ITEMS:

Is
Fashion
Modern
?
Paola Antonelli
and Michelle Millar Fisher

THE MUSEUM OF MODERN ART, NEW YORK

 WHO’S AFRAID OF FASHION?   — Paola Antonelli

Items: Is Fashion Modern? is the first exhibition on fashion at The Museum of Modern
2
Art since 1944. Although the Museum was established in 1929 for the express purpose
of “encouraging and developing the study of modern arts and the application of such
arts to manufacture and practical life,”1 and indeed has included architecture and design
since its founding, the only fashion item in the collection when I began my career
at MoMA in 1994 was an early-twentieth-century Delphos dress by Mariano Fortuny,
acquired in 1987.2 Ever since, the Museum’s acquisitions of clothing and accessories
have been sporadic: a few garments here and there, injected into wider conversations
on technology (digital production, for instance) or functional typologies (such as the
sports hijab or parkas for the homeless). Today the design collection includes four
dresses, one coat, one shirt, and four head coverings.3 Incremental progress has been
made, but there is still a long way to go. Our collection must encompass fashion if it is
to complete the circle that connects all forms of design—from architecture to textiles,
from manufactured objects to digital artifacts—in the fertile dialogue at the root of the
diverse and open-ended contemporary incarnation of the modern.

Fashion is unquestionably a form of design. As with other types of design, its pitch
is struck in the mediation between form and function, means and goals, automation and
craftsmanship, standardization and customization, universality and self-expression, and
pragmatism and vision. In other words, fashion partakes in all the existential dilemmas
of design, and since its involvement in our lives is so intimate and intrinsic, it is an espe-
cially agile mediator between the universal and the personal, capable of magnifying our
rawest emotions. Like other physical and digital forms of design, it moves on a spectrum
ranging from postindustrial seriality (from ready-to-wear to fast fashion) to precious,
hand-crafted uniqueness (haute couture). Like all design, it exists in the service of others.
1
In most cases, it is conceived by an individual to dress others—sometimes many, many
others—so that they can function in the world, in different arenas, and not only cover
3
but also express themselves. Moreover, like all design, fashion has consequences—
social, political, cultural, and environmental. And the influence works both ways: military
research, for example, has long pioneered new, wearable materials and technologies
that have been incorporated into the clothing of private citizens. Culture wars and
political protests continue to be waged through garments. Today fashion is produced
en masse and distributed on a global scale. An increase in customers with disposable
income and the advent of e-commerce have drastically altered buying behaviors, eliciting
demand for up-to-the-minute choices and the expectation of both affordable pricing
and on-demand luxury. Fast fashion, in particular, is an arena for social, political,
economic, and environmental conflict. The death of more than 1,100 workers in 2013

Left: 2—  Brandon Wen and Dress—Dress Meets Body)

1—  “Pockets” and
“Buttons,” from the 1947
book Bernard Rudofsky
produced in conjunction
with his exhibition Are
Clothes Modern? (MoMA,
1944). The caption reads,
“Fully clothed man carries
4
seventy or more buttons,
most of them useless. He has
at his disposal two dozen
14 15 pockets.”
Laura Zwanziger’s half-scale
plus-size dress form Tolula,
designed at Cornell
University’s 3-D body-scan
lab in 2013. Photograph by
the designers. Like the other
new designs illustrated in
this essay, this prototype
was presented in the Items
exhibition (corresponding
in this case to Comme des
Garçons’s Body Meets
3—  Are Clothes Modern?
exhibition at The Museum
of Modern Art, 1944. View
of the entrance. Unknown
photographer
4—  Jumpsuit prototype
designed by Richard Malone
for Items: Is Fashion Modern?,
2017. Photograph by the
designer
when a garment factory in Dhaka, Bangladesh, collapsed catalyzed public consciousness
of how complexly entwined the fashion system is in our social and personal economies.
Fashion is a design field of enormous impact. Still, like other forms of design, it often
does not get the wider critical consideration or respect it is due.
When design curators try to explain the importance of their field, often they simply
point to objects closeby—a purse, the kitchen shelf, a vending machine interface—
and say, “Design is all around us.” Fashion design is even closer; it is literally all over
us—and throughout us, as it turns out, since we use it to project, aspire, express, and
redesign ourselves, and to size up and judge others. For this reason, a history of modern
design that excludes fashion hardly seems plausible. So in 1995 I asked the formidable
first director of MoMA’s Department of Architecture, Philip Johnson, why the Museum
had not given fashion the time of day. Johnson had started his career at MoMA in 1932,
and in 1995 he was a trustee and the chairman of the Acquisitions Committee of the
Department of Architecture and Design. His exhibitions and books had created the
official narrative of twentieth-century modernity in these fields, without including
garments. He explained to me that fashion, bound as it was to seasonal rhythms and
compulsory stylistic rebirths, was considered ephemeral and thus antithetical to the
ideals of modernism—timelessness above all. Johnson’s argument was unconvincing,
coming from a keen observer of the latest trends in architecture and art and a famed
curator who had coined several new movements “of the moment,” Deconstructivism
being only the most recent.4 Interestingly, he never mentioned the Museum’s one
previous foray into fashion—Are Clothes Modern?, a 1944 exhibition by the architect
and curator Bernard Rudofsky. Had MoMA been afraid of fashion? Although Rudofsky’s
exhibition might seem to suggest the contrary, it was an outlier—just as Rudofsky was.
Two decades later, in 1964, he returned to the Museum and cemented his position
as MoMA’s (and Johnson’s) resident thorn-in-the-side with the exhibition Architecture
Without Architects: A Short Introduction to Non-Pedigreed Architecture, which, with its
earnest celebration of vernacular constructions, is considered to be neither the first nor
the last, but definitely one of the sharpest nails in the coffin of modernist architecture.
What was—and is—the issue with fashion? Perceived frivolity? Codependency—the
idea that we always dress for others, a fluid form of relational aesthetics that would
be anathema in modernist design? Its association with the feminine and consequent
dismissal by the largely patriarchal powers that be in museums, in academia, and pretty
much everywhere else? Its slow rate of absorption by major fine arts institutions, even
while artists—from Louise Bourgeois and Joseph Beuys to Andrea Zittel and Yinka
Shonibare—have recognized and deployed clothing’s considerable power of expression?
