![]() ![]() So does its corollary: the madonna/whore complex, which relegates women to two proscribed stereotypes-either pure or debased. Yet the more sinister imaginings of the sect are also subtly present: The press materials suggest that Christian Lacroix’s wedding ensemble from autumn/winter 2009–10, along with his other designs, “invoke the concept of the ‘virgin bride.’” Throughout many of the show’s white gowns, the concept of the virgin birth reverberates. The exhibition itself hinges on the assertion that the enchantments of Catholicism (stained glass, rosary beads, holy water) have inspired designers who grew up in the religious tradition. Installation view of “Heavenly Bodies: Fashion and the Catholic Imagination,” at the Metropolitan Museum of Art, 2018. She emphasized what the world should already know: that you need not be white, Catholic, or a virgin to deserve reverence (though in America, you might need to be a celebrity). (Whether this look inspires highly structured, ornate headwear for future collections remains to be seen.)Īs Rihanna co-opted a symbol of Catholic power, she simultaneously undermined the more detrimental tropes of the belief system and highlighted its potential for creative and aesthetic advancement. Thanks to High Priestess Robyn Rihanna Fenty, it’s now as good a time as any to investigate the mitre. Galliano also created Rihanna’s look-a silver mini-dress, matching robe, and mitre-though, this time, for Maison Martin Margiela, where he’s worked since 2014. The lavishly embroidered and jeweled robes matched the garments’ accompanying “mitre,” a kind of headdress for bishops (perhaps most popularly depicted in their chess piece representations). ![]() Glimpsing the designer outfits (and even the ecclesiastical garb) on view throughout the Met’s Byzantine and medieval galleries Anna Wintour Costume Center (its largest exhibition to date) Robert Lehman Wing and the Cloisters, a visitor was wont to covet at least a few pieces.Īt the Met Gala later that evening, Rihanna’s outfit riffed on one of the exhibition’s most fabulous get-ups: the House of Dior’s Evening Ensemble from autumn/winter 2000–01, designed by John Galliano. Monday’s “Heavenly Bodies: Fashion and the Catholic Imagination” preview at the Metropolitan Museum of Art sufficiently inspired at least one deadly sin: greed. The Gala’s 2018 theme is “Heavenly Bodies: Fashion and the Catholic Imagination.” Photo by Hector Retamal/AFP/Getty Images. But now we've got straight off this month's Vogue cover," Vogue shared on Instagram alongside a video showing off Rihanna's marble statue.Rihanna arrives for the 2018 Met Gala on May 7, 2018, at the Metropolitan Museum of Art in New York. ![]() "The statue of 'Eirene (The Personification of Peace)' is usually the highest-profile marble goddess Greco-Roman galleries. Weeks after gracing the cover of Vogue, the Metropolitan Museum of Art and the magazine erected a statue of the singer showing off her baby bump at the iconic museum on Monday night. Of course, that didn't stop the Fenty founder from making an unforgettable appearance. The singer is expecting her first child with rapper boyfriend A$AP Rocky and did not attend the 2022 Met Gala. Rihanna may not have attended fashion's biggest night, but she certainly stole the show! (Photo by Kevin Mazur/Getty Images for Fenty Beauty by Rihanna) Despite skipping the 2022 Met Gala, Rihanna stole the show after Vogue and the Metropolitan Museum of Art unveiled an epic statue of the singer. ![]()
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