{"id":4212,"date":"2014-04-18T10:04:09","date_gmt":"2014-04-18T17:04:09","guid":{"rendered":"http:\/\/fashionhistorian.net\/blog\/?p=4212"},"modified":"2016-04-17T21:52:01","modified_gmt":"2016-04-18T04:52:01","slug":"last-minute-exhibit-review-1930s-fashion-at-the-museum-fit","status":"publish","type":"post","link":"https:\/\/fashionhistorian.net\/blog\/2014\/04\/18\/last-minute-exhibit-review-1930s-fashion-at-the-museum-fit\/","title":{"rendered":"Last Minute Exhibit Review: 1930s Fashion at the Museum @ FIT"},"content":{"rendered":"
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*<\/figcaption><\/figure>\n

I’m happy to share with you this last minute, guest exhibition review of Elegance in an Age of Crisis: Fashions of the 1930s<\/a><\/em>, from historian Nadine Stewart. On view at the Museum @ FIT through tomorrow<\/strong> <\/em>(April 19, 2014) the exhibition catalog<\/a> is available for those unable to see the show in person.
\n<\/em><\/p>\n

ELEGANCE IN AN AGE OF CRISIS: FASHIONS OF THE 1930s<\/strong><\/p>\n

By Nadine Stewart
\n<\/strong><\/p>\n

\"\"<\/a>The fashions of the 1930s are often overlooked. When the Metropolitan Museum of Art mounted its retrospective of American fashion in 2010, the focus was on fashion in films. We look back on the time and think of the breadlines and Hoovervilles of the Great Depression. But the Thirties was also a time when fashion became truly modern. This spring\u2019s exhibit at the Museum @ FIT showed the range of fashionable dress, featuring men\u2019s and women\u2019s clothing for all occasions.<\/p>\n

This was a time when clothing was cut to fit and show off the body without constricting it with corsetry or padding.\u00a0 Designers of women\u2019s clothing worked with a new concept\u2014the bias cut that allowed the clothing to drape and fall fluidly. Chief among the designers working with the new cut was the great dressmaker Madeline Vionnet. One could get the sense of her mastery of draping by examining a black crepe gown with gold lame accents. Its intricate twisted back highlighted the back\u2014the new erogenous zone to the 1930s. But the exhibit does not limit itself to flowing draped pieces by Vionnet. An ivory silk dress with subtle pin-tucked flowers and an orange dress made entirely of cutwork fabric gave an indication of her range. Exhibited with these garments were those of designers she influenced\u2014Madame Gres, Claire McCardell, Elizabeth Hawes, and Valentina. The exhibit also singles out several designers whose reputations have been obscured or forgotten by the passage of time\u2014Jean Patou and Augustabernard. Amid the masterfully cut and draped garments is one misfire that shows how difficult working with the new bias technique could be\u2014a coat by Charles James in a loosely woven wool plaid. Curator Patricia Mears explained in the video that accompanies the exhibit, the coat fabric stretched so badly after it was finished James had to add an interlining of organza to keep it in shape. The mistake reminds us just how new this technique was.<\/p>\n

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Detail, Madeleine Vionnet ivory silk georgette evening dress with pintucks, 1930, Paris, museum purchase | \u00a9 Eileen Costa (Via Museum @ FIT Blog<\/figcaption><\/figure>\n

The elegance of the age really comes out when one viewed the men\u2019s bespoke tailoring. This was a the age of the English Drape, a suit with a generous cut that adds stature to a man\u2019s physique without appearing bulky. Notable among the suits displayed were the suits of London House, a Neapolitan firm founded by Gennaro Rubinacci. His tailors eliminated inner linings, producing suits whose cut and drape preceded Armani by many years.<\/p>\n

One is given a whiff of the influence of Hollywood too. The soft, beautifully crafted shoes of Fred Astaire are featured in the cases at the beginning of the exhibit as is the famous red sequined gown and cape from The Bride Wore Red<\/em>. There are also several bathing suits in the new stretch fabrics of the 1930s, which displayed the curves of movie starlet\u2019s bodies in their publicity shots. The Hollywood pieces don\u2019t dominate the exhibit. Instead, they fit in to give a full perspective of the period.<\/p>\n

Sportswear like a jumpsuit for an aviatrix that could be worn out for cocktails, evening lounge wear for men and women made of silk and velvet, and even, a wedding dress round out the room. As one emerges from the gallery, there\u2019s an intriguing case of hats which shows the progression from the deep-crowned cloche of the Twenties, which covered the head, to the perky fedoras of the Thirties which sat on the head at rakish, improbable angles, a jaunty antidote to the dark economic times.<\/p>\n

Elegance in an Age of Crisis<\/em><\/a> resets our perception on the 1930s establishing the decade as a time of importance in the history of Twentieth Century fashion\u2014a time that opened the door to the modern era of design.<\/p><\/blockquote>\n

*Via the Museum @ FIT Blog<\/a>, “Installation, Elegance in an Age of Crisis: Fashions of the 1930s<\/em>, 2014. | \u00a9 Eileen Costa.”<\/p>\n","protected":false},"excerpt":{"rendered":"

I’m happy to share with you this last minute, guest exhibition review of Elegance in an Age of Crisis: Fashions of the 1930s, from historian Nadine Stewart. On view at the Museum @ FIT through tomorrow (April 19, 2014) the exhibition catalog is available for those unable to see the show in person. ELEGANCE IN […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,91,4,1],"tags":[],"coauthors":[],"_links":{"self":[{"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/posts\/4212"}],"collection":[{"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/comments?post=4212"}],"version-history":[{"count":0,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/posts\/4212\/revisions"}],"wp:attachment":[{"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/media?parent=4212"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/categories?post=4212"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/tags?post=4212"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/fashionhistorian.net\/blog\/wp-json\/wp\/v2\/coauthors?post=4212"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}