Or perhaps its immediate digestibility by the popular market and its excessive commer-
cialism, which contribute to the taint of “vulgarity” often cited to support an artificial
separation between design and the fine arts (which are famously devoid of commercial
value)? Generally speaking, art museums have treated fashion with various measures
of ambivalence and longing, trying to absorb it into the realm of art while at the same
time keeping their distance—sometimes marking this separation with the term “cos-
tume,” perhaps to lift clothing design above the populist fray and treat it as an applied
art, keeping it in the same limbo reserved for glass arts and ceramics. That said, some
institutions have adopted fashion with enthusiasm, the best-known example being the
Metropolitan Museum of Art’s venerated Costume Institute, inaugurated in 1946.5
In 2011, Suzy Menkes, then the fashion editor of the International Herald Tribune, took
notice of a slew of fashion exhibitions happening around the world—from the blockbuster
Alexander McQueen: Savage Beauty at the Met in New York to monographic exhibitions
on Madame Grès in Paris, Jean Paul Gaultier in Montreal (the first stop in a long tour),
Chanel in Shanghai, and Dior at the Pushkin State Museum of Fine Arts in Moscow,
among others. In an article devoted to the phenomenon, she traced the history of fashion
exhibitions in museums and spoke to curators and critics in an attempt to outline the
criteria by which such projects are conceived and could be critiqued.6 In the same essay,
Menkes concluded that “fashion has developed from being a passion for a few to a
fascination—and an entertainment—for everybody.” And therein lies another conun-
drum: most forms of design, but especially fashion design, are too often considered
“lesser” disciplines in the art world (much the way film is), because no matter how
extensive the scholarly literature they engender, they still manage to immediately
connect and inspire—and usually delight—at levels that are accessible by the many
as well as by the few.
I am embarrassed to admit that at first I felt anxiety about using “fashion” in the title of
this exhibition. In the end, I was encouraged to do so by two great colleagues, MoMA’s
director, Glenn Lowry, and distinguished design curator Glenn Adamson. Both advised
that no good curatorial strategy ever came from being afraid of the central terms of the
dialogue to which one is hoping to contribute, and so the word fashion stayed and was
embraced (guardedly, then with abandon) and interrogated—in the title itself, and
throughout the essays, exhibition wall texts, and public programs associated with this
project. Recently I was able to reflect upon this process of weaving fashion into MoMA’s
interdisciplinary museum context as part of a discussion hosted by The Brooklyn Rail,
which asked various contributors—including esteemed fashion curator Valerie Steele
and historian Rhonda Garelick—to consider fashion’s relationship to fine art.7 It is a
project that Rudofsky kick-started with his 1944 exhibition, in which he attempted to
(re)locate fashion within wider discourses of art, society, and culture—his traditionalist
paragon of dignity being not design (as it is here), but art. With the dispassionate gaze
of an anthropologist, he explored individual and collective relationships with mid-century
clothing in the waning moments of World War II, when conventions were being ques-
tioned but old attitudes still prevailed: women continued to pour their bodies into
uncompromising silhouettes, and menswear still demanded superfluous pockets, buttons,
cuffs, and collars.8 “It will not be a style or fashion show; it will not display costumes;
it will not offer specific dress reforms,” reads Are Clothes Modern?’s 1944 press release.
“The purpose of the exhibition is to bring about an entirely new and fresh approach to
the subject of clothes.”9 Rudofsky’s provocative exhibition was a prompt for the public
of its day to reconsider their relationship with the clothes they wore, and with the
designers and systems that produced those clothes.
Further along in the press release, Rudofsky railed against the peripheral role that
fashion had been given in the allied scholarship of the visual arts and culture, lamenting:
It is strange that dress has been generally denied the status of art, when it is actually
a most happy summation of aesthetic, philosophic and psychological components. . . .
[Its] intimate relation to the very source and standard of all aesthetic evaluations,
the human body, should make it the supreme achievement among the arts.
Little seems to have changed in the past seven decades. In an article on the musician
and fashion muse Lady Gaga in March 2016, New York Times fashion critic Vanessa
16 17 Friedman wrote, “For while fashion may be famous for its elitism, it has long been seen,
 and often sees itself, as the stepchild of the art world; the less worthy creative form.
We all have our complexes.”10 Like many fields of creative endeavor, fashion—as a place
of research and a professional landscape—still needs validation. At the same time,
however, fashion is now being recognized by curators, writers, and researchers outside
its very core—as well as by designers and by the people who Instagram it, dream
of it, borrow it, buy it, wear it, and monetize it—as the gold mine it has always been:
an intersectional, global, cultural, social, and political phenomenon.

This exhibition’s subtitle, Is Fashion Modern?, reprises the question that titled Rudofsky’s
first show, while Items indicates an object-centered, design-led investigation. Rudofsky’s
broad approach provided a springboard from which to consider the ways in which
fashion items are designed, manufactured, distributed, and worn today. Here “modern”
still maintains many of the positive nuances that have made it a core tenet of MoMA’s
mission since 1929, indicating a constructive attitude toward the future based on the
unity of the arts, working together on society’s current needs and priorities, and privileg-
ing a departure from tradition that is not based on rejection of the past but rather
on respect and reinvention. Yet the question that Rudofsky posed in 1944 still bears
repeating in 2017 precisely because of the disconnect between what we wear and who
we are, between the ways in which clothing is made and the ways in which it might
5 6 be made. Every single item in the exhibition and in this book represents a key to the
complexities of such a system, a lens with which to magnify its inner workings and
7 understand its impact.

Most fashion exhibitions in art museums follow straightforward and traditional modes
of art-historical investigation, privileging either the personality of a creator or focusing
on moments in history or regions of the world. They produce important scholarship,
but often curators sweep process and context—fashion’s more mundane, contaminated,
gloriously designlike sides—under a dazzlingly beautiful carpet. I have learned important
lessons from wholly predictable exhibitions that fit this description, but there are
exceptions that pierced the veil of genius or truly addressed and explained a particular
ecosystem of fashion, and are thus profoundly memorable. One was Juste des vêtements
(Just Some Garments), an exhibition on the work of Japanese designer Yohji Yamamoto
curated by Pamela Golbin at the Musée de la Mode et du Textile in Paris in 2005, for
which the designer’s Tokyo atelier was reconstructed in the galleries on rue de Rivoli
to show how fashion really/mythologically happens.11 Another is the 1998 exhibition on
the great protagonist of American fashion, visionary designer Claire McCardell, at
The Museum at FIT (Fashion Institute of Technology) in New York.12 When it comes to
contextualization, a striking example was the 2015 show in Stockholm Utopian Bodies,
by curatorial duo Sofia Hedman and Serge Martynov, which contemplated fashion

Left: 8—  Development sketches

5—  Development sketches for the tights prototype
for a new guayabera concept designed by Lucy Jones for
designed by Ryohei Items: Is Fashion Modern?,
Kawanishi for Items: Is 2017
Fashion Modern?, 2017
6, 7—  Materials testing for
the biker jacket prototype
designed by Asher Levine for
8
Items: Is Fashion Modern?,
2017. Photograph by the
designer
18 19
in relationship to different urgent and timely issues—such as sustainability, gender, and
memory—within an arresting installation design.13 Although monographic shows exist
also in design, MoMA curators have traditionally privileged thematic exhibitions, in
which objects become portals to a deeper understanding of the world in all its political,
technological, sociological, cultural, economic, philosophical—in other words, in all its
systemic—complexity, without sacrificing aesthetic consideration. Clothes are especially
profound and charged examples of design that allow us to explore these knotty realms.
