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Ryane Thorne, Creative Director Kayla Gilly, Photographer Alexandra Sirras, Writer Cid Chen, Stylist
Yuki Li, Model Melissa He, Model Denise Anthony, Model Avalon Golden, Makeup Artist
From Florence’s Eleonora di Toledo to France’s Marie Antoinette, history shows that maximalism’s prevalence is absolutely nothing new. The past has seen brocades woven of literal gold, six-foot panier skirts, massive powdered wigs, an invaluable amount of jewelry, and virtually everything else imaginable, but we’ve never seen maximalism quite like we’re seeing it now. Sure, the world’s most rich and powerful have long since had access to do and wear quite literally whatever it was that they had wanted–a fact lending itself handily to former iterations of maximalism–but what we’re seeing now doesn’t necessarily align with those previous expressions. But before we jump into why exactly modern maximalism is what it is, let’s take a few steps back and ask ourselves arguably the most important question of them all: what even is maximalism? Maximalism is an aesthetic rooted in the idea of excess–the idea that more truly is more, and what’s more that more is better. As we’ve seen, the idea of excess is nothing new in fashion, but the term “maximalism” only began to be applied around the mid-20th century after the end of the Second World War. Before this pivotal moment, grandeur and opulence at a notable level were seen as gauche and dated, things only to be embraced by royal women of eras past but never in modern society. A long period of sadness was accompanied by shapeless and colorless clothes, however, and it shifted this mindset. As treaties were signed, prisoners were freed, and men returned home, a lust for change bloomed in the minds and hearts of people internationally, and thus fashion as we know it was changed forever. There was born a want for the visions of beauty and joy brought by previous stylistic eras–Victorian richness, art nouveau’s ornamentalism, and surrealism’s absurdity were called back to the forefront of people’s minds as they sought a break from their wartime monotony. Every decade of fashion in the post-War world has its own definite maximal look. Immediately following the end of the war, Christian Dior would release his “New Look”. Admittedly, the materials and colors used were nothing out of the (borderline banal) ordinary, and even now the silhouette appears classic and simple, but it’s important to note the context within which it was created. Dior’s maximalism came not in the form of garish colors or inventive fabrics, but rather in the abject, undeniable, and borderline overwhelming femininity of his creation. This vision and look came in such a stark contrast to the shapes and garments seen in recent years beforehand that it did seem well and truly revolutionary and impactful, and it is comparatively maximal on a surprising level given its classic qualities.
Soon after Dior made waves, the 1960s saw Twiggy appear in the British modeling scene with her bright colors, bold patterns, and playful makeup. With her popularity, the young model practically defined the British mod movement of the era, embracing the ostentatious looks of the mid-century. It was also notably at this time that designer Paco Rabanne began to gain traction and recognition in the fashion industry and began to revolutionize the materials used in clothing with his “Twelve Unwearable Dresses”, most of which were made of (now iconic) chainmaille. Less than a decade later, the world was thrown into the “disco era”, with Bianca Jagger entering Studio 54 on a literal white horse and Cher donning a new sequin or feather covered Bob Mackie original look at every turn. The 1970s is when we truly see the emergence of maximalism on a large scale. It doesn’t take much to find the maximalist points of broader ‘80s fashion. Let’s be completely real here, effectively the entire thing fits the bill. From the massive curled hair to bright bold makeup to the decade’s synonymous neon colors, it’s hard to find something about ‘80s fashion that isn’t the very definition of maximal. The overarching look of the following decade was an interesting change from its lead-in, though. Enough hairspray to burn a literal hole in the ozone layer lead itself rather quickly into the sleek, neutral, minimal look that the ‘90s are now known for. Why exactly that is remains unknown, but it’s not impossible to imagine that it probably had something to do with the sheer garishness of the ‘80s–a reactionary cool-down was pretty necessary and absolutely not surprising. With the full introduction of the digital age in the later ‘90s and early 2000s, the minimalism of the turn of the century shifted slightly more toward the center of the “too much vs too little” scale, but the needle certainly remained swaying toward the idea of simplicity. Of course there were exceptions to this–nearly the only minimal aspect of JLo’s iconic Versace Jungle dress that quite literally started Google Images was the amount of fabric used–but for the most part things never really got too wild or out of hand after the Y2K. That is, until now. In June of 2020, Tiktok’s Clara Perlmutter (aka @tinyjewishgirl) starts posting about her outfits and clothing choices, and almost instantly her videos begin to gain traction. For many, this was the start of the mainstream prevalence of the maximalist aesthetic. Social media’s influence on this “trend”--if you could even call it that–cannot be overstated: it’s really impossible to know what maximalism may have been in this iteration without content creators like Clara or her peers, but it’s not unimaginable that it wouldn’t have happened at all.
