The opening on May 10, "Heavenly Bodies: Fashion and the Catholic Imagination," is one of the museum's most intriguing exhibits.
Cardinal Timothy Dolan's oversized gold cross was easily the most sought-after accessory on today's preview of "Heavenly Bodies: Fashion and the Catholic Imagination." With the intersection of fashion and religion as the main theme of this year's costume exhibition at the Metropolitan Museum of Art, jeweler publicists throughout the city complain of the lack of crosses to adorn the A-Lister of today's Met Gala.
But before any outrage over a museum, religion-like-fashion, kicks, know that the beloved Archbishop of New York is full of the concept aboard. "In the Catholic Imagination, the truth, the good and the beauty of God is reflected everywhere, even in fashion," he said. "The world is shot through by its glory and its presence, which is why I am here and that is why the Church is here."
"Heavenly Bodies: Fashion and the Catholic Imagination" is the largest exhibition of the costume institute in the history of the museum There are over 25 galleries and 60,000 square feet divided between the Fifth Avenue Museum and the Cloisters Museum at Fort Tryon Park. "To see this exhibition, you have to embark on a pilgrimage that we think is great," said Daniel Weiss, President and CEO of the Metropolitan Museum of Art.
̵1; Laurie Brookins (@ StyleWriterNYC) May 7, 2018
Most of the designers mentioned here are known for consistently researching religion and especially Catholicism in their work. Versace is an exhibition sponsor, and several pieces by Donatella (also present on Monday mornings) and Gianni can be seen in the museum's rooms, from a 1997 Gianni wedding ensemble for his latest haute couture collection to a leather jacket Crosses designed by Donatella for the label's spring / summer collection 2018.
An evening jacket created by Gianni for his autumn / winter collection in 1991 opposes a quartet of Byzantine panels 15 . "Costumes stand alongside religious artefacts to provide an interpretive context for how fashion deals with Catholicism," said Andrew Bolton, curator of the exhibition.
Bolton and the Metropolitan Museum collaborated with the Vatican to obtain 40 papal vestments 18 th to early 20 th centuries, each with intricate gold embroidery richly decorated and exhibited in the museum's Anna Wintour Costume Center. (Wintour was also present this morning wearing a dress of pale gold eyelashes – maybe a subtle nod to the subject?). But the most dramatic of all the exhibition spaces is the Medieval Hall of the Museum: Opulent Gowns by Alexander McQueen Christian Lacroix, Dolce & Gabbana, Givenchy, Cristobal Balenciaga, and Dior from John Galliano's years are surrounded by statues of saints, glass windows, and other religious symbols.
– Laurie Brookins (@StyleWriterNYC) May 7, 2018
Valentino Creative Director Pierpaolo Piccioli was also among the press and museum celebrities who visited the preview showing several pieces of the Italian label, including a red taffeta dress from Piccioli's Fall / Winter 2017 haute couture collection. "For me it's an emotional show, not only because it's beautiful and interesting in terms of fashion, but it also touches me personally," he said. "Italian Catholic influences are always present in my work The notion of Catholicism and fashion is very close: in Catholicism, clothes are always an expression of something else, and in fashion we clothe ourselves to express ourselves, to express emotions Metaphor feels right. "
Considering the theme, how could Piccioli dress for today's Met Gala? "I have no idea – I'll probably decide half an hour in advance," he said. "I was too busy planning what our guests will wear." Piccioli fought against who would come with him this year; Jennifer Lopez, in light blue Valentino, was on Piccioli's arm when she climbed the steps to the museum last year at the Met Gala; Alex Rodriguez, at the time Lopez's brand new friend, followed closely behind him and wore Tom Ford.
"Heavenly Bodies: Fashion and the Catholic Fantasy" runs from May 10 to October 8 in the Metropolitan Museum of Art New York City.