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China: Through the Looking Glass

Costume Institute China Exhibition Details Shared in Beijing

May 7–September 7, 2015 (extended from August 16)

English | 中国


Costume Institute’s Spring 2015 Exhibition at Metropolitan Museum to Focus on Chinese Imagery in Art, Film, and Fashion

Costume Institute Benefit May 4 with Honorary Chair Silas Chou and Co­-Chairs Jennifer Lawrence, Gong Li, Marissa Mayer, Wendi Murdoch, and Anna Wintour; Wong Kar Wai Will Be Exhibition Artistic Director

Member Preview: May 5-May 6
Exhibition Locations: Chinese Galleries and Anna Wintour Costume Center (Galleries 206-222 & 980-981)
Press Preview: Monday, May 4, 10 a.m.–1 p.m.

The Costume Institute’s spring 2015 exhibition, China: Through the Looking Glass, is on view at The Metropolitan Museum of Art from May 7 through August 16, 2015. Presented in the Museum’s Chinese Galleries and Anna Wintour Costume Center, the exhibition explores the impact of Chinese aesthetics on Western fashion and how China has fueled the fashionable imagination for centuries. In this collaboration between The Costume Institute and the Department of Asian Art, high fashion is juxtaposed with Chinese costumes, paintings, porcelains, and other art, including films, to reveal enchanting reflections of Chinese imagery.

The exhibition is made possible by Yahoo.

Additional support is provided by Condé Nast and several Chinese donors.

“I am excited about this partnership between these two forward-thinking departments which reveals provocative new insights into the West’s fascination with China,” said Thomas P. Campbell, Director and CEO of the Met. “The artistic direction of acclaimed filmmaker Wong Kar Wai takes visitors on a cinematic journey through our galleries, where high fashion is shown alongside masterworks of Chinese art.” 

In celebration of the exhibition opening, the Museum's Costume Institute Benefit takes place on Monday, May 4, 2015. Silas Chou serves as Honorary Chair. The evening’s co-chairs are Jennifer Lawrence, Gong Li, Marissa Mayer, Wendi Murdoch, and Anna Wintour. This event is The Costume Institute’s main source of annual funding for exhibitions, publications, acquisitions, and capital improvements. 

“From the earliest period of European contact with China in the 16th century, the West has been enchanted with enigmatic objects and imagery from the East, providing inspiration for fashion designers from Paul Poiret to Yves Saint Laurent, whose fashions are infused at every turn with romance, nostalgia, and make-believe,” said Andrew Bolton, Curator in The Costume Institute. “Through the looking glass of fashion, designers conjoin disparate stylistic references into a fantastic pastiche of Chinese aesthetic and cultural traditions.”

Exhibition Overview
This is The Costume Institute’s first collaboration with another curatorial department since AngloMania: Tradition and Transgression in British Fashion in 2006, a partnership with the Department of European Sculpture and Decorative Arts. China: Through the Looking Glass features more than 140 examples of haute couture and avant-garde ready-to-wear alongside masterpieces of Chinese art. Filmic representations of China are incorporated throughout to reveal how our visions of China are shaped by narratives that draw upon popular culture, and to recognize the importance of cinema as a medium through which we understand the richness of Chinese history.

The Anna Wintour Costume Center’s Lizzie and Jonathan Tisch Gallery presents a series of “mirrored reflections” focusing on Imperial China; the Republic of China, especially Shanghai in the 1920s, 1930s and 1940s; and the People’s Republic of China. These reflections, as well as others in the exhibition, are illustrated with scenes from films by such groundbreaking Chinese directors as Zhang Yimou, Chen Kaige, Ang Lee, and Wong Kar Wai. Distinct vignettes are devoted to “women of style,” including Hu Die (known as Butterfly Wu), Oei Huilan (the former Madame Wellington Koo), and Soong Mei-Ling (Madame Chiang Kai-shek). 

Directly above the Anna Wintour Costume Center, the Chinese Galleries on the second floor showcase fashion from the 1700s to the present, juxtaposed with decorative arts from Imperial China, including jade, bronze, lacquer, and blue-and-white porcelain, mostly drawn from the Met’s collection. The Astor Court features a thematic vignette dedicated to Chinese opera, focusing on John Galliano’s spring 2003 Christian Dior Haute Couture Collection.

Designers in the exhibition include Cristobal Balenciaga, Travis Banton, Bulgari, Sarah Burton for Alexander McQueen, Callot Soeurs, Cartier, Roberto Cavalli, Coco Chanel, Christian Dior, Tom Ford for Yves Saint Laurent, John Galliano for Christian Dior, Jean Paul Gaultier, Valentino Garavani, Maria Grazia Chiuri and Pierpaolo Picciolo for Valentino, Craig Green, Guo Pei, Marc Jacobs for Louis Vuitton, Karl Lagerfeld for Chanel, Jeanne Lanvin, Ralph Lauren, Christian Louboutin, Martin Margiela, Alexander McQueen, Alexander McQueen for Givenchy, Edward Molyneux, Kate and Laura Mulleavy, Dries van Noten, Jean Patou, Paul Poiret, Yves Saint Laurent, Paul Smith, Van Cleef & Arpels, Vivienne Tam, Giambattista Valli, Vivienne Westwood, Jason Wu, and Laurence Xu.