So what exactly is it about the status quo that makes maximalism so appealing? For Clara and the numerous creators that seemingly began alongside her, maximalism simply brought them joy at a time where, frankly, things were a little bleak (beginning of a pandemic and all). As a reaction to pandemic-era emotions and life-
styles, maximalism actually makes pe really living it up at the height of COV the vast majority of us it was, obvious that every “normal” day is a blessing grew sick and tired of work-from-hom pants and not having donned shoes i to shift. People would have looked at doll’s head on a ring? They probably cares? You quite literally just surviv wear your doll ring have some fun Arguably the biggest thing tha resurgence of maximalism the fact that people just d much–we all had bigger Now, many of us are u seeing looks that would’ve once seemed tacky, garish, or just outright
erfect sense. The people who were VID are few and far between, so for sly, a very trying time. We learned and every outing is a gift and as we me uniforms of blouses and sweatin two weeks things began t you cross for wearing a y still will, but who ved a pandemic–go n! at allowed the in this form was did not care as r fish to fry. used to
ugly, and we’re able to recognize the beauty and the technique in them. There’s a big difference between fashion and clothing, and much of that difference often lies in controversy. Take Alexander McQueen under its founder, Lee, for example. His looks were avant-garde to the extreme–they were confusing, at times scary, controversial beyond belief, and they were undoubtedly amazing. Lee McQueen shaped the worlds of fashion and art as we know them, but he didn’t do that with universal support. We’re seeing that very same phenomenon, albeit to a lesser extent, now with the maximalist movement: the style may have plenty of (often very vocal) denouncers, but that only means it’s doing something right. Maximalism is controversial because it incites emotion in its viewers and, regardless of whether it’s positive or negative, that is a truly wonderful trait to be held in fashion. Ultimately, it’s what fashion itself is all about.
Whereas one viewer may see a piece or an outfit or what have you as b thing as the very essence of beauty materialized. It’s within that difference jewelry to a conduit for creativity and expression, to a medium of art in some
So now that we know what maximalism is, how it got its bearings in fashion, an question remaining: how do I dress maximally? The beautiful thing about maxim rules to follow, it’s very much an “anything goes” style. Comfortability and confid that makes you feel good for any reason whatsoever or for no reason in particu
That said, there are five basic guidelines that can help build a maximalist ou
Accessorize. Jewelry, hats, scarves, belts, glasses out! The whole idea is the more the merrier, and ac easiest and most practical ways to achieve that.
Don’t back down from a layering challeng pants? Move over early 2000s teen runway pieces? The
Embrace color. Is there a bright orange dress closet for two years because you just can’t cra the base of your outfit. The Barbie movie has thing? Now’s the time! The quickest way to ma introduce color.
Mix patterns. The idea of pattern mixing is no on a massive scale for J. Crew during her suit. Keep it up! Stripes and polka dots, s plaid imaginable, two different animal prin shot and you might
Look for texture. Texture is one of t outfit, especially if it’s just missing a ous with color? It’s not hard to find you’re loving bright, bold colors, try into the mix to really switch up the l
being ugly as sin, another may see the exact e that these pieces shift from just apparel or e cases.
nd why it works so well, there’s only really one malism is that there really is no governing set of dence is key here; if you’re wearing something ular, then it’s perfect!
utfit if you just don’t know where to start.
s, gloves–you name it, try it ccessories are one of the
ge. Three belts? Sure! Skirt over style. Sheer layers over opaque ere’s really no other way to do it.
that’s been in the back of your ack that code? Throw it on–there’s you wanting to try hot pink everyake any outfit into a bold one is to
othing new. Jenna Lyons did it r tenure and the world followed stripes and other stripes, every nts–whatever it may be, give it a t be surprised with what works.
the easiest ways to really amp up an a little something. Not feeling adventura beautiful black velvet piece. Even if y throwing a silk or even a faux fur piece layers of your look.
