Crafting an Exhibition: Curating Claire McCardell

Christina Pene, AHMP ‘23

Art History and Museum Professions (AHMP) seniors Nico Frederick, Emma Sosebee, and I had the unique experience of curating the first AHMP-led exhibition at the Museum at FIT, which highlighted the American designer Claire McCardell (1905–1958). Claire McCardell: Practicality, Liberation, Innovation was on view at the Gallery MFIT from April 5th to April 16th, 2023. Showcasing garments from the museum's study collection and archival material from FIT’s Special Collections & College Archives (SPARC), the show aimed to provide visitors with a better sense of who McCardell was, not just as a designer, but also as an individual who helped shape the fashion industry into what it is today.

over, allowed women to dress easily without assistance. The designer also found ways to incorporate fastenings in her garments that were practical for the wearer while creating a fashionable touch. In the photograph below, a Popover featured in Claire McCardell: Practicality, Liberation, Innovation from the museum's study collection highlights McCardell's fondness for hook-and-eye closures. At the same time, the tricolor gingham pattern brings attention to her love of classic textiles. You can read more about the exhibition and McCardell on our AHMP Instagram and the AHMP blog.

Working alongside the Museum at FIT team was highly hands-on; each staff member wanted us students to be as involved in the process as possible, including the placement of the mannequins in display cases and the lighting hues. It was an honor to work alongside my co-curators Nico and Emma; I do not know how our exhibition would have been possible without their technology, communication, and organizational skills. I'm incredibly thankful to each person at the museum for their attention to detail and for welcoming us into their family, and to Professor Nagel for taking us under his wings and preparing us to be the best curators possible.

McCardell assisted in introducing various practical elements in fashion that we, as consumers and wearers, often overlook today, including ballet flats and pockets in dresses. When World War II necessitated rationing restrictions, she worked with dancewear manufacturer Capezio to create a simple, comfortable, and fashionable shoe for women to wear to their new jobs outside of the house. Many fabrics, including wool and leather, which had previously been used for clothing, became regulated for soldier use during the war. Capezio and McCardell found a loophole in these restrictions, as manufacturing dance shoes in leather was still acceptable.

Throughout the struggling years of the war, McCardell used innovative techniques to bring women's comfort to the forefront of their fashions. Her iconic dress, the Pop-

Curator Insights

When my fellow curator, Nico, suggested Claire McCardell to be the focus of our exhibition, I had to admit that I was unfamiliar with her work. While working on this project, I noticed this was a running theme: McCardell's legacy was mostly unknown to the public, despite her lasting impact on the fashion industry. When I would tell friends or family members about our project, every time I mentioned McCardell's name, the question "Who?" followed. It was a tremendous pleasure to learn about her work, to expand my knowledge of fashion history, and to share her story and designs with the world during our exhibition.

As an undergraduate student, having the opportunity to work on a project of this scale during our senior year was an incredible test of self-discipline and indulgence, as it felt like every thought I had involved Claire McCardell. Every time I wear a dress with pockets, or when I choose ballet flats over heels, or when the zipper/button on the top of my dress is within arm’s reach, I now know who to thank. Thank you, Claire McCardell, for your impact on fashion.