The Museum at FIT

Time 2020-12-16 07:03:33

Web Name: The Museum at FIT

WebSite: http://exhibitions.fitnyc.edu

ID:135769

Keywords:

Museum,The,FIT,

Description:

A QUEER HISTORY OF FASHION Gays and lesbians have long been “hidden from history”—including the history of fashion. “Reclaiming the gay and lesbian past” involves more than simply recognizing that some individual fashion designers happened to be gay. It is also necessary to explore the complex historical links between sexuality, society, and culture. Research shows that fashion has been a significant site of gay cultural production for more than 300 years. In addition, gay culture has been central to the creation of modern fashion.The word “queer” was formerly pejorative, but has recently been widely adopted within the lesbian-gay-bisexual-transgender community and among scholars. By calling our exhibition “a queer history of fashion,” we emphasize that it is time for an alternative history of fashion, one that takes account of the contributions, both individual and collective, of generations of LGBTQ people.Valerie Steele and Fred Dennis, curators Close Open PRETTY GENTLEMANLong before Oscar Wilde became an icon of queer sexuality and style, a “Fraternity of PRETTY GENTLEMEN” united by “mutual love” influenced fashion. Three categories of men received particular attention in the 18th-century English press: The “mollies” (effeminate, cross-dressing “sodomites”), the “macaronis” (stylish men whose foppishness called into question ideas of masculinity), and the “man-milliners” (men in the fashion trades who made or sold women’s clothes, described as a “club” of “young bachelors . . . who invent fashions for ladies”). Close Open MAN S SUIT, 1790sColorful and decorative garments were considered perfectly “masculine” until the late 18th century, when men began to adopt darker and more sober styles. The reasons for “the great masculine renunciation” are complex, owing much to the rise of the capitalist bourgeoisie and the spread of democracy. But this paradigm shift in male fashion was almost certainly also influenced by the appearance of “fops” and “macaronis” of all social classes, whose sexual ambiguity de-legitimated colorful and decorative aristocratic menswear.Silk velvet and silk, 1790s, France, Museum purchase, 2010.98.1 Close Image Info BANYAN Sexual behavior has been structured and interpreted very differently across time and space. European travelers often commented on the visibility of same-sex behavior in the Middle East and Asia, unaware that a new sex and gender system had recently developed in the West. Europeans also adopted “exotic” Eastern styles, such as the Indo-Persian banyon, or “house gown”—one of the few retentions of the word “gown” for a man’s garment.Silk brocade and metallic thread, 1750-1760, Germany, Museum purchase, 2010.98.2 Close Image Info MOLLY HOUSE ENSEMBLE Same-sex desire and behavior have existed throughout world history. But scholars believe that the first modern “gay” subcultures developed in the big cities of early 18th-century Europe. In London, “effeminate sodomites” of the popular classes, known as “mollies,” gathered in inns and public houses to socialize and cross-dress. This is the kind of ensemble that was worn in molly houses. After the 1726 police raid on Mother Clapp’s molly house, three mollies were executed for sodomy.Satin and taffeta, 18th century, England and USA, Museum purchase, 2002.36.1 and 2007.12.1; petticoat, gift of the Estate of Mrs. Peter Lauck, 2001.6.5; replica stays Close Image Info VIVIENNE WESTWOOD, 18TH-CENTURY STYLE SUIT Men’s fashions of the 18th century acquired a subversive charge for later generations. Oscar Wilde, for example, adopted 18th-century style knee breeches and silk hose during his Aesthetic period in the 1880s. Wilde also helped establish the idea that green was a color associated with “a subtle, artistic temperament” and “a laxity, if not a decadence, of morals.” Vivienne Westwood, a designer known for her iconoclasm, created this 18th-century style suit, which was worn by fashion editor, Hamish Bowles.Silk satin and chintz, circa 1991, England, lent by Hamish Bowles Close Image InfoAlbumen silver printThe aesthete and dandy Oscar Wilde was 27 years old when this photograph was taken. He was in New York to lecture on the English Renaissance and to promote the Gilbert and Sullivan operetta Patience, which satirized the aesthetic movement and Wilde himself. Close Image Info DANDIES AND AESTHETESIn his youth an advocate of “aesthetic” dress (for both men and women), Oscar Wilde later repositioned himself as a dandy, who celebrated the “dangerous and delightful distinction of being different from others.” Not all dandies were men. The “Sapphic” subculture that emerged in large cities in the late 19th century was closely associated with dandyish menswear styles. Many lesbians adopted the tailored suits, starched white shirts, neckties, and short hair associated with upper-class men. Close Open CREED SUIT, 1930S Recalling the “lesbian elegance” of the 1930s, French artist Hélène Azénor said, “We wore tailored suits [and] our hairstyles, which had something indefinable for others were, among us, a sign of recognition.” Elite menswear styles were associated with lesbians for many decades, until, post-Stonewall, a more proletarian “butch” style increased in popularity.Wool, velvet, and rayon cord, 1938, France, gift of Janet Chatfield-Taylor, 78.40.5 Close Image Info WOMAN’S SUIT Because the tailored suit was obviously based on upper-class men’s attire, it had a subversive charge when worn by women. The addition of masculine accessories, such as starched shirts and neckties, reinforced this effect. Although tailored suits were also worn by heterosexual women, they were much favored by lesbians.Wool twill and velvet, 