Creative Director: Chris Foteinelis Writer: Aashna Batra Stylists: Ava Iannessa, Natalie Gettman, Ashley Young Models: Victoria Oliveira, Abhi Muthavarapu, Ava Iannessa Photographers: Chase Harris, Lauren Bessey
The minimalist style has emerged in recent years, after the maximalist style from Tiktok gained popularity circa 2020. Minimalism has always been in the background of fashion trends, dating back to the 90s Ralph Lauren look, with simple, but elegantly stated pieces like cable knits, overcoats, pearls, riding boots, the Audrey Hepburn décolleté bateau (high) neckline,
The minimalist style has emerged in recent years, after the maximalist style from Tiktok gained popularity circa 2020. Minimalism always been in the the style. pantyhose, acting ashas essentials for background of fashion trends, dating back to the 90s Ralph look, with simple,Luxury but elegantly stated For theLauren Minimalism and Quiet shoot, the pieces like cable knits, overcoats, pearls, riding boots, directors, photographers, and stylists discussed a the Audrey bateauwe (high) neckdirection forHepburn the shoot.décolleté They decided do two line, pantyhose, acting as essentials for the style. shoots, one indoor and one outdoor to show minimalism and quiet luxury in different locations in real life. The color palette followed mostly muted browns, shades of beige and tan, as well as cooler tones like muted blues and grays. From here, the models sent in outfit options following the color scheme, and sleek, tailored, and of course minimalist silhouettes. The outfits primarily consisted of sweaters, slacks, button down vests, and monochromatic looks. We shot in less populated locations, so that the theme of minimalism would be expressed. Shooting outside, on large avenues, these outfits were expressed with an adequate and touching atmosphere, highlighting how minimalism is part of New York culture properly represented by its civilians. Trying to focus on the delicacy and detail of the clothing, another shoot in a closed studio was necessary. Models took on their professional skill set afront a white background posing to extenuate their luxurious and minimalist outfits proposing a contrast between the busy and bustling New York City nature and the calm and tinted photography studio.
For the Minimalism and Quiet Luxury shoot, the directors, photographers, and stylists discussed a direction for the shoot. They decided we do two shoots, one indoor and one outdoor to show minimalism and quiet luxury in different locations in real life. The color palette followed mostly muted browns, shades of beige and tan, as well as cooler tones like muted blues and grays. From here, the models sent in outfit options following the color scheme, and sleek, tailored, and of course minimalist silhouettes. The outfits primarily consisted of sweaters, slacks, button down vests, and monochromatic looks. We shot in less populated locations, so that the theme of minimalism would be expressed. Shooting outside, on large avenues, these outfits were expressed with an adequate and touching atmosphere, highlighting how minimalism is part of New York culture properly represented by its civilians. Trying to focus on the delicacy and detail of the clothing, another shoot in a closed studio was necessary. Models took on their professional skill set afront a white background posing to extenuate their luxurious and minimalist outfits proposing a contrast between the busy and bustling New York City nature and the calm and tinted photography studio.
