432 Park Avenue, New York’s Iconic New Residential Tower, Unveils Completed Amenities & Services Programs

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432 Park Avenue (DBOX for CIM Group/Macklowe Properties) (PRNewsFoto/432 Park Avenue)

Combining a location along New York City’s most storied residential street with height and views never before experienced in a residential building in the Western Hemisphere, 432 Park Avenue has been established as one of the world’s premier residential addresses. Designed by world-renowned architect Rafael Viñoly, 432 Park Avenue is a perfect square of architectural concrete ascending 1,396 feet to the top of the Manhattan skyline, offering unrivaled views. The building houses an exclusive offering of 106 condominium residences that begin 356 feet above street level and feature 12.5-foot finished ceiling heights, solid oak flooring, Italian marble countertops and the finest interior finishes and appliances. Residence interiors were designed by celebrated New York architect Deborah Berke, the newly appointed dean of the Yale School of Architecture.

Now the developers of the soaring 1,396-foot tower, CIM Group and Macklowe Properties, have revealed the first comprehensive look inside 432 Park Avenue’s 30,000 square feet of highly-anticipated amenities. These exclusive spaces, highlighted by a private restaurant helmed by a Michelin-starred chef, go hand-in-hand with the building’s handpicked team of experienced professionals providing residents best-in-class service. (Occupancy of the building’s 106 residences began earlier this year.)

Three full floors in the 96-story tower are dedicated to dining, entertainment and wellness, beginning at approximately 100 feet in elevation. These amenities floors are all double-height, with approximately 28-foot ceilings and two tiers of 432 Park’s signature oversized 10-foot-by-10-foot windows, creating voluminous interiors flooded with natural light. Operation of the amenities will begin this summer.

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Residents’ billiards room and library at 432 Park Avenue (DBOX for CIM Group/Macklowe Properties) (PRNewsFoto/432 Park Avenue)

Acclaimed Michelin-starred chef Shaun Hergatt and restaurateur Scott Sozmen will open an exclusive multifaceted dining and hospitality concept inside 432 Park Avenue. Hergatt, most recently of Juni and SHO, and Sozmen, an alumnus of Colicchio & Sons, Per Se and Jean-Georges, will command the restaurant and lounge that encompasses the entire 12th floor and the adjacent 5,000-square-foot terrace overlooking 57th Street. The restaurant will also offer a world-class wine program as well as room service and in-home catering to residents. Designed by renowned hospitality design firm Bentel & Bentel (Eleven Madison Park, Le Bernardin), the 12th floor possesses dramatic installations by bespoke architectural lighting firm Lasvit, including a pair of 22-foot tall cascading chandeliers each with 55,700 pieces of handset crystal, and an elaborate installation of 339 hand-blown glass globes suspended from polished stainless steel rods. Furnishings include mid-century modern classics by Knoll.

The 14th floor features an expansive fitness center programmed and managed by star trainer Jay Wright’s The Wright Fit, as well as a yoga studio, billiards room with library curated by publisher Assouline, 18-seat screening room with projection equipment and 220-inch screen, and an executive boardroom containing mahogany paneling, state-of-the-art teleconferencing equipment, and seating for 14 around a custom marble conference table.

The 16th floor boasts travertine walls and flooring surrounding a 75-foot two-lane indoor swimming pool and separate Jacuzzi. Men’s and women’s locker rooms feature steam, sauna, and treatment rooms for massage and spa services. The Wright Fit’s on-site fitness manager helps curate wellness, nutrition, and therapy programs for residents.

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Residents’ swimming pool at 432 Park Avenue (DBOX for CIM Group/Macklowe Properties) (PRNewsFoto/432 Park Avenue)

The building’s handpicked staff includes dozens of veterans of the luxury hospitality and residential industries well adept at providing five-star concierge service. The staff facilitates a lifestyle of convenience and effortless luxury for the residents of 432 Park Avenue, able to seamlessly anticipate and accommodate all manner of requests both inside and outside the home, from housekeeping, art-hanging, and kitchen stocking services to all dining, entertainment and travel arrangements.

As an extension of the building’s dedication to the comfort and convenience of its residents, on-site climate-controlled wine cellars, office suites, studio apartments, private storage, and valet parking services are also available to complement the residences.

Many buyers have already closed on their purchases at 432 Park Avenue, and remaining residences – including a new selection of half-floor residences and residences offering immediate occupancy – are available for purchase.