1905, USA, gift of Mrs. K.G. Getman, 77.161.2 Close Image Info Left: Woman’s suitCreating a look of irreproachable masculinity may have protected the gay dandy from the hostility of a homophobic society, while also subtly signaling to other homosexuals that such an impeccable sense of style was actually a sign of his sexual “deviance.” But not all dandies were men. The “Sapphic” subculture that emerged in large cities like Paris in the late nineteenth century was also closely associated with dandyish menswear styles.Wool broadcloth and braid, circa 1890, USA, gift of Cora Ginsburg, 76.94.1Right: Modern dandy ensemble worn by Cator SparksThe Wildean dandy look still inspires gay men like Cator Sparks, whose ensemble mixes an antique frock coat (circa 1907) with a lace waistcoat by Alexander McQueen, a hat by New York milliner Rod Keenan, and a conspicuous brooch.Frock coat, circa 1907, USA Alexander McQueen, waistcoat, 2001, England Etro, shirt, 1999, Italy Vivienne Westwood, trousers, 2000, England Rod Keenan, hat, 2008, USA WuYork, Tie, 2011, USA Subversive by Justin Guinta, brooch Vivienne Westwood, boots, 1998, EnglandLent by Cator Sparks Close Image Info MAN’S SUIT Oscar Wilde abandoned Aesthetic menswear (knee breeches, long capes, flowing ties) in 1885, adopting instead the style of a fashionable dandy. By following the male sartorial code so precisely, the dandy effectively distinguished himself from everyone else. Wilde’s assertion of elite outsider status was reinforced by his adoption of the green carnation as a boutonniere.Wool, 1898, possibly USA, gift of the National Trust for Historic Preservation, Lyndhurst, 2009.79.1 Close Image Info AESTHETIC DRESS Oscar Wilde was critical of most fashionable dress, once saying, “Fashion is a form of ugliness so intolerable that we have to alter it every six months.” During the 1880s, he advocated Aesthetic dress for both men and women. Although few examples of Aesthetic menswear survive (and none worn by Wilde), this “artistic” style was more popular for women and numerous examples exist in museum collections.Silk and velvet, circa 1882, USA, gift of Mrs. Irwin Strasburger, 63.112.2 Close Image Info LES GARÇONNESDuring the 1920s, fashion was radically transformed by the garçonne [boyish] look, which was controversial because it seemed to abolish the distinctions between men and women. Although widely fashionable, the style was often associated with lesbians. At cabarets like Le Monocle and Fétiche in Montmartre, “many ladies willingly dress in the style of gentlemen,” reported one magazine. “Short hair—not à la garçonne [in the style of the boyish girl], but really à la garcon [in the style of the female boy].” Close Open SUIT WITH TUXEDO COLLAR The garçonne [boyish] look dominated the fashions of the 1920s. Conservatives were horrified by the sight of young women “without breasts, without hips,” no longer wearing corsets, hemlines raised, their hair cropped, smoking and drinking like men. The term itself seems to have derived from Victor Margueritte’s notorious novel La Garçonne (1922), whose protagonist engages in sex with numerous partners, including another woman.Wool gabardine, circa 1924, USA, Museum purchase, P84.20.7 Close Image Info Dress with bifurcated skirt and jacket, silk crepe, circa 1925, USA, gift of the Dorothea Stephens Wilman Collection, 96.69.17 Close Image Info CHANEL SUIT Whether or not Chanel herself ever had affairs with women, it was certainly common in her milieu. (Émillienne d’Alencourt, mistress of Chanel’s boyfriend Étienne Balsan, had affairs with La Goulou and Renée Vivien, and many people believed that Chanel had a love affair with her closest female friend, Misia Sert.) However, Chanel’s androgynous style was probably primarily an expression of her identification with powerful men.Wool, circa 1929, France, lent by the Museum of the City of New York, gift of Ann Andrews, 1972 Close Image Info LUCIEN LELONG ENSEMBLE Boyish, sporty fashions were created by both male and female designers in the 1920s. Lucien Lelong seems to have been heterosexual (he married three women). But Christian Dior (who worked for Lelong from 1941 to 1946), recalled that Lelong “did not design himself, but worked through his designers.” It is, therefore, not known who actually designed this suit.Silk and wool, circa 1927, France, gift of Mrs. Georges Gudefin, 80.13.19 Close Image Info MARLENE DIETRICH – LESBIAN ELEGANCEIt was not only as fashion professionals that LGBTQ people influenced the world of style; they were also trendsetters. Marlene Dietrich, for example, was once described as “the best-dressed man in Hollywood.” Her penchant for wearing men’s clothing off-screen as well as on had a profound influence on women’s fashion—both in the 1930s (when “lesbian elegance” was associated with tailored suits and trousers), and later, when her look inspired designers such as Yves Saint Laurent. Close Open Left: Evening suit worn by Marlene DietrichDietrich notoriously wore a tuxedo in the film Morocco (1930), which advertised its star as “the woman all women love to see.” Since that tuxedo is currently traveling with the exhibition Hollywood Costume, we have borrowed another one, which Dietrich wore when she performed at the Café de Paris.Wool, cotton, and silk, 1954, USA, lent by Deutsche Kinemathek-Marlene Dietrich Collection BerlinRight: Marlene Dietrich, Morocco, 1930, photo by Eugene Robert Richee, courtesy of Deutsche Kinemathek—Marlene Dietrich Collection Berlin Close Image Info YVES SAINT LAURENT LE SMOKING “Oh, yes, my sexuality has been very important to my creativity,” said Yves Saint Laurent in 2002. It is perhaps not surprising that he was inspired by Marlene Dietrich when he designed his famous tuxedo for women, Le Smoking. The androgynous styles of the sexually liberated 1970s often