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Robots purchased for under $5 even fifty years ago, now bring as much as $25,000 to $50,000 at auction when in their original packaging. The robot future was securely sealed when Japanese manufacturers introduced the first battery operated robot in 1955, and they continue to be on the march today. After WWII, it was the toy robot which helped pave the way to economic recovery in Japan and the US, when toy manufacturers quickly seized the opportunity to meet a demand for this funny little tin man. The robot represented an optimistic future which would relieve the factory worker and provide us with more leisure time. And only a few, like a “light-up” dress with an LED tube sewn onto the chest, have the daffy futurism of the Cosmocorps.With the rise of science-fiction novels and movies in the post-industrial age and the allure of space travel decades later, it is no wonder we all became fascinated with the anthropomorphic robot. None of these ensembles, presented together in a pin-lit gallery meant to evoke a sky full of stars, displays any of the exacting craftsmanship that Issey Miyake or Hussein Chalayan would bring to body-disguising gowns. He is hung up on stretchy fabrics shaped by stiff hoops one dress of black jersey incorporates six parallel rings, spaced out from the waist to the feet, that give it the look of a collapsible laundry hamper. Cardin’s evening gowns are tacky and uncreative. A man’s jumpsuit of teal wool felt features a leather thong worn over the trousers: one part Superman, two parts Tom of Finland.Įspecially when compared to the day wear, most of Mr.
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Other outfits from the late ’60s are rather less unisex, like a “porthole” dress with cutout nipples. Cardin proposed a sleek, forward-dawning fashion that sometimes dissolved gender distinctions - above all in his “Cosmocorps” collections of the mid-1960s, whose zipped sweaters and belted jumpsuits could be worn by men and women. Like his colleagues André Courrèges and Mary Quant, Mr. Cardin designed in a young, newly prosperous Paris, seen here on mannequins as well as in photographs and films of Jeanne Moreau, Mia Farrow and the cast of “Star Trek.” Some are chic, many are risible all of it has an exuberant view of the future that marks it as decidedly from the past.
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But its core are the space-age outfits that Mr. With 85 ensembles, the earliest dating from 1953 and the most recent from this decade, “Future Fashion” is not, strictly speaking, another ’60s show. Cardin’s stretchy knits and swooping miniskirts. The Concorde was flying, Françoise Hardy and Joe Dassin were singing and women (and men) cruised the Left Bank in Mr. “ Pierre Cardin: Future Fashion,” now on view at the Brooklyn Museum, offers a swinging reintroduction to Parisian style in the 1960s and 1970s, when the New Look gave way to thigh-high boots and dresses of heat-molded synthetics. This country had no monopoly on grooviness. But well beyond our borders, before the 1973 oil crisis tanked the global economy, other countries were partying and protesting just as hard, and a youth culture of sex, drugs and rock ’n’ roll spanned the globe. It seems Americans can’t get enough of the era, and the optimism that percolated amid great social upheaval. and Neil Armstrong, Woodstock and the Manson murders. Our museums, movies and magazines have been on a yearslong binge of ’60s nostalgia, pegged to a rolling sequence of 50th anniversaries: the Rev.