Virtual Museum Events on Meditation, Mao, and Met Music

Detail of 2019 watercolor and ink mantra by Charwei Tsai, displayed at the Rubin in last year’s exhibition The Power of Intention

For anyone needing a calm-me-down hour, the Rubin Museum is offering a wonderful service every Monday at 1:00pm, including today’s Mindfulness Meditation with Tracy Cochran. Next Monday (November 2), Lama Aria Drolma will be guiding you through the session.

You should know that the Rubin has lots of Himalayan tranquility available on its YouTube channel. Check out the Rubin Daily Offerings videos – short meditations on art offering lessons on navigating changing and challenging times – and last week’s virtual gala stream, Inside the Mandala.

Tonight, Poster House teams up with the China Institute to take you inside one section of The Sleeping Giant: Posters and The Chinese Economy. At 6:30pm tonight, listen as an expert on Chinese visual culture talks about Posters in the Mao Era, and then get down to 23rd Street to experience the full story on gorgeous posters from the Twenties through the 1990s.

Countertenor John Holiday performs Tuesday in a free program by Met Live Arts

On Tuesday (October 27), the Met Live Arts presents countertenor John Holiday in Hold On! Freedom is Coming!a special program featuring selections from classical Italian opera and Africa American composers of this century to honor the legacy of Jacob Lawrence.  This program will begin at 7:00pm on the Met’s YouTube channel.

Find the links to this and so many other great museum events on our virtual events page here. The schedule is tight, so plan wisely. For your consideration:

  • Tonight, get ready for Dia de Muertos with El Museo del Barrio’s 6:00pm event with Fanny Gerson, who will share her recipe for Pan de Muerto (“Bread of the Dead”) and the story behind it.
  • The preserved 1904 City Hall Station. Photo courtesy: New York Transit Museum

    On Tuesday (October 27) at 6:00pm, get in on a virtual tour of a spot on everyone’s bucket list in New York – the New York City Transit Museum is offering a look at the old, abandoned City Hall Station. It’s always impossible to get a ticket for the live underground tour, so donate $20 and see the treasured 1904 tiles and arches!

  • The same night at 7:00pm, NYPL’s Schomburg Center for Research in Black Culture is hosting the book launch for Red Rooster’s own Marcus Samuelsson, who has written on the rise of Black cooks and American food. Buy the book to donate to NYPL when you sign up.

Lattice Detour by Héctor Zamora on the Met rooftop

  • And with great fanfare on Thursday (October 29) at 6:00pm, the Met will fling open its virtual doors to recap John Holiday’s performance, zoom up to the roof for you to see Héctor Zamora’s installation, and preview About Time: Fashion and Duration with Vuitton’s Nicolas Ghesquiére. All free.

There are also more chances to catch ghostly goings on at the Merchant’s House Museum. Register for as many of the topics and events that fit into your schedule.

Most of the events are free, but it’s always nice to add a thank-you donation.

Museum Updates
We want to make sure everyone’s read the news about the recent discovery of one of missing paintings in the series by Jacob Lawrence on display at the Met. A museum visitor saw the show and realized that one of the missing paintings was hanging in her neighbor’s apartment!  Read this lead story in last Friday’s culture section of The New York Times.

We attended both Agnes Pelton presentations by The Whitney this week, and we just want to remind New Yorkers that the last day to see her show is Sunday, November 1. Her beautiful work next travels to her home town of Palm Springs.

Studio 54 Designers Turn Swimsuits into Evening Wear

Studio 54 fashion: Fiorucci blouse by Antonio, Stephen Burrows dress, and Zandra Rhodes gown. Courtesy: Pat Cleveland

The Seventies fashions in Studio 54: Night Magic, on display through November 8 at the Brooklyn Museum, slip, slide, drape, glitter, and sometimes seem like they’re not even there.

The entire point of going to the Studio 54 nightclub – assuming you could get in – was to shimmer, startle, reveal, exude fabulousness, and shine, shine, shine in the crowd and on the dance floor.

