La idea inicial era hacer coincidir la exposici&oacute;n con el centenario del sufragio femenino en Estados Unidos, en 2020, nos cuenta Melissa Huber, comisaria asociada del Instituto del Traje del Museo Metropolitano de Nueva York y responsable, junto a Karen Van Godtsenhoven, de Women Dressing Women, una recopilaci&oacute;n de m&aacute;s de 80 piezas de 70 creadoras del siglo XX a nuestros d&iacute;as. Por razones obvias, no pudo ser. Pero que la primera muestra de esta envergadura que celebra el papel activo palabra clave aqu&iacute;de la mujer en la moda tenga lugar justo ahora resulta tanto o m&aacute;s pertinente si cabe, cuando el juego de sillas de las marcas nos deja un panorama que enturbia el reclamo de empoderamiento femenino que tanto pregona el sector. En cuesti&oacute;n de seis meses ve&iacute;amos una sucesi&oacute;n de fichajes, todos hombres, a los mandos creativos de la industria. En orden: Peter Hawkings suced&iacute;a a Tom&nbsp;Ford en su firma, Peter Do cog&iacute;a las riendas de la pen&uacute;ltima) vuelta de Helmut Lang, Se&aacute;n McGirr sustitu&iacute;a a Sarah Burton en Alexander McQueen, Davide Renne que muri&oacute; en noviembre, antes de poder hacer efectivo su cargo en la pasarela) llegaba a Moschino y Walter Chiapponi a Blumarine, Matteo Tamburin entraba en Tod's y Alessandro Vigilante en Rochas. Hasta Diane Von Furstenberg, que se aup&oacute; en el feminismo con su wrap dress, tiene ahora a un hombre a los mandos, Nathan Jenden. Sum&eacute;mosle el baj&oacute;n en el n&uacute;mero de cuerpos no normativos en la pasarela o el declive en los castings de modelos que pasen la treintena, y las implicaciones sociales y pol&iacute;ticas sobre qui&eacute;n viste y en cierto modo define) el cuerpo de la mujer han hecho que el tema deje de ser solo una cuesti&oacute;n de trapos. Las redes a&uacute;n arden. Los medios siguen escudri&ntilde;ando el asunto. Y entre la indignaci&oacute;n y el asombro, Women Dressing Women, que no podr&iacute;a haber sido m&aacute;s puntual, parece una respuesta, una reivindicaci&oacute;n y hasta un escarmiento. Y, si nos ponemos, acto de contrici&oacute;n: en los 78 a&ntilde;os desde la creaci&oacute;n del Instituto del Traje, esta es la primera vez que el MET dedica una exposici&oacute;n colectiva enteramente al trabajo de dise&ntilde;adoras.
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&iquest;C&oacute;mo surgi&oacute; la iniciativa de orquestar Women Dressing Women?
Siempre me ha llamado la atenci&oacute;n la cantidad de innovaci&oacute;n y cambio que ocurri&oacute; en el periodo de entreguerras, y la proliferaci&oacute;n de mujeres que lideraron activamente la deriva creativa de la moda entonces. Andrew Bolton, comisario jefe del Instituto del Traje, y yo ya hab&iacute;amos tenido muchas charlas sobre organizar una exposici&oacute;n que celebrara el trabajo de las mujeres creadoras, y cuando Karen mostr&oacute; inter&eacute;s en organizar una muestra similar, Andrew sugiri&oacute; que colabor&aacute;semos. Aunque la pandemia trastoc&oacute; los tiempos, el tema sigue siendo igual de relevante. Esta exposici&oacute;n quiere celebrar el papel de las dise&ntilde;adoras y recalcar la amplitud y diversidad de la contribuci&oacute;n de las mujeres a este sector. Pero, como todas nuestras exposiciones, tambi&eacute;n enfatiza la significancia de la moda como un medio interdisciplinar con implicaciones art&iacute;sticas, sociales, pol&iacute;ticas y comerciales. Esta fue una de las primeras industrias que emple&oacute; a mujeres&nbsp;de manera sustancial, d&aacute;ndoles una forma de autonom&iacute;a social, creativa y econ&oacute;mica sin precedentes, lo que la convirti&oacute; en una vocaci&oacute;n incre&iacute;blemente atractiva.