Explore The Wonders At The Bottom Of The World: Seabourn Launches New Excursions To The South Pole

Seabourn, one of the world’s finest ultra-luxury cruise lines, is launching new pre-cruise experiences taking guests to the South Pole on select Antarctica & Patagonia itineraries during the 2016-2017 season. Guests bound for the Great White Continent aboard Seabourn Quest can extend their adventure with two new travel packages that also travel to UNESCO World Heritage Sites, including: Polar Quest & Patagonia and Polar Quest, Tierra del Fuego & Iguazu Falls.

Seabourn South Pole

Seabourn launches two new travel packages for guests bound for the Great White Continent. Aboard Seabourn Quest guests on select Antarctica & Patagonia itineraries during the 2016-2017 season can extend their adventure to the South Pole through an ongoing partnership with UNESCO. (PRNewsFoto/Seabourn)

Seabourn has made its reputation for offering guests astonishing experiences in places that are beyond the ordinary, and there are few travel opportunities less-expected or out-of-the-ordinary than a visit to the South Pole,” said Robin West, Senior Manager, Expedition Planning and Operations for Seabourn.These experiences will be the icing on the cake for guests bound for Antarctica aboard Seabourn Quest over the season ahead.

Both of the pre-cruise packages include stays at Union Glacier Camp in the southern Ellsworth Mountains, one of a few private seasonally occupied camps in Antarctica. Operated by renowned land-based tour operator Antarctic Logistics and Expeditions (ALE), the full-service camp offers spacious, double-occupancy sleeping tents; freshly prepared gourmet cuisine; and a spectacular setting for activities from scenic excursions to technical climbs and ski tours.

There are many memories waiting to be made and much for guests to enjoy on the new pre-cruise experiences on Seabourn Quest in Antarctica & Patagonia this season, including:

POLAR QUEST & PATAGONIA (14 NIGHTS/15 DAYS) – In addition to a transantarctic flight and landing at the South Pole, this overland journey takes guests on an exploration of breathtaking UNESCO World Heritage Site Torres del Paine National Park that encompasses 450,000 acres of forests, rivers, lakes and virgin pampas in southernmost Chile. Choose from a variety of included excursions providing daily opportunities to explore the various environments, including vivid blue ice pools, raw glacial moraines and abundant wildlife from guanacos to Andean condors. Package rates start at $50,999 per person based on double occupancy; pre-cruise departure December 4, 2016 followed by Seabourn Quest sailing December 19, 2016.

POLAR QUEST, TIERRA DEL FUEGO & IGUAZU FALLS (16 NIGHTS/17 DAYS) – In addition to a transantarctic flight and landing at the South Pole, guests will join a select company of intrepid explorers en-route to one of the world’s most remote and unspoiled destinations: the breathtaking UNESCO World Heritage Site of Iguazu Falls National Park on the border of Brazil and Argentina. From Santiago, Chile to Buenos Aires, Argentina, guests will witness an immense complex of waterfalls. Explore the falls and its surroundings from extensive walkways or take options such as inflatable boats or helicopter tours. Package rates start at $53,999 per person based on double occupancy; pre-cruise departure December 26, 2016 followed by Seabourn Quest sailing January 12, 2017.

Seabourn is consistently ranked among the world’s top travel choices by professional critics and the discerning readers of prestigious travel publications such as Departures, Travel + Leisure and Condé Nast Traveler. Its stylish, distinctive cruising vacations are renowned for:

  • Five intimate ships with just 104 or 229 suites
  • Unique itineraries visiting must-see cities and hidden gems where larger ships cannot follow
  • Intuitive, gracious service provided by a staff passionate about pleasing our guests
  • Spacious all-suite accommodations with sweeping ocean views – many with verandas
  • Gourmet dining experiences as fine as the best restaurants anywhere
  • Open bars throughout the ship and fine wines poured with lunch and dinner

Seabourn is a proud member of World’s Leading Cruise Lines. The exclusive alliance also includes Carnival Cruise Lines, Holland America Line, Princess Cruises, Cunard Line, Costa Cruises, AIDA, P&O Cruises UK and P&O Cruises Australia. Seabourn is a brand of Carnival Corporation and plc. It has formed a partnership with United Nations Educational, Scientific and Cultural Organization (UNESCO) to help protect World Heritage, and also supports the Ocean Conservation & Tourism Alliance, dedicated to education and promotion of best practices for protecting the marine environment.

