that add a ‘je-ne-sais-quoi’ chic and nostalgic feel to their high street outfits.
Bill Gibb Ensemble, 1971
Copyright: PB Fashion
Before being a fashion professional, I am above all a fashion lover who enjoys nothing more than to see and touch clothing pieces I would never have the chance to put my hands on in another context although I have never bought anything at auction. Have any of you?
I would be curious to hear from museum professionals and what they think of fashion auctions and if they are useful to their work and collections?
You can browse the full catalogue of the action here.
Among the many things that I am preparing for with the approach of the holiday season is how I’m going to work various fashion exhibitions into my schedule.
Obviously, those exhibitions outside of California are impossible for me, but hopefully they will be possible for many of you.
Most exciting for next week is Fern Mallis’s conversation with Valentino at 92Y in New York City. Tickets are currently sold out, but there is a wait list available for Mallis’s November 18 program with the legendary designer. This is in addition to the Death Becomes Her having opened in the last couple weeks at the Metropolitan Museum of Art (Jill discussed her visit to the exhibition in her post, yesterday), and Killer Heels still open at the Brooklyn Museum.At the Museum at FIT, while Exposed: A History of Lingerie is closing, their special exhibition, Dance & Fashion will remain open until January 3.
As I was informed by Jon in a comment on my last exhibition round up, there is another exciting exhibition on the east coast examining Marjorie Merriweather Post’s Cartier collection at the Hillwood Estate. Cartier: Marjorie Merriweather Post’s Dazzling Gems has been open since June, but will not close until December 31.
In the Midwest, Chicago Styled: Fashioning the Magnificent Mileopens November 15 at the Chicago History Museum. It looks to be a truly fascinating exploration of the local fashion industry and the people who both worked in and utilized it, based upon the amazing blogposts that have led up to the exhibition’s opening.
In Des Moines, Halston & Warhol: Silver & Suede will be open at the Des Moines Art Center until January 18.
Here in California, Hollywood Costumeopened a month ago and will be up until March just across the street from the Los Angeles County Museum of Art. Also in Los Angeles, the Fowler Museum at UCLA has three textile exhibitions on display: Bearing Witness: Embroidery as History in Post-Apartheid South Africaup through December 7; Textiles of Timor: Island in the Woven Sea up through January 4; and Yards of Style: African-Print Cloths of Ghanaopen through December 14.
In San Francisco, not directly related to fashion — but indirectly since his V magazine photo shoot — Ai Weiwei’s @Largeis currently on display on Alcatraz Island; at the de Young Museum, Keith Haring: The Political Line while not actually involving clothing or textiles offers visitors a chance to see some of the original drawings used by Vivienne Westwood in her 1983 collaboration with the artist. At the Legion of Honor, Houghton Hall: Portrait of an English Country Houseis open until January 18. I will be writing my review of it in early December.
Opening January 31 at the de Young is Embodiment: Masterworks of African Figurative Sculpturewhich will be a wonderful opportunity to explore bodily depiction from approximately 110 different cultural groups. It may be a wee bit early to get excited about March openings, but I must confess I am eagerly awaiting the arrival of Botticelli to Braque: Masterpieces from the National Galleries of Scotland opening on March 7 and featuring not only Henry Raeburn’s Reverend Robert Walker Skating on Duddingston Loch, but his portrait of Colonel Alastair Ranaldson Macdonell of Glengarry in full Scottish military regalia which inspired my master’s ‘virtual exhibition’ on tartan and Scottish dress. Even more exciting is the arrival of High Style: The Brooklyn Museum Costume Collection at the Legion of Honor on March 14.
What exhibitions are you making time for this winter? Are there any exhibitions you want to share with Worn Through readers? If so, feel free to either email me or to share your thoughts in the comments!
Opening image from the website for Hillwood’s Cartier: Marjorie Merriweather Post’s Dazzling Gem
It continues to be an exciting Fall for fashion exhibitions and events.
Closing soon is the Museum at FIT’s Exposed: A History of Lingerie exhibition on November 15.
Patrick Kelly: Runway of Love is still open at The Philadelphia Museum of Art, which doesn’t close until December 7.
If you missed your chance to see the Downton Abbey season four costumes at the FIDM Museum in Los Angeles, the costumes from seasons one through three are still on display at the Winterthur Museum in Delaware until January 4, 2015.
To lead the new events and exhibitions opening or happening in the next few months, 92y (92nd Y Street)‘s regular series of Fashion Icons with Fern Mallis on October 9 will feature Fern Mallis in conversation with Teri Agins.
In Milwaukee, the Jewish Museum of Milwaukee has opened an exhibition in time for the High Holy Days, Stitching History from the Holocaust, September 14, 2014 – February 28, 2015. The exhibition, which was featured in the New York Times recently, celebrates the memory and work of a dressmaker in Prague who could not make it out of the city in time. The opening image is one of Hedy Strnad’s designs on display in the exhibition and is taken from the exhibition website.
At the Des Moines Art Center, an exhibition examining the creativity and friendship between Andy Warhol and Roy Halston Frowick, Halston and Warhol: Silver and Suede, opened on September 19, and will be up until January 18, 2015.
At The Metropolitan Museum of Art, Kimono: A Modern History opened last week and will be up until January 4, 2015. The exhibition examines the kimono from the eighteenth century to the present day. And of course, the Costume Institute will be opening its first autumn exhibition in seven years, Death Becomes Her: A Century of Mourning Attire on October 21.
As previously mentioned, the Chicago History Museum will be opening Chicago Styled: Fashioning the Royal Mile on November 15.
And at the Denver Art Museum, Brilliant: Cartier in the 20th Century, will be opening on November 16.
If you have been to any of these exhibitions, or know of other exhibits and events worth sharing, feel free to share you experiences and suggestions in the comments. You can also email me your events for a future Domestic Affairs column.