Vibrant, supple silk gowns wrap themselves around lithe white mannequins while curvaceous sports cars pose neatly nearby. At the San Francisco Museum of Modern Art, the ostentatious is on display at its newest exhibit “Glamour.”

“Glamour,” showcased now through January, is a collection of over 100 pieces by a range of artists – from the disciplines of fashion, industrial design and architecture – that impart a sense of high style in clothing, buildings, cars, furnishings and more.

The jewel in the exhibit’s collection is unquestionably fashion. With dozens of gowns from designers such as Christian Dior, John Galliano, Prada and Gianni Versace highlighting styles from the 1940s on, there is a wealth of stunning colors, fabrics and cuts.

But glamour isn’t just about dramatic colors or looks. There is often a method to the designer’s madness, creating dresses with a basis of stylish movement.

“Generally, glamour is created by what is captured in the line, drape, color or texture and their combination,” said Dr. Connie Ulasewicz, assistant professor of apparel design and merchandising. “There may be a simple elegance or an extravagant excess of a material, a shape, a form; and both are glamorous in the eyes of the beholder.”

The exhibit reveals the simple and the extravagant sides of glamour.
Among the simple, classic pieces is a black tulle gown from Christian Dior, circa 1956. The tea-length gown is strapless and flares out below a carefully defined waist. It stands only a few feet from a more extravagant design from 1970s designer and former architect Paco Rabanne. The gown, from 1975, consists of small metal sheets linked together and trimmed with green alligator and silver accents.

The unique materials and attention to detail can change something from bland to glamorous.

“These are items that are not mass-produced,” said Sok-Im Taing, a 21-year-old apparel design major. “They are unique. Haute couture is custom made for the individual.”

The fashions on display also benefit from an amazing array of high-end fabrics and patterns.

Front and center in a display of a half-dozen gowns is a two-piece dress from Italian designer Emilio Pucci that nearly steals the show. Pucci - who found a home in the 1960s with his mod, brightly-colored collection - is represented at the museum perfectly with a beaded silk dress showing off a bold, geometric pattern in turquoise, purple, white and black.

The exhibit has an incredible range of decades and fashion designers – giving a rare look into the nuances between artists and their creations.

“Fashion reflects us, how we feel about ourselves and our bodies,” said Gail Baugh, a lecturer on textiles at SF State. “Designers interpret that reflection. … They are artists and their medium is fabric.”

Fashion designers are not the only artists on display, however. The exhibit also includes pieces from industrial design and architecture.

One of the stand-out pieces is a chandelier by Hans Harald Rath. Created in 1966 for the Metropolitan Opera House in New York, the chandelier is an abstract design linking atomic-looking rods and circles. The result is gorgeous and illuminative and, as it’s installed in the exhibit, the chandelier sprinkles light upon the gowns and other pieces nearby.

A piece that gives Rath a run for his money is a 10-foot-tall Swarovski crystal cascade chandelier by Vincent Van Drysen. The cylindrical light fixture has thousands of small crystals connected in simple, flowing lines. The diffused, reflective light that it creates gives an almost bluish glow, mimicking a cascading waterfall.

Although impressive, chandeliers aren’t the only furnishings at “Glamour.” Mod offerings such as a round bed with built-in chartreuse bar as well as plastic, curvaceous seating conjure up a retro-glam vibe.

The most extraordinary pieces, however, are the two automobiles. A 1965 Jaguar Series 1 E-Type coupe is one of the first displays. The car is candy red, bullet-shaped and wholly suited for James Bond.

Its counterpart is a 2004 Bentley - used as the standard for opulence in motors.

The Bentley has 550 horsepower, a digitally-milled front grill and a lavish interior of leather and walnut.

Thankfully, as walnut-finished Bentleys, vintage Dior and crystal chandeliers can be out of reach for students, the museum of modern art has provided a taste of glamour for everyone.

The San Francisco Museum of Modern Art is open every day except Wednesdays. Hours are 11 a.m. to 6 p.m. and 11 a.m. to 9 p.m. on Thursdays. Admission is $10 or $6 for students with identification.