Rei Kawakubo at the Metropolitan Museum of Art Costume Institute

I am a little behind since my father passed away but earlier last month I did attend a preview for the new exhibition at the Costume Institute at the Metropolitan Museum of Art, which is called "Rei Kawakubo/Comme des Garçon: Art of the In-Between." Rei Kawakubo is of course the diminutive, avant-garde Japanese fashion designer who has been creating her artistic collections for her Comme des Garçon label since 1969. Kawakubo has been very influential in the world of fashion; you can see her effect on the work of designers like John Galliano and Demna Gvasalia at Balenciaga. This is only the second retrospective at the Met for a living fashion designer; the first was for Yves Saint Laurent, which Diana Vreeland presented in 1983.




In the opening remarks at the preview, the curator Andrew Bolton noted that Kawakubo "blurs the distinction between art and fashion with designs that look like sculpture." Indeed, many of the garments on display defy the traditional norms of clothing with shapes and volumes that don't follow the lines of the body at all but create their own unique silhouette. I tended to like the more classic shapes like the red garments above and these dresses with a lace bodice –

The installation itself was very interesting too. I've never seen anything like it at the Met. Displaying about 150 garments, it's a white maze of different shaped modules that was designed by Kawakubo and Bolton together. Costume shows typically focus spotlights on individual pieces but this exhibition features 150 fluorescent lights overhead so it feels like you're in a very bright modern art gallery –

An additional treat was hearing Caroline Kennedy speak at the preview as she does not often appear in public in New York. Caroline Kennedy was the United States Ambassador to Japan during the Obama administration and so she talked about her friend Rei Kawakubo – 

For an exploration of clothing as abstract modern art, go see the new Costume Institute show at the Met, through September 5th. Up now also at the museum, which I plan to see, is an exhibition of photographs by the great master Irving Penn.

Manus x Machina at the Costume Institute at The Metropolitan Museum of Art

The Chanel Haute Couture Winter 2015 wedding gown is the centerpiece of the exhibit.
I had the pleasure this week of attending the preview of the new exhibition at the Costume Institute at The Metropolitan Museum of Art, which is called "Manus x Machina, Fashion in an Age of Technology" and was produced by Curator in Charge Andrew Bolton. Given the title, I thought this show would be about modern technology, and many of the women who attended the Met Ball Gala later that night wore silvery metal robot-like dresses, but to me that missed the mark as this show is more about processes and techniques, and how the handmade (manus) can combine with machine-made (machina) in clothing. The show celebrates how technology carries craft into the future - kind of like a digital blog about beautiful things.

For the preview on a day when the museum was closed to the public, guests were directed to the Robert Lehman Wing, where I have never seen a costume show staged before. This wing consists of a two-floor circle that visitors walk around but for this show the center was ingeniously filled in with a temporary floor creating an inner gallery where the Chanel gown pictured above was housed. OMA, the architectural firm, did an amazing job designing a cathedral-like environment for the show with gauzy white scrims complete with arches and alcoves. The mystical "An Ending (Ascent)" by Brian Eno played overheard. The whole setting was very serene and ecclesiastical, which I thought was a striking juxtaposition given the machine technology theme.

The Chanel wedding gown provided the inspiration for the show. It's made out of a scuba knit synthetic material and is machine sewn. The pattern on the long train in the back was digitally manipulated to make it look pixelated. But then the gold metallic pigment was hand-applied, and pearls and gemstones were embroidered by hand, thus illustrating the marriage of the machine-made and handmade.

I circled around the exhibit, trying to take in the 170 garments, dating back to the early 1990s, on display.
Shimmering Louis Vuitton dresses were shown next to turquoise Norman Norells -

and artificial flowers in pretty pastels were applied to Prada dresses (center) -

I walked down to the lower level and while I was admiring jewel-tone Mary McFadden pleated gowns, New York Social Diary.com photographer and writer Jill Krementz snapped this pic of me - 

You can read Jill's very thorough report on the preview and show here.

Is was time to hear the prepared remarks in the stunning Carroll and Milton Petrie European Sculpture Court. Thomas Campbell, the director of The Met welcomed the crowd, and then Jony Ives, the chief designer of Apple, which sponsored the show, spoke. Andrew Bolton (pictured below) said that the show is "a celebration of the art of making, using hand and machine," and offered "a temple to the beauty and artistry of fashion." Anna Wintour, resplendent in a colorful Prada dress and coat, sat with her three British compatriots in the front row as well.

