May 27, 2025

The Met's 2024 Costume Exhibit - Sleeping Beauties: Reawakening Fashion

YES, this exhibit review post is a year late. Sometimes time moves too quickly, I don’t make the rules. (I did see this year’s exhibit the other day, so you can expect that post a lot sooner (haha, am I lying? Nobody knows).) Thoughts below!

The 2024 Costume Exhibit at The Met, NYC

Absolutely loved the 2024 exhibit. The items were lit very well against a white background (why would they ever deviate from this idea?) and the entire exhibit made great use of the space. It’s true that I don’t (and never will) like when they display things too high up (see above photo), but since there were so many pieces to display I suppose I’ll allow it this one time.

Alexander McQueen, Sarah Burton, spring/summer 2011

I’ll never forget the Alexander McQueen exhibit from 2011 (Savage Beauty). I wish I had this site back then so I could have documented how gorgeous and well done it all was. (This oyster dress is burned in my memory forever.)

Alexander McQueen, Sarah Burton, autumn/winter 2018-2019

There was a “smell experience” also within the exhibit that was a good idea in theory but didn’t really land in execution. But that didn’t bother me (surprisingly?) because I respect effort.

I’m patiently waiting for the day that The Met decides to do a wedding costume exhibit. Can. you. imagine. the. decadence. You’d need a whole wing of the museum to do it properly, too. None of this up-high nonsense. I want to see TRAINS. Can someone please put me in charge of something.

Charles James, "Tulip" evening dress, 1949

Charles James, "Butterfly" ball gown, 1955

I didn’t realize cocktail aprons were ever a thing and now I need one (below).

Attributed to Mainbocher, cocktail apron, 1943

Collina Strada, Hillary Taymour, "Meadowsweet" dress, spring/summer 2023

Reminded me of how much I loved that Collina Strada bodysuit from the 2022 exhibit.

Conner Ives, "Couture Girl" dress, autumn/winter 2021-2022

I don’t know if that’s supposed to be hilarious (above) but it is and I love it.

Dauphinette, Olivia Cheng, autumn/winter 2022-2023

Bug dress!

Okay, I love this rose dress. I mean, I kinda already designed it but as a headpiece.

Why aren’t we all wearing more capes?

Gucci, Alessandro Michele, cape, autumn/winter 2017-2018

It’s wild that an H&M dress (below) is in this exhibit but I do love that it’s recycled from shoreline plastic waste. Considering how much harm this company has already done to the planet, this seems… dense.

H&M, "Serpentine" dress, spring/summer 2017

House of Dior, “New Junon" evening dress, spring/summer 2017 haute couture

There’s something so timeless about a Dior gown. Just the definitely of elegance, I love them so much.

House of Dior, Yves Saint Lauren, "Rose Rouge" evening dress, spring/summer 1958

Christian Dior, "Venus" ball gown, autumn/winter 1949-1950 haute couture

Christian Dior, May ball gown, spring/summer 1953

I recognize these two Dior dresses (above and below) from the 2016 Manus X Machina exhibit.

House of Dior, "Vilmorin" ensemble, spring/summer 1952

Christian Dior, "Junon" ball gown, autumn/winter 1949-1950 haute couture

House of Schiaparelli, Daniel Roseberry, spring/summer 2024

A man whispered, “I’ll have the branzino” to his wife while looking at this dress (above) and I’ll be honest, I really laughed. So dumb. People do take this stuff so seriously sometimes, so it’s nice to hear people’s out-loud thoughts.

House of Worth, Charles Frederick Worth, "Tulipes Hollandaises" evening cloak, 1889

BRING BACK THE CLOAK.

Iris van Herpen, "Nautiloid" dress, spring/summer 2020 haute couture

I really love how much fun the Iris van Herpen pieces are. I remember seeing her work for the first time in the 2020 About Time exhibit (online, since it was 2020). I mean, look at how whimsical this one is.

Iris van Herpen, "Physalia" dress, spring/summer 2020 haute couture

Iris van Herpen, autumn/winter 2011-2012 haute couture

There was an entire room devoted to poppies, which I didn’t love. I mean I get it, poppies are associated with remembrance and eternal sleep so it does fit the theme - but I wasn’t in love with the pieces used.

Isaac Mizrahi, "Exploded Poppy" dress, spring/summer 1992

Will forever adore any sort of draping.

Marni, Francesco Risso, spring/summer 2024

Mason Martin Margiela, autumn/winter 2014-2015

Sidenote: I loooove this wig coat with my whole heart.

Olivier Theyskens, autumn/winter 2000-2001

Nothing better than a big bouncy dress and I love Oliver Theyskens. Look at this other breathtaking gown he made.

