Cooper Hewitt Serves Up Decade of Twenties Style

1923-1926 Callot Soeurs velvet evening dress, embroidered with pearls and metallic thread. Collection: MCNY

Booze-filled nights, cocktail artistry, designer scents, dancing the night away in half-hidden clubs, and high style provide the context for the Cooper-Hewitt’s gigantic show, The Jazz Age: American Style in the 1920s, closing on August 20. If you go, plan on spending some time contemplating two floors of beautiful things that made this decade a design stand-out.

From the time of New York’s first Armory Show in 1913, the appetite for primitive art, artistic dressing, and design innovations just kept growing. The end of World War I encouraged German, Austrian, and French designers to look west to find new markets and clients, and New York in the Twenties was ready for something completely different.

As the curators show, the trans-Atlantic influences, designers emigrating to New York from Europe, and newly liberated women enjoying the cigarettes, cocktails, music, and dance all added up to an explosion of change.

1927 silver coffee service, inspired by cubism and skyscrapers, designed by Eric Magnussen for Gorham

The Twenties became a watershed decade for innovations in fashion, jewelry, furniture, art, and design on both sides the Atlantic. View all the beautiful things in the show here.

The two-floor show is grouped by theme, chronicling the initial cross-pollination of new European designs into high-end American lifestyles and choices – modern geometric designs in diamond bracelets, hair bands replacing tiaras, cubism gone wild, the De Stijl and Wiener Werkstätte revolutions in design-think, and how everyone was interested in Frank Lloyd Wright.

1920s diamond geometric bracelet by Mauboussin with colorful clusters of rubies

New York high society could not get enough of the meticulous craftsmanship and new geometries in design emanating from Europe. If you had the cash, you traveled to Paris to scoop up designer duds and art glass, but the appetite for what each continent had to offer was a two-way street: Europe could not get enough of Josephine Baker, jazz, and New York’s new, ever-expanding skyline. The Jazz Age is loaded with vases, armchairs, and even a wastebasket drawing inspiration from super-tall buildings sprouting in Manhattan.

The show also highlights the craze for “primitive” elements of design, Egyptian motifs inspired by the discovery of King Tut’s tomb, and the stuff that started to be made when party goers discovered the joy of cocktails.

There are fabulous bracelets from Cartier worn by high-society style makers and celebrities (e.g. Mae West, Gloria Swanson) and perfume containers that doubled as collectible art.

1955 copy of 1918 Gerrit Rietveld chair, inspired by Frank Lloyd Wright

Couturier Jean Patou even commissioned a perfume presentation styled to look like a cocktail bar as a wink to the fact of Prohibition on the other side of the Atlantic. Of course, he offered ladies’ drinks when they came to his Paris salon, commiserating about alcohol deprivation in America.

The array of armchairs that have been assembled are a mini-exhibition on their own – from Gerrit Rietveld’s astonishing 1918 primary-color chair to Breuer’s iconic 1925 Barcelona chair to the 1929 steel-tube-and-rubber chair by René Herbst. It’s hard to look at them and see them as from an era different than our own today.

The curators make the point that a watershed moment in design was the 1925 Paris Exposition of International Arts. The excitement over the new designs was so intense that department stores in the United States offered to hold a traveling exhibition of 400 objects. After people across the US got a whiff of what new style was all about, the appetite for modern furniture, vanity table items, and textiles exploded.

1920s form-fitting “California” style wool knit bathing suit. Collection: Kent State

Clothing plays a role in the show, but the displays include more accessories and jewels. Beautiful evening dresses by Chanel and Callot Soeurs are featured, along with a pair of exquisitely preserved sparkly dancing shoes and a modern knit bathing suit that really revealed all of a woman’s curves.

Touring the show, you’ll learn how jewelry changed with the times during the Twenties. Shorter, looser-fitting dresses on ladies moving to the latest dance styles demanded longer, looser necklaces, or sautoirs, that swung in time to the music, too. More open T-strapped and ankle-strapped shoes were embellished to make those dance moves even more dazzling.

