MANUS X MACHINA: FASHION IN AN AGE OF TECHNOLOGY

INTRODUCTION The traditional distinction between the haute couture and prêt-à-porter has always been between the custom-made and the ready-made. Haute couture clothes are singular models fitted to the body of a specific individual, while prêt-à-porter garments are produced in multiples for the mass market in standard sizes to fit many body types. Implicit in this difference is the assumption that the handwork techniques involved in the haute couture are superior to the mechanized methods of prêt-à-porter. Over the years, however, each discipline has regularly embraced the practices of the other. Despite the fact that this mutual exchange continues to accelerate, the dichotomy between the hand (manus) and the machine (machina) still characterizes the production processes of the haute couture and prêt-à-porter in the twenty-first century. Instead of presenting the handmade and the machine-made as oppositional, this exhibition suggests a spectrum or continuum of practice, whereby the hand and the machine are equal and mutual protagonists in solving design problems, enhancing design practices, and, ultimately, advancing the future of fashion. It prompts a rethinking of the institutions of the haute couture and prêt-à-porter, especially as the technical separations between the two grow increasingly ambiguous and the quality of designer prêt-à-porter more refined. At the same time, the exhibition questions the cultural and symbolic meanings of the hand-machine dichotomy. Typically, the hand has been identified with exclusivity and individuality as well as with elitism and the cult of personality. Similarly, the machine has been understood to signify not only progress and democracy but also dehumanization and homogenization. In examining these values, the show’s intention is to liberate the handmade and the machine-made from their usual confines of the haute couture and prêt-à-porter, releasing them from the exigencies of the fashion system into the hands of fashion designers for whom they serve as expressions of creative impulses.

UPPER LEHMAN – ATRIUM

MÉTIERS Manus x Machina is structured around the métiers, or trades, of dressmaking outlined in the Encyclopédie, one of the most provocative publications of the French Enlightenment. Denis Diderot and Jean le Rond d’Alembert’s famed Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers (Encyclopedia, or Systematic Dictionary of the Sciences, Arts, and Crafts, 1751–72) placed these trades on the same footing as the arts and sciences, which had been regarded as the noblest forms of scholarly activity since Greek antiquity. The elevation of these and other métiers served as an incendiary challenge to established prejudices against manual labor, biases that the authors sought to refute by showing the creativity and complexity such work involved. In fact, the Encyclopédie, detailing as it does the skills and tools requisite for these arts, provides an erstwhile articulation of the exhibition’s theme—manus × machina, hand and machine. The métiers defined in the Encyclopédie remain central to the haute couture today, and they provide the organizing principles of this exhibition. Embroidery, featherwork, and artificial flowers are explored on the upper floor, while pleating, lacework, and leatherwork are featured on the lower floor. The lower galleries also examine the prototypes—toiles and paper patterns—involved in the creation of the haute couture, as well as the traditional divisions of a couture house, namely the ateliers for tailoring and dressmaking. In essence, the exhibition unfolds as a contemporary adaptation of the Encyclopédie and the protoindustrial world it highlights.

Case Study House of Chanel (French, founded 1913) Karl Lagerfeld (French, born Hamburg, 1938) Wedding Ensemble Autumn/winter 2014–15, haute couture Courtesy of CHANEL Patrimoine Collection

Perhaps it used to matter if a dress was handmade or machine-made, at least in the haute couture, but now things are completely different. . . . The digital revolution has changed the world. —Karl Lagerfeld

This ensemble, which Lagerfeld has described as “haute couture without the couture,” exemplifies the confluence of the hand (manus) and the machine (machina). Made from scuba knit, a synthetic material, the dress is hand molded, machine sewn, and hand finished. Maison Desrues (founded 1929) hand embroidered the buttons with gold, glass, and crystals, and Atelier Montex (founded 1939) hand embroidered the medallion with glass, crystals, paillettes, anthracite cannetilles, and gold leather leaf motifs. The train of scuba knit and silk satin is machine sewn and hand finished. Lagerfeld’s hand-drawn design was digitally manipulated to give it the appearance of a randomized, pixelated baroque pattern and then realized through a complex amalgam of hand and machine techniques. Atelier Lunas (founded 1993) used a heat press to transfer the rhinestones; Atelier Anne Gelbard (founded 1997) painted the gold metallic pigment by hand; and the pearls and gemstones were hand embroidered by Cécile Henri Atelier (founded 1982).

Published by Vincent Giuntini, Lucques, Italy Leather bound volume with engraved plates; ink on paper Bequest of Marianne Khuner (AE25 .E532 1758 Q)

Denis Diderot (French, 1713–1784) Jean Le Rond d’Alembert (French, 1717–1783) Pierre Mouchon (French, 1733–1797) “Embroiderer” from Recueil de planches, sur les sciences, les arts libéraux, et les arts méchaniques: avec leur Case 1 explication, 1762–72, book 2 (part 1), vol. 2, plate 1 Denis Diderot (French, 1713–1784) Published by Antoine-Claude Briasson, Paris Frontispiece Leather-bound volume with engraved plates; ink from Encyclopédie, ou Dictionnaire raisonné des on paper sciences, des arts et des métiers, Jane E. Andrews Fund, in memory of her husband, par une société de gens de lettres, 1758–71, vol. 1 William Loring Andrews, 1955 (AE25 .E531 1762 Q)

Published by Antoine-Claude Briasson, Paris Leather-bound volume with engraved plates; ink on paper Jane E. Andrews Fund, in memory of her husband, William Loring Andrews, 1955 (AE25 .E531 1762 Q)

Denis Diderot (French, 1713–1784) Jean Le Rond d’Alembert (French, 1717–1783) Pierre Mouchon (French, 1733–1797) “Maker of Artificial Flowers, Plans of Cutters for Flower Petals” Case 2 from Recueil de planches, sur les sciences, les arts Denis Diderot (French, 1713–1784) libéraux, et les arts méchaniques: avec leur Jean Le Rond d’Alembert (French, 1717–1783) explication, 1762–72, book 3, vol. 4, plate 1 Pierre Mouchon (French, 1733–1797) Published by Antoine-Claude Briasson, Paris “Feather Trader, Various Creations and Tools” Leather-bound volume with engraved plates; ink from Recueil de planches, sur les sciences, les arts on paper libéraux, et les arts méchaniques: avec leur Jane E. Andrews Fund, in memory of her husband, explication, 1762–72, book 7, vol. 8, plate 1 William Loring Andrews, 1955 (AE25 .E531 1762 Q)

Published by Antoine-Claude Briasson, Paris Leather-bound volume with engraved plates; ink on paper Jane E. Andrews Fund, in memory of her husband, William Loring Andrews, 1955 (AE25 .E531 1762 Q)

Denis Diderot (French, 1713–1784) Jean Le Rond d’Alembert (French, 1717–1783) Pierre Mouchon (French, 1733–1797) “Leather Craftsman, River Work and Macerating Vats” Case 3 from Recueil de planches, sur les sciences, les arts Denis Diderot (French, 1713–1784) libéraux, et les arts méchaniques: avec leur Jean Le Rond d’Alembert (French, 1717–1783) explication, 1762–72, book 6, vol. 7, plate 1 Pierre Mouchon (French, 1733–1797) Published by Antoine-Claude Briasson, Paris “Lace” Leather-bound volume with engraved plates; ink from Recueil de planches, sur les sciences, les arts on paper libéraux, et les arts méchaniques: avec leur Jane E. Andrews Fund, in memory of her husband, explication, 1762–72, book 2 (part 2), vol. 3, plate 1 William Loring Andrews, 1955 (AE25 .E531 1762 Q)

from Recueil de planches, sur les sciences, les arts libéraux, et les arts méchaniques: avec leur explication, 1762–72, book 8, vol. 9, plate 1 Published by Antoine-Claude Briasson, Paris Leather-bound volume with engraved plates; ink on paper Jane E. Andrews Fund, in memory of her husband, William Loring Andrews, 1955 (AE25 .E531 1762 Q)

Denis Diderot (French, 1713–1784) “Fan Maker, Assembly of the Fans” Case 4 from Planches pour l’Encyclopédie, ou pour le Denis Diderot (French, 1713–1784) Dictionnaire raisonné des sciences, des arts Jean Le Rond d’Alembert (French, 1717–1783) libéraux, et des arts méchaniques, avec leur Pierre Mouchon (French, 1733–1797) explication, 1765–76, vol. 4, plate 3 “Tailor of Suits, Tools” Published by Vincent Giuntini, Lucques, Italy Leather bound volume with engraved plates; ink on paper Bequest of Marianne Khuner (AE25 .E533 1765 Q)

UPPER LEHMAN – EMBROIDERY

BRODERIE (EMBROIDERY) The elaborate embroideries, featherwork, and artificial flowers of the haute couture are made by a coterie of paruriers (adornment makers) whose practices have remained surprisingly unchanged for more than a century. Traditional embroidery is needlework that adorns woven or knitted textiles. The basis of the technique, which has infinite permutations, derives from three types of stitches: flat, looped, and knotted. Among the more significant developments in hand-embroidery techniques was Louis Ferry-Bonnechaux’s mid-1860s invention of Luneville embroidery (also known as tambour beading). The practice uses a wooden frame to stretch the fabric and a small hook to anchor various decorative elements to the textile with chain stitch. Some of the greatest innovations in hand embroidery have developed with the availability of new materials, such as cellulose acetate and other synthetics. These fabrics enable a diverse range of surface embellishments, while thermoplastic film allows designers to heat transfer elements to a textile surface without stitching. Maisons that specialize in embroidery include Hurel, Lanel, Lesage, Montex, and Broderies Vermont. These ateliers primarily supply the haute couture, although several, especially Lesage, are increasingly servicing prêt- à-porter. While Paris remains the center of specialist embroiderers, India is gradually becoming an important locus of skilled craftspeople. Indeed, prêt-à-porter designers who employ hand embroidery rather than machine embroidery typically rely on the skills of artisans in India, as do those seeking handmade featherwork and artificial flowers.

Case Study House of Dior (French, founded 1947) Yves Saint Laurent (French, 1936–2008) “L’Eléphant Blanc” Evening Dress Spring/summer 1958, haute couture Gift of Bernice Chrysler Garbisch, 1977 (1977.329.5a, b)

All too often, we forget that embroidery is still done by hand, just as it was in the eighteenth century. We can succeed in completely covering a dress with millions of sequins or beads placed one by one by fingers that, especially in our mechanical age, seem as though they come from fairy hands. —Christian Dior

For his debut collection for the House of Dior, Yves Saint Laurent presented an exaggerated lampshade-like silhouette dubbed the “trapeze line,” of which this dress is an exemplar. The title, L’Eléphant Blanc (The White Elephant), pays homage to a fashionable Parisian night spot and alludes wryly to the effort and expense involved in creating a garment of such exquisite craftsmanship. Although the dress is machine sewn, its seemingly effortless sway demands a rigid, meticulous understructure and more than five layers of tulle, prompting one observer to comment that the dress had been “constructed with the architectural finesse of the Eiffel Tower.” The glittering constellation of surface decoration was painstakingly applied by hand by Christian Dior’s faithful brodeur (embroiderer), Maison Rébé (1911–66). A chevron of set crystals encircles the neckline, punctuated with clusters of looped tassels with beaded strands. Elsewhere, embroidered dots of silver thread, crystals, and paillettes alternate with tiny quatrefoil blooms of sequins anchored with rhinestone centers.

