The World of Anna Sui – Garment Information

THE WORLD OF ANNA SUI
PHOENIX ART MUSEUM, APRIL 12–SEPTEMBER 28, 2025

GARMENT INFORMATION

THE DESIGN PROCESS

1
Cutout Neckline Dress
Spring 2012
Silk dress with elastic/plastic belt

2
Denim Two-Piece Ensemble
Spring 2017
Denim jacquard jacket and skirt with jacquard knit crop top

Taking motifs from American folk art, such as Pennsylvania Dutch coverlets, Sui uses denim—a fabric traditionally associated with cowboys and workwear—and transforms it into something contemporary and unexpected.

3
Pineapple Print Dress
Spring 2016
Rayon and silk dress
Worn with acetate/straw lei by James Coviello for Anna Sui

4
William Morris Vest Ensemble
Spring 2015
Linen sleeveless jacket and metallic chiffon shirt with polyester lamé pants

Sui loves sourcing original and iconic objects on eBay to inspire her collections. Prior to her Spring 2015 collection, she was excited to find a vintage Sanderson fabric used to make the iconic jacket worn by George Harrison of The Beatles. This ensemble combines references to Harrison’s jacket from the London boutique Granny Takes a Trip, which featured the Golden Lily print of English textile artist William Morris.

5
Embroidered Denim Ensemble
Spring 2013
Embroidered cotton denim dress, nylon mesh t-shirt, nylon petticoat, and beaded denim vest
Worn with brass/glass/plastic necklace by Erickson Beamon for Anna Sui

Here, Sui references interior designer Madeleine Castaing’s signature sky-blue, adding her own twist by using elevated denim. The torn nylon mesh and zippers express a punk vibe, while the cute cat-ear hat by James Coviello adds an idiosyncratic touch. This ensemble embodies the romantic element of punk as embraced by Mirielle Cervenka—no wave actor and sister of Exene of the punk band X—who effortlessly blended Victoriana with the ripped and torn look.

6
Zandra Rhodes Print Dress
Spring 2016
Silk dress

This dress showcases a print created by the iconic designer Zandra Rhodes especially for Anna Sui. The print is inspired by Rhodes’s sketches of her travels to Tahiti. It features her signature squiggle motif, and the intense hibiscus red reflects her love of bold color—particularly the hot pink for which she is known. Sui shares the British designer’s love of print; like Rhodes, she always allows her designs to be informed by the print rather than the other way around.

FAIRYTALE

7
Fairy Princess Dress
Spring 2014
Nylon/polyester lace dress
Worn with brass/glass crown and necklace by Erickson Beamon for Anna Sui
“Lulu” Mannequin: Ralph Pucci International

Sui named this collection “The Mists of Avalon,” taking her inspiration and color palette from English Pre-Raphaelite paintings. This fairy princess dress encapsulates Sui’s vision for the collection, inhabited by a cast of romantic heroines recalling Arthurian characters such as Queen Guinevere and The Lady of Shalott.

8
Dorothy Draper Pirate
Spring 2007
Silk crêpe de chine and lace dress with nylon petticoats, sleeves, and leggings
Worn with straw/nylon/ostrich feather hat by James Coviello for Anna Sui; brass/plastic necklace by Erickson Beamon for Anna Sui; cowhide boots by Ballin for Anna Sui

This dress was inspired by the Empire style of France in the early 19th century but has been reimagined with contemporary proportions. Sui created a series of these dresses in a combination of red, white, and black, the color scheme of interior decorator Dorothy Draper as well as the punk clothing worn by the band the New York Dolls. Sui recalls: “Back in the 1970s, if you were part of the rock scene or if you went to clubs like Max’s or CBGB’s, you only wore red, white, or black. Everything was heavily codified.” The French Empire, too, was governed by a rigid civil code, providing the link to punk for Sui’s collection.

9
Nordic Viking Ensemble
Fall 2015
Polyester/sequined dress and polyester faux fur cape
Worn with wool hat by James Coviello for Anna Sui
“May” Mannequin: Ralph Pucci International

Inspiration for Sui’s designs came from the Arts and Crafts movement in Nordic countries, in particular the watercolors and home of Swedish painter Carl Larsen and the needlework and tapestries of Norwegian textile artist Frida Hansen. The Fall 2015 collection included prints of folkloric tapestries, needlework, and crochet that were over-embroidered for added dimensionality, reflecting the craftwork that Sui values in fashion design.

10
Snow Queen Ensemble
Fall 1998
Polyester faux fur alpine appliqué coat and silk and nylon dress
Worn with polyester faux fur hat by James Coviello for Anna Sui; brass/glass necklace by Erickson Beamon for Anna Sui
“Bea” Mannequin: Ralph Pucci International

Fairytale illustrations, especially those by English artist Walter Crane, inspired the color palette of Sui’s Fall 1998 collection. Several of the evening dresses in the collection were trimmed with faux fur and accentuated by the frosty shimmer of panne velvet, evoking Hans Christian Andersen’s fairy tale “The Snow Queen” and the White Witch from C. S. Lewis’s The Lion, The Witch, and The Wardrobe. The faux fur appliqué coat is trimmed with rickrack—a zigzag braided trim—to add a folkloric note.

11
Faux Seal Shearling Swiss Miss
Fall 2015
Acrylic and polyester faux fur jacket and silk dress
Worn with faux suede/painted faux leather/acrylic/cardboard/plastic buttons and gems gingerbread bag; nylon hose by Atsugi for Anna Sui; cowhide/polyester boots by Ballin for Anna Sui

This outfit juxtaposes different elements of Sui’s Fall 2015 collection that mixed Scandinavian decorative arts with Nordic folk influences and ideas of Norse mythology. The inverted fake shearling jacket, trimmed with braid and rickrack, recalls Sui’s 1998 collection referencing Inuit clothing, while the print of the dress was inspired by vibrantly colorful and highly patterned mid-century Scandinavian textiles and ceramics.

12
Pantomime Horse Ensemble
Fall 1998
Rayon panne velvet Cossack shirt and suede pants
Worn with faux fur hat, cotton socks, and polystyrene/faux fur horse by James Coviello for Anna Sui; leather boots by John Fluevog for Anna Sui

Sui’s shows are renowned for their theatricality. Creating an imaginative world through clothing and characters, Sui’s Fall 1998 runway show closed with a knight in shining armor. This ensemble, made in collaboration with James Coviello, emphasized Sui’s playfulness.

13
Blue Bunny Ensemble
Fall 1998
Wool butterfly sweater by James Coviello with mohair skirt and suede jacket
Worn with bunny hat by James Coviello for Anna Sui; nylon hose; cowhide boots by Ballin for Anna Sui

Sui’s Fall 1998 outfits were identifiable by their animal headwear created by James Coviello. Fairy-tale handbags, including a Hansel and Gretel gingerbread house, reflected the setting of a magical enchanted forest, also invoked in Sui’s knitwear and embroidery.