alluded to 1930s glamour.Wool, satin, crepe, and silk faille, circa 1982, France, gift of the Estate of Tina Chow, 91.255.4 Close Image Info FILM COSTUME BY PIERRE BALMAIN, JEAN COCTEAU, AND CHRISTIAN BÉRARD Pierre Balmain (1914-1982) opened his own couture house in 1945. Balmain’s longtime companion was the Danish-born designer Erik Mortenson, and one of his clients was Gertrude Stein. This film costume was a collaboration with the gay film director Jean Cocteau and the gay artist/illustrator Christian Bérard.Costume for Cocteau’s film, L’Aigle à Deux Têtes, cashmere, silk faille, and horse hair1947, France, lent by Beverly Birks Collection Close Image Info DRESSING GOWN WORN BY NOEL COWARD The writer and actor Noel Coward was known to be gay within the trans-Atlantic queer community, and his famous dressing gown may have sent coded messages to other gays. However, he also tried to maintain a rigorously masculine appearance, telling Cecil Beaton: “It is important not to let the public have a loophole to lampoon you. . . . I take ruthless stock of myself before going out. A polo jumper or an unfortunate tie exposes one to danger.”Silk, circa 1930s, England, lent by the Museum of the City of New York, gift of Noel Coward Close Image Info VALENTINA DRESS WORN BY KATHERINE CORNELL Certain professions, such as fashion and costume design, were relatively welcoming to LGBTQ people. So were the performing arts. The actress Katherine Cornell, for example, was a lesbian married to a gay man, who was a theater director. Several important books have been written about gay men and lesbians in the theater and in Hollywood.Chiffon, 1947, USA, lent by the Museum of the City of New York, gift of Katherine Cornell, 1965 Close Image Info RISE OF GAY DESIGNERSCertain “artistic” professions—such as fashion and the performing arts—have historically provided a relatively tolerant haven for LGBTQ people. Yet faced with a homophobic society, most of them remained “closeted” to outsiders, and designers, such as Cristóbal Balenciaga and Christian Dior, were not widely known to be gay during their lifetimes. By acknowledging the contributions that LGBTQ people have made to fashion, we cast new light, not only on their experiences, but also on the history of fashion itself. Close Open CHRISTIAN DIOR DRESS Although his friends and colleagues knew that he was gay, Christian Dior (1905-1957) kept his homosexuality a secret from his parents. Jacques Homberg was his lover in the late 1930s and early 1940s. In 1955 Dior met his final lover, Jacques Benita (b. 1929), also known as Tony Sandro, who sang in a cabaret with the lesbian chanteuse Suzy Solidor. He recently recalled how Dior was his “first man” and their relationship was “very discreet.”Silk satin, 1954, France, gift of Sally Cary Iselin, 71.213.20 Close Image Info CHARLES JAMES LA SIRÈNE EVENING DRESS The Anglo-American designer Charles James (1906-1978) married in 1954, but for most of his life he was quite open about his homosexuality. “James was gay from birth, I think,” recalls the illustrator Hilary Knight. “He was very sexy; he talked about sex all the time.” His brilliance as a designer is evident in this extraordinary evening dress.Silk crepe, circa 1940, USA, gift of Doris Duke, 71.265.13 Close Image Info BALENCIAGA EVENING DRESS Cristóbal Balenciaga (1895-1972) was not widely known to be gay within his lifetime, but his biographer reports that Wladzio Jaworowski d’Attainville was his companion for twenty years—from 1928 until he died in 1948 at the age of 49. A Polish-French aristocrat, his “excellent social connections” were especially helpful after Balenciaga opened his couture house in Paris in 1937. When he died, Balenciaga was in such despair that he nearly entered a monastery.Silk velvet, 1938, France, gift of Tina Chow, 91.255.2 Close Image Info MADELINE VIONNET EVENING DRESS Madeleine Vionnet may have been bisexual. Certainly, she was inspired by the anatomy of beautiful women to create her body-worshipping gowns. Her Cuban clients “were properly made” and “they moved well,” she recalled in old age, while the Argentine women had “undulating buttocks, like carnivores.” At this point in her interview with Bruce Chatwin, Vionnet leaned back and sighed, “They always said I loved women too much!”Silk velvet, 1932-1933, France, lent by the Museum of the City of New York, gift of Mrs. Harrison Wiliams, 1945 Close Image Info EDWARD MOLYNEUX EVENING DRESS Although Edward Molyneux (1891-1974) was briefly married, within his circle he was known to be gay. Harold Nicholson, a predominantly homosexual man married to a lesbian, described Molyneux to her as his “funny new friend.” Moylneux had a great influence on the couture and trained many other designers, including Pierre Balmain and Hardy Amies, both of whom were also gay. In addition, he designed costumes for many of Noel Coward’s productions.Silk crepe and cock feathers, circa 1933-1935, France, lent by the Museum of the City of New York, gift of Mrs. Robert L. Stevens and Mr. Cornelius Vanderbilt, 1953 Close Image Info CHRISTIAN DIOR BALL GOWN Chanel sometimes burst out into homophobic diatribes against gay colleagues, such as Dior and Balenciaga, describing them as “queens” who “dream of being women so they make real women look like transvestites.” Her hostility was echoed by the psychiatrist Edmund Bergler, whose book, Fashion and the Unconscious (1953), claimed that homosexual designers’ “hatred” and “fear” of women had resulted in the “cruel” “dress absurdities of the last half century.”Silk, tulle, and taffeta, 1957, France, lent by the Museum of the City of New York, Costume Collection, 1996 Close Image Info BEFORE STONEWALLThe postwar period was characterized by a savage, state-sponsored witch-hunt against homosexuals. Fearing exposure and arrest, most homosexuals