Yeohlee Teng (Malaysian, b. 1951). “Bellows” Dress, fall/winter 2007–8. Mercury silver Lurex. The Metropolitan Museum of Art, New York, Gift of Yeohlee Teng, 2007 (2007.375.3).
From her earliest collections, Yeohlee’s approach to garment construction set her apart from most American design houses because of her interest in the structural possibilities of cloth. The art historian Susan Sidlauskas included Yeohlee in her landmark fashion exhibition at M.I.T., “Intimate Architecture.” The exhibition featured designers who described and approached their process of dressmaking in essentially architectonic terms. It is something of a paradox, then, to look at her work and see softly draped textiles in seemingly simple, almost paradigmatic, clothing forms: a sheath, a chemise, a T-shaped coat, and narrow pants. In effect, Yeohlee’s architecturally informed conceptualization is masked by her insistence on the prioritization of a textile’s inherent hand and drape. It is in the study of her flat pattern pieces that her mapping of territories of the body, like the plan of a building, clearly emerges.
On notable occasions, however, Yeohlee does employ textiles of an assertive character to create sculptural forms more clearly indicative of her spatial and temporal interests. With the “Bellows” dress, the stiffened grain lines of the metallic cloth fortify the arcing fullness of the back. Typically Yeohlee is the ambiguous nature of the effect, both organic in its cocoonlike suppleness and futuristic in its industrial, high-tech gloss. Unlike the similarly silhouetted sack dress first proposed by Cristobal Balenciaga in the mid-1950s, this design is imbued with a body consciousness absent in the original because Yeohlee excised the fullness at the front of the dress to make it cleave to the body.
The construction of the Bellows dress is a response to, and relies on, the inherent structure of the silk/metal fabric. The material was the enabler and Gaudí, in his use of simple geometry to create complex forms, the inspiration.
—Yeohlee
February 1, 2008 at 9:41 am
While in the MET museum I noticed two garments that really caught my eye. They were the -Red hand-pleated silk crepe- and -white-hand pleated silk jersey- dresses. I loved how the pleats constructed the entire garment and went all the way into the straps. Although these dresses were from two different years, (1971-white and 2005-red) there is still a similarity. This dress style can be compared to a sculpture that I saw in the 19th and 20th century paintings and sculpture gallery. It consisted of bent wire in a red striped design. The stripes can be compared to the pleating in the dresses. Both the pleating and the wire run in one direction, and they were both made by hand. They are beautifully constructed and represent the harmony of a straight line.
February 1, 2008 at 10:26 am
If Yeohlee is interested in the structural possibilities of cloth, she goes about it in a strange way. Her dress, here, with its “fortifying grain lines,” makes me think of nothing more than a pitched pup tent. There are marvelous fabrics with structural possibilities of their own, stiff and thick and treated and embroidered ones. Those dresses that can stand on their own.
I don’t know what’s “inherent about the hand and drape” of the fabric Yeohlee is using if she has to reinforce it with a stiffened rib cage, in essence, to create that architectonic form. The Olivier Theyskens is quite architechtonic while using the inherent qualities of the cloth.
February 1, 2008 at 12:58 pm
I think the dress has appeal, but I must agree with Laurie that there is nothing spectacular about her choice of fabric. I feel that I cannot get a good view of the dress from this small picture alone, however it is very similar to dresses that I’ve seen before. Balenciage does an amazing job of manipulating fabric and “exploring the possibilities of cloth” and perhaps does a better job of it.
February 1, 2008 at 12:59 pm
Sorry, that is Balenciaga.
February 1, 2008 at 1:17 pm
yo dis dress be out my fo-sheezy
i wish my baby wore sometin’ of da chain like this wizzynizzy
February 1, 2008 at 2:07 pm
I definitely agree with Krista Beth that Balenciaga did a better job of “exploring the possiblities of cloth” with the kind of shape that Yeohlee is showing us. He did it in tweeds, however, stiffer less drapey textiles, and I don’t think he cared too much for the body other than something to hold the garment up. The body was more like armature for a sculpture, whereas Yeohlee does give some acknowledgment to the body. Her work reminds me, too, of (and which Japanese designer was it?) who put humpbacks and bustles into gowns not that long ago.
