The Costume Institute (@metcostumeinstitute)

We exhibit, conserve, study, and house the world’s most comprehensive costume collection, offering an unrivaled timeline of fashion history.

682 posts
230.9K followers
648 following
682 posts
230.9K followers
following
Summer Dressing: In a heatwave it's best to wear light, loose fitting clothes of natural fibers. These 19th century cotton and linen dressing gowns from our collection offer some inspiration. Stay cool.
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Summer Dressing: In a heatwave it's best to wear light, loose fitting clothes of natural fibers. These 19th century cotton and linen dressing gowns from our collection offer some inspiration. Stay cool.
Joyeux anniversaire to Edgar Degas, who was born #onthisday in 1834, and is best known for his Impressionist paintings, etchings, and sculptures of ballet dancers. Classical ballet is a rich treasure of High Camp, according to novelist Christopher Isherwood: “High camp is the whole emotional basis of the Ballet, for example, and of course, Baroque art. You see, true High Camp always has an underlying seriousness. You’re expressing what’s basically serious to you in terms of fun and artifice and elegance. The Ballet is camp about love.” // Study of a Ballet Dancer, Edgar Degas (French, 1834–1917), ca. 1873; Robert Lehman Collection, 1975 (1975.1.611). #TheMet #CostumeInstitute #MetCamp
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Joyeux anniversaire to Edgar Degas, who was born #onthisday in 1834, and is best known for his Impressionist paintings, etchings, and sculptures of ballet dancers. Classical ballet is a rich treasure of High Camp, according to novelist Christopher Isherwood: “High camp is the whole emotional basis of the Ballet, for example, and of course, Baroque art. You see, true High Camp always has an underlying seriousness. You’re expressing what’s basically serious to you in terms of fun and artifice and elegance. The Ballet is camp about love.” // Study of a Ballet Dancer, Edgar Degas (French, 1834–1917), ca. 1873; Robert Lehman Collection, 1975 (1975.1.611). #TheMet #CostumeInstitute #MetCamp
Here, the Collections team examines intricate details up close and updates storage methods to best preserve each object. This Italian smock received new archival tissue to separate the layers between different objects, which prevents the metal threads from snagging on the fabric. // Smock, Italian, late 16th century; Rogers Fund, 1910 (10.124.1). #TheMet #CostumeInstitute #CollectionsCare
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Here, the Collections team examines intricate details up close and updates storage methods to best preserve each object. This Italian smock received new archival tissue to separate the layers between different objects, which prevents the metal threads from snagging on the fabric. // Smock, Italian, late 16th century; Rogers Fund, 1910 (10.124.1). #TheMet #CostumeInstitute #CollectionsCare
Camp “is, or should be, by its very nature, political, subversive and even revolutionary.” -Bruce LaBruce, 2012.
An example of camp as a way of “history being viewed histrionically,” John Galliano’s graduation collection at Central Saint Martins was inspired by the aristocratic, counter-revolutionary dress of “Les Incroyables,” the defiant characters during the Directory years of the French Revolution. Galliano’s reinterpretation of anti-establishment dress from the period—which included tea-dyed muslin and printed cotton dresses with button-up hems, oversized sheer white lawn shirts with high stand collars, and brocade patchwork vests made of furnishing fabric—were met with critical acclaim and launched his career. // Ensemble, John Galliano (British, born Gibraltar 1960), 2018, original design 1984; Gift of John Galliano, 2019 (2019.17a-i). Coat, John Galliano (British, born Gibraltar 1960), 1984; Purchase, Friends of The Costume Institute Gifts, 2016 (2016.541). Walking Stick, late 18th Century, Courtesy of John Galliano. Photo © Johnny Dufort, 2019 #TheMet #CostumeInstitute #MetCamp
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Camp “is, or should be, by its very nature, political, subversive and even revolutionary.” -Bruce LaBruce, 2012.
An example of camp as a way of “history being viewed histrionically,” John Galliano’s graduation collection at Central Saint Martins was inspired by the aristocratic, counter-revolutionary dress of “Les Incroyables,” the defiant characters during the Directory years of the French Revolution. Galliano’s reinterpretation of anti-establishment dress from the period—which included tea-dyed muslin and printed cotton dresses with button-up hems, oversized sheer white lawn shirts with high stand collars, and brocade patchwork vests made of furnishing fabric—were met with critical acclaim and launched his career. // Ensemble, John Galliano (British, born Gibraltar 1960), 2018, original design 1984; Gift of John Galliano, 2019 (2019.17a-i). Coat, John Galliano (British, born Gibraltar 1960), 1984; Purchase, Friends of The Costume Institute Gifts, 2016 (2016.541). Walking Stick, late 18th Century, Courtesy of John Galliano. Photo © Johnny Dufort, 2019 #TheMet #CostumeInstitute #MetCamp
