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#MetHeavenlyBodies: You GAGGED Over the Gala, Now Go Inside “Fashion & the Catholic Imagination”…


Yes, we all GAGGED over the red carpet looks (not all were winners) but one of the best Met Gala red carpets in a while, if you ask me. But you know, all of the hoopla and Instagram postings were for an exhibition –Heavenly Bodies: Fashion and the Catholic Imagination at both The Met Fifth Avenue and The Met Cloisters. It is an ongoing dialogue between fashion and medieval art examining the ongoing love for all things glittery and gold, namely Catholicism.

Papal robes and accessories from the Sistine Chapel sacristy, many which have never been seen outside The Vatican, are on now view at the Anna Wintour Costume Center along with fashions from the early twentieth century to now being shown in the Byzantine and medieval galleries.

Newsweek declared in 2005, “The Pope Wears Prada”, not the devil, as fashion now dictates (little Anna nod there.) In an article describing Benedict XVI‘s sartorial inclinations they said,

He may never make the best-dressed lists but Pope Benedict XVI is nothing short of a religious-fashion icon, riding in the Pope mobile with red Prada loafers under his cassock and Gucci shades.

But within two years the pontiff DID make a best-dressed list on account of those red shoes. Esquire named him “Accessorizer of the Year” for his red shoes, made by Adriano Stefanelli, a cobbler from Novara, Italy. The color signifies the blood of Christ’s Passion and of Catholic martyrs as well as the devil and sin.

A martyr for sin AND fashion? Two things worth adoration…

Can I get an Amen?

Heavenly Bodies: Fashion and the Catholic Imagination runs through October 8, 2018.

Still thinking about how amazing #heavenlybodies was at the #metmuseum

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@viktorandrolf #heavenlybodies

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The Met’s Costume Institute show on Catholic influence on fashion, Heavenly Bodies, is a stunner and predictably packing in the crowds. It is also very bold in its emphasis on experience design. What you cannot feel on these pictures is the music that has been piped into the galleries. And that’s not to mention the faint aroma of incense I think I detected when visiting yesterday—or was that just my mind playing tricks on me? Views will differ in curator-land about activating all the senses in museum galleries. But there can be no doubt that visitors love it. It’s what they have come to expect from public spaces outside the museum. And when it comes to sensory overload, the Catholic church certainly led the way. So in this case, deploying such experiential tools is perfectly on point, in my view. It helps that the vestments on display are utterly beautiful. And by staging them on tall pedestals and even perched high above the galleries, the exhibition compels visitors to experience the museum in a whole new way. Amen. @metmuseum @metcostumeinstitute #themet #metmuseum #heavenlybodies #exhibition #fashion #religion #catholic #imagination #clothes

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Left: Processional cross, ca. 1000–1050. Byzantine. Silver, silver-gilt, overall: 23 7/16 x 16 15/16 x 7/8 in. (59.5 x 43 x 2.2 cm). The Metropolitan Museum of Art, New York, Rogers Fund, 1993 (1993.163). Right: Gianni Versace. Evening dress, autumn/winter 1997–98. The Metropolitan Museum of Art, Gift of Donatella Versace, 1999 (1999.137.1). Digital composite scan by Katerina Jebb

Left: Fragment of a floor mosaic with a personification of Ktisis (detail), 500–550, with modern restoration. Byzantine. Marble and glass, 59 1/2 x 78 5/8 x 1 in. (151.1 x 199.7 x 2.5 cm). The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund and Fletcher Fund, 1998; Purchase, Lila Acheson Wallace Gift, Dodge Fund, and Rogers Fund, 1999 (1998.69; 1999.99). Right: Domenico Dolce and Stefano Gabbana for Dolce & Gabbana. Ensemble, autumn/winter 2013–14. Courtesy of Dolce & Gabbana. Digital composite scan by Katerina Jebb

Left: Reliquary cross, 14th century. Italian. Enamel, silver-gilt, coral, glass, rock-crystal, gold leaf, overall (without tang): 16 15/16 x 14 1/2 x 1 1/8 in. (43 x 36.9 x 2.9 cm). The Metropolitan Museum of Art, Gift of J. Pierpoint Morgan, 1917 (17.190.497). Right: Karl Lagerfeld for House of Chanel. Gilet, autumn/winter 2007–8 Métiers d’Art. Courtesy of CHANEL. Digital composite scan by Katerina Jebb

(via The Met)

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