14
Marching Band Ensemble
Spring 2010
Silk jacquard dress and passementerie cotton denim cape
Worn with polyester/cotton/nylon passementerie hat by James Coviello for Anna Sui; plastic bracelet by Erickson Beamon for Anna Sui; nylon hose; cowhide/jute shoes by Ballin for Anna Sui

The inspiration for Anna Sui’s Spring 2010 collection was the 1967 version of Doctor Dolittle, starring Rex Harrison. The film’s 1960s-meets-Victorian England look appealed to Sui, who staged the runway show in a huge lavender-and-black circus tent and started the spectacle with a circus ringmaster wearing a majorette cape. The collection featured a tomboyish aesthetic, inspired by Harrison’s tailored jacket and waistcoat.

15
Wool Fairytale Ensemble
Fall 1998
Wool dress and cardigan
Worn with felt crown by James Coviello for Anna Sui; faux suede/acrylic/cardboard/plastic buttons and gems/metal bells/embroidered cotton ribbon gingerbread bags by Jerry Schwartz; nylon hose; cowhide boots by Ballin for Anna Sui

The frog motif on this dress was inspired by the English nursery rhyme “Ye Frog’s A-wooing Go” from the 1877 book The Baby’s Opera. The illustrations that accompanied the rhyme were by Walter Crane, whose early drawings were influenced by the Pre-Raphaelites. Sui’s imagination was further sparked by the Victorian Fairy Painting exhibition at The Frick Collection in New York, which included works by John Everett Millais, one of the founders of the Pre-Raphaelite Brotherhood. To accessorize this outfit, James Coviello created a felt crown fit for a fairy princess.

SCHOOLGIRL

16
Varsity Jacket Ensemble
Fall 2012
Rayon velvet and vinyl jacket with bamboo twill and cotton corduroy jumpsuit
Worn with plastic/glass glasses by Mondoticca for Anna Sui; cowhide/brass belt by James Coviello for Anna Sui; nylon hose by Atsugi for Anna Sui; suede cowhide boots by Ballin for Anna Sui

As a teen, Sui avidly perused Seventeen magazine, later saying “I never kept scrapbooks. Instead, I had a box full of pages I’d ripped out of magazines.” Inspired by the back-to-school issues from the sixties, when precision and polish were central to all outfits, Sui’s Fall 2012 collection was characterized by autumnal hues and intricate detail. This ensemble, for example, features a handcrafted owl appliqué on the varsity jacket and evokes the spirit of Twiggy, one of Sui’s heroines who embodied 1960s youth culture.

17
1990s Cheerleader Ensemble
Fall 1994
Nylon jacket and polyester skirt with acrylic sweater
Worn with plastic/wool pom-pom hat by James Coviello for Anna Sui; plastic necklace, belt, and bracelets by Erickson Beamon for Anna Sui; nylon hose; acetate/satin-covered domestic cowhide short boots by Emma Hope for Anna Sui

The eclecticism and historicism of French fashion designer Yves Saint Laurent are strategies that Sui routinely employs. In her Fall 1994 collection, Sui paid homage to Saint Laurent’s most iconic designs, reinterpreting them in sportswear materials. The sportswear sensibility extended to a series of outfits inspired by cheerleader uniforms, many of which were accessorized with pom-pom hats by James Coviello.

18
Jeffrey Fulvimari Ballerina Print Dress
Spring 1994
Silk chiffon dress and cotton sweater by James Coviello for Anna Sui
Worn with glass necklace and bracelets by Erickson Beamon for Anna Sui; cotton bra and panties by Hanro for Anna Sui; nylon socks by Hue for Anna Sui; cowhide shoes by John Fluevog for Anna Sui

Sui’s Spring 1994 collection included a series of 1940s-style dresses cut off at mid-thigh and made from silk chiffon printed with ballerina figures by illustrator Jeffrey Fulvimari. The designer’s peekaboo fashions referenced the style of the feminist punk movement Riot Grrrls, which combined girly dresses—often bought second-hand and cropped short—with childlike accessories such as barrettes.

Sui worked with James Coviello to produce a range of stuffed animal hats and backpacks inspired by the band L7 to complement the look. They were worn with oversized rhinestone accessories influenced by Courtney Love, lead singer of the band Hole, courtesy of Erickson Beamon.

19
Iconic Babydoll Dress Ensemble
Spring 1994
Sequined silk organza dress
Worn with glass/plastic/marabou headpiece, glass rhinestone necklaces and bracelets by Erickson Beamon for Anna Sui; marabou/acetate stole; cardboard/vinyl/acrylic cake bag by Cupcake Café; petticoat; nylon ankle socks by Hue for Anna Sui; cowhide shoes by Emma Hope for Anna Sui

Sui’s Spring 1994 collection presented a series of babydoll dresses—an iconic silhouette for the designer. The babydoll dress was cemented as a signature of Sui’s designs when Naomi Campbell, Linda Evangelista, and Christy Turlington wore white organza versions of the dress during the season’s fashion show finale. With ruffles, frills, and tucks, the look was accessorized with tiaras and “birthday cake” handbags.

20
Barbara Hulanicki-Designed Print Ensemble
Fall 2016
Silk dress with polyester, satin, and velvet varsity jacket
Worn with acrylic/plastic/polyester hat by James Coviello for Anna Sui; nylon hose by Atsugi for Anna Sui; cowhide/velvet boots by Ballin for Anna Sui

With patterns featuring hearts, stars, cats, flowers, and landscapes, Sui’s “Pop-sydelic” collection showcased the designer’s passion for prints. Sui is also passionate about the boutique Biba, whose founder Barbara Hulanicki contributed a dolly-girl print design that recalled the leggy and round-eyed girls of her fashion illustrations. After attending the collection’s runway show, Hulanicki praised Sui’s knack for mixing patterns.

21
2010s Cheerleader Ensemble
Spring 2017
Polyester jacket and skirt with silk blouse
Worn with nylon socks by Atsugi for Anna Sui; polyurethane and plastic platform sandals by FitFlop

Sui called her Spring 2017 collection “Miss American Pie,” reflecting on her identity as an American designer. Vogue called the collection “a romp through many of the aesthetic highs of our country…lush, stylistic time travel through the Old West to ’50s sock hops and beyond.” This cheerleader ensemble, sporting patriotic red, white, and blue, includes a floral blouse that adds a celebration of folk culture.

22
Love Letter Sweater Ensemble
Fall 2012
Wool sweater by James Coviello for Anna Sui and cotton, bamboo, and plastic blouse with wool and polyester skirt
Worn with plastic glasses by Mondottica for Anna Sui; nylon hose; cowhide shoes by Ballin for Anna Sui

This outfit embodies the youthful 1960s spirit of English model Jean Shrimpton, while also projecting a librarian “geek chic” vibe as reflected in the book-pattern print of the blouse and the college-style knit with postcard appliqués.

AMERICANA

23
Miss American Pie
Spring 2017
Metallic silk jacquard dress and leather appliquéd fringe jacket
Worn with leather appliquéd cowgirl hat; leather/brass belt by Von Stezelberger of South Paradiso for Anna Sui; nylon socks by Atsugi for Anna Sui; platform sandals by FitFlop for Anna Sui

Titled “Miss American Pie,” Sui’s Spring 2017 collection was described by The Daily Front Row as a “cross-country road trip through time.” Inspired by an exhibition she had visited at the American Folk Art Museum which presented the iconography of the Masons and Odd Fellows, her designs incorporated enigmatic motifs alongside regional styles and romantic nostalgia.

