The Museum at FIT’s Fashioning Wonder: A Cabinet of Curiosities is an inventive exhibition that bridges Renaissance-era collecting with contemporary fashion curation. Curated by Dr. Colleen Hill, the show (on view Feb. 19–Apr. 20, 2025) assembles nearly 200 garments and accessories, almost entirely drawn from the museum’s permanent collection . This ambitious display provides the first in-depth exploration of how early modern cabinets of curiosities (or Wunderkammern) relate to fashion . Through a thematic arrangement of sartorial “wonders,” the exhibition invites viewers to wander and discover connections between historical modes of collecting and the creativity of fashion design . In doing so, Fashioning Wonder modernizes the Wunderkammer concept, offering a scholarly yet engaging commentary on fashion’s place in art, history, and contemporary discourse.
Emerging in the 16th century during the Age of Exploration, cabinets of curiosities were precursors to modern museums. Aristocratic collectors, scientists, and explorers amassed encyclopedic assemblages of rare and intriguing objects from around the world – natural specimens, scientific oddities, artworks, antiquities, and exotic artifacts . These Wunderkammern served both as status symbols and microcosms of the known (and unknown) universe. Importantly, they often included textiles and costume pieces, demonstrating that fashion and dress were part of early collection practices. For example, a famous 1655 engraving of Danish physician Ole Worm’s cabinet shows a Greenlandic fish-skin parka and shoes from Central Asia displayed alongside antlers and hunting tools. Such collections were products of their time – tied to colonial expansion and elite privilege – yet they laid the groundwork for public museums by preserving and categorizing the wonders of the world .
Fashioning Wonder explicitly builds on this legacy, translating the eclectic spirit of the Wunderkammer into a modern museum context. An introductory gallery provides historical context, explaining the Renaissance origins of curiosity cabinets and their significance to early science and discovery. Hill uses this space to introduce and problematize the concept, acknowledging that these collections, while wondrous, were entangled with colonialism and exclusivity. Exhibition notes highlight how early cabinets signaled status for European elites and often relied on objects obtained through colonial networks. The curator emphasizes the need for today’s museums to be more inclusive and informed about the objects they acquire – a pointed ethical framing that sets a reflective tone. By doing so, the exhibition immediately modernizes the Wunderkammer idea, urging viewers to consider not just the marvels on display, but also the historical contexts of collecting and the responsibilities of contemporary curatorship.
Hill’s approach updates the Wunderkammer for a 21st-century audience by using fashion as the medium of wonder. Designers themselves are cast as modern-day collectors and creators of curiosities. (After all, many fashion designers are notorious “magpies” who collect art, artifacts, and ephemera as inspiration.) One exhibit vignette pointedly juxtaposes a Christian Dior leopard-print fur coat (c. 1960) with an engraving of Ole Worm’s cabinet from 1655. This striking contrast between mid-20th-century haute couture and a 17th-century curiosity display underscores the continuity in humanity’s urge to collect, categorize, and marvel at material objects. Just as Ole Worm carefully arranged natural and cultural treasures, Dior’s lavish coat exemplifies how fashion turns nature (animal pelts) into status objects – inviting comparisons between aristocratic collectors and fashion connoisseurs. Throughout Fashioning Wonder, garments become the artifacts that stand in for seashells, taxidermy, or paintings, effectively converting the gallery into a modern cabinet of curiosities filled with fashion wonders. The curator mined the museum’s archives for rare and seldom-exhibited pieces, trawling deep into the collection . Nearly all of the 197 objects on view come from MFIT’s holdings (only three are external), allowing the museum to showcase its own “treasures” much as a historical collector might have proudly displayed the contents of his cabinet. The result is an open-ended, immersive display that invites today’s viewers to experience fashion with the same curiosity and awe that early museum-goers felt in Wunderkammern.