There’s a lot to the fashion story during this decade. Join two fashion historians and Cooper Hewitt curators, as they talk about the fashions of the Jazz Age in New York and Paris.

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When DIY Fashion and Couture Were the Same Thing

John Sebastian’s 1967 performance cape, jacket, and pants, which he tie-dyed himself

Imagine a time before designer logos, no one asked “who you are wearing,” and your sartorial status was ranked according to DIY embellishments and colorful, theatrical approaches to materials that telegraphed a strong social-political message.

The current show at Museum of Art and Design (MAD), Counter-Couture: Handmade Fashion in an American Counterculture, on display through August 20, is a tribute to the Sixties and Seventies when Hollywood, rock royalty, rich kids, hippies, and living-off-the-land types all marched to their distinctive fashion beats.

At Columbus Circle, two floors of fashion take you on a journey through hand-crafted masterworks of several copacetic subcultures who carried out the youth revolution over sixty years ago — acid trippers, antiwar protesters, peace-and-love advocates, commune dwellers, hashish users, Dashiki wearers, and the all-nature/all-natural advocates.

100% Birgitta’s crocheted 1969 Rainbow Ensemble with Large Pendant

In a war on conformity and Mad-Men style, the counterculture of Southern California, the San Francisco Bay, and the Village turned to wild color, hand-dyed fabric, tribal inspiration, oversize accessories, personalized embroidery, and repurposed materials to declare individuality and a better, more peaceful world.

John Sebastian’s tie-dyed cape, shirt, and pants on loan from the Rock and Roll Hall of Fame remind you that long before Gwen Stefani, rock stars once styled themselves and made their own clothes. Theatrics and performance was important, whether it was Woodstock, street theater, or East Village happenings.

Apple Cobbler’s Mickey McGowan made custom shoes and boots from brocade (no leather) and traveled with a suitcase full of client foot patterns, ready to spring into action whenever a rock drummer needed to replace his favorite footwear. In the late Sixties, the must-have item for starlets was a colorful crocheted seaside ensemble by 100% Brigitta.

Nina Huryn’s 1971 painted tooled leather jacket, typical of custom pieces she made for rockstar clients

Take a look at the installation views on MAD’s website, and then go in for a closer look on our Flickr album.

By the late Seventies, some clothing artists, such as K. Lee Manuel, were making one-of-a-kind pieces and selling them through small wearable-art-style shops. Others like Nina Huryn continued doing custom pieces for Elton John, Freddie Mercury, and other rock superstars. At least one — Christopher Crookedstitch — had a team of craftspeople staining homespun cotton, making self-fringe, and applying beads in a teepee workshop.

On the other hand, you might just do your own thing, such as the hand-embroidered, appliqued U.S. Army coat made as a protest or the highly studded and embellished Levis jacket that transformed a machine-made uniform into a work of art. MAD shows a small collection of winners from its 1973 Levis contest (when it was still named the American Craft Museum).

1970 man’s vest from a rice sack by Sandra Van Meter, who dressed her family in humble handmade clothing

Although the clothing isn’t as flashy, the exhibit showcases the caftans and simple linen clothes favored by less-is-more commune dwellers. Although the curators feature some fairly fancy embellished pieces by designer Alexandra Jacopetti Hart, they also note that she founded the home-sewing pattern company, Folkways, which offered a template for anyone to take a slightly historical style (think pioneers and buccaneer shirts) and craft it into their own personal statement.

The do-it-yourself component is only emphasized by a framed Simplicity pattern from the Seventies.

Don’t miss the spectacular tie-dyed panels by Marian Clayden, who also had a fashion label and designed all the textiles for the original production of Hair. Although it’s not a technique in fashion today, confronting work by this master will let you experience why the mystery and transcendence of her craft led so many to get out the Rit dye and try it at home.