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The ‘Final Girl’ in horror is the last surviving female character who defeats the antagonist. The aesthetic is grunge, bold, and rebellious. The style consists of elements to showcase the girl’s strength, resilience and resourcefulness with tactical elements like pants, sturdy boots, and weapons. Description by Nora Comtois
SENSUAL HORROR
Sensual Horror portrays elements of horror with a more luscious adaptation to evoke sensuality, allure, and seduction. The aesthetic is dark, gothic, and vampiric. The silhouettes are more figure-hugging or suggestive, often in materials like leather, lace, and latex in colors like black and red. Description by Nora Comtois
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eminity is expressed within horror through two main archetypes, both of which are largely defined by their fashion: ‘damsel in distress,’ and ‘femme fatale.’ The ‘femme fatale’ (translating to ‘fatal woman’) archetype relies on womens’ sexuality for power and expression. Tight silhouettes are but a mere accessory to their ‘hourglass figure,’ communicating their hyper-femininity. A large bust, sitting atop an uncomfortably slim waist, and wide hips that create smooth curves down the sides of womens’ bodies; the femme fatale is a fabrication of the male gaze. Still, however, they manage to weaponize this beauty, putting it to use as a means of manipulation. At its origin, femme fatale was characterized by glamor. Rita Hayworth’s portrayal of Gilda, for instance, was defined by her costuming. The iconic strapless dress revealed just enough to tease the viewer. Draped in black satin, the silhouette hugged her hips. emphasizing the hourglass. Complete with matching black gloves, and the ultimate accessory, a cigarette. Her glossy curls frame her sultry face, emanating sex from every angle. Another, more modern embodiment of the archetype exists within Angelina Jolie’s Mrs. Smith of Mr. And Mrs. Smith. Hired to kill her husband in the film (played by Brad Pitt), Jane Smith’s killer alter-ego is defined by (yet another) black dress. A bit raunchier now in more recent times, Jane’s spin on the classic black dress includes a higher slit and a lower neckline. With similar flowing curls, Jane is set apart by her thin, sharp brows and winged eyeliner — features just beginning to encompass her cunning.
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Contrasting this powerful portrayal of feminine nature is the ‘damsel in distress.’ This female trope uses gender against women, accrediting to them an inherent helplessness. Though highly revered in the film industry, Albert Hitchcock is responsible for the fabrication of the infamous ‘damsel in distress’ in his 1960 film Psycho. A household name amongst horror films, Psycho portrays its female lead Marion Crane as an innocent young woman, only willing to commit the crimes she does for the sake of love, in the end rendering her a helpless victim. Her costuming — though undoubtedly influenced by the times — asserts her innocence. Wide eyed and modestly dressed, she presents no imminent danger to onlookers. Her baby blue dress buttons to the top of her neck, falling into a full skirt below. Bested at the top of the waist, the cut of the dress resembles an extended rendition of the classic babydoll silhouette. Marion’s lack of sex communicates innocence, a child-like vulnerability that leads to her untimely death.
Written by Isabella Jambrina
Surrealist Horror portrays elements of horror with a more avante-garden adaptation to create a fantastical, dreamlike, and illusory experience. The aesthetic is theatrical, eccentrical, and visually-striking, often in distorted proportions, juxtaposing colors or textures, and exaggerated silhouettes.
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Corset History Through the Eyes of the Renaissance and Now By Lamees Lodhi
Photo Courtesy of The Museum at FIT, The Corset: Fashioning The Body Installation View
The cultural “rebirth” taking place in Europe, notably known as the Renaissance Period, following the Middle Ages, was an era of revival for artistic expression across numerous platforms. The Renaissance was known for the rediscovery of literature and art; however, what I find most
interesting is the pathway paved for corsetry up until now. As we dive into the division between what was once seen as immobilizing, to now taking on the role of different aesthetic trends, let us not forget the importance that the origin of corsetry has had on what we as a society find empowering. Though corsets have dated back to 1600 BCE, they did not gain true popularity until the Middle Ages and Renaissance era. Initially, corsets were worn primarily as an undergarment, but later turned into a symbol of high social status and wealth. the corset was made typically of hard fabrics and whalebone designed to structure and support the bust in order to fit the silhouette at the time.
French artist Pierre Carrier-Belleuse (1851-1932) painted in 1893
“The corset restricted feminist freedom, and the 1 especially after the first World War. No longer d frame of a corset.”
