Daphne Guinness at F.I.T: Dressing for Excess: It is tempting to dismiss "Daphne Guinness exhibition at the Museum at FIT, which includes the cabinet of one of the great eccentrics of the most visible fashion, as an attempt to capitalize on the public's appetite for excess narcissistic. But the truth is that the pint-sized passion for design brewery heir is not inimitable extreme, it is completely true. Her funds might run as deep as her walk-in closets, but unlike countless other couture clotheshorses, Guinness doesn’t fetishize fashion as a status symbol. Instead, over the years, she has developed a sartorial persona that’s one part Victorian damsel, one part sci-fi geisha and 100 percent off the wall. 
The exhibit, well stocked with looks by Alexander McQueen, Karl Lagerfeld for Chanel, Gareth Pugh and Azzedine Alaïa, is divided into six sections. The first "Dandyism," presents a masculine style, and a variety of measures, short jackets, while the "Armor" features "protection" pieces, including the nail in a dress suit and a silver ribbon and hood. It is a selection of elegant cocktail dresses and evening dresses in draped jersey, called respectively "Chic" and "Chic Evening." "Exotic" and "Sparkle" On the other hand, are full of bands that promotes flaming Guinness is often large public events. There are occasional experiments with colors and prints, sculpture, but the silhouette is a palette of severe black, white and metallic finally takes center stage. One of the chicest pieces on display is also the simplest: a black wool crepe suit from Chanel Couture, with perfectly fitted shoulders and a slight flare, the underskirt subtly dusted with hollow metallic sequins. While the mannequins’ Cruella de Vil streaked heads are a fun touch, they also underline the show’s surface appeal. It would be nice if there were more information provided about the narrative behind each piece the context in which it was worn, the year it was created, why it spoke to Guinness. Despite the show’s shortcomings, her intentions in agreeing to participate were honorable. After resisting invitations, Guinness was finally convinced when it was pointed out to her how meaningful the show would be for fashion students. She says, it’s “intended for them, to see the inside of seams, how the construction was done. There’s a new generation that might not have been able to see (these techniques) yet.” Speaking of receiving the sample, Guinness said that "some people will love it, some people hate it. And as much as people who hate for the same reasons." What it does is worth seeing Guinness is greater than lifelong commitment to free expression. While Guinness is all, however, fans of fierce individualism can breathe of relief as is Guinness: "Sometimes in a session, people want me to wear something that just is not me, and I cannot do It cannot be any more than I do anything." "Daphne Guinness" is the Museum at FIT to on January 7, 2012.
The exhibit, well stocked with looks by Alexander McQueen, Karl Lagerfeld for Chanel, Gareth Pugh and Azzedine Alaïa, is divided into six sections. The first "Dandyism," presents a masculine style, and a variety of measures, short jackets, while the "Armor" features "protection" pieces, including the nail in a dress suit and a silver ribbon and hood. It is a selection of elegant cocktail dresses and evening dresses in draped jersey, called respectively "Chic" and "Chic Evening." "Exotic" and "Sparkle" On the other hand, are full of bands that promotes flaming Guinness is often large public events. There are occasional experiments with colors and prints, sculpture, but the silhouette is a palette of severe black, white and metallic finally takes center stage. One of the chicest pieces on display is also the simplest: a black wool crepe suit from Chanel Couture, with perfectly fitted shoulders and a slight flare, the underskirt subtly dusted with hollow metallic sequins. While the mannequins’ Cruella de Vil streaked heads are a fun touch, they also underline the show’s surface appeal. It would be nice if there were more information provided about the narrative behind each piece the context in which it was worn, the year it was created, why it spoke to Guinness. Despite the show’s shortcomings, her intentions in agreeing to participate were honorable. After resisting invitations, Guinness was finally convinced when it was pointed out to her how meaningful the show would be for fashion students. She says, it’s “intended for them, to see the inside of seams, how the construction was done. There’s a new generation that might not have been able to see (these techniques) yet.” Speaking of receiving the sample, Guinness said that "some people will love it, some people hate it. And as much as people who hate for the same reasons." What it does is worth seeing Guinness is greater than lifelong commitment to free expression. While Guinness is all, however, fans of fierce individualism can breathe of relief as is Guinness: "Sometimes in a session, people want me to wear something that just is not me, and I cannot do It cannot be any more than I do anything." "Daphne Guinness" is the Museum at FIT to on January 7, 2012.
No comments:
Post a Comment