5/16/2023 0 Comments Michael nyman heavenly bodies![]() ![]() The pairings of fashion with appropriate environments can be satisfying. The Met Cloisters: Fuentidueña Chapel (Floto + Warner, Courtesy DS+R) ![]() The layout of these galleries mimics the longitudinal plan of a church, with a central nave and side aisles. In another instance, large, dramatic haloed lighting that spills onto darkened floors is featured both at the Cloisters on a Balenciaga-clad bride in the Romanesque Fuentidueña Apse, a semicircular apse with a single-aisle nave, and on Fifth Avenue in the Medieval Sculpture Hall spotlighting Dior-, Valentino-, and McQueen-dressed mannequins. John Galliano’s armored ensemble lies recumbent between two crypts, hovered over by Gareth Pugh’s black zippered outfits perched high on pedestals, while Olivier Theyskens’s red-headed figure in a black gown, fastened with hooks-and-eyes, stands below stained-glass windows in a row with female statues. One example is in the Gothic Chapel, which features pointed-arched stained glass windows and seven tombs with figurative sculpture effigies. He cited the “parallels between a traditional fashion runway presentation and the liturgical processions of the Roman Catholic Church…theatrical spectacles that rely on the tropes of performance.” This dialogue is particularly strong at the Cloisters, where the physicality of the buildings heightens the interplay the Cloisters is a pastiche of architectural elements from European monasteries, abbeys, and chapels that were dismantled stone-by-stone and reconstructed on a cliffside site overlooking the Hudson. “Fashion and religion have long been intertwined, mutually inspiring and informing one another,” said Bolton. The elegant custom display units include scored concrete pedestals that support cruciform metal tubes capped by a plinth that carries mannequins clear acrylic boxes on dark gray-scored flooring long horizontal metal tubes to hang multiple vestments and a large cantilevered platform emerging from both sides of a partition to hold papal robes flat. Gallery View, Romanesque Hall (Courtesy Metropolitan Museum of Art) Diller, too, has found spareness and balance in her interventions, capitalizing on this collision of contrasts. ![]() Diller says she was channeling Carlo Scarpa (1906-1978), the Italian architect who infused contemporary aesthetics into historic building renovations, often museums Castelvecchio Museum in a 14 th-century Verona fortress, Fondazione Querini Stampalia in a 16th-century palazzo, Museo Canova in Possagno, and Pallazo Abatellis in Palermo. The 150 fashion ensembles from the early 20th century to the present, by designers who were largely raised Catholic are either ornate, or by contrast, monastic, usually dramatic, and sometimes over the top they are set off by DS+R’s refined, solid and decidedly neutral platforms, vitrines, and pedestals in steel, concrete, and acrylic. ![]() Heavenly Bodies was designed by Diller Scofidio + Renfro, with partner Liz Diller taking the lead. Music by Samuel Barber, Gabriel Fauré, George Frideric Handel, Ennio Morricone, Michael Nyman, and Franz Schubert serenades you through the galleries. Exhibited at the Metropolitan Museum of Art’s Fifth Avenue flagship in the Mary and Michael Jaharis Galleries for Byzantine Art, medieval galleries and sculpture hall, and the Robert Lehman Wing, and at the Met Cloisters in Washington Heights, it puts fashion in the context of the museum’s holdings-paintings, tapestries, decorative arts and architecture-a signature strategy of curator Andrew Bolton, who employed this technique in China: Through the Looking Glass in the Chinese Galleries and Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century in the Wrightsman Galleries.īy contrast, The Vatican collection of clothing and jewelry, on loan from the Papacy, is displayed in the Anna Wintour Costume Center in a self-contained display (one descending, one is greeted by a priest’s cassock designed by artist Henri Matisse which resemble his cutouts, that was part of his commission for the interiors of the Chapel du Rosaire in Vence, France). Heavenly Bodies: Fashion and the Catholic Imagination is an exhibition that shows the Catholic Church’s influence on fashion designers in imagery and symbolism, and the sumptuous garments and artifacts that inspired them. ![]()
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