The Creators Project: This past weekend marked the end of the Metropolitan Museum of Art's Through the Looking Glass exhibition, which examined the influence of Chinese art, film, and fashion on Western haute couture. Dresses from iconic designers Alexander McQueen, Yves St. Laurent, Christian Dior, Anna Wintour, and more line three stories of exhibition space, surrounded by ancient snuff boxes, calligraphy, porcelain, traditional Chinese garbs and textiles, and massive screens playing movies by Wong Kar Wai, Zhang Yimou, Chen Kaige, and Ang Lee.
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I wish I could have gotten the opportunity to see what seems to be such a beautiful exhibit! From the pictures it seems like Stephen Jones's pieces added so much to the already wonderful clothing. From what I understand, Jones added an aspect of modern flare to the timeless pieces and gave the exhibit even greater dimension. I find it fascinating that through headpieces, Jones was able to tell stories and give more information about the history. This article reminded me that art is everywhere and in all different forms because Jones, who had mainly worked in fashion, got the opportunity to do amazing work for a museum. It also amazes me that he was able to make over 100 headpieces in about two months! Looking at the pictures it is easy to see that the headpieces not only did a great job of complementing the historic pieces but also added their own modern flare.
To be honest, I'm much more interested in historical clothing design than modern fashion. I usually don't understand fashion shows, but since historical fashion can explain the lives of the people who wore the clothes I have found it more relatable and real. That being said, I think this collection is a perfect collision of the two worlds. Instead of being jarring and off-putting, combining modern design with historic fashion actually ended up being more aesthetically pleasing than either separate element. Both looked beautiful without detracting from the other. I'm also impressed with the imagery and symbolism represented by the pieces, because they tell a story to the viewers. I think it's interesting that he compared working with a museum to working with a major fashion label, since it makes you think about the comparisons and contrasts between the two groups. I wish I had been able to see this exhibit when it was on display, but just from the pictures it's clear that the outfits were breathtaking. I especially love the navy blue dragon gown and headpiece. I like how Jones designed the headpiece to balance out the silhouette of the dress, since it is smaller in the middle and wider on the top and bottom.
This "behind-the-scenes" glimpse at the sumptuous, exotic clothing and genius of curator Andrew Bolton ignites my interest in the Western perception of Chinese culture and fashion, as well as my dismay for not having the opportunity to see this immensely popular exhibit. What I find truly inspirational is the collaboration between curators and artists, a sort of interaction between old and new, and the culmination of this is seen in Stephen Jones's sculptural headpieces that appear to be an extension of the mannequins themselves. Having a modern artist provide an entirely fresh perspective on Chinese culture using the dresses themselves as inspiration adds a new dimension to this exhibit. The matte gold mannequins and headdresses are the ideal blank canvas for the elaborate dresses with explosive colors and materials, paired next to traditional Chinese pottery, kimonos, and other artifacts also gives more fodder for deep contemplation. At times the correlation between couture and Chinese tradition is seen immediately, while others are more difficult to pick up on as the intangible inspiration such as theme or tradition (in the case of some of Jones's headpieces) are more carefully hidden. "China: Through the Looking Glass" is a stunning example of the Metropolitan Museum's exploration of cutting edge technology, modern artistry, and the relevance of fashion outside the West will certainly provide inspiration for designers and students alike.
I really can't get over how beautiful this exhibit has looked in photos. It immediately brought to mind a video I recently watched about how Dior dresses are crafted, and now I can't look at a couture dress the same way without thinking about all of the steps involved. What I really enjoyed about this article though was not only the beautiful pictures, but also the mention of labels like Chanel and Dior and how Jones personally interacted with each of them. While Jones mentioned personally collaborating with Dior, I really like how they mentioned "working" with Chanel by just having to use Chanel clothing in a styling paired with a custom hat. It's a very creative stretch, but really does make a ton of sense when you think about how challenging it really is to create a custom piece to work alongside such a well known and distinctive brand like Chanel.
I saw this exhibit this summer on a guided tour, and one of the aspects that the curator talked most about were the astonishingly beautiful headpieces by Stephen Jones. They blended a harmony of simplicity and symbolism that I could immediately relate to the dresses they had been paired with. A trio of headpieces that aren't actually pictured in this article were some of my favorites -- there was a section on how china pottery had affected the silhouette and structure of many designer's dresses, and Jones had paired with them these beautiful, sleek, white headdresses that resembled the forms of plates, bowls, and vases. They blended seamlessly into the form of the mannequin and accented the dress in a way that wasn't overshadowing or vulgar. It seems to me that Jones truly understands the purpose of a milliner's craft: to accent and accessorize a look, and fill in the holes of intricacy or simplicity that the ensemble needs to become show-stopping. And, like Brennan, I loved how Jones comments on working 'with Chanel'; it seems to me that he talks about these brands and their articles of clothing as having a life within them that he tempers with to create the pieces that offset them perfectly.