became “invisible men.” But demonstrations and political lobbying eventually began to result in legal changes in the civil rights of gay men and lesbians. Gays pioneered the Peacock Revolution in menswear. Designer Rudi Gernreich, a founding member of the gay liberation group, the Mattachine Society, explored the liberation of the body and the possibilities of uni-sex clothes. Close Open TOMMY NUTTER SUIT “Tommy brought innovation and creativity to the classic culture of Savile Row tailoring,” says his friend, Peter Brown. “We opened his shop in 1968. The timing was great! It was not legal to be gay in England until 1968, but young people then didn’t care—it was really rather cool to be gay. Brian Epstein and I were both gay, but the Beatles didn’t care.”Glen plaid wool, 1969, England, lent by Peter Brown Close Image Info Left: Suit worn by Andy WarholAndy Warhol acquired this suit in Hong Kong on his first trip abroad in 1956, at a time when he worked in commercial art and advertising and socialized with a predominantly gay, cosmopolitan circle.Cashmere, 1956, Hong Kong, lent by the Andy Warhol Museum, Pittsburgh; Founding Collection, The Andy Warhol Foundation for the Visual Arts, Inc.Right: Striped T-shirt and jeans worn by Andy WarholThroughout his life, Andy Warhol was fascinated by glamour and fashion. His personal style evolved as he became increasingly famous as an artist during the 1960s, when he began to wear striped matelot T-shirts, jeans, and black leather jackets.Cotton, denim, and leather, circa 1960s, USA, lent by the Andy Warhol Museum, Pittsburgh; Founding Collection, The Andy Warhol Foundation for the Visual Arts, Inc. Close Image Info SUIT WORN BY CECIL BEATON When they first met, Noel Coward harshly criticized the fashion photographer Cecil Beaton for looking and sounding too gay, accusing him of “flamboyant” gestures, an “undulating” walk, and “conspicuously exaggerated” clothes. Later, Coward admitted that he had been “beastly,” but he insisted, “Let’s hope you’ve learned a lesson.”Sullivan, Williams Co., Ltd., wool, circa 1952, England, lent by The Metropolitan Museum of Art, gift of Cecil Beaton, 1974 Close Image Info THREE PIECE SUIT WORN BY COUTURIER BUNNY ROGER According to fashion editor Hamish Bowles, after the Second World War, Bunny Roger (1911-1997) “developed a personal sartorial style that reflected his nostalgia for Edwardian fashions, with high collars, bowler hats, and tailoring designed to showcase his wasp waist. Britain’s Teddy Boy rockers would eventually adopt elements of this exaggerated neo-Edwardian style for themselves—perhaps little realizing that its primary creator was a flamboyant queer couturier and socialite who spent his life, protected by ample means, flying in the face of conventional sexual morality.”Check tartan wool, 1973, England, lent by Hamish Bowles photo by Norman Parkinson Close Image Info YVES SAINT LAURENT RIVE GAUCHE SUIT Yves Saint Laurent was one of the first designers to make pants suits for women. “I want to put myself at women’s disposal . . . to serve them,” he once said. “It was my wish to accompany them in that great moment of liberation.”Striped wool knit, 1968, France, gift of Ethel Scull, 78.57.6 Close Image Info OSSIE CLARK DRESS (TEXTILE BY CELIA BIRTWELL) Ossie Clark was “a very campy boy,” recalls the artist David Hockney. “Ossie understood women because he was very feminine himself,” says designer Marion Foale. Although he married textile designer Celia Birtwell, Ossie Clark was more-or-less openly bisexual, which was quite acceptable in bohemian circles in London during the 1960s and 70s.Printed silk chiffon, 1969, England, gift of Barbara Hodes, 87.52.1 Close Image Info AFTER STONEWALLThe Stonewall Riots took place on June 28, 1969, when police raided a Greenwich Village bar, triggering resistance. In the following years, more people lived openly gay lives—and clothing styles changed accordingly. Pre-Stonewall, the most visible gay male styles had been elite elegance, camp, or drag. Post-Stonewall, the “Clone” emerged to symbolize modern, macho gay style. Lesbian style also evolved, as traditional butch-femme dress codes were increasingly replaced by an androgynous, “anti-fashion” style. LGBTQ styles also diversified under the influence of subcultures, such as punk. Close Open HALSTON DRESS Halston was America’s first true celebrity fashion designer. Tall and movie-star handsome, he famously partied with friends and clients like Liza Minelli, Elizabeth Taylor, and Bianca Jagger at clubs like Studio 54. Although he lived a more-or-less openly-gay life, Halston was officially outed in Andy Warhol’s posthumously published diaries.Silk jersey, 1972, USA, gift of Lauren Bacall, 76.69.17 Close Image Info Left: Yves Saint Laurent three-piece suit worn by Richard MartinThis velvet suit belonged to Richard Martin (1947-1999), a pioneering fashion historian and curator who published seminal articles, such as “The Gay Factor in Fashion” and “Out and In Fashion.”Velveteen, circa 1975, France, gift of Richard Martin, 89.53.3Right: Yves Saint Laurent Rive Gauche suit worn by Larry KramerLarry Kramer (born 1935), the playwright, AIDS activist, and LGBT activist, donated this YSL suit to the Costume Institute. Horrified by the AIDS epidemic and the failure of the US government to take action, Kramer co-founded the Gay Men’s Health Crisis (GMHC) and the AIDS Coalition to Unleash Power (ACT UP), a direct action protest organization widely credited with changing public health policy.Wool, circa 1973-1979, France, lent by The Metropolitan Museum of Art, Gift of Larry Kramer, 1995 Close Image Info Left: Castro Street styleThe gay liberation movement of the 1970s launched a range of new vernacular street styles. Short shorts revealed the body, while bandanna handkerchiefs and keys