The very best of 2022.
Read MoreIn America: A Lexicon of Fashion at The Met (Updated Pieces!)
So I already reviewed this exhibit, but I went back recently and it’s been updated with new pieces! Why would they do this? The only reason I can come up with is because part two of the exhibit (that came out a few weeks ago) was so revoltingly done that they had to save face. Makes sense! Favourites ahead.
Are we kidding here? All those shades of lilac? Heavenly and way too much fun.
Warmth & elegance at once!
I think my favourite part of this one is the neckline. One day necklines will be deemed important again and on that day, I will rejoice.
This yellow frock SHOULD seem matronly, but somehow it isn’t? The simple sweetness of it is contagious.
If there isn’t humour in fashion, we might as well all kill ourselves.
Honestly kind of shocked we haven’t seen Rihanna wear this yet. Oh to be taking an accidental nap on a porch swing in this beauty.
A definite favourite of this whole collection, it’s so full of whimsy. A walking garden, what could be better.
I really did gasp at this one as soon as I saw it. Romantic, modern pieces like this make me believe in magic. It reminded me immediately of the Rodarte piece (that was displayed in this same exhibit late last year). Breath-taking, even with the basic-ness of the top - it’s letting the skirt shine even stronger.
God, this would be fun to wear. It’s kind of insane alone (still beautiful), but with some giant long coat on top? Or, oh god, something with feathers?? You’d be unstoppable.
I spent at least five minutes staring at this one. It’s fucking ART.
God, this whole updated collection was incredible. It’s wild what proper lighting and display areas will do, who would have thought? Both parts of the exhibit are on display until September 5th.
I also wrote more about each piece on my spring ‘22 highlight reel on Instagram (more specifically where I would wear each of these gorgeous pieces), incase you’re interested.
In America: An Anthology of Fashion Exhibit at The Met
I just saw part two of The Met’s newest costume exhibit and… woof. It might be the worst one they’ve ever had? Which is weird because part one was done so well (as noted over here).
“The second portion of a two-part exhibition exploring fashion in the United States is presented in collaboration with The Met’s American Wing. This section of the exhibition will highlight sartorial narratives that relate to the complex and layered histories of the American Wing period rooms. Men’s and women’s dress dating from the eighteenth century to the present will be featured in vignettes installed in select period rooms spanning from 1805 to 1915.”
And look, if you know anything about me and The Met, you already know how much I LOVE the period rooms (they’re one of the reasons I always return each summer). But it was a spectacularly bad idea to showcase clothing inside of them. Many of the rooms have been staged by American directors (Sofia Coppola, Martin Scorsese, Regina King, Julie Dash, etc.) and while that sounds cool, it’s kind of useless. For starters, the rooms are so dimly lit that you can barely see any of the details on the clothing. Also, the mannequins wearing the pieces are placed SO FAR AWAY from the roped-off viewing areas. See for yourself.
Doesn’t this seem oddly terrible for The Met to produce? I honestly just felt confused at first, but that confusion quickly turned to annoyance (and a little bit of rage). People come to this exhibit each year to SEE THE CLOTHING UP CLOSE. Why is that so difficult to understand? Now if they’d only displayed the entire collection in the manner they did with this George Washington coat (below) I could happily shut my mouth.
Am I being too harsh? There’s more! All of the pieces that weren’t being shown in period piece rooms were presented on a platform in THE darkest room inside the entire museum on mannequins that were contorted for some reason?? Can someone explain this me? Are these dresses or fancy sheets draped over bodies? No one knows.
If this were twenty years ago when The Matrix came out, at least then would I understand the positioning of these mannequins. How could it get any worse, you ask? Well, the names of the designers of each piece aren’t even NEAR each design. They’re all collectively on a plaque that’s near the outer wall of the room. So not only can you not accurately VIEW each piece (what fun!), but you also have no idea who the hell designed what! Sweet! That’s just what I wanted when visiting A COSTUME EXHIBIT. Just an abomination.
These were the two pieces (that I could actually see) that were my only favourites in the whole bunch (below).
Other than those two, the best item in part two was this gorgeous Tiffany lamp. (If you don’t know anything about them, they’re a thing.) So beautiful to see in real life.
After this horrid experience, I needed to decompress so I headed over to part one (that came out last year) and they added new pieces! So I’m going to do another post on that one this week. (Spoiler: they’re breath-taking.)
It’s honesty wild how bad part two was, just jaw droppingly rough. On the bright side, it’s comforting to realize that even an institution as highly respected at The Met can still completely drop the ball and remind you that power doesn’t automatically mean success. God, what a disaster.
The exhibit runs until September 5, 2022 and if you aren’t in New York and would like to see a glimpse, there’s a tour video below of part two; don’t tell me I didn’t warn you. (And you can see my whole walk-through on my Instagram stories over here.)
