A New Religion

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n o i g li Kirsty Scott 6003. Article for Dansk Magazine

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THE MET GALA Image selection from The Met Gala Heavenly Bodies red carpet 2018..

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High priestess of fashion, Anna Wintour, once again assembled an enchanting congregation of couture for the industry’s largest spectacle and annual ritual, The Met Gala. Ever year a new exhibition prevails in which the elite of the creative industries, music, fashion and theatre, are invited to celebrate and adorn themselves in the best of couture concise to a theme. As a communion of celebrities gather on the red carpet religiously on the first Monday in May, this time showcasing their best interpretation of glamorised faith. Halos and rosaries and don cassocks, oh my! Yet in chastity the public and paparazzi hold their breath for the pinnacle transfiguration of the entire evening, Rhianna.

Timelessly her reigning reveal of custom couture is an established favourite and her Heavenly Bodies red carpet look was both divine and boldly blasphemous. Her crowning “Bad Gal Riri” title infamously suits when depicting yourself as the Pope: a Margiela, Cartier, Louboutin hybrid Pope. Whilst perhaps committing heresy in the masses, and few

as ‘The Keys of Saint Peter’, the public are openly invited to “Both a

can defend Hollywood conducts a pious lifestyle, it is arguably in the

public spectacle and a private conviction” of the exhibit, allowing us

committing of sin that iconic fashion is born. It is the supremely guileful

to unlock our inner critique, discusses Jason Farago in his review for

creatives who hems we worship at, may it be a McQueen or Westwood.

The New York Times. Farago’s confessions regarding Heavenly Bodies may be no secret, but his deep insight journey’s us through the hallways

However, inside head curator for The Metropolitan Museum of Art,

to the nave of the museum where he undresses how the “intermarriage

Andrew Bolton, choreographs the spectacle across Manhattan to narrate

of religious art and secular fashion feels refreshing”. And through

n o i g i a respectful exhibit that evokes the timely bond between fashion and

the creative influences of Wintour and Bolton, they delivered a never

Catholicism. As the institute welcomed a record breaking 1.3 million

seen before expression of culture, religion and politics where fashion

visitors through their doors, for the Heavenly Bodies: Fashion and

was the medium of omnipotent power. In opinion piece by Katherine

the Catholic Imagination exhibition, it re-established as a must New

Wynne and Alice Janssens, the pair conclude it is “The Hero With a

York pilgrimage for all followers of fashion. Andrew Bolton’s curation

Thousand Faces is, for the time being, a woman: Anna”. Manifesting the

blessed us not only with secular fashion, but also a holy trinity of

Vogue editor-in-chief as our deity of fashion, honourably responsible

vestments, religious garments and opulent accessories - displaying

for Heavenly Bodies. The worship of Wintour is rightfully so for

overall four dozen articles, lent from the Sistine Chapel Sacristy. With

this wonderful spectacle, as Heavenly Bodies has effectively ignited

these exceptional loans and elements of The Vatican temporarily re-

discussion amongst the fashion community, including myself, regarding

homed within the Anna Wintour Costume Centre, it added dimension

the admiration of divine inspiration in secular dress. And in particular,

to the power play between the museum and the fashion industry against

the question on all of our lips, what is it about Catholicism that is so

that of organised religion. Through showcasing Vatican objects, such

visually appealing?

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DOLCE & GABBANA Catwalk images from Dolce & Gabbana’s A/W 2013 collection.

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Bolton’s final judgement reflects that “Designers certainly gravitate towards religious imagery for provocation. On the whole, the majority of designers engage with it for nostalgia and reasons of beauty.” For Domenico Dolce and Stefano Gabbana, Catholicism is every bit integral to their brand’s DNA as it is for Wintour to wear sunglasses indoors.

As they dominate this realm of iconography seasonally with Sicilian motifs, the designer duo aren’t afraid to showcase their devotion to their

non-Catholic(s)” upbringing, writes author Colleen McDannell. It can

religious heritage. A timeline of Dolce & Gabbana easily manifests into

be said that through personal disassociation, followers of fashion are

a travel guide of the devoutly religious isle as they mirror landscape,

experiencing religious Sicilian motifs as a gateway for tasting the exotic.

architecture and the renown charm of Sicilian women within their

Projecting the luxury brand as exciting, fresh and new as the designer

garments. The A/W 2013 collection paid an outstanding heavenly

duo translate their heritage into the core of their brand. McDannell

homage to Catholic materiality as they wrapped Byzantine mosaics,

also suggests, through disconnection, as well as recent decrease,

from the Cathedral of Monreale, around the adorned silhouettes of

between Catholic symbols and their ideological context that religious

models. Their choreographed collection split into a holy trinity of

iconography develops a “Camp and fashion[able] value(s)”. The

cardinal red, mosaic dresses and black lace which is to be associated

dynamic and systematic culture of fashion, and therefore its conspicuous

with Sicilian widows. The entire collection capsulised a piece of Sicily,

nature for appropriation, creates a society in where wearing a Dolce

of home, and transfigured right into the middle of Milan. How divine?

