The turban on the head, the scissors around the neck

An exhibition in Berlin’s Museum of Applied Arts explores the distinctive style of French fashion designer Madame Grès, showcasing 25 of her iconic garments. The display highlights her unique approach to draping fabric, a technique she mastered during the early 20th century. Visitors can see how she transformed simple textiles into elaborate, sculptural forms, often using sheer, flowing materials such as silk jersey. The exhibit, titled Many Shades of Grès. Mode wird Kunst, runs until October 11 and includes a catalog priced at 33 euros. Born in France, Madame Grès began her career in the 1930s, initially pursuing careers in sculpture and dance before settling into fashion. She established her own house in Paris in 1933 and later adopted the name Grès, derived from the French word for sandstone. During World War II, she fled to the Pyrenees and returned to Paris after the German occupation ended in 1940. From 1942 onward, she operated under the name Grès at her boutique on Rue de la Paix. Her work during this period reflected both personal resilience and artistic innovation, particularly in the face of wartime material shortages. The exhibition features pieces created throughout her long career, including a black evening dress with a wide sash from the 1976–77 season. These garments exemplify her signature method of draping fabric directly onto mannequins or models, creating intricate folds and layers without traditional pattern cutting. This technique allowed her to emphasize the texture and movement of fabrics, often resulting in designs that appeared almost sculptural. Her preference for silk jersey, known for its drape and softness, enabled her to create fluid, elegant silhouettes that contrasted sharply with the rigid tailoring of the time. One of the key themes of the exhibition is the interplay between fashion and art. Grès viewed clothing as a form of visual storytelling, drawing inspiration from classical mythology and architecture. Her designs often incorporated elements reminiscent of ancient Greek statues, with cascading folds and deep pleats evoking the contours of stone. This aesthetic was further explored through comparisons with contemporary artists such as Christo and Jean-Claude, whose large-scale installations similarly manipulate space and material. The exhibition also delves into the historical context of Grès' work. During the war years, she faced challenges due to strict fabric rationing policies imposed by Nazi authorities. To circumvent these restrictions, she designed garments that required excessive amounts of fabric, ensuring they could not be repatriated. Despite these difficulties, her work continued to evolve, culminating in collections that celebrated national symbols, such as the French tricolor, in 1944. This period marked a turning point in her career, solidifying her reputation as one of the most innovative designers of the era. Curator Sibylle Hoiman notes that Grès deliberately moved away from conventional tailoring methods, embracing instead the tactile qualities of fabric. Her process involved direct manipulation of cloth, allowing it to respond to her touch and shaping itself into forms that seemed almost alive. This philosophy is encapsulated in her famous statement about understanding the soul of a fabric through physical contact. By working with raw materials rather than pre-cut patterns, she created garments that felt both personal and timeless. The exhibition provides a comprehensive overview of Grès' legacy, offering insight into her creative process and the cultural influences that shaped her work. Through detailed descriptions and high-quality reproductions, visitors gain a deeper appreciation for the craftsmanship and vision behind each piece. As part of the broader narrative of 20th-century fashion, the show underscores the enduring impact of Grès' innovations on modern design practices.