https://metabouttime.cargo.site About Time Exhibition Guide Thu, 08 Oct 2020 16:00:25 +0000 https://metabouttime.cargo.site en https://metabouttime.cargo.site/LOCK_UP Tue, 02 Jun 2020 18:17:33 +0000 About Time Exhibition Guide https://metabouttime.cargo.site/LOCK_UP <img width="2000" height="2007" width_o="2000" height_o="2007" data-src="https://freight.cargo.site/t/original/i/4973fbac7810a06b76fac77473f13dcad058956fdf69626304228204fa3583ed/AboutTime_lockup_020620-1.png" data-mid="73321893" border="0" data-scale="44" data-no-zoom src="https://freight.cargo.site/w/1000/i/4973fbac7810a06b76fac77473f13dcad058956fdf69626304228204fa3583ed/AboutTime_lockup_020620-1.png" /> https://metabouttime.cargo.site/Intro-Quote Wed, 10 Jun 2020 20:19:24 +0000 About Time Exhibition Guide https://metabouttime.cargo.site/Intro-Quote “It is a difficult business—this time-keeping; nothing more quickly disorders it than contact with any of the arts.” VIRGINIA WOOLF, ORLANDO: A BIOGRAPHY&nbsp;(1928) https://metabouttime.cargo.site/Intro Tue, 09 Jun 2020 21:49:59 +0000 About Time Exhibition Guide https://metabouttime.cargo.site/Intro The 1870s, the decade of The Met’s formation, witnessed major developments in the global standardization of time that, like the culture of fashion, became inseparable from the ideology of modernity. Fashion is indelibly connected to time—it not only reflects and represents the spirit of the times but also changes and develops with the times, serving as an especially sensitive timepiece. Exploring the symbiotic relationship between fashion and time, this exhibition—a celebration of The Met’s 150th anniversary—presents 150 years of fashion, culled almost exclusively from The Costume Institute’s collection, along two parallel timelines. The first features sixty ensembles in chronological order from 1870 to the present. Progressive, continuous, and relentlessly forward moving, the timeline draws attention to the way fashion is inherently governed by novelty, ephemerality, and obsolescence. The second intersperses a series of sixty interruptions or disruptions that pre- or postdate the fashions in the first timeline but relate to them in terms of shape, motif, material, technique, or decoration. The sixty ensembles in each timeline—primarily in black to emphasize their changing silhouettes and interconnection—reference the number of minutes in an hour, with each “minute” comprising a pair of garments. Together, the timelines express the concept of duration as outlined by the French philosopher Henri Bergson, in which time exists as a continuous flow and the relationship between the past and present is one of coexistence rather than succession. Each pairing achieves temporal autonomy through its union of the past and the present—a vision of time freed from the confines of chronology. #MetAboutTime https://metabouttime.cargo.site/I-SPEC-A Thu, 18 Jun 2020 16:51:53 +0000 About Time Exhibition Guide https://metabouttime.cargo.site/I-SPEC-A I https://metabouttime.cargo.site/I-Tombstone-Chat-SPEC-B Tue, 09 Jun 2020 22:29:20 +0000 About Time Exhibition Guide https://metabouttime.cargo.site/I-Tombstone-Chat-SPEC-B 1870AMERICAN Mourning Dress American, ca. 1870 Black silk faille trimmed with black and white silk fringe and white satin overlaid with black lace Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Clarence E. Van Buren, 1944 (2009.300.673a, b) 1939ELSA SCHIAPARELLI Evening Dress Ca. 1939 Elsa Schiaparelli, Italian, 1890–1973 Black felted wool Gift of Miriam Whitney Coletti, 1984 (1984.587.5) This dress typifies the fashionable silhouette in 1870, which was formed by a fitted, raised-waist bodice and a flared, floor-length skirt with excess fabric gathered at the back of the waist and supported by a bustle. Lace-covered white satin bands signify half mourning, a late stage of bereavement, and outline quintessential details of the period—square neckline, streamered belt, and skirt ruffle. In the late 1930s, as the probability of war increased, designers