24
First-Place Equestrian Finale Dress
Spring 2003
Metallic nylon jacquard dress
Worn with nickel/glass necklace and polycotton/glass bracelet by Erickson Beamon for Anna Sui; brass/glass/leather belt by Jutta Neumann for Anna Sui; cotton/Lycra socks; leather boots by Frye

This strapless dress pays homage to the gymkana, a horseback-riding event historically presented in country and saddle clubs. A company that makes horse show ribbons embroidered some with Sui’s name for the ensemble. The illustrated female golfer on the award ribbon evokes the cartoons of John Held Jr., one of the best-known illustrators of the 1920s and Jazz Age America. The belt is studded with the name of Sui’s most featured model, Naomi Campbell, who wore this ensemble on the runway and said of the designer: “She’s a total living encyclopedia.”

25
Tennis Dress
Spring 2003
Cotton dress
Worn with cotton cap and bandana; polycotton sweatband; sequin-covered leather sandals by Ballin for Anna Sui

Sui’s Spring 2003 collection was based on the leisurely lifestyles of American aristocrats and their preferred forms of country club sport. The looks were inspired by the 1970s photos of Slim Aarons, known as the ‘court photographer to the Jet Set.’ This tennis dress features poppies, evoking the floral motif of Hungarian designer Eszter Haraszty. A bucket hat, an iconic accessory of the 2000s, completes the look, along with a sweatband—a reference to Richie Tenenbaum, a character in the 2001 Wes Anderson film The Royal Tenenbaums.

26
American Football Ensemble
Spring 2003
Polyester/wool/elastic/cotton blend skirt, t-shirt, and jacket
Worn with polycotton headband by Erickson Beamon for Anna Sui; cotton/Lycra socks; cotton canvas/leather shoes and bag by Ballin for Anna Sui

Here Sui takes inspiration from another quintessentially American sport: football. The t-shirt references 1981, the year Sui designed her first small collection of five outfits that caught the attention of buyers from Macy’s and Bloomingdale’s and was subsequently featured in The New York Times.

27
Lambskin Ensemble
Spring 2005
Lambskin with bead embellishment jacket and skirt with cotton tank
Worn with leather/shell/tin belt by Erickson Beamon for Anna Sui; leather suede boots by Ballin for Anna Sui

This ensemble draws upon elements of western wear, 1970s fashion, and Native American beading and metalwork as expressed in the headband and chamois leather concho belt. Sui’s particular use of lambskin leather for this look was inspired by buckskin clothing as represented in Edward S. Curtis’s late-19th and early-20th century romanticized Western photography, a reference Sui refracts through a contemporary lens. The ensemble collages together elements of various period-specific styles, cultural aesthetics, and techniques in Sui’s signature approach of creating mash-up alter egos for her dynamic, imagined universe.

28
Country Club Ensemble
Spring 2003
Embroidered cotton dress with glass-beaded linen cardigan
Worn with cotton visor, leather/cotton belt; cotton/Lycra socks by Atsugi for Anna Sui; leather shoes by Adidas for Anna Sui

MOD

29
Steven Meisel, Naomi Campbell Portrait Dress
Spring 1996
Lycra and sequined dress
Worn with patent leather shoes by Emma Hope for Anna Sui

The final pieces shown in Sui’s Spring 1996 preppy collection were worn by Naomi Campbell and Linda Evangelista in a meta moment before “meta” had entered the vernacular. The models wore Lycra shift dresses covered in sequins and screen-printed with their blown-up portraits taken by Sui’s friend Steven Meisel. These images also appeared on the runway show’s invitations.

30
Mohair Car Coat Ensemble
Fall 1992
Mohair coat and vinyl snakeskin vest, wool jersey shirt, and leather pants
Worn with mohair hat by James Coviello for Anna Sui; glass/brass necklace by Erickson Beamon for Anna Sui; cowhide/pewter belt, suede gloves; faux snakeskin boots by John Fluevog for Anna Sui

31
Beatle Jacket Ensemble
Fall 1992
Mohair jacket and skirt with wool jersey shirt and vinyl snakeskin-effect vest
Worn with matching mohair hat by James Coviello for Anna Sui; suede gloves; brass/glass brooch and fob by Erickson Beamon for Anna Sui; nylon hose; faux snakeskin boots by John Fluevog for Anna Sui

The Fall 1992 collection took as one of its muses the 1960s model Jean Shrimpton, who typified Swinging London’s bourgeois style. Sui referenced Shrimpton in several ladylike outfits accessorized with gloves and umbrellas. This look, with its collarless jacket edged with vinyl, references the fashion style of The Beatles.

32
Crinkle Satin Mod Dress
Spring 2006
Plissé silk with lace trim dress
Worn with nylon hose by Atsugi for Anna Sui; cowhide boots by Ballin for Anna Sui

Sui’s Spring 2006 collection was influenced by the controlled and elegant appearance of the Regency-era socialite “Beau” Brummel. It simultaneously references Yves Saint Laurent’s 1960s black dresses with white collars and cuffs, as worn by Catherine Deneuve in the 1967 Luis Buñuel film Belle du Jour.

33
Carnaby Street Suit
Fall 1991
Wool houndstooth jacket and shorts
Worn with gloves and spats by Janet Haspar; wool houndstooth cap by James Coviello for Anna Sui; brass/glass/ceramic/nylon necklace by Erickson Beamon for Anna Sui; vintage lunch pail with decoupage by Anna Sui; nylon hose; patent cowhide boots by Capezio for Anna Sui

The Fall 1991 collection was infused with nostalgia, looking back to Sui’s childhood and her early fascination with Seventeen, her first magazine subscription. The back-to-school themed issues of the 1960s inspired her youthful, music-inspired take on mod fashion and London’s Carnaby Street. Amy Spindler wrote in The New York Times: “Where mod failed Anna Sui’s standards of cool, Anna Sui the revisionist stepped confidently in.”

34
Biker Jacket Ensemble
Fall 1991
Wool windowpane jacket and skirt
Worn with gloves and spats by Janet Haspar; wool/brass windowpane bonnet by James Coviello for Anna Sui; brass/rayon fob and brass/glass/ceramic/vinyl necklace by Erickson Beamon for Anna Sui; vintage lunch pail with decoupage by Anna Sui; nylon hose; cowhide/vinyl leather boots by Bootlegger for Anna Sui

The oversized, glitzy jewelry of this ensemble, including rings, brooches, and pendants in the shape of lions and Maltese crosses, was bought from a wholesale shop and then decorated with gems and beads by Erikson Beamon.

35
Mod Parka Coat Ensemble
Fall 2011
Nylon jacquard coat and nylon tulle dress
Worn with plastic/ceramic necklace by Erickson Beamon for Anna Sui; nylon hose by Atsugi for Anna Sui; suede leather shoes by Hush Puppies for Anna Sui

Sui’s Fall 2011 collection was inspired by an exhibition at the Victoria and Albert Museum that explored the Ballets Russes: the Parisian ballet company that had a revolutionary influence on 20th-century theater, fashion, and interior design. This outfit mixes a mod-inspired parka with a 1920s silhouette dress, referencing the designer Gabrielle Chanel who found kinship with the dance company.