Rather than a traditional chronological or designer-focused layout, Fashioning Wonder is organized into ten thematic sections, each modeled on a type of collection found in historical curiosity cabinets . This thematic organization mirrors the way early collectors grouped their wonders by category (naturalia, artificialia, scientifica, etc.) and creates direct parallels between historical collecting practices and contemporary fashion motifs. The exhibition design is playful and non-linear – visitors are free to roam from one “cabinet” to another, making their own connections, much as one might explore the assorted shelves and drawers of an old Wunderkammer. The ten themes, each presented in a custom-designed set, reflect the breadth of a classic cabinet of curiosities while offering a fashion-focused twist:
Specimens – Explores fashion’s fascination with the natural world of animals, plants, and minerals . This section recalls the naturalia of old cabinets by showcasing garments and accessories inspired by flora and fauna. For example, an array of jeweled earrings by designers like Kai-Yin Lo and Tiffany & Co. is displayed inside small glass jars, evoking scientific specimen vials. A 2013 Tom Ford evening gown intricately beaded in a zebra stripe pattern and topped with a flowing horsehair mane dramatizes the idea of wearing a “human zebra” – a nod to taxidermy mounts and exotic hides that once filled curiosity rooms, now recreated in ethically mindfully ways (using horsehair and beads rather than an actual zebra).
Aviary – Celebrates birds and plumage, presented within a life-sized birdcage installation at the center of the gallery. Historical cabinets often featured menageries of rare birds (sometimes even live specimens) as symbols of prestige . In Hill’s modern aviary, sumptuous feathered hats, headdresses, and garments are perched inside a giant gilded cage, inviting viewers to circle around as if inspecting a prized aviary collection. Notably, a feather-encrusted table created by milliner-turned-photographer Bill Cunningham in the 1960s makes its debut here . This whimsical object – a wooden table densely adorned with vibrant plumes – blurs the line between furniture and fashion and speaks to the historic obsession with feathers as well as current ethical concerns (today’s haute couture has largely abandoned real plumage due to environmental and animal welfare issues). The Aviary thus links past and present: it evokes the grandeur of exotic bird displays while subtly reminding us how cultural values around using bird feathers have changed.
Anatomical Theatre – Examines the human body as a source of curiosity and inspiration. In Renaissance collections, an anatomical theater was a space for displaying human skeletons, preserved organs, or medical anomalies – reflecting both scientific inquiry and morbid fascination. The exhibition’s fashion analog includes designs that reference bones, musculature, and anatomy. A highlight is an Arzu Kaprol “skeleton” dress (2013) made of rose-gold metallic leather, laser-cut in the shape of a human skeletal structure . This body-hugging dress simultaneously covers the body and reveals its inner framework, much as an anatomical specimen would. By showcasing such garments, the section draws a direct parallel to the cabinets’ mix of scientific curiosity and spectacle – reminding us that the human body itself has long been a site of wonder, in medicine and in fashion.
Artisanship – Focuses on craft, techniques, and the tools of making fashion . Historical collectors often prized not only wondrous finished objects but also the implements and ingenuity behind them – from artistic tools to ingenious inventions. In Fashioning Wonder, this theme celebrates the art of fashion construction and handiwork. Exquisitely crafted garments made with rarefied techniques (delicate embroideries, couture embellishments, etc.) are on display alongside miniature fashion objects that showcase meticulous handcraft. For example, an 1890 dressmaker’s miniature sample dress and c.1910 salesman’s sample tiny boots demonstrate the jewel-like precision of fashion in small scale. These diminutive pieces reflect a broader curiosity with scale (miniatures were beloved in Wunderkammern) and allow close examination of craftsmanship. The section also includes actual tools as objects of beauty: a late 19th-century adjustable brass sleeve-drafting tool, a sculpted cedar milliner’s hat block, and an ornate antique wire dress form are displayed as sculptural art pieces in their own right. By presenting the means of creation, Artisanship mirrors the Wunderkammer tradition of venerating artistry and innovation, reinforcing that the process and tools of fashion-making can be as captivating as the finished products.
