| It has been said that “tradition is the illusion of permanence.” This sentiment was on full display at the recent show “AngloMania: Tradition and Transgression in British Fashion” at the Metropolitan Museum of Art. Anglomania, referencing a period of time when there was great fascination with all things British, has been kept alive through the works of John Galliano and Vivienne Westwood—modern artists who work with clothes. The works from these designers fit seamlessly into the look of the show and serve to represent some of the most memorable images not only of British fashion, but British society. |  |
A Queen-ish Gathering of Great Fashion Minds – Danielle
Augusta Cannon
It has been said that “tradition is the illusion of permanence.” This sentiment was on full display at the recent show “AngloMania: Tradition and Transgression in British Fashion” at the Metropolitan Museum of Art. Anglomania, referencing a period of time when there was great fascination with all things British, has been kept alive through the works of John Galliano and Vivienne Westwood—modern artists who work with clothes. The works from these designers fit seamlessly into the look of the show and serve to represent some of the most memorable images not only of British fashion, but British society.
The theatrical artistry inherent in the show parallels the whimsy displayed through the intricacies of the clothing. Each garment tells a story, not simply of the artist who created it, but of the intended wearer and the culture during that time period. Held in the English galleries, the presentation mixed obvious period pieces with garments that were designed for modern wear. Upon entering, the viewer notices the elaborate gowns, enclosed within a fence-like structure. The imposed distance that one inevitably encounters when viewing these garments adds to the notion that that particular style of garment is intended for an elite group.
John Galliano’s dresses, originally presented in his Spring 1994 collection, still manage to beautifully unite the notion of both tradition and transgression. The concept of civilized anarchy or controlled rebellion is evident throughout much of Galliano’s work and is highlighted in his newspaper ensemble. A matching shirt and pant, completely covered in newspaper-like font, declare the skill and artistry within Galliano’s own work. Although by no means modest, it’s a grand commentary on not only his inspiration for the piece—the daily tabloid press—but a statement on communication itself. Juxtaposing the notion of a daily newspaper, which is to be used and discarded, with the concept of fine craftsmanship and haute couture-like mastery, speaks to the contradictions found within English society during the Anglomania frenzy. The coupling of a newspaper expendability with the indispensability of a finely crafted Galliano serve to emphasize that not only during the Anglomania era, but at any point within a society, contradictions are able to co-exist.
Another Galliano stand-out within the show is a ball gown with thick contrasting stripes throughout the skirt. Purposely grand in scale, the ensemble is a similar reference to contained rebellion. During the times in society that women were expected to dress in restricting corsets and full skirts, their physical mobility was extremely limited, ultimately reinforcing society’s emphasis on chivalry. While referencing this aesthetic, Galliano quite cleverly took the notion one step further: through use of an even grander scale combined with bold stripes and contrasting fabrics. The garment, although strikingly beautiful, may be interpreted as a thumbing of one’s nose to the status quo. The contrasts that Galliano is known for are also evident in this piece through his juxtaposition of an extremely tight corset sitting atop a luxuriously full skirt. Perhaps Galliano is citing the dualisms and contradictions within English society by assembling a very traditional silhouette with a strong, almost defiant use of stripes, effectively unifying the notions of tradition and rebellion.
Vivienne Westwood has consistently paid homage to the concept of punk and rebellion, while still creating pieces that rival some of the most intricate works of Haute Couture. Vivienne Westwood contributed a piece of fashion to the show that not only reveals her skilled craftsmanship, but her wit as well. In reference to Queen Elizabeth II, Westwood takes the image of traditional royal clothing and infuses it with a punk sensibility. From the “Harris Tweed Collection 1987” she shows “a tweed crown, fake ermine cape, velvet corset, velvet ‘mini-crini,’ and laced ‘Rocking Horse’ shoes, uniting ideals of royalty and femininity in a playful commentary on the spectacle of nationhood.” Through Westwood’s contributions, the “AngloMania” show celebrates a cultural statement of rebellion within a society of clearly defined social etiquette.
“Without tradition, art is a flock of sheep without a shepherd. Without innovation, it is a corpse.” The “AngloMania” show is both a celebration of creativity in fashion and an opportunity to continue a dialogue regarding the cultural implications of clothing. Fashion then becomes a point of reference, a form of communication, a conversation between the designer and the wearer. Ultimately, the “AngloMania” show proves that both tradition and transgression are relevant artistic and cultural references.
