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One of the most outstanding recent exhibitions dedicated to fashion history, the new show is a mandatory destination for all fashion-lovers, particularly for fashion students - not least because it is not often that a European venue plays host to such an outstanding collection of historical garments, accompanied by well-written and very informative texts that deal with the history and customs, as well as nuances of fashion, lifestyle and technology of the times.
The exhibition focuses on the grand-scale developments in the aesthetic outlook and technology in Europe between the Enlightenment and World War I, as well as the impact they had on the lines, tailoring techniques and trimmings.
A separate section of the exhibition is dedicated exclusively to textiles, presenting samples of magnificent fabrics and complete garments, as well as revealing a number of significant historical details - for instance, the fact that, considering the impressive expensiveness of fabrics which cost quite considerably more than the actual making of the garment, the 18th and 19th-century clothes were repeatedly altered and recycled until the textile quite literally disintegrated.
The show also features costumes worn at Paul Poiret's legendary Arabian Nights party in 1911 which could in a way be described as the cream of then-fashionable French passion for all things Oriental. The exhibits include the turban worn by the Queen of Poiret's extravagant harem - his wife Denise.
A fetish object dating from the early 1900s, the high black lace-up boots, on the other hand, bring back memories of Luis Buñuel's Diary of a Chambermaid (1964), emphasising the erotically charged dual nature (constraining and liberating) of corsets and lace-up boots - which was, incidentally, perfectly captured by Toulouse-Lautrec in his portraits of Parisian courtesans of the time. The disproportionate and impressive quantities of laces and loops of the corsets and boots which had to be tied and then untied again served to prolong the erotic process of getting undressed.
The show has been brought to Berlin from the Los Angeles County Museum of Art; undoubtedly, an intriguing element of the exhibition is the short film about the making of the exhibition and the incredibly precise and delicate treatment of the exhibits, the fragile items of historical evidence which have to be cleaned and preserved with care worthy of a goldsmith or a surgeon.

2 Unter den Linden
www.dhm.de

 

<sup>Photo:
- Kleid (Redingote), Ausschnitt, Europa, um 1790, Seide und Baumwolle in Atlas- und Leinwandbindung; Foto: © 2010 Museum Associates/LACMA, Erworben mit finanzieller Unterstützung von Suzanne A. Saperstein, Michael und Ellen Michelson sowie mit zusätzlicher Förderung durch den Costume Council, die Edgerton Foundation, Gail und Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao und Lenore und Richard Wayne.</sup>

^{- Kleid (Robe à la française), England, um 1765, Seidensatin mit Schussmusterung (lanciert) und Seidenposamenten; Foto: © 2010 Museum Associates/LACMA, Erworben mit finanzieller Unterstützung von Suzanne A. Saperstein, Michael und Ellen Michelson sowie mit zusätzlicher Förderung durch den Costume Council, die Edgerton Foundation, Gail und Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao und Lenore und Richard Wayne.}

^{- Habit (Anzug), Frankreich, um 1755, Geschnittener, ungeschnittener und geätzter Seidensamt (Ciselé) mit Satingrund; Foto: © 2010 Museum Associates/LACMA, Erworben mit finanzieller Unterstützung von Suzanne A. Saperstein, Michael und Ellen Michelson sowie mit zusätzlicher Förderung durch den Costume Council, die Edgerton Foundation, Gail und Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao und Lenore und Richard Wayne.}

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Europe / Germany / Berlin / Culture Agenda / Exhibitions / Fashioning Fashion. European Dress in Detail, 1700 – 1915. German Historical Museum, 27 April – 29 July 2012

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