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For: Montserrat Bros
"The garment is the biggest modification of the social man and it weighs on all his existence", said Charles Darwin. With this affirmation it begins the exhibition "The cos of the vestit", the body of the garment, which can turns from December in Palau Reial of Pedralbes of Barcelona. A trip to the evolution of the garment, from the Renaissance to the current epoch, which is a reflex of the society of the moment and, therefore, a tool that helps to understand why they were dressing or we dress of a way or other.
The sample, which consists of 134 pieces, starts with the unbearable corsets of the XVIth and XVIIth century, those that there showed the princess Éboli or the queen Elisabeth de Inglaterra, who were molding the silhouette with a very limited torso, high breast and pronounced waist, which was contrasting with the big largeness of the skirt. Rigidity that recovers, in certain way, a garment of the 50s of Pertegaz, with which these ancient pieces are inserted, to demonstrate how the fashion drinks from the past.

The arrival of the French Revolution left behind the straight freightage. The fashion empire, which major exhibitor was Josefina Napoleón, displaced the waist up and was marked under the breast, just as in the happy years 20, when the cloths were flowing at large.

After the Napoleón fall in Waterloo, the Ancient Diet was restored, and with him, the corset, the inflated garments, the exaggerated sleeves and the wider and wider skirts thanks to the petticoats superposition.

The exhibition continues at the end of the XIXth century with the women ostrich. These checkers of the Catalan bourgeoisie, which Ramon Casas painted in the Lyceum or in his house of summer holiday in Sitges, whose garments were reducing the torso and the waist, the buttocks were increasing with polisón and were lengthening the silhouette with a tail.

Already in the XXth century, the garment will show the body out of the corset. Metaphor, perhaps, of the transcendent change of the role of the woman in the society. In the happy years 20 the skirt is shy, while the crack of 29 and the Second World war impose a sober fashion and of pure lines.

In the middle of the XXth century it turns certain artificiosidad of the hand of Christian Dior y Balenciaga. In the sample they are contemplated dressed in organza, in silk, level, embroidered with metallic threads or golden spangles, of these teachers of the high fashion and the elegance. New Look of Dior is inspired by the fashion of the past: limited waist and skirt of wide volume.

Convulsed 60s and 70s, with the movement contraculutral hippie of fund, revolutionized the fashion with the mini-skirt. Work of Mary Quant or of Andre de Courrèges? he wonders a cartel of the exhibition. The experimentation with the fashion goes further away with a mini metallized garment of Paco Rabanne also exposed.

In the 80 the garment is conceived like form of spectacle and blurs the body, the exhibition reminds the Maddona looks to us in his concerts signed by Jean Paul Gaultier, while in the 90 the pure lines and the minimalism take possession of the footbridge.

The fund of the museum, composed by approximately 18.000 pieces, will remain in the area called the Container, a space prepared for his perfect conservation, which is in the ancient stables of the palace.
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