February 1, 2008 at 4:38 pm
While I appreciate her creative design sense, I feel this dress is merely a “runway” piece. Fabulous for us all to appreciate and admire, but not practical to wear or own.
February 1, 2008 at 4:43 pm
Laurie, are you thinking of Issey Miyaki?
February 1, 2008 at 5:32 pm
Quite possibly, Krista Beth! It’s not that I specifically mix up Japanese designers. It’s that I have a lousy memory, especially for names.
February 2, 2008 at 12:21 am
‘Her work reminds me, too, of (and which Japanese designer was it?) who put humpbacks and bustles into gowns not that long ago.’
Rei Kawakubo did, but that was a while back.
‘…this dress is merely a “runway” piece. Fabulous … but not practical to wear or own.’
I disagree. Granted: it is not for every body.
February 2, 2008 at 1:10 am
The ‘architectonic’ aspect makes sense, as both architects and designers use the technology of the computer for their creative work. The body is a very ‘architectonic’ construction indeed. Some designers choose to put emphasis on this aspect. Kawakubo’s ‘humpbacks and bustles’ went on the opposite direction and limit: how many appendixes and extra limbs could the dress/ body carry?
What is the main point of Yeohlee Teng’s dress?
Balenciaga could appeal to Audrey Hepburn or Jacqueline Kennedy. This dress appeals to someone who perhaps wants to go against the grain and wants to explore more creative ways to clothing and has an interest in a spatial and temporal dimension. Perhaps the issue is not even is it beautiful, but perhaps, how can this dress make me think in a more creative and original possibility?
February 2, 2008 at 3:20 am
It’s kind of shameful how Balenciaga this is. The only thing that sets this apart from Cristobal’s own archives is that this is metallic.
Even Nicolas Ghesquiere, Balenciaga’s current creative director, isn’t so heavily referential to the archives of the house. He at least takes the Balenciaga DNA and reinterprets it, he twists it for today.
Put a pair of gloves, a structured little purse and a large, flat saucer hat and this is a Vogue cover circa 1963.
February 2, 2008 at 6:11 am
I think Yeohlee does interesting garments, with little appreciation. They might have chosen her Goth Arch Dress, or any other evening dress — very beautiful.
February 2, 2008 at 2:10 pm
these clothes are wierd but really awesome!!
February 2, 2008 at 2:28 pm
oooooops i made my vocab look bad on the website~!!!!!!!!!!!!!!!!!!!!!!!!! those shoes rooooooooooooooooooooooocked!!!!!!!!!!!!!!!!!!!!!!!!!!!
February 2, 2008 at 3:04 pm
I remember seeing this dress and thinking it was a piece of beautiful architecture.
February 2, 2008 at 7:31 pm
‘It’s kind of shameful how Balenciaga this is.’
I disagree: the relationship of the dress to the body is different.
There is an emphatic awareness of the body.
‘‘…this dress is merely a “runway” piece. Fabulous … but not practical to wear or own.’
I disagree again concerning ‘originality’ and ‘practicality’.
The practitioners of fashion, like the practitioners of art, share a language, a language that they can use, transform, appropriate, develop and innovate.
When Yves Saint Laurent takes a peasant dress and transforms it into an evening gown for the opera, he is at the same time appropriating and ‘creating’.
On the ‘practicality’ issue: I own a ‘coat’ by Rei Kawakubo that has no sleeves.
When it is hanging in the closet it looks like a huge bell from a church, not unlike this Yeohlee Teng’s dress. It has two openings on the sides, in case you need to use your hands. I tend to ware it at funerals and memorials. I had it for more than twenty years. I ware it now less often, because of the change of climate, because of global warming. Because the garment cannot be layered because of its unusual shape, it has to be worn by itself: in the Spring it is too hot and in the fall too cold to ware it, but I adore it. It was once lost at the cleaners. When eventually it turned up I was very, very, very happy.
February 3, 2008 at 8:04 pm
Speaking of ‘originality’ and ‘practicality’:
yes, we can be original, check it out: http://www.moveon.org/r?r=3374
The content is original, simple, direct, relevant and at the same time it appropriates and transforms the language of music, the language of religion, the language of visual culture, the language of the political. Yeohlee Teng appropriates and transforms with an intervention that is at the same time small and big.
