By Sara Evans
What a time it was! It started in London with Mods and Rockers. Simultaneously, the nifty Beatles arrived with their elegant suits and matching haircuts. Ultimately, the Mods won the fashion wars. The rest, as they say, is social and fashion history.
From go-go boots to minis, beehives to wedge cuts, the era defined a look. Indeed, it is enough to make today’s edgy Brooklynites run for cover. Now, a delightful exhibit at the Museum of the City of New York captures this energy. Titled Mod New York: Fashion Takes a Trip, the show demonstrates how Mod New York fashion changed the world.
A Democratic Time for Fashion
During this era, both London and New York called the shots. Consequently, “The Look” became available to everyone. Fashion was both conservative and edgy, exorbitant and affordable.
We shopped at Biba and St. Mark’s Place. Meanwhile, our friends brought back Mary Quant and pirated Beatles records from London. We starved ourselves to look like Twiggy and lined up for sleek haircuts at Vidal Sassoon.
Furthermore, designers like Kenneth J. Lane, Pucci, and Peter Max became the currency of the times. We bought dresses made of plastic and even paper. Colorblock became almost a religion. Truly, it was a very democratic time for Mod New York fashion.
Bringing the Runway to the Museum
This exhibit features over seventy garments and a broad range of accessories. Whitney Donhauser, the museum director, praises the show.
She states: “Mod New York brings the style of a fashion show to a museum, and the result is spectacular. It is impossible to tell the story of our city without diving into the world of designers and dresses.”
The exhibition uses fashion as an interpreter. It peels back the layers of one of the most tumultuous eras in our history. It reveals societal shifts that were as evident in the clothes on our backs as they were in marches.
Youthquake and Diversity
The exhibit divides into three separate time frames. The first, “Youthquake,” explores how the fashion revolution of the 60s was unique. Coined by Diana Vreeland, this term defined a generation.
Significantly, African-American models became desirable during this time. Not only did their beauty vibes gain acceptance, but their cultural implications also became widely known. For the first time, it was fine for black people to define fashion on their own terms. Thus, “Youthquake” sets the tone for the entire exhibit.
The New Bohemia and First Lady Fashion
Next, the “New Bohemia” section looks back on ethnic and tribal fashion. Swirling capes, Russian sheepskin coats, and hats of all manner became the rage. We mixed and matched these items with careless abandon. Greek fishermen’s hats and Ukrainian blouses were thrown together to demonstrate our global savvy.
Finally, the “New Nonchalance” section demonstrates the “anything goes” attitudes of the late 60s. In contrast, “First Lady Fashion” explores the inestimable influence of Jackie Kennedy. No one exemplified Mod New York fashion elegance more than the First Lady.
Her styles were looser in form, less limiting, and restrictive. They embodied both consummate elegance and the feminism taking root around the world.
Some exhibits are fun; others are important. This one is both.