All tied up: After much dressing and undressing on mannequins during its life as a museum object, the yards of intentionally “messy” ribbons on this full-body corset dress by Jean Paul Gaultier with corset by Mr. Pearl, needed organization for storage. After referring to runway images and consulting the Collections staff, Roberta Gorin-Paracka, Adam Hayes, and Shields Way, Collections Management Assistants, sorted out the complicated mass of ribbons and repacked the dress, preserving its original tied-up state. // Evening Ensemble, Designed by Jean Paul Gaultier, Made by Mr. Pearl, spring/summer 2001; Purchase, Catharine Breyer Van Bomel Foundation Gift, and funds from various donors, 2001 (2001.455.2a–i). #TheMet #CostumeInstitute #CollectionsCare
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All tied up: After much dressing and undressing on mannequins during its life as a museum object, the yards of intentionally “messy” ribbons on this full-body corset dress by Jean Paul Gaultier with corset by Mr. Pearl, needed organization for storage. After referring to runway images and consulting the Collections staff, Roberta Gorin-Paracka, Adam Hayes, and Shields Way, Collections Management Assistants, sorted out the complicated mass of ribbons and repacked the dress, preserving its original tied-up state. // Evening Ensemble, Designed by Jean Paul Gaultier, Made by Mr. Pearl, spring/summer 2001; Purchase, Catharine Breyer Van Bomel Foundation Gift, and funds from various donors, 2001 (2001.455.2a–i). #TheMet #CostumeInstitute #CollectionsCare
RECYCLE! ♻️ Melina Plottu, Associate Conservator, performed an incoming condition examination on this dress by Moschino, for which more than 70 plastic shopping bags were used to create the volume of the skirt. Swipe to see it on display in #MetCamp. // Dress, Franco Moschino (Italian, 1950–1994) for the House of Moschino (Italian, founded 1983), spring/summer 1994; courtesy of Moschino. 📷: Gallery View, BFA.com/Zach Hilty #TheMet #CostumeInstitute #fashionconservation
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RECYCLE! ♻️ Melina Plottu, Associate Conservator, performed an incoming condition examination on this dress by Moschino, for which more than 70 plastic shopping bags were used to create the volume of the skirt. Swipe to see it on display in #MetCamp. // Dress, Franco Moschino (Italian, 1950–1994) for the House of Moschino (Italian, founded 1983), spring/summer 1994; courtesy of Moschino. 📷: Gallery View, BFA.com/Zach Hilty #TheMet #CostumeInstitute #fashionconservation
Sontagian Camp: Susan Sontag was the first writer to explore camp as a serious subject when she published “Notes on ‘Camp’” in 1964. Reflecting on the emerging pop culture of the 1960s, Sontag presented camp as an aesthetic that promoted “the equivalence of all objects.” Through an indifference toward distinctions between high art and popular culture, camp affected a democratic leveling of artistic and cultural hierarchies. // 📷: BFA.com/Zach Hilty #TheMet #CostumeInstitute #MetCamp
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Sontagian Camp: Susan Sontag was the first writer to explore camp as a serious subject when she published “Notes on ‘Camp’” in 1964. Reflecting on the emerging pop culture of the 1960s, Sontag presented camp as an aesthetic that promoted “the equivalence of all objects.” Through an indifference toward distinctions between high art and popular culture, camp affected a democratic leveling of artistic and cultural hierarchies. // 📷: BFA.com/Zach Hilty #TheMet #CostumeInstitute #MetCamp
Happy 4th of July! This cotton apron with patriotic flair lives in our accessories store room. We have approximately 70 aprons ranging from utilitarian to purely decorative. This one is said to have been worn to a costume party in the mid-19th century. The long ties fasten at the back of the waist and the upper left and right corner of the apron bib would have been pinned to the wearer’s dress. // Apron, 1855–59; Gift of The Misses Faith and Delia Leavens, 1941 (C.I.41.58.25). #TheMet #CostumeInstitute
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Happy 4th of July! This cotton apron with patriotic flair lives in our accessories store room. We have approximately 70 aprons ranging from utilitarian to purely decorative. This one is said to have been worn to a costume party in the mid-19th century. The long ties fasten at the back of the waist and the upper left and right corner of the apron bib would have been pinned to the wearer’s dress. // Apron, 1855–59; Gift of The Misses Faith and Delia Leavens, 1941 (C.I.41.58.25). #TheMet #CostumeInstitute
Blast off: Printed a year before the moon landing, this poster dress was a fashionable ode to the space race. See it on view in “Apollo's Muse: The Moon in the Age of Photography,” which celebrates the 50th anniversary of the Apollo 11 moon landing through a selection of photos, drawings, films, and astronomical instruments through September 22. // “Rocket” dress, Harry Gordon (American, Philadelphia 1930–2007 Mijas, Spain), 1968; Purchase, Gould Family Foundation Gift, in memory of Jo Copeland, 2009 (2009.73). #TheMet #CostumeInstitute #MetApollosMuse
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Blast off: Printed a year before the moon landing, this poster dress was a fashionable ode to the space race. See it on view in “Apollo's Muse: The Moon in the Age of Photography,” which celebrates the 50th anniversary of the Apollo 11 moon landing through a selection of photos, drawings, films, and astronomical instruments through September 22. // “Rocket” dress, Harry Gordon (American, Philadelphia 1930–2007 Mijas, Spain), 1968; Purchase, Gould Family Foundation Gift, in memory of Jo Copeland, 2009 (2009.73). #TheMet #CostumeInstitute #MetApollosMuse

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