China: Through the Looking Glass at The Met, Part 4 -- Chinoiserie

Much of China: Through the Looking Glass exhibition (on view until September 7) is dispersed throughout The Met's second floor Chinese Art galleries. It became a bit of a treasure hunt, with the displays of garments tucked away amidst the antique objects. I enjoyed this part of the presentation -- the pairing of garments with ceramics, furniture, ancient statuary, and other items.

Yves Saint Laurent fall/winter 1977/78 collection and Opium perfume are featured in Gallery 210.

Sketches:

Yves Saint Laurent, fall/winter 1977/78 [not in catalogue]

Yves Saint Laurent, fall/winter 1977/78

Yves Saint Laurent, fall/winter 1977/78

Feng Langgong, Summer Palace, Folding screen of lacquered wood, gilded and painted 9.75 x 20 ft, 1690

Left to Right:
Valentino, fall/winter, 1990/91, Silk satin and organza embroidered with sequins, beads, and crystals
Karl Lagerfeld for Chanel, fall/winter 1996/97, Silk organza embroidered with sequins and beads

This McQueen gown, in Gallery 207, was paired with a sculpture from the Tang Dynasty (618-907):

Alexander McQueen for Givenchy, fall/winter 1997/98 [not in catalogue]

Gallery 208 was devoted to this gown by Guo Pei, with statues of Buddha rimming the space

Guo Pei, spring/summer 2007 [not in catalogue]

Tomorrow, I'll feature the Porcelain section of the exhibition, both with my sketches and photos.

Note: I relied on the exhibition catalogue China: Through the Looking Glass and The Met's website for information, especially the details about the garments. Selected images from the catalogue can be viewed on The Met's Pinterest board.

China: Through the Looking Glass at The Met, Part 3 -- Manchu Robe Inspired

Left: Chanel, ca. 1930, Reconfigured Chinese robe of embroidered silk gauze 

The next section of the Anna Wintour Costume Center housed a vast display of antique Chinese imperial robes paired with modern couture. Some, like the above Chanel jacket, showed obvious direct inspiration for motifs on the fabrics. Mirrors were strategically placed, to enable viewing all sides of the couture garments.
In the center of the room, clips from Betrolucci's The Last Emperor were projected on parallel walls, paired with a looping cut from the soundtrack, "Open the Door" by Ryuichi Sakamoto.

Chinese Mantle, ca. 1917-20, Embroidered silk satin with applique of rooster feathers and silk flowers

Sketches:

Chinese Mantle, ca. 1917-20, Embroidered silk satin with applique of rooster feathers and silk flowers

Tom Ford for Yves Saint Laurent, fall/winter 2004/5, Printed silk chiffon with silk chiffon applique, silk velvet ribbon, mink

Tom Ford for Yves Saint Laurent, fall/winter 2004/5, Silk satin embroidered with sequins, fox fur

Tom Ford for Yves Saint Laurent, fall/winter 2004/5, Printed silk chiffon with silk chiffon applique, silk velvet ribbon, mink

Tom Ford for Yves Saint Laurent, fall/winter 2004/5, Silk satin embroidered with sequins, fox fur

Dries Van Noten, autumn/winter 2012/13, Wool/silk hammered satin and wool twill

Center: Chinese Festival Robe, late 19th century, Silk and metallic tapestry

Sketches:

Dries Van Noten, autumn/winter 2012/13, Wool/silk hammered satin and wool twill

John Galliano for Dior, autumn/winter 1998/99, Embroidered silk jacquard (front and back)

John Galliano for Dior, autumn/winter 1998/99, Embroidered silk jacquard

Right: no information, not in catalogue

Left: Tom Ford for Yves Saint Laurent, autumn/winter 2004/5, Silk satin embroidered with sequins

Tomorrow, I'll feature the Chinoiserie section of the exhibition, both with my sketches and photos.

Note: I relied on the exhibition catalogue China: Through the Looking Glass and The Met's website for information, especially the details about the garments. Selected images from the catalogue can be viewed on The Met's Pinterest board.

China: Through the Looking Glass at The Met, Part 2 -- Qipao Inspired

This is the Qipao [cheongsam] Inspired section seen in the Anna Wintour Costume Center at The Metropolitan Museum.
Taking photographs was difficult with all the reflections and crowds of viewers, so I pulled out my sketchbook.

Sketches, left to right:

Marc Jacobs for Louis Vuitton, spring/summer 2011. Black silk duchasse satin embroidered with tassels. [see on Met's Pinterest]

Floral chiffon qipao over a black slip. circa 1920s-30s (not in catalogue)

Brown cut velvet qipao, circa 1920s-30s (not in catalogue)

Tom Ford for Yves Saint Laurant, fall/winter 2004/5, Silk satin embroidered with sequins.

Qipaos worn by Hu Die (Butterfly Wu) circa 1920s-30s (not in catalogue)

Brown cut velvet qipao, circa 1920s-30s (not in catalogue)

Tom Ford for Yves Saint Laurant, fall/winter 2004/5, Silk satin embroidered with sequins.

Left to right:

John Galliano for Dior, autumn/winter 1997/98, Silk jacquard embroidered with beads [see on Met's Pinterest]

John Galliano for Dior, autumn/winter 1997/98, Silk jacquard embroidered with beads 

Jean Paul Gautier, autumn/winter 2001/2, Lacquered silk satin and embroidered silk tulle

Tomorrow, I'll feature the Manchu Robe Inspired section of the exhibition, both with my sketches and photos.

Note: I relied on the exhibition catalogue China: Through the Looking Glass and The Met's website for information, especially for details about the garments. Selected Images from the catalogue can be viewed on The Met's Pinterest board.