I saw the exhibit when the museum opened for the day and the crowds were lighter, then returned after lunch at about 2:30 PM, when it became a true MADHOUSE, and the guards were marveling at the sheer number of visitors. This is a good sign, I think. So many wildly interested people flocking to a museum exhibit on a Saturday, and staying so long to enjoy it?
"With more than 170 ensembles dating from the early 20th century to the present, the exhibition will address the founding of the haute couture in the 19th century, when the sewing machine was invented, and the emergence of a distinction between the hand (manus) and the machine (machina) at the onset of mass production. It will explore this ongoing dichotomy, in which hand and machine are presented as discordant tools in the creative process, and question the relationship and distinction between haute couture and ready-to-wear."
-Metropolitan Museum of Art description of the show
The exhibit is huge. Allow at least 45 minutes to see it all, if the crowd is light, and you care to look at every garment. There is no quick way to see it. It is free with admission, so you don't have to pay an extra fee to enjoy it. Thank God for that!
|The train of the Lagerfeld dress that graces the entrance of the exhibit|
|Same dress, front view. Made of scuba knit, this dress is hand molded, machine sen, and hand finished|
Do you love scuba knit? Visit Elliott Berman to get a feel for this fabric.
I am not the first person to say that this exhibit is not to be missed.
"You have to run and see this exhibition. It was one of my favorite ever. And you know why? Because it was so much about whispering again ... It was about workmanship, about know-how, about time. And the one thing that impressed me the most was the fact that it was almost silent. I think maybe Anna [Wintour] and Andrew [Bolton] are hearing something that is, maybe, less loud and more silent, and I loved it. We designers are living a very hard calendar: We are changing the show time, we are going through the show-now-wear-now, designers are leaving, designers are coming, a lot of changes. And I'm thinking, What is happening? Someone said, when there is a wind of change, we have two possibilities: whether we build a wall to protect us from the wind, or we build a windmill so we can take advantage of this wind. I think technology embraced those changes, and they used the wind to go forward. Fashion somehow built a wall, a bunker, to protect ourselves and to protect the tradition."-Alber Ebaz, as quoted in this New York Magazine article
I have so much to say about this exhibit, it will take me some time to write it all down, and I may take some breaks, too, so you can experience it while this post grows, and check in every time you notice a new updated and saved link. It seems I will also need to put my glasses on, and I'm not quite sure where they are at the moment, so yeah... it may take some time. You may ask questions as I go, I will do my best to answer them if I spot them while I'm working, too.
One thing I noticed immediately, when looking at the presentation of this wedding ensemble and its description (above), is that it truly embodies the purpose of the exhibit. In the long description accompanying the piece, I could see that the garment's hand work and technology-dependent features were celebrated as equally vital to the construction, with appropriate respect for each. Credit was given to the historical credentials of the hands, hearts and heads fundamental to its creation.
Many quotes were posted next to pieces presented in this exhibit. Many were food for thought, amid those who were clearly PR driven and a bit emptier. Some resonated strongly with me, and some, I didn't personally accept as gospel, but remain open to others' perspectives.
Quick aside: This exhibit drew fashion experts, lovers, and curious folks alike. I was absolutely AMAZED at how many people felt they could simply touch and/or fondle pieces in the exhibit. I saw a service DOG actually nibble and drag the train of a dress before the handler noticed. I suppose the guards were doing all they could to keep people under control, but I must say, it was definitely a problem.
|Mesmerizing in its depth, this dress was 3-D printed. threeASFOUR - interlocking fractal weave that allows for multidirectional movement...|
Marinate on the dress above for a moment, if you will. I can't even say I completely understand the "why" behind this dress, but one thing I truly appreciated about this exhibit, is that they completely dispensed with "why", who wore it when, who wore it best, or any event we might be able to associate with such a garment...
This exhibit allows us to divorce ourselves from all of the practical considerations, and focus instead on the pure artistry of it all.
|Lagerfeld for Chanel again (2010) - a lovely pink silk rose "dress" that I call a cape.|
|Pleating - the best subject of the entire exhibit. (Mary McFadden example, above) - by machine|
|A Fortuny evening dress 1920's - by hand|
Love pleating? Look at what International Pleating can do for your projects!
|Balenciaga - machine embroidered lace - 1963|
We talk about the hand in the haute couture as if it's an abstract concept, but those hands belong to particular women who have very specific skills, very specific tastes, and very specific personalities, which all come through in their handiwork... It's like writing a song, but the singer changes it through his or her won voice, through his or her interpretation. For us, our Premieres (head seamstresses) are our interpreters.
-Maria Grazia Chiuri and Pierpaolo Piccioli
Now, now that's what I call a fantastic thanks for the endless, practically thankless work of the busy hands who make these beautiful works of art! I walked through most of the exhibit, noticing the glamour and praise heaped on the designers, with barely a mention of the individual hands, separate from the historical legacies and corporate identities of any respected design or embellishment "houses". I was so happy to see it acknowledged in a quote.
Things I noticed during the exhibit:
HEAVY emphasis on Japanese designers. Iris Van Herpen is a designer so heavily featured here, that I wonder if the subtitle of this exhibit should include her NAME! It is clear that she has quite a body of work of exceptional quality and artistry, but I really felt the number of pieces in this exhibit bearing her name were excessive.
However, to be fair, I can NEVER get enough Issey Miyake, and he had a very healthy representation of his pieces in the exhibit as well.
For better and more photos, visit the New York Social Diary, where you will find much more detail on pieces shown.
Below, I offer more of my own photographs and observations from the exhibit. The big takeaway? It was inspiring, to say the least, and to quote Giorgio Armani long ago (when I worked for Armani in NYC).
"In the end, fashion is not such a silly thing..."
|Is this actually a dress? Well. I guess... How would you put it on? Closures?|
|Leather flowers... I couldn't convey the beauty of it all here... The photograph doesn't quite capture...|
I will say, without hesitation, that this show ranks as one of the best I've seen in my life so far. It is well worth your time, attention, and a Pinterest page!
Also note, the gift shop has lots of merch associated with this exhibit, and you will DIE laughing at the prices. Absolutely die! Seriously, it is hilarious.
Now there is a new map: New York Fashion and Design Exhibits You Must See (listing current and future exhibits and shows on my radar, and worthy of your time/money. This map will be available for view on Monday, May 23, 2016.
I feel very strongly that this exhibit successfully removed the aspirational emphasis of finely made garments from the conversation, took a step back, and fully, honestly appreciated the ART of these beautiful pieces. Bravo to the curators and staff of the MET for making this happen!