House of Dior (French, founded 1947) Christian Dior (French, 1905–1957) “Junon” Dress Autumn/winter 1949–50, haute couture Machine-sewn, hand-finished pale green silk faille and taffeta foundation, hand-sewn pale blue silk tulle embroidered with opalescent sequins, hand- appliqué of forty-five hand-cut pale blue silk tulle and horsehair petals, hand-embroidered with opalescent, blue, green, and orange gelatin sequins Gift of Mrs. Byron C. Foy, 1953 (C.I.53.40.5a–c)

House of Dior (French, founded 1947) Christian Dior (French, 1905–1957) “Venus” Dress Autumn/winter 1949–50, haute couture Machine-sewn, hand-finished gray silk taffeta and tulle; hand-appliqué of gray silk tulle and horsehair petals, hand-embroidered with opalescent, gold, and silver gelatin sequins, feather-shaped paillettes, synthetic pearls, and clear crystals Gift of Mrs. Byron C. Foy, 1953 (C.I.53.40.7a–c)

In a machine age, dressmaking is one of the last refuges of the human, the personal, and the individual. —Christian Dior

Alexander McQueen (British, founded 1992) Sarah Burton (British, born 1974) Evening Dress Spring/summer 2012, prêt-à-porter Machine-sewn white silk organza, hand-sewn to nude silk mesh; hand-embroidered with silver beads, clear crystals, and silver plastic feather- shaped paillettes; hand-appliqué of silver silk and metallic hand-shredded petals, hand-embroidered with silver beads, clear crystals, and silver plastic feather-shaped paillettes Courtesy of Alexander McQueen

In a way, the hand is being lost today. It’s important to me that a piece of clothing always feels like it has been touched by the hand at some point, even if there is a lot of machine work involved. —Sarah Burton

House of Givenchy (French, founded 1952) Alexander McQueen (British, founded 1992) Hubert de Givenchy (French, born 1927) Sarah Burton (British, born 1974) Evening Dress Dress 1963, haute couture Spring/summer 2012, prêt-à-porter Hand-sewn red-orange cotton Mechlin-type lace Hand- and machine-sewn nude silk organdy and hand-embroidered with red-orange glass beads, net, hand-embroidered with red-orange glass tinsel, and pieces of coral beads, freshwater pearls, pieces of coral, and dyed Gift of Mrs. John Hay Whitney, 1974 (1974.184.2) shells Courtesy of Alexander McQueen

A lot of our embroideries are designed in our atelier, then sent to India to be executed, like the finale [pieces] in my spring/summer 2012 collection. Everything was done by hand— the embroidery, the cutting and fraying … It took days and days to finish. I lost track of the hours. —Sarah Burton

Proenza Schouler (American, founded 2002) Lazaro Hernandez (American, born 1978) Jack McCollough (American, born Tokyo, 1978) Dress Autumn/winter 2015–16, prêt-à-porter Machine-sewn black silk chiffon, hand-embroidered with silver plastic paillettes Courtesy of Proenza Schouler

We wanted the embroideries to look like astrakhan—to have the texture of astrakhan. So we laid all the sequins on their sides, which resulted in a furry-looking, three-dimensional sensibility. They were so densely placed that each ensemble comprised three hundred thousand paillettes. The shine was so strange—sort of metallic but pearlized at the same time. —Lazaro Hernandez and Jack McCollough

Iris van Herpen (Dutch, born 1984) Dress Autumn/winter 2013–14, haute couture Machine-sewn black cotton twill, hand-painted with gray and purple polyurethane resin and iron filings, hand-sculpted with magnets

Purchase, Friends of The Costume Institute Gifts,

2015 (2016.13)

[This] dress has a base made from cotton fabric.

Then there is a rubber component—a soft rubber— in which we place metal powder. When you mix everything together, the rubber has a few minutes when it is still wet and soft. We pour the rubber onto the cotton fabric. Then we place magnets above and below, and you see the metal powder grow piece by piece—in a matter of seconds— before it sets. The coloration is exquisite because while the rubber is still wet and soft we add a very thin enamel powder that has iridescent qualities.

—Iris van Herpen

Norman Norell (American, 1900–1972) Evening Dress 1965, prêt-à-porter Machine-sewn blue silk jersey, hand-embroidered with blue gelatin sequins, machine-finished, hand- hemmed Gift of Elizabeth J. Foss, 1989 (1989.37.1a)

Norman Norell (American, 1900–1972) Evening Dress Ca. 1953, prêt-à-porter Machine-sewn light blue silk jersey, hand- embroidered with blue-ombré gelatin sequins; machine-finished, hand-hemmed Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Emmet Whitlock, 1983 (2009.300.998)

Louis Vuitton Co. (French, founded 1854) Louis Vuitton Co. (French, founded 1854) Nicolas Ghesquière (French, born 1971) Nicolas Ghesquière (French, born 1971) Dress Dress Spring/summer 2016, prêt-à-porter Spring/summer 2016, prêt-à-porter Machine-sewn white cotton poplin; machine-sewn, Machine-sewn white cotton poplin; machine-sewn, hand-appliquéd overlay of ivory silk-synthetic net, hand-appliquéd overlay of ivory silk-synthetic net, bonded with laser-cut silver metallic strips, hand- bonded with laser-cut silver metallic strips, hand- airbrushed with blue and gray pigment, hand- airbrushed with black, dark brown, blue, and gray grommeted with copper metal pigment, hand-grommeted with copper metal Courtesy of Collection Louis Vuitton Courtesy of Collection Louis Vuitton

Louis Vuitton Co. (French, founded 1854) [These] pieces were very complex in terms of the Nicolas Ghesquière (French, born 1971) processes involved. The celluloid sequins were cut Dress into strips by laser, then machine glued onto tulle. Spring/summer 2016, prêt-à-porter When the fabric arrived back from the factory, I Machine-sewn white cotton poplin; machine-sewn, didn’t like it—I thought the tulle was too flat. . . . hand-appliquéd overlay of ivory silk-synthetic net, But, as I began to fold and drape the fabric, bubbles bonded with laser-cut silver metallic strips, hand- began to form, and the sequins took on the shape airbrushed with dark brown, blue, and gray of a croissant. . . . Because the sequins were too pigment, hand-grommeted with copper metal shiny, we had them spray-painted—by hand—to Courtesy of Collection Louis Vuitton create shadows and to make them look more dimensional. . . . I wanted everything to look imperfect, even the metal eyelets. —Nicolas Ghesquière

Halston (Roy Frowick) (American, 1932–1990) Evening Dress Ca. 1970, prêt-à-porter Machine-sewn light blue silk jersey printed with blue-ombré imbrication pattern, machine- embroidered with clear iridescent sequins Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Trudy Elliott, 1985 (2009.300.2919)

Prada (Italian, founded 1913) Miuccia Prada (Italian, born 1949) Dress Autumn/winter 2011–12, prêt-à-porter Machine-sewn white silk organdy, hand- embroidered with opalescent plastic paillettes and clear beads Courtesy of Prada

Prada (Italian, founded 1913) Miuccia Prada (Italian, born 1949) Dress Autumn/winter 2011–12, prêt-à-porter Machine-sewn white silk organdy, hand- embroidered with opalescent plastic paillettes and clear beads Courtesy of Prada

Usually, flat embroidery with paillettes is achieved by machine, but with these dresses I wanted to create flat embroidery that had more movement, so we used the hand. The paillettes are slightly raised and layered to achieve the fish-scale effect. . . . I like the idea of using plastic paillettes in a way that is luxurious. —Miuccia Prada

House of CHANEL (French, founded 1913) Maison Margiela (French, founded 1988) Gabrielle “Coco” Chanel (French, 1883–1971) Martin Margiela (Belgian, born 1957) Evening Ensemble Ensemble 1935, haute couture Spring/summer 1996, prêt-à-porter Hand-sewn black silk crepe chiffon and black Machine-sewn white synthetic knit, digitally cotton bobbinet, hand-embroidered with black printed with black trompe l’oeil sequin motifs gelatin sequins; machine-sewn black silk slip, hand- Purchase, Gould Family Foundation Gift, in memory attached of Jo Copeland, 2010 (2010.133a, b) Gift of Claudia de Osborne, 1977 (1977.407.11a–c) Louis Vuitton Co. (French, founded 1854) I have never been a dressmaker. I admire those Nicolas Ghesquière (French, born 1971) who can sew, enormously: I have never known Dress how; I prick my fingers. Autumn/winter 2016–17, prêt-à-porter —Gabrielle “Coco” Chanel Machine-sewn white silk twill, hand-embroidered with clear and white plastic sequins, overprinted with black pigment Courtesy of Collection Louis Vuitton

Case Study

Saint Laurent (French, founded 1961) Yves Saint Laurent (French, 1936–2008) Dress Spring/summer 1983, haute couture Courtesy of Fondation Pierre Bergé-Yves Saint Laurent, Paris

The big difference between couture and ready-to-wear is not design. It is the fabrics, the handwork and the fittings. The act of creation is the same. —Yves Saint Laurent

Known as the “sardine” dress, this formfitting sheath from Saint Laurent’s 1983 “Gilda” collection was created in collaboration with Maison Lesage (founded 1924). The seams of the black silk crepe dress were sewn by machine and finished by hand in the Saint Laurent atelier. Lesage hand embroidered all the surface embellishments, executed in black and pewter beads and blue, gray, black, brown, silver, and opalescent gelatin paillettes to evoke the iridescent skin of a fish, a task that required fifteen hundred hours to complete. The allover imbrication, or fish-scale pattern, obscures the dress’s underlying structure and seams, creating the illusion of a second skin— a conceit that emphasizes the custom fit of a couture garment. Over the years, Lesage has provided embroidery for many maisons de couture. In 2002, CHANEL Paraffection, a division devoted to preserving the specialized métiers of the haute couture, acquired Lesage. To date, the division has acquired ten other ateliers: Desrues, Lemarié, Michel, Massaro, Goossens, Montex, Causse, Barrie, Lognon, and ACT 3. UPPER LEHMAN – FEATHERWORK

PLUMASSERIE (FEATHERWORK) The Latin term plumarius was once used to describe both the featherworker and the embroiderer. Indeed, among the maisons specializing in featherwork today, including Février, Legeron, Lemarié, Marcy Coté Plume, and Nelly Saunier, several combine the two trades into one practice. Typically, the skills required in featherwork increase as the manipulation of the plumes nears completion. At the outset, feathers are cleaned with soap and water, dried, and sorted. Next the plumes are bleached, which, historically, was achieved through the stoving process, involving exposure to sulphur dioxide fumes. Those feathers not valued for their natural hue are dyed. The feathers are then shaped through various means. Some are trimmed, scorched, and finished through reduction. More commonly, however, plumes are built up. Through meticulous handwork the individual barbs of a feather are knotted together, adhered with glue, and threaded or wrapped with wire. The final step often involves curling, a process in which small groups of barbs from a vaned feather are pulled across a knifelike metal tool.

[Not photographed]

Gareth Pugh (British, born 1981) Gareth Pugh (British, born 1981) Dress Dress Autumn/winter 2015–16, prêt-à-porter Autumn/winter 2015–16, prêt-à-porter Machine-sewn white silk-wool gazar with overlay Machine-sewn black silk-wool gazar with overlay of of white mesh, hand-embroidered with clear black mesh, hand-embroidered with black drinking drinking straws straws Courtesy of Gareth Pugh Courtesy of Gareth Pugh

Every straw was cut by hand… . They were attached individually with metal hardware – a little twisted jewelry fitting that hooked onto the fabric base. On the runway, you could hear them before you saw them. And they moved beautifully – like feathers caught in a gust of wind. – Gareth Pugh

Saint Laurent (French, founded 1961) Yves Saint Laurent (French, 1936–2008) Evening Ensemble Autumn/winter 2000–2001, haute couture Dress: machine-sewn, hand-finished black lacquered silk panne velvet; cape: black silk organza, hand-embroidered by Lemarié with black iridescent rooster feathers Courtesy of Fondation Pierre Bergé-Yves Saint Laurent, Paris

Art is a very big word for couture. It’s a métier like any other, but a poetic métier. —Yves Saint Laurent

Iris van Herpen (Dutch, born 1984) Dress Spring/summer 2009, prêt-à-porter Machine-sewn black synthetic knit with machine- and hand-sewn hand-cut black plastic fringe, padded and hand-finished hem Courtesy of Iris van Herpen

All the acrylic ‘feathers’ on this dress are hand cut and hand applied. . . . For me, handwork is a form of meditation. It makes me go into another mind- set, which can be very fertile for new ideas. —Iris van Herpen

Prada (Italian, founded 1913) Miuccia Prada (Italian, born 1949) Ensemble Autumn/winter 2007–8, prêt-à-porter Machine-sewn black silk-wool jacquard with plain weave-cloqué dégradé, hand-embroidered with fringe of black rooster feathers and black plastic paillettes Courtesy of Prada

We ask ourselves, how can a machine create a new type of fabric? How can you change the use of a machine for another use? In terms of materials, I think one of my technologically challenging collections was my autumn/winter 2007–8 collection. It was a study on different materials morphing into one another. —Miuccia Prada House of CHANEL (French, founded 1913) Karl Lagerfeld (French, born Hamburg, 1938) Dress Autumn/winter 2015–16, haute couture Hand-sewn black silk tulle, hand-embroidered by Lemarié with black crystals and black silk passementerie hand-woven with hand-glued and - stitched black ostrich feathers Courtesy of CHANEL Patrimoine Collection