Close up of tie-dyed hanging by Marian Clayden

Thanks to the Bellevue Arts Museum in Washington State, who originated the show.

MoMA Makes Space for Women 70 Years Later

Epic 1966 Gaea painting by Lee Krasner

This show never happened…until now. Over the years, MoMA has been collecting the work of female artists, but in their prime, only a few had the chance to reach a wide audience, and certainly back in the Fifties this group would not have been assembled for an all-woman show.

MoMA corrects this oversight and gives these women the attention they deserve in Making Space: Women Artists and Postwar Abstraction, closing August 13.

MoMA has burrowed into its collection to present the work of female painters and sculptors who largely worked in the shadows of the dominant male artists of the Fifties and Sixties, both in the United States and abroad.

Grace Hartigan’s 1957 Shinnecock Canal

The curators have segmented the artists by style, and it’s fun to discover better-known favorites alongside some women that you simply have never heard of. The first part features large ethereally stained canvases by superstar Helen Frankenthaler and swooping gestures by Lee Krasner (pretty in pink).

The gallery also showcases lesser-known Lebanese-born abstractionist Etel Adnan and Grace Hartigan, who briefly attempted to get her work into galleries by letting dealers think that “George” Hartigan did them. Grace did OK, however, becoming the only female painter that MoMA included in its Fifties European touring show New American Painting.

You can almost imagine critiques like “too feminine” and “paints like a girl” being uttered over shots at the Cedar Tavern. Joan Snyder was not ashamed to say that she drew inspiration from nature – instead of internal angst. Super-minimalist Agnes Martin did the same, drawing inspiration for her thin pencil grids from the majesty and stillness of nature.

Close up of Agnes Martin’s 1964 oil and pencil Big Tree

The “geometric” gallery is where the show expands away from New York’s home base to feature more of the Latin American contingent, like Venezuelan sculptural innovator Gego, a German refugee born Gertud Goldschmidt, and Cuban-born Carmen Herrera. Carmen, who lived in Paris and other world capitals, didn’t sell her first painting until 2004 when she was 89. To put that into perspective, black-and-white paining in MoMA’s collection was done in 1952. Well, at least the Whitney gave her a one-woman show this past year.

The curators hit a home run by also including textile artists and designers like Bauhaus artist Anni Albers and sculptural innovator Sheila Hicks. Seeing these and the process-art artists together is a treat – Eva Hesse and Polish art megastar Magdelena Abakanowicz. Both use found objects but Eva used industrial materials to create ephemeral sculptures and installations; Magdelena took lowly sisal and created a monumental textile presence.

On our Flickr album, we’ve arranged photos of the works in the show chronologically, so it was surprising to find that some of the earliest pieces of abstract art in the show were the 1951 bowl chair by Brazilian designer Bo Bardi and 1950 Stone on Stone textiles from Vera.

Two versions of Vera’s 1950 Stone on Stone pattern — prints on linen and silk by commercial manufacturers for the home market

Anyone decorating a home or buying a headscarf in the Fifties and Sixties knew of Vera, one of the first one-name household design names. The curators make a point to note that by hiring contemporary designers, commercial fabric houses were able to disseminate abstraction throughout the United States in curtains, upholstery, and daily items.

Big-time abstract painting and sculpture – whether expressionist, geometric, or minimal — might have been dominated by the guys, but the democratization of abstraction in the way of dress fabric and curtains was a realm that made female designers into brands.

To learn more about many of these innovators, listen in on MoMA’s audio tour via their website or app.

Here’s a quick spin through the show with curator Starr Figura here:

The Woman Behind the Beautiful Bags

Judith channels the era of the space race with a futuristic smoky Lucite egg with gold frame and chain, 1968

You’ve seen them on the red carpet, in the hands of First Ladies, and gleaming cases at Bergdorfs. Tiny glittery sculptures sized to fit in the palm of a hand.

