How nine directors are transforming the metmuseum's period rooms for this year's MetGala
Panoramic View of the Palace and Gardens of VersaillesFashion Editor: Tonne Goodman.
Andrew Bolton—the Wendy Yu Curator in Charge at the Costume Institute—paired each director with rooms based on their work.
And what better way to narrate these stories than through that most American of art forms: cinema. “You’re dealing with nine different directors who have very different aesthetics and very different ways of working,” Bolton says. “You end up—and this is what I wanted—with something that is, in a way, discordant. It’s more dynamic.”
For many of the directors, the biggest challenge was working with actors that don’t move. “That makes it even more challenging,” notes Scorsese, who explained via email how proper blocking then becomes essential to his work here.
In the neighboring Greek Revival Parlor, Dash puts a spotlight on the Hungarian-born American designer Eta Hentz’s 1944 Grecian collection, fashioning her tableau as a take on Helen of Troy—influenced by Orson Welles’s 1950s theatrical production starring Eartha Kitt as Helen.” says Martin Scorsese, wearing a Rolex watch, here in the Frank Lloyd Wright Room amid dresses by James from circa 1960, 1955, and 1951.
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