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The Charles & Ray Eames House in April 2026, Pacific Palisades, California
Objects of the surreal
London - Schiaparelli: Fashion Becomes Art
Running at the V&A's Sainsbury Gallery from 28 March through 8 November 2026, it's the first exhibition ever staged in the UK dedicated to Elsa Schiaparelli, and it spans the house's history from the 1920s all the way to the present day under current creative director Daniel Roseberry.
The show brings together more than 400 objects, including 100 ensembles as well as accessories, jewelry, paintings, photographs, furniture, perfumes, and archival materials.
The Schiaparelli Gold Necklace (with Bows and Acorns)
This striking sculptural necklace, made in gold metal around 1937, is characteristic of Elsa Schiaparelli's highly original design aesthetic. Though worn as jewelry, it also functions as a collar, a hallmark of her Surrealist influences, which she developed through close collaborations with Salvador Dalí and Jean Cocteau.
The Lobster Dress (1937)
One of Schiaparelli's most celebrated Dalí collaborations, features a bold crustacean motif on white organdy. Immortalized by Wallis Simpson, Cecil Beaton's Vogue photographs made the dress iconic, its provocative placement lending an erotic charge to the ethereal fabric.
Objects of the collection
Los Angeles - LACMA
Founded in 1910 in Exposition Park, LACMA grew out of the Los Angeles County Museum of History, Science and Art and officially opened at its current address in 1965. The original campus featured modernist pavilions around a central plaza.
“This is one of the most important museum buildings to have been completed in the last quarter-century by virtue of its scale, ambition, quality and promise,” said Glenn D. Lowry, the longtime director of the Museum of Modern Art, in New York.
The building’s curvilinear walls encourage visitors to wander, determining their own path without any dictated order. The galleries are spread out across a single level, a deliberately nonhierarchical space in which no kind of art is ranked more highly than another.
“It’s intended to make your mind look at all the different perspectives around you. That is very much about our moment: Look at everything.” - Michael Govan
From left, “Don’t Tell Me When to Stop,” by John McCracken; an untitled sphere by Frederick Eversley; and “Untitled Wall Relief,” by Craig Kauffman.
Jeff Koons’s blooming “Split-Rocker,” gets last-minute tweaks.