For more information or reservations about Seabourn’s Ultimate Antarctica & Patagonia voyages, contact a professional travel advisor, call Seabourn at 1-800-929-9391 or visit www.seabourn.com.

The Red Door by Elizabeth Arden Launches New Brand Campaign & Omni-Channel Beauty and Wellness Services

The Red Door by Elizabeth Arden, has announced its new brand campaign. Formally known as Elizabeth Arden Red Door Spa, the debut of a new contemporary name and logo marks the introduction of new products, services, and experiences, as well as an omni-channel business expansion to offer guests the best in beauty and wellness, both in and outside of its salon and spa locations.

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Red Door Spa Logo (PRNewsFoto/THEALUMRUN)

The Red Door by Elizabeth Arden is a beauty and wellness innovator for those who want to look and feel their best, unlocking a philosophy in women it calls “smart gorgeous.” The Red Door by Elizabeth Arden‘s impact and legacy continue as the spa introduces new concepts and technologies that incorporate advanced art and science.

Inside The Red Door Salon & Spa, guests will experience renovated locations and a new treatment menu with a wide range of services – from quick beauty touch-ups to total mind/body rejuvenation. Programs like the Red Door More Massage Membership Program, which offers guests the opportunity to customize a wellness regimen, are complemented by new introductions leveraging The Red Door’s renowned technical expertise. Among the first of many innovations, the day spa is introducing therapeutic manicure and pedicure services, and Elizabeth Arden PRO Renewal, a new, ultra-active, cosmeceutical-grade facial.

Outside of its spa locations, The Red Door by Elizabeth Arden announces the launch of The Red Door At Work, which integrates its Manicube brand, acquired in late-2015, into the brand’s new omni-channel division. The Red Door At Work offers working professionals the quick convenience of beauty and wellness services – nails, hair styling, and massage – in corporate offices and is currently available in New York City, Chicago, Boston, and launching soon in Washington, D.C. Click here for more information.

In addition, The Red Door launches “Events by The Red Door.” Initially available in the New York, Boston, and Chicago markets, Events by The Red Door will create unique and memorable social experiences for small group parties of six or more and for large scale corporate events, such as employee appreciation occasions, client entertaining, and product launches. Events by The Red Door is available in homes, retail locations, offices, as well as in private event spaces at The Red Door Salon & Spa locations.

The Red Door by Elizabeth Arden is also rolling out The Red Door Academy, an advanced training and education program for operations management and the brand’s service providers in facial services, hair removal, massage therapy, nail care, and hair styling and coloring. The Red Door Academy ensures the brand’s technicians have access to cutting edge products and treatment protocols to deliver exceptional experiences through impeccable guest service and expertise. The program is led by Cornelia Zicu, Chief Creative Officer, in the face, nail, and body disciplines, and top hair experts Ben Stewart, National Creative Director, and Timothy Wandrey, National Style Education Director.

These substantial introductions are the first in a line of upcoming launches, which will include new programs, products, and services in the brand’s facial line up, its growing hair salon business, and in hair removal services. Additionally, The Red Door by Elizabeth Arden is developing mobile technology enhancements which, in early 2017, will enable consumers to seamlessly book services at The Red Door Salon & Spa, The Red Door At Work, or small group events while serving as a platform for additional cross-channel benefits like loyalty programs and gift cards.

Elizabeth Arden created the spa experience over a century ago based on her philosophy that beauty and wellness can work in harmony to enrich lives. This vision rings true today as we take The Red Door to the next level,” said Todd Walter, Chief Executive Officer. “Focusing on meeting our guests’ needs never stops, and our guests now live and work in an always-on society. The Red Door by Elizabeth Arden is redefining the spa experience to better meet their needs and lifestyle. Taking exceptional care of our guests is our passion, and it’s exciting to continue innovating to create more seamless beauty and wellness experiences.”

New Exhibition “Visions And Revisions: Renwick Invitational 2016” Opens Sept. 9 At The Smithsonian American Art Museum

Renwick Gallery Showcases Contemporary Artists Steven Young Lee, Kristen Morgin, Jennifer Trask and Norwood Viviano

Visions and Revisions: Renwick Invitational 2016 presents the work of Steven Young Lee, Kristen Morgin, Jennifer Trask and Norwood Viviano, four artists who take innovative approaches to their chosen mediums and who share a fascination with themes of transformation, ruin and rebirth. Their visual sensibilities draw upon sources ranging from traditional Asian pottery to vintage Americana, and from the romance of the Victorian Era to the algorhythmic precision of the computer. Visions and Revisions” is the seventh installment of the biennial Renwick Invitational.