The feathers were woven by hand [ by Lemarié]. The dress was seamless, like the 3-D-printed suits [from the same collection]. —Karl Lagerfeld Gareth Pugh (British, born 1981) Dress Autumn/winter 2015–16, prêt-à-porter Machine-sewn black silk-wool gazar, hand- embroidered with black plastic drinking straws Courtesy of Gareth Pugh

Every straw was cut by hand. [They] were stitched together by hand and then embroidered by hand onto [the] garment. . . . I like to use my hands to make things, that’s what makes me the happiest. —Gareth Pugh

House of Givenchy (French, founded 1952) Hubert de Givenchy (French, born 1927) Evening Dress 1966–67, haute couture Machine-sewn, hand-finished dark brown silk broadcloth, hand-glued with brown and white ostrich feathers Gift of Bernice Chrysler Garbisch, 1977 (1977.108.3a–c)

Saint Laurent (French, founded 1961) Yves Saint Laurent (French, 1936–2008) Evening Dress Autumn/winter 1969–70, haute couture Machine-sewn, hand-finished nude silk gauze, hand-glued with white, black, and brown bird-of-paradise feathers Gift of Baron Philippe de Rothschild, 1983 (1983.619.1a, b)

Iris van Herpen (Dutch, born 1984) Dress Autumn/winter 2013–14, haute couture Hand-stitched strips of laser-cut nude silicone feathers, machine-sewn white cotton twill, hand-applied silicone-coated gull skulls with synthetic pearls and glass eyes Purchase, Friends of The Costume Institute Gifts, 2015 (2016.14)

The process [of making this dress] is very complicated. We start with pouring the silicone. . . . When we’re happy with the consistency, we start the process of laser cutting. We laser cut strokes, and we do two strokes at the same time. . . . Once the sheets have been cleaned we stitch them by hand to the fabric of the base dress. . . . [The birds are] made from the same fabric as the base dress with a small cage inside, and then attached directly to the dress. . . . And the heads are real bird-head skeletons coated in silicone, with glass eyes and pearls. —Iris van Herpen

X-ray showing internal wire structure and gull skull Image by Cristina Balloffet Carr and Glenn Petersen, The Metropolitan Museum of Art

House of Balenciaga (French, founded 1937) House of Dior (French, founded 1947) Cristóbal Balenciaga (Spanish, 1895–1972) Raf Simons (Belgian, born 1968) Evening Dress Evening Dress Autumn/winter 1965–66, haute couture Autumn/winter 2015–16, haute couture Machine-sewn, hand-finished pink silk net and pink Machine-sewn, hand-finished, gray silk tulle and silk Rachelle knit, trimmed with hand-glued pink organza, hand-glued with blue, orange, purple, ostrich feathers brown, and black rooster feathers by Lemarié Gift of Mrs. Charles B. Wrightsman, 1966 Courtesy of Christian Dior Haute Couture (C.I.66.54.5a, b)

Paris used to have a special ambience for fashion because it contained hundreds of dedicated craftsmen making buttons and flowers and feathers and all the trimmings of luxe which could be found nowhere else. Now there are just a few survivors. —Cristóbal Balenciaga

Alexander McQueen (British, founded 1992) Sarah Burton (British, born 1974) Ensemble Autumn/winter 2014–15, haute couture Cape: machine-sewn black silk organdy, hand- embroidered with black ostrich feathers, and purple, black, gray, and green goose feathers; dress: machine-sewn, hand-finished black silk chiffon, hand-embroidered with black ostrich feathers and purple, black, gray, and green goose feathers Courtesy of Alexander McQueen

Every feather is hand cut and hand stitched. People thought they were printed. We took a photograph of a moth’s wing, and then adapted it on a computer. So, hand first, machine second. The pattern is completely engineered. —Sarah Burton

House of Chanel (French, founded 1913) Karl Lagerfeld (French, born Hamburg, 1938) Dress Spring/summer 2014, haute couture Machine-sewn white silk satin and tulle, hand- embroidered by Montex with black and transparent opalescent plastic sequins and opalescent cellophane fringe; hand-glued by Lemarié with black duck feathers; hand-finished Courtesy of CHANEL Patrimoine Collection

[This dress] was…made with Lemarié. The feathers were mixed with cellophane. [Lemarié is] open to everything. Sometimes, they approach me with a new idea, but usually I approach them. –Karl Lagerfeld

Courtesy of Maiko Takeda

Maiko Takeda (Japanese, born 1986) “Atmospheric Reentry” Headpiece and Bolero 2013 Hand-cut transparent green-, blue-, and purple- ombré acetate fringe, hand-woven with machine- cut clear acrylic squares, hand-assembled with silver metal jump rings Courtesy of Maiko Takeda

Through the experiment process, I developed the technique to create a visual effect of intangible

aura by layering printed clear film, sandwiched with Maiko Takeda (Japanese, born 1986) acrylic discs and linked together with silver jump “Atmospheric Reentry” Ensemble rings. . . . I wanted to keep something tactile and 2013 analog about them. I didn’t want to use LED lights Hand-cut transparent yellow- and green-ombré or anything with a motor or battery. The effect is acetate fringe, hand-woven with machine-cut clear that [they] look somehow digital, but the point was acrylic squares, hand-assembled with silver metal they were all made of [the] tactile and low-tech jump rings, cast-aluminum strap materials around us. —Maiko Takeda

UPPER LEHMAN – ARTIFICIAL FLOWERS

PARURIER FLORAL (ARTIFICIAL FLOWERS) Like feathers, artificial flowers are a significant form of embellishment in the haute couture as well as in prêt-à-porter. Among the maisons producing handcrafted floral garnitures are Guillet, Legeron, and Lemarié. In addition to artificial flowers, many of these ateliers also produce featherwork and embroidery. Creating an artificial flower begins with preparing the material, which is usually treated with flour or gelatin to improve its malleability. Petals are then cut, most often in layers to enable twelve to twenty-four to be created simultaneously. The method for metal punching flower shapes remains largely unchanged, although machines rather than mallets are now used for stamping. Small stacks of petals are then cold-water dyed in a specialized bath of alcohol and pigment. The solution is mixed by hand and calibrated to achieve the intended color, and the material may need to be dipped and dried several times to attain the desired effect. As the petals are shaped, crimped, and scored into place, they are worked atop pillows. Usually, a flower is finished by gluing and anchoring the petals together with thread.

Case Study

House of CHANEL (French, founded 1913) (founded 1924). Playfully christened “l’homme aux Karl Lagerfeld (French, born Hamburg, 1938) camélias” (the camellia man) by Lagerfeld, André Wedding Ensemble Lemarié (the founder’s grandson) introduced Autumn/winter 2005–6, haute couture artificial flowers to Maison Lemarié’s repertoire Courtesy of CHANEL Patrimoine Collection after joining the family business in 1946. The atelier now produces more than forty thousand I covered it entirely in camellias. It’s like a giant camellias—CHANEL’s signature flower—every year. bouquet. Quite funny, no? No one is working with Each flower takes up to ninety minutes to flowers in this way. complete. While Lemarié created the clouds of —Karl Lagerfeld white ostrich feathers and the twenty-five hundred white flowers that embellish this ensemble, Lesage This wedding ensemble was made by hand from applied them to the garment, along with barely start to finish. It served as the finale of Lagerfeld’s visible sequins. Despite the sense of ethereal ease, autumn/winter 2005–6 haute couture collection the artificial flowers, embroidery, and featherwork and marries the work of two ateliers: Maison together required seven hundred hours of Lemarié (founded 1880) and Maison Lesage handwork. House of Dior (French, founded 1947) Raf Simons (Belgian, born 1968) Dress Autumn/winter 2012–13, haute couture Machine-sewn white silk organdy and blue silk net hand-embroidered by Hurel with blue, clear, and yellow sequins, clear bugle beads, and crystals; machine-sewn ivory silk crepe, tulle, and chiffon, hand-embroidered by Lesage with gold metal thread, pearls, pink crystals, and hand-cut pink flower petals; hand-finished

The whole idea about juxtaposing something so specifically from that time with something so specifically from this time is, for me, already modernity in itself. —Raf Simons

Prada (Italian, founded 1913) Miuccia Prada (Italian, born 1949) Dress Autumn/winter 2015–16, prêt-à-porter Machine-sewn pink viscose jersey-gazar, self-fabric machine- and hand-sewn appliqué, hand- embroidered with clear glass beads, and pink, clear, red, and yellow set crystals Courtesy of Prada

Prada (Italian, founded 1913) Miuccia Prada (Italian, born 1949) Dress Autumn/winter 2015–16, prêt-à-porter Machine-sewn blue-green viscose jersey-gazar, self-fabric machine- and hand-sewn appliqué, hand-embroidered with clear glass beads, and blue, clear, and red set crystals Courtesy of Prada

I use so many processes in my work—some that involve the hand and some that involve the machine. For me, mixing the hand and the machine gives the best results. I don’t think the hand and the machine have any use or value on their own. What matters is the form in relationship with the idea.

—Miuccia Prada

Louis Vuitton Co. (French, founded 1854) Marc Jacobs (American, born 1964) Dress Spring/summer 2012, prêt-à-porter Dress: machine-sewn blue silk-polyester crinkle organza, hand-embroidered with laser-cut white and blue plastic flowers, grommeted with clear crystals and silver metal studs, hand-finished; slip: machine-sewn white polyester organdy with machine-made broderie anglaise flowers Courtesy of Collection Louis Vuitton

Boué Soeurs (French, active 1899–1957) Court Presentation Ensemble 1928, haute couture Hand-sewn ivory silk tulle, machine-embroidered with couched silver cord in a foliate and vermicelli pattern; insets of silver-blue silk and metal lamé with machine-picot edging; hand-appliquéd with hand-embroidered white silk tulle with artificial flowers in pink, purple, green, yellow, and blue silk ribbon and floss Gift of Mrs. George Henry O’Neil, 1968 (C.I.68.48a– d)

Alexander McQueen (British, 1969–2010) Dress Spring/summer 2009, prêt-à-porter Machine-sewn gray silk duchesse satin and nude silk georgette, hand-embroidered with silver metal flower petals and white synthetic pearls Courtesy of Alexander McQueen

Alexander McQueen (British, 1969–2010) Dress Spring/summer 2009, prêt-à-porter Machine-sewn pale pink silk duchesse satin and nude silk georgette, hand-embroidered with pink enameled-metal flower petals Courtesy of Alexander McQueen

[The flowers are] made out of metal—painted with enamel, to be more exact. They were all hand painted, then hand applied to the dress three- dimensionally. . . . At [Alexander] McQueen there has always been a merging of couture and ready- to-wear practices. It’s difficult to differentiate one from the other. —Sarah Burton

House of Chanel (French, founded 1913) Karl Lagerfeld (French, born Hamburg, 1938) Ensemble Spring/summer 2010, haute couture Dress: pink silk chiffon and charmeuse, hand- embroidered with pink silk satin flowers, pearls, and pink frosted crystals, hand-finished; cape: 1,300 hand-pieced pink silk satin flowers by Lemarié with pink frosted crystals Courtesy of CHANEL Patrimoine Collection

The pink cape was made from 1,300 satin camellias. . . . They grew from small flowers at the collar to large flowers at the hem. Chanel was very discreet with the camellia—brooches, corsages. —Karl Lagerfeld

Giambattista Valli (Italian, born 1966) Dress Spring/summer 2013, haute couture Machine-sewn ivory silk tulle, hand-embroidered with handmade pale pink “cherry blossom” florets of ostrich, rooster, and goose feathers Courtesy of Giambattista Valli

Hussein Chalayan (British, born Cyprus, 1970) “Duck” Dress Spring/summer 2000, prêt-à-porter Machine-sewn pale pink polyester tulle, hand- gathered and sculpted into tufts and machine- stitched to pink cotton twill Courtesy of Hussein Chalayan

[This and a similar dress] were inspired by the way in which mountains are formed by means of erosion and tectonic forces. They were made from shapeless bales of pink tulle that were cut away by hand—step by step—in order to arrive at more regular shapes. —Hussein Chalayan

Saint Laurent (French, founded 1961) Yves Saint Laurent (French, 1936–2008) Wedding Ensemble Spring/summer 1999, prêt-à-porter Bridal wreath, bracelet, and anklet: handmade pink and gold silk flowers and leaves by Lemarié; train: machine-sewn pink silk gazar Courtesy of Fondation Pierre Bergé-Yves Saint Laurent, Paris

