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The retrospective exhibit, designed by FIT'S Gallery Director, Marty Bronson, is divided into three sections. In the first galley vistors are dazzled by a collection of riotously colored Galanos masterpieces: a beaded gold lace and lame gown; orange velvet dotted chiffon pajamas and cape; a red, navy and green striped jersey pant-suit with beaded and jewelled plastron. 
The second gallery present the Galanos Chronology beginning with Kay Kerr Eubell's 1942 paper taffeta shirtwaist and finishing up with the 1976 harem pants outfit from the designer's own catalogued collection. (Galanos regrets not having catalogued and kept more things - "But when a collection costs over $100,000to produce, you have to get some of your money back, so I have sold many samples to models and friends.")
[[Photograph]] [caption] James Galanos, the designer.[[/caption]]

But it is the third Gallery, a room filled with black and white Galanos designs worked around an imaginative carousel created by Marty Bronson and the FIT staff, that absolutely wows the onlooker. 
As the carousel revolves, the same mannequin's face appears and reappears on each of the figures astride the painted. The mask for this face was created form a mold of Jenny Chilcott Garrigues, one of Galanos' favourite models. 
Six glittering evening dressed of the 70s are shown in this way. As she goes 'round and 'round on the merry-go-round, each Jenny is accompanied by a black-tied escort also of papier mache.
The complex task of securing the loan of Galanos creations from museums and clients fell to Robert Riley, Design Laboratory Director of FIT and producer of the retrospective. Among the luminaries who
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