Photo Courtesy of The Museum at FIT, The Corset: Fashioning The Body
1900s was a time for expression amongst women, did women want to feel constricted to the stitched
Another type of corset during this period were metal corsets. However, they were mainly used as orthopedic devices, which helped to fix spinal problems. Corsets began to symbolize modesty as the tight framing restricted movement, giving the look of being put together and not loose. Respectability for women at the time was seen as more important than health. The tightening of a corset brought up the the health concerns of the most vital organs due to the amount of cramping and pressure. Women also suffered with restrictive breathing, which could have possibly caused fainting. The tightening of a corset almost falls into similar categories of beauty standards like foot binding, skull shaping, skin bleaching, etc. Some historians believe that restriction varied depending on how tight a woman decided to —wear her corset. Some historians believe that restriction varied depending on how tight a woman decided to wear her corset. But, we can conclude that corsetry in the Renaissance and following eras reduced the freedom a woman had as their figures were aggressively molded to fit the ideal beauty standards of the time.
Photo Courtesy of The Museum at FIT, The Corset: Fashioning The Body
The evolution of the corset took a sudden turn in the 1900s, and by the 20s, no one felt the need to follow the corset trend like their grandmothers and ancestors before them. Flappers became a common dress wear for women instead. There was a need to feel expressive and not as modest anymore, which was what the corset heavily stood for in society over the 400 years of it being the norm. The corset restricted feminist freedom, and the 1900s was a time for expression amongst women, especially after the first World War. No longer did women want to feel constricted to the stitched frame of a corset. Elastic undergarments also became more common which changed the makings of the boned corset. The meaning of a corset became a symbol of rebellion and society found a different approach through diet and exercise in in order to get the desired hourglass shape. Modern corsets have also taken the shape of waist trainers. The desire to appeal to the ideal body shape has continued to follow us through each era.
Brandi Quinones at Angelo Tarlazzi Fall 1993
Today’s corsets are less restricting and more casual. We see corsets being worn practically everywhere and styled with pants and skirts. You can move and be free in them. During quarantine, corsets were worn as a form of escapism with aesthetic trends like regency core and cottage core. Corsets are one of the most worn and historically rich pieces of fashion that never ceases to fade away. Rather, they evolve in order to meet the needs of society's beauty stan-
Photo Courtesy of The Museum at FIT, The Corset: Fashioning The Body
THE HISTORY OF RENAISSANCE SILHOUETTES By Isabella Jambrina
Renaissance silhouettes have been reignited in recent trends amongst various levels of fashion far beyond the commonly acknowledged corset. Originating in the 14th century, Renaissance fashion placed great emphasis on the interplay between clothing and the human form. Although formally concluding around the 16th century, advances made during this era of fashion have carried across centuries and can be easily spotted in modern dress. It is important to acknowledge that Sumptuary Laws exuded great influence over the preferred styles of the Renaissance era. These laws regulated consumption amongst citizens, disbarring lower class’ from luxury of excess. Expensive, sought after fabrics such as silk or velvet were protected by these laws, reserved exclusively for the nobility and high-class aristocrats. This inherently impacted silhouettes, as the behavior of fabric varied, even when treated in the same manner — distinguishing the rich from the poor. Womenswear: Renaissance fashion was heavily influenced by the female form. Silhouettes, though varying across decades, were typically designed to compliment a woman’s body according to the perceived beauty standards of the time, which praised women “full in flesh.” Early in the Renaissance period, there was a resurgence of modesty in women’s clothing. Low necklines from earlier decades were replaced by high-collared chemises (an undergarment and dress) and veils. This extended coverage contributed to the trend of a rigid upper body adorned with loose, billowing sleeves gathered above the elbow. Below was a stifforseted waist, offset by a full bell-shaped skirt, often complete with a train. Balance was always the object of desire; for example, a a full chest and shoulders had to be balanced by a full skirt and a narrow, corseted waist between them. Later in the Renaissance era, silhouettes shifted to a more recognizably modern style.