Hussein Chalayan (British, born Cyprus, 1970) “Kaikoku” Floating Dress Autumn/winter 2011–12, prêt-à-porter Cast fiberglass painted with gold metallic pigment, hung with Swarovski crystal and pearled paper “pollens,” rear-entry panels with motorized hinges, radio-controlled digital handset Courtesy of Swarovski

[This dress is] made from cast fiberglass that has been [machine] painted with gold metallic pigment, and [hand] ‘embroidered’ with fifty ‘pollens’ created from crystals and pearled paper. The wearer enters the dress through a rear-access panel, and the entire garment, which is on wheels, is operated via remote control. Each ‘pollen’ is spring loaded. During a peak moment, all the pollens are released into the air and swirl around the wearer. It was intended as a poetic gesture, as the dress is meant to symbolize new beginnings. —Hussein Chalayan

Film footage Courtesy of Chalayan

Prada (Italian, founded 1913) Miuccia Prada (Italian, born 1949) Dress Autumn/winter 2016–17, prêt-à-porter Machine-sewn white silk organza, machine- embroidered with white, yellow, and pink cotton floral motifs superimposed with hand-embroidered plastic paillettes, rhinestones, and beads Courtesy of Prada

Prada (Italian, founded 1913) Miuccia Prada (Italian, born 1949) Dress Autumn/winter 2016–17, prêt-à-porter Machine-sewn green silk organza, machine- embroidered with white cotton floral motifs superimposed with hand-embroidered white plastic sequins, rhinestones, and beads Courtesy of Prada

Christopher Kane (British, born 1982) Ensemble Spring/summer 2014, prêt-à-porter Sweater: machine-knit ivory cashmere, appliqué of white nylon net, machine- and hand-embroidered with green, black, and orange silk-synthetic thread and yellow and opalescent sequins; skirt: machine-sewn nude silk-synthetic organza, laser- cut yellow polyester voile appliqué, machine- and hand-embroidered with green, black, and orange silk-synthetic thread Courtesy of Christopher Kane

[For this dress] we laser cut [the] flower appliqués rather than cutting them by hand. The collection was inspired by the process of photosynthesis, and my intention was to equate a flower’s reproductive system with that of a woman’s. The flowers were taken from a school science textbook—basically, the flowers were like huge textbook images blown up. Although flowers are organic forms, I think that the precision of the machine-created appliqués helped accentuate the didactic nature of the scientific reference textbook. The details are a

combination of machine and hand embroidery. —Christopher Kane

Spring/summer 1952, haute couture Machine-sewn, hand-finished white silk organza, hand-embroidered with artificial flowers in green, pink, yellow, and white silk floss, hand-painted cotton, silk twist Gift of Mrs. Byron C. Foy, 1955 (C.I.55.76.20a–g)

House of Dior (French, founded 1947) Christian Dior (French, 1905–1957) “May” Dress Spring/summer 1953, haute couture Machine-sewn, hand-finished white silk organza and net, hand-embroidered with artificial flowers, clover, and grass in green, pink, and purple silk floss Gift of Mrs. David Kluger, 1960 (C.I.60.21.1a, b)

We were emerging from the period of war, of uniforms, of women-soldiers built like boxers. I House of Dior (French, founded 1947) drew women-flowers, soft shoulders, fine waists Christian Dior (French, 1905–1957) like liana and wide skirts like corolla. “Vilmiron” Dress —Christian Dior

Case Study

House of Dior (French, founded 1947) Raf Simons (Belgian, born 1968) Dress Spring/summer 2014, haute couture Courtesy of Christian Dior Haute Couture

In the haute couture you can take the lightest-weight transparent silk and the atelier will bring the shape up. They don’t do it technically; they do it with their hands. —Raf Simons

This dress—made from two layers of white silk mousseline—is a paragon of fashion’s art of technical mastery and virtuoso execution. As is common in the haute couture, it was sewn by machine and embroidered by hand. It combines the skills of two brodeurs (embroiderers): Atelier Montex (founded 1939) embroidered the underdress with clear plastic crystals, red glass seed beads, and clear and white plastic flower-shaped paillettes, while Broderies Vermont (founded 1956) embroidered the overdress with white rayon florettes, red glass seed beads, iridescent flower-shaped paillettes, and small pieces of blue, black, and white silk fabric. The cutwork, also produced by Vermont, was realized by hand and finished by machine—a detail that speaks to the privileges and proficiencies of each method. The dress exemplifies Simons’s interest in the haute couture as both a force of skilled artistry and a source of inspiration. The artificial flowers are not after-the-fact decorations but the garment’s enabling principles, the matrix of the design.

LOWER LEHMAN – TAILLEUR & FLOU

TOILES French in origin, the term toile translates as “cloth” or “canvas.” Since the nineteenth century, the word has been used to describe a prototype garment or preliminary three-dimensional sketch for a finished fashion design. Toiles are commonly referred to as “muslins,” because they tend to be constructed from linen or cotton muslin, an inexpensive, unbleached plain-weave textile that presents a range of draping and tailoring possibilities. In the haute couture (and for asymmetrical designs), a full toile is created, while in prêt-à-porter (and for symmetrical designs) a half toile is made (the right side of the design). Executing a designer’s vision in simple muslin encourages not only greater creative freedom and experimentation but also refinements in fit, the key to the haute couture. The history of toiles relates closely to developments in dressmakers’ dummies. Alexis Lavigne, a French professor, introduced one of the earliest patented dummies in the 1850s. His figures— composed of papier- mâché lightly padded with cotton batting or wadding and covered in pieced and seamed canvas—contributed to the precision with which a garment could be fitted and gradually evolved to help delineate measurements and geometries essential to dressmaking. In 1867 a student of Lavigne’s, the Belgian sculptor Frédéric Stockman, established a mannequin company that later became Siegel and Stockman, one of the largest suppliers of dress forms to couture houses today.

TAILLEUR AND FLOU (TAILORING AND DRESSMAKING) The traditional structure of a maison de couture is eloquently described through the nomenclature for the two ateliers, or workrooms: tailleur and flou. Tailleur, the tailoring division, specializes in suits and structured garments. Stemming from the French term tailler (to cut or hew), tailleur translates as “one who cuts.” Following the advent of the sewing machine in the nineteenth century, stitching and assembling an article of clothing became relatively easy to apprehend. But to understand the intricacies of manipulating fabric on the grain, and to envision how to most adroitly use an expanse of cloth with minimal surplus—all the while exercising precision and accuracy when cutting—is an art form in its own right. In contrast, the atelier flou, the dressmaking division, specializes in draping and soft construction. Where the term tailleur implies lucidity, the word flou suggests something hazy, blurred, or ambiguous. Less beholden to line and structure, a garment created within the atelier flou responds to the hand of the fabric and the draping or layering around the figure. Although patternmaking and precision of fit are integral to both divisions, and the method of realizing an original design is contingent on the practices of the head designer, a garment that originates in the atelier tailleur is likely to begin as a flat pattern derived from a sketch, whereas a garment that originates in the atelier flou is likely to evolve on the dressmaker’s form.

Hussein Chalayan (British, born Cyprus, 1970) “One Hundred and Eleven” Mechanical Dress Spring/summer 2007, prêt-à-porter Machine-sewn gray silk organza bodice; machine- sewn gray cotton-synthetic sateen tabs; aluminum plaques with hand-glued Swarovski crystals; machine-molded plastic understructure; machine- sewn boned foundation threaded with monofilament wire, pulleys, and electronically controlled, geared motor components Courtesy of Swarovski

[My spring/summer 2007] collection was inspired by the way in which world events—wars, revolutions, and other social and political upheavals—have shaped fashion over the course of a century. I showed six hand-constructed mechanical dresses that physically morphed from one era’s style to another. Probably the most dramatic was a dress that morphed from Christian Dior’s ‘New Look’ of the late 1940s to Paco Rabanne’s metal-link shift dresses of the 1960s.

—Hussein Chalayan House of Dior (French, founded 1947)

Christian Dior (French, 1905–1957) Film footage: “Bar Suit” Jacket Courtesy of Chalayan Spring/summer 1947, haute couture Machine-sewn beige tussah silk plain weave, hand- Paco Rabanne (French, born Spain, 1934) stitched bound buttonholes, hand-pad-stitched Dress interlining 1967, haute couture Gift of Mrs. John Chambers Hughes, 1958 Machine-cut silver aluminum, hand-punched and - (C.I.58.34.30) linked with silver metal jump rings Courtesy of Paco Rabanne

Hussein Chalayan (British, born Cyprus, 1970) Dress Spring/summer 2009, prêt-à-porter Molded white polyurethane foam, hand-painted and airbrushed with gray, green, blue, brown, black, and red crushed automobile imagery Courtesy of Hussein Chalayan

The dresses that opened my ‘Inertia’ collection (spring/summer 2009), which were exercises in hand draping, were made of jersey thermo-bonded to neoprene. To me, the technique emphasized the gestural act of draping fabric directly on the human figure or mannequin form. . . . [The collection] ended with the body being the ‘event’ of a crash, with dresses caught in the midst of speed— embodying, simultaneously, the cause and effect of Hussein Chalayan (British, born Cyprus, 1970) a crash in one moment. Five models stood on a Dress revolving platform wearing dresses frozen in Spring/summer 2009, prêt-à-porter motion and printed with images of crashed Machine-sewn, bonded pale gray viscose jersey automobiles. and polyurethane foam, hand-glued seam —Hussein Chalayan allowance

Courtesy of Hussein Chalayan

hand-embroidered with clear worked with tulle so you could glass beads, opalescent look through and see—and rhinestones, blue and ivory appreciate as well as chenille, and silver metal cord understand—all the layers of and strips the construction. Purchase, The Dorothy Strelsin —John Galliano Foundation Inc. Gift, 2006 (2006.22a–e) Charles James (American, born Great Britain, 1906–1978) This dress shows the process of Muslin construction not Ca. 1950 deconstruction. What sets Machine-sewn gold silk faille, House of Dior (French, founded couture apart from ready-to- hand-marked with grain lines, 1947) wear is the ateliers, the hand-sewn and hand-pinned John Galliano (British, born workmanship, and the amazing white cotton muslin, quilted Gibraltar, 1960) attention to detail—nothing is black silk plain weave and Ensemble impossible, and imagination haircloth, machine-sewn black Autumn/winter 2005–6, haute becomes even more beautiful. cotton casings couture For this look I wanted to show Brooklyn Museum Costume Machine-sewn nude silk satin, the magic of the draping on the Collection at The Metropolitan hand-stitched white polyester form, how the block to the toile Museum of Art, Gift of the batting, hand-draped and hand- to the final gown is created, Brooklyn Museum, 2009; basted nude silk net and hand- and all the stages in between. Brooklyn Museum Collection piece-dyed blue silk taffeta, We did lots of “X-ray” fabrics, (2009.300.1080)

House of CHANEL (French, founded 1913) chine hand-embroidered by Lesage with gold Gabrielle “Coco” Chanel (French, 1883–1971) synthetic sequins Suit Courtesy of CHANEL Patrimoine Collection 1963–68, haute couture Machine-sewn ivory wool bouclé tweed, hand- House of Chanel (French, founded 1913) applied navy and ivory wool knit trim hand-braided Karl Lagerfeld (French, born Hamburg, 1938) with interlocking chain stitch Suit Gift of Mrs. Lyn Revson, 1975 (1975.53.7a–e) Autumn/winter 2015–16, haute couture 3-D-printed (selective laser sintering) black House of CHANEL (French, founded 1913) “quilted” polyamide overlay by Materialise, hand- Karl Lagerfeld (French, born Hamburg, 1938) stitched black pearls, black and clear bugle beads, Suit and clear crystals, hand-embroidered by Lesage Autumn/winter 2015–16, haute couture with silver synthetic sequins on black quilted china 3-D-printed (selective laser sintering) “quilted” silk and organdy polyamide by Materialise, hand-painted with blue, Courtesy of CHANEL Patrimoine Collection gold, and silver trompe l’oeil tweed pattern, hand- embroidered with braided white, blue, and gold [This] suit is very interesting. It was 3-D printed to wool, silk, and metal trim, and gold metal buttons look like quilting, but the braiding and underlayer, with pearls which is visible through the quilting, were hand Courtesy of CHANEL Patrimoine Collection embroidered with gold paillettes . . . by Lesage. It’s the perfect marriage of the hand and the House of CHANEL (French, founded 1913) machine. . . . It’s the mix that is interesting. Just Karl Lagerfeld (French, born Hamburg, 1938) using one or the other is very dull. Fashion is about Suit today. What keeps the haute couture alive is to Autumn/winter 2015–16, haute couture move with the times. If it stays in an ivory tower, 3-D-printed (selective laser sintering) white like Sleeping Beauty in the woods, you can forget it. polyamide overlay by Materialise, with hand- —Karl Lagerfeld stitched clear crystals, lining of black silk crepe de Film footage: Courtesy of CHANEL

