Whyred / fonda jersey

It can be made out of scent, or it can be made out of pigments. Contouring has become such a big deal—a way to change your body, the same way you would do that with Spanx or the Wonderbra—that we thought it was absolutely important to have it in that section. Why did you pick this bottle of Bain de Soleil to represent the phenomenon? In this case, I had to be quite subjective because you could have chosen Coppertone and that particular illustration with the little girl and the dog.

When I grew up in Italy, a tan was still an accessory. In a way, Bain de Soleil—which has always had this amazing fragrance and leaves such a great sheen on your skin—was considered [cautious], like you were kind of scared of your own shadow by putting that on. Instead, it has a really low sun factor [SPF 4]! The idea of tanned or browned skin is charged in different cultures.

We thought long and hard about putting the facekini there or [by] the sunscreen. The little black dress is about projecting the silhouette, but in order to achieve that shape, you need the undergarments, and those undergarments can almost achieve the status of fashion unto themselves. You can say the Wonderbra, with Eva Herzigova and her low voice, became fashion.

The Calvins, with Tom Hintnaus, became fashion. And Spanx definitely: You can find so many pictures of women lifting their skirts and showing their Spanx, because Sarah Blakely [marketed it] almost as a slogan that it was designed by women for women. It was all this amazing ability to make the undergarments transcend what they were under. It makes you think about whether behavior shapes design or design shapes behavior—whether, for instance, the Wonderbra set expectations for the perfect bust for a whole generation.

Even though many people never saw it and very few people bought it, whether because of affordability or because of daring, it still influenced designers, and it percolated down to our world.

I feel like the kind of freedom that we have to be ourselves these days comes in part from that collection. In this case, I really have to credit my curatorial assistant, Michelle Millar Fisher, because maternity wear is her obsession. Then it was about letting the budge accommodate the fashion at the time with the s and s dresses. But always it was about adapting during pregnancy and not thinking of post-pregnancy—to the point that breastfeeding is still, for most people, an absolute obstacle run.

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