{"id":804,"date":"2026-07-03T11:36:04","date_gmt":"2026-07-03T11:36:04","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=804"},"modified":"2026-07-03T11:36:04","modified_gmt":"2026-07-03T11:36:04","slug":"the-mets-costume-art-makes-a-case-for-fashion","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=804","title":{"rendered":"The Met\u2019s \u201cCostume Art\u201d Makes a Case for Fashion"},"content":{"rendered":"
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The title of \u201cCostume Art,\u201d a sprawling, stuffed-to-the-seams exhibition at the Metropolitan Museum of Art (running now through January, 2027), offers little clue as to what lies inside, other than, of course, clothing and art\u2014or is it clothing that is<\/em> art? There is no snappy subtitle to explain the show to the masses, as with previous exhibitions at the Costume Institute, such as \u201cHeavenly Bodies: Fashion and the Catholic Imagination\u201d and \u201cPUNK: Chaos to Couture.\u201d Nor is there a marquee name to lure in the crowds, as with \u201cAlexander McQueen: Savage Beauty\u201d and \u201cCharles James: Beyond Fashion.\u201d This lack of bombast is actually a power move. Those past shows, glorious as they were to behold, sound, in retrospect, too eager to entice. \u201cCostume Art,\u201d by contrast, is an exhibition whose creators are confident that it will be seen, if not because of what it contains then simply because of where it is. The show marks the d\u00e9but of the institute\u2019s brand-new Cond\u00e9\u00a0M. Nast Galleries, a nearly twelve-thousand-square-foot, five-room space situated just off the Met\u2019s central Great Hall\u2014a prime slice of real estate formerly inhabited by a gargantuan gift shop.<\/p>\n

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The galleries (which are named for the founder of this magazine\u2019s parent company) took three years to complete, but they represent more than eight decades of jockeying for legitimacy within the larger institution. The Costume Institute\u2019s main dedicated galleries previously languished in the basement, and the department is responsible for raising most of its own budget each year, a task accomplished in large part by its annual fund-raiser, the starry Met Gala. Under the leadership of the curator Andrew Bolton\u2014and with the patronage of Anna Wintour, the global editorial director of Vogue<\/em>, who has used her influence to expand the department\u2019s power\u2014the institute has become a major force within the museum and a recognizable brand outside it. Of the ten most visited exhibitions in the Met\u2019s history, five were put on by the Costume Institute. In 2018, \u201cHeavenly Bodies\u201d became the most attended Met show of all time. Now, as Bolton writes in the catalogue for \u201cCostume Art,\u201d the new galleries \u201csituate fashion within the spatial and symbolic epicenter of the Museum.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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So why does \u201cCostume Art,\u201d ostensibly a victory lap, feel so defensive? The show may as well be called \u201cCostume Is Art,\u201d insomuch as it argues insistently that fashion, long derided as frivolous and decorative, can hold its own against any other art form\u2014and, moreover, that the entire history of art can and should be viewed through the lens of clothing. Bolton makes this case by focussing on what he calls \u201cthe dressed body,\u201d which he identifies as a central theme in every collection at the Met. Throughout the building, after all, you\u2019ll find bodies \u201cdraped, wrapped, tailored, armored, incised, painted, ornamented, and otherwise fashioned,\u201d Bolton writes. (Even when a body is naked, he notes, it is still cloaked in \u201cphysical and cultural ideals.\u201d) As evidence of this ubiquity, he has paired each of the roughly two hundred garments in the show with a thematically resonant work of art from another Met department. The fashion exhibition doubles as a museum tour in miniature.<\/p>\n

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It begins, cleverly, with a section called \u201cNaked and Nude Body.\u201d In an act of pure showmanship, Bolton has placed mannequins clothed in fleshlike skintight garments in a tall glass vitrine visible to museumgoers heading toward the medieval wing\u2014a seductive preview that may help lure them away from Arms and Armor. Bolton also establishes a format that continues through much of the exhibition: a line of mannequins standing high above their paired art works, signifying, in unsubtle terms, that, here, fashion is meant to dominate the discourse. An arresting sheer dress by the young Turkish British designer Dilara F\u0131nd\u0131ko\u011flu\u2014which uses snaking tendrils of synthetic hair to cover the wearer\u2019s genitals, \u00e0 la Botticelli\u2019s Venus\u2014towers over an eighteenth-century bronze Venus. A Pierre Cardin ensemble from 1967, featuring a dress with holes cut out to expose the breasts, looms atop a Flemish bust of Minerva preparing for battle in breast-baring armor. Bolton calls this technique of physically elevating the garments \u201cpedestalizing.\u201d Ironically, though, the gesture has the effect of undermining the clothes: the art works sit comfortably just below eye level, whereas the visitor has to crane her neck to take in the fashion designs above.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Some of the pairings can be quite on the nose. In the \u201cClassical Body\u201d section, a golden Issey Miyake breastplate and bodice, molded to the curvature of the chest, is paired with a golden Etruscan cuirass. A row of Grecian-inspired draped gowns is paired with a row of Grecian urns featuring berobed ancients. These couplings are so literal that they seem to undercut Bolton\u2019s thesis, suggesting that fashion raids art history rather than illuminating it anew. The following section, \u201cAbstract Body,\u201d does a more persuasive job highlighting fashion\u2019s innovations, showing an array of corsets, panniers, and hoop skirts that designers used to manipulate the body into unnatural forms. Looking at a nineteenth-century corset that cinched the wearer\u2019s waist into the circumference of a paper-towel roll, I felt, for the first time during the show, conscious of being in my own body (which squirmed at the thought of such sartorial constraints). The collection of elaborately engineered bustles and crinolines certainly advances the idea that clothing, even at its most punishing, can be a form of living sculpture. I felt a similar jolt in the \u201cReclaimed Body\u201d section, which focusses on more avant-garde modifications, such as Rei Kawakubo\u2019s bulbous creations with Comme des Gar\u00e7ons, three of which are paired with abstract sculptures that echo the garments\u2019 austere curves. Each of the sculptures\u2014by Max Weber, Henry Moore, and Jean Arp\u2014was created prior to Kawakubo\u2019s fashion experiments, but one gets a disorienting sense that, rather than Kawakubo reaching backward for touchstones, the sculptors were somehow anticipating her singular inventions.<\/p>\n