functioned as a sexual code to signify erotic preferences. Leather garments alluded to S M and “leathersex.”Denim, cotton, leather, metal, 1970s, USA / Shorts and bandanna: Lent by Jonathan D. Katz / T-shirt: Lent by Scott Ewalt / Vest: The Museum at FIT, 2012.46.1Right: Man’s “Clone look” ensemblePost-Stonewall, gay men’s style turned away from elite elegance, towards proletarian masculinity. Modeling themselves on an idealized image of working-class masculinity, a new generation of gay men created the stylized “Clone look” to symbolize modern, macho homosexuality. Newly gym-toned bodies were clad in blue-collar garb, such as denim jeans, tank tops, work boots, and bomber jackets.Denim, cotton, nylon, and leather, circa 1978, USA / Jacket: The Museum at FIT, 88.134.28, gift of Tony Santore, in memory of Jack Fenstermarcher Close Image Info CLAUDE MONTANA JUMPSUIT French designer Claude Montana pioneered the introduction of leather from erotic street styles into high fashion—for both men and women.Leather, spring 1979, France, lent by Archives Didier Ludot Close Image Info PERFORMANCE COSTUME WORN BY KLAUS NOMI Klaus Nomi (1944-1983) was a German singer-songwriter who played a significant role in the New York City art club scene, where he was known for his extraordinary stage personae and costumes.Vinyl, 1980-1981, USA, lent by Joey Arias, Executor of the Nomi Estate Close Image Info MIGUEL ADROVER ENSEMBLE After the death of his neighbor Quentin Crisp, the designer Miguel Androvar salvaged striped cotton mattress ticking from Crisp’s discarded belongings. Transforming rubbish into a fashionable tailored coat, the designer poetically evoked the personal life of an extraordinary gay icon. Read more about this ensemble here!!Cotton twill mattress ticking, cotton, silk, and wool, Fall/Winter 2000-2001, USA, lent by The Metropolitan Museum of Art, gift of Miguel Adrover, 2005, photograph courtesy of The Metropolitan Museum of Art Close Image Info San Francisco Gay Day Parade, 1979Courtesy of the Gay, Lesbian, Bisexual, Transgender Historical Society. Close Image Info AIDSThe AIDS crisis devastated the LGBTQ community—and triggered a new wave of prejudice against homosexuals. Since 1981, when the HIV virus that causes AIDS was identified, more than 30 million people have died of AIDS-related diseases. Groups like ACT UP and Queer Nation demonstrated against the high cost of treatment and the government’s failure to deal effectively with the epidemic. Many people in the fashion industry supported DIFFA and AMFAR as they worked for HIV prevention, treatment, and care. Close Open Left: Perry Ellis ensembleAmong the victims of the AIDS epidemic were many gay or bisexual fashion designers, including Perry Ellis, who died in 1986 at the age of 46. An influential designer, Ellis introduced new proportions, mixed masculine and feminine, and helped bridge the gap between fashion and street style.Wool and metal, 1983, USA, gift of Perry Ellis, 91.42.929 91.42.932Right: “Condomania”, printed cotton, 1991, USA, gift of Richard Martin, P91.92.1 Close Image Info Left: Willi Smith WilliWear suitKnown for his fun, casual clothes, Willi Smith was one of the most successful young African-American designers of his generation. Openly gay, he died in 1987 at age 39 of pneumonia, apparently as a result of AIDS.Silk and cotton, circa 1984, USA, gift of the Council of Fashion Designers of America (CFDA), 2013.52.4Right: Patrick Kelly dressThe young African-American designer Patrick Kelly took Paris by storm during the 1980s. He died of AIDS in 1990 at the age of 35.Silk panne velvet, synthetic stretch, and metal, 1987/88, France, gift of Ms. Gloria Steinem, 2010.30.1 Close Image Info BILL ROBINSON ENSEMBLE Bill Robinson was sometimes described as “the Donna Karan of menswear,” because his clothes were characterized by luxurious fabrics and casual silhouettes, resulting in a look of easy elegance. He died in 1993 at the age of 45.Leather and wool jersey, Fall 1986, USA, gift of Bill Robinson, 93.23.1 / “No Apologies, No Regrets”, printed cotton, 1991, USA, lent by Jonathan D. Katz Close Image Info INSTALLATION VIEW REMEMBERING FASHION’S FALLEN HEROES Among those who died of AIDS were artists, designers, hairdressers, illustrators, makeup artists, models, photographers, retailers, stylists, and window dressers, including Way Bandy, Leigh Bowery, Kevin Boyce, Adrian Cartmell, Bob Currie, Stephen Di Petrie, Angel Estrada, Jeffrey Herman, Isaia, Bill King, Antonio Lopez, Juan Ramos, Herb Ritts, Clovis Ruffin, Ricky Wilson, and so many more. Close Image Info Left: “ACT UP”, printed cotton, circa 1990, USA, gift of Richard Martin, 90.179.1 / Right: “Safe sex is hot sex”, printed cotton, 1991, USA, gift of Richard Martin, 91.143.10 Close Image Info ANDRE WALKER PAPER DRESS DESIGNED FOR THE LOVE BALL AIDS devastated the fashion world. Members of the fashion and design industries responded to the AIDS crisis by organizing fund-raisers to support research, prevention, public policy reform, and assistance to people who were HIV-positive. Designer Andre Walker donated this paper dress to the Love Ball, one of many AIDS benefits.Printed paper and synthetic twill, 1989, USA, gift of Paper Magazine, 89.102.2 Close Image Info Left: Franco Moschino ensembleFor this ensemble, Italian designer Franco Moschino exaggerates the iconic red lapel ribbon, signifying solidarity with people with AIDS. Like the design industry in the United States, Italian designers also supported AIDS benefits. Moschino (1950-1994) died of complications from AIDS.Cotton sateen, rayon, and cotton denim Vest: circa 1992, Italy / Pants: 1990s, Italy / gifts of Michael H. Harrell, 2010.74.24 and 2010.74.29Right: Geoffrey Beene paper dress (for the Love Ball)Geoffrey Beene (1927-2004), one of America’s pre-eminent designers, created