Statement Sleeves In Detail: Curator's Notes

red and gold shot silk green dinner gown against a plain red-orange backgroundDinner gown, circa 1895, USA. Museum purchase, 2019.83.1

Enjoy hidden details of why curator Colleen Hill selected these garments for Statement Sleeves. Includes some closer looks.

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Cream silk satin and tulle ballgown, circa 1830

The trend for full-length, sheer sleeves is fascinating—they were truly about fashion over function. I wanted to include something from the 1830s that was not a ubiquitous leg-of-mutton style. Already by that time period, a women’s dressmaking manual lamented that there were so many styles of sleeves that it was impossible to name them all. 

The bodice of ballgown made from cream silk satin. It has short, puffed sleeves with a long oversleeve crafted from sheer silk tulle.

Cream silk satin and tulle ballgown, c. 1830, Russia. Museum purchase, 2007.12.4

The bodice of ballgown made from cream silk satin. It has short, puffed sleeves with a long oversleeve crafted from sheer silk tulle.

Cream silk satin and tulle ballgown, c. 1830, Russia. Museum purchase, 2007.12.4

Close up of a long oversleeve crafted from sheer silk tulle.

Cream silk satin and tulle ballgown, c. 1830, Russia. Museum purchase, 2007.12.4

The bodice of ballgown made from cream silk satin. It has short, puffed sleeves with a long oversleeve crafted from sheer silk tulle.
The bodice of ballgown made from cream silk satin. It has short, puffed sleeves with a long oversleeve crafted from sheer silk tulle.
Close up of a long oversleeve crafted from sheer silk tulle.

 

Christian Dior (Marc Bohan), dress with feather and rhinestone embellishments, fall 1968

I have loved 1960s fashion since I was a child. This beautiful dress was carefully stored in a garment bag that was custom-made by our conservators to protect its delicate feathers, and it is in excellent condition. It was one of my first selections for the exhibition and inspired the section on embellishment. Marc Bohan’s work for Dior is often overlooked, but The Museum at FIT has some spectacular examples of his designs. 

Partial side view of a silk dress sleeve trimmed with feathers and horizontal bands of rhinestones and beads at mid-arm.

Christian Dior (Marc Bohan), dress with feather and rhinestone embellishments, fall 1968, France. Gift of Mrs. Linda Mitchell, 91.183.5

Partial side view of a silk dress sleeve trimmed with feathers and horizontal bands of rhinestones and beads at mid-arm.

Christian Dior (Marc Bohan), dress with feather and rhinestone embellishments, fall 1968, France. Gift of Mrs. Linda Mitchell, 91.183.5

Partial side view of a silk dress sleeve trimmed with feathers and horizontal bands of rhinestones and beads at mid-arm.
Partial side view of a silk dress sleeve trimmed with feathers and horizontal bands of rhinestones and beads at mid-arm.

 

Molyneux, evening dress, circa 1929

Molyneux first aspired to be a painter. I was struck by the way in which he crafted this delicate sleeve—by layering, gathering, and stitching fabric to create depth and texture—which I feel lends a painterly quality to the design.  

Sheer elbow-length sleeve with a gathered and layered decorative flounce at mid upper arm

Molyneux, evening dress, c. 1929, France. Museum purchase, P86.66.5 

close up of sheer elbow-length sleeve with a gathered and layered decorative flounce at mid upper arm

Molyneux, evening dress, c. 1929, France. Museum purchase, P86.66.5 

Sheer elbow-length sleeve with a gathered and layered decorative flounce at mid upper arm
close up of sheer elbow-length sleeve with a gathered and layered decorative flounce at mid upper arm

Red and gold shot silk and green cotton velvet faille dinner gown, circa 1895

This dinner dress is a somewhat recent acquisition to the museum’s collection, and I love its banded “virago” sleeves. Although they generally fall within the fashion for puff sleeves that dominated much of the 1890s, they are also unusual, indicating that their wearer was a fashion-forward woman. 

A voluminous silk sleeve with a puff at the shoulder and over the forearm defined by velvet bands positioned below the elbow and at the wrist.

Red and gold shot silk and green cotton velvet faille dinner gown, c. 1895, USA. Museum purchase, 2019.83.1

closer look of silk sleeve with a puff at the shoulder and over the forearm defined by velvet bands positioned below the elbow and at the wrist

Red and gold shot silk and green cotton velvet faille dinner gown, c. 1895, USA. Museum purchase, 2019.83.1

A voluminous silk sleeve with a puff at the shoulder and over the forearm defined by velvet bands positioned below the elbow and at the wrist.
closer look of silk sleeve with a puff at the shoulder and over the forearm defined by velvet bands positioned below the elbow and at the wrist

Red-violet silk velvet dressing gown, circa 1935

The 1930s marked a “golden age” for statement sleeves—I could have curated the entire exhibition on sleeves from this era! Compelling sleeve styles could be found on garments for any occasion during this decade, including elegant at-home attire. The elaborate pin-tucking on this dressing gown is not only decorative, but also helps to shape the dramatic shoulder line. 

Partial side view of a woman’s dressing gown in velvet, tied at the waist with a matching silk ribbon. The full sleeve has a sharply defined shoulder, a tapered cuff, and elaborate pin-tucks in concentric circles.