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Most of the mannequins have mirrored faces, a flourish that, according to the catalogue, is meant to create \u201ca moment of communal visibility,\u201d though the heads are tilted at awkward angles that discourage selfie snapping. Eighteen unique mannequins were created for the show, modelled off real and imagined people whose bodies don\u2019t conform to conventional fashion-world ideals. The \u201cCorpulent Body\u201d section features a mannequin, cast from the body of the French model and singer Yseult, looking formidable in a scaled-up Dior \u201cBar\u201d suit. \u201cDisabled Body\u201d includes a mannequin cast from the activist Sin\u00e9ad Burke, who has dwarfism, wearing a Burberry trenchcoat that\u2019s been cut short; it\u2019s accessorized, winningly, with a hat made from one of the coat\u2019s lopped-off sleeves. (Why, one wonders, couldn\u2019t there have been such mannequins in \u201cClassical Body\u201d? Were no designers inspired by Greek statuary with belly rolls?) \u201cPregnant Body\u201d displays a Gucci dress, by Alessandro Michele, with a pair of beaded fallopian tubes across the belly\u2014a design that is meant as a nod to women\u2019s rights but risks reducing the wearer to a walking reproductive system. I preferred a long gown made by the Greek designer Dimitra Petsa using her signature \u201cwet look\u201d technique, so that its mesh fabric clings like seaweed to the mannequin\u2019s pregnant form.<\/p>\n

The back half of the exhibit is smaller and more intimate, and it finally brings the clothing down off the pedestals, to ground level. \u201cCostume Art\u201d has no clear foot-traffic pattern. I learned only later that I was supposed to end at \u201cEpidermal Body\u201d (showcasing garments that mimic the look of skin), rather than at \u201cMortal Body,\u201d which seemed like a more natural conclusion. Regardless, the latter portion of the show was by far the more affecting, not only because of its visceral themes\u2014including tattoos, blood, and aging\u2014but also because it offered a chance to admire exquisite garments up close. There\u2019s a crimson Yohji Yamamoto dress made of silk cr\u00eape de Chine, painstakingly manipulated into folds; a Yuima Nakazato piece that looks like bloody entrails dripping down the body; a Daniel Roseberry creation for Schiaparelli embellished with buttons in the style of Victorian mourning jewelry; and a Thom Browne dress featuring a pearly skeleton, made of seed-size beads, emerging out of the garment\u2019s black surface like a spectre.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Such pieces are undeniably art works\u2014precious, impractical, one of a kind. The most attention-grabbing look in the show, though, might be one in \u201cAging Body\u201d: a ready-to-wear Vetements ensemble featuring an absurdly oversized gray hoodie emblazoned with the message \u201cI\u2019M RETIRED<\/em> (This is as dressed up as I get).\u201d I watched as visitor after visitor snapped a photo of the sweatshirt, and I overheard more than one mumble about wanting to buy one. (They can do so, online, for seven hundred and eighty dollars.) This is presumably what \u201cCostume Art\u201d is fighting against\u2014the idea that fashion exhibitions are, in essence, a vaunted form of window-shopping. And yet, as I watched people smile and laugh upon spotting the hoodie, I wondered what was so wrong with that idea. People love to fantasize about clothes, to imagine what their own bodies might feel like encased in finery or outfitted in some outr\u00e9 style. This, more than anything, is the impulse that has made the Costume Institute a hit. Is fashion art? Of course it is. But the clothes\u2014the clothes are the thing.\u00a0\u2666<\/p>\n

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From its new galleries off the museum\u2019s Great Hall, the Costume Institute seeks to put clothing at the center of art history. Rachel Syme reviews.<\/p>\n","protected":false},"author":1,"featured_media":803,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[43],"tags":[],"class_list":["post-804","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-art-world"],"yoast_head":"\nThe Met\u2019s \u201cCostume Art\u201d Makes a Case for Fashion - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=804\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Met\u2019s \u201cCostume Art\u201d Makes a Case for Fashion - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"From its new galleries off the museum\u2019s Great Hall, the Costume Institute seeks to put clothing at the center of art history. 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