The Met Extends Hours for Final Weekend of Manus x Machina: Fashion in an Age of Technology

Exhibition to Remain Open until Midnight on Friday and Saturday, September 2 and 3

Attendance Surpasses 2011’s Alexander McQueen: Savage Beauty Exhibition, with 664,328 Visitors to Date

Exhibition Dates: May 5–September 5, 2016 (extended from August 14)

Exhibition Location: The Met Fifth Avenue, Robert Lehman Wing

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Ensemble, Raf Simons (Belgian, born 1968) for House of Dior (French, founded 1947), spring/summer 2015 haute couture; Courtesy of Christian Dior Haute Couture Courtesy of The Metropolitan Museum of Art, Photo © Nicholas Alan Cope

The Metropolitan Museum of Art announced today extended hours for the final weekend of the popular Costume Institute exhibition Manus x Machina: Fashion in an Age of Technology. On Friday, September 2, and Saturday, September 3, the exhibition will remain open to the public until midnight. The Museum normally closes at 9 p.m. on Friday and Saturday evenings. The exhibition will end its run on Labor Day, Monday, September 5.

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Dress, Iris van Herpen (Dutch, born 1984), autumn/winter 2013– 14 haute couture; The Metropolitan Museum of Art, Purchase, Friends of The Costume Institute Gifts, 2015 (2016.14) Courtesy of The Metropolitan Museum of Art, Photo © Nicholas Alan Cope

The exhibition, which opened on May 5, has already been extended by three weeks-from August 14 to September 5-and has so far drawn more than 664,328 visitors, surpassing 2011’s Alexander McQueen: Savage Beauty to become The Costume Institute‘s second most attended exhibition. Last year’s China: Through the Looking Glass, which drew 815,992 visitors, remains the department’s most popular show and The Met’s fifth most visited exhibition. The McQueen exhibition, the Museum’s ninth most popular show, drew 661,509 visitors. All three were curated by Andrew Bolton, Curator in Charge of The Costume Institute.

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Lower Level Gallery View: Tailleur and Flou © The Metropolitan Museum of Art (Far Left) House of CHANEL (French, founded 1913) Gabrielle “Coco” Chanel (French, 1883–1971) Suit 1963–68, haute couture Machine-sewn ivory wool bouclé tweed, hand-applied navy and ivory wool knit trim handbraided with interlocking chain stitch. Gift of Mrs. Lyn Revson, 1975 (1975.53.7a–e) (Middle Left) House of CHANEL (French, founded 1913) Karl Lagerfeld (French, born Hamburg, 1938) Suit Autumn/winter 2015–16, haute couture 3-D-printed (selective laser sintering) “quilted” polyamide by Materialise, hand-painted with blue, gold, and silver trompe l’oeil tweed pattern, hand-embroidered with braided white, blue, and gold wool, silk, and metal trim, and gold metal buttons with pearls. Courtesy of CHANEL Patrimoine Collection (Middle Right) House of CHANEL (French, founded 1913) Karl Lagerfeld (French, born Hamburg, 1938) Ensemble Autumn/winter 2015–16, haute couture 3-D-printed (selective laser sintering) white polyamide overlay by Materialise, with handstitched clear crystals, lining of black silk crepe de chine hand-embroidered by Lesage with gold synthetic sequins Courtesy of CHANEL Patrimoine Collection (Far Right) House of Balenciaga (French, founded 1937) Cristóbal Balenciaga (Spanish, 1895–1972) Suit Winter 1964, haute couture Machine-sewn black silk synthetic gauze and Lurex matelassé Courtesy Cristóbal Balenciaga Museoa, Getaria, Spain

Manus x Machina explores how designers reconcile the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear. It addresses the distinction between the hand (manus) and the machine (machina) as discordant tools in the creative process, and questions the changing delineation between haute couture and ready-to-wear.

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House of Chanel (French, founded 1913) Karl Lagerfeld (French, born Hamburg, 1938) Wedding Ensemble Autumn/winter 2014–15, haute couture Courtesy of CHANEL Patrimoine Collection. This ensemble, which Lagerfeld has described as “haute couture without the couture,” exemplifies the confluence of the hand (manus) and the machine (machina). Made from scuba knit, a synthetic material, the dress is hand molded, machine sewn, and hand finished. Maison Desrues (founded 1929) hand embroidered the buttons with gold, glass, and crystals, and Atelier Montex (founded 1939) hand embroidered the medallion with glass, crystals, paillettes, anthracite cannetilles, and gold leather leaf motifs. The train of scuba knit and silk satin is machine sewn and hand finished. Lagerfeld’s hand-drawn design was digitally manipulated to give it the appearance of a randomized, pixelated baroque pattern and then realized through a complex amalgam of hand and machine techniques. Atelier Lunas (founded 1993) used a heat press to transfer the rhinestones; Atelier Anne Gelbard (founded 1997) painted the gold metallic pigment by hand; and the pearls and gemstones were hand embroidered by Cécile Henri Atelier (founded 1982).

 

During the extended hours, the Museum’s Great Hall Balcony Bar will be open until midnight as well, with appetizers, full bar service, and music by the ETHEL and Friends string quartet. The Met Store‘s exhibition shop adjacent to the galleries will also be open, featuring a range of products inspired by the exhibition, including the exhibition catalogue and an exclusive collection of fashion accessories, jewelry, and publications. The Manus x Machina galleries will be the only galleries in the Museum open to the public during the extended hours.

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