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Heavenly Bodies: Fashion and the Catholic Imagination

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Heavenly Bodies: Fashion and the Catholic Imagination Heavenly Bodies: Fashion and the Catholic Imagination INTRODUCTION Catholics live in an enchanted world, a world of statues and holy water, stained glass and votive candles, saints and religious medals, rosary beads and holy pictures. But these Catholic paraphernalia are mere hints of a deeper and more pervasive religious sensibility that inclines Catholics to see the Holy lurking in creation. —Andrew Greeley, The Catholic Imagination (2000) “Heavenly Bodies” features the work of designers who for the most part were raised in the Roman Catholic tradition. While their current relationships to Catholicism vary, most acknowledge its enduring influence on their imaginations. On the surface, this influence is expressed through explicit Catholic imagery and symbolism as well as references to specific garments worn by the clergy and religious orders. On a deeper level, it manifests as a reliance on storytelling, and specifically on metaphor—which the sociologist Andrew Greeley describes as the essential characteristic of a particular sensibility he defines as “the Catholic imagination.” This exhibition explores how the Catholic imagination has shaped the creativity of designers and how it is conveyed through their narrative impulses. These impulses are reflected in the organization of the exhibition, which unfolds as a series of short stories told through conversations between religious artworks in The Met collection and fashions of the twentieth and twenty-first centuries. The Catholic imagination also operates on an experiential level, and, accordingly, the show’s configuration evokes the concept and practice of a pilgrimage. The journey begins at The Met Fifth Avenue in the Byzantine and medieval art galleries and continues in the Anna Wintour Costume Center. It concludes at The Met Cloisters in northern Manhattan, where elements from French monasteries have been rebuilt as four cloisters. While the fashions might seem far removed from the sanctity of the Catholic Church, these contexts illuminate the myriad ways in which they embody the imaginative traditions of Catholicism. Taken together, the fashions and artworks in “Heavenly Bodies” sing in unison with distinctly enchanted and enchanting voices. #MetHeavenlyBodies The exhibition is made possible by Christine and Stephen A. Schwarzman and VERSACE Additional support is provided by CONDÉ NAST Exhibition design by Diller Scofidio + Renfro Photography is prohibited in the Anna Wintour Costume Center. 1 THE MET FIFTH AVENUE MARY AND MICHAEL JAHARIS GALLERIES OF BYZANTINE ART NORTH GALLERY (300) Mosaics I The center of public religious life in the Byzantine world, churches made the heavenly paradise visible to the devout. Monumental figures of Christ, the Virgin Mary, and saints worked in richly colored mosaic and fresco covered many of their interior walls. These elaborate decorations, particularly the mosaics with their glittering tesserae, have provided an infinite source of inspiration for designers. On display in this gallery are five dresses from Dolce & Gabbana’s autumn/winter 2013–14 collection, which was inspired by the dazzling mosaics of the Monreale Cathedral in Sicily. Iconic images from the cathedral’s tilework, most frequently those of saints, have been skillfully printed and meticulously embroidered onto the garments. Those images are combined with others from mosaics in additional religious sites in Sicily, such as the Cathedral of Cefalù, the Martorana or Co-Cathedral of Saint Mary of the Admiral, and the Palatine Chapel of the Palace of the Normans. The hand-stitched paillettes that embellish the dresses evoke the medium of mosaic, in which each tile is placed separately to form the overall design, as can be seen in the two floor mosaics in this gallery. Dolce & Gabbana (Italian, founded 1985) Domenico Dolce (Italian, born 1958) Stefano Gabbana (Italian, born 1962) EVENING DRESS, autumn/winter 2013–14 Polychrome printed silk jacquard, embroidered polychrome crystals, seed beads, gold paillettes, and gold metal thread Courtesy Dolce & Gabbana Dolce & Gabbana (Italian, founded 1985) Domenico Dolce (Italian, born 1958) Stefano Gabbana (Italian, born 1962) EVENING DRESS, autumn/winter 2013–14 Beige silk organza, embroidered polychrome paillettes and seed beads, clear crystals, and mother-of-pearl–encrusted stones Courtesy Dolce & Gabbana 2 Dolce & Gabbana (Italian, founded 1985) Domenico Dolce (Italian, born 1958) Stefano Gabbana (Italian, born 1962) EVENING DRESS, autumn/winter 2013–14 Beige silk organza, embroidered polychrome paillettes, crystals and seed beads, silk and gold metal thread Courtesy Dolce & Gabbana Dolce & Gabbana (Italian, founded 1985) Domenico Dolce (Italian, born 1958) Stefano Gabbana (Italian, born 1962) EVENING DRESS, autumn/winter 2013–14 Beige silk organza, embroidered polychrome crystals, seed beads, silk and gold metal thread, gold and silver paillettes, and mother-of-pearl– encrusted stones Courtesy Dolce & Gabbana Dolce & Gabbana (Italian, founded 1985) Domenico Dolce (Italian, born 1958) Stefano Gabbana (Italian, born 1962) EVENING DRESS, autumn/winter 2013–14 Polychrome printed silk jacquard, embroidered polychrome crystals, gold and bronze paillettes, and gold metal thread Courtesy Dolce & Gabbana SOUTH GALLERY (301) Mosaics II The center of public religious life in the Byzantine world, churches made the heavenly paradise visible to the devout. Monumental figures of Christ, the Virgin Mary, and saints worked in richly colored mosaic and fresco covered many of their interior walls. These elaborate decorations, particularly the mosaics with their glittering tesserae—such as the example on view here depicting the interior of an early church—have provided an infinite source of inspiration for designers. Featured here are five dresses from Gianni Versace’s autumn/winter 1997–98 collection, which, like the pieces from his autumn/winter 1991–92 collection displayed in the crypt below the Great Hall stairs, were inspired by the striking mosaics of Ravenna’s Byzantine monuments, including: the Arian Baptistry, the Basilica of San Vitale, the Chapel of Sant’Andrea, the Basilica of Sant’Apollinare Nuovo, the Mausoleum of Galla Placidia, and the Basilica of Sant’Apollinare in Classe. This influence is expressed in the fabric of the dresses, a nonwoven, metal-mesh material known as Oroton, which gives the illusion of intricate tesserae. The defining decorative element of the garments is an elaborate cross, the form of which was 3 directly inspired by the gilded silver processional cross that introduces this gallery, which Versace discovered while visiting The Met exhibition “The Glory of Byzantium” (1997). Gianni Versace (Italian, founded 1978) Gianni Versace (Italian, 1946–1997) EVENING DRESS, autumn/winter 1997–98 haute couture Gold metal mesh, gold silk charmeuse, appliquéd amber crystals Gift of Donatella Versace, 1999 (1999.137.1) Hair by Shay Ashual Gianni Versace (Italian, founded 1978) Gianni Versace (Italian, 1946–1997) EVENING DRESS, autumn/winter 1997–98 haute couture Gold metal mesh, appliquéd amber crystals Courtesy Gianni Versace Archives Hair by Shay Ashual Gianni Versace (Italian, founded 1978) Gianni Versace (Italian, 1946–1997) EVENING DRESS, autumn/winter 1997–98 haute couture Gold metal mesh, appliquéd amber crystals Courtesy Gianni Versace Archives Hair by Shay Ashual Gianni Versace (Italian, founded 1978) Gianni Versace (Italian, 1946–1997) EVENING DRESS, autumn/winter 1997–98 haute couture Gold metal mesh, appliquéd amber crystals Courtesy Gianni Versace Archives Hair by Shay Ashual Gianni Versace (Italian, founded 1978) Gianni Versace (Italian, 1946–1997) WEDDING ENSEMBLE, autumn/winter 1997– 98 haute couture Silver metal mesh, white silk tulle, appliquéd clear crystals Courtesy Gianni Versace Archives Hair by Shay Ashual 4 CRYPT (302) Gianni Versace (Italian, founded 1978) Gianni Versace (Italian, 1946–1997) EVENING TOPS, autumn/winter 1991–92 Black silk georgette and charmeuse, embroidered polychrome crystals, and gold silk and metal thread Courtesy Gianni Versace Archives Gianni Versace (Italian, founded 1978) Gianni Versace (Italian, 1946–1997) JACKET, autumn/winter 1991–92 Green silk tulle, embroidered polychrome silk thread, gold silk and metal thread, polychrome faceted crystals, green seed beads, and gold metal hardware Courtesy Gianni Versace Archives The mosaics of Sant’Apollinare Nuovo as well as those from other religious buildings in and around Ravenna, including the Arian Baptistry, the Basilica of San Vitale, the Chapel of Sant’Andrea, the Mausoleum of Galla Placidia, and the Basilica of Sant’Apollinare in Classe inspired Gianni Versace’s autumn/winter 1991–92 collection. The seminal collection includes jackets and halter tops with Byzantine icons embroidered entirely in crystals, creating an immediate visual link to the luminous tesserae of the mosaics. Here, they are paired with Byzantine icons from The Met collection. APSE (303) Jean Paul Gaultier (French, born 1952) “EX-VOTO” EVENING ENSEMBLE, spring/summer 2007 haute couture Gray silk mousseline, white silk-metal lace, crocheted gold and silver silk and iridescent crystals, appliquéd holograms and aluminum ex-votos Courtesy Gaultier, Paris Hair by Shay Ashual In this ensemble, titled “Ex-Voto,” Jean Paul Gaultier was inspired by Catholic examples of the practice of placing a votive offering—or ex-voto (from the Latin ex voto suscepto, “from the vow made”)—in a church or shrine, in thanksgiving for a miracle received (see also the cape by Elsa Schiaparelli
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