The show at MAD, Judith Leiber: Crafting a New York Story, which closes August 6, gives a well-deserved look at the innovator behind these creations, showcases the many ways Leiber elevated the evening bag, and tells a dramatic story of how an immigrant came to the United States with technical knowledge and flair for an up-to-then unexploited corner of the accessories market.

Take a walk through the show with our Flickr album.

The exhibition in MAD’s Tiffany galleries is an ethereal, low-light showcase of some of Leiber’s most dazzling creations. Putting the primary focus on her lifetime output of handbags-as-art, her life story is conveyed discretely in an understated corner through a few photos and an illuminating timeline.

Leiber’s 21st century Mondrian-inspired bag, 2000

Growing up in Budapest, Judith went to London to take liberal arts courses and intended to study chemistry there to enter the booming European cosmetics business. But the 1939 outbreak of World War II forced her to go to Plan B – sticking close to home and working with the Hungarian luxury brand, the House of Pessl, learning the craftsmanship of fine ladies’ handbags.

As the show notes, with the advent of train travel and emphasis on ladies’ luggage, handbags became a fashionable accessory in the mid-to-late 19th century. With its spas, lavish restaurants, and pastry palaces, Budapest catered to the aristocratic trade in just about everything, including carrying cases and bags. Leiber was in a good spot to learn from the best and became the only female member of the local handbag guild.

Presented to Hillary Clinton in 1997 for her husband’s second inaugural.

When Germany took over Hungary in 1944, she and her family were relocated to a ghetto where they endured economic deprivation and witnessed persecutions that came to an end when Russia liberated the city in 1945.

Channeling her skills into creating bags for military buyers, Judith met and married a member of the U.S. Army Signal Corps – Gus – who would take her back to New York, encourage her to start her own business, and eventually run her company.

Her big break in the New York Garment District was supplying a handbag to First Lady Mamie Eisenhower at her husband’s 1956 inauguration. Although Judith was working for designer Nettie Rosenstein, everyone heard about the Judith Leiber-designed handbag and she made a splash.

Leiber’s first rhinestone bag 1967 – an ingenious solution to hide a discolored brass frame

Ten years later, Judith began her own handbag company. Good thing that she was able to do it all, from making a pattern, to designing the frames, and executing it all right down to the finish. When a brass frame arrived in her workshop with surface defects, she had the idea to cover the defects with rhinestones, and launched the look that would distinguish her at inaugural balls, New York society galas, and Hollywood premieres – the jewel-encrusted minaudière.

The side gallery is packed with her signature pieces, crystal-covered minaudières crafted to resemble animals, food, and Chinese-inspired dressing table items. On the other side of the exhibition is a small case with wax sculptures by Lawrence Kallenberg, who worked a lifetime with Judith to create the 3-D templates that the Italian foundry uses to fabricate the brass cases.

The exhibition is a beautiful display of her lifetime of work, featuring both the first bejeweled bag and her last design in 2004, emphasizing the inspiration she took from 20th century artists and textiles of world cultures. Among the most stunning creations are bags made from embroidered antique obis, Asian ribbons, and even American patchwork quilts.

Penguin minaudière, 1991

Suspended in air and shown off in mirrored cases, the curators create a mood that allows visitors to contemplate how Leiber’s eye, wit, and skill transformed the lowly carryall into a lifetime of unique, ingenious, dazzling art.

See the beautiful bags here.

Georgia O’Keeffe’s Always-Modern Style

Modern black-and-white dressing even in 1917. Photo: Stieglitz.

Like any home sewer, she was fond of certain fabrics and put a lot of love and care into crafting something she wore (and wore out) through important decades of her life.

In Georgia O’Keeffe: Living Modern, on view at the Brooklyn Museum of Art through July 23, you will experience the pristine care this home sewer gave her hand-tucked tunics for over 60 years after she made them – crème silk, tiny stitches, thin bow ties, and shortened hems, all from the 1920s.