House of Balenciaga (French, founded 1937) Cristóbal Balenciaga (Spanish, 1895–1972) Suit Winter 1964, haute couture Machine-sewn black silk synthetic gauze and Lurex matelassé Courtesy Cristóbal Balenciaga Museoa, Getaria, Spain

A good couturier must be an architect in planning, a sculptor in form, a painter in color, a musician in harmony, and a philosopher in proportion. —Cristóbal Balenciaga

House of Balenciaga (French, founded 1937) Nicolas Ghesquière (French, born 1971) Ensemble Autumn/winter 2010–11, prêt-à-porter Jacket and skirt: machine-sewn, machine-quilted black wool synthetic plain weave with machine- sewn black quilted leather; Shirt: machine-sewn white synthetic laser-perforated silk georgette and organza Courtesy of Balenciaga Archives, Paris

House of Chanel (French, founded 1913) Gabrielle “Coco” Chanel (French, born 1183–1971) Women think of all colors except the absence of Dress color. I have said that black has it all. 1925, haute couture —Gabrielle “Coco” Chanel Machine-sewn black silk chiffon lined with machine sewn black silk crepe; hand-finished Prada (Italian, founded 1913) Gift of Gytha M. Rupp, 1994 (1994.474a, b) Miuccia Prada (Italian, born 1949) Dress Fashion is architecture. It is a matter of Spring/summer 1995, prêt-à-porter proportions. Machine-sewn black parachute nylon; silver metal —Gabrielle “Coco” Chanel buckle Courtesy of Prada House of CHANEL (French, founded 1913) Gabrielle “Coco” Chanel (French, 1883–1971) [This is] a very simple dress that was made by Ensemble machine from start to finish, which is rare in my Ca. 1927, haute couture work. It was made out of nylon—an industrial Machine- and hand-sewn black wool jersey and nylon—like the type of nylon used for bags and black silk satin, hand-pleated with hand-sewn luggage. . . . When I made that dress, I was heavily binding and finishing inspired by industrial materials and industrial Purchase, The New York Historical Society, by production techniques. exchange, 1984 (1984.28a–c) —Miuccia Prada

Spring/summer 2014, demi- fixated on a particular couture technique. . . . I use the hand Machine-sewn white silk when I need to, and the organza and white silk machine when I need to—it all compound weave, printed à la depends on the effect I’m trying disposition with black and to achieve. One doesn’t have cream pattern-drafting-paper more importance or more motifs, hand-embroidered in significance than the other. black silk yarn with dot and —Hussein Chalayan cross motifs Gift of Goga Ashkenazi, Maison Margiela (French, Vionnet, 2014 (2014.729a–f) founded 1988) Martin Margiela (Belgian, born I used laser cutting in the 1957) spring/summer 2014 demi- Coat couture collection that I Autumn/winter 1997–98, demi- designed for Vionnet. . . . couture [Some] pieces, however, White Tyvek printed with Vionnet S.p.A. featured [machine] printed and pattern-drafting-paper motifs, (Italian, founded 2008) hand-embroidered dot and seams hand-lapped with Hussein Chalayan (British, born cross motifs taken from adhesive tape Cyprus, 1970) patternmaker’s paper. . . . I Gift of Stella Ishii, Staff USA Ensemble think it is very unmodern to be Inc., 1999 (1999.493.6)

House of Lanvin (French, Machine-sewn black wool founded 1889) gabardine and beige linen plain Alber Elbaz (Israeli, born weave, hand-cut sleeves Morocco, 1961) Courtesy of Lanvin Jacket Spring/summer 2015, prêt-à- This vest was done on a printed porter pattern toile, all rough, and we Machine-sewn black technical added the embroidery. But you stretch cotton and white cotton see the toile. You can just canvas, decorative hand- roughly machine cut the topstitching with silver metal structural components and put thread them together, as if you took Couresty of Lanvin the inside of a toile and you exposed it. So it’s all by House of Lanvin (French, machine, but it’s almost founded 1889) undone. And then [we] added Alber Elbaz (Israeli, born this super hand embroidery on Morocco, 1961) top of it. That, for me, is the Vest mix, the story of how the Spring/summer 2016, prêt-à- technological meets the human. porter It’s the roughness of technology but the poetry of the tradition.

—Alber Elbaz

Maison Margiela (French, founded 1988) John Galliano (British, born Gibralter, 1960) Jacket Spring/summer 2015, haute couture Machine-sewn white cotton muslin hand- overstitched with black thread and hand-drawn black and orange seam lines, hand-painted pigment, and hand-sewn and hand-pinned gold metallic passementerie, black silk synthetic satin ribbon, cotton pockets, paper, and shredded white

silk damask Maison Margiela (French, founded 1988) Courtesy of Maison Margiela Artisanal designed by Martin Margiela (Belgian, born 1957) John Galliano “Drapery Study” Waistcoat Spring/summer 1997, demi-couture Maison Margiela (French, founded 1988) Machine-sewn natural linen plain weave, hand- John Galliano (British, born Gibralter, 1960) stamped with Stockman dummy text (“SEMI Jacket COUTURE,” “PARIS/BREVETTE S.G.E.G/35059,” and Spring/summer 2015, haute couture “42”), hand-sewn hook-and-eye closures, hand- Machine-sewn and hand-painted light brown linen, basted with black and white cotton twill tape hand-sewn and hand-pinned black lacquered toy Gift of Maison Martin Margiela, 1998 (1998.519c) cars, shredded white silk satin Courtesy of Maison Margiela Artisanal designed by John Galliano

Museum of Art, Gift of the Courtesy of Yohji Yamamoto Brooklyn Museum, 2009; Gift of Millicent Huttleston Rogers, Yohji Yamamoto (Japanese, 1949 (2009.300.746) born 1943) Dress I have sometimes spent twelve Spring/summer 2000, prêt-à- hours working on one seam; porter utterly entranced and not Machine-sewn white cotton hungry or tired till finally it had muslin with black and red as if of its own will found the hand-overstitching; hand- precise place where it should be basted black cotton muslin placed. sleeve —Charles James Courtesy of Yohji Yamamoto Charles James (American, born Great Britain, 1906–1978) Yohji Yamamoto (Japanese, I like the delicacy of white, its Muslin born 1943) exacting elegance, its simplicity. 1947 Dress Sometimes at the studio, when Machine- and hand-sewn white Spring/summer 2000, prêt-à- I’m working on the toile for a and black cotton muslin, porter garment, it happens that I don’t hand-basted grain and seam Machine-sewn white cotton want to touch it, that it’s lines in orange and white muslin with black and red perfectly beautiful as it is. thread and red and blue pencil hand-overstitching; machine- —Yohji Yamamoto Brooklyn Museum Costume sewn black cotton muslin Collection at The Metropolitan bustier I express a concept to patternmakers in words or through nuance. Design starts with how my staff interprets the concept. The patterners are in fact designing. We don’t apply the usual patterning routine to our conceptual making process. It is just cumbersome. —Rei Kawakubo

Viktor & Rolf (Dutch, founded 1993) Ensemble Spring/summer 1998, haute couture Machine- and hand-sewn white cotton calico with hand-sewn folds and pleated attachments Courtesy of Viktor & Rolf Comme des Garçons (Japanese, founded 1969) Rei Kawakubo (Japanese, born 1942) The idea of toiles was present in the first collection Ensemble we did, in which we wanted to analyze what Spring/summer 2013, prêt-à-porter couture is. . . . In fashion [couture] is the top of the Dress: machine-sewn ivory cotton twill and canvas pyramid, the ne plus ultra of luxury. It also with white elastic and hand-gathered and hand- functions as a laboratory without commercial sewn attachments; skirt: machine-sewn, hand- restraints. Couture is like a sacred realm outside pleated ivory cotton twill reality—a notion we are quite inspired by. Courtesy of Comme des Garçons Co., Ltd. —Viktor & Rolf

Machine-sewn ivory wool twill underskirt: machine-sewn pink triple cloth with hand-stitched cotton plain weave with hand- hem and hand-picked zipper gathered tufts of machine-sewn Courtesy of André Courrèges white synthetic tulle Purchase, Friends of The Luxury in clothes to me has no Costume Institute Gifts, 2006 meaning. It belongs to the past. (2006.251a–c) André Courrèges (French, My problem is not rich 1923–2016) embroidery, useless My ‘Remote Control’ Dress lavishness—it is to Dress . . . was the first fully Ca. 1966, haute couture harmoniously resolve function functioning fashion garment to Machine-sewn ivory wool twill, problems—just like the incorporate wireless hand-finished engineer who designs a plane, technology. . . . It was made by Brooklyn Museum Costume like the man who conceives a means of the composite Collection at The Metropolitan car.—André Courrèges technology used to construct Museum of Art, Gift of the airplanes. It’s molded into two Brooklyn Museum, 2009; Gift of Hussein Chalayan (British, born panels—front and back—that Mrs. William Rand, 1971 Cyprus, 1970) fasten together by metal clips. (2009.300.497) “Remote Control” Dress The grooves incised onto the

2005; original design: dress are the only decorative André Courrèges (French, spring/summer 2000, prêt-à- embellishments.—Hussein 1923–2016) porter Chalayan Dress Molded pink fiberglass with Spring/summer 1969, prêt-à- silver metal closures; Film footage: porter Courtesy of Chalayan

Madeleine Vionnet (French, 1876–1975) result: the fabric is woven monofilament; it is cut by Evening Dress heat and put together with snaps and leather 1936, haute couture straps. I named it ‘Colombe’ after the dove, a Machine-sewn white cellulose acetate satin, hand- symbol of peace. finished seams and hems with hand-attached silver —Issey Miyake metal clasps and bow-shaped silver metal and clear rhinestone clips Madame Grès (Alix Barton) (French, 1903–1993) Courtesy of The Museum of the City of New York, Evening Ensemble Gift of Mrs. George Blumenthal, 1938 Ca. 1975, haute couture

Machine-sewn black silk jersey, hand-gathered Everything came from my head. Bias came from my head, maybe because everyone made dresses that pleats with hand-applied, machine-sewn binding flowed in the same direction. But I saw that if I Gift of Chessy Rayner, 1997 (1997.116.30a–c) turned the fabric on an angle, it gained elasticity. —Madeleine Vionnet Miyake Design Studio (Japanese, founded 1970) Issey Miyake (Japanese, born 1938) Miyake Design Studio (Japanese, founded 1970) “Waterfall Body” Ensemble Issey Miyake (Japanese, born 1938) Autumn/winter 1984–85, prêt-à-porter “Colombe” Dress Machine-knit black acrylic jersey, hand-draped and Spring/summer 1991, prêt-à-porter molded with resin Laser-cut white polyester monofilament twill, Courtesy of The Miyake Issey Foundation hand-riveted silver metal snap closures Courtesy of The Miyake Issey Foundation The joint power of technology and manual work enables us to revive the warmth of the human hand Miyake Design Studio (Japanese, founded 1970) – in other words, to come close to the value Issey Miyake (Japanese, born 1938) inherent in artisanal work. We wish to protect “Colombe” Dress (flat and wall-mounted) mankind. I think that industry and crafts should Spring/summer 1991, prêt-à-porter become more interdependent… I hope to continue Laser-cut white polyester monofilament twill, bringing craft and industry together in order to hand-riveted silver metal snap closures, hand- produce work which will provoke humor, fun and riveted brown leather straps emotion Courtesy of The Miyake Issey Foundation –Issey Miyake

One of my dreams was to see if we could make Film footage: clothing without conventional tools, such as Excerpt from ISSEY MIYAKE (1984), an Éric Cloué film needles, threads, and scissors. Here is the A coproduction of MCD Productions–FR3 LOWER LEHMAN – PLEATING

PLISSÉ I (PLEATING) Pleating has a long history in stylish apparel. When the French fan maker Martin Petit invented the plissage au carton, or paper mold, in the 1760s, pleating solidified its preeminence in fashionable dress. Precipitated by the popularity of the hand fan, the technique was further advanced in the mid-nineteenth century by one of Petit’s descendants and is still used today by maisons such as Lognon. In the twentieth century, fashion designers developed proprietary pleating techniques in tandem with technological advancements. Mariano Fortuny developed a method of pleating textiles by hand that remains shrouded in mystery. The pleats were not set permanently, so clients had to send their gowns back to the Fortuny workshops to have the pleats reset if they were dampened or flattened. With the emergence of synthetic textiles came the first techniques for permanently set pleats. Mary McFadden’s inventive method, called “Marii” after the designer, used a synthetic charmeuse fabric woven in Australia, dyed in Japan, and pleated in the United States. Her innovations were continued by Issey Miyake, who introduced a patented process called “garment pleating” that involves pleating clothes rather than textiles. The process entails constructing garments at two or three times their intended size, and then precisely folding, ironing, and placing the sewn ensembles, sandwiched between paper, into a heat press.

