Peachy at The Met: China: Through the Looking Glass Exhibition #ChinaLookingGlass #AsianArt100 Extended through September 7, 2015 at Metropolitan Museum Our Coverage Sponsored by Paul Mayer Attitudes
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Paul Mayer is a Mover and Shaker:
Stephen Jones did the hats in this section -we noted his name on the glass cases and we were once introduced to him in person by Ellen. Bravo Stephen!
"Stephen Jones has been my idol for decades. No one else was as busy doing incredible millinery when I started in the 1980's, but there was Stephen. His genius is all-encompassing, lively, en pointe and glamorous all wrapped up one luscious piece of veiling."
It's not who you know, it's Whom You Know, and we certainly do know the amazing talent Ellen Christine, who in turn knows Stephen Jones who deserves accolades for these hats...An extraordinary fashion exhibition is going on right now at The Met in several rooms in the Asian section of the second floor and also the Anna Wintour Costume Center located on the basement level towards the Temple of Dendur.
It is well-worth viewing and has been extended until September 7, so all that are interested in Asian Art or Fashion will immediately have an appreciation for the efforts in the organization of this terrific compilation.
Without a doubt, one of our favorite aspects of this was the British blue and white china located in the northernmost section of the exhibit.
Particularly sensational were the dresses that mimicked this pattern with glorious style, and the head pieces are plates! We also we commend Li Xiaofeng who is the artist behind:
"The Weight of the Millenium"
2015
Go see that!
Made out of blue and white porcelain chards...JUST BRILLIANT!
A lot of the exhibit begins with mannequins behind glass in a straight line as you enter on the second floor, and this pattern continues through many rooms as you walk straight. Alexander McQueen's creation in this collection stands out the most to us, so don't miss it! (and we hope you all saw the wildly popular McQueen exhibit a few years ago here at The Met.)
In the northwest section of the second floor, we loved the beauty room with historical perfume bottles which are worth making a point to see. They're all lined up and dated back to about 1913. We wish you could smell them but they are quite old and behind glass!
Presented in the Museum’s Chinese Galleries and Anna Wintour Costume Center, the exhibition explores the impact of Chinese aesthetics on Western fashion and how China has fueled the fashionable imagination for centuries. In this collaboration between The Costume Institute and the Department of Asian Art, high fashion is juxtaposed with Chinese costumes, paintings, porcelains, and other art, including films, to reveal enchanting reflections of Chinese imagery.
The exhibition is made possible by Yahoo.
Additional support is provided by Condé Nast and several Chinese donors.
“I am excited about this partnership between these two forward-thinking departments which reveals provocative new insights into the West’s fascination with China,” said Thomas P. Campbell, Director and CEO of the Met. “The artistic direction of acclaimed filmmaker Wong Kar Wai takes visitors on a cinematic journey through our galleries, where high fashion is shown alongside masterworks of Chinese art.”
In celebration of the exhibition opening, the Museum's Costume Institute Benefit takes place on Monday, May 4, 2015. Silas Chou serves as Honorary Chair. The evening’s co-chairs are Jennifer Lawrence, Gong Li, Marissa Mayer, Wendi Murdoch, and Anna Wintour. This event is The Costume Institute’s main source of annual funding for exhibitions, publications, acquisitions, and capital improvements.
“From the earliest period of European contact with China in the 16th century, the West has been enchanted with enigmatic objects and imagery from the East, providing inspiration for fashion designers from Paul Poiret to Yves Saint Laurent, whose fashions are infused at every turn with romance, nostalgia, and make-believe,” said Andrew Bolton, Curator in The Costume Institute. “Through the looking glass of fashion, designers conjoin disparate stylistic references into a fantastic pastiche of Chinese aesthetic and cultural traditions.”
Exhibition Overview
This is The Costume Institute’s first collaboration with another curatorial department sinceAngloMania: Tradition and Transgression in British Fashion in 2006, a partnership with the Department of European Sculpture and Decorative Arts. China: Through the Looking Glass features more than 140 examples of haute couture and avant-garde ready-to-wear alongside masterpieces of Chinese art. Filmic representations of China are incorporated throughout to reveal how our visions of China are shaped by narratives that draw upon popular culture, and to recognize the importance of cinema as a medium through which we understand the richness of Chinese history.