The Brooklyn Museum exhibition, a masterful curatorial achievement, pumps the music, flashes the lights, and runs the videotape while showing off the wunderkinds that made the Seventies 54 scene drip with glamour – Halston, Calvin, Kamali, and Burrows.

See our photos in our Flickr album.

Norma Kamali’s swimsuit top and skirt made for dancing

Although Halston and others made custom gowns for clients (and there are plenty for Liza and Liz in the exhibition), the show highlights one of their other fashion innovations that the 99 percent adopted in the Seventies ­– the swimsuit. If you had a great body, fantastic hair, and dramatic make-up, you could just throw on a bathing suit, tie on a net skirt with little sparkle, and you were ready for the club!

Designers like Kamali and Sant’Angelo partnered with fabric companies to innovate body-hugging solutions, and turned out sexy bathing suits that doubled as disco-ready separates.

One of the galleries features the fun, transparent dance skirts Antonio designed for Fiorucci that he featured in the 1977 “Fiorucci Fantasy” event he staged at Rubell and Schrager’s Queens club, The Enchanted Garden, which predated Studio 54. A video shows how Antonio’s supermodels set the New York fashion and nightlife scene ablaze.

Studio 54 coverage in the Daily News, May 4, 1977. Courtesy: Ian Schrager

For all of its influence in pop culture, it’s hard to think that Studio 54 had a lifespan of only 33 months between 1977 and 1979. The exhibition explores all of facets of the phenomenon – paparazzi, the daily tabloid fodder, Grace Jones, Andy Warhol’s goings-on, disco jeans, Interview magazine, fashion shows, and product launches.

It’s surprising to think that Doris Duke, Alan Greenspan, Lillian Carter, and Bella Abzug were just as likely to be in the club as street performance artists, Bianca Jagger, and Yves Saint Laurent.

Halston’s 1979 beaded chiffon ensemble for Liza Minelli.

To transform the old Twenties theater and TV studio into Studio 54, Schrager and Rubell tapped into the technical and artistic community to figure out how flying disco poles, set changes, and special effects could be orchestrated into a continual surprise for the partygoers. When the musical Chicago closed, designer Tony Walton repurposed his dramatic neon “Roxy” sign as a centerpiece for 54’s stage.

Some of our favorite items are the opening night guest list, Ron Galella’s celebrity photos, Antonio’s costume sketches for opening-night show by the Alvin Ailey dancers, the slideshow of their rehearsal by Juan Ramos, and the giant sapphire that Elizabeth Taylor famously wore to the club in 1979 (it’s in a safe).

Original celebrity photo portraits and Richard Bernstein illustrations for Warhol’s Interview magazine covers

Congratulations to the Brooklyn Museum staff who found and presented this amazing exhibition that lets everyone into Studio 54 to celebrity-watch nearly 40 years after the door closed on the party, and to show us how its influence still reverberates today.

Virtual Visits with a Fashion Icon and Rock History

Poster Inspiration with Anna Sui at Poster House

There’s no fashion designer more rock-and-roll than Anna Sui, who will be (virtually) at Poster House tonight (October 19) to show posters from the Sixties and Seventies and explain how they’ve inspired her eye-popping, fun, funny, and magical runway looks.  Take a peek at our Flickr album of her retrospective this year at MAD Museum, and you’ll see what we’re talking about.

Poster House, New York’s newest museum, has one of the best line-ups of virtual events in the City, so get in on this special “Poster Inspiration” event with Anna tonight at 6:30pm. Tickets are only $5, so chip in a few dollars extra to keep their programming rolling.  This week, Poster house is also hosting “Lippert & Lowry: Fireside Chats” on Instagram (October 21) and a virtual tour of their fantastic poster archive on October 22.

Anna Sui channels Sixties Fillmore psychedelic in her MAD Museum show this year

Continue the rock-and-roll vibe with Thursday’s morning virtual tour of “Bill Graham and the Rock & Roll Revolution” by the New-York Historical Society (October 22). Revisit the legendary Fillmore East and West. Find the links to this and so many other great museum events on our virtual events page here.  Here’s a few:

  • A double header on Agnes Pelton’s show at the Whitney: On October 20, curator Barbara Haskell will answer your questions live, and she’ll be back on October 22 with the panel that had been postponed, “Seeing Agnes Pelton.”
  • On October 20, makers are invited to a panel at the Cooper-Hewitt on to learn how to launch a design project, which is part of National Design Month.
  • On October 23, the Met will host artist Dred Scott speaking about Jacob Lawrence.
  • On October 24, horticulturalists can get an insider’s look at the medieval gardens as the Fall season begins at the Met Cloisters.