Mariano Fortuny (Spanish, 1871–1949) Evening Dress Ca. 1935, haute couture Hand-pleated and hand-sewn pink silk charmeuse, hand-embroidered with Venetian glass beads Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Lewis Fraad, 1971 (2009.300.7787a, b)

Mariano Fortuny (Spanish, 1871–1949) Evening Dress Ca. 1932, haute couture Hand-pleated and hand-sewn blue silk charmeuse, hand-embroidered with Venetian glass beads Gift of Robert Rubin, in memory of Doris Rubin, 2011 (2011.443.1a, b)

Mariano Fortuny (Spanish, 1871–1949) Evening Dress Ca. 1920, haute couture Hand-pleated and hand-sewn green silk charmeuse, hand-embroidered with Venetian glass beads Gift of Mrs. Leonard Smiley, 1975 (1975.146.1a, b)

Mariano Fortuny (Spanish, 1871–1949) Evening Dress 1920s, haute couture Hand-pleated and hand-sewn orange silk charmeuse, hand-embroidered with Venetian glass beads and hand- knotted silk cord Gift of Gloria Barggiotti Etting, 1980 (1980.170)

Mariano Fortuny (Spanish, 1871–1949) Evening Dress 1930s, haute couture Hand-pleated and hand-sewn red-purple silk charmeuse, hand-embroidered with Venetian glass beads Gift of Estate of Agnes Miles Carpenter, 1958 (C.I.58.61.3a, b)

Mary McFadden (American, born 1938) Dress 1987, prêt-à-porter Machine-sewn and “Marii” machine-pleated pink polyester charmeuse and silk chiffon, hand-stitched with hand-embroidered panels of polychrome sequins Courtesy of Mary McFadden

Mary McFadden (American, born 1938) Dress 1986, prêt-à-porter Machine-sewn and “Marii” machine-pleated green polyester charmeuse, hand-applied gold metallic passementerie Courtesy of Mary McFadden

Mary McFadden (American, born 1938) Evening Dress Ca. 1980, prêt-à-porter Machine-sewn and “Marii” machine-pleated red polyester charmeuse, hand-stitched with hand-embroidered trim of sequins, beads, and gold metallic thread Courtesy of Mary McFadden

It was Lily [Gronick] who developed the technique of cutting the ‘Marii’ pleated silk pinned on paper patterns. Later, I found the polyester satin-back fiber in Australia that falls like liquid gold on the body, as if it were ancient Chinese silk. The fabric was always converted and dyed in Japan, according to the inspiration of each collection, then sent back to the U.S. for the heat-transfer pleating process. The pleating designs changed constantly over the years. I named the technique ‘Marii’ pleating, a Japanese version of my name, Mary. —Mary McFadden

Miyake Design Studio (Japanese, founded 1970) Issey Miyake (Japanese, born 1938) “Rhythm Pleats”(shown flat opposite) Spring/summer 1990, prêt-à-porter Machine-garment-pleated, machine-sewn yellow and red-purple polyester-linen plain weave Courtesy of The Miyake Issey Foundation

Miyake Design Studio (Japanese, founded 1970) Issey Miyake (Japanese, born 1938) “Rhythm Pleats” (shown flat opposite) Spring/summer 1990, prêt-à-porter Machine-garment-pleated, machine-sewn yellow and red-purple polyester-linen plain weave Courtesy of The Miyake Issey Foundation

Miyake Design Studio (Japanese, founded 1970) Issey Miyake (Japanese, born 1938) “Rhythm Pleats” (shown flat opposite) Spring/summer 1990, prêt-à-porter Machine-garment-pleated, machine-sewn yellow and red-purple polyester-linen plain weave Courtesy of The Miyake Issey Foundation

Pleating has been with us since ancient Egypt. It is a way of wrapping a three-dimensional form with a two- dimensional material. But we had to deal with the challenge that most fabrics would not hold pleats. I was exploring new kinds of fabric that would hold the pleats and create garments that would move with today’s active body. The different placement of openings for the neck or the arms create different forms on the body. These were first shown in 1989. The painting of music by Henri Rousseau was the inspiration, so I call them ‘Rhythm Pleats.’ —Issey Miyake

Miyake Design Studio Miyake Design Studio (Japanese, founded 1970) (Japanese, founded 1970) Issey Miyake (Japanese, born 1938) Issey Miyake (Japanese, born 1938) “Flying Saucer” Dress “Flying Saucer” Dress (Flat) Spring/summer 1994, prêt-à-porter Spring/summer 1994, prêt-à-porter Machine-garment-pleated, machine-sewn Machine-garment-pleated, machine-sewn polychrome polyester plain weave polychrome polyester plain weave Courtesy of The Miyake Issey Foundation Gift of Issey Miyake, 1994 (1994.603.1)

This is a continuation of my exploration of pleating Miyake Design Studio with a playful element. The ‘Flying Saucer’ was a (Japanese, founded 1970) search for what could be done with different sorts Issey Miyake (Japanese, born 1938) of pleating, in this case, accordion pleats, and to “Pleats Please” see what could be done combining fabric, design, 1993 (re-created 2016) and movement. Why not make a brightly colored Machine-sewn polyester plain weave, machine- wearable accordion? garment-pleated in paper —Issey Miyake Courtesy of The Miyake Issey Foundation

Miyake Design Studio Film footage: (Japanese, founded 1970) Excerpt from ISSEY MIYAKE MOVES (1993) Issey Miyake (Japanese, born 1938) © WOWOW INC./TV MAN UNION INC

“Flying Saucer” Dress (Extended)

Spring/summer 1994, prêt-à-porter Machine-garment-pleated, machine-sewn polychrome polyester plain weave Courtesy of The Miyake Issey Foundation

House of Dior (French, founded 1947) Raf Simons (Belgian, born 1968) Ensemble Spring/summer 2015, haute couture Hand-pleated, machine-sewn white silk organdy, hand-embroidered with piece-dyed polychrome silk grosgrain ribbon; machine-sewn green wool-silk crepe; hand-finished Courtesy of Christian Dior Haute Couture

House of Dior (French, founded 1947) Raf Simons (Belgian, born 1968) Ensemble Spring/summer 2015, haute couture Hand-pleated, machine-sewn white silk organdy, hand-embroidered with piece-dyed polychrome silk grosgrain ribbon; machine-sewn black wool-silk crepe; hand-finished Courtesy of Christian Dior Haute Couture

House of Dior (French, founded 1947) Raf Simons (Belgian, born 1968) Ensemble Spring/summer 2015, haute couture Hand-pleated, machine-sewn white silk organdy, hand-embroidered with piece-dyed polychrome silk grosgrain ribbon; machine-sewn yellow wool-silk crepe; hand-finished Courtesy of Christian Dior Haute Couture

Film footage: Excerpt from ONE LOOK (2015), presented by VisionaireFILM, directed by Stylianos Pangalos, produced by Cecilia Dean and James Kaliardos

I never create a dress on the basis of a sketch. I drape the material on a mannequin, then I thoroughly study its nature, and it’s afterwards that I take my scissors. The cut is the critical and most important phase of the creation of a dress. For each collection that I prepare, I completely wear out three pairs of scissors. —Madame Grès (Alix Barton)

Madame Grès (Alix Barton) (French, 1903–1993) Evening Dress 1950–55, haute couture Machine-sewn white silk jersey with hand-gathered and -stitched pleats Gift of Madame Alix Grès, 1955 (C.I.55.62)

Iris van Herpen (Dutch, born 1984) Ensemble Spring/summer 2010, haute couture 3-D-printed (SLS) white polyamide, machine-sewn white goat leather, hand-cut acrylic fringe

Purchase, Friends of The Costume Institute Gifts, Madame Grès (Alix Barton) (French, 1903–1993) 2015 (2016.16a, b) Evening dress

1968, haute couture When you look at the first [3-D-printed] piece I Machine-sewn white silk jersey with hand-gathered made, you can see the fine lines of the print. You and -stitched pleats can see how the piece has been built up. In one Brooklyn Museum Costume Collection at millimeter, there are up to ten lines. It’s almost like The Metropolitan Museum of Art, Gift of the a fingerprint—it’s as detailed as your Brooklyn Museum, 2009; fingerprint. . . . It was inspired by the way limestone Gift of Mrs. Douglas Auchincloss, 1985 deposits form shells. With 3-D printing, I am very (2009.300.8113) much drawn to the organic.

—Iris van Herpen

PLISSÉ II (PLEATING) While the pleated garments of Mariano Fortuny, Mary McFadden, and Issey Miyake pay homage to classical drapery, the supple silk jersey gowns of Madame Grès are distinguished by an unequivocal classicism. For her, pleating was a means of hand fitting and shaping a dress without cutting and seaming. The classical converges with the mathematical in ensembles by Junko Koshino, Thierry Mugler, and Noa Raviv. Combining handmade and machine-made elements and influenced by distorted digital drawings, their gridlike patterns evoke pleating through linear repetition that creates the optical illusion of volume. Junya Watanabe’s garments, which reference Pierre Cardin’s famous “Cardine” dresses of the 1960s, extend this idea of dimensionality by invoking the golden ratio, a geometric relationship promoted as an ideal by ancient Greek mathematicians. Mathematical experiments also characterize Miyake’s “132 5.” collection, the culmination of his lifelong interest in the metamorphosis of two-dimensional cloth into three-dimensional clothing. Inspired by the work of computer scientist Jun Mitani, the collection, which comprises ten basic patterns, was designed using a computer modeling program. Entirely machine-made, the geometric shapes require the hands of their wearers to transform them into structured clothing. Reconciling the hand and the machine, these creations explore the possibility for endless variation through human intervention.