this paper dress for the Love Ball, an AIDS benefit.Tulle, newsprint paper, and chenille, 1989, USA, gift of Paper Magazine, 89.102.1 Close Image Info GAY ICONSToward the end of the 20th century, gay sensibility became more overt in fashion and advertising. This was an expression both of gay pride and of straight consumers’ fascination with images of distinction and nonconformity. The French designer Jean Paul Gaultier, for example, was unafraid of playing fast and loose with sex and gender stereotypes, promoting underwear-as-outerwear and skirts for men. Close Open JEAN PAUL GAULTIER CONE-BRA DRESS Jean-Paul Gaultier (b. 1952) is an openly gay designer who has never been afraid to play fast and loose with sex and gender stereotypes. His fascination with corsets, dating from childhood, helped launch a vogue for underwear-as-outerwear. His cone-bra dress stylized the female breasts in a way that recalls both African sculpture and the imagery of sexual fetishism, as well as brassieres of the 1950s.Velvet, Fall 1984, France, Museum purchase, P92.8.1 Close Image Info THIERRY MUGLER EVENING GOWN Thierry Mugler combined fashion and fantasy to create a new kind of glamour. This ultra-feminine look strikes some observers as over-the-top, even “high camp.” But Mugler achieved great success with fashion-forward clients.Lamé and satin, circa 1987, France, Museum purchase, 2011.13.1 Close Image Info Left: Walter Von Beirendonck T-shirt and trousersThe cult of the gym-toned body became a significant component of gay urban culture from the 1980s on. But menswear has evolved much more slowly. The muscular male torso printed on a stretch cotton T-shirt exemplifies Walter Von Beirendonck’s willingness to expand the boundaries of masculinity in dress.Cotton knit and nylon, 2000 and 1997, Belgium / T-shirt: Gift of Walter Van Beirendonck, 2001.23.1 / Pants: Lent by Walter Von BeirendonckRight: Thierry Mugler dress worn by Joey AriasJoey Arias is a performance artist and singer who favors glamorous fashions, such as this gown by Thierry Mugler. Extreme and/or parodic images of glamour are often associated with the hyper-femininity of “drag queens.” Indeed, “the glamour image is central to drag performances, writes sociologist Esther Newton, since drag represents women “at their most desirable and exciting to men.”Cotton and stretch synthetic, 1996, France, lent by Joey Arias Close Image Info JEAN PAUL GAULTIER ENSEMBLE WORN BY DARRELL MOOS “Gaultier was the quintessential icon of gay fashion,” says French designer Darrell Moos, who wore this ensemble. “His personal commitment and . . . his fashion had, for us, a very strong symbolism. His style seduced me, and I never felt feminine wearing my jupe-culottes or skirts, but, on the contrary, I felt like a warrior.”Polyamide and wool, Spring/Summer 1991 and 1994, France, lent by Darrell Moos Close Image Info JEAN PAUL GAULTIER ENSEMBLE WORN BY ANTOINE BUCHER “My first Gaultier garment was a gift from my grandmother,” says Antoine Bucher. “It was an iconic marinière, but more than evoking sailors and Querelle, for me it symbolized freedom, the sexual freedom that Gaultier represented. Five years later, when I was working for Gaultier, I could get clothes from the runway, and I chose these silver lamé trousers with biker pants printed on, which I wore at the party launching a bottle of champagne (corseted) designed by Gaultier.”Cotton and denim, circa 1993 and 1999, France, gifts of Antoine Bucher, 2012.56.1 and 2012.56.2 Close Image Info JEAN PAUL GAULTIER SAILOR ENSEMBLE The sailor has long been a homoerotic icon. Witness Paul Cadmus’s The Fleet’s In, Jean Genet’s novel and Fassbinder’s film, Querelle, drawings by Tom of Finland, and Le Marin by Pierre et Gilles. Sailors have also inspired a host of Gaultier’s fashions for both men and women, as well as his perfume advertisements and television commercials featuring gay or bisexual sailors.Neoprene and spandex, Spring/Summer 1996, France, lent by the Maison Jean Paul Gaultier Close Image Info SEXUALITY STYLESexuality exerted an increasingly strong impact on style during the 1990s. The openly gay designer Gianni Versace (1946-1997) drew on the iconography of 1970s gay “leather sex” for his infamous 1992 “bondage” collection. Although some women took offense at his “S M” clothes, others regarded them as a positive expression of female sexual power—or simply as the latest fashion. Already in the 1980s, Claude Montana and Azzedine Alaia had pioneered the use of leather in high fashion. Today leather and uniforms have become part of the vocabulary of fashion for both men and women. Close Open GIANNI VERSACE EVENING ENSEMBLE “Heavy metal, light bondage,” declared Harper’s Bazaar of Versace’s 1992 collection. “The dominatrix’s straps and stilettos will not be denied.” Versace recalled showing a similar collection in Dallas fifteen years earlier, “and they turned the lights up on us. They said these clothes belonged only in a leather bar. And now, last night, there were 200 socialites in bondage!”Leather, satin, and metal, Fall/Winter 1992, Italy, lent by Gianni Versace S.p.A. Close Image InfoChaps, cod piece, wrist cuffs, and chokerAlthough many leather enthusiasts are heterosexual, a significant gay “leatherman” culture emerged in the 1970s, especially in cities like San Francisco and New York, where certain leather garments and ensembles signified an interest in sadomasochism and sex play. At gay clubs like the Mineshaft, leather was obligatory.Faux leather and metal, circa 2005, USA, lent by AnonymousRight: Justine Taylor ensembleThe Australian fashion designer and out lesbian Justine Taylor wore this ensemble while riding a motorcycle at the Sydney Gay Pride Parade. In recent years, younger lesbians—”grrls” and “bois”—have often adopted “fierce” clothes with overt sex appeal.Leather