Van herpen’s bio-luminescent dress: a brooklyn revelation
The first glimpse within Iris van Herpen’s new exhibition at the Brooklyn Museum is a spectacle – the 2016 bubble dress, a precursor to the viral 2026 iteration adorned by Eileen Gu at the Met Gala. But this isn’t a mere rehash; ‘Sculpting the Senses’ meticulously builds upon the original Paris show, a project spearheaded by Cloé Pitiot and Louise Curtis in 2023, now brought to a distinctly American stage with the collaboration of curator Matthew Yokobosky and Imani Williford.
A decade of disruption
Marking van Herpen’s 19th year in business – a testament to her singular approach – the exhibition charts a course through a career defined by the audacious integration of technology into couture. Forget the predictable; van Herpen consistently pushes boundaries, evidenced by her pioneering work with mycelium lace and, most recently, a dress cultivated with 125 million bioluminescent algae, currently housed within a specially designed glass enclosure in Brooklyn.
Yokobosky aptly characterizes this as a mid-career retrospective, highlighting the designer’s unwavering commitment to a process he describes as “an ongoing research.” This focus on collaborative exploration – often involving scientists, artists, and architects – is central to her vision. Van Herpen isn’t interested in simply showcasing finished garments; she prioritizes the material development, technical advancements, and, crucially, the functionality that underpin each creation. “It’s shaping me, it’s forming me,” she stated, emphasizing the iterative nature of her work.
The exhibition’s layout, spanning eleven themed sections, mirrors a journey from the microscopic to the cosmic, beginning with the evocative blue of water and culminating in the expansive hues of the cosmos. From the 19th-century Gothic corner chair juxtaposed with a 2011 dress inspired by alchemy, to the inclusion of Naum Gabo sculptures and a loan from the American Museum of Natural History—including a skeletal dress from 2011—the curatorial choices are deliberately jarring, forcing a confrontation with the complex relationships between art, nature, and fashion. The show’s dynamic choreography, incorporating moving garments, microscopes, and projected video installations, offers an immersive experience, underscored by collaborations with figures like Beyoncé and Grimes.
Yet, amidst the technological spectacle, van Herpen’s roots remain firmly planted. Raised in the same region as Hieronymus Bosch, she brings a fascination with the darker aspects of human experience to her designs. This exhibition, however, isn’t simply a celebration of the past; it’s a bold statement about the future, reflecting a growing trend in exhibitions – pairing garments with artworks to illuminate the centrality of the “dressed body.” Van Herpen’s message resonates powerfully in a world grappling with the rise of AI, reminding us that the human touch, and the enduring power of nature, remain irreplaceable.
As she succinctly put it, “Nature is the foundation of all the work that I’m doing, and not only its beauty, but also in terms of biomimicry, like the intelligence that is home in nature.” The exhibition closes with a glimpse into her ongoing process, showcasing a live dress-making demonstration and a profound connection to the natural world.