The Met Cloisters was based on
particular cloisters in France primarily,
but it also involves gardens and also thematic galleries.
You enter into The Cloisters through the Romanesque Gallery.
All of the garments that we’ve selected
for the exhibition relate directly to either the
architecture or the functions of those particular spaces.
From the Romanesque Gallery, you enter the Saint-Guilhem Cloister
in which we have two examples
of Valentino’s Rome-inspired collection—
both secular and also sacred architecture of Rome,
the Colosseum in particular.
And it’s a cape that is appliquéd
with a series of black-velvet Romanesque arches,
which reflect the Romanesque arches withinthe Saint-Guilhem Cloister.
And then you enter the Fuentidueña Chapel,
where we’re focusing on the seven sacraments of the Catholic Church,
particularly marriage, baptism, and communion.
I think one of the most iconic pieces in that space
is Balenciaga’s one-seam wedding dress.
That was created in 1967.
It’s believed to have been made from one length of fabric with one seam.
It’s actually made from two lengths of fabric with three shaping seams.
But it also relates to the garments worn by
Jesus at the Crucifixion,
which were made from one length of fabric.
so it’s a nice connection to
one of the main crucifixes in that space.
From the chapel, you enter into the Cuxa Cloister,
which is really, in terms of the layout, the heart and soul of The Cloisters.
And within this particular space, we’re focusing on designers
who’ve been inspired by the various monastic orders—
方济会 多明尼加人 西多会的宗教服饰
Franciscan, Dominican, Cistercian.
Some of the earlier examples are a suite of dresses designed by Claire McArdle,
that was called the monastic dress,
which was basically a dress that was tied at the waist.
And Claire was very much inspired by Madame Grès and Vionnet.
And there’ll be a few examples of garments
that are in The Met’s collection by Madame Grès
from the late sixties and early seventies.
And that were inspired really by
the large sleeves of Cistercian choir robes.
From the Cuxa Cloister, you go into the Early Gothic Hall,
which is focusing on designers who’ve been inspired by stained glass:
Jean-Paul Gaultier, who created a dress that was inspired
by Fouquet’s famous painting of the Virgin and Child,
which he fractured to look like a stained-glass window.
And from the Early Gothic Hall,
you go down the stairs into the Gothic Chapel,
in which we have garments that are primarily inspired by
the British Gothic subculture of the 1980s,
and the particular tropes associated with that, obviously, the use of the color black.
And from there, you enter the Glass Gallery.
And in the Glass Gallery,
we are showing garments that relate to the plantings of the gardens of The Cloisters,
directly inspired by Medieval plantings.
There we’re focusing on designers
who’ve used particular flowers and fruits that have a Christian symbolism,
such as wheat,
which is representative of the body of Christ within the Eucharist
and the commemoration of the Last Supper.
One dress is by Valentino;
that’s beautifully embroidered with gold thread, silver thread and pheasant feathers
to create this very stylized version
of Cranach’s painting of Adam and Eve.
And then from the Glass Gallery, you enter the Treasury.
And in the Treasury are masterworks of medieval art.
Precious objects often used with the mass—
reliquaries as well as chalices,
but also garments such as chasubles
And within that space we’ve selected pieces that, again,
relate to some of the artworks there.
We have an example by Shaun Leane for Alexander McQueen.
A silver crown of thorns that
was used in McQueen’s”Dante” collection,
based on Dante’s Inferno.
And in the Boppard Room, we have three hats
that were created by Philip Treacy,
based on the Madonna headdress
and the idea of the crowning of the Virgin,
made out of straw, that have been touched with gold gilt.
One of the most frequented galleries
in The Met Cloisters is the Unicorn Tapestries Gallery,
and in that space we have a dress
by the American designer Thom Browne
with a unicorn embroidered into the dress,
which is entirely made out of chiffon ribbons.
And on the back, Thom’s created two red ribbons that
relate to the blood on the back of the unicorn in one of the tapestries.
Then in the Nine Heroes Tapestry room, which is adjacent to the Unicorn galleries,
are some of the earliest tapestries in The Metropolitan Museum’s collection
from the early Middle Ages.
And within that section we have used garments by Craig Green,
inspired by a stole
but made out of Islamic prayer mats,
so those particular garments relate to the idea of the Crusades.
Some of the more complex pieces are on display in The Met Cloisters,
so I hope that it’s a journey people will make.