Items was born around 2011, initially emerging as a list of “garments that changed the
world,” and it encompassed clothes and accessories that have had a profound impact
during the time range covered by MoMA’s collection. It was originally an exploration
of potential acquisitions that seemed necessary to tell a more accurate history of modern
design. This volume and the related exhibition explore a small slice of such canonical
and noncanonical garments from all over the world through the nexus of their complex
and dynamic production, allowing readers and audiences to understand the larger
implications of—and their own participation in—the systems that govern and produce
this design field. The list is hardly exhaustive, either in terms of cultural and geographic
reach or in number (arbitrarily, 111 objects, a ceiling that purposely provokes others into
highlighting omissions and proposing additions). The Items curatorial team has chosen
to celebrate our center of gravity, New York, by using the city as an observatory, albeit
one equipped with a particularly powerful and inquisitive telescope. New York’s diversity
and density, and its inhabitants’ penchant for intense conversations—for instance, about
contamination or appropriation—have taught us that while you cannot write somebody
else’s story or compile somebody else’s list, it does not take much to trigger a vivacious
and productive response. Our list of 111 items is, thus, like any abbreviated compilation,
particular, filled with this team’s soul and personalities, and also inductive, crafted
to distill a common experience and inspire a reaction. The goal of the exhibition is to
stimulate curiosity and focus attention so that everyone who passes through it might
look at fashion in a different way, with more awareness, agency, and respect. Throughout
the gestation of this project, the public—from third graders to seasoned scholars—felt
inspired to suggest, comment on, approve, decry, or amend both the choice of items
and the way each was represented.
In the exhibition and in this catalogue, garments created for the benefit of many (such
as the white T-shirt or the dashiki) coexist with rarefied fashion episodes for the delight
of a few (Martin Margiela’s Tabi footwear series, for instance, or Yves Saint Laurent’s Le
Smoking). What they have in common is their influence on the world, whether direct and
immediate, as evidenced by millions of purchases, or mediated and metabolized at first
by institutional and financial elites. Thanks to the cross-pollination made possible by
physical and cultural migrations, rampant appropriation, and the disseminating power
of media both old and new, nowhere do high and low engage in so productive a conver-
sation as in fashion.
In the Museum galleries, we examine these items in three tiers: archetype, stereotype,
and prototype. Presented first in the incarnation that made it significant in the last one
hundred (or so) years—the stereotype—each item is then accompanied by contextual
material that traces its origins back to historical archetypes. Our method for defining
a design’s stereotype was necessarily subjective but drew on the collective conscious-
ness: when you close your eyes and think of a sari, or a pair of chinos, or a pearl necklace,
what do you see? That is the item’s stereotype. In our constructive stereotyping, we
were helped by a diverse, international advisory committee (see p. 282) and by the
impressive roster of speakers who participated in a two-day colloquium at the Museum
in May 2016 14; our efforts were further buttressed by research, interviews, and extensive
travels—to India and Bangladesh, Nigeria and South Africa, and many other places in
Asia, Europe, and the US. Finally, for about a third of the pieces, when advancements
in technology, social dynamics, visual culture, or political awareness warranted it, we
complemented the item with a newly commissioned design—a prototype to jump-start
a new life cycle for the garment with pioneering materials, more sustainable approaches,
or novel design techniques. (The preparatory drawings for some of these commissions
illustrate this essay.)
The exhibition is laid out so as to provide both deliberate and serendipitous adjacencies.
From an area devoted to mutating ideas of the body and silhouette, spanning issues of
size, image, and gender—this space presents, among many other items, the little black
dress, the Wonderbra, the sari, and Rudi Gernreich’s Unisex Project—the exhibition
segues into a zone devoted to new technologies and visions of the future, bringing
experiments such as Issey Miyake’s A-POC (A Piece of Cloth) and Pierre Cardin’s
Cosmoscorps collection into conversation with Gore-Tex, sunscreen, and the Moon
Boot. The fascinating relationship between emancipation, modesty, introversion,
and rebellion—concepts that paradoxically share many common traits, in fashion and
beyond—is introduced by the hoodie and the turtleneck, and this portion of the
show includes items as diverse as leather pants, the cheongsam, the slip dress, the
bikini, the hijab, and kente cloth, all connected by a thread of alternately muted or
roaring subversion. Next comes a section devoted to items whose foremost function
is to deliver a message, sometimes explicit (a graphic T-shirt, a tattoo, a particular use
of a bandanna) and other times implicit (a Birkin bag or a diamond engagement ring).
Sports—often a source not only of technological but also of stylistic innovation and the
basis of contemporary casual wear and street wear—inspired a section charting the
myriad ways in which fashion and athleticism have met over the past century, whether
in the form of sports jerseys and other street-wear staples like the polo shirt and the
Converse All-Star, or revered high-fashion collaborations such as Yamamoto’s Y-3.
A section dedicated to everyday uniforms features humble masterpieces such as the
Breton shirt and Levi’s 501s, professional attire such as the pencil skirt and loafers, and
the ubiquitous, multipurpose Dutch wax textiles—indispensable staples that are all but
invisible, so entrenched are they in our habits and behaviors. The exhibition concludes
with a study of power—hard and soft—embodied by, among other garments and
accessories, a selection of men’s suits, Donna Karan’s Seven Easy Pieces, the stiletto
heel, and the pearl necklace. In order to make our inquiry’s shift to a global scale clearer,
we commissioned information designer Giorgia Lupi to create a mural that places the
111 items within larger systems—for instance, the United Nations’ sustainability protocol,
adapted for the future of fashion.