& Gabbana mosaic dress, adorned with bejewelled Catholic saints, is

And what may be nostalgic for Domenico and Stefano, can easily be

not a reflection of faith but yet a stylistic choice. With Catholicism’s

perceived as otherworldly by others from “Exaggeration, otherness,

new found fashionable edge, it could be said to be generating a new

artificially - all of [which,] these traits are appreciated by those of

appreciation for Catholic material. Or a new religion?

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One recurring sanction that aligns many designers is the direct influences extracted from the Holy Ordering of the Catholic Church.

Moschino, Dior, Balenciaga and Thom Browne have all alike paid an extravagant homage to the Church in their varied interpretations of religious hierarchy. Across fashion history all of these dramatic transfigurations, from alter to runway, showcases the extrinsic designer disposition for appropriation of not only religious symbols but of cemented figures within the Church too. John Galliano’s A/W Haute Couture show for Dior in 2000 features the memorable Pope look, a “manifestation from John’s imagination” says Bolton. Yet through sheer imitation, as well as the added diamanté or two, a clear distinction between heavenly inspiration and a pastiche of religion begins to form. Whilst Balenciaga and Browne have paid a humble homage to Catholicism, Nunnery’s and Convents to be specific, Galliano’s Pope sharing a runway with a gorilla-showgirl and a slit throat Marie Antoinette makes his manifestation a blasphemous mockery of religion.

Bolton described the feature of Galliano’s Pope as a ‘highlight’ of the Heavenly Bodies exhibit; whilst we are all curious to explore how a

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designer would interpret significant religious dress, when it’s modelled alongside the likes of a scary clown, the runway becomes a parody of stigmatised characters merely adorned in the hand-crafted Couture of Dior ateliers. Although, what a lucky clown. Also his attempt to pastiche religion not only propels the intention of admiration into unending ideas of heresy, but once more aligns the association between ‘camp’ and the Catholic Church. The satire of the Holy Order, for me, loses the faithful aspect of appreciation for Catholicism and its beauty, whereas the likes of Dolce & Gabbana let their adoration shine.

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Another designer aligned with the admiration of the Holy Order is Sarah Burton in her 2013 A/W collection for Alexander McQueen. In contrast to Galliano, Burton’s manifestation of the Pope was surrounded faithfully with nine other garments all pivoting on the piety of Low Church Anglicans. The spectacular ten were categorised into five subgroups including: Communion, Nuns, Cardinals, Popes and angles.

The briefness of the show was made up for in craftsmanship and the complexity with every outfit assembled in two weeks each created for an awestruck reception of the collection that lasts to this day. An omnipotent consciousness clings to the collection as it hinged on the final stages of Burton’s pregnancy. Under extraordinary circumstances, time restrictions and the fruitful chaos of fashion, it could be said she immaculately conceived the collection through spirit of the God of fashion himself, Alexander McQueen. Inadvertently, Burton injected religious narratives of fertility and feminine virtues through the hybrid

of expectancy and the focus of the pre-fall collection. The “elevation to the full-blown extravagance of the ten looks”, Tim Blanks begins to unpick in his collection review, “Nailed the excesses of Catholicism in a way that would have warmed the heart of ferocious anti-papist Lee”.

It is rare to see an heir so effortlessly capture the spirit of the Fathering designer yet Burton’s convoluted aesthetics is the perfect intermarriage and match for the brand.

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ALEXANDER MCQUEEN Catwalk image from Sarah Burton’s collection for McQueen in 2013.

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The reigning honorary of Catholicism, and who this article cannot go on without discussing, has lead the way for pop-culture’s adoption of Catholic iconography. Singer, actress and sex symbol, Madonna navigated herself to iconic status with the use of “Catholic material culture to achieve her commercial and artistic goals” writes McDannell.