Don’t even get me started on this whole collection. It beyond beautiful, every dress carefully considered and arranged, the mannequins posed so that the clothing almost comes alive. I would have loved to see it in person and will definitely spend some time further researching the collection. On the headdress specially however, amazing. First off I love how the match the mannequins almost perfectly, they look halfway like an afterthought that worked incredible well. They don’t take from the clothing at all; instead they complement each piece individually. It’s amazing to think of how much consideration went into their build. The artist took the time to match each headdress to theme relating to his overall idea of ruling qualities. The study that went in to the art before its execution is clear in each piece. I hope to achieve this level of detail in my work as my career advances.
The variety and beauty of these headdresses is really impressive. I think they are a great decision for the exhibit because they make everything look cohesive while adding an interesting element to each model. I especially love the headdresses in the room with the trees and flowers on the wall since the bamboo and floral headdresses make the models seem like they are part of the room. I think the fact that the headdresses blend in with the “skin” of each model helps them look like a natural part of each overall piece. I’d be really interested to hear more about how Jones designed each headdress. I’m wondering how he determined what forms and how much complexity to put into each headdress to best compliment the dress they were paired with. Since the dresses themselves weren’t originally designed to have the headdress with them, I know an added headdress could be distracting or seem out of place, but Jones has found a way to compliment the dress and make the headdress seem like it belongs.
First off, this exhibit was AMAZING. I have never had a museum experience like it before. It was immersive and the concepts the exhibit was trying to communicate were intellectual and not dumbed down to please a less academic public. I will say that the headdresses held their own amongst so many historic garments and the best designers of the 20th century. Many of them were made of metal, but they felt light and airy. My favorites were featured in the room devoted to garments inspired by blue and white china. The headdresses were constructed out of white ceramics. It took me a moment to realize the mannequin was wearing a tower of teacups, so clever. I think the headdresses also brought some period sensibilities to the garments from the earlier part of the 20th century. I think the design of the headdresses was masterful and an important part of the exhibit as a whole.
I saw this show in person and it was jaw-dropping, head turning, ethereal. Each piece was exhilarating and almost had a vibration of its own. One of my favorites from the show was a dress created from broken Chinese porcelain shards made by designer Li Xiaofeng. It utilized one of Chinese culture's most prized possessions (and a really unforgiving material to work with, for that matter) and transformed it into a piece of clothing. However, I must say that with the China: Through The Looking Glass exhibition, there was a TON of room for stereotypes, error and misconception in dress when it came to the Met Gala this year. There was a ton of cultural appropriation (ie. Emma Roberts wearing chopsticks in her hair, Lady Gaga wearing sushi shoes or a kimono WHICH ARE ACTUALLY BOTH JAPANESE or the reoccurring theme of dragons) and little room for cultural sensitivity. The fact that not many celebrities who went even cared to seek out Chinese designers for their clothing also irks me. While it's awesome that Chinese culture is making its way into the media and more Chinese actors/actresses are breaking into the industry, there is still a lot of racial discrimination against East Asians in the United States film/tv/theatre industry. The whole trope of "innocence" and "exotic" and "china doll" makes me bored and sick to my stomach. I can't roll my eyes back far enough to show you how I feel about this topic.
China through the looking glass was one of the most beautiful exhibits I have seen at the Met. I make an effort to go to every new exhibit they open in the costume institute. This one was by far the best since they reopened the institute a few years ago. While in NYC I went to see this exhibit, not once, but twice, once just wasn’t enough. If I had more time in the city i would have gone more, it was so detailed, amazingly curated and one of the most varied exhibits I’ve seen in years. Every piece of clothing had unique and exquisitely crafted details, it was actually hard to concentrate on them the first time I went, hence why i went back again. Each room you walked into had new treasures and styles of clothing. I can not wait to see what their next exhibit will look like and China: though the looking glass, will sure be a tough act to follow.
I am so happy there was an article abput because that just means I got to glimpse at the beauty that is this exhibit! The Met's costume hall is possibly one of the grandest and most beautiful changing exhibits I've ever seen. The last time I was there was earlier this year to see "She Becomes Death", and exhibit about mourning clothes. The entire thing was so haunting and they highlighted the dresses so well. Now I would love to see this exhibit. The way the west views the East is a near and dear topic to my heart, and one I've researched and talked extensively about and I'd like to see how they portrayed that topic. Especially I'd like to see their portrayal of Asian women and how the west views us. If I had the chance to fly to New York, you bet I would.
The photos showcased in this article were positively breathtaking. The attention to detail, richness of color and fabric, and opulence are staggering. That said, I wonder if the name of the exhibit is not a little counterproductive. From what I understand, this exhibit - and others like it - are meant to highlight and inspire awareness of other cultures. However, by framing it as "Through the Looking Glass", there is an inherent removal and sense of separation from the culture being showcased. It presents the Asian culture as otherworldly, and as a fantastical place that is interesting to visit, without ever contemplating it as a culture and world as real as our own. It creates a zoo-like divide, and creates a spectacle where real education could occur. I think our society's awareness of cultural appropriation is growing, but exhibits like this that just slightly miss the mark show how far we still have to go.
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