Kunstkammer (Chamber of Art) – Highlights fashion items inspired by fine art and artistic canons . In the grand cabinets of early collectors (particularly in Baroque Europe), paintings and sculptures often shared space with natural curios, as collectors aimed to possess all realms of knowledge and beauty. Here, the Kunstkammer section includes garments that literally incorporate famous artworks. A stunning example is a Comme des Garçons dress from Spring 2018 printed with Vertumnus, the 1591 Giuseppe Arcimboldo painting. Arcimboldo’s portrait – which depicts Emperor Rudolf II as a figure composed of fruits and vegetables – was originally commissioned for the Emperor’s own cabinet of curiosities. Seeing it transformed into avant-garde fashion centuries later is a profound full-circle moment: it brings an artifact of Renaissance curiosity (the painting) into a contemporary sartorial form. Nearby, other pieces pay homage to art history, such as designs referencing classical paintings or sculptures. This section even creates a modern vanitas still-life in fashion form: an arrangement featuring a pair of elegant Sophia Webster butterfly-wing shoes and an AMBUSH x Masaya Kushino skull-shaped bag, symbols of beauty and mortality recalling 17th-century vanitas paintings . By assembling fashion that dialogues with art, the Kunstkammer section underscores the long-standing interplay between art and attire, affirming fashion’s place in the artistic continuum.
Reflections and Refractions – Showcases optical marvels and the play of light in fashion. Collectors of curiosities were often fascinated by scientific gadgets like prisms, mirrors, and lenses, which demonstrated the physics of light and vision. In parallel, this section features garments embellished with mirrors, iridescent surfaces, and kaleidoscopic patterns. A notable piece is a 1996 CD Greene gown designed for Tina Turner, encrusted with crystals and tiny mirrors so that the wearer literally shimmers and reflects her surroundings. The exhibition design amplifies this effect by surrounding the piece with mirrors, creating infinite reflections that recall the visual trickery of historical curiosity devices. By engaging the eye with dazzling surfaces and reflections, the section connects to the scientific wonder found in early optical collections and highlights how fashion can manipulate light for artistic effect.
Illusions – Explores trompe-l’œil and deceptive design in dress. The art of illusion – making objects appear to be something they are not – delighted viewers of early cabinets, whether through cleverly carved “miracle” objects or visual puzzles. Illusions in Fashioning Wonder gathers garments that “fool the eye” through print and construction. A standout example is a 1954–55 Emilio Pucci silk dress printed with a remarkably convincing faux-mink pattern, complete with trompe-l’œil fur “tails” edging the hem . This mid-century piece mimics a luxury fur coat in lightweight fabric, playfully subverting expectations. (Curator Hill noted her own surprise on discovering this rare Pucci design, as one “doesn’t think of Pucci doing trompe-l’œil mink” .) Nearby, a pair of whimsical Lanvin boots from 2006 are shaped and printed to resemble bare legs wearing high heels, and a tiny 1950s handbag cunningly masquerades as a folded umbrella. By presenting these witty fashions, the Illusions section links back to the cabinets’ penchant for the marvelous and mischievous – demonstrating that trompe-l’œil, an artistic technique dating to ancient Greece, has long been a part of fashion’s toolkit . The exhibition even uses timed lighting effects here, with lights fading in and out to alternately reveal and obscure details, heightening the sense of theatrical trickery.
What Is It? – An interactive cabinet of mystery that challenges the viewer’s knowledge . In early curiosity cabinets, part of the thrill was encountering puzzling objects and trying to discern their nature or function. Hill cleverly replicates that experience by displaying a selection of unusual, obsolete fashion accessories without labels or context. Visitors are invited to examine these curious items – perhaps a strange Victorian device or an out-of-fashion utilitarian object – and guess their purpose or method of use. Only upon lifting a cover or opening a panel do they discover the object’s identity and story . This hands-on guessing game not only engages the audience’s curiosity but also educates them about bygone fashions and the evolution of dress practices. “What Is It?” perfectly echoes the interactive, wonder-inducing ethos of historical cabinets, in which learning often occurred through playful discovery and personal inquiry rather than passive observation.
