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When you airing into the exhibition amplitude at SCAD FASH Museum of Appearance Film appropriate now, you’re met with a amazing admiration to the history of fashion. Mannequins are dressed in aggregate from the cloister gowns of Queen Elizabeth I to the crinoline tutus of the Ballets Russes, and the all-embracing consequence is one of about adorable beauty.

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From beyond the room, you can see cottony pooling at the anxiety of some figures, while ablaze glances off the beaded bodices of others. But if you get aural about a bottom of the mannequins, you ability apprehension that it isn’t cottony at all—and those aren’t beads, either.

Actually, it’s paper.

The all-paper apparel in the “Fashioning Art From Paper” exhibition were created by Belgian artisan Isabelle de Borchgrave, who absitively at age 14 that she would absolute abundant like to leave acceptable academy abaft and abstraction cartoon instead. Her parents agreed, and de Borchgrave spent the abutting three years abstraction nude models at the Royal Academy of Fine Arts of Brussels. Though she tells Mental Floss that the alliteration no agnosticism accomplished her how to draw, the blow of her arts apprenticeship was larboard mostly up to her.

So she visited museums, absolution the art acquaint and affect her own work, and she anon developed an absorption in appearance that she’s been cultivating anytime since. To de Borchgrave, her abridgement of academic training in appearance is a artistic asset.

“I never advised fashion—that agency I break absolutely free,” she tells Mental Floss. She began authoritative active hand-painted dresses and added outfits, which she’d either advertise or abrasion herself.

Then, in 1994, a acute appointment to the Metropolitan Museum of Art sparked an abstraction that would adapt the advance of her career. Afterwards seeing a attendant for French appearance artist Yves Saint Laurent, de Borchgrave—who, at that point, had been cartoon on cardboard and painting on fabrics for years—began to admiration how she’d charm assertive designs application abandoned cardboard and paint.

“I was so affected by the beauty, by the elegance, by the fabrics, and I capital to accept aggregate for me,” she says. It seemed like the absolute way to abide in the branch of fashion, while liberating herself from the demands of consumers. And, in theory, her cardboard reconstructions of apparel absolutely are aloof for her.

“When I accomplishment a dress, I put it in a room. I don’t appearance it to anybody,” she says. “But I feel better, because I accept done article I can be appreciative of.”

Over the aftermost few decades, however, chat has gotten out about the amazing cardboard gowns, and they’ve now been displayed in museums all over the world. At the SCAD FASH exhibition, the apparel are disconnected into categories that anniversary reflect a altered era and inspiration, spanning about 500 years of appearance history.

Several apparel from de Borchgrave’s aboriginal carve series, “Papiers à la Mode,” are included in the exhibition. To actualize “à la Mode,” she collaborated with theatre apparel artist Rita Brown to actuate how best to dispense paper, paint, and cement to actor fabrics and patterns from the backward 16th aeon all the way up through the 1920s. Though the added aerial fabrics ability crave specialty paper—for some applique trimmings and veils, for example, she orders a thin, delicate cardboard from England—she primarily works with an bargain cardboard usually acclimated for wrapping amber in Belgium.

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Recreating annoyed collars, gold embroidery, and intricate designs with cardboard and acrylic seems difficult abundant alike if you could audit the aboriginal apparel with a accumulative bottle and your own two hands—but de Borchgrave doesn’t generally accept that luxury. While some of her sculptures in “Papiers à la Mode” are modeled afterwards absolute accouterment at The Metropolitan Museum of Art’s Apparel Institute and added apparel collections about the world, abounding are based on paintings alone.

Queen Elizabeth I’s cloister dress, for example, affected with applique and busy with assorted flowers and animals, was aggressive by Nicholas Hilliard’s account of the queen from 1599.

And afterwards seeing François Boucher’s 1756 painting of Madame de Pompadour, bedmate of King Louis XV and article of a French appearance figure herself, de Borchgrave complete her own adaptation of the beaming ribbon- and rose-adorned gown.

As illustrated above, de Borchgrave’s apparel aren’t consistently exact reproductions of the originals, and they’re not meant to be; instead, she aims to abduction the spirit of anniversary style, giving herself the abandon to adapt patterns or add embellishments wherever she sees fit.

Having said that, it’s about absurd to aberrate the exhibition after actuality afraid by how carefully she’s managed to carbon some of the outfits. This is abnormally accurate of the “Splendor of the Medici” series, which celebrates the abundant finery beat throughout the Renaissance by Florence’s (and after Tuscany’s) best acclaimed cardinal family.

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Sometime amid 1593 and 1595, Marie de’ Medici, babe of Francesco I de’ Medici, airish for a account by Pietro Facchetti while cutting a clothes with affluent gold arrangement bottomward the advanced and a arresting applique collar. If you didn’t apperceive any bigger while attractive at de Borchgrave’s rendering, you ability anticipate that absolute dress—right bottomward to the “pearl” embellishments—had survived these aftermost four centuries.

And again there’s “Les Ballets Russes,” a whimsical, active alternation that reimagines the anarchistic apparel beat by the Ballets Russes, a ballet aggregation accustomed in 1909 that featured some of the best acclaimed dancers and choreographers of all time, including Anna Pavlova, Vaslav Nijinsky, and George Balanchine. Abundant like how de Borchgrave’s apparel aren’t created by a career appearance designer, the apparel and sets of the Ballets Russes weren’t advised by absolute apparel and set designers. Instead, architect Serge Diaghilev commissioned artists like Henri Matisse and Pablo Picasso to appear up with them.

Working off photos and the artists’ sketches, de Borchgrave gives the bold, all-embracing achievement accoutrements addition activity in the limelight. And here, in particular, you can see the appearance of all her aboriginal canicule spent cartoon animal models. Though these mannequins are fabricated abandoned of wire, de Borchgrave has set the apparel on them in such a way that the abstracts absolutely assume like they’re dancing.

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Even if you can’t account yourself headed to your appointment captivated in yards of tulle and taffeta, there are acceptable elements from de Borchgrave’s assignment that you do see in food these days, from ablaze floral patterns to large, front-facing bows. Afterwards all, as de Borchgrave says herself, styles artlessly never stop advancing back.

The SCAD FASH Museum of Appearance Film, amid on Savannah College of Art and Design’s Atlanta campus, is announcement “Fashioning Art From Paper” from now through January 12, 2020, and you can acquirement tickets for $10 anniversary here.

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