ANDROGYNY

36
Grunge Babydoll Dresses
Spring 1994
Rayon dress and cotton union suit
Worn with socks; leather boots by John Fluevog for Anna Sui

Rayon dress
Worn with nickel/glass necklace and bracelet by Erickson Beamon for Anna Sui; socks; leather boots by John Fluevog for Anna Sui

In Spring 1993, grunge hit the runway with collections by Sui and Marc Jacobs to controversial reception. Sui’s Spring 1994 collection revisited the genre, this time inspired by the performative wardrobe of Kurt Cobain, who, alongside other musicians of the 1990s, wore vintage dresses on stage. Sui translated this act of gender subversion into a series of babydoll dresses for both men and women.

37
Glen Plaid Jumpsuit Ensemble
Spring 2008
Polyester/viscose Glen plaid jumpsuit and jacket with silk shirt
Worn with polyester/nylon/cotton tie; plastic brooches and bracelets by Erickson Beamon for Anna Sui; nylon socks by Atsugi for Anna Sui; leather/snakeskin shoes by Ballin for Anna Sui

Sui’s Spring 2008 collection was an artful collage, mixing 1930s and 1940s Hollywood style with 1970s New York downtown chic. Sui’s influences included Busby Berkeley’s 1930s musicals—famous for their synchronized dancers—and the narrow-waisted broad-shouldered power suits of Gilbert Adrian, who designed for both Broadway and Hollywood. The styling of Sui’s 2008 collection was inspired by super-groupies of the 1970s, including Cyrinda Foxe who appeared in David Bowie’s video for “The Jean Genie” and later married David Johansen of the New York Dolls, followed by Steven Tyler of Aerosmith.

38
Plaid Suit Ensemble
Spring 2010
Cotton/polyester jacket and pants with silk shirt and sequined vest
Worn with mask by James Coviello; silk tie; brooches by Erickson Beamon for Anna Sui; metallic domestic cowhide butterfly flats by Ballin for Anna Sui

Vogue described Sui’s Spring 2010 collection as a “circus-themed spring fling.” The tailored jacket and trousers are contrasted by a feminine floral shirt with frilled cuffs. Inspired by the 1967 film Doctor Dolittle, this outfit mixes a variety of patterns, including plaid, dainty floral, sequins, and a pop of green apple print. In the designer’s words: “I’m always about optimism and exuberance. It’s what I feel about fashion.”

39
Shrunken Suit Ensemble
Spring 2010
Linen jacket and pants with cotton shirt
Worn with mask by James Coviello; plastic/cotton sequined tie; brooches by Erickson Beamon; leather shoes by Ballin for Anna Sui

Sui’s Spring 2010 collection featured a series of Liberty of London prints re-colored for the designer. This vibrantly patterned tailored suit was worn on the runway by model Ranya Mordanova. She sported a Vidal Sassoon “Mary Quant” haircut, reflecting the 1960s vibe of the collection which Vogue described as “a cool sixties-take-on-Victorian-menswear-feel.”

40
Aesthetic Suit Ensemble
Fall 2008
Wool/cotton jacket, vest, and shorts with silk shirt
Worn with rayon corsage by Erickson Beamon for Anna Sui; nylon hose by Atsugi for Anna Sui; leather boots by Ballin for Anna Sui

Sui’s Fall 2008 collection was inspired by the Veterans Room in New York City’s Park Avenue Armory. Designed and decorated in 1880 by Associated Artists, a co-operative firm of artists and designers that included Louis Comfort Tiffany, the room synthesized decorative ideas from Art Nouveau and the Aesthetic Movement. Tiffany’s designs emphasized light and color, which Sui evoked through lustrous fabrics such as silk, lamé, and crêpe de chine. Another source for this collection was the arts of the Haida people that Sui observed during a trip to the Pacific Northwest. Here, Sui’s design makes visual connections between the Haida people’s use of linework and Art Nouveau’s sinuous curves and “whiplash” motif

HIPPIE & ROCKSTAR

41
Backless Chaps Ensemble
Fall 1992
Wool and Lycra jersey cape, silk and polyester shirt, and studded suede cowhide chaps and sash
Worn with glass/brass choker by Erickson Beamon for Anna Sui; Lycra G-string; nylon socks; suede cowhide shoes by John Fluevog for Anna Sui

This outfit is renowned for its backless chaps, which Naomi Campbell wore as she strutted in the finale for Sui’s Fall 1992 runway show. The chaps were later worn by controversial rocker Marilyn Manson—with a fur-sleeved coat originally worn by Christy Turlington from the same collection—to the 1997 MTV Video Music Awards. “For a long time,” said Sui, “my goal was to design for rock stars and people who went to rock concerts.”

42
Davy Crockett Ensemble
Fall 1992
Suede cowhide bra and chaps, and wool herringbone jacket with wool union suit by James Coviello for Anna Sui
Worn with faux fur cap and suede bag by James Coviello for Anna Sui; brass/glass/feather choker, cowhide/brass belt, and feather/glass/cowhide lariat by Erickson Beamon for Anna Sui; suede/wood/cowhide clogs by John Fluevog for Anna Sui

For her Fall 1992 collection, Sui looked to Diana Vreeland’s 1960s issues of Vogue, which presented characters that blended history and myth such as the “Cavalier” and “Davy Crockett”—who had captured the imagination of Americans in the 1950s TV show.

43
Romantic Hippie Ensemble
Spring 2014
Embroidered linen and Mongolian faux fur trim coat with silk chiffon shirt and rayon and silk velvet pants
Worn with rayon panne velvet/suede/rubber sneakers by Emma Hope for Anna Sui; Gibson guitar

This luxurious outfit is inspired by the 1960s rediscovery of the Pre-Raphaelites—a mid-19th century group of English painters, poets, and art critics—by London boutiques such as Granny Takes a Trip, as well as the romantic clothing favored by rock personalities of the day. Sui loved the fact that Jimmy Page of Led Zeppelin had accumulated a major collection of Edward Burne-Jones tapestries and William Morris furniture.

44
Kimono Ensemble
Spring 2016
Silk kimono and dress
Worn with plastic sunglasses by Mondoticca; brass/plastic necklace and bracelet by Erickson Beamon for Anna Sui; nylon socks by Atsugi for Anna Sui; cotton-covered cowhide/rubber sandals by Hush Puppies for Anna Sui

45
Kozmik Ensemble
Spring 2015
Silk georgette dress and jacquard shorts
Worn with enameled brass necklace and bracelet by Erickson Beamon for Anna Sui; elastic/plastic belt; cowhide fanny pack and boots by Ballin for Anna Sui

Sui’s Spring 2015 collection was inspired by her fashion heroes, Keith Richards and Anita Pallenberg. Ensembles reference iconic Swinging London boutiques Granny Takes a Trip and Mr. Freedom, along with psychedelic posters and the work of graphics and avant-garde music collective Hapshash and the Coloured Coat, aka Michael English and Nigel Waymouth. About the designs, Vogue stated: “Anna Sui’s latest collection felt like the one she was destined to design. It stitched together–literally–a grab bag of her obsessions.”