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Es interesante que justo tenga lugar al tiempo que estamos viendo un aluvi&oacute;n de hombres tomando las riendas de firmas de moda que se dirigen sobre todo a mujeres.
No puedo opinar sobre decisiones de contrataci&oacute;n, pero s&iacute; creo que es importante se&ntilde;alar que la industria actual sigue dando empleo a muchas mujeres. Una de las ideas que esperamos que el p&uacute;blico contemple despu&eacute;s de ver Women Dressing Women es la naturaleza colectiva del dise&ntilde;o. Aunque algunos de estos roles sean menos visibles que otros, todos son clave.
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Entre las m&aacute;s de 80 piezas expuestas, hay un vestido Delphos de Fortuny. No es muy sabido, pero Adele Henriette Elisabeth Nigrin Fortuny, suesposa, fue fundamental en la creaci&oacute;n del famoso dise&ntilde;o, que se le suele atribuir &uacute;nicamente a Mariano. Y el suyo no es un caso aislado. Ann Lowe, Marie Vernet Worth), Marguerite Carr&eacute;. Por qu&eacute; se mantiene a la mujer en las sombras?
La moda est&aacute; estrechamente entrelazada con la sociedad y la cultura a un nivel m&aacute;s general, y los puntales de esta muestra centr&aacute;ndose en las nociones de Anatom&iacute;a, Visibilidad, Acci&oacute;n y Ausencia/Omisi&oacute;n, los cuatro temas que la vertebran&mdash; ayudan a situarla como una forma de trazar la progresi&oacute;n de la mujer en la sociedad en un sentido m&aacute;s amplio. Antes, las mujeres ten&iacute;an un acceso mucho m&aacute;s limitado a capital, protecci&oacute;n jur&iacute;dica e infraestructuras de apoyo que los hombres.
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&iquest;Ser&iacute;a la industria diferente hoy si ellas hubiesen tenido m&aacute;s visibilidad entonces?
Aunque muchas hayan sido olvidadas o excluidas en la creaci&oacute;n del canon hist&oacute;rico de la moda, esta exposici&oacute;n quiere transmitir lo presentes e influyentes que las mujeres han sido en este campo; incluso si no son el foco primario de la conversaci&oacute;n. El periodo de entreguerras y la incre&iacute;ble modernidad y el cambio que tuvo lugar en el vestir en esa era es el ejemplo perfecto. Es el &uacute;nico momento en el que las mujeres superaron en n&uacute;mero a los hombres en el liderazgo creativo.
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Algunas reconocidas, otras an&oacute;nimas y muchas ignoradas. C&oacute;mo han contribuido ellas a dar forma a la moda como la conocemos?
Lo han hecho y lo siguen haciendode muchas formas. A trav&eacute;s de innovaciones t&eacute;cnicas y creativas y con posiciones de liderazgo en el negocio. La profundidad y variedad de sus contribuciones son una de las cosas que esperamos reflejar. No hay dos dise&ntilde;adoras que trabajen igual, y la pluralidad de voces y enfoques representados en esta exposici&oacute;n nos entusiasma.
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La idea de que las mujeres enfocan el dise&ntilde;o de una forma distintaa los hombres no es nueva, pero &uacute;ltimamente con el nombramiento de media docena de nuevos directores creativos, todos hombres, en firmas femeninasvuelve a estar en la conversaci&oacute;n. Una idea que asu vezentronca con la noci&oacute;n de que para las mujeres, yasea cre&aacute;ndola o visti&eacute;ndola, la moda es una forma de autoexpresi&oacute;n. Esla conclusi&oacute;n o una de ellas) que se puede sacar de Women Dressing Women?