    Gardens at the Met Cloisters

There are also more chances to catch the Morgan Library’s virtual tour of the Hockney show, a full line-up of paranormal goings on at the Merchant’s House Museum, and more tours at the Tenement Museum. Take a look and register for as many of the topics and events that you can fit into your schedule.

Most events are free, but an extra thank-you donation helps everyone, big and small.

Reopening Update

Just a reminder to fashion fans that the Met will soon open its much-delayed fashion extravaganza, which should have debuted the first Monday in May.  It’s coming and we’ll keep you posted about a virtual event the Met has planned to give everyone a preview.

Tenement Museum Opens Window via Virtual Visits

Kitchen on the Tenement Museum’s virtual tour of the Moore family residence

We’re happy to see that the Tenement Museum, one of NYC’s most beloved cultural centers, is not only offering in-person neighborhood walks again, but hosting virtual tours of the cramped quarters where our European immigrant ancestors first gained a foothold in America. This week, there is an opportunity (October 15) for everyone to climb those narrow stairs on Orchard Street, see the neighborhood (October 17), and help sustain the museum.

Check out everything that’s happening in NYC museums online on our virtual events page here.

And speaking of small history museums, we also want to mention the virtual events being programmed at the Merchant’s House Museum, which continues to persevere despite the massive construction project happening on the other side of its 1830s walls. Check out their pre-Halloween programming this week and throughout the month, and see what it’s like inside the place deemed Manhattan’s “most haunted” house.

Disco reigns supreme at Brooklyn Museum’s Studio 54: Night Magic

On our list this week, we also want to draw your attention to:

  • The Fashion Institute of Technology and Museum at Eldridge Street’s presentation on Berlin’s fashion industry in the 1920s (October 13)
  • The Morgan Library’s discussion of European blockbooks in “Print-on-Demand in the 15th Century” (October 15)
  • The Brooklyn Museum’s program with three Studio 54-era disco divas, who talk about how their music shaped the era ($10 on October 15)
  • The Bard Graduate Center’s presentation on Eileen Grey and architectural drawings (October 17)

For Tiffany fans on October 13, the New-York Historical Society will show off its spectacular collection. If you’ve never seen the upstairs Tiffany gallery at NYHS and heard the stories behind the lamps, do not miss this.

Last week, the Whitney had to postpone its Agnes Pelton panel, but curator Barbara Haskell will be answering questions on October 20 in a virtual event.

Take a look and register for as many of the topics and events that you can fit into your schedule. Most of the events are free, but it’s always nice to add a thank-you donation.

Reopening Update

Poster featured at El Museo del Barrio graphic arts exhibition, Taller Boricua: A Political Print Shop in New York

The Bard Graduate Center Gallery had just opened its much-anticipated exhibition on Eileen Grey when the pandemic forced its closure. We’re happy to let New Yorkers know that BGC is opening up the doors to the in-person exhibition for two weeks, October 13-28. Reserve your timed tickets now.

We also checked out the newly reopened El Museo del Barrio to see the graphic arts exhibition on Taller Boricua, which presents over 200 works by artists at this historic print shop. There were plenty of visitors yesterday pouring over the works produced by activist Puerto Rican artists over the last 50 years. The museum at 104th and Fifth is open Saturday and Sunday.

Welcome back to the Museum Mile!

NYC Museum Virtual Events on Hockney, Pelton, and Design

David Hockney, Self Portrait with Red Braces, 2003. © David Hockney. Photography by Richard Schmidt. Courtesy: The Morgan

This week has a full line-up of (mostly free) programs featuring new exhibitions and topical issues from the art world and beyond. See the list of everything you can participate in on our virtual events page.

