In the fashion industry, there’s an intriguing irony that is seldom discussed: despite focusing on women’s dreams and identity, the industry is predominantly run by men. Men hold the top positions in the biggest luxury groups and make up the majority of chief executives. For years, male designers have taken the spotlight at the biggest global brand name runways.
However, there has been a recent shift in this dynamic. In 2016, Dior appointed its first female creative director for women’s wear, Maria Grazia Chiuri. Chanel followed suit in 2019 by appointing its first female designer since Coco, Virginie Viard. Women now lead the women’s and men’s lines at Hermès, with Nadège Vanhee-Cybulski and Véronique Nichanian respectively. Additionally, the return of Phoebe Philo under her own name is highly anticipated.
Despite these changes, the representation of women in top fashion brands is still limited. LVMH, the largest luxury group, only has two female designers out of its 14 fashion brands, while Kering, the second largest global luxury group, only has one female designer among its six ready-to-wear brands.
That’s why the announcement of the Costume Institute of the Metropolitan Museum of Art dedicating its fall show to a survey of the work of female designers is so remarkable. Even more astonishing is the fact that this is the Costume Institute’s first retrospective of its kind in its 85-year history.
While the Costume Institute has previously held single shows dedicated to influential women in fashion, it has never before taken a broader look at the overall impact of female designers. This show will serve as a reminder of the breadth and contributions of women in the industry and will hopefully inspire and pave the way for more opportunities in the future.
The upcoming show at the Metropolitan Museum of Art will conclude months of museum exhibitions celebrating women’s contributions to fashion. Starting with the exhibition “Ann Lowe: American Couturier” in September, which highlights the work of the visionary designer behind Jackie Kennedy’s wedding dress, followed by “Mood of the Moment: Gaby Aghion and the House of Chloé” in October, and “Iris van Herpen. Sculpting the Senses” in November.
Melissa Huber, an associate curator at the Costume Institute, emphasizes that this exhibition is not about categorizing all female designers as the same, but rather a celebration and acknowledgment of their achievements. Huber and Karen Van Godtsenhoven, co-curators of the show, had proposed similar ideas to the Costume Institute’s curator in charge, Andrew Bolton, in 2019, but it was delayed due to the Covid-19 pandemic.
The exhibition showcases the work of approximately 70 designers, from the early 20th century to the present, including well-known names like Jeanne Lanvin and Claire McCardell, as well as lesser-known designers like Augusta Bernard and Madeleine & Madeleine. It sheds light on the periods when women designers were more active and dominant, such as the 1920s and 1930s, and explores the factors that led to the subsequent decline of women’s influence in the industry.
The show also corrects historical inaccuracies, such as the misattribution of the Fortuny Delphos gown solely to Mariano Fortuny, instead of his wife, Adèle Henriette Negrin Fortuny, who played a significant role in its creation. The exhibition also introduces the work of new designers, ensuring their permanent place in the historical record.
Overall, this momentous exhibition marks an exciting time for women designers. It serves as a starting point for further conversations and progress in the industry, with a critical mass of voices finally coming together. The hope is that these efforts will lead to greater inclusion and opportunities for women in fashion.
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