Each of the items in the exhibition engages many intersectional themes and could
therefore be positioned usefully in any number of constellations. This catalogue, however,
takes a different tack, presenting the material alphabetically, for ease of reference.
A short essay on each of the 111 items in the exhibition appears in the order suggested
by the first letter of its name, though we have in some cases decided to take certain
license—for example, opening the sequence with 501s, omitting their maker’s well-known
name in order for them to lead the pack as harbingers of modernity, fashion, and design’s
20 21 interdependency. We have relied on primary sources from the past century, including
material-culture references such as Vogue, Harper’s Bazaar, and the New York Times,
to describe particular cultural moments, and have, of course, drawn heavily on available
scholarship, archival materials, and interviews. Novel visual interpretations of the items
in the show were solicited from five photographers: Omar Victor Diop, Bobby Doherty,
Catherine Losing (in collaboration with stylist Anna Lomax), Monika Mogi, and Kristin-Lee
Moolman (with longtime collaborator Ibrahim Kamara), and those stellar images are
among the many hundreds included here.

In this project, high fashion lives comfortably alongside the white T-shirt and jeans and
other familiar items whose histories we are not so well-acquainted with (perhaps the
true definition of a “humble masterpiece”).15 Equally, in a protomodern approach that
emphasizes the interrelationship and continuity between all forms of culture, fashion
items of all sorts can exist alongside the architectural models, chairs, posters, and video
games that constitute this Museum’s design history. Making these connections has
always been part of MoMA’s mission—at least in the Department of Architecture and 10
Design, where we get to place highly diverse objects side by side in considered juxta-
positions that allow our audiences to bring their own experiences to bear, too. It is plain
that what we wear informs our everyday experience of self and society. The foundational
clothing designs included here allow us to talk rightfully about fashion as a salient area
of design—one that should not and cannot be ignored. I believe that the writers, curators,
students, and members of the general public who recognize and embrace this show’s
approach can help locate a new center of gravity for the field of fashion and generate
their own provocative questions for further exhibitions, books, public discussions, and
personal reflections—at least some of which, I trust, will happen at MoMA. No modern
design history is complete without fashion.
9

Right: 12—  Development sketches

9, 10—  Breton sweater for the harem pants
prototype designed by prototype designed by
Unmade for Items: Is Fashion Miguel Mesa Posada for
Modern?, 2017. Photograph Items: Is Fashion Modern?,
by Luke Bennett 2017
11—  Still from a video
produced in conjunction
11 12
with the little black dress
prototype designed by Pia
Interlandi for Items: Is
Fashion Modern?, 2017 22 23
PHOTOGRAPH CREDITS
In reproducing the images contained in this publication,
the Museum obtained the permission of the rights
holders whenever possible. If the Museum could not
locate the rights holders, notwithstanding good-faith
efforts, it requests that any contact information
concerning such rights holders be forwarded so that
they may be contacted for future editions.
501s 1. Courtesy Levi Strauss & Co. 2, 3. Courtesy Levi
Strauss & Co. Archives (San Francisco). 4. Courtesy
Dangberg Home Ranch Historic Park. A-POC Queen
1. A POC Queen, 1998 (1999 Spring/Summer Issey
Mikaye Collection). Photo Hiroshi Iwasaki. 2. Courtesy
Holly McQuillan. 3. A POC Le Feu 1999 Spring Summer
Issey Mikaye Paris Collection. Photo Yasuaki Yoshinaga.
4. Courtesy Biblioteca Nacional de España, Madrid,
Invent/59. Adidas Superstar 1. Courtesy Jamel Shabazz.
2. © 1970 NBAE. Photo Robert Lewis/NBAE via Getty
Images. 3. © 2017 Bata Shoe Museum, Toronto, Canada.
Photo Suzanne Petersen. 4. Photo Ebet Roberts/
Redferns via Getty Images. Air Force 1 1. Courtesy
Robert McCullough, the Rucker Pro Legends.
3. Courtesy NIKE 4. Courtesy Bobbito Garcia archives,
from the upcoming film Rock Rubber 45s. Aran Sweater
1–3 © National Museum of Ireland. 5. Courtesy Warner
Bros. Entertainment Inc. All rights reserved. 6. ©
National Museum of Ireland. Aviator Sunglasses
1. Courtesy MoMA/Gift of Walter Randel. 2. Courtesy
Universal Studios Licensing LLC. © 1998 Universal City
Studios, Inc. All rights not specifically granted by
Universal herein are reserved. 3. Photo James Garrett/
NY Daily News Archive via Getty Images. 4. Photo Carl
Mydans/The LIFE Picture Collection/Getty Images.
Backpack 1. Courtesy National Archives Photo No.
111-SC-10900. 2. Courtesy JanSport. 3. Courtesy Hans
Feurer. Photo via Condé Nast. 4. Courtesy National
Anthropological Archives, Smithsonian Institution [Lt
82-2(82-2_02)]. Balaclava 1. PA Photos Limited.
3. Courtesy TASS/Mitya Aleshkovsky. Ballet Flat
1. Courtesy Fashion Institute of Technology | SUNY,
Gladys Marcus Library Special Collections and College
Archives. 2. Courtesy Photofest. 3. John Rawlings/
Vogue. © Condé Nast. 4. Courtesy Christian Louboutin.
5. From the collection of Julie Eilber. All rights reserved.
Bandanna 1. Courtesy PF-(bygone1)/Alamy Stock Photo.
2. Courtesy Michael Benabib. 3. © New-York Historical
Society. Baseball Cap 1. Photo Rose Hartman/Getty
Images. 2. Courtesy Library of Congress, General
Collections. 3. Courtesy Provincial Archives of Alberta,
ABR796. Beret 1. © 2017 Stephen Shames/Polaris.
Courtesy Steven Kasher Gallery. 2. Courtesy Anayvette
Martinez (Cofounder of Radical Monarchs). 3. Courtesy
Tony Avelar/Epa/Shutterstock. 4. Photo Joseph
Scherschel/The LIFE Picture Collection/Getty Images.
6. Courtesy Creative Commons. Biker Jacket 1. Photo
Kevin Winter/Getty Images. 2. Courtesy Michael Martin.
3. Courtesy Schott NYC. 4. Courtesy Robert Crowe.
Bikini 1. Photo Keystone/Getty Images/Staff. 2. Courtesy
Janaína Diniz Guerra. Photo Joel Maia/Abril
Comunicações S.A. 3. Courtesy Everett Collection.
