[Exhibit] The Costume Institute’s: ‘Manus X Machina’

The Met's next fashion exhibit will seek to reconcile the oppositional relationship between the hand (manus) and the machine (machina).

The Met’s next fashion exhibit will seek to reconcile the oppositional relationship between the hand (manus) and the machine (machina).

At the Metropolitan Museum of Art’s  press preview for the Costume Institute’s upcoming exhibit, “Manus x Machina: Fashion in an Age of Technology,” head curator Andrew Bolton touched on the traditionally dichotomous relationship between the handmade and machine-made in fashion, and the blurring of the two disciplines in the creation of haute couture and ready-to-wear.

Bolton started off by noting that since the birth of haute couture in the 19th century, the hand and the machine had been constructed as “discordant instruments of the creative process,” with the former seen as a symbol of “detrimental nostalgia” by its opponents, and the latter as a symbol of inferiority and dehumanization. With this exhibit, which opens in May, the Costume Institute hopes to “suggest a spectrum of practices whereby the hand and the machine are mutual protagonists in solving design problems.”

[L to R] Chanel Haute Couture Suit 63-68, Chanel Haute Couture wedding ensemble F/W 2014-2015

[L to R] Chanel Haute Couture Suit 63-68, Chanel Haute Couture wedding ensemble F/W 2014-2015

To that end, the exhibit will feature more than 100 pieces of haute couture and ready-to-wear, to be shown at both the Robert Lehman Collection galleries and the Anna Wintour Costume Center galleries. The latter will focus more on the traditional aspects of haute couture, and will resemble a traditional maison de couture, while the former will present a series of case studies, “unraveling the mythologies of the hand/machine conundrum.” Traditional métiers of haute couture, such as embroidery and featherwork, will be presented alongside innovative techniques like 3-D printing and computer modeling.

YSL Couture evening dress F/W 69-70

YSL Couture evening dress F/W 69-70

Some items at the press preview included: a machine-sewn, hand-finished white synthetic scuba knit Chanel haute couture wedding ensemble, which, according to Bolton, served as the inspiration for the exhibit; an Iris van Herpen haute couture dress with hand-stitched strips of laser-cut silicone features and hand-applied gull skulls; and a Chanel haute couture suit with 3-D printed white polyamide overlay.

[L to R] Iris van Herpen couture dress F/W 2010, Iris van Herpen couture dress F/W 2013-2014

[L to R] Iris van Herpen couture dress F/W 2010, Iris van Herpen couture dress F/W 2013-2014

The exhibit will run from May 5 to Aug. 14, and designers in the exhibit will include Gabrielle “Coco” Chanel, Alber Elbaz, Karl LagerfeldIris van HerpenRei Kawakubo, Raf Simons, Miuccia Prada, Christopher Kane and more.





[Event] Love Sessions by SingCo @ The Double Tree by Hilton


Client: Janid, Styled by Aisha Naomi, Wardrobe + Accessories Rosa Mistica: 787.287.5555, FB: Rosa Mistica

[Exhibit] Fashion Underground: The World of Susanne Bartsch at The Museum at F.I.T

Designs by Rachel Auburn, The Blonds, Leigh Bowery, John Galliano, Jean Paul Gaultier, Pam Hogg, Stephen Jones, Alexander McQueen, Thierry Mugler, Rick Owens, Vivienne Westwood, and Zaldy contribute to the approximately 80 looks from the underground fashion impresario’s personal collection of clothing and accessories, on view in Fashion Underground: The World of Susanne Bartsch. 


Susanne Bartsch has been the queen of New York City nightlife since the 1980s when she became renowned for creating spectacular parties where she and a diverse mix of individuals—uptown, downtown, gay, straight, multiracial—dressed up in their own versions of high fashion, street style, drag, and Mardi Gras extravaganza. Her first party took place in 1986 at a club near the Chelsea Hotel, where she has lived for many years. “It was about seeing and being seen,” says Bartsch.


Bartsch and her friends have long constituted a fashion underground of creative individuals who take dressing up to the level of performance art. “Style is about expressing yourself,” says Bartsch. “You can be whatever you want to be—a silver-screen star, a Marie Antoinette baroque creature, a Victorian punk. I love that about fashion and makeup.” A muse for fashion designers and makeup artists, Bartsch has also been a catalyst for the cross-fertilization of ideas between creative people in a range of fields. Today, she is increasingly creating events that explicitly link fashion and art.


Born in Switzerland, Susanne Bartsch moved to London as a teenager, living there for a decade. “We called her the Swiss Miss,” say old friends from London, where Bartsch was a key figure among the New Romantics. Arriving in New York on Valentine’s Day 1981, Bartsch opened a boutique in Soho while still on a tourist visa. An enthusiastic proponent of 1980s English fashion, she was one of the first New York retailers to import Vivienne Westwood. She also organized fashion shows, such as New London in New York and London Goes to Tokyo, that showcased designers Leigh Bowery, Body Map, and Stephen Jones. But life in 1980s New York was not just a party; AIDS was devastating the community. As her friends began dying, Bartsch notes that she “survived this period by becoming a fundraiser.” In 1989, she organized the Love Ball, one of the first and most important AIDS benefits. Over the next few years, she raised a total of $2.5 million for AIDS research and advocacy.


Fashion Underground: The World of Susanne Bartsch opens with a small introductory gallery of images and videos about Bartsch and her world.


In the main exhibition gallery, the first section focuses on the 1980s English fashions that Bartsch introduced to New York displayed in a mise-en-scène evoking her surreally styled boutiques. The second and largest section features a variety of the creations that Bartsch and her friends have worn at her famous club nights at Savage, Copacabana, and Le Bains, with a special section devoted to the AIDS balls. The final section evokes her apartment at the Chelsea Hotel, the center of her creative world. Videos and projected photographs throughout the exhibition document Bartsch’s 30 years of sartorial self-expression and its influence on the global fashion scene.

The exhibition is curated by Valerie Steele and Susanne Bartsch and designed by Kim Ackert after a concept by Thierry Loriot.