The James Galanos exhibition opens at the Phoenix Art Museum – The Hollywood Reporter
This month marks the first birthday of Los Angeles fashion designer James Galanos dead, and it is already the subject of an exhibition at the Phoenix Art Museum until January 7, 2018. Unlike his retrospective at the Los Angeles County Museum of Art 20 years ago, these some 40 sets and accessories, given in permanence by the designer himself through his long-standing relationship with the Phoenix Art Museum or on loan from close friends like Tatiana Sorokko, feel deeply personal.
“Even though there are samples from every decade, including a ball gown from her first collection in 1951 which is part of the museum’s collection, we didn’t want to call it a retrospective,” said Dennita Sewell, the Jacquie Dorrance curator of fashion design, concerning the more intimate title, A tribute to Jacques Galanos. “It’s from the heart by people who have had dealings with him.”
It took the collective expertise of those around him to select the exquisite extract of his immense work. Despite his tedious covers and his preference for referring to his Rolls-Royce as an automobile and never a car, the man knew how to work, regularly presenting 150 to 200 pieces in parades that lasted for hours. In the disbelief of his nerve, especially compared to today’s short attention spans, Sorokko asked him how he managed to get everyone to stay until the end.
“He was closing the doors,” she said, among many personal stories and photos, of her and fashion designer Ralph Rucci, who considers Galanos her mentor and a dear friend, shared during a conference at the museum on October 5. “Jimmy was from another great planet.”
The mood got emotional when Rucci touch Galanos love life or its absence. Much like the monastic Bill Cunningham, a combination of the time and Galanos Greek education thwarted the thought of any substantial relationship or even the admission of one’s homosexuality. Still, he created a family of retired friends and vacationed with them in Capri, St. Petersburg, where the group posed with Harper’s Bazaar Editor-in-chief Glenda Bailey in front of the Hermitage, and Paris.
“Instead of the turkey at Thanksgiving, we would have roast chicken at Voltaire,” said Sorokko.
The exhibition explains how Galanos was a series of contradictions. While her clothes cost huge sums of money, even by today’s standards, and Balmain, Bohan and Givenchy were his assistant colleagues at Robert at Piguet Parisian workshop, he has always minimized the couture label. Her iconic flared skirts in chiffon and chunky pearls are also perfectly represented. Several bold patterned dresses from the ‘60s accompany their respective magazine covers, which are displayed among short-lived playing for the first time.
“All of these pieces are the cream of the crop,” said Sorokko.
He also never cared much for the Hollywood scene according to Rucci, but dressed her biggest stars. Marilyn Monroe wore her shantung silk and chiffon midi dress with a see-through belly from 1956, and Nancy Reagan donned a velvet gown from the following year, which she wore sadly decades later – before that. vintage is not acceptable to society’s swans, and for FLEET, Not less.
“The hardest thing to create in fashion is an instant classic that’s timeless,” said Sorokko, having recently made its debut at Paris Fashion Week. “I was showing people pictures of striped dresses in the exhibit, and they said, ‘Is this the new Gucci? “”