Brooklyn’s had a blockbuster season with this O’Keeffe show. It’s where Georgia had her first museum show in 1927, when she was a fixture on the high-art scene in New York, wearing a dramatic evening wraparound coat with rainbow-surprise lining – an upscale step from the loden cape that was her signature look a few years earlier.

Although many knew her for her Southwestern landscapes, she studied at the Art Students League and got her teachers training at Columbia in New York City. Only then did she take a teaching gig out west at Texas A&M. Stieglitz, her future husband was already showing her work in New York.

Clean lines of handmade silk dresses that Georgia made in the early 1920s.

For years, Georgia lived in Midtown, not too far from Bergdorf’s and other fancy shops. Although she chose an austere, modern look, the proximity to luxury and knowing the detail behind how elegant clothes was part of who she was.

Glimpse items from the show on our Flickr feed.

Once she moved out west permanently after Stieglitz passed, she adopted a select portfolio of western wear – denim shirts, 501s or Lady Levis, and rubber-soled PF sport shoes. No crazy fringe or cowboy frou frou.

Although there are no photos of it in the show, the curators say that her iconic adobe home featured mid-century modern furniture. It’s interesting how she kept up with modern fashion and surrounded herself with sophisticated, sleek lines from her remote perch in New Mexico’s redlands.

Working McCardell and a concho belt in this 1956 Todd Webb photo

She acquired one of the first Puccis sold in the United States – a stark black-and-white “chute” dress — and had a beloved collection of Marimekko and Clare McCardell sport dresses. She felt that McCardell was the greatest designer America had ever produced. So much so, she had the designs copied by local seamstresses.

Georgia’s trips back to New York included stops at Bergdorf’s and at her favorite old neighborhood tailor. Although she wasn’t sewing anymore, she invested a lot of effort to work with meticulous artists who could fashion austere black wool suits into the perfect expression of her, with just a subtle detail added her or there.

The paintings, clothes, and photographs coexist throughout the show, informing your vision of one of the most famous artists of the 20th century.

It’s quite remarkable to realize that every great photographer (in addition to her husband) sought her out (or received an assignment) to capture her no-nonsense image – Ansel Adams, Bruce Weber, Richard Avedon, and Annie Liebowitz.

Sparkling 1980s Warhol shows how Andy feels about Georgia.

Appropriately, one of the highlights is the miniscule Polaroid that Andy snapped of Georgia some time in the Eighties. Her head is closely wrapped in her signature black scarf and she’s as serious-looking as she can be. Andy used it as the basis of a photo-silkscreen portrait that he sprinkled with diamond dust, which gives it an Interview magazine quality.

The piece is surrounded by fashion multiples, large-scale portraits by other famous photographers, big painted abstractions, and multiple images where she sports her Calder art-piece brooch. Her all-knowing, of-the-moment glittery visage peering out of the Warhol frame shows Georgia right in tune with the the modern, changing times.

Watch this brief overview of the show:

Georgia’s multiples from the 1960s — Balenciaga suit, copies, and custom pieces and slacks.

How to Build an Empire at The Met

Close up of Qin chariot horse replicas (221 – 206 B.C.). From: Qin Shihuangdi Mausoleum Site Museum, Lintong

You can’t take it with you, or can you? The Chinese emperor with the terra cotta army thought so. See for yourself in Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C-A.D. 220), on view through July 16 at the Met.

There are only a few horses and men from that monumental undertaking on display, but the terra cotta visitors are stunners. They and the other luxury and art objects on loan from 32 museums and archeological institutions in China provide a vivid look into the culture and pride of a people who were just forming an identity as a nation in 221 B.C. Previously, the Chinese continent consisted of warring ethnic tribes.

Heavenly Han horse and military groom in bronze (25 – 220 A.D) from Mianyang City Museum.

About a century earlier, classical Greek style, art, and ideas washed over Europe and Asia due to Alexander’s empire-building success. At the time of the Qin dynasty, when the Great Wall was being built, scholars wonder whether the Chinese emperors had seen (or heard about) large-scale classical Greek sculptures and asked their artists to out-do their Mediterranean counterparts.

