Heavenly Bodies: Fashion and the Catholic Imagination opened on the 10th of May 2018 at the Metropolitan Museum of Art’s Costume Institute and swiftly became the most visited exhibition in the history of the institute.[1] The high number of visitors to the exhibition not only demonstrates the popularity of fashion exhibitions but also fashion’s ability to provide an extraordinary visual experience to audience members.

One of the key museum-based fashion events of recent years was Christian Dior Couturier du rêve (Designer of Dreams) at the Musée des Arts Décoratifs in 2017.

Comparing the work of Chinese fashion designer Guo Pei to canonical visual artists such as Van Eyck and Raphael is to lend Pei’s designs the aura of a masterpiece.[1] If, as Wallace suggests, fashion and art provide similar aesthetic experiences, then do haute couture designs like Pei’s belong in the same categories and spaces as ‘high art’?

An excerpt of the Introduction to my dissertation undertaken as a part of my Master of Art Curating.

Louis XIV, in his capacity as an art patron, created an influential artistic programme in the palace and grounds of Versailles. The significance of his patronage extends beyond art, into the realms of politics, culture and history, thus creating a body of work that is fascinating to study.

China: Through the Looking Glass presented at the Metropolitan Art Museum (the Met) in New York, 2015 and Reflections of Asia: Collectors and Collections currently exhibiting at the Museum of Applied Arts & Sciences (MAAS) both aim to present a view of Asia from the western perspective.