Sandro Botticelli, Portrait of a Young Woman, c. 1485
Ensemble, Spanish, late 16th century, in collection at the Metropolitan Museum of Art
It became acceptable to bare one’s chest to a minimal extent, and a lower-cut bodice became a common style to highlight a woman’s broad shoulder lines connected by the elegant clavicle. A square-cut decolletage became increasingly popular in the mid-sixteenth century; its wide, straight shape created the ideal base for the desirable “inverted cone shape.” The square neck extended to the waist, narrowing as it lowered, compressing the stomach and the breasts. Waistlines dropped to elongate the torso, flowing into full skirts, now pleated at the waist and reaching ground length. Menswear: The influence of figures like Henry VIII broadened men’s role in Renaissance fashion. Men during the Renaissance period could participate in fashion and trends without fear of demasculinization. The “slope-shouldered, narrow-hipped” Florentine-inspired silhouette was common
in men’s wear across regions, intended to balance silhouette, though often appearing top-heavy. The inverted cone shape was employed once again, this time to “enhance their masculinity” with a large chest and broad stature.employed once again, this time to “enhance their masculinity” with a large chest and broad stature. Around the sixteenth century, Renaissance menswear became heavily influenced by the Spanish and their vision of the male form. “Trouser-like” stocks, wide lapels, high-standing collars, and puffed sleeves dominated the scene. The most prominent piece in masculine silhouettes, however, was the codpiece. Often padded for emphasis of masculinity, the codpiece was an attachment to men’s pants that covered the genitals, often exaggerating the size of his penis. For notably powerful men, the codpiece could even be constructed to give the illusion that the wearer was constantly erect.
Joshua Reynolds: Portrait of Charles Coote, 1st Earl of Bellamont (1738-1800)
Renaissance Today: The trending tension between “freedom and restraint” materializes the resurging Renaissance, which made frequent appearances on the runway during the SS2024 shows of Fashion Week. For example, Ferragamo’s SS24 collection incorporated what they called “Renaissance Amor” into their pieces through their use of “cinched waistlines” contrasted by ‘flowing sleeves,’ or “all-encompassing” dresses bound by stiff corsetry and necklines embellished with armor-like hardware. In addition, recent years have brought back the low waist silhouette, both on and off the runway. SS24 collections including prominent brands like Ralph Lauren and Michael Kors have embraced the return of lower
Ralph Lauren SS24, Look 9
waistlines, which —despite popular belief — appeared far before the early 2000s. Like any aspect of clothing, silhouettes have evolved to fit the lifestyles and trends of the time. Though much traditional renaissance form has grown outdated, its essence remains the prototype for modern style.
Ferragamo SS24, Look 64
First Lady Jackie Kennedy had already worn t his outfit at least six times prior (Hor yn 2013), but it was one of President John F. Kennedy’s favorites. He t hought she looked “smashing” in it (Hallemann 2021), so he asked her to wear t hat outfit again on t hat day, not knowing it would be t he last time he would ever see her wear it (Faust 2022) or t he significance it would later have in histor y: Jackie Kennedy’s pink skirt-suit is now an emblem for an American tragedy and a symbol for t he emotional trauma Kennedy endured during t his tragedy, as well as for t he fortitude she kept while in t he spot light of her grieving countr y. Kennedy knew t hat, as First Lady, anyt hing she wore would make a statement in American fashion. So even just days after her husband was elected President — even while still on her hospital bed from giving birt h to t heir son, John Junior — Kennedy started t he process of choosing a fashion designer to become her personal courtier for her new public role (Holt 2017).
Jac k i e Ken n edy ’s In f a m o u s P i n k Sk i r t - S u i t
By N o ra C omtoi s
She ended up choosing fashion designer Oleg Cassin of Chez Ninon — a Manhattan high-end, custom dressmaking salon (Chernikoff 2012). As t he Kennedys were t he first political couple in t he television age, Kennedy knew she needed to keep up her appearances (Severo 2006). Cassini understood t hat her “... clot hing needed to be read from a distance, and had to have a clarity of line and strong color (Severo 2006), and it ’s clear t hat he met Kennedy’s expectations as he went on to create more t han t hree-hundred looks for her t hrough her time as First Lady ( Jelen 2021). Even in just t he first year of Kennedy’s presidency, she spent about $50,000 of her husband’s salar y on her wardrobe (Betts 2014).
Ever y clot hing item she wore became an instant bestseller, and ever y way she wore t he items became a new trend in American fashion. Even on t he day of t he inauguration she created a new trend: When Kennedy stepped out of t he car at t he east front of t he United States Capitol, she placed her hand atop her pillbox hat in order to keep it in place during t he windy weat her; t his created a dimple on t he top of t he hat. Wit hin mont hs, t his style of hat was selling in department stores all across t he countr y (Ponsford 2019).
