Issue link: https://digital.copcomm.com/i/1487662
long after e stage goes dark e magic remains wi e costumes. A small vitrine holds Lady Gaga's articulated glove, an elegant and lethal feminine re-imagining of a medieval gauntlet created by Schmidt for costume designer Lou Eyrich and American Horror Story: Hotel. The designer Michael Bush generously loaned one of the most identifiable statements of a performer's style, Michael Jackson's crystal glove and fedora. A display the size of a small gallery is dedicated to long-time collaborators Bob Mackie and Cher. Mack- ie also lent his costume illustration for Jean Louis' "Happy Birthday Mister President" gown for Marilyn Monroe, and a replica of the garment is on loan from a private collector. Catherine Martin and Angus Strathie's tailcoat for Satine (Nicole Kidman) in Moulin Rouge re- minds us that before anyone did anything, burlesque did it all. With the promise of Martin's strategically placed crystal fringe, Satine could shake anyone into oblivion. Covid arrived shortly after Schmidt and McLane saw the space for the first and only time until installation. The new reality meant that the costumes would not be avail- able until a few weeks before opening. Scarcity became an issue for everything from chandelier parts to textiles. Every measurement had to be precise whether it was for the exquisite vitrines, calibrating safe lighting levels for precious fabrics, or the careful sizing of mannequins for a perfect costume fit. Swarovski's dream of an exhibition made of cloth, crys- tal, mirrors, and light became a reality through creativity, technology and perseverance. The Art of Performance is a celebration of collaboration and achievement. It is also a reminder that long after the stage goes dark the magic remains with the costumes. Photos Courtesy of Swarovski 47