All Clothing by Tom Ford
All Clothing by Tom Ford
(New York, October 9, 2018)—The Metropolitan Museum of Art announced today that The Costume Institute’s Spring 2019 exhibition will be Camp: Notes on Fashion, on view from May 9 through September 8, 2019 (preceded on May 6 by The Costume Institute Benefit). Presented in The Met Fifth Avenue’s Iris and B. Gerald Cantor Exhibition Hall, it will explore the origins of the camp aesthetic and how it has evolved from a place of marginality to become an important influence on mainstream culture. Susan Sontag’s 1964 essay Notes on ‘Camp’ provides the framework for the exhibition, which will examine how fashion designers have used their métier as a vehicle to engage with camp in a myriad of compelling, humorous, and sometimes incongruous ways.
“Camp’s disruptive nature and subversion of modern aesthetic values has often been trivialized, but this exhibition will reveal its profound influence on both high art and popular culture,” said Max Hollein, Director of The Met. “By tracing its evolution and highlighting its defining elements, the show will embody the ironic sensibilities of this audacious style, challenge conventional understandings of beauty and taste, and establish the critical role this important genre has played in the history of art and fashion.”
In celebration of the opening, The Costume Institute Benefit, also known as The Met Gala, will take place on Monday, May 6, 2019. The evening’s co-chairs will be Lady Gaga, Alessandro Michele, Harry Styles, Serena Williams, and Anna Wintour. The event is The Costume Institute’s main source of annual funding for exhibitions, publications, acquisitions, and capital improvements.
“Fashion is the most overt and enduring conduit of the camp aesthetic,” said Andrew Bolton, Wendy Yu Curator in Charge of The Costume Institute. “Effectively illustrating Sontag’s Notes on ‘Camp,’ the exhibition will advance creative and critical dialogue about the ongoing and ever-evolving impact of camp on fashion.”
The exhibition will feature approximately 175 objects, including womenswear and menswear, as well as sculptures, paintings, and drawings dating from the 17th century to the present. The show’s opening section will position Versailles as a “camp Eden” and address the concept of se camper—”to posture boldly”—in the royal courts of Louis XIV and Louis XV. It will then focus on the figure of the dandy as a “camp ideal” and trace camp’s origins to the queer subcultures of Europe and America in the late 19th and early 20th centuries. In her essay, Sontag defined camp as an aesthetic and outlined its primary characteristics. The largest section of the exhibition will be devoted to how these elements-which include irony, humor, parody, pastiche, artifice, theatricality, and exaggeration-are expressed in fashion.
Designers whose works will be featured in the exhibition include Gilbert Adrian, Cristóbal Balenciaga, Thom Browne, Jean-Charles de Castelbajac, John Galliano (for Martin Margiela, House of Dior, and his own label), Jean Paul Gaultier, Rudi Gernreich, Guccio Gucci, Demna Gvasalia (for Balenciaga and his own label), Marc Jacobs (for Louis Vuitton and his own label), Charles James, Stephen Jones, Christian Lacroix, Karl Lagerfeld (for House of Chanel, Chloe, and his own label), Herbert and Beth Levine, Alessandro Michele (for Gucci), Franco Moschino, Thierry Mugler, Norman Norell, Marjan Pejoski, Paul Poiret, Miuccia Prada, Richard Quinn, Christian Francis Roth, Yves Saint Laurent, Elsa Schiaparelli, Jeremy Scott (for Moschino and his own label), Viktor Horsting and Rolf Snoeren (for Viktor & Rolf), Anna Sui, Philip Treacy, Walter Van Beirendonck, Donatella Versace (for Versace), Gianni Versace, Vivienne Westwood, and Charles Frederick Worth.
The exhibition is organized by Andrew Bolton, Wendy Yu Curator in Charge of The Costume Institute, with Karen Van Godtsenhoven, Associate Curator. Theater scenographer Jan Versweyveld, whose work includes Lazarus with David Bowie as well as Broadway productions of A View from the Bridge and The Crucible, will create the exhibition design with The Met’s Design Department. Select mannequin headpieces will be created by Shay Ashual. Raul Avila will produce the gala décor, which he has done since 2007.
A publication by Andrew Bolton with Fabio Cleto, Karen van Godtsenhoven, and Amanda Garfinkel will accompany the exhibition and include new photography by Johnny Dufort. It will be published by The Metropolitan Museum of Art and distributed by Yale University Press.
The exhibition is made possible by Gucci.
Additional support is provided by Condé Nast.
From Edward Steichen’s early black and white gelatin prints of fashion models in the 1900’s to the digitally enhanced fantasies of today’s social media age, the fashion image remains a seductive subject of the gaze, same as it ever was.
