Draped in Art
Left: 'Madame X' at the 1884 Salon. Right: Adjusted strap in Sargent's 1885 studio photo. The Metropolitan Museum of Art, 1916 acquisition
Renowned American artist John Singer Sargent, celebrated for his exquisite portraits of the affluent and influential, was also a trendsetter in his own right. His subjects, predominantly women, were attired in the opulent fashion of the Edwardian era, clad in luxurious dresses and jewels. An exhibition, “Fashioned by Sargent,” jointly presented by Tate Britain and the Museum of Fine Arts, Boston, sheds light on this often overlooked aspect of Sargent's oeuvre – his profound engagement with fashion. This exhibition, which opened in Boston in early October, has garnered attention from prestigious fashion publications like Vogue, underscoring the intersection of art and style. Sargent skillfully used fashion as a means of expressing the identity, personality, social standing, gender roles, and professions of his subjects. Rather than placing portraits at the forefront, he made garments and costumes the focal point of his works. Notably, Sargent personally selected the clothing for his sitters, manipulating fabrics to enhance the impact of his paintings. His techniques ranged from cinching clothes around a man’s waist to accentuate his figure, to allowing a dress strap to gracefully slip off a woman’s shoulder, a move considered daring for the era but undeniably effective.
John Singer Sargent, Mrs. Charles E. Inches (Louise Pomeroy), 1887. Courtesy of Museum of Fine Arts.
Several paintings were complemented by the actual garments they portrayed. Among them, my personal favorite is Louise Pomeroy’s plum-colored velvet dress. Lady Sassoon’s black taffeta opera cloak was also prominently displayed. Sargent’s mastery in manipulating fabric was evident in the way he highlighted the baby-pink inner lining of the garment, emphasizing intricate details such as lace and ribbons. However, the true showstopper of the entire exhibition was Madam X’s dress – a seemingly modest black gown adorned with gold straps. Beyond its simplicity, the dress radiated both glamour and power. The contrast between the sitter’s pale skin and the dark attire drew immediate attention to details like her bare shoulders and the sweetheart neckline. The dress’s cinched waist accentuated the hips, creating a perfect hourglass shape. Given the period in which the painting was created, the work, particularly the dress, may be perceived as controversial, yet it undeniably stands out as Sargent’s most iconic masterpiece.
John Singer Sargent, La Carmencita, about 1890. Courtesy of Musée d’Orsay.
Additionally, the exhibition showcased elaborate costumes. One notable piece was created around 1890 for Carmen Daucet Moreno, known as Carmencita, featuring gold silk embellished with silver thread, spangles, and beads. Personally, I feel that the painting fails to fully capture the magnificence of this dress, given its extensive detailing, which may not be readily apparent in the artwork. Another striking costume on display was the “Beetle Wing Dress” designed for Lady Macbeth. This moss-green ensemble boasted intricate embroidery and was adorned with beetle-wing cases, glass, and metal, creating a visually stunning and unique piece.
John Singer Sargent, John D. Rockefeller, 1917. Photo by Ben Asen.
The exhibition also featured men’s fashion, though it was not portrayed with the same level of drama as women’s attire. Notable examples included the crimson red robe worn by Samuel Jean de Pozzi and the dandyish style exhibited by John D. Rockefeller. The integration of fashion into John Singer Sargent’s artistic work was undeniably pivotal. For those seeking a more immersive experience, I highly recommend viewing the brief video produced by the Museum of Fine Arts (MFA). This video not only provides a visual showcase of the exhibited works but also offers insights from the curators, allowing viewers to gain a deeper understanding of Sargent’s creative process and the significance of fashion in his art.