4. Public domain via Wikimedia Commons/
Roundtheworld. 5. Courtesy Estate of Toni Frissell and
International Center of Photography, Museum Purchase,
1979 (9. 1979). Birkin Bag 1. Courtesy Mike Daines/REX/
Shutterstock. 2. Photo Howard Sochurek/The LIFE
Picture Collection/Getty Images. 3. Courtesy Slow and
Steady Wins the Race by Mary Ping. Body Meets
Dress—Dress Meets Body 1. Courtesy MoMA Archives.
Photographic Archive/Soichi Sunami. 2–4. Photos by
Guy Marineau/Condé Nast via Getty Images.
5. © Gert-weigelt.de. Breton Shirt 2. Courtesy @ Saint
James. 3. Public domain via Wikimedia Commons.
4. © Stephen Shore. courtesy 303 Gallery, New York.
5. © Pierre et Gilles: À nous deux la mode, Jean Paul
Gaultier, 1989. Briefs 1. Courtesy Jockey International,
Inc. 2. Photo Bruce Weber. Courtesy PVH Corp.
Archives/Calvin Klein. Model Tom Hintnaus.
3, 4. Courtesy Jockey International, Inc. Bucket Hat
1. Image by Chris Saunders; courtesy Chris Saunders &
Impilo Mapantsula. 2. Public domain via Wikimedia
Commons/Nesnad. 3. Licensed by Warner Bros.
Entertainment Inc. All rights reserved. 4. Courtesy
i-am-chen. 5. Creative Commons via Flickr/Government
Press Office. Burkini 1. Courtesy Narelle Autio and Hugo
Michell Gallery, Australia. 2. Aheda Zanetti/Ahiida Pty
Ltd. Caftan 1. Courtesy Henry Clarke/Vogue. © Condé
Nast. 2. Photo Pascal Le Segretain/Getty Images/Staff.
3. Photo DeAgostini/Getty Images/DEA/G. DAGLI ORTI.
4. Courtesy Anne Mullier. Capri Pants 1. Courtesy John
Rawlings/Vogue. © Condé Nast. 2. Courtesy Sonja de
Lennart. 3. ©1962 Calvada Productions. All rights
reserved. Courtesy Calvada Productions and Paul
Brownstein Productions. Cartier Love Bracelet
1. Courtesy Gary Bernstein. 2. Courtesy Schell
Collection, Graz, Austria. Chanel No. 5 1. Courtesy
Chanel. Photo François Kollar @ Ministère de la Culture,
Médiathèque du Patrimoine, Dist. RMN, France.
Cheongsam 1. © USA Films. Courtesy USA Films/
Photofest. 2. © Paramount Pictures Corp. All rights
reserved. Courtesy Paramount Pictures. 3. Photo John
Kobal Foundation/Getty Images. 5. Courtesy Jenny
Lewis. Chinos 1. Matthew Chattle/Alamy Stock Photo.
2. Frank Scherschel via Getty Images from The LIFE
Picture Collection. 3. Courtesy Levi Strauss & Co.
Archives (San Francisco). 4. Courtesy Keagan Kingsley
Carlin of Gold Creatures. Clog 1. Courtesy Sven Original
Clogs/svensclogs.com. 2. Photo Bengt H. Malmqvist. ©
Premium Rockshot. Converse All Star 1. Courtesy Paul
Neumann. 2. Photo Ebet Roberts/Redferns via Getty
Images. 3. Courtesy Converse. 4. Courtesy Seattle
Municipal Archives, 64042. Coppola 1. Photo Amy
Sussman/Getty Images for Moet Hennessy USA.
2. Apparel Arts. 3. Photo Hulton Archive/Getty Images/
Stringer. 4. © Ferdinando Scianna/Magnum Photos.
Dashiki 1. Courtesy Howard Davis/New Breed.
2. Courtesy Michelle Millar Fisher. 3. Photo Kevin
Winter/Getty Images/Staff. 4. Photo Yale Joel/The LIFE
Picture Collection/Getty Images. 5. Courtesy Kyemah
McEntyre and Jalese Ayana. Diamond Engagement
Ring 1. Courtesy Philipp Mohr/Tobias Wong. 2. © 2017
Biblioteca Apostolica Vaticana, by permission of
Biblioteca Apostolica Vaticana. All rights reserved.
3. Courtesy Elgin-Columbia Diamond Division. Diamond
Stud 1. © Her Majesty Queen Elizabeth II 2017. Courtesy
Reuters/Marcos Brindicci. 2. Royal Collection Trust.
3. Courtesy Stewart Cook/REX/Shutterstock.
Door-Knocker Earrings 1. Courtesy Amanda López.
2. Courtesy Eugene Adebari/REX/Shutterstock.
3. Courtesy Craig Blankenhorn/HBO. Down Jacket
1. © Horst. 2. Courtesy Joel Janovsky + Max Dayan.
3. © Condé Nast. Courtesy Marcus Tondo/
VogueRunway.com. 4. Courtesy Gilles Bensimon. Dr.
Martens 1. Photo Virginia Turbett/Redferns via Getty
Images. 2. © Pennie Smith. 3. Courtesy Peter Price/REX/
Shutterstock. 4. Photo Jeff Kravitz/Film Magic, Inc./
Getty Images. 5. Courtesy Symarip. Dutch Wax 1. Photo
Nathalie Lagneau/Catwalking/Getty Images. 2. Courtesy
Alexander Sarlay via Creative Commons. 3, 4. Courtesy
Vlisco Netherlands BV. Espadrille 1. Courtesy Silvia
Olsen/REX/Shutterstock. 2. © Melitó Casals “Meli”/
Fundació Gala-Salvador Dalí, Figueres, 2017. Image
rights of Salvador Dalí reserved. Fundació Gala- Salvador
Dalí, Figueres, 2017. 3. Photo Keystone/Getty Images/
Stringer. 4. Photo Ana Sanz. Courtesy Las Pacas
Espadrilles, www.laspacas.com. Fanny Pack 1. Courtesy
Library of Congress, Prints & Photographs Division,
Edward S. Curtis Collection [LC-USZ62-46973].
2. © Inez Van Lamsweerde and Vinoodh Matadin/Trunk
Archive. 3. Public domain via Wikimedia Commons/
Andrew Smart/Lane Fine Art. 4. Courtesy Travis Kiger.