46
Pop-sydelic Ensembles
Fall 2016
Mohair and wool plaid jacket, silk shirt, and rayon and silk burnout velvet pants
Worn with beaded and embroidered cowhide/nylon/glass belt and brass/glass necklace by Erickson Beamon for Anna Sui; nylon hose by Atsugi for Anna Sui; suede/patent cowhide shoes by Ballin for Anna Sui

Faux fur polyester coat, polyester shirt, and rayon and silk velvet pants
Worn with rayon/silk burnout velvet scarf; cotton socks; cowhide/suede/rubber sneakers by Emma Hope for Anna Sui

Anna Sui coined the term “Pop-sydelic” for her Fall 2016 collection, which mixed elements of London’s fashion-forward Carnaby Street with the work of Pop artist Peter Blake, the electric ambiance of art dealer Robert Fraser’s influential gallery, and notes of opulent Edwardian culture. These outfits epitomize the groovy rock ‘n’ roll look of Keith Richards and Anita Pallenberg, combining print and texture to create a jewel-like intensity.

VICTORIAN

47
Aesthetic Ensemble
Fall 2008
Silk jacquard dress with Merino wool sweater by James Coviello for Anna Sui
Worn with brass/glass necklace by Erickson Beamon for Anna Sui
“Marion” Mannequin: Ralph Pucci International

A prevailing influence in Sui’s Fall 2008 collection was the late-19th century Aesthetic Movement, which emphasized the sensuous beauty of art or “art for art’s sake.” Artists and designers of the movement found inspiration in Renaissance painting, ancient Greek sculpture, and Japanese prints. Their eclecticism is echoed in Sui’s ability to make visual connections between seemingly incongruous references.

48
Combo Pattern Dress
Fall 2008
Silk dress
Worn with nylon hose by Atsugi for Anna Sui; cowhide shoes by Ballin for Anna Sui

49
Pheasant Cap Ensemble
Fall 2009
Cotton velvet jacket and acetate skirt
Worn with acrylic/silk/feather cap by James Coviello for Anna Sui; nylon hose by Atsugi for Anna Sui; cowhide boots by Ballin for Anna Sui

Sui’s Fall 2009 collection was inspired by the demimonde of the Belle Époque of 1890s Paris, a period when courtesans were notorious for their excessive clothes and jewelry. Sui also alludes to performers of the Moulin Rouge such as Jane Avril, who were famously depicted in a can-can skirt by the artist Henri de Toulouse-Lautrec. The rust, plum, and absinthe green tones of this collection reflect Lautrec’s palette. With this collection, Sui captures the beauty of characters on the fringes of society.

50
Belle Époque Ensemble
Fall 2009
Silk dress, polyester and cotton pants, petticoat, and cotton blend sweater by James Coviello for Anna Sui
Worn with acrylic/felt/feather cap by James Coviello for Anna Sui; rayon/brass/plastic brooch by Erickson Beamon for Anna Sui; cowhide and brass boots by Ballin for Anna Sui

This monochrome outfit references the grand style of Caroline Otero and Liane de Pougy, the most desired courtesans of France’s Belle Époque, who had a penchant for sumptuous materials including lamé, taffeta, jet beading, lace ruffles, chenille fringe, and jacquards woven with metallic thread. Sui saturated this collection with jewelry that was deliberately ostentatious, including oversized cameo brooches. The hat by James Coviello emphasizes this showy style.

51
Pink Pre-Raphaelite Dress
Fall 1993
Rayon panne velvet dress
Worn with crochet hat and silk velvet corsage
“Sally” Mannequin: Ralph Pucci International

As a fan of vintage clothes, Sui wanted her velvets to have an antique look, as if they had been discovered in an attic and bore the patina of time. To achieve this, she pre-washed all the velvet herself; if she did not achieve the effect she wanted, she would send it to be re-dyed. The detail of these historically-inspired dresses extends to collars and lace jabots that reflect a sense of decorum.

52
Teal Pre-Raphaelite Dress
Fall 1993
Rayon panne velvet dress
Worn with rayon/silk/cotton corsages; velvet bag by James Coviello for Anna Sui
“May” Mannequin: Ralph Pucci International

The starting point for Sui’s Fall 1993 collection were the early 19th-century illustrations of French painter Horace Vernet. Vernet’s work depicted the Incroyables and Merveilleuses, young men and women who adopted exaggerated dress as a reaction against the austerity and state-sanctioned violence of the French Revolution. Sui’s interpretation of Vernet’s vision centered on men’s coats and women’s dresses, relaxing the silhouettes and infusing them with references to other historical periods. Her “Merveilleuses” dresses reflected influences from the 1930s and the 1970s. The rich depth and iridescent color of this teal dress also alludes to the Middle Ages by way of Pre-Raphaelite painting.

PUNK

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Mohair Cobweb Sweater Ensemble
Spring 1994
Mohair and rayon cobweb sweater and satin dress
Worn with nylon socks; cowhide shoes by John Fluevog for Anna Sui; glitter guitar

This mohair cobweb sweater is typical of the punk style of the late-1970s, associated with the Seditionaries boutique of British designers Vivienne Westwood and Malcolm McLaren. The short metallic satin dress adds a feminine note referencing the Riot Grrrls, a politicized musical movement whose confrontational vocals and style conveyed girl power translated through a distortion pedal.

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Silver Ensemble
Spring 1994
Hand-painted, silkscreened, studded metallic cowhide jacket and skirt with dolly head cotton t-shirt by Michael Economy for Anna Sui
Worn with cotton cap by Peruvian Connection for Anna Sui; polyester/nylon socks; metallic cowhide boots by John Fluevog for Anna Sui

Referencing punk with its leather skirt and jacket, the metallic silver fabric of this ensemble adds a tinge of glam rock. The Perfecto-style lancer fronted jacket is customized with silver studs and an image of a doll head—a recurrent Sui motif—by artist Michael Economy. Borrowing punk, biker, and glam notes, the outfit embodies the ethos of bricolage, or the borrowing of symbols and imagery from diverse sources, which was a defining feature of subcultural style.

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Punk Cat Ensemble
Spring 2013
Polyester and cotton jacquard denim vest and skirt, polyester and cotton shirt with patches, and nylon mesh leggings and shirt
Worn with beaded denim cat-ear hat by James Coviello for Anna Sui; cotton necktie; plastic necklace and bracelets by Erickson Beamon for Anna Sui; plastic clutch by Ali Rapp for Anna Sui; patent leather shoes by Ballin for Anna Sui

This outfit blends elements such as jacquard and stripes inspired by French interior designer Madeleine Castaing with Sui’s experience of punk at clubs like CBGB. The cat-eared hat adds a cute touch typical of Sui’s youthful style. The blend of inspirations extended to the soundtrack for the runway show, which featured tracks by the Ramones as well as French musical tunes.

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Teddy Boy Ensemble
Fall 1992
Mohair jacket and skirt with wool bodysuit
Worn with glass collar, bracelet, and fob by Erickson Beamon for Anna Sui; cotton/spandex socks; matching mohair-covered brothel creeper shoes by John Fluevog for Anna Sui

For her Fall 1992 collection Sui included long, single-breasted “drape” jackets styled after those worn by the Teddy Boys, the rebellious rock ‘n’ roll and blues-influenced teen subculture that arose in 1950s Britain. The mohair jacket was accessorized with a matching tartan umbrella and shoes, showcasing Sui’s commitment to a complete look.

