Rodarte: States of matter at MOCA

LOS ANGELES — When it seemed like the whole world was still abuzz with the hype surrounding the movie Black Swan, I was pretty much oblivious to it, save for an updated blow-by-blow on the controversy between the film’s costume designer Amy Westcott and her collaborators, Kate and Laura Mulleavy, also known as the talented siblings behind the label Rodarte.

In a nutshell, the sisters worked on seven ballet costumes seen in the movie, but it was Westcott, the official costume designer, who was given full credit and the only one deemed eligible to be nominated for Best Costume Design by the award-giving bodies. This, of course, led to reported grumblings by the Mulleavy sisters, who felt they did not receive enough credit for their work.

Whether there is truth to these reports or not, or as to whether they do deserve credit for doing a portion of the massive work involved in outfitting a movie cast, one thing is for certain. The tutus that they conjured for Black Swan were amazing and exquisite. I should know, I’ve seen them up close, enough to scrutinize every stitch, each feather, every bit of crystal and layer of tulle, at the “Rodarte: States of Matter” exhibit in the Museum of Contemporary Art (MOCA) Pacific Design Center.

Three installations are set up in the two-story gallery.

“Rodarte: States of Matter,” is the first West Coast solo exhibition of the work of fashion- and now costume-designers Kate and Laura Mulleavy of Rodarte. The exhibition features more than 20 pieces from their spring 2010, fall 2010, and fall 2008 runway collections, including the original ballet costumes they designed for Black Swan.

Three installations are set up in the two-story gallery, with the first one, a somber all-black collection composed of silk, lace and cheesecloth dresses from spring 2010 and three primped and feathered Odile/Black Swan tutus, greeting the viewer on the ground floor.

Upon reaching the landing on the second floor, darkness gives way to light, airy white dresses from fall 2010 and Odette/White Swan tutus. All these pieces are suspended from the ceiling, giving off an unbearable lightness of being, almost akin to seeing diaphanous ghosts.

The final set is the Red Collection, from Rodarte’s famed fall 2008 collection inspired by Japanese horror flicks. “Blood soaked” dresses, and a tutu soaked with blood from a “stab wound” complete the exhibit. Judging from the pieces featured in the exhibition, Rodarte’s previous collections seemed to suggest that these were the forebears that culminated in their work for Black Swan.

Which might as well be the case. In an interview with ClothesOnFilm.com, costume designer Amy Westcott shares that Rodarte’s Vulture-inspired line from spring 2010 “was wonderful and a perfect fit for the Swan Lake production at the end of the film.”

Rodarte’s previous collections seemed to suggest that these were the forebears that culminated in their work for Black Swan.

And a perfect fit it is. Rodarte after all is renowned for its expressive use of textiles, while ballet is both a strong and delicate expression of emotions.

“Rodarte: States of Matter” is curated by MOCA associate curator Rebecca Morse, and is on view until June 5, at MOCA Pacific Design Center. Admission is free.