February 4, 2008 at 1:16 am
‘I ware it now less often, because of the change of climate, because of global warming’… Of course I meant ‘wear’.
February 4, 2008 at 7:11 pm
Gee, Marina, a coat that could now serve as a warning banner for global warming! And to think it is shaped like a church bell, a device so often used in warning. And wearing it at funerals and memorials? Hmmm. This is mineable material!
February 4, 2008 at 7:44 pm
i really liked this piece. The silhouette of this garment interested me. The color also was an interesting choice. Also, the fabric was a good choice for this piece and helped with the draping and overall appeal of this garment.
February 5, 2008 at 12:02 am
When my colleagues say to me ‘gee’…I know it is the kiss of death!
‘This is mineable material!’
Did you perhaps mean amenable?
Or did you mean it in French: “minable’?
I wonder…
February 5, 2008 at 12:33 am
The silhouette of this piece by Yeohlee Teng really catches the viewers eye. In my opinion it looks similar to the ‘bubble dress’ silhouette that is common today. Although the silhouette used today is not as dramatic and overemphasized as this piece, it could have possibly been used as inspiration for the trend that is so popular today.
February 5, 2008 at 7:09 am
HaHa! That’s good, Laurie.
February 5, 2008 at 9:38 am
Relax! No kiss of death! Just one of those transitional words. Being a New Yorker, I like to throw in non-New Yorkisms every now and again for fun. Whaddya whaddya?
Mineable as the coat is a deep source of possible theories and interpretations. It can be mined for all kinds of interesting material, not the material the coat is made out of literally, but the material it evokes for discussion.
February 5, 2008 at 11:04 am
‘Mineable as the coat is a deep source of possible theories and interpretations. It can be mined for all kinds of interesting material, not the material the coat is made out of literally, but the material it evokes for discussion.’
Bare with me: English is not my first language. This word is new to me!
February 5, 2008 at 12:41 pm
You know, Marina, I think I just made the word up. It should exist, but it’s not in my Webster’s dictionary. I suppose the correct thing to say would be that the coat has much potential to be mined for meaning, in the sense of digging for meaning.
So English isn’t your first language? What is it, if you don’t mind saying? You are tremendously articulate in English bearing in mind the occasional expected spelling error, since English spelling is totally irrational.
February 5, 2008 at 2:14 pm
WOW
February 5, 2008 at 2:25 pm
‘So English isn’t your first language? What is it, if you don’t mind saying?’ I grew up bilingual: Italian and Spanish, Italian at home, Spanish in school, then I went to school in Switzerland and acquired French and German. In fact English is the only language that I learned when I became an adult, in fact, English is my fifth language. This is not a big deal, a language is just a skill!
‘ mined for meaning’: I love that, it brings to mind so many works af art and literature.
‘And wearing it at funerals and memorials? Hmmm.’
Yes, because to funerals one goes by car, so it is ok if it is cold.
The ‘church bell coat’ makes me feel protected.
February 5, 2008 at 6:49 pm
I thought this piece was one of the most interesting looking pieces in the museum. The fact that the fabric is silk/metal just adds to the high-tech look of the garment and the architectural theme. I find it very interesting that she uses her creativity to think outside of the box when constructing the garments and experimenting with fabrics to make sculptural masterpieces.
February 5, 2008 at 6:51 pm
It’s extraordinary to be multi-lingual. I wish I were. I have only English and my hard-won French, far from perfect, and a lot of good American accents. So it’s a big deal to me!
When I travel, I try to work up enough of the language to get around and at least show people I’m trying, even Catalan for Barcelona, but it never lasts. My husband is a polymath of languages. He’s lived in Spain and Germany, studied French and Russian and claims to know Italian from operas. Before we left for Rome, he asked us to let him know any time we needed the vengeance of the gods brought down upon anybody, and he’d happily comply. So I was buying a dress–crisp shirt dress with long, full skirt and dyed a sequence of colors from camel to olive–quite capable of handling the transaction (although the Italian has all disappeared, now), and found him chatting away with the sales lady about washing instructions! What opera is that in?
So what, do you thing, are the languages spoken in the International Fashion World? Must English-speaking models or designers know another language? What about the various Russian and Slavic ones?