Fitbit 1. Courtesy J. Rogers, Northwestern University.
2. Courtesy Kathryn Bennett. Fleece 1. Courtesy Tom
Frost/Aurora Photos. 2. Courtesy Patagonia/Rick
Ridgeway. Flip-Flop 1. Photo Mai/Mai/The LIFE Images
Collection/Getty Images. 2. Courtesy www.exoticindia.
com. 3. © 2017 Bata Shoe Museum, Toronto, Canada.
Photo Hal Roth. Fur Coat 2. © Museumslandschaft
Hessen Kassel/Bridgeman Images. 3. Courtesy EBONY
Media Operations, LLC. All rights reserved. 4. People for
the Ethical Treatment of Animals (PETA), www.peta.org.
Gore-Tex 1. © National Museum of Natural History.
Courtesy (Catalogue No. E383185) Department of
Anthropology, Smithsonian Institution. 2, 3. Courtesy
W.L. Gore & Associates Archives. Graphic T-Shirt
1. Courtesy Liza Cowan. 2. Photo Diana Davies, Ralph
Rinzler Folklife Archives and Collections. 3. Photo
George Silk/Time & Life Pictures/Getty Images. 4. Photo
Jordan Mansfield/Getty Images/Stringer. 5. Courtesy
Frank Stefanko. 6. Courtesy PA Images/Alamy Stock
Photo. 7. Courtesy Chromix Imaging/Alamy Stock Photo.
Guayabera 1. Photo Central Press/Getty Images.
2. Courtesy EFE. 3. Courtesy Robert Harding/Alamy
Stock Photo. 4. Bettmann via Getty Images. Harem
Pants 1. Courtesy Eugene Adebari/Shutterstock.
2. Courtesy Barbara Eden as Jeannie. 3. Library of
Congress, Prints & Photographs Division
[LC-USZ62-970]. 4. Photo Fine Art Images/Heritage
Images/Getty Images. 5. Photo Apic/Getty Images.
Head Wrap 1. Courtesy The Historic New Orleans
Collections, acquisition made possible by the Diana
Helis Henry Art Fund of the Helis Foundation in Memory
of Charles A Snyder, 2010.0306. 2. © Condé Nast. Carlos
Marjob/Vogue. 3. Courtesy Estevan Oriol. 4. Courtesy B
Christopher/Alamy Stock Photo. 5. Cultura RM
Exclusive/Laura Arsie via Getty Images. Headphones
1. Photo Dick Lewis/NY Daily News Archive via Getty
Images. 2. Photo Anna Zieminski/AFP/Getty Images/
Staff. 3. Photo Ronald Martinez/Getty Images/Staff.
Hijab 1. Courtesy Hana Tajima and UNIQLO. 2. Photo
Tom Pennington/Getty Images/Staff. 3. Creative
Commons via Wikimedia Commons/Orrling. 4. Photo
Peter Turnley/Corbis/VCG via Getty Images. 5. Photo
Frazer Harrison/Getty Images for New York Fashion
Week: The Shows/Staff. Hoodie 1. Courtesy Allison
Joyce/Getty Images. 2. Courtesy Daniele Oberrauch/
IMAXTREE.com. 3. © 2006 Metro-Goldwyn-Mayer
Pictures Inc. and Revolution Studios Distribution
Company, LLC. All rights reserved. Courtesy MGM
Media Licensing and Sylvester Stallone. 4. Courtesy
Hanesbrands, Inc. Jumpsuit 1. Photo Richard Corkery/
NY Daily News Archive via Getty Images. 2. © Estate of
Aleksandr Rodchenko/RAO, Moscow/VAGA, New York.
4. © Sukita. Keffiyeh 1. Bettman via Getty Images.
2. Library of Congress, Prints & Photographs Division
[LC-USZ62-76257 (b&w lm copy neg)]. 3. Photo Irving
Penn for Vogue, February 15, 1965. © Condé Nast.
4. Courtesy Salim Al Kadi. 5. Photo Keystone/Getty
Images/Stringer. Kente Cloth 1. Courtesy Philippe J.
Kradolfer. 2. © 2015 Gary L. Hodges. Courtesy Ithaca
College. 3. Courtesy REUTERS/Luc Gnago. 4. Courtesy
Basel Mission Archives Ref. No. D-30.30.022. Kilt
1. © Her Majesty Queen Elizabeth II 2017. Courtesy Royal
Collection Trust. 2. Courtesy Ben Westwood & the
286
worlds end blog, http://worldsendshop.co.uk/.
3. Courtesy Chronicle/Alamy Stock Photo. 4. Vivienne
Westwood/1993/Fall Winter. Photo Niall Mclnerney. ©
Bloomsbury Fashion Archive. Kippah 1. New York Public
Library Digital Collection. 2. Courtesy MayaWorks.
3. Courtesy Suzy Rosenstein. 4, 6. Courtesy MoMA.
Photo John Wronn. 5. Courtesy Needlepoint by Rachael
Brown in Atlanta. 7. Courtesy Kids Kippot. 8. Courtesy
geardiary.com. 9. Courtesy MayaWorks. Lapel Pin
1. Courtesy REUTERS/Eddie Keogh. 2. Photo Win
McNamee/Getty Images/Staff. 3. Photo Jim Smeal/
Wirelmage via Getty Images. 4. Courtesy Louvre, Paris,
France/Bridgeman Images. 5. Photo Keystone/Getty
Images/Stringer. Le Smoking 1. Photo Alain Nogues/
Sygma/Sygma via Getty Images. 2. Photo Syndication
International/Getty Images/Staff. 3. © The Helmut
Newton Estate/Maconochie Photography. Leather
Pants 1. Courtesy International Mr. Leather Inc.
2. © Rolling Stone LLC 2017. All rights reserved. Used
by permission. 3. Photo Michael Ochs Archives/Getty
Images/Handout. 4. Courtesy Jean-Baptiste Mondino.
Photo via Condé Nast France. Leotard 1. © Victoria and
Albert Museum, London. 2. Photo Tim Clayton/Corbis
via Getty Images. 3. Courtesy Cooper Hewitt,
Smithsonian Design Museum/Art Resource, NY.
4. © Philippe Halsman Archive. Little Black Dress
1. © Condé Nast. Courtesy Mainbocher/Vogue.
2. Courtesy Firstview. 3. Photo Steve Marsel Studio.
Courtesy Nervous System. 4. © Thierry Mugler, 2017.
