These materials are thus made spiritual, and their divinity is further emphasised by being presented on top of elevated plinths that dwarf everything and everyone else in their presence. Versace’s dresses expressively demonstrate their catholic influence through their coordinated display of glistening crucifixes, while D&G’s dresses are designed as enwrapping mosaics of beautiful catholic iconography. To illustrate just some of the pieces found in the exhibition, the pilgrimage begins with a choice of two separate long galleries peppered with Byzantine artworks, each of which houses religiously inspired evening dresses designed by Versace and Dolce & Gabbana respectively.
These come in the form of a vast collection of opulent works by fashion designers who were raised in the Catholic tradition and, even if they have swayed from Catholic doctrine, recognise the enduring influence of Catholicism on their imaginations. And illuminating the holy journey’s path through the many magnificent galleries are the realised dreams of the Catholic imagination. Its epic layout is configured to represent a pilgrimage, which begins in the Byzantine and medieval art galleries, and continues in the Anna Wintour Costume Centre, before it concludes unusually at a distance in The Met Cloisters located in northern Manhattan. What greets your gracious presence in the museum is the fulfilment of this lofty ambition: The Met’s largest ever exhibition. Considering the scale and worldwide impact of the Catholic church, this is an extremely ambitious task for the Met. He believed that this characteristic is what propelled the famous catholic tradition of using artistic imagery to communicate spiritual concepts. The Metropolitan Museum of Art on Fifth Avenue, New York City is already a regal monument to artistic splendour, in both its external architecture and its internal exhibits, but the “Heavenly Bodies: Fashion and the Catholic Imagination” exhibition, which runs until October 8th 2018, raises the Met to divine status.Īs indicated by the exhibition’s subtitle, “Heavenly Bodies” aims to explore the interplay between fashion and “the Catholic imagination”, a term introduced by sociologist and Catholic priest Andrew Greeley to describe the common catholic characteristic of viewing material things as metaphors for the spiritual and the divine.