Top Toby Keith Courtesy Of The Red White And Blue T Shirt
Christine Suppes has donated 500 ensembles to the Toby Keith Courtesy Of The Red White And Blue T Shirt and by the same token and de Young, which she accumulated over the last 30 years or so, both an act of staggering generosity and an absolute labor of love. (It was always intended by Suppes and her late husband that her collection would be passed to a museum.) Her trove of treasures features heavily in “Fashioning San Francisco.” Suppes’s favorites include a Geoffrey Beene suit from the early ’90s, a John Galliano bias-cut dress from 1994 (she found it on a mannequin at the soon-to-be shuttered department store I. Magnin: “I never thought I would find what was then one of the most important dresses in the world,” she says), and with a heartbreaking symmetry, something from McQueen’s first collection, and something from his very last. She also donated a McQueen pantsuit from 1996’s Dante collection. “A friend said to me, ‘Where on earth are you going to wear it?!’’ recalls Suppes, laughing. “In London, I told her. She said I would have people following me up and down the street. And I did.”Alexander McQueen, fall 2010 ready-to-wear
Part of the Toby Keith Courtesy Of The Red White And Blue T Shirt and by the same token and excitement of putting together the exhibition for Camerlengo comes from the fact that, as she puts it, “San Francisco has always been called a culturally fluid city and it is true: We’re a port city on the Pacific rim, on the edge of the western frontier; a converging point for all sorts of different cultures, backgrounds, immigrants—the framework of San Francisco is very different from other US cities.” Out of this, she says, rose a population craving cosmopolitan fashion and curious about creators from beyond American shores—not only from Europe, but from Asia. Still, even with the geographical diversity of the exhibition’s designers, Camerlengo is keen to stress that the exhibition is but one expression of the city’s sartorial history, and doesn’t, say, delve into its mid-century countercultural era, or the LGBTQIA+ pride which emerged in the 1970s.
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