Costume in The Metropolitan Museum of Art

  • Doublet
    1989.196
  • Round gown
    1979.20a-f
  • Wedding ensemble
    26.250.2a-e
  • Corset
    C.I.45.27
  • Evening dress
    1976.258.1a,b
  • Day ensemble
    1984.28a-c
  • Evening dress
    1973.6a,b
  • Wedding ensemble
    C.I.50.110a-j
  • Ankle-strap sandal
    1973.282.2
  • Evening dress
    C.I.52.18.4
  • Evening ensemble
    C.I.46.4.10a-c
  • Evening dress
    C.I.46.4.18a,b
  • Bar suit
    C.I.58.34.30_C.I.69.40
  • Evening gown
    1973.104.2
  • Evening dress
    1980.338.6
  • Beachwear (bathing suit)
    1986.517.13
  • Mondrian day dress
    C.I.69.23
  • Dress
    1995.178.3
  • Bondage suit
    2004.15a,b
  • Evening gown
    1993.52.4
  • Dress
    1998.516.1a,b
  • Alexander McQueen: Ensemble
    2011.170a,b
  • Airplane Dress
    2006.251a-c
  • Dress
    2003.462

Essay

The Costume Institute houses a collection of more than 35,000 costumes and accessories spanning five continents and just as many centuries, arguably the greatest such collection in the world. The matrix of The Costume Institute was established with The Museum of Costume Art, an independent entity formed in 1937. Led by Neighborhood Playhouse founder Irene Lewisohn, The Museum of Costume Art benefited from gifts from Irene Lewisohn and her sister Alice Lewisohn Crowley and from theatrical designers Aline Bernstein and Lee Simonson, among others.

In 1946, The Museum of Costume Art merged with The Metropolitan Museum of Art, and funds were raised within the fashion industry to support it. The Costume Institute became a department in 1959. Diana Vreeland, who served as Special Consultant from 1972 until her death in 1989, created a spectacular suite of costume exhibitions—including The World of Balenciaga (1973), Romantic and Glamorous Hollywood Design (1974), The Glory of Russian Costume (1976), and Vanity Fair (1977)—that galvanized audiences and set the international standard for the opulent exhibition of costume, chiefly based on loan items.

The Costume Institute continued to present exhibitions that achieved the defining stature of the earlier Vreeland shows in developing analytical ideas about fashion from the Institute’s collections. These have included: Infra-Apparel (1993), which examined the role of undergarments and clothing’s propensity to disclose its underlying structure; Orientalism: Visions of the East in Western Dress (1994); and Haute Couture (1995). In addition, there have been monographic exhibitions such as Madame Grès (1994), Christian Dior (1996), and Gianni Versace (1997).

In 2000, Harold Koda arrived to lead the Institute as Curator in Charge with exhibitions that have continued to break new ground including: Charles James: Beyond Fashion (2014), Dangerous Liaisons: Fashion and Furniture in the 18th Century (2004); Goddess (2003); and Extreme Beauty: The Body Transformed (2002). Additionally, Andrew Bolton, Curator (formerly of the Victoria and Albert Museum, London), has contributed his fresh voice with exhibitions such as Blithe Spirit: The Windsor Set (2002), Bravehearts: Men in Skirts (2003), and Alexander McQueen: Savage Beauty (2010).

After a two-year renovation, the redesigned Costume Institute space opened in 2014 as the newly designated Anna Wintour Costume Center. The complex now includes the Lizzie and Jonathan Tisch Gallery, a main showcase space with a flexible design that lends itself to frequent transformation with a comprehensive video, sound, and wireless system, and the Carl and Iris Barrel Apfel Gallery, an orientation space for The Costume Institute’s exhibitions and holdings. The Center also has a state-of-the-art costume conservation laboratory, an expanded study/storage facility to house the combined holdings of the Met and the Brooklyn Museum Costume Collection, and The Irene Lewisohn Costume Reference Library, one of the world’s foremost fashion libraries.

The vast collection of The Costume Institute ranges from works by the father of couture, Charles Frederick Worth, to iconic examples from the high priestess of chic, Coco Chanel; from ’60s ready-to-wear with pop iconography and disposable paper dresses (1995.178.3) to the ’70s punk transgressions of Vivienne Westwood; and the innovations of modern visionaries such as Elsa Schiaparelli, Christian Dior, and Rudi Gernreich to postmodern designers like Rei Kawakubo and twenty-first-century maverick Alexander McQueen (2003.462). No other museum in the world supports such an ambitious suite of exhibitions on fashion. The staff of The Costume Institute tasked with the preservation of this irreplaceable resource is also responsible for exhibiting, interpreting, and researching this extraordinarily comprehensive collection.

As it would be impossible to imagine art in the twenty-first century in New York without The Metropolitan Museum of Art’s presence as keystone and touchstone to ideas and sensibility, contemporary American and international fashion has been equally enriched by The Costume Institute’s exhibitions and research opportunities.

The Costume Institute, The Metropolitan Museum of Art

October 2004 (originally published)
September 2014 (last revised)

Citation

The Costume Institute. “Costume in The Metropolitan Museum of Art.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/cost/hd_cost.htm (originally published October 2004, last revised September 2014)

Further Reading

Bolton, Andrew. Bravehearts: Men in Skirts. Exhibition catalogue. London: V&A Publications, 2003.

Bowles, Hamish, ed. Jacqueline Kennedy: The White House Years: Selections from the John F. Kennedy Library and Museum. Exhibition catalogue. Boston: Bulfinch Press/Little, Brown, 2001.

Koda, Harold. Extreme Beauty: The Body Transformed. Exhibition catalogue. New Haven: Yale University Press, 2001.

Koda, Harold, and Andrew Bolton. Chanel. Exhibition catalogue. New Haven: Yale University Press, 2005.

Koda, Harold, and Andrew Bolton. Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century. New Haven: Yale University Press, 2006.

Martin, Richard. Gianni Versace. Exhibition catalogue. New York: Metropolitan Museum of Art, 1997. See on MetPublications

Martin, Richard, and Harold Koda. Christian Dior. Exhibition catalogue. New York: Metropolitan Museum of Art, 1996. See on MetPublications

Martin, Richard, and Harold Koda. Haute Couture. Exhibition catalogue. New York: Metropolitan Museum of Art, 1995. See on MetPublications

Martin, Richard, and Harold Koda. Infra-apparel. Exhibition catalogue. New York: Metropolitan Museum of Art, 1993. See on MetPublications

Martin, Richard, and Harold Koda. Orientalism: Visions of the East in Western Dress. Exhibition catalogue. New York: Metropolitan Museum of Art, 1994. See on MetPublications

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