Home Runs at the Mets

Manus X Machina

Fashion in an Age of Technology

Fabulous dresses/art objects, whether hand or machine made or a combination of both, blur the distinction between haute couture and prêt-à-porter in the Met’s current exhibit Manus X Machina: Fashion in an Age of Technology. Apple was primed for initiation into the fashion community with its timely co-branded Hermès watch, sponsoring the opening night gala with Vogue Magazine.

In the past Old World guild crafts such as embroidering and lace making were realized by skilled hands through a simple sketch that was open to interpretation. Today, that artistic process has more often than not been replaced by advanced software. What will happen to this distinctly French legacy? Haute couture will persist because of its exclusivity and creativity but may no longer be defined by techniques executed by hand.

As the case study for the exhibit’s concept, this bridal ensemble takes center stage in a “ghost chapel” built to showcase the dress on a plinth that accommodates the 20 foot long train. Rem Koolhaas’ architectural firm OMA, led by Shohei Shigematsu, transformed an underused hallway with semi translucent fabric that mimics the Met’s classical architecture.

The traditional wedding march that closes many fashion shows is often a display of pure fantasy at the couture shows. Karl Lagerfeld for Chanel employed five highly specialized ateliers logging 400 man hours for this example. The dress was completely hand molded and hand finished with buttons and embroidered jewels but the baroque pattern on the train is computer generated, the rhinestones heat pressed onto humble neoprene (that would be one sweaty bride) and as intended, 7 months pregnant.

Here, a scholarly juxtaposition of hand versus mechanical technique. On the left are two dresses by Madame Grès, who draped fabric and after studying, started cutting away. “…The cut is the critical and most important phase of the creation of a dress. For each collection I prepare, I completely wear out three pairs of scissors.”

On the right is a sculptural form from Iris van Herpen, a trained dancer interested in the intersection of materials, technology and movement of the human form. She frequently collaborates with architects who share her fascination with material and structure. She starts a piece traditionally either by drawing or hand molding in clay and finds that 3d printing has a parallel in nature in the way seashells are formed. She is the future of fashion, for now.

 

 

Cornelia Parker, Psycho Barn

Also at the 5th Avenue location, the British sculptor Cornelia Parker has installed the 30 foot high Psycho Barn, the 4th of site specific commissions for the roof garden. Inspired by the Bates family manse in Alfred Hitchcock’s Psycho, it’s a sly commentary on mad-tinged creativity (Norman, after all, was an accomplished taxidermist) and New York City’s obsession with real estate. The use of siding from a 100 year old barn adds authenticity, but ultimately it’s as much an illusion as the ever changing Manhattan skyline.

After looking at art it’s perfect to relax with a cocktail outdoors and switch to full-on people watching and of course take a selfie. On this day, a sudden shower sent the crowd downstairs to take in more art and wait out the rain.

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