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Zebra Punk Party Dress
Spring 2007
Silk chiffon dress with nylon petticoat, leggings, and sleeves
Worn with cowhide/aluminum/plastic necklace and bracelet by Erickson Beamon for Anna Sui; cowhide boots by Ballin for Anna Sui

To create this look, Sui combined ripped mesh leggings and sleeves—references to Vivienne Westwood’s and Malcolm McLaren’s British punk fashions of the mid-to-late 1970s—with a billowing silhouette and boots with straps and buckles reminiscent of Westwood’s 1981 “Pirate” collection. The monochrome print recalled the dress code of the New York clubs Sui frequented, such as Max’s and CBGB.

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Slash-n-Tie T-Shirt Dress
Spring 2001
Glass rhinestone-studded nylon dress
Worn with nylon hose by Atsugi for Anna Sui; cowhide shoes by Ballin for Anna Sui

Sui’s Spring 2001 collection was highly autobiographical, including many ensembles that reflected the designer’s Mudd-Club, thrift-shop aesthetic. The Mudd Club (1978–83) was a fixture of the New York club scene that attracted a range of creatives and artists like Jean-Michel Basquiat and Keith Haring. It was seen as the antithesis of the glamorous Studio 54—a regular haunt of Andy Warhol. Sui described the style of Mudd Club girls as “downtown road warrior goddess,” a duality reflected in a series of dresses that appeared slashed—though in reality were made from intricate pattern pieces.

GRUNGE

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Puff Print Grunge Dress
Spring 1993
Silk dress
Worn with glass/ceramic necklaces and glass/ceramic/plastic bracelets by Erickson Beamon for Anna Sui; rayon bag by James Coviello for Anna Sui; silk panties; nylon socks; cotton canvas-covered cowhide shoes by John Fluevog for Anna Sui

This puff print dress was immortalized in the Vogue “Grunge and Glory” feature, modeled by Nadja Auermann, Kristen McMenamy, and Naomi Campbell. Sharing Sui’s love of music and fashion, her close friend and photographer Steven Meisel added heavy kilts to the shoot and a nose ring for Auermann.

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Rainbow Grunge Ensemble
Spring 1993
Silk/rayon vest and shorts with cotton/polyester union suit
Worn with rayon cap by James Coviello for Anna Sui; ceramic necklace and cotton/wool belt by Erickson Beamon for Anna Sui; cowhide/rubber boots by John Fluevog for Anna Sui

Sui declared that her Spring 1993 collection was “my ‘make love not war’ statement.” This translated into fashions that combined both hippie and grunge elements, including bikinis, union suits, halter dresses, bell-bottoms and lace-front vests in rainbow-striped cotton rib. Though the color palette recalled 1980s rave style, it was actually inspired by the cover of The Beatles’ 1967 album Sgt. Pepper’s Lonely Hearts Club Band, designed by Peter Blake and Jann Haworth.

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Grunge Kilt Ensemble
Spring 1993
Polyester and cotton tank and leggings with cotton kilt and shorts
Worn with rayon cap by James Coviello for Anna Sui; cotton/wool belt, wood bracelets and brass/glass necklace by Erickson Beamon for Anna Sui; decoupage wood/paper/plastic/glass lunch box by Designs from the Deep for Anna Sui; cowhide/rubber boots by John Fluevog for Anna Sui

Grunge style sprang out of a Seattle subculture in which a new wave of musicians, including Nirvana, Alice in Chains, and Pearl Jam, sported a ‘thrift’ style of dressing that mirrored their down-tempo, muddy sound. This anti-fashion style mirrored the decade’s rejection of the excesses of the 1980s. Marc Jacobs, working for Perry Ellis at the time, glamorized this style by creating a grunge collection for Spring 1993. In contrast, Sui’s references to grunge in her 1993 collection are combined with a hippie sensibility.

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Grunge Apron Dress
Spring 1993
Silk dress and apron
Worn with ceramic/nickel/glass necklace by Erickson Beamon for Anna Sui; silk velvet corsage; silk panties; nylon socks; rayon satin-covered cowhide shoes by John Fluevog for Anna Sui

The fluid silhouette and muted rust-toned print of this dress reference the Biba look, while the apron recalls the ready-to-wear designs of Claire McCardell, who revolutionized American women’s fashion by creating practical everyday clothing. McCardell showed her first Kitchen Dinner Dress, featuring a full skirt with attached apron, in 1941. Fifty years later, Sui’s Grunge Apron Dress was included in the iconic Vogue “Grunge and Glory” shoot directed by Grace Coddington and photographed by Steven Meisel.

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Holly Hobbie Dress
Spring 1993
Rayon dress
Worn with rayon hat by James Coviello for Anna Sui; glass/nickel/ceramic choker and necklace by Erickson Beamon for Anna Sui; wood bracelets and decoupage wood/paper/plastic/glass lunch box by Designs from the Deep for Anna Sui; cowhide/cotton boots by John Fluevog for Anna Sui

Grunge and the London boutique Biba, founded in the 1960s by Barbara Hulanicki, were the main inspirations for Sui’s Spring 1993 collection. Sui captured what she called the “granny” feel of Biba with her palette of rusts, plums, and mulberries—described by Hulanicki as her “auntie” colors. The outfit also pays homage to the children’s book character Holly Hobbie, a cat-loving, patchwork-dress-wearing girl in a bonnet, created by illustrator Denise Holly Ulinskas. This collection was Sui’s first to include menswear.

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Bed Jacket Ensemble
Spring 1993
Polyester and rayon dress and bed jacket
Worn with silk velvet corsages
“Marion” Mannequin: Ralph Pucci International

This romantic ensemble is partially influenced by Luchino Visconti’s 1969 historical drama film The Damned, notable for its lavish sets and costumes. In the movie, the character Sophie von Essenbeck places a rose on her bodice as she is about to die: a romantic gesture referenced here in the corsage detail. Sui was also influenced by the film’s 1930s-style bias-cut costumes, evoking the same spirit in her lace and chiffon dresses.

NOMAD

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Chinoiserie Ensemble
Fall 2014
Nylon jacquard jacket and polyester crêpe embroidered shirt with silk pants
Worn with acrylic braid cap; plastic/rayon/brass/glass necklace by Erickson Beamon for Anna Sui; nylon socks; satin-covered cowhide shoes by Frye for Anna Sui

The primary muse for Sui’s cinematic Fall 2014 collection was the first Chinese American movie star Anna May Wong, famous for her signature bob and bangs, as well as her glamorous style. This outfit encapsulates the Anna May Wong look with its loose silk pajama-style trousers, jacquard jacket, and embroidered blouse. Chinoiserie describes Chinese culture as filtered through a Western perspective.

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Ancient Dress
Spring 2009
Silk and linen dress with beading
Worn with ceramic/glass/nickel necklace and armband by Erickson Beamon for Anna Sui; cowhide boots by Ballin for Anna Sui

Sui’s vibrant Spring 2009 collection was inspired by the textiles, crafts, and history of Mexico, Spain, and Egypt. The accessories by Erikson Beamon here evoke the spirit of ancient Egyptian queen Nefertiti.

