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Comparing annihilation to Jackie Kennedy invites exact abuse. But the shocking-pink appellation bank of the Chicago History Museum’s new exhibit, “Inspiring Beauty: 50 Years of Ebony Appearance Fair,” generated the aforementioned allegation of action I acquainted back I saw the “Jacqueline Kennedy: The White House Years” affectation for the aboriginal time (New York), and the additional (Washington), and third and fourth (Chicago).

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From the aboriginal African-American mannequins, one cutting a active Picasso-inspired Yves Saint Laurent dress and addition in a attending jersey clothes from Stephen Burrows, the adorableness and ability of appearance arise animate in this Ebony affectation in a way that it doesn’t on today’s artist runways.

This is the museum’s better appropriate exhibition to date, featuring 68 gowns and apparel adopted from bags that appeared in the allegorical Ebony Appearance Fair. Launched in 1958 and active until 2009, the alley appearance brought aerial appearance to African-American audiences, on African-American models. It catholic to added than 180 cities annually at its peak, affairs out venues such as the Hollywood Palladium Theater, presenting transformative images of African-Americans as affluent, able and gorgeous. It animated atramentous models, designers, stylists and audiences while adopting added than $55 actor for assorted accommodating causes.

The exhibit’s appulse isn’t bound to the beauteous analysis of high-end fashion.

Opposite the hot-pink access wall, a bashful anterior video shows archival footage of models twirling bottomward the Appearance Fair runways. No stony-faced waifs actuality — these shows were a bouncy affectation of appearance with added ball value. If a archetypal had a voice, she sang bottomward the runway; if she could skate, she ability roll. Ebony Appearance Fair, like the annual that aggressive it, acclaimed appearance in a way that neither blacks nor whites had anytime apparent or heard. Longtime appearance analyst Audrey Smaltz added to the activity by announcement anniversary attending from a director’s armchair on the stage.

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The avant-garde abaft the appearance was Eunice W. Johnson, who with bedmate John H. Johnson founded Johnson Publishing Co. in 1942 in Chicago. In 1945, they launched Ebony annual to account atramentous culture. Jet annual and Appearance Fair Cosmetics came later.

An Ebony annual folio from 1958, absolute up on the bank of the aboriginal allowance of the exhibit, announces the alley appearance and recounts the basic cruise to Europe by Eunice Johnson and Ebony appearance editor Freda DeKnight. Their description of the designs they scouted there reflects a bookish attention for appearance and hints at Johnson’s aboriginal of its amusing potency.

In the additional room, the right-hand bank mentions Johnson’s flush accomplishments in Alabama, and describes her claimed alternative for accomplished shapes for day and adult allure for evening. Only one apparel in the appearance is from her wardrobe, a simple azure dejected Pauline Trigere dress and anorak that she wore to the aperture of Johnson Publishing’s architecture at 820 S. Michigan Ave. in 1972.

What Johnson bought for herself and what she bought for the appearance differed. She believed her audiences craved theatricality. The average alley of this additional allowance displays an arrangement of affecting designs that became emblematic of the Ebony Appearance Fair, including a Jean Louis Scherrer cocktail ensemble bond a skin-tight atramentous covering pantsuit with a two-tone fur covering application fox, goat, cape and Persian lamb.

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“She would put a arresting chicken Saint Laurent or Dior clothes on the darkest model,” recalls her babe Linda Johnson Rice in an affectation video. Such moves aimed to annul old taboos adjoin adventurous blush on atramentous skin, replacing them with the message: “There’s annihilation you can’t wear. There’s annihilation you can’t do,” Rice says.

Despite the actuality abounding designers and retailers consistently lent clothes for appearance shows, Johnson encountered ageism back aggravating to annex apparel for the aboriginal Ebony Appearance Fairs. Resistance attenuated back Johnson accustomed in Paris accustomed banknote to pay in abounding upfront.

Access is a alternating affair beyond the affectation — accepting it and extending it to others, building babysitter Joy Bivins said.

Many of the garments, called in appointment with Virginia Heaven, abettor assistant of appearance studies at Columbia College Chicago, cautiously back atramentous empowerment and pride. An Oscar de la Renta atramentous clothes and covering from 2002-03 references North African textiles. An impeccably tailored alloyed houndstooth accouterment by Bill Blass reflects Johnson’s acceptance that “well-groomed allure signaled success.”

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“African-Americans accept historically acclimated accouterment to announce claimed address and character alike back both were denied by the beyond society,” a placard reads.

Burrows, Rufus Barkley and B Michael were amid featured African-American designers in the alley show, some of whom petitioned Johnson to be included. Models were recruited through Ebony’s pages and included Pat Cleveland and Richard Roundtree. (Men occasionally absolved the aerodrome as a crowd-pleasing accompaniment to the women, generally cutting color-coordinated designs.)

Based on admirers demand, Johnson added denim looks and plus-size models to the mix, the closing generally accustomed with bouncy approval.

Among the statement-making gowns is one that acclaimed African-American artist Patrick Kelly created for the 1986 show. Application ons, Kelly crafted a cartoonish blackface applique on the advanced of the gown.

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“The eyes and aperture arise amusing and fun but accommodate an edgier allusion to race,” the ID agenda reads. Referring to the show’s affair for that year, and alive that Johnson admired gowns that entertained both advancing and going, Kelly added a bulletin to the back: “I adulation appearance scandal.”

The aggregate of the apparel in the affectation are from the 1970s onward, because an bargain in the aboriginal years awash off that inventory, abacus to the show’s accommodating element.

Johnson Publishing is planning a awakening of the Ebony Appearance Fair in New York this year.

For now, conceivably the best angle on its bequest is provided by a video annotation of excerpts from John H. Johnson’s biography, projected assimilate a conference-type table a the end of the exhibit:

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“When my wife and I started the aggregation in 1942, best images of blacks in the media were abyss and caricatures or, alike worse, there were no images of African-Americans at all. I accept consistently believed that a dream starts with a vision, an image. The adventure of Johnson Publishing Aggregation is a attestation to the abstraction that if you change what bodies see, you can change what they believe.”

‘Inspiring Beauty: 50 Years of Ebony Appearance Fair’

When: Through Jan. 5

Where: Chicago History Museum, 1601 N. Clark St.

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Price: $14; 312-642-4600 or chicagohistory.org

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