In America: A Lexicon of Fashion Exhibit at The Met
One of my favourite things to do each year is to visit The Costume Institute inside The Metropolitan Museum of Art. Next to the rooftop exhibit, it’s my second favourite thing to do there. Here’s a description of the exhibit that’s been on display since September.
“Approximately 100 men’s and women’s ensembles by a diverse range of designers from the 1940s to the present are featured. Enclosed in scrimmed cases that represent three-dimensional “patches” of a quilt, they are organized into 12 sections that explore defining emotional qualities: Nostalgia, Belonging, Delight, Joy, Wonder, Affinity, Confidence, Strength, Desire, Assurance, Comfort, and Consciousness.”
It’s a two part exhibit and the second part will be opening on May 7, 2022 and I absolutely cannot wait for it. Here were my favourites from part one.
“For his autumn/winter 2021–22 collection, Michael Kors celebrated the fortieth anniversary of his womenswear line with a presentation that included reinterpretations of designs from his past collections. This gold-sequined dress, paired here with a cashmere coat that has a coordinating sequin-embroidered lining, is a reprisal of a design he debuted in 2000 and a nod to one of Norman Norell’s favored combinations. The ensemble exemplifies Kors’s facility for executing opulent garments in a relaxed manner intended to offer the wearer a sense of confidence and ease.”
“Tom Ford is well known for the overt sex appeal of his designs, which reveal and accentuate the body with fluid fabrics and body-conscious silhouettes. Ford’s spring/summer 2018 collection borrowed from the sharp lines of his men’s suits. This evening dress is constructed of tightly ruched black net wrapped over the broad, padded shoulders and around the upper arms, mimicking the square shape of a man’s jacket. From the waist to the hem, the net is loosely draped in sheer folds, revealing the hips and legs beneath. ”
“In Donna Karan’s first collection for her own label, she introduced a concept that became known as “Seven Easy Pieces.” This series of coordinated separates—bodysuits, trousers, skirts, and jackets—could be variously combined for different occasions and formed the foundation of a modular wardrobe. These fashions offered the wearer an alternative language of professional dress that was both commanding and feminine, while providing a sense of assurance due to their comfort, ease of coordination, and compatibility with work and personal life. ”
“In her designs, Claude Kameni uses fabrics often referred to as African wax prints. These vividly colored and densely patterned textiles, which have an enduring history of popular use in West and Central Africa, were originally inspired by batik, or wax-resist, cloth from Indonesia. The dynamism of Kameni’s work is indebted to the synergy she creates between these vibrant patterns, her strong silhouettes, and the body of the wearer. In this dress, the pattern is arranged to complement the curves of the figure and accentuate the flowing tiers of the skirt.”
“The double-hooded sweatshirt displayed here features two neck holes with only one set of sleeves. Part of Bstroy’s “Sweet Screams” collection, it was presented on the runway on two models as if they were craving companionship. Intended for an individual wearer, the garment’s second hood effectively lays limp on the shoulder, suggesting a dystopian future of loneliness and isolation.”
“A piece of embroidery executed in his native Haiti and shared with him by his sister Brigitte inspired the first of Fabrice Simon’s beaded designs. Beaded garments based on embroidery patterns he drafted himself would become his signature. As in this dress, they often retain the lively and spontaneous quality of a drawing. Previous experience as a textile designer likely honed his ability to create patterns that harmonize with the body in the finished garment.”
“Musicals of Hollywood’s Golden Age provided inspiration for Rodarte’s autumn/winter 2019–20 collection, which featured designs that offer a fantastical counterpoint to the costumes brought to life on screen by women such as Ginger Rogers. In this dress, the designers created a sense of animation through their careful handling of the fabric. Dense, cascading ruffles enveloping the skirt spring gently in tandem with the wearer’s movement, giving way to open, petal-like layers at the shoulders that generate more buoyancy. ”
“Titled “Nothing Is Forever,” Vaquera’s spring/summer 2021 collection explored the potential of an “anything goes” approach to dressing in a post-pandemic world. The design trio—known for its campy sensibility and fashion-outsider status—played with the idea of innerwear as everyday outerwear, incorporating lingerie and bedroom details throughout the collection. This oversized boa boasts an exuberant jumble of jersey, tulle, and lace, as if the wearer wrapped themselves in lingerie-strewn bedding and unabashedly walked out the door.”
You can see glimpses of the past exhibits if you’re at all interested…
And if you don’t find yourself in NYC and still want to take a look at some of the exhibit, then take a look at this video below or you can see all of the pieces on display over here.
UPDATE: The Met also added new pieces to this collection in 2022 and I wrote about them over here.