MoMA: Is Fashion Modern?

The Museum of Modern Art (MoMA) is currently hosting the exhibit, “Items: Is Fashion Modern?” So, what is modern? Back in 1944, the MoMA asked, in an exhibition titled, Is Clothing Modern? in the hope of inspiring museumgoers to, “reconsider their relationship with the clothing they wore.” Today, MoMA asks: Is fashion modern? to provoke thought about the world’s relationship with fashion and to examine how and why it is made. In this exhibition, we see fashion born out of creativity and necessity; created by man and machine. The museum’s elevation of both the evening gown and the flip flop illustrates society’s multifaceted relationship with fashion, clothing, and art.

The curators walk you through the history of fashion, using fashion as a lens through which to view and analyze culture and society. Upon entering, I was pleasantly surprised. The galleries, sparsely but carefully filled, teased visitors with vivid colors, sounds, textures, and interactive displays. The exhibit progresses chronologically and also practically, by starting with base layers like undergarments, switching to classics like the little black dress, then working toward wardrobe fundamentals such as pants and later on, accessories.

Underwear starts out not to be a simple thing. Brassieres, stockings, and then jumpsuits pique visitors to contemplate form, function, and aesthetic. Subsequently, the exhibition moves to khakis, trousers, and collared shirts. This casual wear showcase also highlights how pants have evolved for women. With images of a pants-clad Audrey Hepburn in Breakfast at Tiffany’s and Mary Tyler Moore in capris on the Dick Van Dyke Show in the 60’s, the exhibit’s wall labels provide gender-charged commentary on how pant suits became socially acceptable for women.

The exhibit moves forward to a survey of the quintessential little black dress. Just within the exploration of the little black dress, one can see the evolution of fabrics, design, class, and social custom. This collection contains a range of dresses from Christian Dior to Thierry Mugler; starting with a modest Chanel evening dress from 1925 and ending with the controversial, close-fitting Versace cocktail dress worn by Elizabeth Hurley in 1994. The exhibit even highlights the relationship between technology and fashion by including a 3-D printed dress designed via a form of classical mechanics and motion called, kinematics.

Next, fashion is studied as an extension of culture. The collection exalts prints, fabrics, and silhouettes from all over the world, showcasing an anthology of Indian saris, Cuban guayaberas, Ghanian gowns, Brazilian jumpers, and Dashikis inspired by Nigerian prints, yet made right in Harlem.

Flanking one side of the exhibition is a spotlight on men’s suits. The stylistic progression goes from the zoot suit to the power suit, and even a double-breasted pant suit by Ralph Lauren for women. The wide range of tailoring, fabric, and shape is also a reflection on style, age, and class.

After covering each major piece of clothing, the exhibit moves on to highlight accessories. What some may consider superfluous or merely decorative additions, the accessories prove to be staples on their own. This collection looks at show-stopping shoes, handbags, hats, furs, and jewelry. The curators even established a small homage to the famous Hermès Birkin bag and Alexander McQueen’s platform armadillo boots, as worn by Lady Gaga.

But wait: there’s more. The exhibition has small fashion asides where one can find a biker jacket derivative made from polymers and LED lighting, and a textile designed through a computer-programed knitting machine.

“Items: Is Fashion Modern?” is indeed a modern take on fashion. After examining the entire 111 items, it is impossible to walk away uninspired and unprovoked. The curators do an excellent job of covering a wide range of subject matter, addressing the fundamentals of fashion, and examining where fashion is purely aesthetic and less functional, yet nonetheless enthralling and important. The exhibition demonstrates the complexity of fashion, as it can serve as adornment, a reflection of culture, or counterculture. If modern is to reflect the present and recent times, then yes, fashion is modern.

The Museum of Modern Art exhibit, “Items: Is Fashion Modern?” runs through January 28, 2018.

Credit:  Candace R. Arrington

Candace Arrington works in Phillips Nizer’s Intellectual Property, Corporate, Fashion, and Entertainment Law Practices.

Can I Use The Photographs? (Part 3)

Cannes - 'Dreamgirls' Premiere

These days anyone with a cell phone is a photographer and the internet is flooded with photos of celebrities that go “viral” on social media. A photograph of a star wearing your garment, carrying your accessory or holding your shopping bag can be of tremendous value to your brand. Indeed, brands shower celebrities with gift items for the promotional value in their use. And contracts to promote brands are lucrative for the celebrities and those who serve as matchmakers. So it is very tempting to copy photos found on the internet to your website, Facebook page or ad. But if you do, you may run afoul of what has been variously described as the right of privacy or the right of publicity.

There is no uniform national law which protects an individual from unwanted exploitation of their name or image. Each state, however, has afforded protection, either by statute or as a matter of judge made “common law”, and sometimes by both. New York has long prohibited the use of the name or likeness of every living person—celebrity or not—for purposes of “advertising or trade”. While the New York statute offers no protection against the use of the image of a deceased person, even if a celebrity, other states do protect celebrities against commercialization for extended periods after death.

Use of a name or likeness for non-commercial purposes, however, is not prohibited. Because of the constitutional guarantee of free speech, newspapers, magazines and even TMZ are free to report the comings and goings of stars, and also to publish that embarrassing photo of you at a Giants game, with impunity. Your daughter can tweet her cell LadyGaga-InSunglassesphone photo of Britney Spears walking on the street without make-up or post-it to Facebook, and like-minded celebrity-obsessed fans then can circulate it freely. These uses are not considered uses for purposes of advertising or trade and so are protected free speech.

But what of a business seeking to use a celebrity image on its website, Facebook page or other social media channels? Is this protected free speech, or is it instead a violation of the right of privacy or publicity? On the one hand, the use of the image in a paid advertisement is clearly a violation of the right of privacy and publicity, including under the New York statute. And use of the image on merchandise, even if given away for promotional purposes, is also a clear violation which can lead to punitive damages and not merely compensatory damages.

Closer questions are presented by posting a photo on your own website. A website is a business promotional tool and can be seen as an advertising use. But websites can also report news and events relating to the business, and truthfully communicating newsworthy events is behavior protected by the First Amendment. Where celebrities are seen and what they are wearing is considered legitimate subjects of public interest meriting First Amendment protection. Does this mean that if your daughter can tweet her photo of Britney Spears, you can retweet it and point out she’s wearing the hat and scarf you sell? On this question the judicial authorities have not yet spoken. Last year Katherine Heigl sued Duane Reade under the New York statute, for tweeting a photograph of her carrying a Duane Reade shopping bag. The litigation was resolved privately without a court addressing the legal issue. While it is sorely tempting to opine that this sort of communication of truthful facts should not be actionable, the burden and expense of defending against such a claim and the damages to which you could be exposed counsel caution.

Credit: Helene M. Freeman

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For a recent article by New York Times reporters Sydney Ember and Rachel Abrams on brands and their use, sometimes without permission, of consumers’ own photographs posted on social media showcasing branded items, click here.