The Senses – A multi-sensory finale that engages touch, sound, and sight . Cabinets of curiosities were inherently sensory experiences – collectors would handle objects, demonstrate musical automata, or invite guests to smell rare spices and specimens. Embracing that legacy, the final section of Fashioning Wonder encourages visitors to go beyond looking. A touchable replica of an Edward Molyneux dress from circa 1948 is available for visitors to feel. (The original dress, displayed nearby, is a pocket-adorned design with eight functional pockets – essentially little “personal cabinets” for daily curios.) By allowing viewers to run their hands over the faithful muslin reproduction, the exhibit breaks the typical museum barrier of “no touch,” forging a direct physical connection to fashion history. Additionally, the sounds of certain objects – normally silenced behind glass – are made audible. One delightful example is a late-1950s red silk umbrella with a built-in music box: when wound, the umbrella’s handle (shaped like a cello) plays “The Blue Danube” waltz . Visitors can listen to this tune, conjuring the whimsical notion of wearable music. Such sensory elements add an immersive dimension, reinforcing the sense of wonder. They remind us that fashion is not only visual art but also a tactile and auditory experience (the rustle of fabrics, the jingle of adornments) – facets usually lost in museum settings but given new life here.
By structuring the show into these thematic “cabinets,” the exhibition closely mirrors historical collecting practices while highlighting the enduring thematic fascinations that span centuries. Just as a baroque Wunderkammer might contain sections for fossils, botanical specimens, art, and scientific instruments, Fashioning Wonder contains analogues in clothing form. This organization provides a clear yet imaginative framework for viewers, who can appreciate each section as a curated micro-collection. It also demonstrates how the impulses behind fashion design often parallel the impulses behind collecting – both driven by curiosity, a desire for beauty and knowledge, and the joys of juxtaposition. Notably, Hill found the thematic approach “freeing,” allowing her to mix periods and designers in service of ideas rather than chronology. The result is an exhibition that feels like a journey through a modern Wunderkammer, where around every corner another genre of marvel awaits, unified by the curatorial through-line that creativity thrives on curiosity.
Within this trove of fashion wonders, several key artifacts exemplify the dialogue between historical context and contemporary design. These standout objects anchor the exhibition’s themes and illuminate how the past and present mirror each other:
Ole Worm’s Cabinet Engraving (1655) & Dior Fur Coat (1960s) – The exhibition’s prologue features an engraving of Ole Worm’s famed 17th-century curiosity cabinet displayed alongside a leopard-print Christian Dior fur coat from the early 1960s . In Worm’s illustrated cabinet, one sees indigenous Arctic clothing (a fish-gut parka) and Asian footwear amid natural specimens, highlighting the colonial-era practice of collecting “exotic” attires as curios. Juxtaposing this with a mid-20th-century Parisian couture coat is a powerful curatorial stroke. The Dior coat, itself made from the pelt of a leopard, represents fashion’s continued romance with the exotic and rare.
Together, these images create a dialogue about ownership and display of animal material: Worm’s aristocratic wonder-room proudly showed animal trophies and foreign garments, while Dior’s design turned an actual wild creature into a luxury garment for the elite. Positioned at the entrance, this pairing immediately situates fashion within the lineage of collecting and prompts reflection on how attitudes toward such artifacts (and the ethics of using animal skins) have shifted over time. It is likely the only place one will see a Dior coat next to a 1600s curiosity cabinet engraving – a visual encapsulation of the exhibition’s core thesis that fashion has always been intertwined with the culture of collecting and wonder.
Mary Katrantzou “Collector” Dress (Spring 2019) – Fittingly, a contemporary piece that was directly inspired by cabinets of curiosities is included early in the show. London-based designer Mary Katrantzou created a dress for her 10th-anniversary collection that celebrated the instinct “to amass like objects of a particular kind, to record, to study and identify, to protect and cherish,” as she put it . The dress on display is a tour-de-force of print and embellishment, featuring motifs of butterflies and seashells – precisely the sorts of natural specimens one would find in a traditional Wunderkammer. Its surface is richly ornamented with embroidered and beaded insect and shell forms (even viewed with a magnifying glass in the installation, as an accompanying prop), effectively making the garment itself a cabinet of curiosities one can wear. In historical context, butterflies and shells were collected as marvels of nature’s design; in Katrantzou’s design, they become a celebratory pattern that blurs fashion and natural history. This dress is emblematic of the exhibition’s modern take on curiosity: it shows a designer consciously channeling the Wunderkammer ethos, bridging historic collecting obsessions with contemporary couture. By including Katrantzou’s quote on the museum label, the exhibition reinforces how the creative process in fashion can echo a collector’s impulse – in this case, the designer herself acted as a collector of motifs, compiling them into a single extraordinary piece.