Photographer: Alex Black
Fashion Stylist: Brit Cato
Models: Vitalina Burton w/ Muse Models, Emily Grace w/ Elite Models, Skyler Hawkins w/ Anti MGT, David Chiang w/ Major Models
Hair: Mike Fernandez using EVO Hair Products
Make-up: Juan Jaar using Mac Cosmetics
Producer: Associate Editor, Ben Price
On Emily: Satin Black Puffed Blouse by Namilia
On David: Multicolored sequined blouse by Saint Laurent by Anthony Vaccarello
On Emily: Black dress by Roberto Cavalli, Long black sheer skirt by Mimi Prober, Grey & White Pinstripe cape by Thom Browne, Black Colonial Platforms by Thom Browne, Pony Hair handbag by Brother Vellies, Silver Rings by Shiny Squirrel
On Skyler: Navy Blue knit hat by Leila Jinnah
On Vitalina: Black & Silver embellished Chain Dress by The Blonds
Fashion Assistant: Kristen Wiltshire, Fashion Intern: Jeffrey Chempere, Makeup Assistant: Chloe Grae
Costume Institute Benefit on May 7 with Co-Chairs Amal Clooney, Rihanna, Donatella Versace, and Anna Wintour, and Honorary Chairs Christine and Stephen A. Schwarzman
(New York, November 8, 2017)—The Metropolitan Museum of Art announced today that The Costume Institute’s spring 2018 exhibition will be Heavenly Bodies: Fashion and the Catholic Imagination, on view from May 10 through October 8, 2018 (preceded on May 7 by The Costume Institute Benefit). Presented at The Met Fifth Avenue in both the medieval galleries and the Anna Wintour Costume Center, the show will also occupy The Met Cloisters, creating a trio of distinct gallery locations. The thematic exhibition will feature a dialogue between fashion and masterworks of religious art in The Met collection to examine fashion’s ongoing engagement with the devotional practices and traditions of Catholicism. A group of papal robes and accessories from the Vatican will travel to the United States to serve as the cornerstone of the exhibition, highlighting the enduring influence of liturgical vestments on designers.
“The Catholic imagination is rooted in and sustained by artistic practice, and fashion’s embrace of sacred images, objects, and customs continues the ever-evolving relationship between art and religion,” said Daniel H. Weiss, President and CEO of The Met. “The Museum’s collection of religious art, in combination with the architecture of the medieval galleries and The Cloisters, provides the perfect context for these remarkable fashions.”
In celebration of the opening, the Museum’s Costume Institute Benefit, also known as The Met Gala, will take place on Monday, May 7, 2018. The evening’s co-chairs will be Amal Clooney, Rihanna, Donatella Versace, and Anna Wintour. Christine and Stephen A. Schwarzman will serve as Honorary Chairs. The event is The Costume Institute’s main source of annual funding for exhibitions, publications, acquisitions, and capital improvements.
“Fashion and religion have long been intertwined, mutually inspiring and informing one another,” said Andrew Bolton, Curator in Charge of The Costume Institute. “Although this relationship has been complex and sometimes contested, it has produced some of the most inventive and innovative creations in the history of fashion.”
The exhibition will feature approximately 50 ecclesiastical masterworks from the Sistine Chapel sacristy, many of which have never been seen outside the Vatican. These will be on view in the Anna Wintour Costume Center galleries and will include papal vestments and accessories, such as rings and tiaras, from the 18th to the early 21st century, encompassing more than 15 papacies. The last time the Vatican sent a loan of this magnitude to The Met was in 1983, for The Vatican Collections exhibition, which is the Museum’s third most-visited show.
In addition, approximately 150 ensembles, primarily womenswear, from the early 20th century to the present will be shown in the medieval galleries and The Met Cloisters alongside religious art from The Met collection, providing an interpretative context for fashion’s engagement with Catholicism. The presentation situates these designs within the broader context of religious artistic production to analyze their connection to the historiography of material Christianity and their contribution to the perceptual construction of the Catholic imagination.
Designers in the exhibition will include Azzedine Alaïa, Cristobal Balenciaga, Geoffrey Beene, Marc Bohan (for House of Dior), Thom Browne, Roberto Capucci, Callot Soeurs, Jean Charles de Castelbajac, Gabrielle “Coco” Chanel, Maria Grazia Chiuri (for House of Dior), Domenico Dolce & Stefano Gabbana (for Dolce & Gabbana), John Galliano (for House of Dior), Jean Paul Gaultier, Givenchy, Craig Green, Madame Grès (Alix Barton), Rei Kawakubo (for Comme des Garçons), Christian Lacroix, Karl Lagerfeld (for House of Chanel), Jeanne Lanvin, Shaun Leane, Claire McCardell, Laura and Kate Mulleavy (for Rodarte), Thierry Mugler, Norman Norell, Guo Pei, Maria Grazia Chiuri and Pierpaolo Piccioli (for Valentino), Pierpaolo Piccioli (for Valentino), Elsa Schiaparelli, Raf Simons (for his own label and House of Dior), Riccardo Tisci (for Givenchy), Jun Takahashi (for Undercover), Isabel Toledo, Philip Treacy, Donatella Versace (for Versace), Gianni Versace, Valentina, A.F. Vandevorst, Madeleine Vionnet, and Vivienne Westwood.
The exhibition—a collaboration between The Costume Institute and the Department of Medieval Art and The Cloisters—is organized by Andrew Bolton, Curator in Charge of The Costume Institute, working together with colleagues in The Met’s Medieval department: C. Griffith Mann, Michel David-Weill Curator in Charge of the Department of Medieval Art and The Cloisters; Barbara Drake Boehm, Paul and Jill Ruddock Senior Curator for The Met Cloisters; Helen C. Evans, Mary and Michael Jaharis Curator of Byzantine Art; and Melanie Holcomb, Curator.
Diller Scofidio + Renfro (DS+R), the interdisciplinary architecture and design firm, will create the exhibition design with The Met’s Design Department. Raul Avila will produce the gala décor, which he has done since 2007.
A publication by Andrew Bolton will accompany the exhibition and will include texts by authors David Morgan and David Tracy in addition to new photography by Katerina Jebb. It will be published by The Metropolitan Museum of Art and distributed by Yale University Press.
A special feature on the Museum’s website, www.metmuseum.org/HeavenlyBodies, provides further information about the exhibition.
The exhibition is made possible by Christine and Stephen A. Schwarzman, and Versace. Additional support is provided by Condé Nast.
Art direction Louis Liu | Grooming by Michael Fernandez | Editor in Chief Marc Sifuentes | Set Assistant Zack Woods