Was Charles James More Radical Than Punks? A Look Into the Upcoming Met Exhibition-------
“It’s an opportunity to blow everyone’s minds,” grinned Costume Institute curator Harold Koda at the new (and very much so, as the paint was still drying) Anna Wintour Costume Center at the Metropolitan Museum of Art yesterday morning. Koda was referring not just to the physical space, but the forthcoming inaugural exhibition, Charles James: Beyond Fashion. “He is generally acknowledged to be one of a handful of designers to have changed the métier of design,” said Koda of the innovative couturier. “Christian Dior has credited James with inspiring his New Look. And Balenciaga said, ‘James is not America’s best couturier; he is simply the world’s best.’ When you have the two perhaps most important male designers of the mid-20th century endorsing you, you can understand that it’s something of a lack that the general public is not aware of this man’s work.”
Yesterday’s press conference provided a small window into what to expect in May’s exhibition. There was a curated collection of James’ original pieces on display: The deep red, seamlessly movable silk taffeta Tree dress he created for Marietta Peabody Tree (Penelope’s mother) in 1955 and the renowned Four-Leaf Clover ball gown, made for Austine Hearst and worn with a live-gardenia-covered jacket in 1953, were two. The jacket was re-created with the tech-ready help of architecture firm DRS. Elettra Wiedemann slipped into the 10-pound, strapless, curve-highlighting creation to give the attendees a sense of its ballroom twirl.
“[James was the] originator of the spiral-cut taxi dress. Advocator of the strapless. Inventor of the figure-eight shirt and puffer jacket. A waist that expanded after a meal. The no-cup bra,” asserted Koda, later telling Style.com, “[He] was really radical. He was an early proponent at a point where he made something that was difficult to understand very desirable. He treated the creation of clothing as an art. Even some of the greatest designers have said, ‘Oh, this is not an art. It’s a craft.’ Vionnet said, ‘I’m a dressmaker.’ Balenciaga, who used conventional tailoring and pushed it to the extreme, was still reliant on history. James wasn’t like that at all.”
The exhibition will open May 8 and run through August 10. It’s a move away from recent mass read, overtly pop culture, sexy Costume Institute shows—punk, the model, the supermodel, etc. A lesson in the underappreciated, indeed.