Her idolised juxtaposing relationship between religion and sex propelled Madonna to Godly status, as a never seen before intermarriage of two contradictions touched pop culture for the very first time. Madonna established the use of religious imagery early on in her career during pop music video Like a Virgin in 1984. Birthing Madonna into the industry pure and innocent. Yet, the inadvertent sexualisation of female musicians by the media and her association with religion labelled Madonna as “A symbol of virginal innocence and sexual beauty” McDannell goes on. The music video shows the singer showcasing her 'virginal innocence’ in a white bridal look which is, without intention, sexualised once again solely on the basis of her status as a female

dominance and desires through performance via costume, choreography

singer. Not only did Like a Virgin begin building Madonna as a brand,

and visuals. Madonna transfigures out of a giant glittering disco ball, in

but popularised the rosary and crucifix earring trend, allowing fans to

true Queen of pop style, dynamically displaying dominance by asserting

manifest into the desired ‘Madonna’ look. Bringing Catholic materiality

her superiority through height and visual hierarchy. Because there is no

to the masses within mainstream culture.

one quite more important than those that entrances require a twenty foot tall disco ball. Buckled and belted, Madonna and her female dancers

Although leaving her rosary beads and black tulle skirts in the 1980’s,

emerge in full equestrian attire, crop and all. Whilst male dancers submit

Madonna has re-imagined Catholic images throughout her career (except

to their submissive roles as they surface gagged with horse bits and

from when she was a cowgirl and or fitness/leg warmer enthusiast.)

saddled. The entire opening set a spectacle, showcasing that at forty-

During her 2006 Confession Tour, Madonna asserts her sexual

seven Madonna is the sex symbol for sexual dominance through means of an erotic equestrian theme.

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MADONNA

Madonna performing ‘Live to Tell’ during Confession tour 2006.

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From dominatrix to daughter of God, the singers iconic contradiction comes to light later in the show during her performance of Live to tell as she trades in her disco ball for a glamorised crucifix. The transubstantiation of wine and bread into blood and body, similarly mirrors Madonna’s manifestation from woman into the likeness and image of Son of God, Jesus. Although her physical appearance remains unchanged, it is through the ideological context of the crucifix that

Think of Madonna, and how it wasn’t just the visuals of Catholicism that inspired her but also the dark storytelling at the heart of the bible. It’s often macabre and gory that ignites in us the same morbid fascination we get when we read fairytales.

the audience is aware of her now sacred quality. Despite the outburst of controversy by aligning herself with this level of omnipotence, it does in fact also become a commentary of her journey and success as musician, from a “symbol of virginal innocence” to Goddess of pop.

Jesus’ sacrifice, suffering and death and therefore Madonna’s ‘camp’ musical rendition of the stations of the cross leads me to wonder: One, who would they cast Barbra Streisand as in said musical? And two, the more pressing question, what is it Madonna is sacrificing? Sophia Smith Galer writes “singing while strapped onto a massive crucifix…

fashion choices and Christian art long before Bolton and Wintour. Elise

propelled the universal symbol of Christ’s death into the mainstream

Bell from the TAH team commented:

world of pop-star idol worship.” Symbolising that through society’s

Although the singer nailed to a cross has translated into an iconic

obsessive media consumption, therefore worship of the celebrity, it is

pop-culture image, and I can only imagine it’s increased viral potential

mortality and privacy that are the cost and sacrifice of fame. The entire

if released in todays society, as Elise describes it is our “morbid

performance, if you will, mirrors the process transubstantiation creating

fascination” with a performance that pivots on the narrative of a death

an overarching metaphor where Madonna’s transformation, from woman

scene. Through Madonna’s association with sex and the exploitation of

to sacred figure, also creates a space in which the entire spectacle is

“Catholic images also embody[ing] a sensuality” consequently shows all

a visual feast in which the audience consumes her musical talents as

of her performances to tell a darker story. Once more, The Confession

an artist. And the ritualistic nature of a tour invites a new audience of

tour is a celestial arena exploring both the saint and the sinner in

worshippers and followers to fill the pews and aisles to take communion

performance, in which disciples of Madonna gather to worship her

by consuming her greatest hits. Galer goes on to introduce hyped

liturgical music. Moreover, in her pinnacle use of religious iconography,

internet sensation, turned zine, Tabloid Art History who pair editorials,

and throughout her career, in a way has it acted as a series of

selfies and paparazzi shots of celebrities alongside historical artworks.

interventions that forged conversation between religion and mainstream

Their Instagram feed has been highlighting the intermarriage of celebrity

culture and media.

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In the wake of the celebrity Insta-cult and a modern visual society,

“Do you remember being born?

