The Museum at FIT recently opened Ballerina: Fashion’s Modern Muse on February 11 (open until April 18, 2020), curated by Patricia Mears, and features a variety of stunning ballet and ballet-inspired ensembles. The highlights in this post will focus on the items on view that fall within 1880-1930.
Dance has always been a wonderful way to evoke emotional and expression through movement. Those movements, of course, accentuated by the costumes the ballerinas wore. While ballet is seen as one of the ultimate feminine art forms, the physique and training requires a toughness that parallels the athleticism of any professional athlete along with a theatrical component. Costume can set the mood of the scene and create an allure. The Museum notes, “So profound was ballet’s impact that it asserted influence on many fields of creativity, one of the most important being fashion.” For many years, ballerinas’ costumes reflected current fashion, with beautiful feminine imagery, but had little impact on other realms of creativity.
This post will highlight objects from the exhibit up until the 1930s. The Museum notes that the 1930s were the era of the turning point in which “balletomania” took over, largely due to the influx of Russian dancers on the stage, and ballet became an influence for couturiers rather than just reflecting current styles (but acknowledging the decline of the ballerina as muse beginning in the 1980s).
When we think of Vogue magazine today we often think of its current editor-in-chief, the formidable, Anna Wintour. While Wintour will certainly go down in history as one of Vogue‘s long-standing (since 1988) and notable editors-in-chief, there is another important Vogue editor who’s run at the magazine lasted from 1914-1952 — Edna Woolman Chase.
In this month’s post I’ll highlight excerpts by Edna Woolman Chase (1877-1957) on fashion she wore and observed during her early years from the autobiography she wrote with her daughter, Ilka Chase, Always in Vogue.
Chase witnessed the changes in silhouette that this blog chronicles, from 1880-1930, and I love that we’re able to have a primary source that comments on these distinct changes — not to mention, someone involved in the fashion industry who happens to be very opinionated!
If you have a chance to see this exhibit before it closes on Jan. 5 — make your way to the Bard Graduate Gallery! The interplay and tension of war and fashion for French women and the overarching concepts are phenomenal! The exhibit opened on Sept. 5 and was curated by Maude Bass-Krueger and Sophie Kurkdjian. This review will highlight some of the sections and objects on view.
The exhibit begs the question in its opening text:
“What happened during the four years of the war [1914-1918] to create such a vivid shift in fashion, and what impact did this shift have on French women?”
This post will explore romanticized images of Thanksgiving depicting women whose images seem to come from another era. These artistic renderings meld visions of previous decades or centuries with the date in which they were published in order to create a unique form. From these images we can see how the lines of fashion can be blurred between past and present, and at the same time, may even be part of a burgeoning new style.
Is there a more appropriate place to start than The Ladies’ Home Journal?
Halloween and costume were on my mind for research this month as I stumbled upon this book, Fancy Dresses Described; or, What to Wear at Fancy Balls, from 1880, by Adern Holt. “Fancy dress” was another name for costume or masquerade dress, and same for “fancy balls” as another phrase for costume balls. Fancy balls were an important part of society life in the 1880s as it was an opportunity for the well-to-do to enjoy their wealth in a playful manner and allowed some bending of the inherent fashion guidelines (while never straying too far into impropriety). Granted, these are certainly not specific to Halloween, and were more likely than not worn at other times of the year for the pure pleasure of costume dress at a social event unrelated to a specific holiday. All the same, I thought it would be fun to highlight some costumes from 1880 in contrast to the modern costumes in mind for those celebrating Halloween tonight!
Fashion history lovers will also appreciate the irony of the opening text where the author laments incorrect displays of historical dress. Too often popular media, films, etc. will produce a version of historical dress that viewers expect versus the historical reality — a modernized version that is more appealing. This author from 1880 aims to dispel any misguided ideas about “favourite” historical costumes, as well as costumes that are most suitable for “fair women,” “elderly ladies,” and “sisters,” among other categories (he is nothing if not specific). Undoubtedly though, these costumes were still designed through the lens of someone living in in the late 19th century and the influence of the 1880s can still be seen in those designs.
Anyone dressing up up as a witch or a ghost tonight? You might consider these options: