At The Met

Much has already been written about the current fashion exhibit at The Metropolitan Museum of Art in New York City, Manus x Machina. People far more savvy about current fashion than I am are certainly more qualified to offer a critique of the Exhibit. (Check out The Vintage Traveler’s three-part review of the Exhibit, for an excellent overview.) However, having just had the opportunity last week to view the Exhibit, I feel compelled to add my two cents.

The Exhibit Logo

The Exhibit Logo

I found the title of the Exhibit off-putting. Yes, I know it is a trendy way of saying “hand-made by(?) machine made,” but exactly how does one pronounce the title? It is not a comfortable invitation to what is a unique way of looking at haute couture fashion and fashion history.

The entrance to the Exhibit, which was difficult to find, especially with the crowds at the Museum on the day I attended, includes storyboards to introduce the viewer to the premise of the Exhibit. It is worth quoting from this introduction:

“Manus x Machina is structured around the métiers, or trades of dressmaking outlined in [Diderot’s] Encyclopedie, [which] placed these trades on the same footing as the arts and sciences, which had been regarded as the noblest forms of scholarly activity since Greek antiquity. The elevation of these . . . métiers served as an incendiary challenge to established prejudices against manual labor, biases that the authors sought to refute by showing the creativity and complexity such work involved.”   These trades – or métiers – which are still cornerstones of haute couture today, were listed as: embroidery, featherwork, artificial flowers, pleating, lacework, and leatherwork. Also included were sections on the actual arts of dressmaking and tailoring, including the development of toiles (muslins) and paper patterns. As lovely as some of the fashions were (but not all!), I found myself drawn to the storyboards in these sections for their clear explanations and definitions, which spoke to this dressmaker’s heart!

But first, some of the creations on display, culled by my hearty preference for classic and/or vintage fashion:

This cape and dress from the House of Chanel, Spring/Summer 2010 was stunning. The cape is made from “1,300 hand-pieced pink silk satin Flowers by Lemarie with pink frosted crystals.”

Met - Chanel cape copy

Although my photo for the next dress is very poor, I have to share it. From the House of Dior, Autumn/winter 2015-16, this evening dress is “machine-sewn, hand-finished, gray silk tulle and organza, hand glued with blue, orange, brown, and black rooster feathers by Lemarie.” It was simply remarkable and gives a whole new meaning to “King of the Barnyard!”

Met - rooster dress

The next two dresses, two of my favorites, are both by Norman Norell (American, 1900-1972). The dress on the left is from 1965, hand-embroidered with blue sequins, and the dress on the right, ca. 1953, is also hand-embroidered with blue-ombre sequins. Both of these dresses have a timeless quality to them, being chic, elegant and with an understated sexiness to them.

Met - Norell Dresses.PDF

Imagine my surprise when I saw this next dress. From the House of Givenchy, this evening gown from 1963, is made from a “hand-sewn orange cotton Mechlin-type lace hand-embroidered with red-orange glass beads, tinsel, and pieces of coral.”

Met Givenchy Dress

The Robert and Penny Fox Historic Costume Collection at Drexel University in Philadelphia, Pennsylvania (USA) has a similar example, which I actually prefer. Circa 1964, it was owned and worn by Her Serene Highness, Princess Grace of Monaco and given by her to the collection:

MET - coral dress, Princess Grace copy


Of all the gorgeous Balenciaga cocktail dresses out there (and many surely owned by the Met), this example on the right, looked a bit dowdy to me. From 1963-64, it was “hand-sewn black silk machine-embroidered lace, hand-applied self-fabric flounces and silk satin bows.” The dress next to it is by Simone Rocha (Irish, born 1986), 2014, “Wet Lace Frill Dress,” so called by the use of nylon and polyester laminated with polyurethane foil, which evokes a wet look!

Met - Black Balenciaga dress copy

No exhibit is complete without an Yves Saint Laurent ensemble. This one, Spring/Summer 1963, was stunning with its overlay of machine embroidered cutwork, hand-stitched with guipure lace:

Met - Dior ensemble copy

I loved seeing this dress from the House of Dior, the prototype of which had been the feature of a Dior video in 2015. Hand-pleated, hand-embroidered with silk grosgrain ribbon, topped off with a green wool-silk crepe bodice. And don’t miss the Dior darts and the 1960-ish look of the armholes and overblouse styling:

Met - Dior pleated dress copy

Well, what could be more classic than a Chanel suit? Circa 1963-68, the description reads: “machine-sewn ivory wool boucle tweed, hand-applied navy and ivory wool knit trim hand-braided with interlocking chain stitch.” Those of us who have made one or more “classic French jackets” know how much hand-work is in one of these jackets!

Met Chanel suit

After reading the storyboards on tailoring and dressmaking, I really wonder where a Chanel jacket fits in? The tailoring division of a fashion house specializes in suits and structured garments, with an emphasis on “manipulating fabric on the grain,” and “precision and accuracy when cutting.” The dressmaking division “specializes in draping and soft construction,” “being less beholden to line and structure.” It seems to me that a Chanel jacket straddles the line between the two concepts, being structured, but with a soft fluidity that feels like a dream to the wearer.

The final storyboard, which I found captivating, was the treatise on toiles and the related development of dressmaker’s dummies. To quote: “Alexis Lavigne, a French professor, introduced one of the earliest patented dummies in the 1850s. His figures – composed of papier-mache lightly padded with cotton batting or wadding and covered in pieced and seamed canvas – contributed to the precision with which a garment could be fitted and gradually evolved to help delineate measurements and geometries essential to dressmaking.” Leave it to the French to be innovative in this regard!

There was much in the Exhibit that unfortunately brought to mind this quote from P. J. O’Rourke: “Never wear anything that panics the cat.”   But there was plenty to admire, and obviously, that is what I concentrated on. The mark of any good exhibit is its ability to make you think and expand your knowledge, and this one, despite its awkward title, certainly does that.


Filed under Capes, Cocktail dresses, Dior darts, Fashion Exhibits, Uncategorized

17 responses to “At The Met

  1. Mary Lynn

    I LOVE the P J O’Rourke quote! Your commentary made me feel like I was with you – wonderful pictures and comments. I kept thinking of Babe Paley’s quote ” you can never be too rich or too thin” and wondered if any of her clothes were in the show. But at one time I think her best friend was Truman Capote and her husband was a real corker, so I’m not sure she got much value from being rich and thin!

    • I love that quote, too! I guarantee you a few of the items on display would definitely have panicked the cat. No, none of Babe Paley’s clothes were included, but this show was not about provenance. Many of the fashions were supplied by the “Houses” of fashion (i.e., House of Chanel…) and many belong to the The Met.

  2. Reader

    “I found the title of the Exhibit off-putting. Yes, I know it is a trendy way of saying “hand-made by(?) machine made,”

    It’s also obviously a play on “Deus ex Machina,” literally, “God from a machine,” a formulaic device used to resolve plots in ancient dramas. In this case, a handmade object from a machine.

    “but exactly how does one pronounce the title?”

    What is hard about it? I assume it’s something like “Mahnes ex Makinah.” I find the title more pretentious than “awkward.”

    “It is not a comfortable invitation to what is a unique way of looking at haute couture fashion and fashion history.”

    Why must everything be comfortable? Couture is about the difficult, about a world beyond the everyday. The name doesn’t seem to be putting many off. The crowds were huge the day I attended. You have always seemed very sophisticated. I’m a little surprised by your reaction.

    I was most impressed by the craftsmanship; unlike many, I wasn’t transported by the beauty of any of the garments.

  3. Would love to see a dress design exhibition – this is a fascinating post. I have to agree with you about the frumpy black dress, but I love the timelessness of many of them. Chanel never goes out of style…..

    • The Met – and The costume Institute – do a great service to those of us who love fashion by putting on these exhibitions. I’m so delighted I had a chance to see it.

  4. Jackie Shepherd

    Thank you for sharing this post. I would love to see this exhibit and you have given me a glimpse.

  5. That last P J O’Rourke quote…. So darned funny! And would probably apply to a LOT of pieces of ‘couture’ these days. Still chuckling…

  6. Thanks so much for the mention, and for the link to my blog. I so enjoyed reading your thought about this exhibition.

    Sometimes I feel that the Costume Institute gets a little caught up in its own importance, hence the “arty” titles, and in other recent exhibitions, the subtitles.

    • And at the risk of making my masters educationed friend who accompanied me to this exhibition sound unsophisticated, she too was confounded by the title. One comment she made was to the effect that she’d have never guessed the show would have been so wonderful just from the “weird title.” That’s coming from someone who hasn’t been following all the pretty pictures on Instagram and Twitter and Facebook. I really credit social media and all the positive reviews with making this one so popular.

      • Glad to know I wasn’t alone in my thoughts on the title. I thought you gave such a detailed and perceptive three-part review of the Exhibit – I was happy to share the link to your blog!

  7. I loved the exhibition and especially the display of toiles. The methods used in the assembly of couture toiles was fascinating.

  8. Thank you for sharing these lovely dresses with us!

  9. Your post was wonderful! I was unexcited but what I thought the theme went and now I want to high five SJP- she really did get it!
    Gorgeous choices to show us- thank you!

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