President Kennedy was proud to be t he husband of an American fashion icon. At Fort Wort h’s Chamber of Commerce breakfast, Kennedy joked t hat “Nobody wonders what Lyndon [Vice President Lyndon B. Johnson] and I wear,” — not knowing t hat t his would be his last speech (Byrne 2000). Later t hat day, on November 22nd, 1963, t he Kennedys sat in t he backseat of a convertible car on t heir way to anot her speech t hat President Kennedy was to give in Dallas, Texas (Morrison 2003). Texas Governor, John Connally, and his wife, Nellie Connally, sat in t he seats in front of t hem. At 12:30pm, when t he car turned off of Main Street at Dealey Plaza, a man named Lee Har vey Oswald fired t hree shots at President Kennedy. The first shot was a miss, but t he second shot passed t hrough t he president ’s neck and t hen into t he governor’s back. When t he t hird bullet struck President Kennedy’s head, he fell into his wife’s lap, staining her pink skirt-suit dark red (“November 22, 1963: Deat h of t he President ” n.d.). At t hat ver y moment, she became a widow. Connally says t hat she heard Kennedy cr y out, “They have killed my husband. I have his brains in my hand” as she climbed onto t he backhood of t he car (Morrison 2003). Lady Bird Johnson — Lyndon’s wife — said t hat she recalls looking back over her shoulder from anot her car in which she “...saw a bundle of pink, just like a drift blossom lying” (Elliott 2006). Bot h at t he Parkland Hospital in Dallas and during t he ride back to t he White House, Kennedy refused to change clot hes or clean-up her appearance. According to multiple sources, she said “Let t hem see what t hey have done,” as she stood alongside Lyndon while he took t he Presidential oat h on t heir flight back Washington (Kett ler 2020).
Kennedy continued to wear t his blood-stained outfit for more t han twelve hours after t he assassination — it wasn’t until President Kennedy’s casket was placed in t he White House’s East Room t hat she changed clot hes (Ross 2019). After wards, her personal maid, Providencia Paredes, put t he stained outfit in a bag so Kennedy wouldn’t have to be reminded of t he tragedy. Despite t he outfit being out of sight, it wasn’t out of mind. Kennedy suffered from post traumatic stress disorder for t he next t hirty-one years — t he rest of her life (Leaming 2015). Because of her vivid flashbacks and nightmares, she drank heavily and took pills to cope (Taraborrelli 2019). Also suffering from sur vivor’s guilt, Kennedy constant ly tried to t hink of ways in which she could have saved her husband t hat day. “If I had just been a litt le more to one side, it could have been me,” she said (Taraborrelli 2019). “It should’ve been me instead” (Leaming 2015). At one point, a priest named Fat her McSorley said Kennedy asked him, “Do you t hink t hat God would separate me from my husband if I killed myself;” (Murphy 2003). It wasn’t until after years and years of t herapy later t hat Kennedy said she felt “relatively sane” (Leaming 2015). The pink skirt-suit Kennedy wore on t hat traumatic day was a bright pink— t he choice of color perhaps being a nod to Kennedy’s predecessor, former First Lady Mamie Eisenhower. In 1953, Eisenhower popularized t he femininity of t he color pink in fashion when she wore a pink gown to her husband’s presidential inauguration; t hat color became known as “Mamie Pink” (Beeck 2022). Kennedy too was known for t he color pink. Before she became t he First Lady, an article in The Washington
Post/Times Herald wrote “Pink is pink, whet her it ’s Mamie or Jackie. So hang on to t hose pink dresses, ladies. If Senator Kennedy wins t he November race for t he White House, pink will still be a high-fashion color” (Pascarell Brown 2012). In matching pink hues, bot h t he jacket and t he skirt of t he outfit were made of wool and were in a woven tweed fabric known as bouclé (Faust 2022). The jacket was double-breasted wit h six gold buttons and four pockets, wit h two on each side. The pipe trimming of t he buttons, pockets, and t he sleeves — as well as t he lapels — were navy blue. Underneat h t he suit, Kennedy wore a navy blue blouse