We welcome the reopening of the Morgan Library with this week’s most-talked-about exhibition on David Hockney’s portrait drawings from the National Gallery in London. This week’s virtual schedule gives you two opportunities (October 6 and 9) to take a virtual tour, but get the free tickets now since they are going fast!

This week on October 8, you’ll also get an opportunity to learn more from the Whitney about Agnes Pelton and her transcendentalist work from the curator herself, Barbara Haskell. Although the show originated in Phoenix and went to Santa Fe before its New York stop, the Whitney’s given over an entire floor to for you to enjoy the tranquility, spiritualism, and meditative power of Ms. Pelton’s works. Although Ms. Pelton participated in the historic 1913 Amory Show, she’s had zero recognition until now.

Agnes Pelton, Day, 1935. Courtesy: Phoenix Art Museum

Although the Cooper-Hewitt still hasn’t opened its doors, you’ll have an opportunity to celebrate the National Design Awards and National Design Month on line. This week features a virtual salon on October 8, but their website has a full roster of design, education, and maker events, too.

We also want to draw your attention to:

  • New-York Historical Society’s evening with Carl Bernstein and Maggie Haberman ($20 on October 8)
  • A live encore presentation from the New York Transit Museum on the cultural history of the 20th Century Limited (free on October 9)
  • October’s Sci Café from AMNH on hive minds and politics (free on October 8)

For Hamilton fans on October 8, Fraunces Tavern Museum will host an author who will dig up all the dirt between General Washington and his nemesis, General Charles Lee.

Last week, we joined ETHEL on the Met’s balcony on Friday night (a weekly digital event), and really enjoyed the digital effects that were added to a beautiful performance. We also dropped into the Brooklyn Book Fair courtesy of the Brooklyn Historical Society.

Take a look and register for as many of the topics and events that you can fit into your schedule. Most of the events are free, but it’s always nice to add a thank-you donation.

Reopening Update

Dancing dress by Giorgio di Sant’Angelo, as shown in Studio 54: Night Magic

It was great to be back at the Brooklyn Museum this week, where the community was enjoying the sunshine on the front plaza while waiting for timed ticket entry to the fantastic exhibition, Studio 54: Night Magic.  If you plan to go, budget enough time, because the time-capsule exhibition is massive.

For budget and safety reasons, only two floors of the museum are open, but that did not stop any of the art-seekers from checking out many of the special shows, study center, and permanent American gallery works. The first floor features an installation filled with amazing, inspiring photographs by a ground-breaking Parisian artist. Wow! Do not miss JR: Chronicles or Studio 54!!

Welcome back, Brooklyn!!

Couture Nirvana at The Met

1957-58 satin “Du Barry” evening dress by Christian Dior

Walking through the Costume Institute’s show, In Pursuit of Fashion: The Sandy Schreier Collection, closing September 27, you can feel the care and attention that Sandy gave to choosing exquisite fabrics and impossibly precise handwork in the pieces she chose for her archive.

The dresses and accessories that Sandy’s chosen to donate to the Met are pristine – a tribute to her true love, appreciation, and care for couture masterworks. She didn’t collect to wear the clothes, but to preserve and admire them as genuine works of art – duchess satins, intricately painted velvets, and incredible beadwork from the best French embroidery houses. Take a look some of the details close-up in our Flickr album.

A transition to ease – a lavish 1913 evening dress by Jean Victorine Margaine-Lacroix for the House of Margaine-Lacroix

The beautiful show opens with an array of postwar couture by superstar designers Dior, Balenciaga, and Saint Laurent alongside creations by less shown couturiers, such as Jean Dessès and Jacques Griffe. It’s a joy to behold Sandy’s reverence for sumptuous fabrics and dramatic silhouettes.

It’s equally exciting to encounter lavish early 20th century gowns and discover new names, such as Madeline & Madeline or Jean Victorine Margaine-Lacroix, who were blazing the trail for a new kind of liberating dress for women at the same time that suffragettes were marching to gain the vote. Sandy’s gift brings these ground-breaking female designers into the Met’s collection for the first time, too.

