“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.
Fendi, Autumn/Winter 1971-1972
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.
Fendi, Autumn/Winter 2016-2017
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.
Chloe, Autumn/Winter 1983-1984
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.
Chanel, Autumn/Winter 1986-1987
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.
Chanel, Spring/Summer 1997
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!)
Chanel, Spring/Summer 1997
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.
Chanel, Autumn/Winter 2002-2003
THE BEADING, MY GOD. This dress screams patience and elegance at once and I’m enthralled with it.
Chanel, Autumn/Winter 2017-2018
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 lobby at The Fashion Institute of Technology, January 2023
The lobby at The Fashion Institute of Technology, January 2023
The Fashion Institute of Technology is showcasing some student pieces right now in their lobby and they are breathtaking. I’m not sure if this is a normal occurrence, but I’ll make sure to stop by to check every time I’m in that neighborhood from now on.
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.
Marc Jacobs, Autumn/Winter 2020
Are we kidding here? All those shades of lilac? Heavenly and way too much fun.
Anne Fogarty, Autumn/Winter 1962-1963
Warmth & elegance at once!
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.
Adolfo, 1973-1974
This yellow frock SHOULD seem matronly, but somehow it isn’t? The simple sweetness of it is contagious.
Vaquera, Autumn/Winter 2019
If there isn’t humour in fashion, we might as well all kill ourselves.
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.
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.
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.
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.
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.
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
I think I stood here staring at it for five minutes
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.
Michael Kors, Autumn/Winter 2021-2022
“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, Spring/Summer 2018
“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
Donna Karan New York, 1985
“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
Lavie by Claude Kameni, 2021
“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
Bstroy, 2018
“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
Fabrice, 1980s
“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
Rodarte, Autumn/Winter 2019−2020
“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
Vaquera, Spring/Summer 2021
“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.
“Through more than 250 objects dating from the seventeenth century to the present, The Costume Institute’s spring 2019 exhibition explores the origins of camp’s exuberant aesthetic. Susan Sontag’s 1964 essay “Notes on ‘Camp’” provides the framework for the exhibition, which examines how the elements of irony, humor, parody, pastiche, artifice, theatricality, and exaggeration are expressed in fashion.”
— The Met
At least once a year, I make my way over to The Met. Partially to see the new rooftop piece and partially to see the new fashion exhibit. And this year’s costume exhibit is vibrant as hell, maybe even better than the exhibit from a few years back Manus x Machina (that I really liked). Here are my favourite pieces:
Cristobal Balenciaga, Evening Dress, autumn/winter 1965-66, dress of pink ostrich feathers and pink silk-thread dots; sash of pink silk satin
Christian Dior, “Tourterelle” Evening Dress, autumn/winter 1948-49, dress of pink iridescent silk taffeta; sash of gray iridescent silk taffeta
Gareth Pugh, Ensemble, spring/summer 2016, top of black silk faille and black cotton-silk net embroidered with copper meal coins; shorts of black cotton twill embroidered with copper metal coins
Gucci, Accessory Set, pre-fall 2019, scarf of polychrome printed silk twill; glasses of black and yellow synthetic, clear crystals, and metal; necklace of pearl beads, clear crystals, and metal
Manish Arora, Ensemble, spring/summer 2009, top of pieced polychrome silk-synthetic plain weave; carousel skirt of pieced polychrome silk-synthetic plain weave and gold and silver silk-Lurex plain weave with orange crystals, polychrome palettes, seed beads, cotton-and-metal thread, and vinyl appliqué
It’s such a colorful collection and it’s really just fun fashion, not terribly pretentious or ridiculous. Definitely go see it if you’re in New York this summer. I aspire to have the style of that Gucci one above.
Even the rooftop piece this year is pretty good, here’s a glimpse.
Parapivot by Alicja Kwade
The Camp exhibit is on view until September 8th, while the rooftop one goes until October 27th.
Remember the documentary about the wonderful Bill Cunningham? That’s the reason this book got read. And while it’s a wildly insightful look into the fashion world of the forties, fifties and sixties - I was hoping for it to be more of a memoir of his whole life. It kind of makes sense that it wasn’t, though, since he was a notoriously private man. In any case, very pleased to have read it, best parts ahead.
“The wearing of clothes at the proper place and time is so important. That’s because they tell a story - not only about the wearer, but also about her time. How dare one not pay attention to the world one lived in, a world filled with the gorgeous tragedy of what is happening now, never to be repeated.”
“Zooming down the mountainside in freshly fallen snow, between the fir trees laden with fluffy white, I can’t begin to tell you what a wonderful feeling it is when you feel all alone in the world, sliding down at terrific speed. I always felt it was the perfect place to commune with God.”
“I believed in starting each week doing the thing you love most. Luckily, my love was flowers. At five thirty each Monday, I’d go down to the New York flower market, where all the colors of nature brightened the early morning. I would buy armfuls of fresh flowers to perfume my salon for the week. This is a practicing luxury I still indulge in, and one that makes all my weeks happy. Monday shouldn’t be drudgery. More people should start off doing what they enjoy most.”
“It’s funny how you get so patriotic when someone steps on you.”
“Sometimes even I myself am afraid to submit to my subconscious inspiration, for fear of being ridiculous, but no matter how wild or vulgar an idea seems at its conception, within five years someone is sure to come up with it. My suggestion to anyone who is creative is: never hold back.”
“Only the people who are willing to sacrifice the security and comforts of the establishment, and fight for their individual beliefs, cause the developing changes of the world.”
“Why is everyone afraid to be themselves in their home cities?”
“High fashion does gravitate around society, who claim to have taste. It’s only because they have the time, money, and places to wear trendsetting creations. It’s a ridiculous belief that money brings taste; it definitely doesn’t. As a matter of fact, it often merely allows one to enjoy bad taste with louder vulgarity.”
“The Costume Institute’s spring 2016 exhibition explores how fashion designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear. With more than 170 ensembles dating from the early 20th century to the present, the exhibition addresses the founding of the haute couture in the 19th century, when the sewing machine was invented, and the emergence of a distinction between the hand (manus) and the machine (machina) at the onset of mass production.”
— The Met
Summer isn't even here yet and I've already been to The Met! That shouldn't impress me, but it does. I usually wait until the last days of September until I finally get around to seeing that rooftop, but I'm so glad I went earlier than normal this year since I got a chance to see this exhibit.
Look at these beauties.
It's definitely worth seeing if you're anywhere near the Upper East Side at some point this summer. And please remember, don't be a sap - pay only a $1. And of course, don't forget to trek to the roof for this view.
I can't describe how much I love this Mad Men style blog. I wish I'd known of its existence years ago, I would've loved to have followed along with their posts as I watched episodes in real time. If you've ever watched the show and enjoyed it, there's the slightest chance that you might really love the blog as much as I do. It's just so well written, I really can't get enough of it. You can read some for yourself from the links below.