Bill Cunningham’s Feathered Table (1960s) – Among the more unusual artifacts on view is a handcrafted object by the late Bill Cunningham, famed New York fashion photographer (and former milliner). In the 1960s, Cunningham created a small wooden table entirely encrusted with feathers – a curious fusion of décor and fashion fantasy . This piece, donated to MFIT by Cunningham’s friends, is displayed publicly for the first time. Visually, the table is arresting: every inch covered in variegated feathers, it resembles a specimen out of a fantastical natural history display. Historically, it harkens back to an era when cabinets might contain feather-adorned marvels or composite creations (it even evokes the feather mosaics and quillwork art that fascinated early collectors). Within the exhibition’s Aviary theme, Cunningham’s table stands out as an object of pure whimsical artistry born from fashion materials. It invites conversation about luxury and excess – feathers were once a heavily exploited commodity in fashion, and here they overwhelm a household object, rendering it useless but mesmerizing. Ethically, the piece also prompts reflection: as noted in the exhibit, feathers in fashion have waned due to environmental and animal rights concerns in recent decades. Placing this mid-20th-century feather fantasy in context thus raises questions about changing norms. As a curatorial choice, including Cunningham’s table also humanizes the concept of the Wunderkammer; it was essentially Cunningham’s personal “curiosity” project, revealing how even a modern individual driven by passion (in this case for fashion and color) can create their own cabinet-worthy object. In a show dominated by garments, this unexpected piece broadens the definition of fashion curiosities and underscores the exhibition’s celebration of creativity in all forms.
These artifacts, among many others, illustrate the exhibition’s strength in providing tangible links between eras. Each key object is chosen not just for visual impact but for the story it carries – a story that often straddles the line between past and present. Whether it’s a designer garment that explicitly references a historical cabinet (Katrantzou, Comme des Garçons), a vintage piece that embodies an age-old technique (Pucci’s trompe-l’œil), or a curated juxtaposition of old and new (Ole Worm’s engraving with Dior), the items are contextualized to reveal deeper meanings. In a scholarly sense, these examples function as case studies within the exhibition’s narrative, allowing the curator to draw direct comparisons and prompt critical thought. They demonstrate how a well-chosen object can serve as a nexus of historical reference, cultural commentary, and aesthetic pleasure. For visitors, these notable pieces punctuate the experience with moments of recognition and revelation – as one realizes, for instance, that a fashion dress can carry the legacy of an emperor’s collection, or that a coat and a curiosity cabinet share common ground. This method of using key artifacts to anchor themes is highly effective, though at times one might wish for even more information on certain objects’ backstories (for instance, a deeper dive into the indigenous origin and significance of that Greenlandic parka in Ole Worm’s image). Nonetheless, the selection of objects succeeds in making the abstract connections concrete, breathing life into the scholarly comparison of cabinets of curiosities and fashion.
The curatorial vision of Fashioning Wonder is evident not just in the choice of themes and objects, but in how the exhibition is designed and presented. Dr. Colleen Hill deliberately eschewed the “blockbuster” approach to fashion exhibitions (which often rely on heavy-handed spectacle or celebrity designers) in favor of something more experimental and viewer-driven . She describes the show as a kind of “anti-blockbuster” – an exhibition that draws the audience in through intrigue and personal discovery rather than through a dictated narrative or wall-to-wall text . This philosophy informed several key curatorial and display strategies:
The main gallery is arranged without a rigid path; there is no set order in which the sections must be visited . Mannequins, cases, and installations are positioned to allow multiple sight-lines, and even small “peek-a-boo” windows are cut between sections to offer tantalizing glimpses of other themes from unexpected angles . This layout is highly reminiscent of an old curiosity cabinet where one could scan across a room of shelves and see a mix of objects enticing the eye. Hill intentionally leaves room for the viewer to make connections and discoveries on their own, mirroring the way an 18th-century guest might peruse a cabinet and form personal interpretations of its contents. The absence of a forced chronological route encourages museum-goers to map their own ways through the exhibition, crafting an individualized experience. This is a somewhat unconventional choice in museum design (many exhibits are linear), but here it reinforces the theme of curiosity – exploration becomes part of the content. The risk is that some visitors might feel unsure where to start, but the curator cleverly suggests that there is no wrong way to wander in this whimsical space.
