Fairy Tale Fashion
You can always trust the purveyors of Haute Couture to conjure something otherworldly. Like Chanel, which in previous years have explored its rich history to inform its present, and delved into the world of imagination, or Maison Margiela who in 2015 merged the old and new, or Armani Privé, Giambattista Valli, and other creators who sought to influence their expression with juxtaposition, angularity and elegance.
“Haute couture should be fun, foolish, and almost unwearable,” said Christian Lacroix. Designers craft couture dreams – personal and global stories. From Gaultier to Schiaparelli, Saab and Dior, these masterminds will continue to usher in new experiences and fairy tales.
The upcoming exhibition at the Fashion Institute of Technology (FIT) in New York City takes from the experiences of haute couture and its world of wonder, intrigue and curiosity. The exhibition aptly named Fairy Tale Fashion showcases pieces that relate to the aesthetics of renowned fairy tales from authors including Hans Christian Andersen, Charles Perrault and The Brothers Grimm.
Throughout the ages, their stories and their fashions have been reimagined through haute couture, and this exhibition sees selected pieces dating as far back as 1950. It is an exhibition that seeks to surface the connections between fashion and storytelling; a story creates a powerful image, an icon, and inspiration for the fashion world to engage and rework these stories through another lens.
Structured into five different spaces, starting with an introductory space that sees artworks that helped shape perceptions of a fairy tale aesthetic. Illustrations by 20th century artists including Edmund Dulac and Kirsty Mitchell’s award winning Wonderland series. The main gallery presents 14 fairy tales and is structured into four archetypal settings including Forest, Castle, Sea and Parallel Worlds.
In Forest, we are presented with the tales of Little Red Riding Hood and see seven variations of the famous red cloak are presented. The final piece showcases a scarlet patent peaked hood by Comme des Garçons. An organza gown encrusted with rhinestones by Alice+Olivia represents Snow White’s dress, and a deep emerald velvet embellished dress from Alexander McQueen’s 2007 collection nods to Rapunzel, complete with copper coloured beads creating a motif of cascading hair.
In Castle, fairy tales such as Cinderella, Furrypelts, Sleeping Beauty, Beauty and The Beast are reimagined through a 1971 Giorgio di Sant’Angelo skirt composed of shredded chiffon; faceted glass slippers by Noritaka Tatehana who is famed for his heel-less court shoes; pieces by J Mendel’s 2011 collection; and a 1930s gown by Mary Liotta covered in silver stars.
The Little Mermaid and Swan Maidens are represented in Sea. A 1987 Thierry Mugler metallic lilac bustier and fishtail skirt, and an embellished dress by Rodarte capture the aesthetic imagination behind the stories, as well as a Charles James swan dress from 1950. Finally in Parallel Worlds, the costumes of Alice in Wonderland and Wizard of Oz are showcased. A vibrant Manish Arora blue mini dress adorned with playing cards and angularly structured sleeves nods to the iconic blue dress seen in Alice in Wonderland. The Wizard of Oz makes numerous references to fashion, including Dorothy Gale’s blue-and-white gingham frock, represented by a checked cotton dress from the early 1940s by Adrian, who also designed many of the costumes for the famous 1939 film version of the tale. Although Dorothy’s magical shoes are silver in the story, they are better remembered as the sparkling “ruby slippers” from the movie. A pair of bright red, crystal-encrusted stilettos by Christian Louboutin is unmistakably evocative of Dorothy’s iconic footwear.
Fairy Tale Fashion demonstrates the often hybrid nature of fashion, its polymorphic existence – essential in constructing a look, mood, feeling and a story. Fairy Tale Fashion opens at the Fashion Institute of Technology, New York City on Friday 15 January 2016. It will continue until Saturday 16 April 2016.
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