On Friday, September 20 a crowd gathered at the Frye for the
opening of Mark Mitchell's Burial. We knew we would be seeing
nine models clothed in what the wardrobe designer and artist
imagined as their death ensembles, but I'm not sure we were
prepared for just how powerful this experience would be.  As we
moved through the gallery, Mitchell's muses laid on the floor on
top of coffin-sized mirrors in gorgeously baroque, intricate and
completely biodegradeable costumes of silk, wood, cotton, and
wool. Cellist Lori Goldston filled in the rich, cream-colored
neo-gothic mood.  There were tears, there were hands covering
mouths, there were hands holding other hands, there were copious
cell phone cameras.  Seattle designer and artist Davora Lindner
in Mark Mitchell's death ensemble for Burial courtesy the Frye
Art Museum  The live performance—that's how it felt; almost like
a quiet, reserved, meditative choreography—was an ephemeral
thing (not that it could have felt brief for models, muses, and
fellow artist/desig