67
Nomad Bridal Ensemble
Fall 2002
Rayon crêpe dress with embroidery
Worn with wool/felt/metallic paper headpiece by James Coviello for Anna Sui; nylon hose by Atsugi for Anna Sui; embroidered pony skin boots by Ballin for Anna Sui

This ensemble channels Hungarian bridal dress via the illustrations of Ivan Yakovlevich Bilibin, an illustrator and stage designer who contributed to the World of Art movement. Bilibin was fascinated with Russian folklore, depicting traditional costumes in his 1899 fairytale illustrations. Influenced by these illustrations, as well as 20th-century photographs of Ukrainian and Hungarian dress, Sui infused her Fall 2002 collection with an Eastern European folkloric sensibility, manifested in details such as pleating, ruching, embroidery, and appliqué.

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Alpaca Sweater Ensemble
Spring 1994
Cotton and alpaca sweater vest by Peruvian Connection for Anna Sui with rayon skirt
Worn with cotton/alpaca hat and tote by Peruvian Connection for Anna Sui; studded metallic cowhide collar, belt, and bracelet by Erickson Beamon for Anna Sui; nylon/Mylar socks; metallic cowhide shoes by Emma Hope for Anna Sui

For her Spring 1994 collection, Sui collaborated with Peruvian Connection, an American company founded in the 1970s that produces women’s apparel made from luxury fibers of alpaca and pima cotton. These items are handcrafted by artisans in Peru.

69
Tiffany Collection Dress
Fall 2008
Wooden and bone beading on rayon and silk velvet dress
Worn with rayon velvet orchid headpiece by James Coviello for Anna Sui; nylon hose by Atsugi for Anna Sui; cowhide boots by Ballin for Anna Sui

Adding a personal note to her Fall 2008 collection, the beading on this dress recalls Sui’s memory of the shell-beaded dress her aunt made for her mother. The headband takes the floral halos of illustrator Alphonse Mucha as a point of departure.

70
Veterans Room Ensemble
Fall 2008
Silk burnout dress with satin top
Worn with rayon velvet poppy headpiece by James Coviello for Anna Sui; brass/glass/rayon necklace by Erickson Beamon for Anna Sui; nylon hose by Atsugi for Anna Sui; cowhide boots by Ballin for Anna Sui

The main inspiration for Sui’s Fall 2008 collection was the Veterans Room in New York City’s Park Avenue Armory, designed by Louis Comfort Tiffany and a collective of associated artists, and considered a significant example of the American Aesthetic Movement. Tiffany, a 19th-century American designer, was known for his pluralistic and experimental approach inspired by the crosscurrents of global cultures. The headband in this ensemble references Alphonse Mucha’s Art Nouveau print Summer (1896), which depicts an ethereal woman with hair crowned by blood-red poppies. The dress and skirt refer to an object drawn from Tiffany’s collection of Indigenous art, including a Kwakwaka’wakw carved pole that he acquired during a 1916 tour of the Northwest Coast.

RETRO

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Christian Bérard Faces Print Dress
Spring 1995
Rayon dress and cowhide and rayon belt
Worn with straw/nylon/acetate hat by James Coviello for Anna Sui; nylon bracelet by Vendome for Anna Sui; nylon socks; cowhide shoes by Emma Hope for Anna Sui

For Spring 1995, Sui looked to Yves Saint Laurent’s scandalous 1940s-inspired collection called “Libération” or “Quarante,” with its puff sleeves, square shoulders, and platform shoes. The textiles included re-colored 1940s prints like this Christian Bérard ‘faces’ print by Ascher Textiles.

72
Marabou Chubby Ensemble
Spring 2012
Silk dress and marabou shrug
Worn with silk turban; plastic/brass necklace and bracelet by Erickson Beamon for Anna Sui; nylon socks by Atsugi for Anna Sui; cowhide/cotton canvas/rubber/rayon shoes by Hush Puppies for Anna Sui

The Spring 2012 collection’s styling was inspired by two 1970s models, Jane Forth and Donna Jordan, who had both appeared in Andy Warhol films. Sui describes their style as “a mix of 1930s/1940s Hollywood chic and 1970s Downtown New York chic,” an anachronistic blend that appealed to her idiosyncratic historicism.

73
Christian Bérard Théâtre de la Mode Print by Ascher Textiles Dress
Fall 2004
Silk dress
Worn with vinyl/plastic corsage; suede gloves; glass earrings and plastic bracelet by Erickson Beamon for Anna Sui; nylon hose by Atsugi for Anna Sui; cowhide shoes by Ballin for Anna Sui

Elsa Schiaparelli’s playfully inventive approach to fashion provided the inspiration for Sui’s Fall 2004 collection. Schiaparelli’s fashions portrayed Surrealist themes of illusion and artifice, including trompe-l’oeil effects such as faux petticoats and floral print dresses with appliquéd floral motifs. Christian Bérard, whose prints have been featured in Sui’s collections since Spring 1995, illustrated Schiaparelli’s fashions and the program covers for her shows.

74
Boudoir Ensemble
Spring 1993
Embroidered net, nylon, rayon, silk satin, and marabou feather wrap top and silk satin pants
Worn with silk velvet corsage; silk satin/marabou bag by James Coviello for Anna Sui; nylon/lurex socks; metallic cowhide/rayon/plastic shoes by John Fluevog for Anna Sui

The subtly-faded glamor of this ensemble reflects the major inspirations for Sui’s famous Spring 1993 grunge collection, including Biba’s “granny” aesthetic and the 1930s-style dresses of Luchino Visconti’s 1969 historical drama film The Damned. The marabou sleeves and metallic shoes add a note of 1970s glamor.

75
Thirties House Dress
Spring 2008
Silk dress and panties
Worn with nickel/plastic corsage; nickel/plastic brooch and plastic/glass bracelet by Erickson Beamon for Anna Sui; plastic/elastic belt; nylon socks by Atsugi for Anna Sui; faux snakeskin shoes by Ballin for Anna Sui

Showcasing one of Sui’s trademark floral prints in bright neon, this ultra-feminine dress reflects her ability to take inspiration from the past and make it modern.

76
Busby Berkeley Rehearsal Ensemble
Spring 2008
Nylon and plastic bolero jacket and silk blouse with wool and polyester tap shorts
Worn with plastic/elastic belt; plastic bracelet by Erickson Beamon for Anna Sui; nylon socks; cowhide patent leather/Lucite/plastic shoes by Ballin for Anna Sui

In addition to her “showgirl” clothes referencing heroines of Busby Berkeley musicals, Sui’s Spring 2008 collection also drew influence from the dancers’ rehearsal clothing which included jackets and high-waisted shorts as seen in this ensemble. The 1970s styling was inspired by outfits worn by Sable Starr, called the “queen of the groupies,” who favored micro shorts, platform shoes, and vintage hats with veils. Sui amplified these elements through platform shoes with Lucite heels and hats decorated with toy pianos and clarinets.

SURFER

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Studded Psychedelic Board Shorts Ensemble
Spring 2004
Cotton barong shirt with studded cotton blend board shorts
Worn with composite/brass necklace by Erickson Beamon for Anna Sui; boxers; rubber/cotton sneakers by Converse for Anna Sui

The paisley motif outlined with gold studs adds a touch of party glamor to the Surfer Boy ensemble, while the barong shirt references the embroidered formal shirt that is traditional national dress of the Philippines. Sui’s looks often include stylistic contradictions reflecting her multidimensional viewpoint.

