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100 Dresses: The Costume Institute / The Metropolitan Museum of Artby Harold Koda
Synopses & Reviews
What woman can resist imagining herself in a beautiful designer dress?and#160;Here, for the first time ever, are 100 fabulous gowns from the permanent collection of the renowned Costume Institute at The Metropolitan Museum of Art, each of which is a reminder of the ways fashion reflectsand#160;the broader culture that created it.
Featuring designs by Paul Poiret, Coco Chanel, Madame Grand#232;s, Yves Saint Laurent, Gianni Versace, Vivienne Westwood, Alexander McQueen, and many others, this one-of-a-kind collectionand#160;presents aand#160;stunning variety of garments. Ranging from the buttoned-up gowns of the late 17th century to the cutting-edge designs of the early 21st, the dresses reflect the sensibilities and excesses of each era while providing a vivid picture of how styles have changedand#8212;sometimes radicallyand#8212;over the years.and#160;A late 1600s wool dress with a surprising splash of silver thread; a large-bustled red satin dress from the 1800s; a short, shimmery 1920s dancing dress;and#160;a glamorous 1950s cocktail dress; and a 1960s minidressand#8212;each tells a story aboutand#160;its periodand#160;and serves as a testament to the enduring ingenuity of the fashion designerand#8217;s art.
Images of the dresses are accompanied by informative text and enhanced by close-up details as well as runway photos, fashion plates, works of art, and portraits of designers. A glossary of related terms is also included.
This unique and groundbreaking book presents dynamic and interpretive photographs of 60 years of British ballgowns and includes designs by Alexander McQueen, Bellville Sassoon, Bill Gibb, Erdem, Gareth Pugh, Stella McCartney, and Zandra Rhodes. The specially commissioned photographs by fashion photographer David Hughes are supplemented by essays exploring the ballgown as a particularly British garment, with designers, clients, and occasions unique to Britain.
Britainand#8217;s traditional social season of debutante parties, private balls, weddings, and charity events has long provided fashion designers with opportunities to create elaborate, tour-de-force eveningwear. In more recent years, the ballroom has been replaced by the red carpet. Though the context has changed, the ballgown remains a staple in many designersand#8217; collections and continues to serve as an expression of status, protocol, and taste, while simultaneously embodying elements of drama and fantasy.
About the Author
Harold Koda is Curator in Charge of the Costume Institute at The Metropolitan Museum of Art.
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