Smithsonian American Art Museum logo

(The Renwick Gallery is the Smithsonian American Art Museum‘s branch for contemporary craft and decorative arts. The Renwick is located on Pennsylvania Avenue at 17th Street N.W. and is open daily from 10 a.m. to 5:30 p.m. (closed Dec. 25). Admission is free.)

The Renwick Invitational is an opportunity to celebrate emerging and mid-career artists, honoring the next generation of makers and taking the pulse of what’s happening in the field today,” said Betsy Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “We are delighted to showcase these four exceptional artists and to bring their works onto the national stage of the Renwick Gallery.”

These artists are united by a love of physical materials in a time when many objects are disappearing in favor of a virtual world,” Atkinson said. “In their own way, they each engage in an ongoing dialogue with an idyllic past and how to make sense of it for the present moment, examining what we choose to carry with us and what we leave behind as we remake ourselves time and again.”

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(Top Left) Steven Young Lee, Jar with Landscape and Gold Butterflies, 2015, porcelain, cobalt inlay, glaze, decals. Collection of Tom Rossiter and Nathalie Ribon-Tourre. Image courtesy Duane Reed Gallery (Top Right) Kristen Morgin, Piano Forte, 2004, unfired clay, wood, wire, salt, cement, glue. Hammer Museum, Los Angeles; Purchase (Bottom Left) Jennifer Trask, Burgeon, 2012, Found 18th & 19th century Italian gilt wood fragments, 22K & 23.5 K gold leaf, antler, bone, teeth (various), epoxy resin. Private collection. Image courtesy of the artist. Photo by Storm Photo (Bottom Right) Norwood Viviano, Mining Industries: Downtown Boston (Boston), 2015, rapid prototyped pattern kilncast glass, mirrored glass, fabricated steel and transparency. Collection of the artist, courtesy of Heller Gallery, New York. Photo by Tim Thayer/Robert Hensleigh, courtesy Heller Gallery, NY

The exhibition includes more than 70 objects showcasing a range of early and new works by each artist and will be on view Sept. 9 through Jan. 8, 2017. Nora Atkinson, the museum’s Lloyd Herman Curator of Craft, organized the exhibition. The artists were selected by Atkinson; Suzanne Ramljak, curator of exhibitions at the American Federation of Arts and editor at Metalsmith; and Anna Walker, the Windgate Foundation Curatorial Fellow for Contemporary Craft at the Museum of Fine Arts, Houston.

Lee’s porcelain works combine traditional Asian forms, inlay techniques and glazes with Western motifs and pop-culture references. His process often allows the clay forms to sink under their own weight in the kiln, creating dramatic “broken” silhouettes that can never be replicated. The resulting vessels embody equal parts mastery and chance, and reflect Lee’s own inquiries into the nature of perfection, the construction of identity and balancing tradition with personal expression.

Morgin’s unconventional trompe l’oeil ceramic sculptures and assemblages explore nostalgia, obsolescence and the American dream. Her works, ranging in scale from recreations of full-size cars and orchestral instruments to tiny knick-knacks and toys, appear as found objects but are in fact raw, unfired clay. Substituting paint and collage for the gloss of traditional ceramic glazes, Morgin achieves a garage-sale aesthetic in which thrift-store heroes like Popeye and Mighty Mouse preside and vintage playthings find new meaning. The sculptures represent a poignant investigation of the value of the old in a world intent on the new, invoking a sense of bygone innocence, loss and isolation.

Trask combines unexpected materials such as bone, butterfly wings, resin, metal and antique frame fragments to create jewelry and large-scale sculptures. Her lifelong fascination with biology, archaeology and anthropology inform lavish works celebrating the splendor of the natural world and exploring the ongoing tension between its wild and domesticated spheres, while visually recalling 17th-century Dutch vanitas paintings and Victorian wonder cabinets. Animal remains–antler, horn, teeth, tusk and bone–feature prominently in Trask’s work, evoking cycles of death, transformation and rebirth.

Viviano explores the rise and fall of American cities and industry through glass and metal sculptures. He combines data from LiDAR scan technology, antique maps and historical census data, and employs techniques as varied as bronze casting, kiln-fusing, glass blowing and 3-D printing to map fluctuations of growth and decline as industry and other forces exert pressure on populations. His work engages not only the geography but also the history of a place, imbuing each object with layers of information to tell stories of how urbanization, immigration and industry shape both personal and shared histories.