February 6, 2008 at 12:24 pm
Gosh, I want the church bell coat now. I looked up Minable (you only spelled it wrong) and according the the American Heritage Dictionary it means “that can be mined”. It’s a very good word, however, and I appreciated the context in which it was used.
Meanwhile, 5 languages? I wish. You amaze me, Marina.
February 6, 2008 at 12:52 pm
‘So what, do you thing, are the languages spoken in the International Fashion World? Must English-speaking models or designers know another language? What about the various Russian and Slavic ones?’
Perhaps not. If one is inclined to learn other languages, great, but I do not think it is a ‘must’. For my 9th birthday my Italian mother gave me a book in German(!…)
about the zoo, with beautiful illustrations. She wrote a ‘dedicace’, that I took in a literal sense, and inspired me to do what I did. She wrote: ‘… con l’augurio di diventare una piccola poliglotta’ ( I wish for you to become a little polyglot). I did study Russian in my United Nations days, my first job in New York. I speak it with the New York cab drivers, but I cannot claim to be fluent. I would love to learn Catalan and Portuguese!
‘What about the various Russian and Slavic ones?’
I do not think so.
The ‘global’ world is about the hegemony of the empire of the United States of America, the child of a previous empire, that also had English as the official language. Everybody has to have English.
‘Retardataire’ any one?
February 6, 2008 at 5:03 pm
‘Gosh, I want the church bell coat now.’
Do you want me to put it in my will for you?
(Rather than leave it to the Costume Institute)
maybe that would be a bit ‘retardataire.’
What do you think?
I am dead serious.
February 6, 2008 at 5:34 pm
I expected so, and find it ironic that the English language may be the most important artifact of British-American world hegemony.
I’m always happy when I hear other languages spoken here–especially French, and I can (rudely overhear) and practice my comprehension. Weak dollar means lots of European tourists. Maybe New York can avoid the recession that way.
Did you know that the U.S. Navy (or maybe originally British) signal for help, MAYDAY stems from m’aidez? Bien sur.
February 7, 2008 at 7:50 am
Yes, Yes, Yes! I will glamorously sport the church bell coat at funerals and memorials and move someplace a little colder so that I can justify wearing it.
You know, I have always wanted to learn a handful of languages. It is such a talent and takes so much dedication. I used to speak fluent spanish but it’s been about 7 years since I’ve used it.
February 7, 2008 at 9:47 am
Thanks, Krista Beth for that clarification! I guess if anybody challenges me to a duel and asks me to choose my weapon, I won’t be able to imitate Oscar Wilde and say, “Spelling. You lose.”
February 7, 2008 at 1:39 pm
‘Yes, Yes, Yes! I will glamorously sport the church bell coat at funerals and memorials…: it will be arranged.
February 7, 2008 at 1:45 pm
‘I have always wanted to learn a handful of languages. It is such a talent and takes so much dedication. I used to speak fluent spanish but it’s been about 7 years since I’ve used it.’
Dedication, talent, I am not to sure. Perhaps it takes a bit of talent, like cooking.
There is no such a thing as ‘forgetting’ a language. I am sure your spanish is there, perhaps a bit frozen, but it is there. Trust me.
February 10, 2008 at 1:59 pm
umm looks like a garbage bag with a hole at the top for a head..
February 10, 2008 at 3:49 pm
Very notable structural understanding from such a new designer. Her collection at the New Musuem further established her position as one of the forefront designers to watch in the new Millenium. Fresh without being dirivative, modern without being futuristic, Yeohlee’s is definitely a favorite of FashionIndie.com
February 11, 2008 at 5:00 pm
‘umm looks like a garbage bag with a hole at the top for a head…’
You are absolutely right and it is beautiful, simple, original.
Nothing wrong with garbage bags!
February 12, 2008 at 2:27 pm
This is an interesting dress but honestly I don’t see how it belongs in this exhibit, especially standing on the same room with masterpieces by Issey Miyake, Yohji Yamamoto, and Alix “Madame” Gres. It is simply a knockoff of other great iconic designers.
February 12, 2008 at 4:19 pm
‘This is an interesting dress but honestly I don’t see how it belongs in this exhibit, especially standing on the same room with masterpieces by Issey Miyake, Yohji Yamamoto, and Alix “Madame” Gres. It is simply a knockoff of other great iconic designers.’