The Anna Wintour Costume Center’s Lizzie and Jonathan Tisch Gallery presents a series of “mirrored reflections” focusing on Imperial China; the Republic of China, especially Shanghai in the 1920s, 1930s and 1940s; and the People’s Republic of China. These reflections, as well as others in the exhibition, are illustrated with scenes from films by such groundbreaking Chinese directors as Zhang Yimou, Chen Kaige, Ang Lee, and Wong Kar Wai. Distinct vignettes are devoted to “women of style,” including Hu Die (known as Butterfly Wu), Oei Huilan (the former Madame Wellington Koo), and Soong Mei-Ling (Madame Chiang Kai-shek).
Directly above the Anna Wintour Costume Center, the Chinese Galleries on the second floor showcase fashion from the 1700s to the present, juxtaposed with decorative arts from Imperial China, including jade, bronze, lacquer, and blue-and-white porcelain, mostly drawn from the Met’s collection. The Astor Court features a thematic vignette dedicated to Chinese opera, focusing on John Galliano’s spring 2003 Christian Dior Haute Couture Collection.
Designers in the exhibition include Cristobal Balenciaga, Travis Banton, Bulgari, Sarah Burton for Alexander McQueen, Callot Soeurs, Cartier, Roberto Cavalli, Coco Chanel, Christian Dior, Tom Ford for Yves Saint Laurent, John Galliano for Christian Dior, Jean Paul Gaultier, Valentino Garavani, Maria Grazia Chiuri and Pierpaolo Picciolo for Valentino, Craig Green, Guo Pei, Marc Jacobs for Louis Vuitton, Karl Lagerfeld for Chanel, Jeanne Lanvin, Ralph Lauren, Christian Louboutin, Martin Margiela, Alexander McQueen, Alexander McQueen for Givenchy, Edward Molyneux, Kate and Laura Mulleavy, Dries van Noten, Jean Patou, Paul Poiret, Yves Saint Laurent, Paul Smith, Van Cleef & Arpels, Vivienne Tam, Giambattista Valli, Vivienne Westwood, Jason Wu, and Laurence Xu.
Exhibition Credits
The exhibition, a collaboration between The Costume Institute and the Department of Asian Art, coincides with the Museum’s year-long centennial celebration of the Asian Art Department, which was created as a separate curatorial department in 1915. China: Through the Looking Glass is organized by Andrew Bolton, Curator, with the support of Harold Koda, Curator in Charge, both of The Costume Institute. Additional support is provided by Maxwell K. Hearn, Douglas Dillon Chairman; Denise Patry Leidy, Curator; and Zhixin Jason Sun, Curator, all of the Department of Asian Art.
Internationally renowned filmmaker Wong Kar Wai is the exhibition’s artistic director working with his longtime collaborator William Chang, who supervised styling. Nathan Crowley serves as production designer for the exhibition–he has worked on three previous Costume Institute exhibitions including Superheroes: Fashion and Fantasy (2008),American Woman: Fashioning a National Identity (2010), and Schiaparelli and Prada: Impossible Conversations (2012). All headdresses are specially created for the exhibition by Stephen Jones. Exhibition lighting design is by Philippe Le Sourd.
The design for the 2015 Costume Institute Gala Benefit is created by 59 Productions and Raul Avila, who has produced the Benefit décor since 2007.
“William Chang and I are pleased to work in collaboration with The Costume Institute and the Asian Art Department of The Metropolitan Museum of Art on this exciting cross-cultural show,” said Wong. “Historically, there have been many cases of being ‘lost in translation’–with good and revealing results. As Chinese filmmakers we hope to create a show that is anEmpire of Signs–filled with meaning for both East and West to discover and decipher.”
Related Content and Programs
A book, China: Through the Looking Glass, by Andrew Bolton, has texts by Adam Geczy, Maxwell K. Hearn, Homay King, Harold Koda, Mei Mei Rado, and Wong Kar Wai, and an interview with John Galliano. This publication accompanies the exhibition, and is illustrated with new photography by Platon. Published by The Metropolitan Museum of Art and distributed by Yale University Press, the $45 gold-stamped flexibound edition has 256 pages, 40 printed vellum leaves, and 231 color illustrations. A deluxe limited boxed edition of 500 numbered copies has a traditional Chinese string binding and a framable print of a Platon photograph. It is $250 and available only at the Museum.
Met Museum Presents programs include an opening concert in conjunction with China: Through the Looking Glass by pianist Lang Lang in the Great Hall on May 14. Lang Lang at the Met is inspired by the exhibition China: Through the Looking Glass and made possible by Adrian Cheng. Additional funding is provided by Sarah Solomon Billinghurst.
These events and the exhibition are featured on the Museum’s website,www.metmuseum.org/ChinaLookingGlass, as well as on Facebook, Instagram, andTwitter using #ChinaLookingGlass, #MetGala, and #AsianArt100.
