As Carnival creeps in, I’ve found myself in costume purgatory. Being a novice to balls and parades, the buzz of couture Mardi Gras fashion is intimidating. These costumes aren’t just glitter, feathers and gem stones. So, in order to get my creative juices flowing, I spent an afternoon in the New Orleans Museum of Art to find some bona fide inspiration.
(Above: Loma Peoples, Poro Society Horizontal Mask (Kpakalogi Sinei), Museum purchase through the Ella West Freeman Foundation Matching Fund, 72.40)
NOMA’s African and Arts of America collections are obvious pulls for literal interpretations. The galleries are filled with masks, jewelry, head pieces, statues and clothing. These pieces are made for ceremonies of celebration (whether daily or specialized) and possess an aura extending beyond their physicality. I was in awe of the detailing; each little bead, feather, or hair was placed purposefully, creating a minimal but masterful design. In regards to materials, I realized how being resourceful with what-you-got is vital.
(left to right: 1.Hopi Peoples, Yucca Kachina, 1940s, Bequest of Victor K. Kiam, 77.252, 2. Bamana Peoples , Komo Society Helmet Mask, New Orleans Museum of Art, Anonymous Gift, 87.205 . 3.Bella Coola Peoples, Frontlet Headdress, Gift of an anonymous donor, 79.345)
Before I ran home to plug-in my glue gun, I decided to see what else could call out as a Mardi Gras muse. And although I’m more keen on primitive aesthetic, there’s no denying wigs and sequins are common decorative elements for costumes too. If Baroque tickles your wig or Liberachi-style bedazzling gets you hot, the museum has something for you as well. The rich and varied French and Italian galleries are home to figures draped in prosperity and decked out in powdered wigs.
And don’t miss a hidden gem-a Faberge exhibition. It showcases personal luxury objects Faberge including jewelry and the exquisitely crafted life-like miniature enamel flowers in crystal vases. You’ll be drooling rhinestones.
(left to right: 1.Claude Lefebvre, Portrait of Louis XIV, 1782-83,New Orleans Museum of Art: Gift of Hirschl and Adler Gallery, 56.67, 2. Peter Carl Fabergé, Russian, 1846-1920 Miniature Easter Eggs, n.d., NOMA: Gift of Caroline P. Ireland, 2006.79.22-.47, & 3. Jean-Baptiste Greuze, Portrait of Marie Angélique Vérany de Varennes, Mme Georges Gougenot de Croissy, 1757, Museum purchase, Ella West Freeman Foundation Fund, Women’s Volunteer Committee Fund and an anonymous gift to 1976 Acquisitions Fund Drive, 76.268)
And if the ‘obvious’ inspiration doesn’t do it for you, then take a less literal approach. A favorite of mine is Chakaia Booker’s Urban Townie tire piece. It’s sculptural language could easily be interpreted into costume design. NOMA’s other modern and contemporary pieces can spark limitless personal decorative interpretations too.
(left to right: 1.Dorothea Tanning, Guardian Angels, 1946 , Museum purchase, Kate P. Jourdan Memorial Fund, 49.15, , 2. Chakaia Booker, Urban Townie, 2001, New Orleans Museum of Art: Museum Purchase, Joseph Jones Family Foundation Fund, 2002.4)*
So, before Fat Tuesday rolls around, visit NOMA’s collection and translate these historical and artistic pieces into your costume. And even if you think you are all set for the festivities, I’ve heard a costume closet is never actually full…
New Orleans Museum of Art
One Collins Diboll Circle, City Park
Open Tuesday through Sunday from 10 am to 5 pm.
http://noma.org
A special thank you to the NOMA and it’s staff for their assistance and providing the featured images.
Amanda LaPlaca is a creative designer from Brooklyn, NYC. She is an avid calendar filler (volunteering, events, etc) and loves being on the go (traveling too) but relaxes each day in her Uptown backyard garden after a long bike ride. www.amlaplaca.blogspot.com + www.amandalaplaca.com
*These two pieces are subject to copyrights. Artists websites for citation: http://www.dorotheatanning.org/ & http://www.chakaiabooker.com/
