“American Woman: Fashioning a National Identity” preview: Metropolitan Museum of Art

May 4th, 2010 · No Comments

I had the pleasure of attending a press release yesterday, May 3, 2010, for the Metropolitan Museum of Art’s newest exhibition: “American Woman: Fashioning a National Identity.” As a fashion lover, I knew that this collection of high end haute couture pieces were not only exquisitely chosen but expertly arranged to portray both the history of fashion as well as the progression of American women throughout history.

This study of American femininity and the gradual emancipation into the current role in current society said more than just fashion but made a statement about the role of women in society and how style and clothing advanced these ideals. Displayed in a series of circular rooms, each dedicated to a particular time period and fashion sensibility, the arrangement unraveled the story of a woman’s freedom, using familiar archetypes as templates for females’ roles through the past century, from “The Heiress” of the 1890’s to “The Screen Siren” of the 1930’s, and everything in between, that work together to form today’s modern, independent female—a culmination of years past.

The preview , attended by Vogue Magazine’s Editor-in-Chief Anna Wintour, began with public remarks by Metropolitan Museum Director Thomas Campbell, Director of the Met’s Costume Institute Andrew Bolton and Gap Executive Vice President of Design, Patrick Robinson. Galleries for the exhibition were then free for press to peruse and photograph (see below). Provided was an accompanying audio guide, appropriately narrated by none other than fashion “it”-girl Sarah Jessica Parker.

The Met’s Costume Institute collection, in conjunction with Brooklyn Museum of Art’s exhibit, is on display between May 5- August 15, 2010, and displays 80 examples of typical high fashion from 1890- 1930’s, demonstrating the perceptions, roles, influence and progression of women at the time of each decade discussed. A statement of the gender’s style and accomplishments, it was the broader concepts and smallest details that hit me the most.

The broader concept of women’s refusal to be ignored and their fight toward individual freedom through physical, intellectual, political, economic and sexual emancipation was a natural but lengthy journey which is, in some ways, yet incomplete. Below is a compilation of the exhibition’s rooms, all skillfully designed and painted to illuminate the clothing on display:

The Heiress (1890s): The refined and elegant styles of this period still looked to Europe for stylistic influence. This section is filled with gorgeous ball gowns by designers such as Charles Frederick Worth.
The Gibson Girl (1890s): Simple and casual, Charles Dana Gibson’s influence complimented the active woman’s life. Women began to experience physical emancipation, as cycling, golf and equestrianism became more popular, though they still wore corsets. The outdoors-inspired room displays sporting outfits of the time.
The Bohemian (1900s): The room, inspired by Louis Comfort Tiffany’s studio and Gertrude Vanderbilt Whitney (founder of the famous NYC museum), illuminate women who strove for intellectual emancipation through their involvement in the arts and sought unconventional style choices. Bohemian styles discarded the corset and picked up inspiration from Ancient Greece, Asia and the Middle East.
The Patriot and Suffragist (1910s): At the feet of World War I, women became more vocal as over 40,000 served in military and relief duty. Styles were intentionally feminine to bring attention to women and insist that they be recognized as political figures. Still fashionable, outfits were realistic and functional to compliment the long persistent hours of campaigning during an extremely important time of political emancipation in the eve of a woman’s right to vote.
The Flapper (1920s): Carefree and rebellious, Flappers represented women of the 1920’s who, now able to vote, were beginning significant careers and wanted to be acknowledged as such. Shapeless garments with androgynous silhouettes—hipless and waistless—allowed for freedom of movement and functionality. This time of The Great Gatsby, styles promoted the unique urbanity of a youthful career-driven woman with a contemporary societal awareness. Still social at night, many of these shapeless garments were embellished with beautiful detail and beading, emphasizing both economic and sexual emancipation. As the wall text in the exhibition points out, Flappers were “as much a symbol of sleek modernity as the skyscrapers rising around them.”
The Screen Siren (1930s): More mature than the youthful uninhibited styles of the Flapper, 1930’s styles were dictated by the sensual and glamorous red carpet looks of movie stars. Often formal dresses, like the Heiress, these dresses are instead more streamlined and sexually suggestive. Perhaps the most assertive of all of the above categories, there is no question about the dynamic independence of the Screen Siren which has become the hallmark of even the current modern woman.
Modern Woman/Final Gallery: The diverse sensibilities of the above sections create today’s modern woman who can carry one or more of these characteristics and styles with ease and confidence. The final gallery emphasizes the influence of all of these decades by displaying famous women as examples of the mannequins who were left faceless throughout the other gallery rooms.

As mentioned earlier, it was the broad linear connections through decades of history (as demonstrated in the bullet points above) and then smallest details of the intricately designed garments that most influenced me at American Women. Some of the details I loved most included the bodices, folds in fabric, attention to patterns in beading and general aesthetics of beautiful fabrics. I’ve included clips of some of these amazing particulars below.

Featured in the final gallery were wall to wall images of fashion and style icons, drawing clear linear perspectives, perhaps formerly unclear, between women from Michelle Obama to Lady Gaga, Madonna and Sandra Day O’Connor. If these women have nothing else in common, they will always share the history of their gender’s liberation and the freedom to celebrate what today’s woman has become, in all of her many forms.