Museum tells Supremes story with clothes
(Agencies)
Updated: 2008-05-13 16:28
Updated: 2008-05-13 16:28
We've all got an old ra-ra skirt or Hawaiian shirt that we just can't bring ourselves to throw out. But they probably haven't seen us through TV shows and tours, or rode with us to the top of the music charts.
"The Story of the Supremes from the Mary Wilson Collection" opens at London's Victoria and Albert Museum on May 13 and tells the tale of the girl group's musical and cultural journey through their sparkling performance costumes.
"They're just like old friends," Wilson told Reuters, of the 50-plus items of clothing she has had in storage for over 30 years.
The collection ranges from the shop-bought dresses purchased in the group's original incarnation as The Primettes, to one-off pieces designed by Hollywood costumier, Bob Mackie - dubbed the 'Sultan of Sequins' for his extravagantly embellished gowns.
"When we started, black people didn't even have citizenship; they didn't have ideals or goals in the same way they do today," Wilson said.
How then, do you dress a trio of young and independent black women struggling against the notions of how to look, perform and behave prescribed by the very culture that refuses to recognize them as equals?
The rise of The Supremes and the development of their personal and musical style is set against the backdrop of the American civil rights movement and a changing world.
With video testimonials and archive footage alongside the stage outfits, the exhibition looks at how the Supremes broke down those barriers to become a worldwide phenomenon.
Wilson describes the band's look as "over the top, even for America".
When they arrived in Britain, they were seen as exotically different with their towering beehives, heavy dresses laden with beads, rhinestones and sequins.
Some of Wilson's favorite pieces in the collection are three pink beaded gowns from their first performance in Britain, a gig which saw Prince Charles and the Queen Mother among the audience.
It is this combination of "over the top" elegance and brashness that makes the exhibition sing. From the simple outfits at the group's outset to opulent, couture-esque creations designed for TV shows that over 60 million people tuned in to watch, the exhibition tells a powerful story.
The costumes reflect not only the changing political landscape but also shifting ground within the group, charting the move from dressing the singers identically to Diana Ross's more flamboyant, centre stage outfits as she struck out towards a solo career.
Even after Ross's departure, the group continued to wow audiences and this exhibition is a testament to their enduring musical and sartorial legacy.
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