and skin-colored tights (Ponic 2017). Additionally, she wore a matching pink pillbox hat wit h navy blue pipe trimming on its crown, along wit h a matching navy blue handbag and heels wit h a gold buckle and chain. She accessorized t he outfit wit h a pearl necklace, a gold bangle, and white gloves. The design was from t he Chanel Fall/Winter 1961 collection, but t he actual garment wasn’t an original Chanel piece (Faust 2022). Traditionally, First Ladies were to wear only American fashion brands, so Kennedy’s personal courtier (Oleg Cassini) fitted and sewed a replica of t he design, a process called line-to-line (Chernikoff 2012). This allowed Kennedy to keep up wit h t he European trends while remaining patriotic to America. All of t he fabrics, buttons, and trim were from Chanel’s atelier at 31 Rue Cambon in Paris, but t he garment was sewed by Cassini (Milligan 2012). Compared to an over $10,000 aut hentic, custom-made Chanel suit, Ninon’s replica only cost between $800 and $1,000 (Waller 2011). It makes sense t hat t he First Lady wore a garment like t his. In t he 1920s and
1930s, fashion designer Gabrielle “Coco” Chanel had revolutionized women’s fashion by swapping restrictive garments, like corsets, wit h looser garments, like wide-leg trousers; t he skirt-suit was no exception (Cerini 2021). In t he 1960s, it became a staple in t he wardrobes of many upper-class women (Cerini 2021). It stood as an emblem of t he independent woman because its design was similar to a man’s suit, but t he bottom was a skirt instead of pants which made t he look more feminine. The square shape of Kennedy’sn jacket and t he wide sleeves contrasted her feminine silhouette, while t he bodycon skirt — along wit h t he bright pink color of t he outfit — emphasized her femininity. Toget her, t he look was ambiguous, connoting strengt h and power t hrough its masculine shape and connoting class and grace t hrough its more feminine proportions and palette. And after t he trauma Kennedy endured, and t he fortitude she had during, t he outfit became even more fitting.
Alt hough it was in preser vation by t he U.S. National Archives since t he 1963, Kennedy’s pink skirt-suit didn’t legally belong to t he Kennedys’ daughter, Caroline Kennedy, until after her mot her’s deat h in 1994 (Militano 2022). In 2003, t he daughter gifted t he outfit to t he custody of t he National Archives Building in College Park, Mar yland (“Gift of Historical Materials Relating to Jacqueline B. Kennedy to ...” 2003), t he building where Oswald’s rifle, bullets, and t he bullet fragments from t he shootings are also stored (Thompson 2021). Alt hough t he outfit was missing t he pillbox hat and white gloves — which were lost on t he day of t he assassination (Militano 2022) — t he outfit did come wit h a handwritten note by Kennedy’smot her — Janet Lee Bouvier Auchincloss — reading “Jackie’s suit and bag worn Nov. 22, 1963” (“Gift of Historical Materials Relating to Jacqueline B. Kennedy to ...” 2003).
Still stained wit h President Kennedy’s blood, t he public has not seen Kennedy’s pink skirt-suit since t he day of t he assassination; only t he National Archives workers have seen it. The outfit will not be displayed publicly until t he year 2103 — in anot her eighty years — per request of t he Kennedys’ daughter (Militano 2022). Until t hen, t he outfit will remain stored wit hin a custom-made, acid free container in a windowless vault. The room temperature of t he vault is kept from 65 to 68 degrees Fahrenheit, and t he air is changed t hree times an hour in order to protect t he wool and clot h fabrics of t he outfit (Kaye 2013). Alt hough ot hers of Kennedy’s outfits are on display in count less museum exhibitions, none of t hem will ever compare to t he outfit she wore on t hat fateful day in 1963. Kennedy’s infamous pink skirt-suit will forever be a part of t he American Lexicon of Fashion alongsideot her iconic fashion moments in fashion histor y (Ponic 2017).
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Jackie Kennedy’s Infamous Pink Skirt-Suit Nora Comtois Qiqi Zhou
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