In a departure from typical didactic exhibits, Fashioning Wonder uses sparse text and intentionally minimal labels on the objects. Hill notes that original cabinets of curiosities often had no labels at all, and she wanted to replicate a bit of that mystery. Each thematic section has a brief introductory panel (outlining the concept and perhaps highlighting a key example or two, as we see with the provided quotes and historical references), but individual item labels are kept concise. In the interactive “What Is It?” section, labels are even hidden until after the viewer guesses, emphasizing inquiry over immediate explanation. This approach is somewhat experimental and assumes a level of sophistication in the audience . It aligns with current museological thinking about visitor engagement – treating the viewer as an active participant rather than a passive recipient of information. The success of this strategy likely varies by visitor: those with some background or keen interest in fashion history will relish the autonomy and the thrill of recognition when they identify a piece or theme; others might feel the need for more guidance. As a scholarly exercise, however, it is a bold interpretive choice that respects the intelligence of the audience and simulates the intellectual adventure of exploring a Wunderkammer. The exhibition brochure (available in print/PDF) and an audio guide app exist as supplements for those who want more context, ensuring that deeper information is accessible without cluttering the gallery walls.
A major curatorial goal was to break the “glass case” monotony that can characterize fashion exhibitions and to engage other senses beyond sight. By incorporating touch and sound in The Senses section, the show addresses a perennial challenge in exhibiting clothing: how to communicate texture, movement, and sound, which are integral to fashion, in a museum setting. The solution of a touchable replica dress is exemplary – it invites hands-on interaction without endangering the historic garment, and it also educates about garment construction (the replica being a toile in muslin). Meanwhile, playing the music box umbrella’s tune or the subtle jingles of other accessories (perhaps a chatelaine or a pair of clinking bracelets) adds an auditory dimension that transports visitors into the past atmosphere of these objects’ use. In an age where museum-goers often crave immersive experiences, these low-tech but effective sensory elements greatly enrich the exhibition. They align with how early curiosity cabinets were often demonstrated to viewers – consider that a host in the 1600s might have wound up an automaton or allowed a guest to handle a rare shell. Hill’s team clearly understood this and implemented modern equivalents. The result is an immersive cabinet where one can hear and touch echoes of fashion history, not just see them. It’s worth noting that such interactive elements also reflect current best practices in museum education, making the content accessible and memorable to a wider audience (including younger visitors or those who learn best through multi-sensory input). The ethical consideration here is balancing engagement with preservation – MFIT navigated this by smartly using reproductions and recordings. The only limitation observed is that olfactory engagement (smell) was not explicitly mentioned – one could imagine adding a fragrance element (perhaps a faint perfume associated with a gown) to complete the sensory palette, though that introduces its own conservation concerns.