The show also calls attention to at-home ease and glamour of the Thirties from innovative, sought-after American female designers – a tea gown of simplified perfection by Jessie Franklin Turner (who Poiret called “a genius”) and a virtually sheer dinner dress by Valentina created from layers and layers of netting.

1939 chiffon tea gown by Jessie Franklin Turner and 1940 net dinner dress by Valentina

Both pieces show masterful construction, nearly invisible handwork, and style that enabled an understated hostess to sweep through her own private event like a movie star.

The back of the gallery showcases some of Sandy’s earliest acquisitions – nearly a dozen coats, dresses, and capes from the Twenties by two legends of textile magic – Fortuny and Maria Monaci Gallenga. Each had their own secrets techniques for applying intricate, metallic Renaissance-inspired patterns on lush velvet and silk. The creations are a master class in artistic dressing.

Many couture feats demanding close examination are encountered in the third major portion of the show – delicate flowers on a tulle dress by Vionnet, diaphanous, layered embroidered chemises by Boué Soeurs, and sparkly flapper dresses by Poiret and others that are beaded beyond belief and look as if they were made yesterday.

1925 lame and lace dress by Paul Poiret and 1925-28 evening dress with paillettes, beads, and crystals

There’s a tongue-in-cheek gallery with Sandy’s collection of sartorial puns from the Eighties by Stephen Sprouse and Patrick Kelly, alongside and fool-the-eye hats and accessories by Stephen Jones and Philip Treacy. (Turkey feathers painted to look like butterflies, anyone?)

Alongside a watercolor portrait of Sandy, there’s another hint to what her collecting will add to the Met – a works-on-paper collection from the early 20th century, featuring pen-and-ink illustrations that were how fashion houses showed their clients what each season had to offer. It will be exciting to see more from the print portfolio that Poiret created with star illustrator Georges Lepape for his best clients.

Enjoy this brief glimpse into a space where Ms. Schreier’s gift provides beauty, delight, and reverence for masterful makers around every corner.

Resistance and Power via Fashion at FIT

2016 jacket by Kerby Jean-Raymond for Pyer Moss powerfully protesting racism in the fashion industry

Although the doors to the museum exhibition are shut tight, the Museum at FIT still allows full access to its spring show Power Mode: The Force of Fashion through its online exhibition.

The power of resistance and how clothes convey the message are among the themes explored. Hand-crafted items such as jackets slashed with anti-racist graffiti, T-shirts silkscreened with bold words, and pink pussy hats are shown (and discussed) alongside high-end designer appropriations of messages, causes, or culture.

The exhibition presents actual 19th– and 20th-century uniforms – templates of precision, force, and authority – next to creations in which high-fashion designers channel this concept of “power” through military colors or styling.

Power to resist 2017 – a T-shirt from the Women’s March T-shirt and a feminist statement by Maria Grazie Chiuri in her first collection for Dior

The show explores examples of economic power via “status dressing” over three centuries and shows how the authority of a man’s traditionally tailored suit was adapted to white-suit statements by women showing power – not only by the marching and protesting suffragettes of the last century, but also by the current crop of female politicians in the United States.

Take a close-up look at the details in our Flickr album and read more about individual items on the show’s website.

Curator Emma McClendon gave a lot of thought to the visual cues, economic issues, and shifting societal backdrops for as she selected the items for this show.  Join her on a walkthrough to find out what lies beneath the surface of everyday, extravagant, and elemental clothing choices :

Status dressing – 1991 gold-plated necklace by Karl Lagerfeld criticized for its cultural appropriation of hip-hop street culture

Building a Retail Empire on Wearable Art

Vera’s 1950 silk “Fish Scroll” scarf, featured on the cover Harper’s

So many of the great female entrepreneurial success stories begin at the kitchen table, and the story currently being told by the Museum of Arts and Design (MAD) in Vera Paints a Scarf: The Art and Design of Vera Neumann, on view through January 26, is no exception.

Fashionistas today may be too young to remember when the American height of chic was to sport a scarf by Vera. Back in the Sixties and Seventies, Vera pretty much had a lock on the retail market for bold, colorful silk scarves through major department-store behemoths.

