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Articles by Eileen Costa
Una exposición en Nueva York vincula la ropa al subconsciente: “La moda mueve millones porque es importante”
Cuando Suzy Menkes le dedicó un perfil en The New York Times y lo tituló ‘La Freud de la moda’, poco sabía que 13 años y medio después orquestaría la primera exposición dispuesta a explorar de forma directa la relación entre el psicoanálisis y el vestidor. Dress, Dreams and Desire, la ha llamado. Apuntaba maneras.
Travel-New York Museums
This image shows an installation image of the exhibit “Africa’s Fashion Diaspora,” on view at The Museum at FIT through December 29, 2024. The exhibit features 60 ensembles and accessories by black designers from Africa, Europe, North and South America, and the Caribbean.
Travel-New York Museums
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New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows a Christian Dior, “Debussy” evening gown worn by ballerina Margot Fonteyn in the spring/summer 1950; Cristobal Balenciaga for Hattie Carnegie, pink silk tulle and satin evening dress with silver metal embroidery; Marc Happel, "Symphony in C" costume, 2012, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear.
New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows a black cotton/Lycra spandex knit unitard, circa 1980, by Bonnie August for Danskin, and Barbara Karinska's “Emeralds,” “Diamonds,” and “Rubies” costumes from "Jewels," originals designed in 1967, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear, or what we call today "athleisure."
New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows the “Dying Swan” tutu, head piece, and pointe shoes worn by iconic Russian ballerina Anna Pavlova, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear, or what we call today “athleisure.”
New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows a black cotton/Lycra spandex knit unitard, circa 1980, by Bonnie August for Danskin, and Barbara Karinska's “Emeralds,” “Diamonds,” and “Rubies” costumes from "Jewels," originals designed in 1967, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear, or what we call today "athleisure."
New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows a Christian Dior, “Debussy” evening gown worn by ballerina Margot Fonteyn in the spring/summer 1950; Cristobal Balenciaga for Hattie Carnegie, pink silk tulle and satin evening dress with silver metal embroidery; Marc Happel, "Symphony in C" costume, 2012, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear.
New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows a Christian Dior, “Debussy” evening gown worn by ballerina Margot Fonteyn in the spring/summer 1950; Cristobal Balenciaga for Hattie Carnegie, pink silk tulle and satin evening dress with silver metal embroidery; Marc Happel, "Symphony in C" costume, 2012, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear.
New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows a black cotton/Lycra spandex knit unitard, circa 1980, by Bonnie August for Danskin, and Barbara Karinska's “Emeralds,” “Diamonds,” and “Rubies” costumes from "Jewels," originals designed in 1967, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear, or what we call today "athleisure."
New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows, foreground, “Dewdrop” costume from The Nutcracker and background, left to right: “Rubies” and “Emeralds” costumes from Jewels, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear, or what we call today “athleisure.”
New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows the “Dying Swan” tutu, head piece, and pointe shoes worn by iconic Russian ballerina Anna Pavlova, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear, or what we call today “athleisure.”
New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows the “Dying Swan” tutu, head piece, and pointe shoes worn by iconic Russian ballerina Anna Pavlova, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear, or what we call today “athleisure.”
New exhibit examines ballet's lasting influence on fashion
This photo provided by The Museum at FIT shows, foreground, “Dewdrop” costume from The Nutcracker and background, left to right: “Rubies” and “Emeralds” costumes from Jewels, that are part of the new exhibit at the Fashion Institute of Technology in New York. The exhibit features 90 items, including ballet costumes, high fashion and athletic wear, or what we call today “athleisure.”
Black Fashion Designers
The name of the Museum at FIT’s newly opened exhibit, Black Fashion Designers, struck me immediately. The bluntness of it, the inability to mistake its intended contents, made me feel giddy, proud, curious, and Black. It felt like a bold choice for what I knew must be a bold exhibit. For the decision to highlight the one thing unifying these disparate designers—artisans working in fine silk, tweedy wool, African wax print, hand knotted macramé, embossed leather—was both risky and exciting.
‘Yves St. Laurent+Halston’ a best-dressed look for The Baker Museum in Naples
The offer was irresistible: an exhibition, from the Museum of the Fashion Institute of Technology, of 1970s fashions that stretched the boundaries of style worldwide. Still, Frank Verpoorten resisted. "In New York a lot of the dresses were behind Plexiglas," said Verpoorten, director of The Baker Museum in Naples. "That kind of display is only good for smaller things you need to see close and have to protect from being damaged, or artifacts, things like that," he said.
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