Charles James was an iconic couturier, controversial figure, and mathematician. Now, he has some of his most notable works on display at The Metropolitan Museum of Art’s Costume Institute. Spanning the first floor and The Anna Wintour Costume Center, the exhibit showcases several of his designs, fusing technology and textiles in a way that accurately emphasizes the complexity of many of James’s creations; the exhibit is truly phenomenally curated.
Bounded by dark, mirrored walls, the dresses are reflected back on the viewer, engulfing one in layers fabric. James’s own words are etched into the surface of the mirrors, allowing his words to blend into the boundary of the space and rest on the dresses and faces of the viewers; in a way, it feels as though we’re being drawn into James’s own imagination: at once darkly cavernous and iridescently bustling.
James’s works are notable for how definitively architectural they are; he spent a significant amount of time working on line and drape to create gowns that
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seemingly defied and worked with gravity to amuse and confound the eye. The outward appearance that many of the dresses achieved was largely due to complex structuring and working of fabric and under layers, which the exhibit found a way to explore simultaneously alongside the finished project. For example, in James’s famous “Swan” ball gown, a robotic arm with a small camera on the end pans around the underside of the garment, the live feed of which is displayed on a small screen next to the work.
The dual presentation of the dress’s structure alongside the finished product draws the viewer in beyond the outer appearance of the garment, something that I deeply appreciate. For a lot of people, there is a clear distinction between art and science or math; additionally, there can be a tendency to passively engage with creative works on a visual level and then move on to the next piece in a collection. I know from personal experience, there can be an information overload that makes even the most phenomenal work of art somewhat mundane; however, the James exhibit overcomes this result. Focusing consciously on a small number of his designs encourages visitors to tour the dresses more than once and perhaps even spend more time without being daunted by the number of creations. The in-depth look at the make up works well with the uniqueness of textile as a medium; the end result comes across as a result of intense and concerted 3D manipulation of fabrics, and whether it’s the panning camera or the simulation of a piece of fabric being cut and wrapped, we truly get a feel for the magic and genius that produced so many James creations.
Still on display, I would highly encourage a trip to the exhibit should anyone be near the museum over break!
Link to the exhibit: http://www.metmuseum.org/exhibitions/listings/2014/charles-james-beyond-fashion