Iris van Herpen. Sculpting the Senses - du 29 November 2023 au 28 April 2024 Sølve Sundsbø for Iris van Herpen. Hypersonic Speed Top, Capriole Collection. 2018 Iris van Herpen private collection © All rights reserved Held at the Musée des Arts décoratifs, from 29 November 2023 to 28 April 2024, the exhibition Iris van Herpen. Sculpting the Senses pays tribute to one of the most forward-thinking fashion designers. A pioneer in the use of new technologies in her discipline, Iris van Herpen transgresses conventional clothing norms, while embracing both traditional Couture craftmanship and innovative techniques. Ranging from micro to macro, the exhibition questions the place of the body in space, its relationship to clothing and its environment, and its future in a rapidly changing world. A selection of over one hundred haute couture pieces made by Iris van Herpen dialogue with works of contemporary art, by artists like Philip Beesley, the Collectif Mé, Wim Delvoye, Kate MccGwire, Damien Jalet, Kohei Nawa, Casey Curran, Rogan Borwn, Jacques Rougerie and design pieces by Neri Oxman, Ren Ri, Ferruccio Laviani, and Tomáš Libertíny, in addition to items from the spheres of the natural sciences, such as skeletons and fossils, thereby instilling a unique resonance with historical pieces. The exhibition will be presented in the Christine & Stephen A. Schwarzman Galleries, and curated by Cloé Pitiot and assistant curator Louise Curtis, with the scenography entrusted to the Studio Nathalie Crinière. Presentation Metamorphoses of the body Under the skin In a body-to-body movement Biography of Iris van Herpen Themes #Expo_IrisvanHerpen Curators • Cloé PITIOT, Curator, modern and contemporary department • Louise CURTIS, Assistant curator, modern and contemporary department Scenography • The NC Agency The exhibition is made possible by Lizzie and Jonathan Tisch, Lauren Amos, Jordan Roth, and the Friends of the Musée des Arts Décoratifs. Additional support is provided by GRoW @ Annenberg. With special thanks to Regina and Gregory Annenberg Weingarten. The catalogue is made possible by Krystyna Campbell-Pretty and her family. In collaboration with Hans Boodt Mannequins and with the support of the Embassy of the Kingdom of the Netherlands. Presentation Warren du Preez & Nick Thornton Jones for Iris van Herpen, Cosmica Dress, in collaboration with Kim Keever (print), Shift Souls Collection, 2019 Iris van Herpen private collection Iris van Herpen, Ensemble n°11, Crystallization collection, Netherlands, 2010 3D-printed polyamide bodice and skin skirt adorned with acrylic fringes. Inv. 2018.43.1.1-2 © Les Arts Décoratifs / photo: Jean Tholance Born in 1984, Iris van Herpen grew up in the village of Wamel (Netherlands) in harmony with nature and the living world, which are, along with the classical dance she practiced intensively from an early age, the founding elements of her relationship to the body and clothing. After a formative period with Alexander McQueen and Claudy Jongstra, she founded the Maison Iris van Herpen in Amsterdam in 2007, combining the subtleties of craftsmanship with the pioneering spirit of innovation, decompartmentalising and opening up her practice to a host of other disciplines, resulting in sensorial design that capture the intricacy and diversity of a natural world. Four years later, she joined the Chambre Syndicale de la Haute Couture in Paris. The year 2010 marked a turning point in her career: she presented her first 3D-printed dress from the Crystallization Collection, currently conserved by the Musée des Arts décoratifs. In the manner of the iconic piece made in collaboration with Daniel Widrig and the Materialise company, Iris van Herpen contemplates fashion as an interdisciplinary language and a dynamic entity, the result of the cross-pollination of various fields: art, chemistry, dance, physics, architecture, biology, design, and technology. By collaborating with creatives and thinkers of all stripes, she seeks to challenge our notions of Haute-Couture. Conscious of the issues of her time, for the past number of years, she has privileged eco-responsible manufacturing methods, as evidenced by certain creations made from recycled plastic or 3D printed cocoa beans. In 2012, the Groninger Museum devoted a first major exhibition to her work. Today, Iris van Herpen is internationally recognized as one of the most remarkable and surprising fashion designers of her generation. Rogan Brown, Fallen Angel Wings, 2014 © Rogan Brown Art Iris van Herpen’s commitment to slow fashion and thoughtfully allow her multidisciplinary to transcend boundaries, inspiring a reimagining of our relationship with fashion and extending the realm of imagination. Celebrating her unique approach, this retrospective, organized around nine themes, identifies the essence of her work, merging fashion, contemporary art, design, and science. The theme of water and the origins of life, omnipresent in the designer’s work, opens the exhibition. Her latest collection, entitled Carte Blanche, showcased in this space, dialogues with David Spriggs’ work Origins, literally inviting the visitor to immerse themselves in the designer’s aquatic universe. Water is also touched on in terms of the scale of the immensity of the ocean with the wave realized by the Collectif Mé. A special space reveals the natural environments invisible to the naked eye already unveiled in the 19th century in the illustrations of Ernst Haeckel or in the remarkable glass models by Léopold and Rudolf Blaschka. Works by Ren Ri and Tomáš Libertíny, made by bees, contrast with the fragility Rogan Brown’s paper works. Luigi and Iango for Iris van Herpen, Skeleton Dress, in collaboration with Isaie Bloch, Capriole Collection, 2020 Iris van Herpen private collection © All rights reserved The theme of the skeleton is inaugurated by the Skeleton dress echoing the hybrid skeleton of a work by Japanese artist Heishiro Ishino. The place of the body is also evoked at the heart of organic and architectural networks, represented by means of a dress, a metaphor for a Gothic cathedral, but also by Ferruccio Laviani’s Gothic cabinet, and a documentary by Yann Arthus- Bertrand and Michael Pitiot entitled Terra, committed to the defence of life and the interconnections between ecosystems. Next, visitors are invited to leave the physical dimension of their body to explore the sensory world and through photographs by Tim Walker, a sculpture by Matthew Harrison. Finally, the shadows of mythology around the theme of the medusa created by Phillip Beesley enter into a dialogue with works by Kate MccGwire, EcoLogicStudio and a piece of Samurai armour. In the next section dedicated to new nature, the installation Living Shadows by Beesley comes to life as a derivative of physical dress and infiltrate its surroundings. An installation by Casey Curran offers a reflection on the place and the physical and spiritual future of human beings. Kim Keever, Abstract 46682, 2019 © Kim Keever The exhibition ends with a presentation of Iris van Herpen’s works as if projected in the immensity of the cosmos. Her dresses dance across the sky, with bodies floating through space and time. The photographic works of artist Kim Keever, as well as images of nebulae encourage visitors to experience the world in a more holistic fashion. Three spaces bring the exhibition to a close: an evocation of Iris van Herpen’s studio, in which vistors are immersed into the atelier process through hundreds of material samples, a cabinet of curiosities presenting her accessories (shoes, masks, and hairstyling items), alongside elements from the natural sciences and videos, and a room celebrating the living and moving body through videos of the designer’s catwalk shows. The exhibition is accompanied by a sound composition created by Salvador Breed, which challenges the senses and further immerses the visitor in this journey around the body and the themes close to the designer. David Uzochukwu for Iris van Herpen, Hydrozoa Dress, Sensory Seas Collection, 2020 Iris van Herpen private collection © All rights reserved Carla van de Puttelaar for Iris van Herpen, Various collections, 2020 Iris van Herpen private collection © All rights reserved David Uzochukwu for Iris van Herpen, Sensory Seas Dress & Nautiloid Dress, Sensory Seas Collection, 2020 Iris van Herpen private collection © All rights reserved Much more than an exhibition devoted to Haute Couture, Iris van Herpen: Sculpting the Senses takes visitors on an immersive journey through this singular and hybrid universe, punctuated by the designer’s research and experiments. Metamorphoses of the body By Cloé Pitiot ris van Herpen, in collaboration with Daniel Widrig and Materialise, Crystallization top and skirt, “Crystallization” collection 2010 3D-printed polyamide (Selective Laser Sintering), eco-leather, nylon © Les Arts Décoratifs / Christophe Dellière Excerpts from the catalogue. Papi (foundry), Italy, Perseus showing Medusa’s head Florence, late 19th century, After the original work by Benvenuto Cellini, 1545, Italy Bronze with brown patina © Les Arts Décoratifs / Christophe Dellière Iris van Herpen […] is a designer with a mind as prolific as it is rigorous. She holds a very special place in the history of fashion. The range of her research and experimentation aims to uncover the mysteries of the human body. Dynamic tension, fluidity, delicacy and complexity, as well as poetry and philosophy: these are the main elements of the dialogues she establishes between body and clothing, which allow her to convey a new, rich, enthusiastic perspective on the world to come. A world where body, mind and soul engage in invisible, yet increasingly intense, communication. Since 2007, Iris van Herpen’s creations have been disrupting the codes of fashion and opening doors to universes seemingly unrelated to her discipline. Her insatiable curiosity leads her to explore distant domains, drawing inspiration from contemporary art, architecture, the life sciences, art history, alchemy and mysticism alike. […] She expertly wields both traditional craftsmanship and cuttingedge technologies. […] Her encounters and collaborations with creators, past and present, constitute forays into uncharted territories, constant self-examination and unparalleled perspectives, intended to disrupt the established order and the foundations of fashion. […] The natural world, as well as classical and contemporary dance, which she practised intensively from a young age, are foundational elements of her relationship with the body and with clothing. […] She is fascinated by the water, which is visible everywhere from her studio and which she crosses every morning to reach her workplace. From this harbour, she draws an infinite universe of intuitions. As Gaston Bachelard, ‘[...] Water is also a type of destiny, not just the vain destiny of fleeting images, the vain destiny of a dream that does not end, but an essential destiny that constantly transforms the substance of the being.’ And it is possible that this close relationship with water, its multiple states and its ability to metamorphose, allows Iris van Herpen to transpose the philosophy of this element into her creations. From the tiny raindrop fallen from the troposphere to the vastness of the ocean, she amplifies the play of scales and takes constant leaps between the infinitely small and the infinitely large, between the past and the present, between today and tomorrow, between a world that is suffering and another world that is still to come. She creates for physical, mental, emotional, ethereal bodies, seeking to trigger a dialogue between the body and the senses – and all through clothing. Her dresses are an invitation to enter a society in full transformation, to experience sensory and extrasensory experiences. Iris van Herpen, in collabor…