sought the nostalgic romanticism of past fashions. Elsa Schiaparelli helped revive the bustle shape, combining it with the prevailing narrow silhouette. In contrast to nineteenth-century models, the bustled form of this gown is created not by supportive understructures but solely through manipulation of the fabric. Black felted wool is stitched to form broad tucks down the center front that release at the hips and the derriere, where the fabric is gathered into graceful folds. https://metabouttime.cargo.site/II Thu, 08 Oct 2020 15:28:03 +0000 About Time Exhibition Guide https://metabouttime.cargo.site/II II https://metabouttime.cargo.site/II-Tombstone-Chat Thu, 08 Oct 2020 15:40:42 +0000 About Time Exhibition Guide https://metabouttime.cargo.site/II-Tombstone-Chat 1877AMERICAN Afternoon Dress American, ca. 1877 Black silk faille trimmed with black silk satin Gift of Theodore Fischer Ells, 1975 (1975.227.4) 1995ALEXANDER MCQUEEN “Bumster” Skirt Autumn/winter 1995–96, edition 2010 Alexander McQueen, British, 1969–2010 Black silk faille Courtesy Alexander McQueen This dress typifies the hourglass contours of the princess line, in vogue between 1876 and 1881. Introduced by Charles Frederick Worth and named after Princess Alexandra of Denmark, the princess line consisted of a one-piece dress without a horizontal waist seam; vertical seaming instead extended uninterrupted from the shoulders to the skirt, creating an extremely formfitting, long-waisted silhouette. The style typically lacked a bustle, but gathers, ruffles, and puffs cascading from below the hips created a similar effect. Here, the skirt is gathered into swags at the front that join a waterfall of puffs at the back, ending in a rounded train. Alexander McQueen radically reinterpreted the princess line in his “Bumster” trousers and skirts, which are cut outrageously low on the hips, revealing the lower back and upper buttocks. Like the princess silhouette, the extreme cut of the “Bumster” creates the illusion of an elongated torso. Of the design, McQueen commented, “To me, that part of the body—not so much the buttocks, but the bottom of the spine—that’s the most erotic part of anyone’s body, man or woman.” . https://metabouttime.cargo.site/III Thu, 08 Oct 2020 15:56:44 +0000 About Time Exhibition Guide https://metabouttime.cargo.site/III III https://metabouttime.cargo.site/III-Tombstone-Chat Thu, 08 Oct 2020 15:56:49 +0000 About Time Exhibition Guide https://metabouttime.cargo.site/III-Tombstone-Chat 1885AMERICAN Walking Dress Probably American, ca. 1885 Black silk velvet trimmed with black chenille fringe Gift of David L. Andrews, 1976 (1976.254.6a, b) 1986YOHJI YAMAMOTO Coat Autumn/winter 1986–87 Yohji Yamamoto, Japanese, born 1943 Black wool twill Purchase, Gould Family Foundation Gift, in memory of Jo Copeland, 2014 (2014.455) Responding to an economic crisis in the textile industry in the early 1880s, Charles Frederick Worth reintroduced the bustle shape to increase France’s luxury textile production, which had declined during the slim princess-line era. Requiring copious amounts of yardage to produce, the new bustle was voluminous, reaching its greatest extension by 1885. In this dress, weighty silk velvet is gathered in generous folds that create further volume around the bustle, supporting the skirt drapery. The monumentality of the silhouette is softened by a cascade of tiered chenille fringe that outlines the edges of the jacket. A century later, Yohji Yamamoto designed a series of long black woolen overcoats that were cut away at the back to reveal ethereal poufs of nylon tulle reminiscent of the exaggerated bustle of the 1880s. Of varying lengths and extensions, and ranging in color from red to black to white, the poufs emerged like explosions of cotton candy. The back of this coat is cut with several layers of cloth that enhance its exuberant extension. https://metabouttime.cargo.site/IV Thu, 08 Oct 2020 16:00:25 +0000 About Time Exhibition Guide https://metabouttime.cargo.site/IV IV