The allure of fashion extends far beyond the runway and retail spaces; it finds a profound and captivating expression in the realm of Fashion Exhibitions. For decades, The Costume Institute at The Metropolitan Museum of Art has stood as a beacon, illuminating the intricate tapestry of fashion history and its dynamic relationship with culture. Born from the Museum of Costume Art in 1937, founded by Irene Lewisohn of the Neighborhood Playhouse, this institution has evolved into a global leader in curating and presenting fashion exhibitions that captivate audiences and redefine our understanding of clothing as art.
The pivotal merger in 1946 with The Metropolitan Museum of Art, fueled by the financial support of the fashion industry, solidified The Costume Institute’s position. By 1959, it became a dedicated curatorial department, signaling a new era for fashion exhibitions within a major art institution. The arrival of Diana Vreeland as special consultant in 1972 marked a turning point. Vreeland, a legendary figure in fashion, infused the institute with her visionary approach, creating a series of groundbreaking fashion exhibitions that captivated the public imagination. Shows like The World of Balenciaga (1973), The Glory of Russian Costume (1976), and Vanity Fair (1977) weren’t merely displays of clothing; they were immersive narratives, setting a new benchmark for costume exhibitions worldwide and drawing unprecedented crowds.
Richard Martin, taking the reins in 1989 with the support of Harold Koda, continued this legacy of innovation. Martin’s tenure saw the introduction of thematic fashion exhibitions, exploring concepts like Infra-Apparel, Waist Not, The Four Seasons, and Cubism and Fashion. These exhibitions demonstrated the versatility of fashion as a subject, capable of engaging with diverse artistic and cultural movements. Rock Style, Martin’s final exhibition before his passing in 1999, perfectly encapsulated his ability to blend popular culture with high fashion within the museum setting. Harold Koda’s return in 2000, followed by Andrew Bolton in 2002, ensured a seamless transition and continued dedication to pushing the boundaries of fashion exhibition curation. Bolton’s appointment as curator in charge in 2016 solidified his role as a leading voice in the field.
The Costume Institute is renowned for its annual special exhibitions, often one or two per year, which have become highly anticipated events on the global cultural calendar. These fashion exhibitions take two primary forms: monographic shows dedicated to the oeuvre of a single designer and thematic exhibitions exploring broader concepts through the lens of fashion. Monographic exhibitions such as Chanel (2005), Poiret: King of Fashion (2007), Alexander McQueen: Savage Beauty (2011), Charles James: Beyond Fashion (2014), and Rei Kawakubo/Comme des Garçons: Art of the In-Between (2017) offer in-depth explorations of the creative vision and impact of fashion luminaries.
Thematic fashion exhibitions delve into the fascinating intersections of fashion with culture, history, and art. Exhibitions like AngloMania: Tradition and Transgression in British Fashion (2006), Superheroes: Fashion and Fantasy (2008), The Model as Muse: Embodying Fashion (2009), American Woman: Fashioning a National Identity (2010), Schiaparelli and Prada: Impossible Conversations (2012), PUNK: Chaos to Couture (2013), China: Through the Looking Glass (2015), Manus x Machina: Fashion in an Age of Technology (2016), Heavenly Bodies: Fashion and the Catholic Imagination (2018), and Camp: Notes on Fashion (2019) showcase the curatorial team’s ability to weave intricate narratives, using garments as primary sources to explore complex themes.
The resounding success of Heavenly Bodies, attracting over 1.65 million visitors, underscores the immense public appeal of fashion exhibitions curated by The Costume Institute. This exhibition, along with Alexander McQueen: Savage Beauty, China: Through the Looking Glass, Manus x Machina: Fashion in an Age of Technology, and Camp: Notes on Fashion, all curated by Andrew Bolton, rank among The Met’s most attended exhibitions, demonstrating the power of fashion to draw massive audiences and engage them in meaningful cultural dialogues.
The Costume Institute’s unparalleled collection, significantly enhanced by the Brooklyn Museum Costume Collection in 2009, forms the bedrock of these impactful fashion exhibitions. Housing the definitive Charles James collection and a premier archive of American fashion from the late 19th to mid-20th century, the combined holdings offer an unrivaled panorama of Western fashion history. This vast collection not only serves as a resource for scholars and designers but also provides the rich material for the captivating fashion exhibitions that The Costume Institute presents to the world, solidifying its place as the leading institution for the appreciation and study of fashion as a vital art form.
