天体：时尚和天主教象是一家展览，表明天主教会在图像和象征主义中对时装设计师的影响，以及激励他们的奢华的服装和伪影。在展出大都会艺术博物馆’s Fifth Avenue flagship in the Mary and Michael Jaharis Galleries for Byzantine Art, medieval galleries and sculpture hall, and the Robert Lehman Wing, and at the Met Cloisters in Washington Heights, it puts fashion in the context of the museum’s holdings—paintings, tapestries, decorative arts and architecture—a signature strategy of curator Andrew Bolton, who employed this technique in中国：通过看起来的玻璃在中国画廊和危险的联络：十八世纪时尚和家具在Wrightsman Galleries。
相比之下，梵蒂冈collection of clothing and jewelry, on loan from the Papacy, is displayed in the Anna Wintour Costume Center in a self-contained display (one descending, one is greeted by a priest’s cassock designed by artist Henri Matisse which resemble his cutouts, that was part of his commission for the interiors of the Chapel du Rosaire in Vence, France). Music by Samuel Barber, Gabriel Fauré, George Frideric Handel, Ennio Morricone, Michael Nyman, and Franz Schubert serenades you through the galleries.
天体由设计设计迪克尔scofidio + renfro，与合作伙伴liz diller.带头。从20世纪初到现在的150名时尚合奏，由主要提出天主教的设计师是华丽的，或者通过对比，修道院，通常是戏剧性的，有时在顶部;它们由DS + R的精致，坚实，绝对中立平台，virlines和钢，混凝土和丙烯酸的基座出发。迪尔说她在窜卡洛斯卡帕（1906-1978），意大利建筑师将当代美学融入历史建筑装修，常常博物馆;Castelvecchio博物馆在14岁TH.-CenturyVerona Fortress，Fondazione Querini zhotalia在一个16世纪的Palazzo，Museo Canova在Possagno，Pallazo Abatellis在巴勒莫。迪尔也在她的干预措施中发现了精致性和平衡，利用这种对比的碰撞。
优雅的定制显示单元包括较大的混凝土基座，用于支撑由携带时装模特的底线盖住的十字形金属管;在深灰色的地板上清除亚克力盒;长卧式金属管悬挂多个外衣;和一个大型悬臂平台从分区的两侧出现，以举起扁平的长袍。
“时尚和宗教长期以来一直被交织在一起，相互鼓舞，彼此通知，”博尔顿说。他引用了“传统时尚跑道演示文稿和罗马天主教会的礼制的平行区......戏剧性的眼镜依赖于表现的剧烈。”这种对话在围栏上特别强大，建筑物的物理性提高了相互作用;围栏是来自欧洲修道院，修道院和教堂的建筑元素的牧群，在逐个石头上被拆除并重建在俯瞰哈德森的悬崖网站上。
一个例子是在哥特式教堂里，它具有指向拱形彩色玻璃窗和七个墓葬，具有比喻雕塑融合。John Galliano’s armored ensemble lies recumbent between two crypts, hovered over by Gareth Pugh’s black zippered outfits perched high on pedestals, while Olivier Theyskens’s red-headed figure in a black gown, fastened with hooks-and-eyes, stands below stained-glass windows in a row with female statues. In another instance, large, dramatic haloed lighting that spills onto darkened floors is featured both at the Cloisters on a Balenciaga-clad bride in the Romanesque Fuentidueña Apse, a semicircular apse with a single-aisle nave, and on Fifth Avenue in the Medieval Sculpture Hall spotlighting Dior-, Valentino-, and McQueen-dressed mannequins. The layout of these galleries mimics the longitudinal plan of a church, with a central nave and side aisles.
有适当的环境的时尚配对可以满足。The “monastic silhouettes and minimalist sensibilities…deceptively simple, pared-down” in monochromatic palettes of black, white, and brown by Geoffrey Beene, Madame Grès, Claire McCardell, and Rick Owens are very much at home in the Cloisters’ austere Cuixa Cloister and Pontaut Chapter House. In the Glass Gallery, overlooking the Cloisters’ Cuxa, Bonnefont, and Trie Gardens, rows of trees are interspersed with fashion by Dior, Valentino and Takahashi that were inspired by the paintings亚当和夏娃（1526）由Lucas Cranach The Elder，Hieronymus Bosch的地球花园很高兴（约1490-1500）和梵高的麦田绘画。同样，Unicorn挂毯与Thom Browne的婚纱的白色吹。
也许是最辛拔的搭配在九个英雄挂毯室，时尚似乎直接镜像梅的艺术系列：克雷格格林的合奏，哪个女性每天穿称为“战士和尚”，与亚瑟·亚瑟·王子，朱利叶斯·凯撒，亚历山大伟大，赫克斯和基督徒和希伯来语的伟大，纹理和风格的英国人挂钩密切相似。
有趣的是，菲利普特雷西的帽子“在他们的建筑辉煌”与翅膀的角思赛（想想飞行的尼姑）在一个叫做的系列中的模塑形式麦当娜再次乘坐由Burg Weiler Altarpiece的启发，它挂在它后面。
博尔顿写道，“有影响力的神学家汉斯·冯·巴尔萨尔基于我们首先通过美丽而不是真理感知上帝的神秘面纱的信念写了他的巨大的刊物。”这是丰富和虔诚的环境丰富的美丽。