No creo que el g&eacute;nero influya necesariamente en la forma en la que un dise&ntilde;ador aborda el acto de crear, pero la experiencia vivida s&iacute;, y eso es algo espec&iacute;fico de cada individuo. Muchas mujeres dise&ntilde;an ropa con otras en mente, y no visten sus creaciones. Madeleine Vionnet y Sarah Burton, por ejemplo. Dicho eso, las dise&ntilde;adoras tienen una familiaridad inherente con el cuerpo femenino que puede ser una ventaja. La moda es un veh&iacute;culo para la expresi&oacute;n creativa y personal para quien la dise&ntilde;a y para quien la lleva. Y aunque no es una idea que aplique solo a las mujeres son muchas las dise&ntilde;adoras que est&aacute;n creando ropa innovadora para hombre hoy-, la moda se ha caracterizado t&iacute;picamente como un &aacute;mbito femenino. A lo largo de buena parte de la historia, la ropa de mujer ha sido en especial expresiva y evocadora.
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Dela alfombra roja de los Globos de Oro en la que todas las actrices acordaron vestir de negro entonando el MeToo alas colaboraciones con artistas, todas mujeres, de Maria Grazia Chiuri en Dior. Es la moda o puede ser) un catalizador de la sororidad?
Hay una larga historia de la moda ejerciendo como veh&iacute;culo de uni&oacute;n entre mujeres, tanto en el espacio social como en el profesional. Boutiques como Biba de Barbara Hulanicki en Londres o Paraphernalia en Nueva York fueron lugares de encuentro. The Fashion Group, que se cre&oacute; en Estados Unidos en 1928, es un ejemplo de las organizaciones concebidas para concienciar del papel de las mujeres en la econom&iacute;a. Muchas de las dise&ntilde;adoras destacadas en la exposici&oacute;n han participado en este tipo de instituciones o usado la moda como una forma de conexi&oacute;n. Zelda Wynn Valdes fue una de las fundadoras de NAFAD en 1949, una organizaci&oacute;n que daba contactos, tutelaje y ayuda econ&oacute;mica a creadores negros emergentes. Jeanne Paquin y Germaine &Eacute;milie Krebs Madame Gres) fueron presidentas de la C&aacute;mara sindical de la alta costura francesa, promoviendo los intereses de la industria y el trabajo de sus colegas internacionalmente. Y otras como Maria Monaci Gallenga en Italia y Francia o Marie Cuttoli en Par&iacute;s han usado sus boutiques y galer&iacute;as para exponer, vender y promocionar el trabajo de otras creadoras adem&aacute;s del suyo.
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En la muestra hay piezas de Miuccia Prada, Ann Demeulemeester, Rei Kawakubo, Vivienne Westwood, Jeanne Lanvin, Ann Lowe, Marine Serre, Claire McCardell, Gabriela Hearst, Katharine Hamnet... Se ha quedado alg&uacute;n nombre en el tintero?
Hay tantas que podr&iacute;amos, f&aacute;cilmente, haber organizado una exhibici&oacute;n que fuese el doble o el triple de esta. No siempre encontramos piezas o el espacio para exponer como se debe el trabajo de couturiers pioneras, como Jenny Sacerdote o Germaine Lecomte. Ser&iacute;a maravilloso sumar creaciones suyas a nuestra colecci&oacute;n alg&uacute;n d&iacute;a. Nos habr&iacute;a encantado incluir a Madame Eta Hentz, Mary Quant y Anna Sui si no nos hubi&eacute;semos topado con la limitaci&oacute;n espacial. Tambi&eacute;n hoy hay una proliferaci&oacute;n de dise&ntilde;adoras que est&aacute;n haciendo un trabajo incre&iacute;ble y no han podido estar; estoy deseando seguir reuniendo y compartiendo sus logros con el p&uacute;blico.

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