Iris Van Herpen's exhibition at the Brooklyn Museum, 'Sculpting the Senses', is a captivating exploration of the designer's unique approach to couture. Her work transcends the boundaries of fashion, delving into the realms of science, nature, and the human experience. What makes this exhibition truly remarkable is Van Herpen's ability to seamlessly blend her artistic vision with cutting-edge technology, resulting in garments that are both breathtaking and thought-provoking.
One of the most intriguing aspects of Van Herpen's process is her focus on the material. She begins each collection with an exploration of materials, often drawing inspiration from the micro and macro worlds. This attention to detail is evident in the garments, which seem to grow from the very essence of the materials used. For instance, the 'Henosis Dress' from the 'Roots of Rebirth' collection (2021) showcases a delicate interplay of fabric and structure, almost like a living organism. This attention to materiality is not just a technical achievement but a philosophical one, as Van Herpen sees the body as an extension of nature, shaped by water, air, and mineral growth.
What makes Van Herpen's work particularly fascinating is her ability to translate these complex ideas into wearable art. The garments hover around the figure, branch across the torso, and lift away from the skin, suggesting that dressing can be an act of sensing one's place within a wider field. This is especially evident in the 'Seijaku Dress' from the 'Seijaku' collection (2016), which seems to embody the essence of Japanese minimalism and the concept of 'wabi-sabi'.
However, the true genius of Van Herpen's work lies in her ability to blend traditional couture techniques with digital tools. She begins with a physical, full-scale sketch on a base dress, which is then translated into computer files. This back-and-forth between hand and screen is a compelling design lesson, as it demonstrates how technology can extend touch rather than replace it. The final pieces hold traces of both methods, with the precision of computation and the sensitivity of couture sharing the same edge.
The exhibition also delves into Van Herpen's interest in altered perception. She explores meditation, lucid dreaming, hypnosis, and synesthesia, using these experiences as practical design tools. This gives her work a particular intimacy, as the garments often begin with interior experience: a sound seen as pattern, a dream remembered as movement, or a material handled until it starts suggesting its own direction. The exhibition's soundscape by Salvador Breed deepens this field, surrounding the garments with a sensory layer that makes perception part of the display.
In my opinion, Van Herpen's work is a testament to the power of art to transcend boundaries and challenge perceptions. Her ability to blend science, nature, and the human experience into wearable art is a true marvel. As she continues to push the boundaries of fashion, I can't help but wonder what new dimensions she will explore next. Perhaps the cosmos? Or the depths of the ocean? One thing is certain: Iris Van Herpen is a designer who is not afraid to dream big and make the impossible possible.