Exhibition Credits
The exhibition, a collaboration between The Costume Institute and the Department of Asian Art, coincides with the Museum’s year-long centennial celebration of the Asian Art Department, which was created as a separate curatorial department in 1915. China: Through the Looking Glass is organized by Andrew Bolton, Curator, with the support of Harold Koda, Curator in Charge, both of The Costume Institute. Additional support is provided by Maxwell K. Hearn, Douglas Dillon Chairman; Denise Patry Leidy, Curator; and Zhixin Jason Sun, Curator, all of the Department of Asian Art. 

Internationally renowned filmmaker Wong Kar Wai is the exhibition’s artistic director working with his longtime collaborator William Chang, who supervised styling. Nathan Crowley serves as production designer for the exhibition–he has worked on three previous Costume Institute exhibitions including Superheroes: Fashion and Fantasy (2008), American Woman: Fashioning a National Identity (2010), and Schiaparelli and Prada: Impossible Conversations (2012). All headdresses are specially created for the exhibition by Stephen Jones. Exhibition lighting design is by Philippe Le Sourd. 

The design for the 2015 Costume Institute Gala Benefit is created by 59 Productions and Raul Avila, who has produced the Benefit décor since 2007.

“William Chang and I are pleased to work in collaboration with The Costume Institute and the Asian Art Department of The Metropolitan Museum of Art on this exciting cross-cultural show,” said Wong. “Historically, there have been many cases of being ‘lost in translation’–with good and revealing results. As Chinese filmmakers we hope to create a show that is an Empire of Signs–filled with meaning for both East and West to discover and decipher.”

Related Content and Programs
A book, China: Through the Looking Glass, by Andrew Bolton, has texts by Adam Geczy, Maxwell K. Hearn, Homay King, Harold Koda, Mei Mei Rado, and Wong Kar Wai, and an interview with John Galliano. This publication accompanies the exhibition, and is illustrated with new photography by Platon. Published by The Metropolitan Museum of Art and distributed by Yale University Press, the $45 gold-stamped flexibound edition has 256 pages, 40 printed vellum leaves, and 231 color illustrations. A deluxe limited boxed edition of 500 numbered copies has a traditional Chinese string binding and a framable print of a Platon photograph. It is $250 and available only at the Museum. 

Met Museum Presents programs include an opening concert in conjunction with China: Through the Looking Glass by pianist Lang Lang in the Great Hall on May 14. Lang Lang at the Met is inspired by the exhibition China: Through the Looking Glass and made possible by Adrian Cheng. Additional funding is provided by Sarah Solomon Billinghurst. 

These events and the exhibition are featured on the Museum’s website, www.metmuseum.org/ChinaLookingGlass, as well as on Facebook, Instagram, and Twitter using #ChinaLookingGlass, #MetGala, and #AsianArt100.

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May 4, 2015

Image: Evening dress, Roberto Cavalli (Italian, born 1940), fall/winter 2005–6,
Photography © Platon

China: Through the Looking Glass—Gallery Views

Gallery views of The Costume Institute's spring 2015 exhibition, China: Through the Looking Glass, narrated by exhibition curator Andrew Bolton.

The exhibition is made possible by Yahoo.
Additional support is provided by Condé Nast and several Chinese donors.

Credits

Director and Producer: Christopher Noey
Video Editor: Kate Farrell 
Audio Editor: Stephanie Wuertz
Jib and Camera Operator: Kelly Richardson
Second Camera: Alex Rappoport
Lighting Designer: Ned Hallick
Gaffers: Foster McLaughlin, Julio Yurnet
Production Assistant: Lisa Rifkind

© 2015 The Metropolitan Museum of Art

Artwork credit: Andy Warhol (American, 1928–1987). Mao, 1973. Acrylic and silkscreen on canvas; 12 x 10 1/8 in. (30.5 x 25.4 cm). The Metropolitan Museum of Art, New York, Gift of Halston, 1983 (1983.606.8). © 2015 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

Transcript

Andrew Bolton: I'm Andrew Bolton, curator in The Costume Institute and also the curator of the exhibition China: Through the Looking Glass, a collaboration between The Costume Institute and the Asian Art Department, as a celebration for their centennial.

The show really isn't about China per se, it's about an image of China that exists in the Western imagination. The exhibition looks at the impact of Chinese aesthetics on Western fashion. With all of our exhibitions we try to tell a story. Through the Looking Glass, which is based on Lewis Carroll's novel, Alice entered this world that was fictional. The designers in the exhibition approach China in a very similar way.

Designers tend to be inspired by two overarching themes that we're focusing on in the exhibition: Chinese history and cinema. Cinema plays an important role in the exhibition as this mediator between the original Chinese garments, or artifacts, and Western fashion. The three periods of Chinese history we focus on are Imperial China, Nationalist China, and the People's Republic of China.

