The Costume Institute (@metcostumeinstitute)

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

636 posts
178.5K followers
668 following
636 posts
178.5K followers
following
Honoring Jayne Wrightsman, who passed away on Saturday at the age of 99. One of the most generous benefactors in the Museum’s history along with her late husband, Charles Wrightsman, they donated 178 objects to The Costume Institute. This Balenciaga evening dress from Mrs. Wrightsman’s collection is slated to be on view in “Camp: Notes on Fashion.” Swipe to see a photo of her wearing the dress. // Evening dress, House of Balenciaga (French, founded 1937), Cristobal Balenciaga (Spanish, Guetaria, San Sebastian 1895–1972 Javea), fall/winter 1965–66; Gift of Mrs. Charles B. Wrightsman, 1966 (C.I.66.54.5a, b). #The Met #CostumeInstitute 📷: @metimaging/Anna-Marie Kellen
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Honoring Jayne Wrightsman, who passed away on Saturday at the age of 99. One of the most generous benefactors in the Museum’s history along with her late husband, Charles Wrightsman, they donated 178 objects to The Costume Institute. This Balenciaga evening dress from Mrs. Wrightsman’s collection is slated to be on view in “Camp: Notes on Fashion.” Swipe to see a photo of her wearing the dress. // Evening dress, House of Balenciaga (French, founded 1937), Cristobal Balenciaga (Spanish, Guetaria, San Sebastian 1895–1972 Javea), fall/winter 1965–66; Gift of Mrs. Charles B. Wrightsman, 1966 (C.I.66.54.5a, b). #The Met #CostumeInstitute 📷: @metimaging /Anna-Marie Kellen
Happy birthday to Issey Miyake, born #onthisday in 1938. Of Miyake’s signature pleated polyester works, the "Staircase" dress is particularly representative of his fascination with the sculptural possibilities of cloth. But even with its assertive ziggurat-like form, the designer underscores the essential flatness of each of the four panels that form the body of the garment by exploiting the pleated structure of the cloth to flute and furl like paper. // "Staircase Pleats," Issey Miyake (Japanese, born 1938), Miyake Design Studio (Japanese), fall/winter 1994–95; Gift of Muriel Kallis Newman, 2005 (2005.130.11). #TheMet #CostumeInstitute
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Happy birthday to Issey Miyake, born #onthisday in 1938. Of Miyake’s signature pleated polyester works, the "Staircase" dress is particularly representative of his fascination with the sculptural possibilities of cloth. But even with its assertive ziggurat-like form, the designer underscores the essential flatness of each of the four panels that form the body of the garment by exploiting the pleated structure of the cloth to flute and furl like paper. // "Staircase Pleats," Issey Miyake (Japanese, born 1938), Miyake Design Studio (Japanese), fall/winter 1994–95; Gift of Muriel Kallis Newman, 2005 (2005.130.11). #TheMet #CostumeInstitute
Congratulations to the 2019 Costume Institute College Fashion Design Competition finalists who created designs inspired by “Camp: Notes on Fashion.” University students are invited to join us in celebrating their work and participate in various activities at “College Night: Notes on Fashion” on 5/23. #TheMet #CostumeInstitute #MetCamp
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Congratulations to the 2019 Costume Institute College Fashion Design Competition finalists who created designs inspired by “Camp: Notes on Fashion.” University students are invited to join us in celebrating their work and participate in various activities at “College Night: Notes on Fashion” on 5/23. #TheMet #CostumeInstitute #MetCamp
Swan Rehab: Marina Hays, Conservation Fellow, performed some “surgery” on the famous swan dress Bjork wore on the red carpet. To ensure no further damage is caused while the dress is on view during #MetCamp, a seam located at the closure of the dress—a weight-bearing area—was stabilized with conservation netting. Preventive conservation practices like these enable objects to be safely shown under appropriate conditions, such as low light and short display periods. // Dress, Marjan Pejoski (British, born Macedonia, 1968), fall/winter 2000–2001; Courtesy of Marjan Pejoski. Image courtesy of The Metropolitan Museum of Art, Photo © Johnny Dufort, 2019 #TheMet #CostumeInstitute #fashionconservation
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Swan Rehab: Marina Hays, Conservation Fellow, performed some “surgery” on the famous swan dress Bjork wore on the red carpet. To ensure no further damage is caused while the dress is on view during #MetCamp, a seam located at the closure of the dress—a weight-bearing area—was stabilized with conservation netting. Preventive conservation practices like these enable objects to be safely shown under appropriate conditions, such as low light and short display periods. // Dress, Marjan Pejoski (British, born Macedonia, 1968), fall/winter 2000–2001; Courtesy of Marjan Pejoski. Image courtesy of The Metropolitan Museum of Art, Photo © Johnny Dufort, 2019 #TheMet #CostumeInstitute #fashionconservation
Our thoughts are with Paris and Notre Dame, a cultural landmark of beauty and historical importance. This Hermès scarf from our collection depicts the great monuments of Paris, including the iconic and beloved Notre Dame Cathedral. // Scarf, Hermès (French, founded 1837), late 20th century; Gift of David and Susan Biberman from the collection of Hilda S. Biberman, 1982 (1982.401.20). #TheMet #CostumeInstitute