Junko Koshino (Japanese) Noa Raviv (Israeli, born 1987) “Vague” Dress Dress 1993 2014, prêt-à-porter Machine-sewn black cotton synthetic knit with Black and white 3-D-printed (PolyJet) polymer by bustier of white cotton spandex cord Stratasys, hand-sewn black polyamide with Courtesy of Junko Koshino adhesive appliqué of white laser-cut polyester Courtesy of Noa Raviv Noa Raviv (Israeli, born 1987) Ensemble While working [with] 3-D software I was fascinated 2014, prêt-à-porter by the grid shown on the 2-D screen and by the way Top: Black and white 3-D-printed (PolyJet) polymer black repetitive lines define voluminous objects. I’ve by Stratysis, hand-sewn white synthetic tulle with translated those lines into textiles that create this adhesive appliqué of laser-cut black polyester twill sort of optical illusion. weave; skirt: machine-sewn black silk cotton faille, —Noa Raviv hand finished Courtesy of Noa Raviv Film footage: Courtesy of Stratasys and Noa Raviv

Thierry Mugler (French, born 1948) “Neon dans la Nuit” Suit Autumn/winter 1990–91, prêt-à-porter Machine-sewn black silk velvet, hand-embroidered with optical flourescent stripes Courtesy of Thierry Mugler Archives

Madame Grès (Alix Barton) (French, 1903–1993) Evening Dress 1987, haute couture Machine-sewn white silk organza, hand-stitched and hand-applied pleats of white silk jersey, hand-stitched bindings at neck and arms Gift of Mrs. Randolph Hearst, 1997 (1997.486.17a, b)

Helmut Lang (Austrian, born 1956) Evening Dress Autumn/winter 2004–5, prêt-à-porter Machine-sewn white silk organza, hand-stitched and hand-applied pleats of white silk crepe, natural horsehair fringe hand-glued and machine-bound to natural cotton canvas; machine- and hand-sewn bindings at neck and arms Gift of Mr. Helmut Lang, 2006 (2006.76)

House of Balenciaga (French, founded 1937) Nicolas Ghesquière (French, born 1971) Dress Spring/summer 2003, prêt-à-porter Machine-sewn ivory polyamide power mesh, machine-topstitched with elastic; hand-stitched and hand- applied pleats of ivory polyamide mesh Courtesy of Balenciaga Archives, Paris

The draped dresses in my spring/summer 2003 collection for Balenciaga . . . were inspired by Greek antiquity— classical statuary, specifically. [They] were made from fine nylon, but to get the effect I wanted, the fabric required extensive layering and manipulating. I had to create an understructure stretched in spandex that was topstitched with elastic bands to mold the body. We placed the nylon dress over the understructure. Everything was done by hand. Each pleat was hand placed and hand stitched on the mannequin. —Nicolas Ghesquière

Comme des Garcons (Japanese, founded 1969) Comme des Garçons (Japanese, founded 1969) Junya Watanabe (Japanese, established 1992) Junya Watanabe (Japanese, established 1992) Junya Watanabe (Japanese, born 1961) Junya Watanabe (Japanese, born 1961) Cape Dress Autumn/winter 2015–16, prêt-à-porter Autumn/winter 2015–16, prêt-à-porter Machine-sewn grey wool and polyurethane jersey Machine-sewn, heat-molded black polyester satin Purchase, Various Donors, by exchange, 2015 Purchase, Funds from various donors, by exchange, (2015.637a) 2015 (2015.569a–d)

Pierre Cardin (French, born Italy, 1922) [This collection was about] exploring dimensionality Dress through clothing. 1968, haute couture —Junya Watanabe Machine-sewn, heat-molded brown polyester Cardine (Dynel) Comme des Garcons (Japanese, founded 1969) Courtesy of Musée Pierre Cardin, Paris Junya Watanabe (Japanese, established 1992) Junya Watanabe (Japanese, born 1961) My ‘Cardine’ dresses were made from a synthetic Ruff material created in a factory in Lyon. To create the Autumn/winter 2000–01, prêt-à-porter patterns, I pressed the fabric between two metal Machine-sewn ivory polyester organza; laser- molds—a positive and a negative—like an egg finished carton. I produced very few examples because it Purchase, Richard Martin Bequest, 2001 was very expensive to make the metal molds. For (2001.742a) each dress, I had to make a new mold. —Pierre Cardin

Miyake Design Studio (Japanese, founded 1970) Issey Miyake (Japanese, born 1938) 132 5. ISSEY MIYAKE No. 1 Ensemble (flat) Autumn/winter 2010 Custom software-rendered pattern, heat-pressed on black recycled polyester, heat-stamped with gold metallic foil Courtesy of The Miyake Issey Foundation

Miyake Design Studio (Japanese, founded 1970) Issey Miyake (Japanese, born 1938) 132 5. ISSEY MIYAKE No. 1 Ensemble (extended) Autumn/winter 2010 Custom software-rendered pattern, heat-pressed on black recycled polyester, heat-stamped with gold metallic foil Courtesy of The Miyake Issey Foundation

Miyake Design Studio (Japanese, founded 1970) Issey Miyake (Japanese, born 1938) 132 5. ISSEY MIYAKE No. 1 Ensemble Autumn/winter 2010 Custom software-rendered pattern, heat-pressed on black recycled polyester, heat-stamped with gold metallic foil Courtesy of The Miyake Issey Foundation

I am always looking to the future of making things with my Reality Lab team. Our goals must be to find new environmentally friendly ways by which to continue the art of creation, to utilize our valuable human skills, and to make things that will bring joy. ‘132 5.’ uses a mathematical algorithm plus the words “regeneration” and “re-creation” as inspiration. We use recycled PET bottles to create the fabric, but the folding is done by hand. The combination of human skills with technology will always be at the root of any solution to the future of making clothes. —Issey Miyake LOWER LEHMAN – LACEWORK

DENTELLERIE (LACEWORK) The techniques involved in lace making were introduced during the fifteenth century and rose to prominence by the end of the sixteenth century. Although many varieties of lace exist today, handmade lace is traditionally classified into two categories: bobbin (or pillow lace) and needlepoint (or point lace). In contrast to cutwork and drawn-thread work, which resemble lace but preceded its invention, bobbin and needlepoint lace employ additive rather than subtractive techniques. Lace making initially involved a network of artisans specializing in the different stages of production: creating the netted ground, repairing, and finishing. Given the investment of time and labor handmade lace requires, various inventors sought to create machinery that could replicate it. In 1809 the Englishman John Heathcoat patented the first example, known as the Bobbinet machine, which created a netted ground that could be finished with decorative hand embroidery. John Leavers improved upon Heathcoat’s invention in 1813, and eventually adapted a jacquard mechanism to produce lace complete with net and pattern. The industrial revolution ushered in additional machines with greater speed and efficiency, including the Schiffli embroidery machine. By the mid-twentieth century the Raschel knitting machine was being used to manufacture lace quickly and economically. Today machine-made lace predominates in both the haute couture and prêt-à-porter yet maisons such as Darquer and Sophie Hallette have kept earlier forms of handmade lace in production.

Prada (Italian, founded 1913) Miuccia Prada (Italian, born 1949) Dress Autumn/winter 2008–9, prêt-à-porter Machine-sewn light brown cotton and gold metallic guipure lace with hand-appliqué of self-fabric flowers Courtesy of Prada

Prada (Italian, founded 1913) Miuccia Prada (Italian, born 1949) Dress Autumn/winter 2008–9, prêt-à-porter Machine-sewn orange cotton and silver metallic guipure lace with hand-appliqué of self-fabric flowers Courtesy of Prada

The lace [for these dresses] was made by machines in Switzerland, but we then appliquéd flowers by hand to create a more three-dimensional effect. It took a lot of time because we designed all the flowers to complement the guipure lace. The Iris van Herpen (Dutch, born 1984) machines were very old. Usually, when you think of Dress technology, you think about strange, futuristic Autumn 2012, haute couture processes. But technology can also be about finding 3-D-printed (stereolithography) dark orange epoxy a different type of lacework or embroidery. by Materialise, hand-sanded and hand-sprayed —Miuccia Prada with a technical transparent resin Purchase, Friends of The Costume Institute Gifts, Irish 2015 (2016.15a, b) Wedding Dress Ca. 1870 This dress was 3-D printed using stereolithography. Hand-crocheted cream cotton lace with three- It was built layer by layer in a vessel of dimensional motifs, including roses, lilies of the liquid polymer. The polymer hardens when struck by valley, hanging fuchsias, morning glories, buds and a laser beam. The technique allows for more berries, and flat and folded leaves and ferns texture and transparency than selective laser Brooklyn Museum Costume Collection at The sintering. Graphic and organic elements come Metropolitan Museum of Art, Gift of the Brooklyn together to evoke dimensional lacework. Museum, 2009; Ella C. Woodward Memorial Fund, —Iris van Herpen 1922 (2009.300.1664)

Attributed to Callot Soeurs (French, active 1895– lace—the same guipure lace, actually, that we used 1937) for other dresses in the collection. The print was Evening Dress graphically elaborated in order to obtain an original Ca. 1920, haute couture design. The design was then printed on the fabric Hand- and machine-sewn black silk chiffon with by an inkjet technique. I wanted the print to have hand-sewn inserts of antique ivory bobbin-made chiaroscuro-like effects. tape lace with needle-made fillings, hand-applied —Miuccia Prada handmade gold metallic braided passementerie Brooklyn Museum Costume Collection at The Marios Schwab (British, born Athens, 1978) Metropolitan Museum of Art, Gift of the Brooklyn “Golden Lily” Dress Museum, 2009; Gift of Mercedes de Acosta, 1955 Autumn/winter 2008–9, prêt-à-porter (2009.300.1240) Machine-sewn digitally printed georgette silk with overlay of laser-cut black silk grosgrain Prada (Italian, founded 1913) Courtesy of Marios Schwab Miuccia Prada (Italian, born 1949) Dress The autumn/winter 2008 collection looks inside the Autumn/winter 2008–9, prêt-à-porter body’s silhouette, rather than the body itself. Machine-sewn cream silk gabardine, digital-inkjet- Inspired by Charlotte Perkin Gilman’s [1892] story, printed in brown and black with digitally scanned The Yellow Wallpaper, garments are intricately and rendered trompe l’oeil guipure lace motif; laser cut, increasing both the complexity and the hand-finished fragility of the fabric. Fabrics are dissected to Courtesy of Prada create multifaceted surfaces, within which lie contrasting layers of flesh or prints, a collaboration [My lace collection] began with dresses that were with artist Tom Gallant. printed with a guipure lace pattern, but the print —Marios Schwab was created by scanning a real piece of guipure

second skin on the body. I used a fabric that is a mix of nylon and polyester, which I laminated with a polyurethane foil. Then I placed the frills, falling away from the body, feeling deconstructed, as if nature placed them there falling from the hip.” —Simone Rocha

[Not photographed]

House of Balenciaga (French, founded 1937) Cristobal Balenciaga (Spanish, 1895–1972) Evening Dress Autumn/winter 1965–66, haute couture Overdress: hand-sewn black silk machine lace with hand-sewn self-fabric ruffles and horsehair stiffening; underdress: machine-sewn black silk

chiffon and white silk crepe House of Balenciaga (French, founded 1937) Gift of Diana Vreeland, 1973 (1973.20) Cristóbal Balenciaga (Spanish, 1895–1972) Cocktail Dress Christopher Kane (British, born 1982) Autumn/winter 1963–64, haute couture Ensemble Hand-sewn black silk machine-embroidered lace, Spring/summer 2013, prêt-à-porter hand-applied self-fabric flounces and silk satin Shirt: machine-sewn grey synthetic organza; skirt: bows machine-sewn white silk organdy with hand- Brooklyn Museum Costume Collection at The stitched overlay of 3-D-printed black polyurethane Metropolitan Museum of Art, Gift of the Brooklyn bows Museum, 2009; Gift of Mrs. Benjamin R. Kittredge, Courtesy of Christopher Kane 1973 (2009.300.2176a–c) Simone Rocha (Irish, born 1986) We’ve used [3-D printing] a lot, actually. I 3-D “Wet Lace Frill Dress” printed the little nuts and bolts in my Spring/summer 2014, prêt-à-porter spring/summer 2013 ‘Frankenstein’ collection, as Machine-sewn and machine-embroidered black well as the bows on the skirts and jackets. . . . I nylon and polyester laminated with polyurethane think computers are amazing tools to help you on foil your journey, and to help you arrive at a certain Courtesy of Simone Rocha destination, but the brain will always be our greatest tool. This dress was originally inspired by the wet Irish —Christopher Kane Sea. I wanted to create a ‘wet’ lace, so it felt like a

House of Chanel (French, founded 1913) Gabrielle “Coco” Chanel (French, 1883–1971) Evening Dress 1937–38, haute couture Hand-sewn, machine-made black silk-rayon lace, hand-shaped with wire and horsehair at sleeves; hand- attached, machine-sewn black rayon crepe liner; white linen floral corsage with die-cut, hand-embossed, and hand-assembled flowers Gift of Mlle. Chanel, 1955 (C.I.55.61.2)

House of Chanel (French, founded 1913) Karl Lagerfeld (French, born Hamburg, 1938) Dress Spring/summer 2013, haute couture Machine-sewn white neoprene bonded with black cotton lace, black stretch satin; hand-finished Courtesy of CHANEL Patrimoine Collection

[Coco] Chanel was famous for her lace dresses, especially in the 1930s. I try and modernize them, like the lace dresses from my spring/summer 2013 haute couture collection. With those, I bonded lace onto neoprene. Fashion has to move forward. Chanel has to move forward. —Karl Lagerfeld

Iris van Herpen (Dutch, born 1984) Dress Spring/summer 2015, prêt-à-porter Machine-sewn black polyester microfiber and cotton twill, hand-finished, hand-embroidered with clear thermoformed laser-cut acrylic, hand-joined with clear silicone connectors Courtesy of Iris van Herpen

