China Fashion Show Once Again Set A Record For The Metropolitan Museum Of Art.

Last week, the topic of Wall Street might be the plunging stock market in Shanghai, and a few blocks away, on the outskirts of commuter road for the green sidewalk, a series of China related series is making news.

As it entered its last week, the Metropolitan Museum of spring

The exhibition "China: Water Moon mirror" has attracted a great deal of attention.

By the morning of August 30th, 735 thousand people attended the exhibition.

It is still a week away from its closing in September 7th, including the last watch and Exhibition extended to midnight Friday and Saturday.

This has become the most popular fashion academy exhibition in the Metropolitan Museum of history, replacing the "Alexander McQueen: the beauty of the wild" which drew the 661 thousand and 500 audience.

The exhibition has raised its rankings to seventh place - and is still rising - in the most popular TOP 10 list of the Metropolitan Museum of art, some of its more than 700 thousand spectators, including "Monalisa" (1963), "Impressionist origin" (1995) and "Picasso in the Metropolitan Museum" (2010).

Andrew Bolton, the curator of the fashion academy, is the man behind the exhibition.

He said that audiences who visited the exhibition left a more positive response in the commentary box than before.

"People often use it as an opportunity to vent their dissatisfaction," he said. "Usually for lights or signs".

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One of Guo Pei's "China: Water Moon mirror" Exhibition

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According to any objective standard, this will be the most successful fashion show in metropolis so far.

The question is: why?

"To be honest, it surprised me."

Mr. Bolton said, "I have made preparations for its evaluation and polarization.

We predict that there will be about 500 thousand viewers.

I never expected this level of response.

"No one expected it to go beyond McQueen."

Douglas Dillon, chairman of the Asian Art Department, namely, Mr. Bolton, Maxwell K. Hearn, who organized the exhibition.

In the exhibition hall, there are Asian art galleries on the third floor. There are some Egyptian galleries on the two floor, and the Anna Wintour fashion center is on the first floor.

I didn't expect that either.

It is not that I do not like this exhibition (because of its luxury, whimsy and mixed view, it is visually interesting), but because it does not have any symbolic attraction that can turn the legendary senior culture into a popular pop culture moment.

This exhibition does not have the kind of human gossip that drives people to interest in the McQueen exhibition.

McQueen is here.

1st Anniversary times after the suicide, Princess Kate wore a dress designed by Sarah Burton for Alexander McQueen to marry Prince William several days later.

To be fair, this exhibition has a lot of remarkable use of the mixed media, making it look both contemporary and historic.

And it contains the movie, the director and producer of Wong Kar Wai, is the artistic director of the exhibition. There are still a lot of clips from the last emperor and the world of susihuang, which are always welcome media.

But instead of a household name, Wong Kar Wai is an independent director.

And when the more famous Hollywood director Baz Luhrmann (Baz Luhrmann) was the creative consultant of the 2012 fashion academy Exhibition "Xia ban Li Li and Prada: impossible dialogue", tickets were not as hot as they are now.

When I first visited the show in March, I was juxtaposed with antiques.

Shocked by the superficial nature.

No matter how beautiful the dress is, I still remember the shock of Tom Ford's pagoda series designed for Yves Saint Laurent, and was amazed at the blue and white porcelain fragments on a Alexander McQueen tights. When they compared with this inspiration, they became pale.

Usually too superficial and straightforward.

In a display

In the exhibition hall, the audience gathered to watch the movie clips.

This is a good thing for Asian art, because it allows you to see more than two things that might otherwise have become a background porcelain, for example, but not necessarily clothes.

There is no doubt that my favorite room is "Little Buddha house", which is featured by a huge golden dress made by Chinese designer Guo Pei.

Guo Pei made the egg yellow cloak for Rihanna at the opening dance, surrounded by many pottery Buddhas.

This connection is in the dark, not public.

This may be more closely related to my own discomfort about the superficial superficiality of fashion imagination, rather than the exhibition itself (in fact, this is part of the exhibition's view); as Holland Cotter wrote in its commentary, "the difference between the two criteria is too frequent and dazzling."

However, the results show that comments do not have any effect on the audience's choice.

"I call it the Harry Porter effect," Mr. Bolton said.

The word "China" has magic.

"Chinese audiences usually want to see what China looks like in Western museums," Hearn said.

50% of the audience is international spectators, but since June, 14% of all international audiences are Chinese. This is the largest overseas audience of the Metropolitan Museum.

Until recently, China is still one of the most profitable markets for western fashion designers.

In fact, when I was the first person to hear the title of this exhibition when I was full of questioning spirit, I wondered if it was a carefully planned action to get those gold powder.

At the press conference, Mr. Bolton said, "we never considered quantity," but he said, "I want to do some exhibitions that are related to contemporary art and resonate."

This is a paradoxical distinction (is it making a list of culture related resonance or clicking on temptation? Is there any difference?) but when it comes to the latter, there is no doubt that China is the focus of many dialogues in every industry, from Hollywood to finance and tourism to e-commerce.

In short, the museum soon understood that its original expectations would be surpassed.

At the end of June, Thomas P. Campbell, director and chief executive of the Metropolitan Museum, decided to extend the exhibition for another 3 weeks.

This is the only two extension Exhibition of Fashion College.

(McQueen is its precedent).

"We are just like fungus infection."

"We started off at a very small scale and then took over the whole museum," Bolton said.

This takeover has created another problem for its manufacturers: follow up.

Mr. Bolton also acknowledged this challenge.

It is worth noting that after the McQueen exhibition, in order to better manage the expectations, he and Harold Koda have planned two more quiet and poetic exhibitions: one is based on the dialogue between two women (Schiaparelli and Prada), the other is an analytical way to display the works of Charles James.

But in other words, Mr. Bolton has an ambitious wish list.

Inspired by two portraits in the American Gallery, he wants to make a dialogue between Edith Wharton and Henry James.

And he really wants to work with the Egyptian gallery.

However, the largest exhibition in the museum is still the treasure of Tutan Camon in 1979, attracting more than one million people.

Do it yourself.