The exhibition is a tribute to a woman who took her love of painting, travel, nature, and culture to the wardrobe and accessory drawers of all fashionable American households, and ended up partnering with many top manufacturers to push her aesthetic and flare into mid-century modern homes.

Vera’s silk scarves, based upon watercolors, hung as art at MAD

Although her name is not well known by young people today, MAD’s exhibition is a fitting tribute to a woman who virtually invented the concept of “lifestyle” brand. It’s hard to believe that an aspiring artist born in Connecticut in 1907 would grow up and develop her company to pack such a punch in retail.

A graduate of Cooper Union and Traphagen in the 1920s, during the Depression, Vera and her husband set up a silkscreen on their little Manhattan kitchen table and began printing her paintings on surplus parachute silk. Within a few years, her beautiful silks were being retailed at B. Altman, Lord & Taylor, and other nice shops in the city. Her joyous prints were a success!

Vera’s 1960-1965 silk blouses with paintings of blue poppies and woodland images

Building her business through the war years, Vera took her first foray into fashion in the 1950s, creating tops and blouses that she came to market as “wearable art.” Rather than simply printing yards of repeating patterns, she went a step further – engineering prints in panels, so when pattern cutters and sewers assembled her shirts, her beautiful patters would strategically appear in the final product, enhancing cuffs, collars, edges, and hems.

Of course, everything was priced for the widest possible market, so a woman seeking a bit of fashion flair could buy a Vera without blowing her budget. She followed the art-plus-commerce philosophy – a Bauhaus innovation – and maximized accessibility of mid-century modern design by expanding into home textiles, tabletop accessories, and dishes.

1979 “The Birches” china dining set for Mikasa with matching tablecloth

As her business grew, Vera came to rely upon the next generation (Perry Ellis got his start with her) to keep the design development chugging along while she traveled to Asia and other parts of the world to feed the constant demand for new inspiration for her collections.

MAD has assembled a beautiful, loving exhibition of Vera’s output, showing how her original watercolor work made its way into her commercial ventures – scarves, clothes, and home décor. Perhaps most remarkable is that this powerhouse kept traveling, painting, and channeling joy into her textiles well into her eighties – an inspirational lesson in love of life, art, craft, and culture.

1971 “Northwest Coast” silk scarf

Thank you, Vera! Long may your prints wave!

And thank you to MAD for sharing Vera’s lifetime of creations and inspiring story!

See more photos of this wonderful exhibition in our Flickr album.

World-Class Design Inspired by Nature

Mischer’Traxler’s Curiosity Cloud installation

Visitors are immediately drawn into front room of the Carnegie Mansion to enter a magical environment in which insects appear to be fluttering inside hand-blown glass bulbs in the entry to Nature: Cooper-Hewitt Design Triennial, on display through January 20.

But it’s actually artificial insects that are creating the commotion, programmed to activate as a visitor approaches – all replicas of extant and extinct species of New York State created by Austrian design team Mischer’Traxler.

This Curiosity Cloud installation serves as the introduction to an expansive show that presents how innovative designers are applying new technical solutions inspired by nature to architecture, agriculture, textiles, construction materials, and robotics.

In cooperation with the Cube Design Museum in Kerkrade, Netherlands, the show highlights the work of over 60 international design teams who explore biomimicry, new materials, and artificial intelligence as they create solutions to climate challenges and sustainability in the real world.

2019 Fantasma garment by design studio Another Farm from transgenetic glowing silk

Among the highlights, shown in our Flickr album – textiles printed by rain and pigment-producing microbes, a fruit tree grafted with dozens of fruit varieties, a biodegradable Michelin tire, a personal food computer, and a robotic bionic ant programmed to interact autonomously with other similar ants, just like they do in real life.

The showpiece on the second floor of the exhibition is the concept garment by design studio Another Farm from transgenetic glowing silk, manufactured by Kyoto’s Hosoo textile company. The silk was engineered by injecting DNA from bioluminescent coral into silkworm eggs and using it to create the fabric. Visitors used special glasses to see the other-worldly glow.