This dress is made from laser-cut silicone chevrons that have been baked in an oven. I assembled the dress myself—by hand—one Christmas. It took days and days, but it was a fun process—like Lego—a gigantic puzzle. I call the technique 3-D lacework. —Iris van Herpen

threeASFOUR (American, founded 2005) “Interdimensional” Dress Spring/summer 2016, prêt-à-porter Machine-sewn white neoprene and nude nylon mesh, hand-appliqué of 3-D-printed (selective laser sintering) ivory resin and nylon by Materialise Courtesy of threeASFOUR in collaboration with Bradley Rothenberg, 3-D-printed by Materialise

Proenza Schouler (American, founded 2002) Lazaro Hernandez (American, born 1978) Jack McCollough (American, born Tokyo, 1978) Dress Autumn/winter 2013–14, prêt-à-porter Machine-sewn white nylon mesh, pieced with white ceramic “stone” custom lace, bonded with white ultrasonic-welded satin viscose crepe “embroidery” Courtesy of Proenza Schouler LLC

[These dresses are] made from . . . custom lace that looks like guipure but is actually a kind of embroidery on a tulle base. It’s called ceramic ‘stone’ lace because the yarn has the same properties as ceramic. . . . We began by drawing the patterns on a computer. The patterns were then embroidered—by machine—onto tulle. The fabric was then dipped into acid, causing the tulle to dissolve. . . . Then we decorated the material with our ‘high frequency’ embroidery—bonding . . . abstract motifs . . . to the fabric by ultrasonic welding. . . . The idea was to create dresses made from a new and completely modern type of lace. —Lazaro Hernandez and Jack McCollough

[Not photographed]

Yves Saint Laurent (French, founded 1961) Yves Saint Laurent (French, born Algeria, 1936–2008) Suit Spring/summer 1963, haute couture Machine-sewn white cotton organdy with overlay of machine-embroidered cutwork hand-stitched with machine-embroidered guipure lace; hand-finished Gift of Mrs. Charles B. Wrightsman, 1964 (C.I.64.59.7a, b) threeASFOUR (American, founded 2005) “Bahai” Dress Spring/summer 2014, prêt-à-porter Machine-sewn white nylon power mesh, hand- embroidered with 3-D-printed (selective laser sintering) ivory resin and nylon by Materialise Courtesy of threeASFOUR in collaboration with Bradley Rothenberg, 3-D-printed by Materialise

This dress uses 3-D printing to create a new kind of textile that offers attributes not possible with traditional fabrics. The interlocking fractal weave allows for multidirectional movement without resistance and lends itself to the creation of dynamic forms without relying on draping. Next- generation 3-D modeling programs were used to construct the six degrees of fractal growth so that each element operates independently from the rest. —threeASFOUR

Film footage: Courtesy of threeASFOUR and Sebring Revolution

House of Givenchy (French, founded 1952) House of Givenchy (French, founded 1952) Riccardo Tisci (Italian, born 1974) Riccardo Tisci (Italian, born 1974) Dress Dress Autumn/winter 2011–12, haute couture Autumn/winter 2010–11, haute couture Machine-sewn white silk tulle, hand-sewn appliqué Machine-sewn nude silk tulle, hand-appliquéd with of white silk lace and white pony skin, hand- machine lace and hand-braided ivory silk georgette embroidered pearls and white goose feathers lace Courtesy of Givenchy Courtesy of Givenchy Purchase, Friends of The Costume Institute Gifts, 2012 (2012.560a, b)

This dress is 3-D printed, and I developed the 3-D file together with architect Isaïe Bloch. The file making took two months of intense drawing and a full week of printing. People often think that when you create something by machine it is perfect. But this dress is a good example of the opposite. While the dress was printing, many small ‘faults’ happened because of the intense heating of the material. This makes the bones irregular, and it makes it look even more real. —Iris van Herpen Iris van Herpen (Dutch, born 1984) Dress Film footage: Autumn/winter 2011–12, prêt-à-porter © Centraal Museum Utrecht/Wendy van Wilgenburg 3-D-printed (selective laser sintering) white Special thanks to Iris van Herpen and Materialise polyamide by Materialise

Courtesy of Alexander fashions. I like the fact that McQueen each skin is different. Leather is so natural, so formable, that In [this dress] . . . I bonded you can give it your laser-cut patent leather to tulle. signature.—Iris van Herpen The tulle was covered in hand- cut lace appliqués. Every Iris van Herpen (Dutch, born technique was incredibly labor- 1984) intensive. The collection was Dress based on the merging of Spring/summer 2016, prêt-à- oceanic and human life—the porter idea of an all-encompassing Machine-sewn, bonded nude underwater world. I wanted the silk twill and cotton plain dress to look like a coral weave with overlay of nude skeleton.—Sarah Burton cotton lace handwoven with Alexander McQueen laser-cut nude leather appliqué (British, founded 1992) Iris van Herpen (Dutch, born Courtesy of Iris van Herpen Sarah Burton (British, born 1984) 1974) Dress One of my favorite pieces from Dress Spring/summer 2015, prêt-à- my [spring/summer 2016 prêt- Spring/summer 2012, prêt-à- porter à-porter] collection was a dress porter Machine-sewn, laser-cut, with an overlay of cotton lace Machine- and hand-sewn nude bonded navy patent leather handwoven with laser-cut silk lace bonded with laser-cut Courtesy of Iris van Herpen leather appliqué. Some black patent leather, hand- materials are better to cut by a sewn godets of nude silk tulle, [This] patent-leather laser than by hand. Leather is hand-appliquéd with nude silk dress . . . was entirely laser cut. one of them.—Iris van Herpen lace motifs I use a lot of leather in my LOWER LEHMAN - LEATHERWORK

MAROQUINERIE (LEATHERWORK) The métier that specializes in fine leatherwork is known as maroquinerie (a French term derived from a type of goatskin exported from Morocco) and includes such maisons as Bodin-Joyeux. While leatherworking practices are deeply embedded in the long history of dress and accessories, the delicate processes and decorative techniques associated with the haute couture evolved during the nineteenth century. The introduction of chromium salts made it possible to tan or cure animal hides more quickly and to produce a soft and pliable leather akin to a textile. In the late nineteenth century, fashion designers began to employ leather with increasing dexterity, embellishing garments with decorative buttons, appliqués, and cutwork trimmings. During the 1920s, so- called reptilian simulations—created by compressing and stamping leather to emulate the skins of snakes and other animals—became popular. In addition to faux finishings, the 1920s saw the advent of polyvinyl chloride, or PVC, the first synthetic leather to enter high fashion. In development since the late nineteenth century and first patented in 1913, PVC’s aesthetic potential in fashion was fully realized in the 1960s alongside sociopolitical transformations. While the late twentieth century witnessed new experiments in the decorative possibilities of the dyeing, cutting, stamping, and finishing of leather, it is only with the development of recent technologies such as laser cutting, ultrasonic welding, and synthetic biology that the novelties of the 1920s and 1960s have been equaled.

Paul Poiret (French, 1879–1944) Coat Ca. 1919, haute couture Machine-sewn black wool rep with white fur collar, hand-appliquéd with white kidskin cutwork, hand- sewn hem and silk binding Gift of Mrs. David J. Colton, 1961 (C.I.61.40.4)

Alexander McQueen (British, founded 1992) Autumn/winter 2012–13, prêt-à-porter Sarah Burton (British, born 1974) Laser-cut white pony skin bonded to black leather, Ensemble machine-sewn and hand-finished with Mongolian Autumn/winter 2012–13, prêt-à-porter wool Laser-cut white pony skin bonded to black leather, Courtesy of Alexander McQueen machine-sewn and hand-finished with Mongolian wool Often, when I use laser cutting, I also employ the Courtesy of Alexander McQueen techniques of bonding or laminating, as in my autumn/winter 2012 collection when I bonded Alexander McQueen (British, founded 1992) laser-cut pony skin to leather. Sarah Burton (British, born 1974) —Sarah Burton Ensemble Dolce & Gabbana (Italian, founded 1985) Domenico Dolce (Italian, born 1958) Stefano Gabbana (Italian, born 1962) Dress Spring/summer 2013, haute couture Machine- and hand-sewn white silk duchesse, hand-sewn with laser-cut green lamb fleece Courtesy of Dolce & Gabbana Alta Moda

House of Dior (French, founded 1947) John Galliano (British, born Gibraltar, 1960) Jacket Autumn/winter 1997–98, haute couture Hand-cut and hand-pieced white leather, machine- topstitched, with hand-sewn wire frame Gift of Thomas L. Kempner, 2006 (2006.420.96)

Louis Vuitton Co. (French, founded 1854) Marc Jacobs (American, born 1964) Dress Spring/summer 2012, prêt-à-porter Dress: machine-sewn white polyester crinkle organza with hand-appliqué of laser-cut white leather, hand-finished; slip: machine-sewn ivory silk satin, polyamide mesh, and polyester crinkle organza with machine-embroidered eyelet Courtesy of Collection Louis Vuitton

Thom Browne (American, born 1965) Dress Spring/summer 2013, prêt-à-porter Laser-cut white ethylene-vinyl acetate (EVA) foam Courtesy of Thom Browne

It’s very rare for me to make an item of clothing in which the hand is absent entirely, but this dress— made from EVA foam, but designed to look like leather—was cut by a machine, sewn by a machine, and finished by a machine. I love the precision and perfection of machine-made clothes just as much as I love the imprecision and imperfection of handmade clothes.—Thom Browne

Paco Rabanne (French, born Spain, 1934) Coat 1967, prêt-à-porter Machine-sewn black wool knit with overlay of hand-cut black leather and black astrakhan hand- joined by silver metal rings Courtesy of Palais Galliera, Musée de la Ville de Paris

Comme des Garçons (Japanese, founded 1969) Noir Kei Ninomiya (Japanese, established 2012) Kei Ninomiya (Japanese, born 1984) Dress Spring/summer 2014, prêt-à-porter Machine-sewn black polyester with machine-sewn overlay of laser-cut black synthetic leather hand- linked with silver metal jump rings and grommets Courtesy of Comme des Garçons Co., Ltd.

Comme des Garçons (Japanese, founded 1969) Noir Kei Ninomiya (Japanese, established 2012) Kei Ninomiya (Japanese, born 1984) Dress Spring/summer 2015, prêt-à-porter Machine-sewn black polyester with overlay of laser-cut synthetic leather hand-joined with silver metal rivets in a lattice pattern Courtesy of Comme des Garçons Co., Ltd. [For these pieces] countless strips of material are connected with rings or studs—by hand—then shaped into garments. —Kei Ninomiya

Valentino S.p.A. (Italian, founded 1959) Maria Grazia Chiuri (Italian, born 1964) Pierpaolo Piccioli (Italian, born 1967) Dress Spring/summer 2016, prêt-à-porter Machine-sewn black machine-made lace and silk tulle, hand-sewn and hand-riveted with strips of fringed black leather Courtesy of Valentino S.p.A.

Valentino S.p.A. (Italian, founded 1959) Maria Grazia Chiuri (Italian, born 1964) Pierpaolo Piccioli (Italian, born 1967) Coat Spring/summer 2014, haute couture Machine- and hand-sewn black silk organdy, hand- embroidered with black leather and silk artificial flowers and feathers Courtesy of Valentino S.p.A.

[We talk] about the hand in the haute couture as if it’s an abstract concept, but those hands belong to particular women, who have very specific skills, very specific tastes, and very specific personalities, which all come through in their handwork. . . . It’s like writing a song. You write a song, but the singer changes it through his or her own voice, through his or her interpretation. For us, our premières [head seamstresses] are our interpreters. —Maria Grazia Chiuri and Pierpaolo Piccioli

House of Dior (French, founded 1947) Raf Simons (Belgian, born 1968) Dress Autumn/winter 2013–14, prêt-à-porter Machine-sewn black silk taffeta with overlay of black cotton-synthetic mesh, hand-embroidered with leather artificial flowers and black beads Courtesy of Christian Dior Haute Couture

Comme des Garçons (Japanese, founded 1969) Noir Kei Ninomiya (Japanese, established 2012) Kei Ninomiya (Japanese, born 1984) Dress Autumn/winter 2015–16, prêt-à-porter Machine-sewn black synthetic leather with overlay of hand-folded black synthetic leather flowers, hand-linked and hand-shaped with black metal studs Courtesy of Comme des Garçons Co., Ltd.

This piece is cut from an unconventional pattern, and then assembled by hand without sewing. . . . I am always searching for new and alternative ways to build a form. —Kei Ninomiya