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To celebrate its 50th anniversary, the Turkish department store company Beymen invited guests to Istanbul for the unveiling of “Golden Opulence,” an exhibition for which more than 50 fashion designers and brands were commissioned for a unique piece. Curated by the fashion historian Laurence Benaïm and accompanied by a hefty tome published by Assouline, the rather fabulous creations were showcased in a sleek glass-and-steel installation set in the majestic Tophane-i Amire, a 15th century Ottoman factory of weaponry now hosting a Culture and Art Center.
Overlooking the Bosphorus, at the crossroads of Europe and Asia, Istanbul has always been a crucible of diverse cultures. Its cosmopolitan spirit and magnificent five-centuries-old heritage of layered influences was the subtext that Benaïm drew upon for the exhibition’s curation. “Istanbul’s history is made up of a thousand others,” she said at a preview. The idea of luxury as a visual abundance of intertwined cultural and artistic references was at the heart of the project: “We wanted to celebrate a cosmopolitan vision that still resonates today, as I believe it’s urgent to demonstrate that luxury is about transmission and education. It’s the sun of the memory, it’s beauty,” explained Benaïm, who added, “beauty is perhaps a form of resistance, as it can be a light that illuminates the world.”
The two-years-in-the-making exhibition was grounded in historical research and each designer and brand involved was given a thorough briefing. “I think it’s interesting that each creation comes from a place of reflection and documentation,” said Benaïm. “There’s no future without memory.”
Produced by Bureau Betak, the exhibition was conceived as a seamless journey across four different paths. Its “radical installation of pure lines,” as Benaïm described it, is in stark, rhythmic contrast with the grandiose historical atmosphere of Tophane-i Amire. “We didn’t want to create an Ottoman Disneyland of sorts, we weren’t into animation or imitation at all, or into replicating a mini-Topkapi [Palace]; rather we were keen on the evocation of sentiments and images, letting the space be defined by the pieces themselves and by the display of their prodigious creativity.”
Cabinet of Wonders
The opening section is aptly called Cabinet of Wonders, showcasing exceptional, museum-quality traditional Turkish garments on loan from the archives of private collectors. Nineteenth century silk caftans handwoven with brocade embroidery, antique tunics in silk velvet featuring floral motifs in silver-gilt threads, and Bindali skirts intricately embellished with raised gold embroidery made the case for the splendor of a unique sense of adornment that has inspired fashion through the centuries.
Precious Dreams
The exhibition then flows into a sort of “enchanted palace” section called Precious Dreams where the magnificence and opulence of the Topkapi—the golden light dancing from thousands of crystal chandeliers, treasure chests of mind-blowing jewels—are reinterpreted by designers past and present. A standout among the sumptuous pieces on display is a fabulous pantsuit in gold brocade, designed by Hubert de Givenchy for his fall 1990 haute couture collection.
Bosphorus Gardens
Next is the Bosphorus Garden, an evocation of the importance of nature in Ottoman, Anatolian, and Turkish cultures. For centuries, tulips and pomegranates were reproduced in paintings, Iznik ceramics, and Suzani textiles, representing enduring love and abundance; here, the botanical profusion of Persian gardens was reprised in exceptional couture-level creations by contemporary designers. Balmain’s Olivier Rousteing indulged in hyperbolic intricacies of golden embroideries, crystals, sequins and beads, replicating a rich antique tapestry on both an hourglass dress and a man’s suit, and Valentino’s Pierpaolo Piccioli created a regal Pink PP cape with a four-meter train, whose neckline was appliquéd with a pair of hand-folded tulips, “like two lovers chasing each other on the Bosphorus.” Turkish designer Dice Kayek’s silk mikado bustier dress was round-shaped like a tulip bloom with pointed panels recalling petals, while Etro’s Marco De Vincenzo presented a dramatic cloak and matching dress in jacquard lamé featuring a menagerie of paisley motifs and foliage.
Mineral Roundness
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The exhibition’s last section, Mineral Roundness, celebrates the curved geometry of the cupolas, domes, and arcades that recur in Ottoman architecture. A remarkable creation by Turkish designer Ozgur Masur was made from tiny circles of glass, each featuring inclusions of floral bead embroideries typical of seven different Anatolian regions. Slightly Courrèges in feel, it married tradition and modernity.
“In the end,” reflected Benaïm, “it’s about the cultural dimension of fashion. There’s so much more to it than a logo or a pair of sneakers; fashion is the idealized expression of the times through dreams and ideas that materialize into shapes, fabrics, and exceptional savoir faire.”
The sentiment of connectivity and transmission that the exhibition was designed to convey was echoed by Rashid Mohamed Rashid, CEO of Mayhoola for Investments LLC, the parent company of Beymen, Valentino, and Balmain. “I was very keen to support this exhibition, as I strongly believe that the world is one village, where diversity and inclusion are paramount,” he said at the gala dinner following the exhibition’s opening. “But we need to have more demonstration of that.”
The book Golden Opulence: 500 Years of Luxuriant Style is available at Assouline.