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Our thoughts are with Paris and Notre Dame, a cultural landmark of beauty and historical importance. This Hermès scarf from our collection depicts the great monuments of Paris, including the iconic and beloved Notre Dame Cathedral. // Scarf, Hermès (French, founded 1837), late 20th century; Gift of David and Susan Biberman from the collection of Hilda S. Biberman, 1982 (1982.401.20). #TheMet #CostumeInstitute
It is an exciting day for the Collections team when standout pieces like this cocoon-shaped Driscoll opera coat are requested for a research appointment. In its debut in 1924, the iridescent and metallic brocade adorned with a Kolinsky fur collar made quite a statement. // Evening Coat, Driscoll, American, founded ca. 1864, 1924-25; Gift of Mrs. Calvin H. Plimpton, 1975 (1975.19.3). #TheMet #CostumeInstitute
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It is an exciting day for the Collections team when standout pieces like this cocoon-shaped Driscoll opera coat are requested for a research appointment. In its debut in 1924, the iridescent and metallic brocade adorned with a Kolinsky fur collar made quite a statement. // Evening Coat, Driscoll, American, founded ca. 1864, 1924-25; Gift of Mrs. Calvin H. Plimpton, 1975 (1975.19.3). #TheMet #CostumeInstitute
Wednesdays are Camp Conservation days with behind-the-scenes peeks at The #CostumeInstitute Conservation team preparing for the opening of “Camp: Notes on Fashion” on May 9. Feathers and butterflies filled our Conservation Lab after the arrival of these @Moschino by @itsjeremyscott dresses. Conservator Sarah Scaturro photographed and assessed both pieces, including the condition of each paper and feather butterfly. // Dress, House of Moschino by Jeremy Scott, spring/summer 2018, Courtesy of Moschino #TheMet #MetCamp #fashionconservation #BTS
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Wednesdays are Camp Conservation days with behind-the-scenes peeks at The #CostumeInstitute Conservation team preparing for the opening of “Camp: Notes on Fashion” on May 9. Feathers and butterflies filled our Conservation Lab after the arrival of these @Moschino by @itsjeremyscott dresses. Conservator Sarah Scaturro photographed and assessed both pieces, including the condition of each paper and feather butterfly. // Dress, House of Moschino by Jeremy Scott, spring/summer 2018, Courtesy of Moschino #TheMet #MetCamp #fashionconservation #BTS
The countdown begins! One month until the opening of “Camp: Notes on Fashion”! Camp “is not a natural mode of sensibility, if there be any such. Indeed the essence of Camp is its love of the unnatural: of artifice and exaggeration.” -Susan Sontag, “Notes on “Camp,’” 1964 // Ensemble, Bertrand Guyon (French, born 1965) and headpiece by Stephen Jones (British, born 1957) for House of Schiaparelli (French, founded 1927), fall/winter 2018–19 haute couture; Courtesy of Schiaparelli. Photo © Johnny Dufort, 2019. #TheMet #CostumeInstitute #MetCamp
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The countdown begins! One month until the opening of “Camp: Notes on Fashion”! Camp “is not a natural mode of sensibility, if there be any such. Indeed the essence of Camp is its love of the unnatural: of artifice and exaggeration.” -Susan Sontag, “Notes on “Camp,’” 1964 // Ensemble, Bertrand Guyon (French, born 1965) and headpiece by Stephen Jones (British, born 1957) for House of Schiaparelli (French, founded 1927), fall/winter 2018–19 haute couture; Courtesy of Schiaparelli. Photo © Johnny Dufort, 2019. #TheMet #CostumeInstitute #MetCamp
The butterfly was the Surrealist symbol for change, particularly the change from ugly to beautiful. This Schiaparelli evening dress from summer 1937 features a lively butterfly print, most likely inspired by Surrealist artists such as Salvador Dalí, Max Ernst, and Man Ray. Schiaparelli shared many Surrealist views with these artists and often used her designs as a means to express these ideas. The neckline treatment is an example of Schiaparelli's playful yet sculptural design sense and gives the dress its compelling visual appeal. // Evening dress, Elsa Schiaparelli (Italian, 1890–1973), summer 1937; Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Edward G. Sparrow, 1969 (2009.300.1347a, b). #TheMet #CostumeInstitute
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The butterfly was the Surrealist symbol for change, particularly the change from ugly to beautiful. This Schiaparelli evening dress from summer 1937 features a lively butterfly print, most likely inspired by Surrealist artists such as Salvador Dalí, Max Ernst, and Man Ray. Schiaparelli shared many Surrealist views with these artists and often used her designs as a means to express these ideas. The neckline treatment is an example of Schiaparelli's playful yet sculptural design sense and gives the dress its compelling visual appeal. // Evening dress, Elsa Schiaparelli (Italian, 1890–1973), summer 1937; Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Edward G. Sparrow, 1969 (2009.300.1347a, b). #TheMet #CostumeInstitute

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