A series of free public programs will accompany the exhibition. Three of the artists discuss their work at the Renwick: Viviano Thursday, Oct. 13, at noon, Morgin Sunday, Oct. 30, at 2 p.m. and Trask Tuesday, Dec. 6, at 5:30 p.m. Atkinson will present a gallery talk on the four artists Friday, Oct. 21, at noon. Additional information about programs is available online at www.americanart.si.edu/calendar.

An accompanying catalog co-published with D Giles Limited, London, includes a foreword by Broun and essays by Atkinson, Ramljak and Walker. It will be for sale in the museum’s store and online ($34.95, softcover). The Ryna and Melvin Cohen Family Foundation Endowment provides support for the “Renwick Invitational.” The Cohen Family’s generosity in creating this endowment makes possible this biennial series highlighting outstanding craft artists who are deserving of wider national recognition.

Manus x Machina: Fashion in an Age of Technology Extended through September 5 at The Met

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Lower Level Gallery View: Tailleur and Flou © The Metropolitan Museum of Art

Manus x Machina: Fashion in an Age of Technology at The Metropolitan Museum of Art has been extended by three weeks through Labor DayMonday, September 5. The exhibition, organized by The Costume Institute, opened to the public on May 5, and has drawn more than 350,000 visitors in its first nine weeks. Originally scheduled to close on August 14, the exhibition 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 the haute couture and ready-to-wear. 

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Upper Level Gallery View: Embroidery © The Metropolitan Museum of Art

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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

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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

With the transformation of the Robert Lehman Wing into a breathtaking cathedral to couture, we want to give as many people as possible the chance to experience this exhibition,” said Thomas P. Campbell, Director and CEO of The Met.The show invites visitors to explore the artistry of over 170 haute couture and ready-to-wear ensembles. It is a wonderful way to discover the magic behind the making of fashion.”

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Upper Level Gallery View: Artificial Flowers © The Metropolitan Museum of Art

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Upper Level Gallery View: Embroidery © The Metropolitan Museum of Art

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Upper Level Gallery View: Embroidery © The Metropolitan Museum of Art

To date, the exhibition’s attendance is just behind China: Through the Looking Glass (2015) and Alexander McQueen: Savage Beauty (2011), the Met’s fifth and eighth most popular exhibitions respectively, both of which were also extended. All three were curated by Andrew Bolton, now Curator in Change of The Costume Institute. China: Through the Looking Glass attracted 815,992 visitors in total, and Alexander McQueen: Savage Beauty drew 661,509.

Traditionally, the distinction between the haute couture and prêt-à-porter was based on the handmade and the machine-made, but recently this distinction has become increasingly blurred as both disciplines have embraced the practices and techniques of the other,” said Bolton. “Manus x Machina challenges the conventions of the hand/machine dichotomy and proposes a new paradigm germane to our age of technology.

Manus x Machina features more than 170 examples of haute couture and avant-garde ready-to-wear, dating from the early 1900s to the present. The exhibition addresses the founding of the haute couture in the 19th century, when the sewing machine was invented, and the emergence of a distinction between the hand (manus) and the machine (machina) at the onset of industrialization and mass production. It explores this ongoing dichotomy, in which hand and machine are presented as discordant tools in the creative process, and questions this relationship and the significance of the long-held distinction between haute couture and ready-to-wear.

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Wedding ensemble, Karl Lagerfeld (French, born Hamburg, 1938) for House of Chanel (French, founded 1913), autumn/winter 2014–15 haute couture, back view; Courtesy of CHANEL Patrimoine Collection Courtesy of The Metropolitan Museum of Art, Photo © Nicholas Alan Cope

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Wedding ensemble, Karl Lagerfeld (French, born Hamburg, 1938) for House of Chanel (French, founded 1913), autumn/winter 2014–15 haute couture, back view; Courtesy of CHANEL Patrimoine Collection Courtesy of The Metropolitan Museum of Art, Photo © Nicholas Alan Cope

The Robert Lehman Wing galleries, on the Museum’s first floor and ground level, have been transformed into a building-within-a-building using white scrims. The space houses a series of case studies in which haute couture and ready-to-wear ensembles are decoded to reveal their hand/machine DNA. A 2014 haute couture wedding dress by Karl Lagerfeld for Chanel with a 20-foot train occupies a central cocoon, with details of its embroidery projected onto the domed ceiling. The scuba knit ensemble, one of the inspirations for the exhibition, stands as a superlative example of the confluence between the handmade and the machine-made–the pattern on the train was hand-painted with gold metallic pigment, machine-printed with rhinestones, and hand-embroidered with pearls and gemstones.