Phillip Lim, Charlotte McCurdy, "Algae Sequin" dress, 2021

Richard Malone, autumn/winter 2020-2021 & Richard Malone, spring/summer 2020

Rodarte, Kate Mulleavy, Laura Mulleavy, spring/summer 2012

Would die for a Rodarte gown. I still have dreams about the one I saw from the In America: A Lexicon of Fashion exhibit from 2022 (seen here). Oh! And can’t forget this gorgeous dress from the Women Dressing Women exhibit in 2024.

Properly lit and positioned garments make me swoon, I’m sorry

Viktor & Rolf, Viktor Horsting, Rolf Snoeren, spring/summer 2015 haute couture

Okay, look at how much fun this gown is.

Undercover, Jun Takahashi, spring/summer 2024

Note: this exhibit was on view at The Met from May 10 – September 2, 2024.

And since you’re here, I’ll show you what the rooftop exhibit was at The Met for 2024 as well:

Petrit Halilaj, Abetare, The Met Rooftop, 2024

Past fashion exhibits I’ve seen at The Met:

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).

January 10, 2024

Winter Wednesdays Vol. 1

by Liz Heather in Winter Wednesdays

The beginning of Winter Wednesdays! Did you ask for it? No? Are you getting it? Yes!

BAKING/COOKING

On New Year’s Day, I made this pork tenderloin with a honey garlic sauce that was actually pretty good for a last minute recipe.

CRAVING

Snow. I need it. It’s been so windy and rainy in New York this week that I’m counting down the days that I’ll hopefully see a snowstorm in Ontario this weekend.

EATING

Went to the restaurant Torrisi (by the Carbone people) and it was overrated. I think 2024 is the year that I stop going to trendy places. There’s rarely any substance. We tried the zeppole ham appetizer (which was really good), the lunch sandwich (the bread was phenomenal, but the meat was too fatty), two pastas that were only okay and a great tiramisu dessert. Is that worth the $100 per person it was? Heavens no.

EXPERIENCING

I saw the new fashion exhibit Women Dressing Women at The Met, so I’ll do a full post on it this weekend.

LOVING

The thinnest, greatest pizza I’ve had in years at Emmett’s on Grove (we ordered the Hot Girl and added pineapple to it). And is it just me or are cutesy menu names embarrassing? Always make me cringe.

SHOPPING

Trying to find these love stamps at the post offices near me and they are annoyingly sold old everywhere.

WATCHING

I saw the movie Air last night and it was good. It easily could’ve been cut thirty minutes, sure. And not to be harsh, but it did just feel like a two hour Wikipedia page entry.

WEARING

My new Top Shop coat. I waited until the Nordstrom sale when it was $85 and now she’s all mine.

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

May 30, 2022

In America: A Lexicon of Fashion at The Met (Updated Pieces!)

by Liz Heather in Best of NYC

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.

the met costume exhibit in america a lexicon of fashion liz Heather NYC fashion marc jacobs — Marc Jacobs, Autumn/Winter 2020

Are we kidding here? All those shades of lilac? Heavenly and way too much fun.

the met costume exhibit in america a lexicon of fashion liz Heather NYC fashion anne fogarty — Anne Fogarty, Autumn/Winter 1962-1963

Warmth & elegance at once!

the met costume exhibit in america a lexicon of fashion liz Heather NYC fashion Jamie Okuma — Jamie Okuma, 2021

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.

the met costume exhibit in america a lexicon of fashion liz Heather NYC fashion Adolfo — Adolfo, 1973-1974

This yellow frock SHOULD seem matronly, but somehow it isn’t? The simple sweetness of it is contagious.

the met costume exhibit in america a lexicon of fashion liz Heather NYC fashion Vaquera — Vaquera, Autumn/Winter 2019

If there isn’t humour in fashion, we might as well all kill ourselves.

the met costume exhibit in america a lexicon of fashion liz Heather NYC fashion Luchen — Lùchen, Spring/Summer 2022

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.

the met costume exhibit in america a lexicon of fashion liz Heather NYC fashion oscar de la renta — Oscar de la Renta, Autumn/Winter 2021-2022

A definite favourite of this whole collection, it’s so full of whimsy. A walking garden, what could be better.

the met costume exhibit in america a lexicon of fashion liz Heather NYC fashion virgil abloh — Virgil Abloh, 2022

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.

the met costume exhibit in america a lexicon of fashion liz Heather NYC fashion collina strada — Collina Strada, Autumn/Winter 2019

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.

the met costume exhibit in america a lexicon of fashion liz Heather NYC fashion Threeasfour — threeASFOUR, Autumn/Winter 2019-2020

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.

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.