This past weekend offered the
opportunity for free museum passes, so we went to the Phoenix Art Museum to see
what was new since our last visit in September. We looked at some photos and a
lot of southwestern paintings, but I purposely left the Fashion Gallery until
the end, knowing I would be there for a long time. Once I got in there, I
almost couldn’t leave.
The current fashion exhibit
is “Modern Spirit – Fashion of the 1920s.” Where do I even begin to describe
this incredible collection? The colors! Yes, the colors. Surprisingly subdued,
the colors in the room were mostly earthtones. Rust, camel, salmon-peach,
black, and ivory made up the majority. There were also a few dusky versions of
jewel tones like jade and plum, and dark blue appeared once in evening wear and
once in a suit. A brilliant scarlet red was the exception to all this restraint,
and it stood out in several areas of the exhibit.
Although no photos were allowed in the museum, many of the exhibit pieces are from the Arizona Costume Institute, and these images are from their online gallery.
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1928 dresses |
The textiles were utterly
amazing. Each piece was dripping with embroidery, beading, ruffles, rhinestones,
or sequins. Several of the dresses were covered with thousands of glass beads
individually sewn onto silk tulle or lace. How does the fabric bear that
weight? How does the garment survive 90 years?
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Three evening dresses by Gabrielle "Coco" Chanel. 1928, 1925, 1925. |
One of the most
luxurious-looking effects was the voluminous, gathered and rolled velvet
collars of the evening coats, which were shaped very much like the Poiret
cocoon coat. Even the velvet was embellished with beads and embroidery, and in
one case, fur.
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Folkwear Pattern 503, The Poiret Cocoon Coat. Source |
I could go on and on, but without photos, I feel I can’t really do justice to the other pieces.
I will leave you with the
last one that I do have a picture of, which was the simplest design, and also
my favorite. It’s a Vionnet, of red silk crepe chiffon. The narrow silver
edging is a lamé binding. For the sewists reading this, can you imagine trying
to stitch a long strip of lamé to a fluttery, tissue-thin expanse of silk, on the bias, without snagging, tearing,
shifting, or even creating the tiniest hole?
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The epitome of elegance |
A history of Madeleine Vionnet
and her design techniques that we still use today is here. Also, Coletterie did a nice writeup
on Vionnet here.
I was very inspired by my visit. I won't be sewing up any 20s-style evening gowns, but it certainly boosted my creativity.
What has been your source of creative inspiration lately?
Katrina