After the remarks I returned to the galleries to look at more of the garments.
In a gallery devoted to tailoring, a small team of Chanel suits proved their timelessness –

This dress that looks unconstructed is actually a Dior haute couture ensemble by John Galliano designed to appear dramatically unfinished -

A jacket by John Galliano for Maison Margiela is hand-trimmed with black lacquered toy cars. He really is a genius.

A dress by Gareth Pugh is hand-embroidered with clear plastic drinking straws around the neck. The see-through scrims and shadows created an ethereal setting.

It was hard to leave this show that really offers an escape from the reality of the street. But soon it was time to go. On the way out I passed empty halls of marble sculptures -

and the majestic Greek and Roman Gallery.

It really was a dream.

Blog bonus: Hear Andrew Bolton talking about the new exhibit in this video:

Video Tour: Charles James at the Metropolitan Museum of Art

It's time for a trip to the Charles James exhibit currently up at the Metropolitan Museum of Art through August 10th. Charles James was the great American couturier who famously draped and shaped some of the most beautiful dresses created in the American haute couture. James, who was self-taught, designed in his native London before arriving in New York City in 1940. The designer was an artist whose medium was fabric and whose dresses were masterpieces. He was renowned for his striking color combinations, and his cut and construction, always refining and perfecting his living sculptures. But he was also eccentric and had a hard time running a business. The designer lived and worked in one room in the Chelsea Hotel on West  23rd Street. When he passed away there in 1978 at the age of 73 of pneumonia, he was largely unrecognized and unappreciated. However, his structured dresses with narrow waists and flaring skirts influenced Christian Dior when Dior created the New Look in the late 40's, and so though he is not a well-known household name, Charles James shaped the direction of fashion. 

Photo courtesy of the Metropolitan Museum of Art, photograph by Cecil Beaton. 
The exhibition was curated by Harold Koda and Jan Glier Reeder, and is located in two areas at the museum – in the new Anna Wintour Costume Center on the lower level as well as an exhibition gallery on the first floor. The show was designed by Diller Scofidio + Renfro, the New York architects we met at a book party at Ann Ziff's fine jewelry store.
Diller Scofidio + Renfro lit the clothes dramatically to highlight their shape. Charles James loved to combine different fabrics like deep, dark velvet and glossy, lustrous satin –

which is here worn by the great Babe Paley herself.

Photo courtesy of the Metropolitan Museum of Art. 
Besides the clothes, there are on display accessories, drawings, videos, and some pithy quotes from Mr. James.

During the press preview for the exhibition, workers were preparing for the big Met Ball which was being held that very night. Here in the Great Hall, a kind of giant deconstructed Charles James ballgown made out of orange roses loomed over the entrance.

I had the pleaure of talking with the brilliant curator Harold Koda at the press preview, and my friend Scott Brasher made a video of the visit. Enjoy this nice long talk with Harold, and learn more about the great American fashion designer Charles James. 

Diana Vreeland: The Eye Has to Travel

I recently toddled over to the Angelika Theater on Houston Street to see Diana Vreeland: The Eye Has to Travel, the wonderful documentary made about the style icon by her granddaughter-in-law Lisa Immordino Vreeland, who published a book by the same name last year and is married to Vreeland's grand son Alexander. This movie is a terrifically entertaining closeup look at one of the great fashion figures of the twentieth century.

Readers of this blog surely know about Diana Vreeland who was the legendary fashion editor at Harper's Bazaar, then the editor-in-chief at Vogue during the Sixties, and when she was fired from Vogue, created at the Metropolitan Museum of Art the Costume Institute as we know it today with her blockbuster exhibits.

What stands out in the documentary is her great drive and work ethic coupled with her imagination and creativity. Growing up, her mother told her she was ugly. In New York City, she lasted at the Brearley School for three months. She was not a great beauty nor was she formerly educated, but she created great beauty and educated herself and thus encouraged her readers and viewers to dream and live more beautiful lives.
She met her handsome husband Reed Vreeland in 1929. Here they are pictured at a cocktail party with the always chic Slim Keith on the left.

Vreeland's great curiosity made her passionate for a wide range of subjects – from the French eighteenth century, Russia, and horses to Diaghilev, the Beatles, and the Rolling Stones. Angelica Huston in the movie notes that before Vreeland, women's magazines were focused on "how to fit in with your husband and how to make a pie. But who cares about pies...when you have Russia!"

The editor began her job at the Met when she was 70 ("What was I going to do? Retire?") As a boy visiting New York City from upstate I remember a couple of her Costume Exhibit shows, including the Hollywood one, which were astounding displays of fantasy and beauty. Vreeland was a storyteller, this movie says, and she was presenting her version of the way the world could be. "I believe in the dream," she says. "There is only one really good life and that is the life you know you want and you make it yourself." At the end she states, "I shall die very young. Whether I am 70 or 80 or 90, I shall die very young."

