June 6, 2025

Superfine: Tailoring Black Style - The Met's 2025 Costume Exhibit

“The Costume Institute’s spring 2025 exhibition presents a cultural and historical examination of Black style over three hundred years through the concept of dandyism. In the 18th-century Atlantic world, a new culture of consumption, fueled by the slave trade, colonialism, and imperialism, enabled access to clothing and goods that indicated wealth, distinction, and taste. Black dandyism sprung from the intersection of African and European style traditions.”

— The Met

This display is maddening, EVERYONE WANTS TO SEE THINGS AT EYE LEVEL

Okay, it was a perfectly fine exhibit. (Can you sense my subtle annoyance?) My major problems were these…

WHY IS EVERYTHING LIT SO OMINOUSLY? I’ve had this issue with exhibits from the past and it’s so infuriating. Also, the majority of these garments are dark colours so why would you showcase them against dark backgrounds? Dark colours pop against light backgrounds and vice versa. This is… science?
The entire exhibit was a tenth of the size compared with exhibits from other years.
Why was it focused solely on male tailoring? Especially when they certainly had the space to include more.

That being said there were definitely gorgeous pieces.

House of Balmain, Olivier Rousteing, pre-fall 2023

Louis Vuitton, Virgil Abloh, autumn/winter 2021-2022

Oh and one more issue - STOP PUTTING PIECES TOO HIGH SO PEOPLE CAN’T SEE THE DETAILS ON THEM (see below).

Infuriating, there’s absolutely no reason for this nonsensical placement

Why in the hell would these be displayed like this?? It makes zero sense. All in all, the exhibition was only all right this year. Definitely not a must-see (unlike last year’s).

The exhibit is open now until October 26, 2025.

And since I was already there, I saw the new rooftop exhibit Ensemble by Jennie C. Jones (on view until October 19, 2025) since it’s the last rooftop commission until at least 2030.

*Ensemble* by Jennie C. Jones, The Met rooftop 2025

The large sculptures are “based on string instruments that are supposed to play sounds activated only by the wind” - which sounds great, but I was there on an extremely windy day and didn’t hear anything. I respect the effort, though.

And look, it sounds like I’m overly picky but I think it’s just because nothing will ever top the Jeff Koons rooftop pieces from 2008. Oh! And lastly, look at this adorable dog kennel that was made for Marie Antoinette’s dog. In love.

Kennel made for the dog of Marie Antoinette, ca. 1775-1780

Past fashion exhibits I’ve seen at The Met:

2024 - Sleeping Beauties: Reawakening Fashion

2023 - Women Dressing Women

2023 - Karl Lagerfeld: A Line of Beauty

2022 - In America (Part Two): An Anthology of Fashion

2021 - In America (Part One): A Lexicon of Fashion (as well as the updated Part One that a few months later)

2019 - Camp: Notes on Fashion

2018 - Heavenly Bodies: Fashion and the Catholic Imagination (not a full post, but a brief summary)

2016 - Manus x Machine: Fashion in an Age of Technology

I’ve also written about the Thierry Muglar exhibit as well as the Christian Dior one (both at the Brooklyn Museum).

June 29, 2023

Karl Lagerfeld: A Line of Beauty at The Met

by Liz Heather in Best of NYC

“The Costume Institute’s spring 2023 exhibition will examine the work of Karl Lagerfeld (1933–2019). Focusing on the designer’s stylistic vocabulary as expressed in aesthetic themes that appear time and again in his fashions from the 1950s to his final collection in 2019, the show will spotlight the German-born designer’s unique working methodology. ”

— The Met

Every spring I make my way over to The Met to see the new fashion exhibit and it’s a tradition that I hope I never stop. It’s a very love/hate experience, which is what makes it so fun for me. They can be beautifully whimsical or absolute train wrecks. So let us begin…

Okay, so THIS is a wonderful way of displaying a clothing exhibit (above). Black dresses should be again white backgrounds and vice versa. It’s also at eye level, with just enough distance away so that you can see the intricate details. How is this not standard procedure for showing pieces at this point?

I don’t love the two-floor showing of these ones (above) but at least they’re lighted properly. It would’ve been nice to see them up close, but maybe I’m just too picky when it comes to Met curation decisions. Although if I’m going to see a designer exhibit, it isn’t insane of me to want to actually see the vintage, designer pieces. But I digress.

