OPEN ➦
✁
For the fancy hair and the hat:
Wearable Art
1. Cut out the hair/hat, leaving the BLUE tab attached. 2. Fold the top of the BLUE tab back toward the blank side. 3. With the blank side facing you, fold forward on the dotted line.
In honor of The Museum at FIT’s 50th anniversary, and FIT’s 75th,
we enable Valerie Steele, the museum’s director and chief curator,
4. Place the hair/hat on the doll with the fold resting on the head. Fold back the other tabs.
STEPHEN JONES 2003 The acclaimed milliner
to wear clothes from its collection. Sort of.
creates hats for many
by Linda Angrilli
leading designers. This one
Illustrations by Anita Rundles ’13
was for Dior.
VIVIENNE TAM 1995 The Chinese-born, New York–based Tam is noted for designs that fuse East and West. She collaborated with Chinese artist Zhang Hongtu, who created the series of comic multicolor nylon dress—in
JUNYA WATANABE 2002
contrast to the seriousness
Watanabe, of Comme
images of Mao seen on this
with which he was
des Garçons, is an
traditionally represented.
innovative conceptual
PAUL POIRET 1919
designer who often uses advanced technical
CH AR LE S JA ME S 19 55 James, said to “sculp with fabric, used
elaborate, rigid stru
ctures
and fluid folds to cre
AL EX AN DE R Mc QU EE N 20 07 Renowned for highly es imaginative, sometim d an s tion lec col shocking y extravagant runwa uisite shows— as well as exq
t”
ate garments that are considered works of art. MFIT has one of the world’s best collections of his dresses, including sev eral versions of this “Tre e” evening dress, orig inally created for Mrs. Reg inald Tree. This one is silk taf feta and net ting.
Known for designs that
materials. He made this dress out of vintage blue jeans.
“I would never wear a dress from the museum’s collection! But it’s easy to fantasize about it.” —Valerie Steele
helped free women from corsets, Poiret designed by draping, creating simple shapes that revolutionized modern
CLOTHES ARE INTIMATE.
media commentator, and author of 31
They’re meant to be on a body, to sheathe
books (some translated into languages
that body, to move with that body. And
including Chinese, French, and Russian)—
if all goes well, to make that body look
into a paper doll. Now she can model pieces
fantastic. So it’s a tiny bit sad when a
from the museum’s collection, even if only
garment is acquired by a museum. Then
in two dimensions. “I would never wear a
it becomes a precious object, stripped
dress from the museum’s collection!” Steele
of its former function. A dress that once
said. “But it’s fun to fantasize about it.”
walked the runway or sashayed at a down-
fashion. His “hobble” skirts, “lampshade” tunic, and harem pants are among his best-known designs. This fancy-dress costume, designed for a ball in Paris, reflects Poiret’s
town club will be kept forever pristine
20th century designers, and were among
in climate-controlled storage, handled
the pieces featured in the museum’s
delicately by white-gloved conservators,
anniversary show, Exhibitionism: 50 Years
and exhibited only in dim light that won’t
of The Museum at FIT, held last spring.
damage fabrics or dyes. It’s there to be
Orientalist aesthetic.
The garments here are all by leading
admired and studied, but never worn. What if we could somehow reclaim
To learn about these designs, see the reverse of each outfit.
the original purpose of The Museum at FIT’s garments? What if someone could put them on? We could think of only one way—and one someone. And so we turned
tailoring— McQueen gown created this velvet embellished with a ads as cascade of gold be pired ins tion part of a collec s. che wit by
Valerie Steele—director and chief curator of MFIT, Yale PhD, iconic historian of fashion, respected scholar, frequent Tim Gunn, President Joyce F. Brown, and Steele at the opening of Exhibitionism: 50 Years of The Museum at FIT.
Produced by The Magazine of the Fashion Institute of Technology hue.fitnyc.edu
Steele in Charles James dress and Stephen Jones hat, on paper. CELEBRATING FASHION FOR 50 YEARS