Are you thankful for the hips that crack? The deep velvet of your mother and her mother and her mother...”

celebrities continuously pastiche Madonna’s inspired use of religious imagery that goes beyond the 2018 Met Gala red carpet. Wynne and Janssens write, “[ It is ] demonstrated to the world that pop culture, fashion and technology have become the religions of the modern era. Where before we had royal courts, we now have Instagram. Where we had cardinals and bishops, we now have celebrities to share moral, social and visual pointers” As celebrities navigate our modern religions, our every swipe, like

through and a ceremonial echo of poetic narratives commences the

and click vows us pious to our favourite accounts, a public and private

show. “Do you remember being born? Are you thankful for the hips

form of worship. The writers even pose that our ritualistic honouring

that cracked? The deep velvet of your mother and her mother and her

of fashion, especially on social platforms, allows us to question “How

mother” resonates alongside projected visualisations of Beyoncé, a sexu-

different is this fashion ritual from pre-Reformation Catholicism?” All

alised deity adorned in opulent accessories that showcases the singers

celebrities referencing religious iconography are not doing so in a sim-

blooming pregnancy. A comment from Elise Bell reflects “Catholicism

plistic way. It is often a narrative of satire and parody that disrupts the

and Catholic art is up there when it comes to sheer decadence, [and]

supposed conservative virtues of religion sending mixed messages to the

lavishness” moving Beyoncé’s production from a glamorised pastiche

public and or audiences raising yet another question. Why do celebri-

of faith to a mirror of lavish excess and materialism that the Catholic

ties, in particular female musicians, use religious iconography within

Church is known for. All elements of the divinely depicted performance

their styling? Recently, pop culture muses and modern icons Beyoncé

point to reinforcing notions of fertility and love that she was personally

and Kim Kardashian West “Have been referencing Catholic imagery of

experiencing and invites to share with the audience. From generational

the Virgin Mary ever since they first experienced motherhood” writes

visuals of her maternal family tree featuring mother Tina Knowles and

Galer within her discussion and assessment of the appropriate measure

her first child Blue Ivy, to the overarching poetic narratives that journey

of using religious imagery. Beyoncé’s 2017 Grammy performance was

through the relationship of idolising our mothers. Images of Blue Ivy

an ethereal production landscaping maternal nature and love whilst she

playing at her mothers feet not only depict variations of 14th century

carried twins during her second pregnancy. A finesse of fluidity and

paintings of Madonna and Child, but once again nods to her manifesta-

golden beams dance across the stage and her deep earthly voice cuts

tion of the Virgin Mary as a symbol of motherhood.

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Adorned with halo and veil, Beyoncé’s live rendition of Lemonade album tracks Love drought and Sandcastles also connote religious symbolism. Fruit is laden symbolically with sin, sexuality and sensuality within the Bible and given the title of her latest sixth studio album, it gives an insightful taste as to the tone of Lemonade. Lemons are often symbolic of bitterness and disappointment, cohesive to the start of the album which journeys through themes of heartbreak as she steers through each song with scornful tales and lyrics that appear to address her husband Jay Z’s long rumoured infidelity. An exposed insight to the celebrity couple is a rare glimpse into their lives and almost humanises the pair from the publics constant fervour to Godly status. Whilst the themes of fruit come into play, a discussion of Eve and the committing of the original sin falls into play. Margo Demello in Body Studies An Introduction discloses in her chapter Pollution and the female body that through Eve yielding into temptation and succumbed to eating fruit from the forbidden tree that women, through the eyes of the Church, are viewed as “inherently evil, lustful and destructive.” Similarly, writer Efrat Tseëlon analyses that Eve’s “Temptation to eat forbidden fruit becomes seduction, and the seducer- the serpent - is a demonic infusion between evil and sexuality.” Beyoncé’s convoluted expression as an artist, that we are all at the mercy of, almost establishes an avant-garde narrative where, due to connotations of lemons and accordingly Lemonade, Jay-Z becomes the image of Eve. His succumb to temptation manifests the fruit into a figure of infidelity. Album track, Freedom, concludes with the decadent advice from Jay-Z’s grandmother, she states “I had my ups and downs, but I always find the inner strength to pull myself up. I was

served lemons so I made lemonade” bridges the album together through another’s voice and we see a direct glimpse inside of the heart and mind of the often distant singer. As the album concludes with themes of acceptance and forgiveness, it comes into parallel with Christian ideals that fruit is also linked to fidelity. On the cinematic visual album, that Beyoncé so kindly blessed us with, the song All Night showcases the beautiful intimate moments from Beyoncé and Jay Z’s private life, satisfying viewers with repentance and forgiveness. Within the Bible, fruit containing seeds also equates to fertility and the sensual acts that go alongside that of fertilisation. Again, this is cohesive with the album and Grammy performance’s narrative, navigating their relationship and the pilgrimage undertaken through the sanctity of marriage.

