12/15/2023 0 Comments Autumn de wilde met gala 2022“The space is still very much a museum,” says Bravo of the challenge of designing within a hallowed space like the Met. “I’ve been calling the mannequins my ladies, my muses,” says Bravo, who has imagined the walnut-and-chestnut-paneled Gothic Revival Library as an “atelier of the mind” for designer and writer Elizabeth Hawes, described by Bolton as “the Dorothy Parker of her day.” Armature wiring under the clothes creates the illusion of movement. “It’s rare to have one mannequin kicking another in the guts,” Ford says with a laugh, “so we had to have them made from scratch.” The 18 different warriors, some of them suspended from the ceiling, will be joined by seven spectator mannequins ringing the room tossing programs and sipping pink Champagne. Watching Marvel martial arts movies like Shang-Chi with his nine-year-old son, Ford says, inspired the idea, and the figures themselves were fabricated in Tokyo by a martial arts mannequin producer. “Since it was called ‘Battle,’ I decided it should be a literal battle,” says Ford on the phone from his office in Los Angeles. In the museum’s oval gallery, which houses John Vanderlyn’s early-19th-century painting Panoramic View of the Palace and Gardens of Versailles, Ford reinterprets the historic 1973 “Battle of Versailles” fashion show, which pitted five French designers against American designers such as Halston and Stephen Burrows-an event that became a turning point in the perception of American fashion. “Tom’s room, I think, will be the most challenging, because the mannequins are going to be flying in the air like Mulan-and it’s like, Oh-that’s a museum object.” “The status of clothing in the museum is very different from the status of clothing in real life,” says Bolton, his eyebrows shooting up, seated in his subterranean office at the museum, his silver hair matching his gray wool Thom Browne cardigan. “You have to position the mannequins and pose them so that there’s the suggestion of imminent movement.” “That makes it even more challenging,” notes Scorsese, who explained via email how proper blocking then becomes essential to his work here. “Fannie emits a pose of power-and an expectation to be paid for her time,” explains King.įor many of the directors, the biggest challenge was working with actors that don’t move. director reimagines a fitting with the designer, sketches in one hand-the other outstretched-and her seamstress pinning the hem of a client’s lace- and taffeta-trimmed day dress. “I knew I had to take her story on,” says King, who calls Criss Payne “a powerhouse of a woman who broke barriers in the dressmaking industry.” In creating the mise-en-scène, the One Night In Miami. Studded throughout the exhibition, like fashion bread crumbs for the Hansel and Gretel museumgoer, are case studies offering what Bolton calls “deep-dive analyses” of various garments that hold particular resonance, starting with a grouping of Brooks Brothers coats-from the one Abraham Lincoln was wearing when he was assassinated to the livery worn by an enslaved man-shedding light on “the hidden story of Brooks Brothers, which has clothed 40 presidents…but also had a thriving trade making uniforms for enslaved men and women.” It’s more dynamic.”īeginning with the largely anonymous dressmakers of the early 19th century, the exhibition tours the American rooms, graduating into the emergence of such name dressmakers as Oscar de la Renta and Bill Blass. “You end up-and this is what I wanted-with something that is, in a way, discordant. “You’re dealing with nine different directors who have very different aesthetics and very different ways of working,” Bolton says. And what better way to narrate these stories than through that most American of art forms: cinema.
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