From the outset, Fashioning Wonder integrates critical reflection on the provenance and implications of the objects and themes it presents. The opening gallery text discusses how early cabinets were primarily maintained by the aristocracy and the elite and how their contents often had ties to colonialism. By candidly noting that these collections were fed by imperial expansion and the collecting of resources and cultures from colonized lands, the curator establishes an ethical awareness. The exhibition does not celebrate Wunderkammern uncritically; it problematizes them by reminding viewers of the power dynamics and exploitation often involved in amassing such curios. For instance, when visitors see the image of Ole Worm’s cabinet with Inuit and Central Asian garments, they are informed that these were acquired during an age of colonialist exploration. This contextualization encourages a more nuanced appreciation: one can admire the historical artifact while also questioning the circumstances of its collection. Furthermore, Hill draws a line from past to present by emphasizing the need for contemporary museums to be more inclusive and informed in their collecting . This is a subtle nod to ongoing efforts to decolonize museum collections – ensuring diverse representation and ethical provenance research – applied here in a fashion context. It’s significant that Fashioning Wonder includes objects from non-Western cultures only in reproduced form (e.g. engravings and images) rather than bringing actual ethnographic objects into a fashion exhibit without proper cultural context. This seems a conscious curatorial decision to avoid appropriating or misrepresenting artifacts from other cultures merely as curiosities in a fashion setting. Instead, the exhibition acknowledges those items historically, while the actual garments on display are predominantly Western fashion items that reference those curiosities. This approach might be seen as ethically cautious – it sidesteps the potential pitfall of exoticizing real cultural artifacts in a design exhibit, yet it still addresses their historical presence. Some critics could argue that the exhibition could have gone further, perhaps by incorporating contemporary non-Western fashion designers (who reclaim or draw on indigenous traditions) to truly include those cultural perspectives rather than just allude to them. However, given MFIT’s collection strengths, the curatorial choice to focus on what they have (mostly Euro-American fashion) and frame it with historical honesty is understandable. It ensures the narrative stays clear: we’re looking at how fashion designers echo the cabinets of curiosities, not at original ethnographic objects themselves.
Overall, the curatorial choices in display and interpretation are innovative and thoughtfully aligned with the theme. The exhibition manages to be educational and critical (by providing context on colonialism and fostering open-ended inquiry) without becoming overly moralizing or didactic. Hill strikes a balance between scholarship and showmanship: the design is creative and fun, but it’s grounded in research – she even drew on studies of the psychology of curiosity to shape the experience. Indeed, elements like extreme scales (miniatures), novel sights, and puzzles in the show correspond to known triggers of curiosity. This evidences a rigorous curatorial methodology behind the scenes. The success of these choices is apparent in the visitor experience – reports describe audiences lingering to peer into cases and test themselves with the quizzes, indicating high engagement. A possible limitation of the approach is that some visitors might not fully grasp the historical comparisons without reading supplementary materials; the light labeling puts the onus on viewers to connect the dots. For a truly “scholarly” understanding, one might need the exhibition brochure or a guided tour to learn, for example, the fate of cabinet objects in anthropological vs. art museums, or the specifics of each artifact’s origin (much of which we glean from press coverage and not just the gallery itself) . In a scholarly review context, we can appreciate the intention to provoke active learning, while noting that less motivated visitors might miss some nuance. Nevertheless, as a curatorial experiment in merging content and form, Fashioning Wonder is largely successful – it practices what it preaches, in that the exhibit itself behaves like a cabinet of curiosities, waiting for the inquisitive mind to unlock its wonders.
Fashioning Wonder: A Cabinet of Curiosities is a triumph of curatorial imagination, offering a well-rounded, rigorously researched, and delightfully presented exploration of fashion in the context of wonder and collecting. It succeeds in educating about the past – the evolution from private Wunderkammern to public museums – while also commenting on the present and future of fashion curation. The exhibition engages both the mind and the senses, a combination that reinforces its thesis that curiosity is at the heart of creativity. Its limitations are few and largely stem from the ambitious breadth of its concept. Where it does not answer every question it raises (be it about colonial legacies or sustainable futures), it at least poses those questions in an open forum, inviting ongoing conversation. For scholars and casual visitors alike, Fashioning Wonder provides a rich, layered experience that lingers in memory. It reminds us that museums themselves originated in curiosity and that fashion, often dismissed as frivolous, has profound stories to tell when framed through the lens of wonder. As we leave the exhibition, having peered into its cabinets and perhaps seen our own reflection in a mirrored gown, we carry with us a renewed appreciation for the marvels of fashion – and a hopeful sense that innovation in curating can continue to fashion wonder for generations to come.
February 19, 2025 - April 20, 2025