Courtesy Indianapolis Museum of Art/Lucille Stewart
Endowed Art Fund. 5. © The Museum at FIT. Loafer
1. Photo Paul Drinkwater/NBC/NBCU Photo Bank via
Getty Images. 3. Photo Dave Buresh/The Denver Post
via Getty Images. 4. Holiday magazine. 5. Photo Janette
Beckman/Getty Images. Manicure 1. © Condé Nast.
Courtesy Gene Laurents/Glamour. 2. Courtesy The
Metropolitan Museum of Art, Gilman Collection,
Museum Purchase, 2005. 4. Photo Tony Duffy/Allsport
via Getty Images/Staff. Mao Jacket 1. Photo Sovfoto/
UIG via Getty Images. 2. Bettman via Getty Images.
3. Photo Tseng Kwong Chi. © 1979 Muna Tseng Dance
Projects, Inc. New York. www.tsengkwongchi.com.
4. Courtesy Sophie Bassouls. Miniskirt 1. Courtesy
Carey Winfrey. 2. © Paramount Pictures Corp. Courtesy
Paramount Pictures. All rights reserved. 3. Photo Kirn
Vintage Stock/Corbis via Getty Images. 4. Bettmann via
Getty Images. Monogram 1. © Kevin Tachman. Courtesy
Gucci. 2. Courtesy DapperDanOfHarlem.com. 3. Photo
Michael Schwartz/Contour Style via Getty Images.
Moon Boot 1. Photo Mark Avino. Courtesy Smithsonian
National Air and Space Museum (NASM 2008-12210).
2. © 1972 Paul McCartney. Photo Linda McCartney. All
rights reserved. 3. Photographer Tobias Lundkvist.
Oxford-Cloth Button-Down Shirt 1. Courtesy Wofford
College. 2. Courtesy Ann Demeulemeester. Photo
Marleen Daniels marleendaniels.com. 3. © Condé Nast.
Courtesy John Rawlings/Vogue. 4. Bettmann via Getty
Images. Panama Hat 1. Courtesy National Archives and
Records Administration, 185-G-15-1425. 2. Finaest.com.
3. Courtesy Hats from the Heart. 4. Courtesy Library
of Congress, Prints and Photographs Division, National
Photo Company Collection [LC-USZ62-131913]. Pearl
Necklace 1. Bettmann via Getty Images. 2. Photo
Eugene Robert Richee/John Kobal Foundation/Getty
Images. 3. © National Portrait Gallery, London. 4. Photo
Debrocke/ClassicStock/Getty Images. Pencil Skirt
1. © Condé Nast. Courtesy Wayne Maser/Vogue.
2. Courtesy Richard Sandler. 3. “Mad Men” courtesy
Lions Gate Television, Inc. 4. Reproduced with
permission of Punch Ltd., www.punch.co.uk. Plaid
Flannel Shirt 1. Courtesy Charles Peterson. 2. © Steven
Meisel via Art + Commerce. 3. Courtesy Pendleton
287
Woolen Mills, Inc. All rights reserved. This image may
not be reproduced without express permission from
Pendleton Woolen Mills, Inc. Platform Shoe 1. © Keisuke
Katano. Courtesy The J. Paul Getty Museum, Los
Angeles. Hiroshi Hamaya, Blind Musicians, Niigata
Prefecture, 1956, Gelatin silver print, 30.1 x 20 cm.
2. Photo Steve Eichner/Getty Images. 3. © Meryl Meisler
1978. 4. Courtesy Museo Stibbert, Florence, Italy.
5. Photo Josiah Kamau/BuzzFoto via Getty Images. Polo
Shirt 1. Getty Images via Fred Perry. Courtesy Damon
Albarn and Fred Perry. 2. From “Bury Me With The Lo
On,” by Thirstin Howl the 3rd and Tom Gould. Published
by Victory Editions, 2016. 3. Courtesy Ann Kirsten
Kennis. 4. Photo George Rinhart/Corbis via Getty
Images. Premaman 1. Bettmann via Getty Images.
3. Courtesy Philippe McLean. Red Lipstick 1. Photo
Richard Avedon. © The Richard Avedon Foundation.
Courtesy Revlon. 2. Albert Sanchez for M·A·C
Cosmetics. Courtesy RuCo, Inc. fso RuPaul. Rolex
2. © Jack Forster, Editor-in-Chief of HODINKEE,
hodinkee.com. Safari Suit 1. Photo Osa & Martin
Johnson Safari Mus./Getty Images. 3. Courtesy Oenone
Acheson. 4. Courtesy Ozwald Boateng. 5. Photo John
Minihan/Evening Standard/Getty Images. Safety Pin
1. Courtesy Nick Knight. 2. Photo Lisa Larsen/The LIFE
Images Collection/Getty Images. 3. Courtesy Trinity
Mirror/Mirrorpix/Alamy Stock Photo. 4. Photo Dave
Benett/Hulton Archive/Getty Images. 5. Photo by Clive
Arrowsmith. Courtesy Zandra Rhodes “Conceptual Chic
Collection” 1978. Salwar Kameez 1. The Times of India
Group. © BCCL. All rights reserved. 2. Photo
Catwalking/Getty Images. 3. Courtesy Imran Ahmed/
Alamy Stock Photo. 4. Photo Tim Graham/Getty Images.
Sari 1. Courtesy Uri Baitner Photography, 2017. 2. Photo
Giancarlo Botti/Gamma-Rapho via Getty Images.
3. Courtesy Paola Antonelli. 4, 5. © Border & Fall.
6. Photo STRDEL/AFP/GettyImages/Stringer. Seven
Easy Pieces 1, 2. © Benoit Malphettes. 3. Courtesy
Sandra Garratt. Photo Les Hall. 4. Photo Pierre Sherman.
Courtesy Donna Karan New York. Shawl 1. Photo Asaf
Ali. Courtesy Kashmir Loom. 2. Courtesy Michelle Millar
Fisher. 3. © RMN-Grand Palais /Art Resource NY. Photo
Thierry Ollivier. 4. © 2017 Museum of Fine Arts, Boston.
From the Hayden Collection-Charles Henry Hayden
Fund. Shift Dress 1. Photo Slim Aarons/Hulton Archive/
Getty Images/Stringer. 2. Photo Chris Moore at
catwalking.com. Courtesy Hussein Chalayan.
