By Khalailah Bynoe and Jaida Dent
“All That Glitters…” is a new exhibition presented by The School of Graduate Studies at The Museum at Fashion Institute of Technology (FIT). The collection was organized by the students of the Fashion and Textiles Studies: History, Theory, Museum Practice program, which provides students with hands-on experience in the construction and presentation of different garments. The collection features pieces that were only accessible to the graduate students.
The exhibition takes a look at the usage and creation of glitter in fashion, posing a discussion on its environmental impacts and its alternative uses in the modern world. The collection is organized into three sections: Thread, Fabric, and Adornment.
The Thread section explores fashion in the post-World War II era, where fashion was mostly accessible to the rich. The cost of metal-wrapped thread and precious metals made glitzy clothing pricey. With the creation of synthetic materials such as Lurex thread and plastic glitter, glitz, and glam became more accessible. Dorothy Liebes, an American textile designer, was a pioneer in fashion for her creation of Lurex, an aluminium-coated plastic.
Liebes’ impact is seen within this section through a skirt designed by Bonnie Cashin utilizing lurex yarn from 1950. The skirt is of a wool/nylon blend with Lurex yarn adding a bit of shimmer. It is a blue and yellow wrapped style skirt. The Lurex gives it a final touch that makes this skirt a versatile piece that can be dressed both up and down. The original skirt was worn by Gypsy Lee Rose, a Burlesque entertainer, and helped with Liebes’ vision of marketing Lurex as a material for all occasions, as opposed to only luxury items. While Lurex is not biodegradable, over time the Lurex Company has developed yarns that utilize recyclable materials.
“I have loved this skirt since the first time I saw it during the planning of this exhibition, thanks to its striking colors; the subtle shine of the Lurex threads; the elegant wrap silhouette,” said a student of the Fashion and Textile Studies program.
Another piece from the threads section is a gown designed by Christian Dior from 1950s France. This dress was a combination of the past expensive metal-wrapped thread and newly created affordable laminated metallic thread. The dress is made up of pink net with silver metallic thread laced throughout forming an intricate design. Dior combined the new and the old to help other couture ateliers bring their artisanal crafts like embroidery into the future of synthetic glitter.
The Fabric section of the exhibit explores the feelings that glittering fabrics can create. Mr. Gee’s cocktail set with a silhouette inspired by Christian Dior is a great example of fabric. The cream-colored skirt with gold painted motifs matched with the gold acetate and synthetic metallic blouse, reminiscent of poofy skirts and cinched waists from the 1950s. The combination of gold threads and paint allowed for a garment like this to be accessed and worn by middle-class individuals.
Many of the pieces in the collection were either items that The Museum at FIT had, or donated from other organizations like the Brooklyn Museum or the designers themselves. However, some pieces were stumbled upon by chance. While thrifting in Long Island, FIT student Zoe Klipstein stumbled upon a Bestform Space Age lingerie set from the 1960s.
“The ensemble, which includes a bullet bra with no wiring and a matching slip skirt, is intriguing because of the metallic fabric that features a scalloped pattern […] It’s compelling to consider that such glamorous, shiny undergarments were meant to be hidden underneath clothing,” said Klipstein in the Bloomberg Connects Guide.
The set features a silver mylar nylon jacquard bra and skirt. A clip from May 4, 1967 Women’s Wear Daily shows an ad for the set in a collection called “The Classicists.” The usage of glitter in a lingerie set showcases that the luxury of glitz shouldn’t only be worn for the world, but also for in intimate settings.
The final section, Adornment, delves into what glitter means to people and how it is tied to different groups and their identities. The Oscar de la Renta Boutique mini-dress circa 1965-66 was extremely adorned. It is a multicolored polyester knit A-line mini-shift dress that is decorated with large sequins with rhinestones in the middle. The dress was made during the 1960s “Youthquake”, which was a “[…] cultural movement that gave a voice to an expanding demographic of young consumers,” according to The Museum at FIT.
Within this section is a dress donated to the exhibit by FIT student Christina Wong. The dress was originally worn by her mother at her wedding. It is a wedding reception qipao (or cheongsam) that was made in Taiwan circa 1990.
“Qipao, also known as cheongsam (旗袍) in Cantonese, is a one-piece Chinese dress that has its origins in Manchu-ruled China back in the 17th century,” according to Thought Co. The dress was purchased in a San Jose bridal shop. The dress is white polyester with gold beads and sequins that were hand embellished. The gold signifies good luck and happiness.
This section also shows the usage of glitter within the queer community, specifically Nicola Bowery’s upcycled Gap denim set covered in sequins and beads. The garment was originally worn by British-born singer Johnny Rotten for the first Love Ball AIDS Benefit event in 1989. Attention is also called to glitter’s usage outside of fashion and in political protests, such as when U.S. Senator and former presidential nominee, Mitt Romney, was a victim of a glitter-bombing attack. Glitter-bombing was a method of protest used by activists, often on individuals who were against LGBTQ+ rights, including same-sex marriage.
“All That Glitters…” is a commentary on fashion’s most common trope. The pieces tell a story both individually and collectively, showcasing the stories behind what we perceive as “designer” versus what could have been everyday clothing items nearly a century ago. This exhibit juxtaposes the past and present while calling attention to the future of sustainable fashion.
The exhibition will be on view at The Museum at FIT until March 23, 2025, with a virtual component launching online on March 20.