78
Drag Race Jacket Ensemble
Spring 1998
Silk-screened cotton twill jacket and capris with cotton and polyester swimsuit top
Worn with cotton bucket cap; steel necklace and bracelets by Erickson Beamon for Anna Sui; patent leather sandals by Ballin for Anna Sui

Prominent prints in Sui’s Spring 1998 collection included a stylized “airbrushed” flame and a design based on pinstriping—the application of a thin line of paint inspired by the automotive art of Von Dutch and Ed Roth. Von Dutch and Roth were key figures in Southern California’s Kustom Kulture: a term used to describe the traditions of custom car and hot-rodding subcultures that emerged in the 1950s alongside surfer culture. Here, Sui combined car and surf culture to showcase the countercultural connectivity in her designs.

79
Party Dress Beach Ensemble
Spring 2004
Lycra t-shirt and leggings with silk and rayon party dress
Worn with turban; composite earrings, necklace, and bracelet and composite/cowhide anklet by Erickson Beamon for Anna Sui; plastic/cowhide sandals by Ballin for Anna Sui

A fan of the Frankie Avalon and Annette Funicello beach party movies of the 1960s, Sui is fascinated by the fantasy of what she calls “the beach-bum lifestyle of Southern California.” The designer explains that this collection “was based on the idea of a girl who could not wait to get in the water, so even if she was wearing a party dress, she would have a bikini underneath.”

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Surfer Ensembles
Spring 2016
Nylon mesh Tahitian tattoo t-shirt with cotton blend cabana jacket and board shorts
Worn with rubber/cowhide sandals by Hush Puppies for Anna Sui

Cotton blend jacket and polyester and lycra top and shorts
Worn with plastic sunglasses by Mondoticca for Anna Sui; plastic/glass necklace by Erickson Beamon for Anna Sui; nylon socks by Atsugi for Anna Sui; vintage bark cloth-covered cowhide shoes by Ballin for Anna Sui

These surfer ensembles reflect youthful cool. The surfer girl’s glass necklace provides a modern interpretation of the Hawaiian lei, and the platform shoes made with vintage bark cloth underline the tropical theme of the collection.

FROM THE RUNWAY: EXPANDING ANNA’S WORLD

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Daughters of Darkness Ensemble
Fall 2020
Chiffon blouse with sequins and leather corseted skirt with flocked lace peignoir
Worn with plastic sunglasses by Mondoticca for Anna Sui; pendant by Erickson Beamon; Munster heel shoes by John Fluevog for Anna Sui

The styling and vampish clothes in Sui’s Fall 2020 collection were inspired by 1970s Italian giallo films that combined elements of mystery and horror. Seductive nocturnal glamor was part of the runway’s hauntingly cinematic mise-en-scéne, including blood-red lighting and an ominous score.

82
Agatha Christie Ensemble
Fall 2024
Faux tobacco suede and faux fur jacket with cropped printed panne velvet top and wool and polyester knit skirt
Worn with vintage London souvenir scarf; needlepoint bag; argyle socks; tweed slingbacks by John Fluevog for Anna Sui

Who dunnit? Sui’s Fall 2024 collection evidenced her obsession with Agatha Christie murder mysteries and her favorite sleuth of the series, Miss Marple. The collection presented quintessential British looks with models sporting traditional plaids, charming crochet collars, and fetching Fair Isle knitwear.

83
Paradise Ensemble
Spring 2022
Crochet bikini with rash guard top and knit cardigan
Worn with “Hawaiian Punch” straw hat; Daisy Chains accessories by Bonnie Robbins for Anna Sui; nylon socks; sandals by John Fluevog for Anna Sui

With the title “Another Day in Paradise,” Sui’s Spring 2022 collection provided a colorful escape after the COVID-19 pandemic. The neon colors evoked dreams of a tropical Shangri-La or imaginary paradise.

84
Phantasmadelic Ensemble
Fall 2021
Hand-painted jeans with flower embroidered faux suede sweater vest, blouse with lace trim, and
matching kerchief
Worn with Chelsea boots by John Fluevog for Anna Sui

The 1968 cult film Wonderwall provided the psychedelic inspiration for this ensemble. In the film, a small hole appears in the wall of a scientist’s apartment, and he becomes obsessed with a vivid polychrome world on the other side, inhabited by a fashion model named Penny Lane.

85
Octopus’s Garden Ensemble
Spring 2024
Chiffon and velvet dress with foil paper jacket
Worn with hand-crocheted hat and bag; mules by John Fluevog for Anna Sui

During the premiere of her Spring 2024 collection, Sui projected George Méliès’s short 1907 film Under the Seas in New York’s Crosby Hotel screening room to create the illusion of an underwater scene. The iridescent hues of the ensembles paid homage to the coral reefs and sea-life of Australia’s Gold Coast.

ARCHETYPES FROM THE PHOENIX ART MUSEUM FASHION COLLECTION

86
Schoolgirl Ensemble
Rudi Gernreich (American, born Austria, 1922–1985)
“Japanese Schoolgirl” Dress, 1967
wool knit
Gift of Patricia M. Newman in honor of Louis and Mim McClennen, 2005.158.A–C

John Smith Collection (British)
“Spectators” Shoes, 1966
patent leather
Gift of Patricia M. Newman in honor of Louis and Mim McClennen, 2005.159.A–B

Modern Miss (American)
“Pork Pie” Hat, 1940s–1950s
vinyl with grosgrain ribbon
Phoenix Art Museum Collection, 00.2017.710

Installation Knee Socks

87
Retro Swimsuit
Cole of California (American, established 1923)
Swimsuit, 1950s
cotton with plastic boning at bust
Gift of Mrs. Kelly Ellman, 2011.82

88
Punk Jacket
“Crust” Punk Rock Jacket, 1950s embellished in 2002 by Tim A. Shanahan
cowhide, nickel studs, acrylic paint, and cotton patches
Gift of Mrs. Kelly Ellman, 2009.64

89
Victorian Bodice
C. Joyeuse (French)
Bodice, c. 1900
silk “floral” brocade, silk chiffon, cotton lace, silk taffeta and silk velvet with silk soutache trim
Gift of Mrs. Jean Lee, 1977.C.211

90
Cowgirl Ensemble
Hillbilly Westerns (American)
“Cowgirl” Ensemble: Shirt and Trousers, 1940s–50s
wool and cotton twill with leather appliqué and fringe, silk appliqués and embroidery
In memory of Charlene S. Nederlander, 2021.130.A–B

Wilcke (American)
“Quail” Handkerchief, 1950s
printed linen
Phoenix Art Museum Collection, 00.2019.149

Hermès (French, founded 1837)
Belt, 1950s
leather with brass rings
Gift of Mrs. Clare Boothe Luce, 1967.C.91

Chanel (French, founded 1909)
“Cowgirl” Boots, 1990s
stitched leather
Gift of Mrs. Kelly Ellman, 2017.6.A–B

Installation “Cowgirl” Hat

91
Hippie & Rockstar Ensemble
Hazel Canning (British)
“Liberty Print” Dress and Overshirt, 1972–1973
“Tana Lawn” cotton with painted synthetic buttons
Jacket, 1968
sueded leather
Gift of Hazel Canning, 2019.62.A–B, 2019.40.1

Adolfo Sardiña (American, born Cuba, 1933–2021)
“Fedora” Hat, c. 1970s
silk velvet with pheasant feathers
Gift of Mrs. Jack Cohen, 1978.C.19

Installation Boots