photographing a circa 1875 American top hat

The 50th Anniversary Exhibit at the Museum at the Fashion Institute of Technology is themed Minimalism/Maximalism, and pairs costumes from the late 18th century through 2019. The couplings are meant to demonstrate that minimalism and maximalism not only cycle (alternately dominate era by era) over time, but become stylistically more or less distinguishable depending on other elements in the zeitgeist (media, politics, economics, etc.)

Is minimalism just maximalism directed inwards? John Galliano discusses his concept for Maison Martin Margiela’s Spring 2019 collection, “Artisanal”

Listening to John Galliano explain his inspiration for the Margiela Spring 2019 collection (“Artisanal”) was incredibly interesting not just in terms of following another person’s philosophical journey, but also due to his dreamy suggestiveness contrasting so sharply with the remainder of the exhibit, which features explicitly iconic trend pieces only.

Walking through, I had my own revelation— we consumers of fashion take so much of it personally! We credit our desires for less AND more to personal growth/exploration/actualization rather than a heavily manipulated environment; taking on the less/more cycle as a matter of personal choice feels like the correct intellectual step, but also imposes an emotional burden.

Narciso Rodriguez Spring 2011; Comme des Garçons Spring 2018

The flipside of disempowerment is relief. I don’t like the idea that I have been manipulated by design and marketing trends into self-destructive consumerism, and knowing I hit the dead end of a path that was supposed to lead to self actualization really adds insult to injury! On the other hand, knowing I’m not uniquely stupid or silly or superficial (and therefore I shouldn’t feel uniquely guilty) gives me closure. As I walked the darkened exhibit loop, occasionally stung by nostalgia, I actually went through the 5 stages of grief!

Yves Saint Laurent F/W 1965-66; Jil Sander Spring 1996; Akris Spring 2017

Comme des Garçons Spring 2017; Agatha Ruiz de la Prada S/S 2014; Zandra Rhodes F/W 1981

Iris van Herpen & Jólan van der Wiel 2015

Christian Lacroix Spring 1991; Etro Fall 2013

DENIAL: Did maximalism and minimalism really figure as much in my purchasing as practicality? Was occasionally purchasing for my fantasy self to keep my dreams alive really so impractical? Did I really need to re-evaluate my relationship to maximalism and minimalism beyond superficial taste in garments?

circa 1780-1790 French or English silk velvet suit; circa 18033-1805 American cotton muslin dress

Circa 1850 American made “Dandy” ensemble

ANGER: If I hadn’t had an emotionally deprived childhood my material desires wouldn’t be so perversely extravagant! Also, how could I have hurt myself so much, stolen from my future, my health, my pets, my boyfriends, because I preferred to spend my attention and funds on shopping for beautiful things? I could have had a house, a kid, a stock portfolio . . .and all that fancy stuff just makes me feel overwhelmed when I don’t wear it, and a bit of impostor syndrome when I do. An emotional pyramid scheme!

Callot Soeurs circa 1909; Brooks Brothers circa 1907

Madame Agnès cloche circa 1929; American cycling hat circa 1895

circa 1916 American denim walking suit; circa 1927 silk Gabrielle Chanel dress; circa 1929 French wool ensemble

BARGAINING: From now on I’ll be minimal in my number of garments, maximal only in their nature. Starting now I will keep a steady weight so I don’t waste money buying wardrobes for iterations of myself in a 50 pound range. Once my body is right I will set a strict budget, research trends and plan my seasonal purchasing. I will only buy blue chip pieces I can easily resell . . .

circa 1928 American “Flapper” dress; circa 1926 American evening dress; Cheney Brothers curtain panel circa 1930

circa 1930 American evening gown; 1938 Elsa Schiaparelli handbag; Jeanne Paquin 1939

circa 1930 American evening gown; Jeanne Paquin 1939

circa 1945 Gilbert Adrian label by Pola Stout suit; circa 1952-3 Claire McCardell dress; circa 1938-40 American sandals

DEPRESSION: I’ve already lost the war. I’m almost 40, broke, with little to show for it. I have no one to look beautiful for, nowhere to wear my beautiful things. I can’t even show off my best stuff to the internet void because most doesn’t fit me and I don’t have the confidence anyway. Will I ever get my body back? It was all a waste of money and hope., and facing these facts is making me feel lots of anxiety and causing dysfunctional levels of procrastination and guilt.

André Courrèges moon boots 1965; André Courrèges couture dress 1962; Marcello jumpsuit 1970

Michael Mott for Paraphernalia circa 1968

Wastebasket Boutique by Mars of Ashville paper dress 1968; Michael Mott for Paraphernalia circa 1968

Bloomingdales jacket 1969; Thea Porter dress 1973; Larsen Design Studio upholstery 1971; Peter Max for Randy sneakers, 1969

Bloomingdales jacket 1969; Thea Porter dress 1973; Larsen Design Studio upholstery 1971

Bloomingdales jacket 1969; Thea Porter dress 1973

Mr. Fish 1972; Yves Saint Laurent Rive Gauche 1976

ACCEPTANCE: I guess it’s not entirely my fault, zeitgeist and societal pressures do exist, and also I’m human, not a crystal-ball-slash-mortgage-calculator. I had little support or guidance in life AND I’m hardly alone. My hard-won wardrobe should be giving me joy and confidence, not taking it away from me, and I have the power to make either happen. I also possess the poise to not hate myself even when I can’t cope as quickly or well as I’d like, and when I make mistakes. Most importantly, I’ve really learned something here and can let that simmer in my subconscious for as long as I want.

Karl Lagerfeld suit 1984-85; Gianni Versace Couture bag Spring 1991

Donna Karan Fall 1985; Giorgio Armani Fall 1985; Calvin Klein 1996

Maison Martin Margiela F/W 1990-91; Helmut Lang F/W 1994-95

LOL! So I did feel relief by the time I left, but also a residual longing to look better and get closer to my fantasy self. We all talk about ‘getting back to ourselves’ after both tragedies and happy setbacks, but do we actually mean retreating to our old dreams, vices, delusions, routines?