I disagree, disagree, disagree!
‘The construction of the Bellows dress is a response to, and relies on, the inherent structure of the silk/metal fabric. The material was the enabler and Gaudí, in his use of simple geometry to create complex forms, the inspiration.’
In her statement Yeohlee Teng makes it very clear what material she is working with, both the actual material of the dress and the cultural material that has inspired her: simple geometry and complex form.
Her simple geometry reminded someone of a ‘garbage bag’, fine, these bags have a certain geometry to them. What most people commenting fail to see is the subtle complexity.
February 13, 2008 at 9:53 am
This is a pretty dress anyway you look at it. It looks simple but I can attest that it probably was not.
February 15, 2008 at 6:14 pm
These are awesome…. but odd. It would be fun to wear, but you would get nasty comments
February 16, 2008 at 3:55 pm
Looks like a cockroach from the side and back!! It’s an insect dress.
February 17, 2008 at 10:20 am
My mom says some of these dresses are very nice.
February 18, 2008 at 12:33 pm
This exhibit rox!
February 20, 2008 at 10:04 am
Looks like the TV ad for those new Hefty trash bags that stretch to accomodate a very bulky load. Maybe this would be a nice maternity item?
February 20, 2008 at 1:24 pm
hello, I’m french and in my opinion these clothes are very beautiful and I wouldn’t wear them.
February 20, 2008 at 6:02 pm
This piece is very strange, and borderline ugly to me. It is a lovely architectural piece, but it is a stretch for a piece of clothing. If anyone were to actually wear this, they would completely stand out in a crowd. It almost looks like a garbage bag and didn’t look like a lot of imagination was put into this piece. The fabric is the only attribute that is making it look somewhat admirable.
February 24, 2008 at 2:08 pm
LOVE the sack.
February 29, 2008 at 10:06 am
Like a turtle! I like i:D
February 29, 2008 at 10:21 am
This exhibit shows fashion in different time periods and shows the transformation throughout time. It is interesting to see how every designer has itheir ows aesthetic and style. In addition it great to see live the garments that are so well known with their designer such as Issey Miyake and his pleats.
I am extremely fond of Yeohlee Teng dress. This dress has a “surprise” element on the back panel which I think is an interesting twist on what looks from front like a typical cocktail dress. The choice of metallic fabric gives the dress both a classy and uber modern feel. In addition this dress looks easy to wear and comfortable considering the construction
March 2, 2008 at 4:33 pm
I LOVE THIS DRESS!!!
March 8, 2008 at 6:43 pm
What’s a blog?
March 14, 2008 at 12:07 am
‘What’s a blog?’
A blog is a place where most people hide their identity behind a pseudonym and go on a tangent commenting on a variety of topics.
March 14, 2008 at 7:30 pm
my visit today was devoted to amy & richard, my fashionista friends….even the shoes were fab!
March 22, 2008 at 10:28 am
as a dress its horrible but as a modern artform it ranks up top!
id especially like it withought the hideous hump at the back.
March 28, 2008 at 2:55 pm
This dress appears perpetually windswept, in such a poetic way. Stunning…
March 29, 2008 at 4:14 pm
The piece is perfection. Sure its not for everyone. But the right woman, with the right body, and right confidence can easily pull this off. Kudos.
April 1, 2008 at 1:58 am
I find this dress simple and modern, yet very intriguing. When I first looked at it, I kept staring. I agree with many other entries here that it is architectural. The lines and balance of the piece keep the viewer interested even though it is extremely simple.
April 9, 2008 at 1:29 pm
When I look at this there is one word it reminds me of:
Modern.
April 12, 2008 at 6:52 pm
looks like a burlap sack
April 13, 2008 at 2:35 pm
‘The lines and balance of the piece keep the viewer interested even though it is extremely simple.’
Good point.
The simplicity is just on the surface: Yeohlee creates sculptural forms, exploring the structural possibilities of the metallic cloth,
a cloth that is soft and rigid at the same time, soft is the end result of the garment, rigid is the material itself. There is a paradox here that is not ’simple’. The metallic textile moves in time and space.