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Upper Level Gallery View: Artificial Flowers Case Study Wedding Ensemble, Karl Lagerfeld (French, born Hamburg, 1938) for House of Chanel (French, founded 1913), autumn/winter 2005–6 haute couture, back view; Courtesy of CHANEL Patrimoine Collection © The Metropolitan Museum of Art

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Dress, Nicolas Ghesquière (French, born 1971) for House of Balenciaga (French, founded 1937), spring/summer 2003 prêtà- porter; Courtesy of Balenciaga Archives, Paris Courtesy of The Metropolitan Museum of Art, Photo © Nicholas Alan Cope

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Wedding Ensemble, Karl Lagerfeld (French, born Hamburg, 1938) for House of Chanel (French, founded 1913), autumn/winter 2005–6 haute couture; Courtesy of CHANEL Patrimoine Collection Courtesy of The Metropolitan Museum of Art, Photo © Nicholas Alan Cope

The exhibition is structured around the traditional métiers of the haute couture. The first floor unfolds as a series of alcoves, examining the petites mains workshops of embroidery, featherwork, and artificial flowers. The ground floor space is arranged as an enfilade, examining pleating, lacework, and leatherwork. A room dedicated to toiles and the ateliers of tailoring (tailleur) and dressmaking (flou)—the traditional division of a maison de couture—anchors the ground-floor gallery. On both floors, traditional hand techniques are discussed alongside innovative technologies such as 3-D printing, computer modeling, bonding and laminating, laser cutting, and ultrasonic welding.

Designers in the exhibition include Cristobal Balenciaga, Boué Soeurs, Sarah Burton (Alexander McQueen), Pierre Cardin, Hussein Chalayan, Gabrielle “Coco” Chanel, Maria Grazia Chiuri and Pierpaolo Piccioli (Valentino), André Courrèges, Giles Deacon, Christian Dior, Alber Elbaz (Lanvin), Mariano Fortuny, John Galliano (Christian Dior, Maison Margiela), Jean Paul Gaultier, Nicolas Ghesquière (Balenciaga, Louis Vuitton), Hubert de Givenchy, Madame Grès, Halston, Lazaro Hernandez and Jack McCollough (Proenza Schouler), Iris van Herpen, Marc Jacobs (Louis Vuitton), Charles James, Christopher Kane, Mary Katrantzou, Rei Kawakubo (Comme des Garçons), Junko Koshino, Karl Lagerfeld (Chanel), Helmut Lang, Louise Boulanger, Mary McFadden, Alexander McQueen (Givenchy), Issey Miyake, Noir Kei Ninomiya (Comme des Garçons), Norman Norell, Jean Patou, Miuccia Prada, Paul Poiret, Gareth Pugh, Paco Rabanne, Noa Raviv, Yves Saint Laurent (Christian Dior, Yves Saint Laurent), Raf Simons (Christian Dior), Maiko Takeda, Riccardo Tisci (Givenchy), threeASFOUR, Madeleine Vionnet, Catherine Wales, Junya Watanabe (Comme des Garçons), Yohji Yamamoto, and others.

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Dress, Christopher Kane (British, born 1982), spring/summer 2014 prêt-à-porter; Courtesy of Christopher Kane. Courtesy of The Metropolitan Museum of Art, Photo © Nicholas Alan Cope

On July 22, MetFridays: Extreme Measures (5–9 pm) will include a number of related activities, including a special Drop-in Drawing session featuring live models wearing clothing inspired by the exhibition, a wearable art-making program on creating extreme hair accessories, and a participatory nail art workshop.

Manus x Machina is organized by Bolton. Shohei Shigematsu, Director of OMA New York, led the exhibition design in collaboration with The Met’s Design Department. The exhibition is made possible by Apple. Additional support is provided by Condé Nast.

Lane Bryant Announces Collaboration With Ready-To-Wear Designer Prabal Gurung

Lane Bryant has announced that American ready-to-wear designer Prabal Gurung will be creating a limited-edition line of women’s fashion with his signature style exclusively for the plus size retailer. The collection is set to hit stores March 2017, and will be sold under the Prabal Gurung Exclusively for Lane Bryant label. A focus on quality and innovation has placed Gurung at the forefront of American Fashion.download

Prabal is a master at mixing materials, fabrics and textures – he pulls it off in such a way that each piece becomes its own artistic statement. His ingenuity at mixing sporty ease with unabashed glamour has made his label a huge success. We are delighted to welcome him to Lane Bryant and offer his innovative fashions, spirit and unique styles to the Lane Bryant customer,” said Linda Heasley, CEO of Lane Bryant.