What a great inspiration she is. See this movie if you can. Here is the trailer:

Go to the Metropolitan Museum of Art!

The facade of the Branch Bank of America from 1822-24, originally located on Wall Street, and now found in the newly renovated American wing at the Metropolitan Museum.

Since the Fourth of July fell in the middle of the week, TD and I were in town for the holiday and we decided to take advantage of the day and go up to the Metropolitan Museum of Art. We did our best to get there on the early side, before it got very crowded, arriving at 11 am.

The first stop was Schiaparelli and Prada: Impossible Conversations, the current exhibition at the Costume Institute. It opened in May and you might have read about it; it pairs together in conversation and clothes Elsa Schiaparelli, the Italian surrealist fashion designer who lived from 1890 - 1973, and Miuccia Prada, the Italian fashion designer who is of course alive and thriving. Cleverly, the curators of the show created video clips directed by Baz Luhrmann (Moulin Rouge!, Australia) in which Prada and Schiaparelli, played by actress Judy Davis, have compelling conversations.

I loved it.

(No photography allowed; these two photos from The New York Times)

The show was just so smart, and it was so interesting to hear the fashion designers talk about their work and see their clothes presented together. And the clothes are beautiful. Carefully constructed and decorated with embroidery, beads, paillettes, and plastic disks, the designs are intricate, striking, and timeless.

They discuss their different approaches to fashion – Prada designs from the waist down and Schaparelli designed from the waist up, noting that she lived in a cafe society where women sat at restaurant tables so it was important to look fashionable on top, with an emphasis on the shoulders and the bust.

Prada on the other hand notes that "there is so much going on from the waist down, sexy stuff, being attached to the earth." In fact, I have noticed in photos that she often wears a plain sweater and a crazy skirt, like one made of feathers, and outrageous shoes. In this movie, in fact Prada, perhaps the most influential fashion designer in the world, sits at a table wearing a simple white shirt with a grey v-neck sweater, small earrings and no makeup.

This is a photo of Jenna Lyons, the creative director at J. Crew, with designer Eddie Borgo, arriving at the opening party of this exhibition, and you can see that she is channeling the same idea with a plain v-neck sweater and a fantastic, opulent feather skirt. And a great red lipstick.

It's such a cool way to dress – understated on top and glamorous on bottom, a great combination.

Elsewhere in the show, Prada said (and I was trying to write down the quotes correctly), "With my clothes, I try to make men look human. I try to make women look powerful."

"I don't want to make women look pleasing in any way."

"I am trying to create something to wear that makes sense with the mess of life."

Go see this show – it's a very intelligent presentation of clothes and the ideas behind them.

After the dazzle of ornate decoration, we went to see the exhibition of plant drawings by Ellsworth Kelly, which was like a clean, cold, bracing drink of water.

Sunflower, from 1957

Ellsworth Kelly, the contemporary painter who is renowned for his minimalist, color-field paintings, lives in upstate New York, where he produces delicate plant drawings that are lovely in their simplicity. It's a wonderful show to see in the summertime.

The Ellsworth Kelly Plant Drawings catalogue

Then we headed up to the hot, sunny rooftop to see Cloud City, a large constellation sculpture of interconnected modules by Argentinean artist Tomas Saraceno.

Made out of metal and transparent and reflective materials, it looked like a shiny space ship had landed on the roof of the Met. It's possible to climb up into it, but visitors need to go first to the fourth floor to get a timed ticket (free).

After a lunch in the cafeteria, we headed to the recently renovated American Wing (pictured at the top of this post) which I had previously visited with Jane. Here, the museum's American paintings have been beautifully mounted in airy new galleries; I think my favorite room holds the John Singer Sargents. It was a hot summer day, but the whole museum was cooly air-conditioned. The spacious, serene museum is for me like going to church, and there is a lot to see there right now. It's like being in heaven.

A McQueen Moment

The timing was amazing. Last Friday Kate Middleton, destined to be the queen of England, married Prince William as three billion people watched around the world in a really beautiful dress designed by Sarah Burton for Alexander McQueen. Three days later on Monday night the Metropolitan Museum of Art's Costume Institute previewed its new exhibition called "Savage Beauty," a retrospective of the work of McQueen. The name on everyone's mind now is the visionary English fashion genius who committed suicide last February at the age of forty.

Surely he would have loved to dress a future queen on her wedding day. I thought Kate Middleton got it all exactly right including her smallish bouquet composed of sweet William, for her husband, and sprigs from a myrtle planted by Queen Victoria in 1845.

