Inside the Costume Institute’s new exhibition, “In Pursuit of Fashion: The Sandy Schreier Collection,” which highlights a remarkable treasury of fashion history assembled by the irrepressible collector.
highlights a remarkable treasury of fashion history assembled by the irrepressible collector over the past six decades or so. The 80 pieces on exhibition represent part of a promised gift to the museum of 165 garments or accessories from Schreier’s legendary collection, which numbers several thousand pieces.
As an impressionable child Schreier was introduced to fashion through her father Edward Miller, a furrier at the Detroit outpost of Russeks Department Store, owned by the parents of the photographer Diane Arbus. She admired the clothes of the well-heeled clients so much that they would eventually bring in their cast-offs for her to play with. According to Schreier, however, she never saw these as pieces with which to play dress-up.
I knew of her collection by reputation, but when I was finally invited to visit Schreier at home in a suburb of Detroit—to which, along with her earlier family house, such designers as, Yves Saint Laurent, Calvin Klein, Michael Kors, Isaac Mizrahi, Thea Porter, and Stephen Jones have all beaten a path—I was amazed by the eclectic wonders that she had been quietly assembling through the decades and graciously pulled from her storage to show me.
Schreier’s relationship with the Costume Institute began when the late Richard Martin and retired curator Harold Koda ran the department.
Alongside works by such iconic names as Dior, Balenciaga, Chanel, Fortuny, Gernreich, Balmain, and Poiret, the museum was delighted to acquire works by lesser known or short-lived design houses that were little—or not at all—represented in the museum’s collections. These include Madeleine et Madeleine, a Parisian couture house responsible for a sensational c.
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