Why not build full armies, cities, entertainment troupes, cavalries, and watch towers and bury them in tombs of the emperors, princes, and princesses to serve them in the after life? Like the Egyptians, the Qin and Han emperors and princes wanted a lot of stuff to use in the afterlife. But unlike the Egyptian style, it was all about personality.

Each large-scale sculpture is imbued with individual flair in their apparel, expressions, hairstyles, and weapons. If you listen to the audio guide, the curators tell us that the large-scale terra cotta armies were mass-produced using molds, but the artists were told to give each sculpture-person a dose of individuality before they were done.

Terracotta cattle (206 B.C. – 9 A.D.) from the Yangling Mausoleum.

That holds true for the animals in the show, too. The Han dynasty had a thing for beautiful, spirited horses and the center gallery in the show displays some beauties. Grooms come along, too.

Apparently the conquering Han rulers kept menageries and ranches, as seen in the show’s room full of rhinos, elephants, cattle, pigs, and animals-turned-into-art-lamps. There’s a twinkle in each of their eyes, too.

Another highlight is the jade suit made for a princess, which was supposed to form added protection in the afterlife. Another is the money tree. Who wouldn’t want one of those?

The show’s objects reflect how many tribes and influences crossed paths over the course of the Han dynasty (think Silk Road) to create the modern view of a single, all-encompassing Chinese culture – diverse textiles, gems, inventions, and ideas.

Han Dynasty belt buckle (206 B.C. – 220 A.D.) from Xinjiang Uyghur Autonomous Region Museum

The final object, a bronze mirror from the Han dynasty, reflects it all – the first recorded inscription expressing the desire for the peoples of the “Central Kingdom” (a.k.a. China) prospering for generations to come. It’s the earliest inscription to reference many ethnic groups considering themselves as one people, one China. 

Take a look at all the objects in the collection on the Met’s site, or look at our favorites on Flickr.

Browse through the catalog to see more spectacular stuff that Han dynasty emperors just had to have:

 

Scraps = Fashion Design

Poly “fabric” and tote by Milan’s Luisa Cevese, featuring artfully arranged clumps of recycled silk thread.

On Earth Day weekend, there’s no better place to contemplate beauty, fashion, and style than walking through the Cooper-Hewitt’s show “Scraps: Fashion, Textiles, and Creative Reuse,” on display through April 23.

The curators decided to shine a spotlight on several designers who have been inspired to probe ways in which cast-offs from garment and fabric manufacturing can be turned into fashionable, beautiful items so that the ever-churning cycle of production can become more of a closed loop and rely less upon consumption of raw material.

Luisa Cevese, a Milan-based designer who worked in research for Italy’s high-end silk industry, wondered if there was a way to recycle the waste from the production process – large quantities of silk selvedge (ends) and assorted silk threads thrown off from the looms. The Smithsonian shows us a collection of her results – waterproof polyurethane bags featuring these colorful production scraps in stripes or whimsical arrangements. Take a look at the Flickr album.

Christina Kim’s choga and slip made from recycled hand spun, hand woven cotton saris.

Luisa was encouraged and inspired by the attitude toward recycling in India, where no one can afford to waste the precious fabric used in saris. When someone’s done with an old, worn-out sari, they are cleaned, repaired, and refashioned for buyers on the secondary market. Hems might be shortened, or other alterations made. Luisa gave the same treatment to these bits of exotic silk – embedding scraps into polyurethane for re-use in other items.

Christina Kim, based in Los Angeles, has long worked with local artisans in India and Mexico to repurpose scraps into full garments and scarves so that there is zero waste. Her approach represents a commitment to sustainable fashion that is not out of sync with other, more large-scale manufacturers. Check out some of the processes used on the exhibition site.

Watch this video of a recent conversation between Eileen Fischer and Patagonia’s Nellie Cohen at the Cooper Hewitt about how their clothing companies are reusing textiles and innovating a “closed production cycle”.

