Can we talk about Norell? A few hours are surely deserved, but for now, let’s just restart the conversation.

Today, Norman Norell’s fame pales in comparison to the impact he had on American (and global) fashion, but an exhibition at The Museum at FIT and an accompanying book are turning attention back to the man the New York Times once declared “the dean of American fashion designers.”

“We are in a tremendous upheaval in the fashion industry right now, with disruptions in every sector: retail, calendars, supply chain and more,” said Jeffrey Banks, guest curator of Norell: Dean of American Fashion and author, Norell: Master of American Fashion. “What better time then, to look back on a master of his craft, who helped shape the industry we know today … you cannot go forward without looking at where you came from.”

Norell, CFDA’s second president, was a leader in elevating ready-to-wear — to the extent that he helped establish the first dialogues between Seventh Avenue and Paris couture house designs. He was an innovator in every sense of the word: he introduced his first womenswear pantsuit in 1960, years before they were shown in Paris, and women of the Sixties (not to mention Nineties children) can thank him for culottes. Modern designers owe him very literally as well: he was the first fashion designer to have a perfume in his name.

Occupying the museum’s largest exhibition space, the feel of the show is very First Ladies-at-the-Smithsonian — if every First Lady had dignified, impeccable style that is. There are double-breasted suits, pilgrim collars, nautical dresses, pussy bows and, of course, an extraordinary quantity of sequins. Sequin-coated “mermaid” gowns were a Norell signature, though on display, they don’t dazzle as they once did; his genius was individually stitching the sequins with different stitch patterns so they would move independently — that’s when they moved, of course. We are lacking the experience of the client, too: Norell took great care in using soft silk jersey for legendary comfort under all of that sparkle. Besides, in a Norell retrospective there is so much to compete for our attention, from quiet, perfectly proportioned tunic-and-skirt looks to a candy pink silk faille cape and a floor-length ostrich feather evening coat.

So what do we say about Norell when his creativity was broad-reaching and his innovations are now so omnipresent? “Obviously, the use of the best materials, couture quality craftsmanship and balanced design are sources of inspiration,” said Patricia Mears, the museum’s deputy director and co-curator of the exhibition. “But Norell was a great talent who worked tirelessly at his craft. He was not interested in being a star or making huge amounts of money. The perfection he brought to fashion endures for these reasons.”

This show goes beyond paying tribute to thoughtfulness — it dares those who work within the constraints of today’s fashion calendar to step back and stay thoughtful themselves. Also, it resurfaces some truly epic eveningwear. So, here’s hoping for a vintage Norell appearance on the red carpet this awards season. Stylists should note: one of Norell’s devoted clients was none other than that dignified, impeccable Lauren Bacall.

Norell: Dean of American Fashion is on view at The Museum at FIT through April 14.