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BEYONCÉ Image of Beyoncé’s live performance of “Love Drought” at the Grammy’s 2017.

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Beyoncé, whilst donned in Peter Dundas’ first look under his namesake brand, takes a ‘seat at the table’ and paints a feminist Last Supper.

Surrounding herself with women serves an empowering female narrative giving voice and a platform to women in a male dominated organised religion. The singer, instead of posing a parody of religious feminine virtues, alternatively disrupts the landscape of Leonardo da Vinci’s painting, imposing a never seen before colony of women seated and awaiting their rightfully earned worship. Insert thread of ‘yes Queen’ feminist gif’s here. Yet, the most impressive and laden layer to her Grammy performance, as well as the overall spectacular narrative of her album, was in the concluding scene and poetic narrative that gave me the keys to unlocking the purpose of Lemonade. And for one time only, the best was certainly left till last. Through her personal discussion and journey of her marriage, Beyoncé exploits her husbands infidelity and sinful temptation throughout the Lemonade album in order to break the Biblical female stereotypes that are cemented into Catholicism. These supposed feminine virtues and expectations of women tie Biblical characters to their bodies and in consequence, Demello engages, Catholic women are taught gendered rules in how to live their lives and what to do with their bodies. Eve’s original sin is a consequence and condemnation that “All women are themselves sinners and must be punished for their sins (through the pain of childbirth for example.)” As the media and public question the singers choice in exploiting husband Jay-Z, it is in her devotion to women and appreciation of her mother, showcased at the beginning of the performance, that the Queen of music uses his

infidelity to abolish the suppressing Biblical views of women. Showing, that men too are sinful. Putting women on the pedestal or even a given ‘seat at the table’ recognises the hardship and rightful worship of all women. Her personal narrative not a plea but a demand enforces change and recognition of the gendered rules of religion. This not only humbles her commercialised feminist title, crowned after self titled album Beyoncé, but establishes a greater appreciation of her drive for sisterhood and female empowerment. The sentiment of her final words affirm this as well as the purpose for Lemonade. “There will be a curse that will be broke. One thousand girls raise their arms, now that reconciliation is possible. If we’re going to heal let it be glorious.”

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BEYONCÉ Still image from visual album, “Lemonade”, on track “Love Drought”.

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What is fundamentally interesting about the intermarriage of fashion and Catholicism is it’s bitter sweet taste. The dualistic relationship between fashion and religion is every bit right as it is wrong. Their mutual tendency for lavish materialism and beautiful excess vows them intrinsically marital material. Yet, with the fashion industry’s tendency for idolisation and worship at the foundation of it’s premise, consequently breaks the second commandment. Thou shall not idolise, leaving a thorn in the side of fashion. It is perceived that perhaps fashion cannot function as the saint or the sinner but instead adopts a signature style where it evolves into the image of both. If you were to look very closely, perhaps little devils and angels sit on the shoulders of fashion’s most omnipotent figures, curating the most devilish desires down the runway, on the pages of slick magazines and on global stages. Designers and fashion followers alike have been indulging in richly decadent visuals for years and Farago’s conviction of Heavenly Bodies as “A public spectacle and a private conviction” therefore stretches further than the exhibition and into the mainstream culture consuming such imagery. Calling a final

to fashion I also believe it is within the sacred power of the fashion in-

judgement on fashion and religion’s relationship, foremost as a fashion

dustry to exemplify beauty and the iconic. From embellished angels and

follower and a Catholic second, is a complex conviction that I can only

corseted Cardinals, Alexander McQueen’s 2013 collection spectacularly

answer honestly. As a Catholic I believe there are lines in which can be

recognises the glorious materialism within the Church, which is reflect-

crossed, in circumstances such as Jean Paul Gaultier’s sadistic Pope for

ed within the craftsmanship of the collection. Down to every symbol,

Dior which was a parody amongst a multitude of pastiched characters

spoken word and halo that graced the stage during Beyoncé’s Grammy

was a wrongful execution of glamorising faith. However, as a disciple

performance in 2017. Her understanding of religion and women navigated the cinematic narrative of the century, and I am blessed to have witnessed it. These creative realms fundamentally celebrate the often exhausting hardship of showcasing your talent and whilst the industry may not be perfect quite yet, I think I’ve found my new religion.

Words Kirsty Scott

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