Adrian Goes Beyond Hollywood at FIT

1949 Vogue magazine spread with Adrian’s dress of Bianchini-Férier silk taffeta

The FIT graduate students have hit the mark again in their show Adrian: Hollywood and Beyond, running through April 1 at the upstairs museum gallery.

Although there are film clips aplenty showcasing the Hollywood designer’s work, this exhibition explores the connection that Adrian made between his work on the silver screen, his collaboration with American and French fabric designers, and addressing the ready-to-wear market.

After achieving worldwide recognition for his glamorous Hollywood costumes and the iconic Americana gingham dress in The Wizard of Oz, Adrian thought he might go slightly more mass market. Why not capitalize on the ability to channel an American sensibility and Thirties glamour and make it more widely accessible?

Organic piecing in an artistic 1945 ready-to-wear evening ensemble

A lover of art and fan of surrealism, Adrian opened his first salon in Beverly Hills in 1942 and collaborated with American fabric manufacturers to give the added zing to his collections.

Right from the start, Adrian offered customers amazing cuts on sharp suits, intricate construction (go, mitered seams!), fool-the-eye appliques, and exquisite draping of innovative, bold prints.

The curators cleverly present swaths of uncut fabric next to print ads featuring Adrian’s creations using the same bold designs – leopard print, surrealist-inspired fantasy, and even festive chickens from the farm. It’s all flair from start to finish, and a nice focus on a time when fabrics were made in America, Seventh Avenue (and Hollywood) ruled, and consumers craved quality.

Although Adrian continued designing for Hollywood right through his ready-to-wear years, the show ends with Technicolor clips from films that include dramatic fashion shows featuring fantasy clothes for beach, sun, and salons.

1952 fashion-show costume from Lovely to Look At

As always, the FIT student crew has created a beautiful web exhibition for the show, but you can also look closely at the details on some of our favorite Adrian flourishes and fabrics in our Flickr album.

Great work, FIT graduates!

Magical Masterworks End Tour at Met

Boy’s 1870-1900 hide shirt decorated in glass beads in geometric pattern by female Crow artist

Exquisite detail and spiritual power are evident in every item showcased in the Metropolitan’s show, Native American Masterpieces from the Charles and Valerie Diker Collection, closing March 31.

The Dikers have spent a lifetime collecting objects of incredible detail, spirit, and beauty and sharing truly dazzling works with the public, most recently in the Indigenous Beauty show which ends its national tour here in New York.

Every time we have visited the small showcase inside the Met’s African and Mesoamerican galleries, visitors have been pouring over every detail of the weave, beadwork, paint, inlay, and woodcarving on the masks, clay jars, baskets, shirts, coats, hats, headdresses, war shields, and hide canvases on display.

Magical colors, geometric patterns, attached talismans, and even mysterious paint splotches pack powerful messages as animals, spirit-creatures, and half-human beings emerge in two and three dimensions.

1840s man’s European-style hide coat created by a female Naskapi artist in Labrador

The majority of artwork and clothing dates from the 19th and early 20th centuries, but pieces are earlier, such as a nearly perfect Anasazi clay pot from 1100 A.D., which uses geometric 2-D wizardry on the curved surface to convey the interconnection of underground water reservoirs that enable agricultural communities to thrive in the Southwestern desert.

Native designs and magical powers are sometimes merged with European style, as in a man’s painted hide summer coat, which was created by a female Naskapi artist from Labrador, Canada. Designed inspired by European coats, with images for a good hunt, but worn by the hunter for only one season

The curators have taken care to cite the artists in cases where they are known, such as an1880s buffalo-hide shield painted by Joseph No Two Horns, a Lakota artist who participated in the 1876 Battle of the Little Bighorn.

1910 woven quilled basket and 3D lid by Elizabeth Hickox of Northern California

The show puts a spotlight on innovators, who began making monumental works for collectors, such as the large pottery jar by Nampeyo, the first well-known Hopi artist and Elizabeth Hickox, who became known for her three-dimensional embellishments in woven basketry in Northern California.