Prabal Gurung’s design philosophy embraces modern luxury with great style and glamour. His eye for easy elegance on the runway and an appreciation for innovation and craftsmanship season after season has created a brand that celebrities, dignitaries, and well dressed women admire globally. Bringing a modern and unique vision, Prabal Gurung will be the fifth designer collaborator for Lane Bryant joining the successful Christian Siriano, Lela Rose, Sophie Theallet and Isabel Toledo collections.

The Prabal Gurung brand launched in February 2009 with a philosophy encompassing modern luxury, indelible style and an astute sense of glamour. Born in Singapore and raised in Kathmandu, Nepal, Gurung brings worldly influences to his designs. Prabal Gurung chooses to manufacture over 80% of his collection in New York City to uphold standards of quality while supporting the local community. The brand recognizes the importance of domestic production, particularly in respect to the quality of the finished product, and helps to bring this awareness to an international audience.

In addition, for the first time, Lane Bryant will document the process from the design studio until the time it merchandises in store through a series of taped webisodes that will be available on all Lane Bryant social media.

Prabal Gurung adds, “Designing clothes for the modern woman, one who is fashionable and unafraid of how she feels about herself, has always been my source for inspiration. I truly believe that confidence is the key and I continually strive to create clothing that allows women to look and feel their absolute best. I am thrilled to be working with Lane Bryant on this collaboration and look forward to dressing this bold and fashionable customer.”

About Prabal Gurung: Please visit www.prabalgurung.com for more information.

The Whitney To Debut Carmen Herrera: Lines Of Sight, Opening September 16

This fall, The Whitney Museum Of American Art will present Carmen Herrera: Lines of Sight, the first museum exhibition of this groundbreaking artist in New York City in nearly two decades. Focusing on the years 1948–1978, the period during which Herrera developed her signature, hard-edged style, the exhibition will situate Herrera’s pioneering abstract work in its proper place in the history of twentieth century art.

Carmen Herrera, Blanco y Verde, 1967.Acrylic on canvas, 40 × 70 in. (101.6 × 177.8 cm). Private Collection, New York. Art © Carmen Herrera

Carmen Herrera, Blanco y Verde, 1967.Acrylic on canvas, 40 × 70 in. (101.6 × 177.8 cm). Private Collection, New York. Art © Carmen Herrera

Carmen Herrera: Lines of Sight features more than fifty works, including paintings, three-dimensional works, and works on paper. Organized by Dana Miller, until recently the Richard DeMartini Family Curator and Director of the Collection at the Whitney, in close collaboration with the artist, the exhibition will be on view at the Whitney from September 16, 2016, through January 2, 2017, and at the Wexner Center for the Arts in Columbus, Ohio, from February 4 through April 16, 2017.

Herrera has been painting for more than seven decades, though it is only over the past decade or so that acclaim for her work has catapulted the artist to international prominence. This overdue evaluation offers the first comprehensive look at her early career, the result of time spent in the art worlds of Havana, Paris, and New York,” explained Miller.

Carmen Herrera, Green and Orange, 1958. Acrylic on canvas, 60 × 72 in. (152.4 × 182.9 cm). Cejas Art Ltd. Paul and Trudy Cejas © Carmen Herrera

Carmen Herrera, Green and Orange, 1958. Acrylic on canvas, 60 × 72 in. (152.4 × 182.9 cm). Cejas Art Ltd. Paul and Trudy Cejas © Carmen Herrera

Carmen Herrera: Lines of Sight is comprised of three sections, organized in rough chronological sequence. The first section features earlier works from the formative period, 1948–1958, during which Herrera experimented with different modes of abstraction before establishing the visual language that she would explore with great nuance for the succeeding five decades. Featuring more than a dozen paintings made while Herrera lived in Paris (1948–1953) in the years following World War II, many of these works have never been displayed before in a museum. It was during this period that Herrera developed her distinctive style of geometric abstraction, moving towards cleaner lines and a reduced palette. Crucially, she also began using the edges of the canvas and the frame as compositional elements.

