![]() Catholicism, of course, has nearly 2,000 years of symbols to rely on, and so its influence looms large on fashion.Īside from the clear homages to Catholic style mentioned above, there are also more surprising ones in the exhibition, like Rick Owens’s infamous genital-baring tunics for men from 2015. So have religious silhouettes, as evidenced by Pierpaolo Piccioli’s recent habit-like dresses for Valentino and Cristóbal Balenciaga’s monastic white wedding gown from 1967. Catholic iconography has long inspired designers, from Coco Chanel to Gianni Versace to Domenico Dolce and Stefano Gabbana. On the surface, “Heavenly Bodies” breaks down the visual traditions of Catholicism to connect the holy with the haute. ![]() But not only is Bolton’s latest show impressive in terms of scale and scope, it’s also remarkable for how it tackles what he calls the “underlying nervousness” in discussing the relationship between religion, art, and clothing. Through a partnership with the Vatican, the show marks the first time certain papal vestments have ever been on display outside of Vatican City they will be presented in a separate space from the contemporary fashions. ![]() Curated by Andrew Bolton, the show will be the museum’s largest in terms of square footage, winding from the Anna Wintour Costume Center through the museum’s Medieval galleries and into the circular Robert Lehman Wing, with another group of installations annexed in the Cloisters. The new Metropolitan Museum of Art’s Costume Institute exhibition, “Heavenly Bodies: Fashion and the Catholic Imagination,” opens on Thursday, May 10. Polychrome silk brocade, white silk tulle, embroidered gold silk and metal thread, polychrome crystals, and silver beads. Wedding Ensemble, Autumn/Winter 2007–8 Haute Couture.
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