typography dresses

so cool

http://www.tracciamenti.net/progetti2008/pagine08/p10008.htm

Not actually a dress, but very cool. Not sure what the funnel is about….?

Evans and Wong. 1996 Viscose/Cotton ultrasuade

http://www.metmuseum.org/works_of_art/collection_database/all/dress_evans_wong/objectview_enlarge.aspx?page=1&sort=6&sortdir=desc&keyword=evans%20and%20wong&fp=1&dd1=0&dd2=0&vw=1&collID=0&OID=80000250&vT=1&hi=0&ov=0

I need this dress… I have to have this dress… I LOVE this dress

1966/1967, made from paper. American. “The Souper Dress”

As art historian Marco Livingstone has stressed, Pop Art was never a circumscribed movement with membership and manifestos. Rather, it was a sensibility emergent in the 1950s and rampant in the 1960s. Andy Warhol (who began his career as a fashion illustrator) had been painting Campbell’s soup cans since 1962. Such advertising icons, along with cartoons and billboards, yielded a synthesis of word and image, of art and the everyday. Fashion quickly embraced the spirit of Pop, playing an important role in its dissemination. The paper dresses of 1966 – 67 were throwaways, open to advertising and the commercial.

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/the_souper_dress/objectview_enlarge.aspx?page=5&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80000893&vT=1&hi=0&ov=0

Not really a dress… but… Stephen Sprouse 1988, Cotton

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/dress_stephen_sprouse/objectview_enlarge.aspx?page=36&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80088344&vT=1&hi=0&ov=0

Mmmmmm! Indeed!

Ji Eon Kang (American, born January 31, 1973), spring/summer 1997, silk, metal

For a class assignment at Parsons School of Design students were asked to create a garment from a recycled object, an objet trouvé. Kang chose the daily admission buttons of The Metropolitan Museum of Art. Each button depicts a letter, but the letter is further endowed with the identity of the Metropolitan, and is a kind of coin minted expressly for entry into the Museum. Kang reused an object that was itself already a multilayered tissue of readings and meanings. The encyclopedic museum represents eternity, or at least the monumental span of art history. The paradox of the daily admission button is that it allows only limited access to the timelessness of art.

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/ji_eon_kang/objectview_enlarge.aspx?page=83&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&oID=80000689&vT=1&hi=0&ov=0

Jean Paul Gaultier 1994, nylon

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/jean_paul_gaultier/objectview_enlarge.aspx?page=94&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&oID=80001168&vT=1&hi=0&ov=0

Christian Francis Roth, 1990, wool

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/christian_francis_roth/objectview_enlarge.aspx?page=97&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&oID=80001604&vT=1&hi=0&ov=0

Paper dress, late 60′s

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/objectview_enlarge.aspx?page=99&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&oID=80000892&vT=1&hi=0&ov=0

Cotton, Paper dress, 1893

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/dress/objectview_enlarge.aspx?page=595&sort=0&sortdir=asc&keyword=&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80001506&vT=1&hi=0&ov=0

Stephen Sprouse 1988 Cotton

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/stephen_sprouse/objectview_enlarge.aspx?page=112&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&oID=80001862&vT=1&hi=0&ov=0

Stephen Sprouse 1984 Cotton

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/stephen_sprouse/objectview_enlarge.aspx?page=114&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&oID=80001930&vT=1&hi=0&ov=0

Rudi Gernreich. Polyester 1967/1968

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/rudi_gernreich/objectview_enlarge.aspx?page=134&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&oID=80005258&vT=1&hi=0&ov=0

Todd Oldham 1992 Synthetic

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/todd_oldham/objectview_enlarge.aspx?page=173&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&oID=80005177&vT=1&hi=0&ov=0

Franco Moschino, 1995. Rayon shirt, Cotton trousers

Reverting purposefully to the principles of collage adaption, Moschino employed sex ads in a menswear ensemble. The deliberate violation of the segregation of advertising and clothing plays with the modern understanding that dress solicits social acceptance and even sexuality. A shirt and pants with sex ads proclaim their own advertising

http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/ensemble_franco_moschino/objectview.aspx?page=274&sort=6&sortdir=asc&keyword=dress&fp=271&dd1=8&dd2=0&vw=1&collID=8&OID=80000116&vT=1&hi=0&ov=0