Past the galleries of Medieval art, with fairy tales narrated by the tapestries on their walls, and welcomed by a short glimpse of the most beautiful Chinese ceramics, the Metropolitan Museum of Art exhibits the Costume Institute’s latest creation: Manus x Machina. The exhibition, which transformed the renown Lehman wing into the cupola of a Florentine Renaissance church, opens with the dress that inspired it. Designed by Karl Lagerfeld as the closing garment for his autumn/winter 2014-15 haute couture collection for Chanel, and made with synthetic diving-suit material, its surface soft as a whale’s skin, the dress extends about 6 metres backward, its train showcasing the most perfect intersection of manus and machina. The brocaded pattern was first hand-drawn by Lagerfeld, then pixelated with a computer aid. Rhinestones were inserted using a heat press, and the gold paint and pearls were embroidered by hand, taking the artisans no less than 450 hours of manual labor in the completion of this masterpiece. If the dress presents a pregnant figure, made specifically for the model who wore it down the catwalk a few years ago, it also presents the conception of the most recent creative vision of the curatorial genius that is Andrew Bolton, curator in chief of the Costume Institute.