The core of museumatFIT's MinimalismMaximalism is taking a look at the trends' chronological history:
From microtrends and meme-worthy styles to major seasonal takeovers that turn into timeless classics, there are two notable movements that any fashion novice would likely know within the vast sartorial spectrum: minimalism and maximalism. A new exhibit at The Museum at FIT, which opened in May and runs through Nov. 16, explores the trajectory of these two aesthetics, showing how — and, at times, why — the trend pendulum can swing between each one.
The core of "Minimalism/Maximalism" is taking a look at the trends' chronological history. The exhibit goes back as early as the 18th century, when the aristocratic elite used fashion as a display of wealth — an example being a man's waistcoat embroidered with gold trim, a costly detail for clothing at the time.
Once the '60s arrived, minimalism returned with sleek, space-age looks from André Courrèges and mini-dresses featuring pop art by Michael Mott, a designer for the legendary New York boutique Paraphernalia. Then, the '70s brought psychedelic prints and tactile fabrics: A dress by Thea Porter with a butterfly motif, a piece from Yves Saint Laurent's ready-to-wear Rive Gauche line and even a furnishing fabric made from velvet from textile designer Jack Lenor Larsen.
As we enter the 21st century, Marra-Alvarez sees the idea of fantasy and drama come back into fashion. Think the height of the "It" bag during the early 2000s, like a Louis Vuitton Speedy covered in a rainbow-colored LV monogram in collaboration with Takashi Murakami. "The economy was prospering and one of the big emblems of the excess of fashion at the time were 'It' bags," says Marra-Alvarez.
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