“Twenty-four hand-colored engravings known as “fashion plates,” capture late 18th century French dress and drawn from Gallerie des Modes et Costumes Français (1778–87), the most influential fashion publication of its era.”
BY ALEXANDER HANKIN
The Frick Collection’s annual Spring Garden Party is a two-night extravaganza, that rare opportunity to roam the historic garden and socialize with countless Frick fanatics.
New York City jazz quartet The Flail sets the mood as Frick director Axel Rüger greets guests. The buzz is the museum’s three-year sponsorship with Louis Vuitton, which kicked off with their cruise collection, shown in the stately galleries. Also upcoming: a partnership with artist Kent Monkman.
The centerpiece is “Ruffles & Ribbons: Fashion Plates from the Time of Marie Antoinette,” an exhibit of twenty-four hand-colored engravings known as “fashion plates,” capture late 18th century French dress and drawn from Gallerie des Modes et Costumes Français (1778–87), the most influential fashion publication of its era. Considered a precursor to the modern fashion magazine, the series is a glimpse into the tastes and trends of pre-revolutionary France. Selections from the Frick Art Research Library’s collection of nearly 400 original prints were gifted by Melinda Martin Sullivan. But at this garden party, art is not the only thing that is fashionable. Chief curator Aimee Ng dons colorful, bold prints both evenings, and NYC fashion plates swan everywhere. Think Amy Fine Collins, Marina French, Betty Eveillard, Polina Proshkina, Casey Kohlberg, Brittany Beyer Harwin, and Sterling McDavid.
“I take full advantage of the rare after-hours access to the Frick’s permanent collection galleries, wandering two floors of masterpieces by Bellini, Fragonard, Rembrandt and Turner.”
I take full advantage of the rare after-hours access to the Frick’s permanent collection galleries, wandering two floors of masterpieces by Bellini, Fragonard, Rembrandt and Turner. Amongst the paintings, I spy familiar faces Giovanni Fares, Laurence Milstein, Bach Mai and Timo Weiland.
Next up: the Glass House summer party, one of my favorite events of summer. Daniel Goldstein and I drive out to New Canaan to what feels like a modern revival of Philip Johnson and the de Menil’s’ 1967 “Country Happening,” a famed picnic where architecture, art, design, fashion, music, and community converge.
Seating is by Knoll’s Richard Schultz 1966 Collection and inside the Glass House, Knoll has swapped the historic furniture with reimagined modernist pieces by Dozie Kanu, just for one day. Max Mara’s Italian Summer Café serves artisanal gelato and espresso from a Piaggio cart and people make affogatos or add prosecco. Nearby, I spot like Sharon Copland, Jonathan Olivares, Brent Leggs and Eric Viner.
“Solange Knowles, founder of Saint Heron beams with pride during the performance.”
The current exhibition, “Tomashi Jackson and Robert Rauschenberg: The Catch One,” creates a compelling dialogue between new paintings and works from the site’s collection. The pinnacle of the day? Saint Heron and Malcolm J. Merriweather + Voices of Harlem with Artina McCain perform an excerpt from “Glory to Glory” honoring Mary Lou Williams. Kyle Abraham’s choreography turns movement into prayer and release in tandem with the architecture. The dancers lead us to through an ethereal experience combining song, dance and nature, all in flowing red outfits. Solange Knowles, founder of Saint Heron beams with pride during the performance. The afternoon is all about experiencing the Glass House as a living environment: a place where architecture, landscape, art, and design inspire, and bring people together.
PHOTOGRAPHS BY BFA
