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Hamish Bowles - Vogue and the Metropolitan Museum of Art Costume Institute

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Book:
Vogue and the Metropolitan Museum of Art Costume Institute
Author:
Hamish Bowles / Chloe Malle
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Abrams
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2020
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An updated and expanded edition, covering the past five years of the Met Costume Institutes exhibitions and galas through the lens of Vogue
The Metropolitan Museum of Art Costume Institutes annual fashion exhibition is the most prestigious of its kind, featuring subjects that both reflect the zeitgeist and contribute to its creation. Each exhibition-from 2005s Chanel to 2011s Alexander McQueen: Savage Beauty and 2012s Schiaparelli and Prada: Impossible Conversations-creates a provocative and engaging narrative drawing hundreds of thousands of visitors. This updated edition includes material from 2015s China: Through the Looking Glass, 2018s Heavenly Bodies: Fashion and the Catholic Imagination (the most visited exhibition in the museums history), and 2019s Camp: Notes on Fashion. The shows opening-night gala, produced in collaboration with Vogue magazine, is regularly referred to as the party of the year, and draws a glamorous A-list crowd, drawing an unrivaled mix of Hollywood fashion. This updated edition of Vogue and the Metropolitan Museum of Art Costume Institute once again invites you into the stunning spectacle that comes when fashion and art meet at The Met.

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Table of Contents

Guide

ABRAMS

New York

By Hamish Bowles

Foreword by Max Hollein

Introduction by Anna Wintour

Edited by Chloe Malle

THE METROPOLITAN

MUSEUM OF ART

COSTUME

INSTITUTE

PARTIES

EXHIBITIONS PEOPLE

Library of Congress Control Number: 2019953039

ISBN: 978-1-4197-4495-2

EISBN: 978-1-64700-077-6

Cover 2020 Abrams

Published in 2020 by Abrams, an imprint of Abrams. All rights

reserved. No portion of this book may be reproduced, stored in

a retrieval system, or transmitted in any form or by any means,

mechanical, electronic, photocopying, recording, or otherwise,

without written permission from the publisher.

Abrams books are available at special discounts when pur-

chased in quantity for premiums and promotions as well as

fundraising or educational use. Special editions can also be

created to specification. For details, contact specialsales@

abramsbooks.com or the address below.

Abrams is a registered trademark of Harry N. Abrams, Inc.

From Abrams:

Editor: Rebecca Kaplan

Production Manager: Anet Sirna-Bruder

DESIGNERS:

Alberto Orta

Nobi Kashiwagi

ABRAMS The Art of Books
195 Broadway, New York, NY 10007
abramsbooks.com

CONTENTS

MODEL GUINEVERE VAN SEENUS WORE

A SHOCKING-PINK EVENING LOOK BY

ELSA SCHIAPARELLIORIGINATOR OF

SURREALISM AS CHICPHOTOGRAPHED

BY STEVEN MEISEL, VOGUE , MAY 2012,

IN ANTICIPATION OF SCHIAPARELLI &

PRADA: IMPOSSIBLE CONVERSATIONS,

THE HEADLINING COSTUME EXHIBITION

AT THE METROPOLITAN THAT YEAR.

RIDING HABITS HAVE ALWAYS BEEN A CENTERPIECE

OF BRITISH STYLE. AT THE ANGLOMANIA EXHIBIT

IN 2006, A MANNEQUIN IN A LILAC SILK-FAILLE

REDINGOTE DRESS (WITH LINING OF TRADITIONAL

HUNTING SCARLET) BY CHRISTOPHER BAILEY FOR

BURBERRY SAT SIDESADDLE BESIDE PORTRAITS BY SIR

JOSHUA REYNOLDS AND THOMAS GAINSBOROUGH.

Scott Fitzgerald romantically described Jay Gatsbys parties as where men and - photo 8

Scott Fitzgerald romantically described Jay Gatsbys parties as where men and girls came and went like moths

among the whisperings and the champagne and the stars. The same words could describe the swirl of The Mets annual Costume

Institute Benefitthough in that context the stars would be people rather than glittering lights in the evening sky.

At first glance, The Costume Institute Benefit is a glorious pageant of fashion icons, movie stars, politicians, sports figures, artists,

and social titans. But behind that sparkle of celebrity and fashion is a night that plays a critical role in funding one of The Metro-

politan Museums outstanding curatorial departments.

In 1948, two years after The Museum of Costume Art became part of The Met and was renamed The Costume Institute, the

fashion publicist Eleanor Lambert organized the first benefit party to support its yearly expensesa midnight supper at the Rain-

bow Room immediately dubbed The Party of the Year. And so an extraordinary annual tradition began. One can imagine the

momentum these events gathered under the legendary Diana Vreeland, special consultant to The Costume Institute from 1972 until

her death in 1989. Mrs. Vreelands exhibitionsincluding such iconic shows as The World of Balenciaga (1973) and The Glory of

Russian Costume (1976)broke all conventions, and the benefit dinners followed suit. With cochairs like Jacqueline Kennedy Onas-

sis (19771978) and the indomitable Pat Buckley (19791995), the parties attracted everyone from Lily Auchincloss to Andy Warhol.

This volume covers the exhibitions and galas of the twenty-first century, starting in 2001, the year that

Vogue

editor Hamish

Bowles served as guest curator for the beautiful exhibition Jacqueline Kennedy: The White House Years. In the thirteen years since

that show, Costume Institute curators Harold Koda and Andrew Bolton have changed the way we think about fashion, pushing us

to explore its sources and conceptual narratives with projects that provoke and inspire. Who could forget the eighteenth-century

seduction in the Wrightsman Galleries, the punk rebellion in the Lansdowne House Dining Room, the tragic poetry of Alexander

McQueen, or the evocative Surrealism of Schiaparelli?

The book ends with the 2014 exhibition, Charles James: Beyond Fashion, which heralded the reopening of the Costume

Institute galleries after a two-year renovation. Anchored by the Lizzie and Jonathan Tisch Gallery, this new space has been named

the Anna Wintour Costume Center in honor of The Costume Institutes great advocate and supporter.

The millions raised year after year by

Vogue

and Anna Wintour through the benefit allow The Costume Institute to thrive. These

funds not only produce the groundbreaking exhibitions and publications we have come to expect, but they support the Costume

Institute staff

and their research, and enable us to expand and conserve one of the greatest collections of historic and contempo-

rary dress in the worldmore than 35,000 objects spanning five centuries. As you explore these pages and enjoy the splendor of

these exhibitions and celebrations, I hope youll be inspired to visit The Met and see just what The Costume Institute Benefit has

made possible. That critical contribution may not be the first thing on everyones mind as they ascend the steps of The Museum for

The Party of the Year, but it is the lasting legacy of those magical evenings.

FOREWORD

BY THOMAS P. CAMPBELL

DIRECTOR AND CEO

THE METROPOLITAN MUSEUM OF ART

ong before

Vogue

became involved with The Metropolitan Museum of Arts Costume Institute,

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