Early 70s Fendi mink fur? SIGN ME UP. Not only do I love old pieces, I absolutely love vintage fur when it’s maintained so well. It’s legit history you’re looking at, incredibly beautiful history. The cut of this cape is breathtaking.

At first glance, I hated this but when I read that it was a cape (why was it not shown with its opening?) I’m way more onboard. Capes need to come back. Especially ones that make you look like you’re some sort of chic fairy godmother.

An 80s Chloe dress? Perfection. I would have loved to see the front of it, but that wasn’t in the cards. It should be law that all dresses have fun back details.

I really didn’t love this clearly-Lagerfeld 80s dress mainly because I don’t love his signature style at all. It’s edgy but without any substance.

The detailing of this Chanel dress is gorgeous (especially the neck and the wrist area), it’s so fun but, like, a structured kind of fun. It does seem like a nightmare to wear, but so lovely to look at. (And I just realized that they also showed it at their 2016 exhibit!)

If it’s got tulle, mesh, feathers or any kind of netting - I’m 99% gonna be into it. Absolutely love this dress. And it’s hard to tell in a still photograph but it shimmers ever so slightly in the light.

THE BEADING, MY GOD. This dress screams patience and elegance at once and I’m enthralled with it.

As much as I love the feathers, my favourite part about this piece is the shape. I’ve never seen a dress that achieved this type of shape before, which is wild to realize and beautiful to witness.

Overall, a small portion of the collection was fun but there were too many modern pieces (from the 2000s) and the majority of them were too high up to even see. And I think I love an exhibit that covers more than one designer and instead focuses on a theme rather than a person. But if you like to just peruse designer items from the past, definitely make your way to The Met before it closes on July 16th.

IMPORTANT TIP: Before you enter the exhibition, you must join the virtual exhibition queue via QR code once you’re inside the museum (there’s a QR code sign beside the main entrance ticket line). No advance or timed tickets required and access is first come, first served.

The exhibit runs until July 16th, 2023.

Past fashion exhibits I’ve seen at The Met:

2016’s Manus x Machine (Fashion in an Age of Technology)
2018’s Heavenly Bodies: Fashion and the Catholic Imagination (not a full post, but a brief summary)
2019’s Camp: Notes on Fashion
2021’s In America (Part One): A Lexicon of Fashion (as well as the updated Part One that a few months later)
2022’s In America (Part Two): An Anthology of Fashion

January 8, 2023

Thierry Mugler: Couturissime Exhibit at the Brooklyn Museum

by Liz Heather in Best of NYC

Thierry Mugler exhibit Brooklyn Museum NYC New York City Liz Heather

The best pieces from the Thierry Mugler exhibit at the Brooklyn Museum.

May 28, 2022

In America: An Anthology of Fashion Exhibit at The Met

by Liz Heather in Events, Personal

the met costume exhibit 2022 in america an anthology of fashion NYC liz Heather

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.”

— The Met

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.

kim k pete davidson george washington coat the met costume exhibit 2022 in america an anthology of fashion NYC liz Heather

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.

martin scorsese the met costume exhibit 2022 in america an anthology of fashion NYC liz Heather — The Frank Lloyd Wright Room by Martin Scorsese

These were the two pieces (that I could actually see) that were my only favourites in the whole bunch (below).

sofia coppola the met costume exhibit 2022 in america an anthology of fashion NYC liz Heather — The McKim, Mead & White Stair Hall by Sofia Coppola

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.

tiffany lamp the met costume exhibit 2022 in america an anthology of fashion NYC liz Heather

tiffany lamp description the met costume exhibit 2022 in america an anthology of fashion NYC liz Heather

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.)

ugh face the met costume exhibit 2022 in america an anthology of fashion NYC liz Heather

March 6, 2022

In America: A Lexicon of Fashion Exhibit at The Met

by Liz Heather in Best of NYC

the met in america costume institute nyc

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.”

— The Met

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.”

— The Met

“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. ”

— The Met

“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. ”

— The Met

“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 Met

“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.”

— The Met

“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.”

— The Met

“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. ”

— The Met

“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.”

— The Met

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.