Off the red carpet, up those gigantic stairs and inside the Metropolitan Museum of Art, The Costume Institute is celebrating their brand new, and, most thought-provoking exhibition; “HEAVENLY BODIES – FASHION AND THE CATHOLIC IMAGINATION.” Spread out in several galleries including the Medieval and Byzantine Art Galleries, the Robert Lehman WIng and The Anna Wintour Costume Center, with another group of installations angered at the Cloisters, Heavenly Bodies feature over 150 garments, occupying 60,000 feet of gallery space in a dialogue between fashion and masterworks of medieval art. It examines and celebrates fashions ongoing engagement with devotional practices and traditions of Catholicism. A group of cherished papal vestments and accessories from the Vatican are featured. These have never been on display outside Vatican City, and, makes a powerful statement.
THE CARDINAL
At the impressive media preview, held in the Temple of Dendur, attendees included a slew of luminaries like; Vogue’s Editor-in-Chief ANNA WINTOUR who raised $12million for the Museum, chairing the MET Ball, ANDREW BOLTON, Curator in Charge, The Costume Institute, designer DONATELLA VERSACE, co-chair of the Ball, DANIEL L.WEISS, President CEO, The Metropolitan Museum and His EMINENCE TIMOTHY MICHAEL CARDINAL DOLAN, Archbishop of New York. In welcoming the media and special guests, Dan Weiss talked about the combination of fashion, art, and religion as the key elements for the exhibition. Cardinal Timothy Dolan asked “You may be asking what the church is doing here? Why is the church part of this? You might be asking what the Archbishop of New York is doing here? I asked that when first invited some months ago. But think about it. It’s because the church and the Catholic imagination, the theme of the exhibit are all about three things – truth, goodness, and beauty. That’s why we are into things such as art, music, poetry, liturgy, and yes, of course, fashion. To thank God for the gift of beauty…Because of the truth, the goodness and the beautiful. In the Catholic imagination, those are so personal, so real that they have a name: Jesus Christ. In the Catholic imagination, the truth, beauty, and goodness of God are reflected all over the place. Even in fashion. The world is shot through with his glory and his presence. That is why I am here.” In conclusion, the Cardinal thanked Anna Wintour, Andrew Bolton, Dr. Weis and the MET for “arranging this radiant exhibition…I thank the head office of the Vatican for its historical corporation. I am honored to be here.”
THE POPE
Andrew Bolton, Curator in Charge, The Costume Institute, remarked – “The Pope Wears Prada. That was the headline for an article in Newsweek in November 2005, describing Benedict the sixteenth satirical predilections the article went on to assert. He never made the `Best Dressed List,’ but Pope Benedict the sixteenth is nothing short of a religious fashion icon, riding in the Popemobile and wearing red Prada loafers and Gucci shades. Two years later the Pontiff did appear on a best-dressed list. Esquire named him `Accessorizer of the Year’ on account of his red shoes.” Mr. Bolton explained that the shoes were not really Prada, but from a cobbler in Novara in Northern Italy. He spoke on the role that dress plays within the Catholic church, and, the role that the Catholic church represents within the fashionable imagination. “These subjects form the basis of this exhibition, the collaboration between the Costume Institute and the Department of Medieval Art. Costumes are situated alongside religious artworks to provide an interpretive content for fashion engagement with Catholicism. Spanning 25 galleries and 60,000 square feet, it’s organization is intended to evoke the concept and the experience of a religious pilgrimage. Most designers featured in this exhibition are raised Catholic, while many of them no longer practice and their relationship to Catholics may vary, most acknowledge it’s significant influence over their imagination.”
CELESTIAL
Upon entering the Medieval and Byzantine Galleries you are greeted with a celestial chorus of Holy chants and sacred music. It sets the tone, and, puts the mind in a spiritual place of serenity and peacefulness. The visual is absolutely stunning – a row of black and white robes and vestments from designers like Dolce & Gabbana, Gucci and Moschino catch the eyes on the left. In the center is the stunning simplicity of the red Valentino gown, then the exquisite blue and white silk jacquard, Dolce & Gabbana embroidered cape and gown stand majestically under subdued lighting. The `Statuary Vestment for the Madonna’ makes an impressive appearance as does the embellished Christian Lacroix vestment in all its religious splendor. The white `Madonna Wedding Ensemble’ from the House of Dior is a stunning addition to this gallery. Suspended above the gallery, between the vaulted ceilings, hangs the legendary Thierry Mugler, white chiffon layered gown, dusted with blue Swarovski crystals with huge `Angel’ wing sleeves. This piece looms overhead, like an angel, about to descend. This gown was worn by model Pat Cleveland as the final piece in Mugler’s `Angel’ show in Paris. She actually came down from the ceiling on to the runway for the show’s finale.’
ANGEL OF GOLD
In the Robert Lehman Wing, a pedestal of colorful gown form the main focal point with creations from Thierry Mugler – the gold Fortuny pleated silk lame gown with elaborated shoulders – A blueprint winged Lanvin, the “Angelo D’Oro” (Angel of Gold) group from Roberto Capucci from 1987 and a blue silk crepe georgette “L’Ange” embroidered with silver and gold paillettes, a gift of Mrs. Harrison Williams is featured. Across the way artifacts like papal Mitres, crowns and jewels, a black beaded leather jacket and, a black silk-wool and gabardine blouse, featuring a stunning cross made from crystals, gold and seed-beads and gold metallic synthetic leather from Christian Lacroix, dazzles as the centerpiece of this section.
THE CLOISTERS
A fleet of luxury coaches transported the media to the historic Cloisters in upper Manhattan. Perched on top of a hill overlooking the river with stunning natural vistas, this ancient structure is the perfect setting for the continuing portion of `Heavenly Bodies.’ The rustic chapels and prayer rooms, even the garden courtyards are all pressed into service to display the beautiful raments. Elements from French monasteries have rebuilt as four cloisters. One gallery is highlighted by the Alexander McQueen installation, unofficially and posthumously titled `Angels and Demons’ with three garments that showcase this designer’s struggle with his identity. Jean Paul Gaultier’s legendary “Guadalupe” evening gown in light blue silk paid homage to the Immaculate Heart of Mary. A jeweled red heart pierced by a small sword brooch with red chiffon, representing the flowing blood cascade down the left side of the dress, representing the bleeding heart. The Temptation of Saint Anthony, The Last Judgement and The Garden of Earthly Delights are all featured in the details of one of McQueen’s creations. Two different chapel house two extraordinary pure white caped gowns, fit for a virgin bride or the Virgin Mary, whichever you choose to honor. Also featured at the Cloisters are the tent-shaped Valentino gowns, two arched in the ceiling of an outdoor-indoor Atrium-styled garden space for dramatic effect.
DESIGNERS
Among the other designers featured in `Heavenly Bodies – Fashion and the Catholic Imagination’ are; The House of Versace, Jean Charles de Castelbajac, Geoffrey Beene, Azzedine Alaia, A.F.Vandevorst, Chanel, Rick Owens, Stephen Jones, Phillip Treacy, Moschino, Viktor & Rolf, Gareth Pugh, Cristobal Balenciaga, Marc Bohan, Raf Simons and Madame Gres, The exhibition runs through October 8, 2018.
