It was my distinct pleasure and good fortune to visit the current Exhibition on Norman Norell at the Museum at the Fashion Institute of Technology (MFIT) in New York City last week. For those of you not familiar with this mid-century American designer, you may be surprised to learn of his enduring influence on, and remarkable contributions to American fashion and glamour. He also, in his extensive and versatile body of work, employed the finest couture techniques, making his clothes still the envy of designers and those of us who strive for excellence in our fashion sewing.
Norell: Dean of American Fashion opened on February 9, 2018 and will close on April 14th. Guest Curator and designer Jeffrey Banks and Deputy Director of MFIT, Patricia Mears, collaborated on this Exhibition. Included are examples from his entire career; however, the Exhibition focuses for the most part on his final, spectacular 12 years, from 1960 – 1972. Norell (1900-1972) left his native Indiana to pursue his interest in illustration and fashion design in New York. He worked under Hattie Carnegie, and then at the beginning of World War II he began a partnership with Anthony Traina, the label for which is the well-known Traina-Norell designation. It was in 1960 that Norell started his own eponymous line of clothing, and it was during this period, up to his untimely death in 1972, that he set his real mark on American fashion.
To all of you I commend the MFIT Exhibition website for learning more about Norell’s life and the evolution of his body of work, including a fascinating video presentation by Exhibition Curator Jeffrey Banks. (Be sure to click on “explore the Exhibition website” which will lead you to some excellent content.) It was with this background knowledge that I entered the Exhibition, knowing I wanted to view it on two levels – 1) as a dazzling display of some of the most beautiful fashions ever assembled, and 2) as an opportunity to see up close some of the construction details, style lines, and elegant touches in his fashions, serving as inspiration for my own fashion sewing.
The Exhibit is physically divided into two areas, the first of which serves as a guide to his trademark themes, each with a small grouping of fashions. I was immediately smitten with this selection of LBDs:As a way of illustrating the impeccable couture construction for which Norell fashions are known, this “inside-out” dress was displayed.
It was all I could do to keep from reaching over to see more of it. Noted on the caption were ”the hand-picked zipper and extra wide seam allowance, the deep hem … edged with bias-cut silk so that it is softly defined yet sturdy. Furthermore, the neckline and armholes are minimally interfaced to give shape without impeding movement, and they are under-pressed in order to hide the seams.”
The larger gallery of the Exhibit practically took my breath away when I entered. The large center stage is resplendent with examples of his famous eveningwear, including his sequined “mermaid” dresses.
Around the perimeter of the gallery were featured many, many of his glorious coats, capes and dress suits, as well as dresses. I snapped this photo of one of his trademark sailor dresses to show the hand-picked zipper and the large patch pockets applied by hand (note the provenance on this dress in the caption):
There were so many terrific examples of Norell’s vibrant use of color, including this coral cape from 1962.
And I could not take my eyes away from this combination of off-white evening gown with a red bolero jacket and peacock blue sash from 1968.
Another brilliantly hued ensemble is this pink evening coat with matching skirt and blouse from 1964. Note the rhinestone buttons, the beautiful bound buttonholes, the angled pockets, and the lovely seaming detail of the high yoke on the coat which descends into the sleeves.
Norell was known for his cone and wedge-shaped coats, of which this purple one is an excellent example. Note the spread of the descending buttons on this coat:
This coat and pants ensemble from 1970 is set off beautifully by its wide belt:
The collar is absolutely stunning. And those bound buttonholes are a work of art in that heavy wool herringbone weave.
While I am writing about coats (one of my favorite subjects!), I want to show you details from two which help to illustrate the quality and finesse for which Norell’s fashions are known. First is this pocket detail from an off-white coat with black collar, 1962-1965.
The right edge of the flap is angled slightly to follow the side seam line, a subtle touch which gives it a graceful appearance.
Second is another pocket detail on a beige coat with pilgrim collar from 1968:
The pocket is an extension of a princess seam, beautifully angled. And more shaping is apparent to the left of the full-length seam, giving this coat such elegant and refined lines.
Seeing this following grouping of dresses and jackets gave me a new appreciation of the concept of “less is more.” According to the caption, Norell “chose to trim his day and evening wear with mink, fox, and sable. The judicious use of this expensive and sensuous material elevated the glamour quotient of his restrained daywear.”
One more Little Black Dress has the most beautifully placed buttons:
I loved the caption which (partially) stated: “Deceptively simple, Norell’s dresses were visually quiet but strategically constructed… to enhance a woman’s body.”
I could go on and on as there is so much more to celebrate about this remarkably talented “Dean of American Fashion.” Fortunately, the Exhibition is accompanied by a book, titled: Norell: Master of American Fashion, by Jeffrey Banks and Doria de la Chapelle. Published by Rizzoli, the book is lavishly illustrated and beautifully presented, both in content and inspiration. I commend it to you.
In closing, on a personal note, I cannot help but think back to 1972, the year I graduated from college and the year Norman Norell died. So much has changed in the world of fashion and fashion sewing since those heady years. Seeing an exhibition like this one is a lovely reminder of the true timelessness of quality and restrained elegance, providing endless inspiration to those of us who dream and sew.
15 responses to “Reflections on the Couture Legacy of Norman Norell”
What a wonderful exhibit, thank you for documenting and sharing!
You’re welcome, Stephanie!
I love understated elegance, it as you so eloquently pointed out and illustrated, is timeless! Thank you for sharing the photos and your experience, it was captivating.😍
The Exhbit was just so wonderful! I’m glad you enjoyed my review of it!
Thank-you so much for this post and your fantastic editorial! I’m sorry I’ll miss this since I won’t be in NY until the fall. And that wool crepe LBD! I may have to add another design to my search for the ultimate LBD!
I wish this Exhibit could travel – I would love for more to see it. Norell made LBDs that are the stuff of dreams!
The level of detail in his work is incredible just by looking at the photos. I can imagine what it must have been like to see it close up. How fabulous an experience!
It’s been a week since I saw this Exhibit, and I find myself still thinking about it! Such beautiful clothes – what a treat to see them – and very inspiring.
Thank you so much for this. I so enjoyed seeing the photos and your commentary. As always I so enjoy your column and look forward to having a peek at your makes.
Thank you so much, Susan. It is so lovely to have such an appreciative reader!
Loved your presentation. Sharing the photo of the “inside out” dress was very helpful. We all can learn so much from studying the inside of couture garments.
Fortunately, the book also shows some inside details of Norell’s clothes. You are so right about how much we can learn from looking inside these couture pieces. Thank you, EmilyAnn.
All I can say is oh la la what an era gone missing..thank you for being a natural witness and an example of what was in the early years of fashion.
I hate to say “Those were the days” but in many ways they were! But we can all be grateful that there are places like MFIT which help us all remember and appreciate the great fashion designers. What is remarkable to me is how wearable so many of Norell’s fashions still are. Thanks so much for your comment!
Lovely! I wish more exhibitions showed garments inside out!