Another favorite is the Cosmic Web project by Kim Albrecht, based upon the scientific research on 24,000 galaxies. Take a look:

To spread the good work, the Cooper Hewitt and Cube are installing a portion of the show at the World Economic Forum in Davos, Switzerland in January, hoping to inspire global thinkers to look into the future of possibilities for a changing world.

Listen as one of the Cooper-Hewitt curators introduces the exhibition and hear contributing artists talk about their work in a video produced by ALL ARTS as part of the documentary series Climate Artists.

Cardin Sees the Future Through Fashion

The Brooklyn Museum’s latest blockbuster fashion exhibition Pierre Cardin: Future Fashion, open through January 5, presents the work of a French designer who continues to be inspired by the belief that simplicity, design, and science are essential ingredients for a world that lives in peace, treats men and women equally, and looks to the horizon.

Geometric minidresses and men’s ensembles worn with tights and over bodysuits from the revolutionary 1964 Cosmocorps collection

Cardin came of age as a designer in the 1950s creating luscious swing coats, lasso-backed draped suits, and prim (but red-hot) looks for Jackie Kennedy. But he shot to “influencer” status in the early 1960s with unisex looks, bodysuits, collarless jackets for the Beatles, reliance on a fashion-forward Japanese model, turtlenecks (for men and women), hoods, felt helmets, and body jewelry – in other words, all the basic building blocks that would be used to clothe the crew of the Starship Enterprise.

1957 “lasso back” suit, 1968 bodysuit ensemble, and Cosmocorps photo with video showing the unisex Star Trek costumes it inspired in 1966

The Brooklyn show begins with a chronology of Cardin’s young life – soldier, costumer, and Christian’s first employee at the House of Dior in 1946 – but rapidly gives way to a sensational array of tubular, unisex clothing from his mind-blowing Cosmocorps collection, which had so much impact on Sixties culture. Take a look at our favorites in Flickr album.

1968 wool and vinyl minidress, 1966 aluminum statement jewelry, a 1970 wool crepe “Kinetic” dress, and Avedon photo of Penelope Tree wearing a 1968 evening dress and collar

Although several other European designers could be credited with the evolution of the miniskirt, no one channeled the Space Age like Pierre Cardin when it came to shape, form, and use of new fabrics and materials – lenticular plexiglass, vinyl, Dynel pressed into 3D forms and shaped for the body, and parabolic structures that underpinned evening gowns, men’s jackets, and skirts. Pierre even went so far as to visit Houston and slip on an Apollo 11 astronaut’s suit.

1969 lenticular plexiglass and vinyl “armor” dress, 1968 heat-molded Dynel dress, 2007 jersey coat and suit with rubber, and 1991 jersey evening ensemble with parabolic shoulders and hat

It’s clear that the Sixties and Seventies fashions in the show reflect what was going on in the art world at the time – bright, bold colors of Pop Art, pared-down minimalism, an embrace of non-traditional materials, and kinetic art. (Carwash dresses, anyone?)

Even Cardin’s forays into furniture design reflect his belief that his hand-made contemporary works genuinely functioned as art first and utilitarian additions to the home second.

1968 circle coat and hat, next to 1979 Junior Unit, and 1977 Serge Manzon lamp

The final gallery in the Brooklyn show is a darkened room populated with mannequins in shimmering gowns and suits, electrified dresses and sportswear, and pieces embellished with parabolic hoops and flourishes – sheer Space Age magic. Slight swoops across the space, framing the last 20 years of Cardin’s output with an other-worldly, visionary feel.

2008 evening dress with parabolic hem, 2003 evening gown with plastic tubes, 1994/2000 velvet evening dress with Swarovski crystals on the orbital sleeves, and 2013 silk/lame evening dress with Swarovski crystals

A surprise inspiration is the revelation that Cardin at 97 is still designing and looking toward the future.  His predictions? That people will be on the Moon in 2069 wearing his Cosmocorps look, women will be sporting tube clothing and Plexiglass cloche hats, and that men will be wearing kinetic tunics and elliptical trousers.  Why not?

Watch as the curator explains how Cardin envisioned the future…

…and why this retrospective of his work is just right right now: