The exhibition showcases designs by 20th century legends and contemporary icons in a scattered array.A magenta gown by Christopher John Rogers greets visitors at the bottom of the stairway to the main exhibition gallery. Other dresses from left: A 1950s wrap-effect dress by Claire McCardell; a contemporary taffeta frock by Rodarte. Courtesy of the Metropolitan Museum of Art.
The first room of the show suggests that the curators have taken this quote quite literally: patchwork designs in denim and calico by Ralph Lauren, Bode, Stan, No Sesso and others are displayed one on top of the other around Sterling Ruby’s “Veil Flag,” and an Egyptian sarcophagus.
As you continue your journey through the rest of the exhibition, which was curated by Andrew Bolton and celebrated with last night’s, the quilt as organizing principle becomes more obvious. Most of the 100 ensembles—save for a pair of dynamic dresses by Gypsy Sport and LRS; and a set of American flag sweaters—are displayed in grid-like fashion within partially scrim-walled cubes, making up a stitched-together, varied array.
A section called “Assurance” draws a visual connection between everyday camel-colored pieces and show-stopping gold sequins. From left: a 1972 ensemble by Norman Norell, a look from Michael Kors’s 40th anniversary fall/winter 2021 collection, a Marc Jacobs spring/summer 2020 dress.In Part One, there are moments of the sublime to be found, but anyone looking for a clear historical narrative or thesis will be disappointed.
A refreshing surprise: Two dresses by the self-taught, 24-year-old designer Olivia Cheng, whose label Dauphinette makes use of pressed flowers encased in resin and silk organza.Arguably the two biggest topics of discussion in the global fashion industry right now are size inclusivity and sustainability, the latter of which was addressed by the “Consciousness” room, which included a series of upcycled and re-worked looks by upstarts, streetwear designers, and vintage dealers.