3. © Condé Nast. Guy Marineau/Vogue. 4. Courtesy
Archivio Alfa Castaldi, Milan. Shirtdress 1. Library
of Congress, Prints and Photographs Division,
Miscellaneous Items on High Demand [LC-DIG-
ppmsca-09489]. 2. Irving Penn for Vogue, February 1948.
© Condé Nast. 3. Bob Stone/Vogue. © Condé Nast. Silk
Scarf 1. Courtesy Slow Factory. 2. Courtesy Hainan
Airlines. 3. Photo Kasia Wandycz/Paris Match via Getty
Images. 4. Courtesy Avalon. Slip Dress 1. Photo
Ke.Mazur/Wirelmage via Getty Images. 2. Chris von
Wangenheim/Vogue. © Condé Nast. 3. Courtesy
Richard Young/Rex/Shutterstock. 4. Dan Lecca/Vogue.
© Condé Nast. 5. Quick Magazine. Snugli 1. Courtesy
Baby Tula. 2. Photo BSIP/UIG via Getty Images. 3. Photo
Morton Broffman/Getty Images. Space Age 1. Licensed
by Warner Bros. Entertainment Inc. All rights reserved.
2. Courtesy Yoshi Takata/DR. 3. Courtesy American
Craft Council Library & Archives. Spanx 1. Photo
Universal History Archive/UIG via Getty. Speedo 1. T.T.
via Getty Images. 2. Photo Popperfoto/Getty Images.
3. Courtesy AP Photo. 4. Photo Terry O’Neill/Hulton
Archive/Getty Images. Sports Jersey 1. Photo Brian
Bahr/Getty Images. 2. Courtesy Fotoagentur Sven
Simon. 3. Courtesy Maria Jahnkoy. 4. Photo Dennis
Grombkowski/Getty Images. Stiletto 1. Photo David
Stevenson and Eva Tkaczuk. © 2017 Bata Shoe Museum,
Toronto, Canada. 2. © The Helmut Newton Estate/
Maconochie Photography. Suit 1. Photo Ash Reynolds.
Courtesy Thom Browne. 2. © 2017 Museum Associates/
LACMA. Licensed by Art Resource, NY. 3. Courtesy Eric
T. White. 4. © Daniele Tamagni. 5. © 1985 Universal
Television Enterprises, Inc. Courtesy Universal Studios
Licensing LLC. 6. Courtesy War Archive/Alamy Stock
Photo. 7. © Paramount Pictures Corp. All rights reserved.
Courtesy Paramount Pictures. Sunscreen 1. Photo Hong
Wu/Getty Images. 2. Used under license by Bayer®.
3. Aaron Black via Getty Images. Surgical Mask
1. Courtesy National Archives, photo no. 165-WW-269B-
25. 2. KIRA. Courtesy TokyoFashion.com. 3. Underwood
Archives/Getty Images. 4. Courtesy REUTERS/Damir
Sagolj Swatch 1. Courtesy REUTERS/Will Burgess.
2. GZ010–Original Jelly Fish, Swatch Ltd. Tabi Boot.
2. Photo Larry French/Getty Images for Staff USA/
Stringer. 3. Photo Anders Edstrom. Courtesy Maison
Martin Margiela. Tattoo 2. Creative Commons via Flickr/
ANBerlin. 3. Courtesy Don. 4. Courtesy Roxx 2Spirit.
5. Courtesy Ania Blazejewska. Teva Sandal
1. Photo Norman Kent. 2, 3. TEVA® is a registered
trademark of Deckers Outdoor Corporation. Tie 1. Public
domain/US Patent. 2. Courtesy Esquire, Hearst
Communications, Inc. 3. Photo David Lees/The LIFE
Picture Collection/Getty Images. 4. Courtesy Bonhams.
5. Danny Lehman via Getty Images. Tights 1. Skin
Guardian, 2006. Art direction and © SOMADESIGN.
2. Courtesy PA Images/Alamy Stock Photo. 3. Photo
A. R. Tanner/Getty Images/Stringer. 4. Courtesy Glen
Raven, Inc. Tracksuit 1. Photo still from Longstreet–
Courtesy CBS Television Studios. 2. Courtesy
Photofusion Picture Library/Alamy Stock Photo.
3. Courtesy Edward Herdwick/Alamy Stock Photo.
4. Photo Getty Images/Staff. 5. Photo Jacob Hägg @
oyyyster for Brashy Studios @brashystudios. Model Alex
Boldea (HMMLA). Trench Coat 1. Photo Daily Mirror/
Mirrorpix/Mirrorpix via Getty Images. 2. Licensed by
Warner Bros. Entertainment Inc. All rights reserved.
Photo via AF archive/Alamy Stock Photo. 3. The LIFE
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Courtesy Museum of Fine Arts Ghent © www.lukasweb.
be–Art in Flanders vzw. 2. © Astorina SrL. Courtesy
Diabolik.Evakant. 3. Bettmann via Getty Images.
4. Creative Commons via Flickr/CopperKettle. 5. Photo
Norman Seeff. Unisex Project 1. © The Estate of Patricia
Faure. 2. Courtesy The Rational Dress Society.
3. Courtesy the ACLU Foundation of Southern
California/Rudi Gernreich GmbH, Swiss branch Lucerne.
White T-Shirt 1. Naval History and Heritage Command,
NH 84663. 2. Courtesy Jockey International, Inc.
3. David Gilkey/NPR. 4. Mondadori Portfolio via Getty
Images. Wonderbra 1. Photo Ellen von Unwerth/Trunk
Archive. Courtesy Ellen von Unwerth, Hanesbrands,
TBWA, Eva Herzigova. 2. Public domain/US Patent.
3. Courtesy Maison Alice Cadolle. Wrap Dress 2. Freer
Gallery of Art and Arthur M. Sackler Gallery:
Purchase—Smithsonian Collections Acquisition Program
and partial gift of Richard G. Pritzlaff. 3. Courtesy Diane
von Furstenberg. 4. © The Metropolitan Museum of Art.
Courtesy Art Resource, NY. Y-3 1. Photo Sasha/Getty
Images/Stringer. 2, 3. Courtesy Yohji Yamamoto Inc.
Yoga Pants 1. Courtesy Justin Lane/Epa/REX/
Shutterstock. 2. Photo Express/Getty Images/Stringer.
3. Photo Eliot Elisofon/The LIFE Picture Collection/Getty
Images. YSL Touche Éclat 1–3. @johnfabulin. 4, 5. Photo
Alfred Eisenstaedt/The LIFE Picture Collection/Getty
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