September 15, 2018 – October 6, 2018
The work of FIT students and faculty takes center stage in the Gallery FIT exhibition Crafting Change. Organized by the Textile/Surface Design Department in conjunction with New York Textile Month, the works featured in Crafting Change use long-established techniques in a modern context to explore the shifting boundaries between art, design, and technology. Combining hand-crafting techniques with digital processes preserves tradition while pushing textiles into the future. Projects bridging science and textiles have the potential to revolutionize the fashion and textile industries, leading us to a more sustainable world. These works are promising examples of how FIT is successfully encouraging interdisciplinary mergers of craft, technology, and sustainability in order to usher textile arts into the 21st century.Photo Credit: Laura Gauthier.
Fashion & Textile History Gallery
May 25 – November 17, 2018
Fashion Unraveled examines the concepts of imperfection and incompletion in fashion. Garments that are altered, unfinished, or deconstructed, in addition to clothing that shows signs of wear, highlights the aberrant beauty in flawed objects. Unless such imperfections are intentional — as they are in the case of deconstructed fashion — these garments are often overlooked in museum collections. This exhibition includes a selection of objects from the museum’s permanent collection, highlighting objects that are not only visually compelling, but that may also tell intriguing stories about their makers and/or wearers.
It is only in recent years that imperfect or inauthentic objects have been given greater consideration, as interest in their “biographies” has grown. Signs of repeated wear, shortened hemlines, and careful mends can be found even on haute couture garments, and they highlight the lasting economic and emotional worth of many clothes within museum collections. These findings — which are often unseen and unknown by museum visitors — challenge the concept of fashion as a strictly ephemeral, disposable commodity. Fashion Unraveled also reveals how the appearance of aged clothing, with its flaws and signs of decay, has been embraced by many designers as an aesthetic choice, furthering the reconstruction of notions about beauty and value in fashion.
Read more about Fashion Unraveled.Image: detail of ensemble by XULY.Bët, repurposed acrylic sweaters, fall 1994, gift of XULY.Bët.
Special Exhibitions Gallery
September 7, 2018 – January 5, 2019
Pink is popularly associated with little girls, ballerinas, Barbie dolls, and all things feminine. Yet the symbolism and significance of pink have varied greatly across time and space. The stereotype of pink-for-girls versus blue-for-boys may be ubiquitous today, but it only gained traction in the mid-twentieth century. In the eighteenth century, when Madame de Pompadour helped make pink fashionable at the French court, it was perfectly appropriate for a man to wear a pink suit, just as a woman might wear a pink dress. In cultures such as India, men never stopped wearing pink.
Yet anyone studying pink comes up against “the color’s inherent ambivalence.” One of “the most divisive of colors,” pink provokes strong feelings of both “attraction and repulsion.” “Please sisters, back away from the pink,” wrote one journalist, responding to the pink pussy hats worn at the Women’s March. Some people think pink is pretty, sweet, and romantic, while others associate it with childish frivolity or flamboyant vulgarity. In recent years, however, pink has increasingly has been interpreted as cool, androgynous, and political.
Curated by Dr. Valerie Steele, director of The Museum at FIT, Pink: The History of a Punk, Pretty, Powerful Color explores the changing significance of the color pink over the past three centuries.
Read more about Pink.Image: Afternoon dress, pink silk taffeta, 1857, USA, museum purchase.