When you walk into our Costume Institute galleries, there's a video tunnel showing Bertolucci's The Last Emperor, a broad and sweeping journey of Chinese history, and at the end of the tunnel is a festival robe worn by the last emperor, Pu Yi, when he was four years old. Designers tend to gravitate towards the Imperial robe, which is recognizable by twelve Imperial signs—symbols of the virtues of the Emperor. When they're woven or embroidered onto the robes, they're very subtle, so they're very difficult to see. So we've collaborated with the milliner Stephen Jones and created headpieces out of them. It's another portal into the Chinese garments on display.

The Apfel gallery is really focusing on the chipao, a dress form that was introduced in China in the twenties. It evolved from the Imperial robe but it also incorporated Western tailoring techniques. The chipao was really a symbol of modernity. Part of it was the freedom of movement; in a way you can make an association with the chemise dress and the flapper as being this symbol of emancipation.

As you leave The Costume Institute galleries, there is a small gallery that focuses on the Mao suit. And I think Western designers gravitate towards the Mao suit because it conveys a sort of utopianism. It's less interesting from a point of view of aesthetics, but very interesting from a point of view of its political underpinnings. It really was the last garment that said "China."

Upstairs is presented as a series of dialogues between Chinese objects and Western fashions that have been inspired by them. Part of the exhibition tries to disentangle different layers of meanings and different layers of exchanges that have always occurred between the East and the West, and every gallery you enter has its own story.

Anna May Wong was a figure who acted as a bridge between the East and the West, but was neither embraced by either culture, who was fated to play one-dimensional stereotypes. A dress she wore in the film Limehouse Blues screamed "dragon lady." It conflates the sexiness of the chipao with early twentieth-century silhouettes.

The Astor Court focuses on Chinese opera. A series of dresses that Jon Galliano created for Dior conflate images and ideas of the Peking opera with Japanese Kabuki and also the Queen Mother of England. Two other garments by Maison Martin Margiela are recycled opera costumes from the 1930s that have been repurposed as haute couture, an extraordinarily East-meets-West display of technical virtuosity.

The Douglas Dillon galleries are focused on Chinese objects that have inspired Western designers. We wanted to collaborate with the Asian Art Department. It provided a context that's often missing from the runway. When it comes to Chinese export art, it's often subsumed within the history of Western decorative arts, but there was always a dialogue between the East and West when it came to export wares—in particular the blue and white porcelain that originated in China and exported to the West in the sixteenth century. The willow pattern became so successful that it was readapted by Chinese craftsman; they reorientalized a design already about orientalism.

This gallery looks at calligraphy. Language can be both a wall but also a gateway. A dress by Dior, from the fifties, in which he's looked to a poem that we have in the Museum's collection as a rubbing, it looks so beautiful and very poetic but the actual content is about the author having a stomach ache. Language can be about communication, but it's also about miscommunication.

The gallery that focuses on Chinese silk. Often, the motifs that appeared in Chinese silk also appeared in Chinese wallpaper, so we have a room that is entirely covered in de Gournay wallpaper. There's an extraordinary robe à la polonaise juxtaposed next to a painted silk that was used in a dress by Balenciaga. And on the opposite side is a dress by Alexander McQueen, directly inspired by a design that de Gournay produced based on an eighteenth-century prototype.

One gallery looks at the idea of perfume. Probably the most famous perfume inspired by China was Saint Laurent's Opium. Opium was a highly contested scent because of the seeming trivialization of the Opium Wars, but unfortunately the opium den is one of those cites that have become another filmic trope in a way, a romanticized and deeply exoticized aspect of Chinese culture.

This particular gallery focuses on the different types of symbols and motifs that were embraced by high chinoiserie from the mid-eighteenth century and primarily focused on Chinese figures, fantastical landscapes, Chinese botany, as well as the pagoda. This Coromandel screen, from the Met's collection, is juxtaposed with a series of garments by Karl Lagerfeld for Chanel, directly inspired by the Coromandel screens in Chanel's apartment.

Designers have also looked further back into Chinese history, and the Weber galleries have a series of conversations between Western fashion and Chinese decorative art that dates back even to the Neolithic period. Western fashions juxtaposed next to Han figurines, Tang dynasty mirrors, Neolithic pottery.

The small Buddha gallery is devoted to a Chinese designer called Guo Pei, and this particular dress has conflated both Eastern and Western signifiers. The bodice is an abstracted version of the lotus flower, one of the eight Buddhist symbols. The actual dress itself is inspired by high-style fashions of the 1850s. The attraction of the East and West is less about appropriation and more about assimilation.

The exhibition concludes with an installation of a bamboo forest, and the garments on display are inspired by wuxia—a literary genre that focuses on the martial-arts hero existing in an underworld governed by rules such as honesty, a rejection of wealth, and desire. This has often led many readers to look to wuxian novels as an expression of Buddhism.

The power of clothing is its accessibility. We all wear it. Designers engage with an aesthetics of surface rather than the specifics of cultural contexts that frees one up to think about it in different ways—a way of conveying very subtle ideas that may or may not be easily accessible. And I think that's what's so lovely about the Met is that you're able to use the richness of the collection to create the visual dialogues to give you different ways of understanding both cultures.

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