Heaven Bodies Retrospective

My fascination with religious iconography derives from the notion that there was once a time where the majority was illiterate, inciting a need for symbols and color coding to propagate church literature. That story was further built upon as humanity developed, and now, we see these once instrumental designs used to create depth in fashion, movies, music, etc.

The Met this summer hosted the exhibition "Heavenly Bodies" ,which I must confess has been my favorite Met Gala theme by light years. Taking the wardrobe that has been reserved for the elite of the church and having it perverted by the royalty of Hollywood in their self importance is a historical parallel that probably makes every art history nerd giggle with glee.  Having grown up in the Catholic church, I'm very aware articles of clothing are indicative of status within the church.  Different outfits mean you rank a certain way, so having Rihanna dress as the highest church rank possible, that takes a lifetime to achieve, and a vote to secure, cracks me up especially since she is a woman doing so.  And above all else, the outfit was stunning, as was it's counter part in the exhibition by John Galliano for Christian Dior.

Walking into the exhibition you are swallowed by the scintillating gold mosaic, jewelry, and vestments lit and alive under the museum hot lights. On one side a line of Byzantine mosaic inspired Dolce & Gabbana dresses, the other side a more modern aesthetic of 90's Gianni Versace garments.

The dresses were displayed above the viewer, forcing you too look up with the same devotion you would show an alter or stain glass in a church.  The importance dictated by position, setting the mood of the show. The Met's permanent collection surrounded this linear path that pulled you along deeper into the museum.

The common thread of the first two rooms was gold. Encased were ancient relics of a time when Christianity was new and Justinian & Theodora were attempting to make Rome great again. Metal-smiths painstakingly planishing containers of gold, hoping not to tear the thinning metal, or else the project would be lost.

Tiny beads of granulation individually placed by a trembling hand with no modern assistance or convention, just mastery.

Stones primitively set either by carefully cut inlay or by crushing the stone into place.

Bezel set cabochon stones, the idea of faceting a distant invention. Instead, the mineral is half drilled and set on a peg to secure the stone within its gilded casing. The peg not even hidden as it is today with pearls. It shows through the middle of the translucent stones, taking the viewer away from the color of the gem and back to the reality that this was the technique of the time.

Bloodstone made an appearance as expected considering it's mythos of being the rock at the base of the Crucifixion Cross, speckled with Christ's blood.

Imitating the floor plan of a basilica, you are carried down these first rooms, like aisles, to where the exhibition really opens up dumping you into two larger more open rooms.  Before the grand reveal, you are corralled and crowded in a tiny area where visitors attempted to see the Reliquary Cross and the duo of leather jackets paying homage by Versace and Christian Lacroix. Faces pressed to glass.

In the same claustrophobic area, Chanel's cross woven vest loomed over early Christian artifacts, once used as tools for prayer, now fashion ornamentation. This point driven further home by the garish display of Chanel cross bangles, massively not humble, contrasting it's calmer predecessors. The juxtaposition of 2d geometric byzantine art to the garish bejeweled Chanel.

Also produced by Chanel, we have the  18kt rock crystal crosses sharing a case with an authentic Byzantine cross necklace. The crystal was believe to be representative of the resurrected Christ and a metaphor for the "river of life."

With a sigh of personal space and drastic temperature change, you enter the cool open gallery representing the width breadth of a domed basilica.

Inside you were met with throngs of people, foreign and domestic, to see famous fashion houses re-tell the story of religious vestment.  A cacophony of mixed tongues whispered in awe of the cornucopia of art and design sprawled throughout the room. An outfit design conversing with the painting that gave it muse. Watching the merriment of old christian foundation intertwine and give life to the modern reinterpretation.

I spent the better part of my afternoon there and it still didn't feel like enough.  It was absolutely remarkable how the seamlessly incorporated the permanent collection meshed with the borrowed couture bringing together history nerds and fashion enthusiasts to celebrate one theme.  The Met set the bar very high, especially considering it was the most visited exhibit in it's history, clocking in at just over 1.5 million visitors.