The metmuseum Costume Institute's new exhibition, MetAboutTime, may be postponed, but we have a first look here.
at Louis Vuitton), has conceived the exhibition as a clock—“a study of 60 minutes of fashion,” as Bolton puts it—with 60 garments arranged in strict chronology to reveal a century and a half of evolving silhouettes and the body language that accompanied them.
Other designers have taken similar themes but interpreted them in very different ways. For his fall 1960 collection for Christian Dior, Yves Saint Laurent scandalized that establishment with his Chicago jacket, reinterpreting a biker jacket in crocodile and mink; when Karl Lagerfeld revisited the biker jacket for Chanel for fall 1991, he showed it with a T-shirt and a taffeta ball-gown skirt.
Bolton himself was surprised by a 1965 collection by the chic American designer Norman Norell that paid explicit homage to pieces by Gabrielle “Coco” Chanel from the 1920s that the designer had studied at the Costume Institute. Similar though the pieces are, “just by changing the proportions,” Bolton says, “Norell makes his versions look emphatically ’60s.
Inspired by the power of artist Kara Walker’s disquieting silhouettes, Bolton has focused on garments that are essentially either black or white, complicating the selection process exponentially but amplifying the visual drama in equal measure. “What’s really fascinating to me—and what I’ve learned by spending time with Andrew and his department,” Devlin explains, “is that this exhibition is really 120 female bodies.
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