Enjoy all of the details of our favorites from this show in our Flickr album.

All in the Details: The Met’s Fashion Masterworks

French 1790s tailcoat with ombré silk satin stripes, typical of young men’s post-revolutionary fashion

French 1790s tailcoat with ombré silk satin stripes, typical of young men’s post-revolutionary fashion

When the Met unpacks masterpieces from its costume collection and talks about its acquisition strategy of late, it pays to take a very close look.

To celebrate 70 years of the Costume Institute, the Met has showcased its recent acquisitions in Masterworks: Unpacking Fashion, beginning with the 18th century when fashion-forward meant exquisite textiles, weaving, embroidery, and tailoring. In those days, all the rich textiles were loomed by hand.

The crisp, clean dresses and dressing gowns on display are in superb condition, showcasing the skill taken in the smallest jacquard, sheen, stripe, set-in sleeve, and pannier. See what we mean as we zero in on the fine details in our Flickr album.

Look closely and you’ll see the 18th-century silk gown embellished with three types of silver thread to maximize its glitter power by candlelight. Enjoy the dazzling stripes of post-Revolutionary menswear and gender-referenced ladies’ jackets.

Poiret’s 1911 kimono-inspired draped silk damask opera coat embellished with silk cord

Poiret’s 1911 kimono-inspired draped silk damask opera coat embellished with silk cord

The 19th-century was all about the rise of the designer label, even though ready-to-wear was rearing its head by the turn of the century. The Met showcases a gem acquired from the Brooklyn Museum collection in 2009, a butterfly gown by Worth, the first designer who truly became a household name. Check out the handwork on those butterflies.

In 1903, Poiret began a two-year stint at Worth, but recognized that as he saw well-heeled clients in crinolines, bustles, and coronation-worthy garb, a new revolution in style was percolating.

In record time, Poiret founded his own fashion house, offering women more ease and artistry as they adopted a more liberated, 20th-century lifestyle. Poiret’s 1911 opera coat shows his unique combination of luxurious fabrics, the column-shape kimono look, and bold artisan knotting for women looking for a fashion-forward twist.

Azzedine Alaia’s 1994 slinky, downy knit dress next to its inspiration, “La Sirene” (1951-52) by legend Charles James

Azzedine Alaia’s 1994 slinky, downy knit dress next to its inspiration, La Sirene (1951-52) by Charles James

Nearby, Madame Vionnet’s transparent Twenties frock with Futurist embroidery still looks right today.

Throughout the show, closing this weekind, the Met pairs contemporary looks with the more classic and iconic styles that inspired them –  Galliano with 1780s French dandies, the 2015 House of Dior with the original “New Look,” and Alaia next to Charles James. How does Mr. James do it? A close look at the pairings reveals new takes on pleating, finely turned collars, custom-created textile, and engineering marvels.

Look at Balenciaga’s perfectly cut minimal silk gazar dress that billows out as one enters a room. Or Thom Browne’s masterful appliques on men’s and ladies’ looks from last year. Or Sarah Burton’s fool-the-eye butterfly dress for McQueen. The wings are really feathers.

Sarah Burton’s 2011 McQueen dress uses feathers cut, dyed, and painted to resemble butterfly wings

Sarah Burton’s 2011 McQueen dress uses feathers cut, dyed, and painted to resemble butterfly wings

Many stunning recent works were donated by designers to honor the retirement of legendary Met curator Harold Koda, who turned over the reins of the Costume Institute to Andrew Bolton. What a tribute!

Donatella donated a reproduction of her brother’s iconic safety-pin dress. Comme des Garcons donated a mind-bending crochet-and-lace frock by Rei Kawakubo.

Visit the exhibition site to see the gallery installations, check out the Flickr album for details, and join assistant curator Jessica Regan in a brief video overview of this exquisite show.