Iris Van Herpen's exhibition at the Brooklyn Museum, titled 'Sculpting the Senses', is a captivating exploration of the designer's unique approach to couture. This article delves into the exhibition's key themes, offering a fresh perspective on Van Herpen's work and the broader implications of her artistic vision. From the microscopic to the macroscopic, Van Herpen's creations are a testament to the designer's ability to blend science, nature, and technology in innovative ways.
One of the most striking aspects of Van Herpen's work is her attention to touch and interdependence. The designer's garments are not just clothes; they are sculptures that hover around the figure, branch across the torso, and lift away from the skin. This is where the concept of 'Radical Softness' comes into play, as Van Herpen treats the body as part of a larger ecology, shaped by water, air, sound, dreams, and mineral growth. In my opinion, this approach is particularly fascinating because it challenges the traditional notion of clothing as a mere covering, instead presenting it as an act of sensing one's place inside a wider field.
What makes Van Herpen's work truly remarkable is her process. She begins with material before silhouette, allowing the garments to grow from material behavior. This method is a testament to the designer's deep understanding of the relationship between material and form. During the exhibition's preview, Van Herpen spoke about the importance of handwork and time in her process, describing couture as an evolving language. She believes that historic techniques gain new energy when they meet present-day tools and materials, creating a sense of continuation and progress.
Another interesting aspect of Van Herpen's work is her interest in altered perception. The designer uses meditation, lucid dreaming, hypnosis, and synesthesia as practical design tools. This approach adds a layer of intimacy to her creations, as the garments often begin with interior experience. For instance, a sound seen as a pattern, a dream remembered as movement, or a material handled until it starts suggesting its own direction. This is where the exhibition's soundscape by Salvador Breed comes into play, as it surrounds the garments with a sensory layer that makes perception part of the display.
The technical path behind the complex patterning is also worth noting. Van Herpen's studio often begins with a physical, full-scale sketch on a base dress, which is then translated into computer files. This back-and-forth between hand and screen is a compelling design lesson, as technology appears as a way to extend touch, rather than replace it. The final pieces hold traces of both methods, with the precision of computation and the sensitivity of couture sharing the same edge.
In conclusion, Iris Van Herpen's exhibition at the Brooklyn Museum is a must-see for anyone interested in the intersection of fashion, science, and technology. Her unique approach to couture, combined with her deep understanding of material and form, makes her work truly groundbreaking. From the microscopic to the macroscopic, Van Herpen's creations are a testament to the power of imagination and innovation in the world of design. Personally, I think this exhibition is a prime example of how fashion can be a tool for exploring the human condition and our relationship with the natural world.