An unprecedented gathering of works from what Herrera considers her most important series, Blanco y Verde, comprise the second section and this room will serve as the centerpiece of the exhibition. The nine paintings from the series, spanning the years 1959–1971, illustrate the groundbreaking ways in which Herrera conceptualized her paintings as objects, using the physical structure of the canvas as a compositional tool and integrating the surrounding environment. These Blanco y Verde works will be isolated in their own gallery, illuminating the various compositional twists and inflections of the dichromatic works and creating a dynamic interplay of visual correspondences.

Carmen Herrera, Untitled, 1948. Acrylic on canvas, 48 × 38 in. (121.9 × 96.5 cm). Collection of Yolanda Santos. Art © Carmen Herrera

Carmen Herrera, Untitled, 1948. Acrylic on canvas, 48 × 38 in. (121.9 × 96.5 cm). Collection of Yolanda Santos. Art © Carmen Herrera

The final section will feature work dating from approximately 1962–1978, illuminating Herrera’s continued experimentation with figure/ground relationships. Also included in this section are four sculptural works, which Herrera refers to as “estructuras.” These wooden works, alongside several drawings from the 1960s, will illustrate the crucial architectural aspect of her vision and the way in which many of Herrera’s paintings begin with a three-dimensional concept. The latest works in this section will be seven vivid paintings that comprise her brilliant Days of the Week series from 1975–78.

Born May 30, 1915, in Havana, Cuba, Carmen Herrera was educated in Havana and Paris, studying art, art history, and architecture. In 1939 she married an American, Jesse Loewenthal, and moved to New York City, where she attended classes at the Art Students League and was a frequent visitor to the Whitney Museum of American Art. From 1948 to 1953, Herrera and Loewenthal lived in Paris, where she became associated with an international group of artists, the Salon des Réalités Nouvelles. Herrera exhibited her work with them regularly and developed a distilled, geometric style of abstraction, reducing her palette to three colors for each composition, then further to two. Herrera’s hard-edged canvases emerged at the same time that Ellsworth Kelly, whose time in France overlapped with Herrera’s, began producing his own abstractions and around the same time that Frank Stella began producing his famous black paintings.

Herrera’s ascetic compositions, which prefigured the development of Minimalism by almost a decade, did not find a warm reception when she returned to New York in 1954, a time when Abstract Expressionism still reigned supreme. As both a woman and an immigrant, Herrera faced significant discrimination in the art world; yet she persisted, and continued to paint for the next six decades, only rarely exhibiting her work publicly. Today, at the age of 101, Herrera continues to work almost every day in her studio, and her oeuvre demonstrates a disciplined but highly sophisticated exploration of color and form. As she once stated, “I believe that I will always be in awe of the straight line, its beauty is what keeps me painting.” Since the late 1990s Herrera has garnered increasing attention for her work, selling her first painting in 2004. The last significant museum presentation of Herrera’s work in this country was a 2005 show at Miami Art Central, which was preceded only by a 1998 show of her black and white paintings at El Museo del Barrio and a 1985 show at The Alternative Museum, both in New York. Her first monographic presentation in Europe was held at the Ikon Gallery in Birmingham, England, in 2009, which then traveled to Museum Pfalzgalerie, Kaiserslautern, Germany. In the last decade, the Museum of Modern Art, Walker Art Center, Hirshhorn Museum and Sculpture Garden, Boston Museum of Fine Arts, and Tate Modern have all acquired works by the artist.

The exhibition will be accompanied by a fully-illustrated catalogue, with essays by Miller as well as Serge Lemoine, emeritus professor at the Sorbonne and former chief curator and director of the Musée d’Orsay; Gerardo Mosquera, art historian, critic, and curator based in Havana and Madrid; and Edward J. Sullivan, Helen Gould Sheppard Professor in the History of Art, Institute of Fine Arts, New York University. The catalogue will also contain an illustrated chronology by Monica Espinel.

Major support is provided by the Barnett and Annalee Newman Foundation and the National Committee of the Whitney Museum of American Art. Generous support is provided by the Lily Auchincloss Foundation, Inc.; Tony Bechara; Tom and Lisa Blumenthal; and The Diane and Bruce Halle Foundation. Additional support is provided by Estrellita and Daniel Brodsky, The Cowles Charitable Trust, Sondra Gilman and Celso Gonzalez-Falla, Agnes Gund, the Elizabeth A. Sackler Museum Educational Trust, and an anonymous donor. Significant endowment support is provided by Sueyun and Gene Locks.