Red-violet silk velvet dressing gown, c. 1935, USA. Gift of Pamela Starkey, 2011.25.1

Partial side view of a woman’s dressing gown in velvet, tied at the waist with a matching silk ribbon. The full sleeve has a sharply defined shoulder, a tapered cuff, and elaborate pin-tucks in concentric circles.

Red-violet silk velvet dressing gown, c. 1935, USA. Gift of Pamela Starkey, 2011.25.1

violet red velvet tapered cuff, and elaborate pin-tucks in concentric circles.

Red-violet silk velvet dressing gown, c. 1935, USA. Gift of Pamela Starkey, 2011.25.1

Partial side view of a woman’s dressing gown in velvet, tied at the waist with a matching silk ribbon. The full sleeve has a sharply defined shoulder, a tapered cuff, and elaborate pin-tucks in concentric circles.
Partial side view of a woman’s dressing gown in velvet, tied at the waist with a matching silk ribbon. The full sleeve has a sharply defined shoulder, a tapered cuff, and elaborate pin-tucks in concentric circles.
violet red velvet tapered cuff, and elaborate pin-tucks in concentric circles.

 

Isabel Toledo, taupe silk evening dress, spring 2002

Isabel Toledo considered herself a dressmaker, rather than a designer—but whatever her title, she was a genius. I enjoy learning from her innovative construction techniques. The back bodice of this ensemble features a layer of fabric that extends over the shoulders like a cape, which is then gathered into an adjustable belt at the waist. I appreciate the way Toledo blended elegance, comfort, and adaptability into this design.

Back view of a dress bodice with fabric that extends like a cape over the shoulders and gathers into a wide belt at the waist.

Isabel Toledo, taupe silk evening dress, spring 2002, USA. Gift of Anonymous Donor, 2010.1.48

Front view of a dress bodice with fabric that extends like a cape over the shoulders and gathers into a wide belt at the waist.

Isabel Toledo, taupe silk evening dress, spring 2002, USA. Gift of Anonymous Donor, 2010.1.48

Back view of a dress bodice with fabric that extends like a cape over the shoulders and gathers into a wide belt at the waist.
Front view of a dress bodice with fabric that extends like a cape over the shoulders and gathers into a wide belt at the waist.

 

Givenchy, white cotton lawn blouse with broderie anglaise trim, circa 1952

I was amazed to find this blouse in the museum’s collection. I recognized the style from some of my previous research on Givenchy, and it was thrilling to include some of his earliest work—which also happens to have fantastic sleeves! Our conservators lovingly spruced it up and prepared it for its first-ever exhibition. 

Ruffled tiers of white, lace-trimmed fabric decorate the sleeve of a white cotton blouse.

Givenchy, white cotton lawn blouse with anglaise trim, c.1952, France. Gift of Mr. Rodman A. Hereen, 70.57.114

Ruffled tiers of white, lace-trimmed fabric decorate the sleeve of a white cotton blouse.

Givenchy, white cotton lawn blouse with anglaise trim, c.1952, France. Gift of Mr. Rodman A. Hereen, 70.57.114

Ruffled tiers of white, lace-trimmed fabric decorate the sleeve of a white cotton blouse.
Ruffled tiers of white, lace-trimmed fabric decorate the sleeve of a white cotton blouse.

 

Susan Cianciolo, blue cotton denim dress, 2006.

Susan Cianciolo’s work is rare, and we’re fortunate to have several examples in The Museum at FIT collection. The handsewn patchwork sleeves, made from humble denim, define this dress. I selected this design to emphasize that sleeves do not need to be oversized or made from elaborate materials to be statement-making. 

Partial front view of a denim dress with patchwork cap sleeve.

Susan Cianciolo, blue cotton denim dress, 2006, USA. Gift of Anonymous Donor, 2015.41.2

close up of denim patchwork sleeve of varying washes

Susan Cianciolo, blue cotton denim dress, 2006, USA. Gift of Anonymous Donor, 2015.41.2

Partial front view of a denim dress with patchwork cap sleeve.
close up of denim patchwork sleeve of varying washes

 

Black silk crepe dinner dress with inset panels of beaded net, circa 1927

This dress is made with fragile net fabric, so it is stored on a flat board (rather than hanging) in the museum’s storage. I knew it would be beautiful, but I couldn’t predict how lovely and dramatic the sleeves would be until the garment was dressed on a mannequin. Although I was unable to find much information on its original wearer, Hilda Feldman Dickinson, she must have had great taste in sleeves—I included two of her dresses in the exhibition! 

A black silk dress with a straight silhouette. The lower portion of the dress’s long sleeve features an insert of black net embroidered with silver beads in a geometric pattern.

Black silk crepe dinner dress with inset panels of beaded net, c. 1927, USA. In memory of their aunt Hilda Feldman Dickinson, 81.159.2

A black silk dress with a straight silhouette. The lower portion of the dress’s long sleeve features an insert of black net embroidered with silver beads in a geometric pattern.

Black silk crepe dinner dress with inset panels of beaded net, c. 1927, USA. In memory of their aunt Hilda Feldman Dickinson, 81.159.2

A black silk dress with a straight silhouette. The lower portion of the dress’s long sleeve features an insert of black net embroidered with silver beads in a geometric pattern.
A black silk dress with a straight silhouette. The lower portion of the dress’s long sleeve features an insert of black net embroidered with silver beads in a geometric pattern.

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