and metal, 1995, Australia, lent by Justine Taylor Close Image Info GIANNI VERSACE SUIT WITH WARHOL-INSPIRED PRINT Andy Warhol’s camp images of celebrities inspired this suit by Versace. “Camp” is an aesthetic sensibility that is difficult to describe, involving banality, artifice, and a perversely sophisticated appeal. It has long been associated with homosexuality and has influenced postmodern art.Cotton and silk, 1991, Italy, Museum purchase, 2010.56.1 Close Image Info LEATHER ENSEMBLE WORN BY SCOTT EWALT This extraordinary leather ensemble was worn by artist Scott Ewalt, who says that “It was a redefinition of the traditional leatherman look associated with Tom of Finland. I wanted to stress the silhouette—hence the corset by Mr. Pearl.”Levi Strauss, denim jacket, 1987, USA / Mr. Pearl, corset, 1992, France / Abel Villarreal, trousers, 1994, USA / Agatha Leather, gauntlets, 1995, USA / Wesco, boots (custom made), 1992, USA.Lent by Scott Ewalt Close Image Info JOHN BARTLETT ENSEMBLE “There are many gay men in fashion,” says designer John Bartlett. “Fashion is one of the rare industries that accept gay men.” One of the first American menswear designers to be openly gay, Bartlett has often incorporated elements from gay styles into his designs. This ensemble, for example, clearly references the leatherman look, while also modernizing it.Leather, rayon, wool, cotton, and metal, Fall/Winter 2000-2001, USA, lent by the Metropolitan Museum of Art, gift of John Bartlett, 2004 Close Image Info SAN FRANCISCO GAY DAY PARADE, 1978 Courtesy of the Gay, Lesbian, Bisexual, Transgender Historical Society Close Image Info SEX SUITSIn her book Sex and Suits, the art historian Anne Hollander explores “the potent beauty” of the tailored suit, which highlights the wearer’s sexuality in a way that is “central, serious, and interesting.” Although the dandy look has long been one of the most significant queer styles, it is only recently that designers who specialize in menswear have come out of what the late Richard Martin called “the menswear closet.” Lesbians and bisexual women have been even less visible as designers, although this is gradually changing. Close Open TOM FORD FOR GUCCI SUIT Handsome, sexy Tom Ford was heralded as “Gucci’s Gay Superstar” in The Advocate (1997). Known for his embrace of sexuality in advertising and design, Ford has resisted being “labeled” as gay, telling one reporter: “There’s not such a hard line between gay and straight anymore.”Velvet, circa 2000, Italy, lent by Robert Verdi Close Image Info GIANNI VERSACE SUIT WORN BY HAL RUBENSTEIN Hal Rubenstein, author and editor, was close friends with Gianni Versace. As an out gay man, Rubenstein appreciated Versace’s sexy style. He says: “The fabric is unbelievable . . . you could feel the wind coming off South Beach against your skin. Gianni preferred that you wore the suit with a T-shirt and nothing else. He was disappointed that I first stepped into a pair of black briefs.”Silk cord, circa 1990s, Italy, lent by Hal Rubenstein Close Image Info ENSEMBLE WORN BY ROBERT VERDI Robert Verdi’s ensemble combines a cream wool Tom Ford overcoat with a gold lamé and black satin Dsquared2 jacket, brocade Gucci trousers, Marc Jacobs sunglasses, gold snakeskin boots by Paul Smith, and a white mink bow tie. This look, he suggests, epitomizes a particular kind of queer style.Tom Ford, overcoat, circa 1995, USA / Dsquared2, tuxedo jacket, Fall 2007, Italy / Gucci, trousers, circa 1995, Italy / Paul Smith, boots, England / Marc Jacobs, sunglasses, 2000s, USA.Lent by Robert Verdi Close Image Info Left: Ensemble worn by Anna Blume“Through clothing an inner phantom self becomes visible,” says Anna Blume, who is known for wearing what is usually thought of as men’s clothing. A videotaped interview with Professor Blume can be seen in the next gallery.Paul Harden, jacket, circa 2010, England / Comme des Garçons, shirt, circa 2010, Japan / Prada, trousers, circa 2010, Italy / Jil Sander, necktie, circa 2010, Germany / Boots, circa 2010, Italy.Lent by Anna Blume, Professor of Art History, Fashion Institute of Technology, 2001-present.Right: Opus 9 suitThe Australian fashion designer Justine Taylor designed this suit for her line, Opus 9. Taylor is among the relatively few women designers who are out as lesbians.Cotton, linen, viscose, and leather, 2012, Australia, Museum purchase, 2012.48.1 Close Image Info WALTER VON BEIRENDONCK SUIT “For me, sex is as normal as eating,” says Walter Van Beirendonck. The avant-garde Belgian menswear designer has often explored gender and sexuality in his work, challenging traditional definitions of masculinity.Cotton, polyester, silk, and leather, Spring/Summer 2014, Home Sweet Home CollectionBelgium, lent by Walter Von Beirendonck Close Image Info Opus 9, October 2012Model: Ismini Papavlasopoulou / Stylist: Bex Sheers / Make up: Justine Purdue / Hair Stylist: Diane Dusting Close Image Info HIGH FASHION GAY CULTUREGays and lesbians have been “hidden from history” for too long. Indeed, not to explore the history of LGBTQ people in fashion is to be complicit in perpetuating a system of secrecy and shame. Surprisingly little scholarship has focused on high fashion as a site of gay cultural production. But if we look at the history of fashion through a queer lens—exploring the aesthetic sensibilities and unconventional dress choices made by LGBTQ people—we see how central gay culture has been to the creation of modern fashion. Close Open Left: Narciso Rodriguez evening dressWhen Narciso Rodriguez told his parents that he wanted to study fashion, they said, “You can’t do that, because you’ll go gay!” Fortunately, he says, “it’s easier now for parents to accept and nurture difference in their children.” Asked why so many gay men are in fashion, Rodriguez says, “Speaking for myself, it’s about