The expression “Storm in a Teacup” refers to a great fuss that is made over a trivial matter. In Vivienne Westwood’s interpretation, it referenced the “windblown” asymmetry of her designs, as well as her ample use of British tailoring and tweeds. The restrained runway presentation of this multi-color tartan wool jacket and back silk velvet skirt from her 1996 collection of that name allowed viewers to concentrate on the inventiveness of the clothing.
Photographed in the Museum at FIT in New York City.
Designer Claudia Li’s autumn/winter 2020 collection, entitled 3.16.19, is a tribute to her grandfather, who passed away in 2019. The designs in the collection reflect Li’s memories of him, the imprint of their experiences together in China, and the creative ability passed through generations.
One of many highlights from my fun-filled holiday trip to California was a visit to Pink Floyd: Their Mortal Remains; an immersive exhibit covering the complete history of the legendary progressive rock band that even a casualPink Floyd fan will flip out over. Given my extreme fondness for costume design, you can only imagine my delight in finding that one of the galleries included replicas of the enigmatic Lightbulb Suits seen on the cover and related artwork for the band’s 1988 live album, Delicate Sound of Thunder. Talk about an “Oh, Wow” moment. Continue reading Eye On Design: Pink Floyd Lightbulb Suit By Storm Thorgerson→
Following the lineage of witty designs by creators that include Elsa Schiaparelli and Franco Moschino, this playful Breakfast Suit (Spring / Summer 1990) by Christian Francis Roth employs the Surrealist strategy of displacing everyday objects from their normal environment.
A member of the “international set” in fin-de-siècle Europe, Baron Adolf de Meyer (1868–1946) was also a pioneering photographer, known for creating works that transformed reality into a beautiful fantasy. De Meyer likely acquired this tuxedo from the venerable tailor Wolf Kahan during a visit to Vienna. Kahan’s shop, designed by the modernist architect Adolf Loos, catered to the city’s leading artists. The tailor’s son Louis worked from 1925 to 1927 as a designer for the Paris couturier Paul Poiret, whose collections De Meyer photographed.
De Meyer was considered an arbiter of style; he wrote columns for Vogue and Harper’s Bazaar that instructed American women on the latest European trends in fashion and interior decoration. His columns also offered tips on hostess etiquette and entertaining. For a time, De Meyer produced his own couture line, Gayne House, sold through his New York shop, Zarah.
Wolf Kahan Tuxedo Circa 1930. Jacket and Trousers: Black Wool Broadcloth and Silk Satin Vest: Black Wool Twill, Rayon Grosgrain, and Silk Plain Weave
Photographed as Part of the Exhibit, Quicksilver Brilliance: Adolf De Meyer Photographs, on View Through April 8th, 2018 at The Metropolitan Museum of Art in NYC.