(photos from Vogue.com)
The wedding dress had a lace bodice and sleeves, a full skirt, and a long train, and was worn with a sheer veil and a Cartier diamond tiara borrowed from Queen Elizabeth. It was an elegant '50s Grace Kelly look.

When she walked with her father up the aisle of Westminster Abbey (the construction of which began in 1245), it was quite breathtaking. Aren't we lucky to have tv cameras soaring about at these events?

Westminster Abbey

The New Yorker said that in England, royal weddings are a work of art. They really do know how to throw one.

Then on Monday in New York, the Met previewed its new Alexander McQueen show at the Costume Institute, there until July 31st. Due to time restraints, I was not able to attend the preview, as I did last year which we videoed. But the museum sent over some images of the McQueen galleries:
Gallery view – The Romantic Mind

Gallery view – The Romantic mind

Gallery view – Romantic Nationalism

The reviews of the show have been great, and I can't wait to go up and see it. Though I wonder if it will be a little sad, this retrospective of a life cut short by self-destruction. Certainly the world needs the fantastically imaginative creativity of Alexander McQueen. Right now, HBO is showing Lady Gaga's Monster Ball Tour special, which is pretty spectacular, and all of her many eccentric outfits are very McQueen-like – wouldn't that have been an astonishing partnership to watch.
I took this picture of a window at Bergdorf Goodman when McQueen died. It featured an angel floating in his white dress trimmed with a fringe of feathers.


He is greatly missed.

"American High Style" at the Brooklyn Museum

Outfit at the entrance of the show by Norman Norell.

It has been quite a year for American style in New York. First there was the the "American Beauty" show and seminar at F.I.T. over the winter. Then last Monday "American Woman" opened at the Metropolitan Museum of Art. Last Thursday, TD and I went to the opening of "American High Style" at the Brooklyn Museum of Art which is up in conjunction with the show at the Met, as a part of the Brooklyn Museum costume collection moves to the Met for care and storage.

The show in Brooklyn highlights some of the most renowned pieces from its collection. This show starts with heavy, ornate, highly structured gowns by the House of Worth, as does the show at the Met. This is because modern fashion begins with Charles Worth, the English dressmaker who moved to Paris to create the first famous fashion label. This show states that "one of his most significant contributions was to transform the perception of dressmaking from craft to art by raising aesthetics and identifying himself as an artist."

This striped dress in the middle is by Poiret from 1910. A few years ago the Met did a beautiful show on Poiret. These horizontal stripes overlaid with silk chiffon look quite modern.

This silver lame dress is also by Poiret. The notes say five embroidered pomegranates are scattered over its surface. This dress could easily be worn today - so beautiful and simple.

The outfit on the left by Schiaparelli was perhaps my favorite in the show. The silk blouse is decorated with a dazzling star burst of sequins and beads. It tops a black ribbed silk velvet long skirt. Just put on these two pieces and you are spectacularly dressed. No jewelry necessary. The top is a jewel in itself.

Here's a little nineteenth century multi-media. The painting is by Carolus-Duran and depicts Emily Warren Roebling dressed to meet Queen Victoria in 1896 in a gown by Worth. Emily Roebling is famous in Brooklyn; she was the daughter of John Roebling who designed and built the Brooklyn Bridge. When her father died, Emily took over the historic project. In the foreground is the actual dress that she wore by Worth, an elaborate concoction of velvet and silk and brocade. I was taken by the plethora of artificial flowers embellishing its long train; the woman was dragging a veritable garden around behind her!

This little figure shocked me. This is a black gown worn by Queen Victoria at the christening of her great grandson Prince Edward. At first I thought this mannequin was kneeling; I had no idea Queen Victoria was so short. Certainly you don't get that idea from glamorous movies made about her. I learned later that Victoria was so short and stout that she was buried in a square coffin. True story.

Here is an array of gowns by the American couturier Charles James who famously lived in the Chelsea Hotel. These are sculptures to wear.

After the show there was a reception in the main lobby of the museum. A few years ago the Brooklyn Museum added a new modern entrance which I think is very successful. It reminds me of the Louvre, where you are inside and looking up at the old buildings outside.

We walked down the Eastern Parkway to Grand Army Plaza, TD and I in our blazers. When we passed a family on the sidewalk, the young girl turned to her father and said excitedly, "I think they are twins!"
At Grand Army Plaza, The Brooklyn Public Library was lit up. The curving entrance features gold-embossed ancient figures around the towering doorway, like a great Egyptian temple at dusk – a distinguished center of learning and culture.