my love of women. . . . Fashion is about creating beautiful things for women.”Silk charmeuse, Spring 2011, USA, gift of Mr. Narciso Rodriguez, 2010.92.2Right: Ralph Rucci evening dressRucci describes fashion as a “magnet attracting the talent of gay men and women. More than most professions, fashion has provided a safe environment, where gays could work with dignity and pride—and where they have excelled in creating clothes for men and women of all orientations”Matte jersey and net, Spring 2010, USA, lent by Ralph Rucci Close Image Info ALEXANDER MCQUEEN DRESS “My collections have always been autobiographical,” said Lee Alexander McQueen, “a lot to do with my own sexuality and coming to terms with the person I am.”Silk engineered print and horse hair, Spring 2010, Plato’s Atlantis collection, EnglandMuseum purchase, 2012.36.2 Close Image Info JOHN GALLIANO FOR CHRISTIAN DIOR HAUTE COUTURE EVENING GOWN “Galliano’s concept of femininity [is] about woman as femme fatale,” wrote Colin McDowell in his book about the designer whose glamorous and theatrical styles were at the forefront of fashion for more than a decade.Silk lace, silk crepe chiffon, Fall 1997, France, Museum purchase, 2012.36.1 Close Image Info ALEXANDER MCQUEEN EVENING GOWN McQueen’s aggressive and sexual fashions polarized audiences and he was often accused of misogyny. But his “perverse” and transgressive aesthetic was probably more about himself than about real women. After a collection inspired by Joan of Arc, McQueen said, “Anyone can be a martyr for their cause. Maybe I was a martyr for homosexuality when I was six.”Silk, velvet, and bugle beads, Fall 2007, In memory of Elizabeth Howe, Salem 1692 collectionEngland, Museum purchase, 2013.2.1 Close Image Info Left: Rick Owens dress and boots worn by Karlo Steel“When you’re growing up and you realize that you’re different, that can be alienating,” says Karlo Steel. But later, he says, he embraced “my otherness”— by, for example, wearing skirts: “You don’t have to be queer to wear a skirt, but it helps.” His dress is by Rick Owens, the bisexual designer who makes clothes, often gender-bending, for both men and women.Cashmere and leather, Fall 2009, Fall 2005, France, lent by Karlo SteelRight: John Bartlett “lumberjack” ensembleMenswear designer John Bartlett often draws on stereotypes of masculinity. This lumberjack ensemble, for example, evokes the “bear” subculture.Wool, cotton, and metal, 2002, USA, lent by Cincinnati Art Museum, gift of John Bartlett, 2004.209a-c Close Image Info Left: Ensemble worn by Jeffrey CostelloJeffrey Costello and Robert Tagliapietra married after seventeen years together. In addition to being partners in life, they comprise the award-winning design team, Costello Tagliapietra. Large men with beards, they favor the plaid shirts and suspenders associated with the “bear” subculture.Wool, suede, and cotton, 2012, USA, lent by Costello TagliapietraRight: Liz Collins Lumberjack Goddess DressLiz Collins is an artist and designer whose work often addresses gender and sexuality. Her Lumberjack Goddess Dress takes on the paradigm of lesbian stereotypes, the flannel shirt.Silk, elastic, cotton, and flannel, 2005, USA, lent by Liz Collins Close Image Info Photograph by Christos Karantzolas, @ 212 Artists Rep / Model: Andrej Pejic, @ DNA Models NY / Styling: Kyle Anderson / Hair: Menelaos Aleras, @ Ray Brown Pro, NY / Make up: Niki M’nrayOriginally printed in SCHON ( Issue 14) Close Image Info MARRIAGE EQUALITYSurprisingly little scholarship has focused on high fashion as a site of gay cultural production. But if we look at the history of fashion through a queer lens exploring the aesthetic sensibilities and unconventional dress choices made by LGBTQ people we see how central gay culture has been to the creation of modern fashion. Close Open WEDDING ENSEMBLES WORN BY HANNAH BARRETT AND LAUREL SPARKS Some women planning same-sex marriages create their own styles. Laurel Sparks says, “We are dandy Rasputins. We wouldn’t be caught dead in gowns.”Cotton, felt, and leather, 2012, USA, lent by Hannah Barrett and Laurel Sparks Close Image Info RAG BONE ENSEMBLE WORN BY STEVEN KOLB AND J. CREW SUIT WORN BY JAY INKPEN A hallmark of the lesbian, gay, bisexual, and transgender movement is the fight to have equal treatment under the law, including the right to marriage. On June 26, 2013, the Defense of Marriage Act (DOMA) was invalidated, striking a blow in favor of marriage equality. Steven Kolb, CEO of the Council of Fashion Designers of America (CFDA), and Jay Inkpen wore these suits at their wedding. Retailer J. Crew recently featured a gay couple, Benjamin and Ray, in the company’s on-line wedding album.Wool, 2012, USA, lent by Steven Kolb and Jay Inkpen Close Image Info “Equality. Get married to the Idea. Kenneth Cole” Printed cotton, 2013, USA, Museum purchase, 2013.4801 Close Image Info WEDDING DRESSES WORN BY ALEXIS AND KIM STOLZ A heterosexual wedding has clear sartorial rules. But what should a lesbian couple wear on their wedding day? “While progressive in some ways, our wedding in Bridgehampton had some very traditional elements that made it the wedding we both always dreamed of having. Plus, we both look good in white!”Organza; silk, Spring 2013, USA, lent by Alexis and Kim Stolz Close Image Info 44th Gay Pride Parade, New York City, June 30, 2013Photograph by Viviane Moos Close Image Info The Most Fashionable Museum in New York City Museum at the Fashion Institute of Technology Seventh Avenue at 27 Street New York City 10001-5992

TAGS:Museum The FIT 

<<< Thank you for your visit >>>

Gays and lesbians have long been “hidden from history”—including the history of fashion. “Reclaiming the gay and lesbian past” involves more than simply recognizing that some individual fashion designers happened to be gay.

Hot Websites