“Fashion is very much an art form not in spite of the body, but because of it,” says Andrew Bolton, OBE, curator in charge of the Costume Institute. And this year’s exhibition, “Costume Art,” seeks not just to address this tantalizingly complex issue, but to explore it in all its many facets. The central thesis is as simple as it is thrilling: pair existing artworks with corresponding garments or accessories and let your synapses fire. The very layout of the show—broken into sections that move from Biblical nudity to the au courant idea of body diversity to the ways in which we’ve long used clothes not merely to adorn but to subvert and distort the body—indicates just how richly drawn this subject is and why it’s mesmerized artists since time immemorial.
Sinéad Burke, CEO of Tilting the Lens, emphasizes how this exhibit highlights bodies that have traditionally been overlooked, and as someone with a physical disability, she is among those featured. Her body has been memorialized in the exhibition as a custom mannequin, alongside model and musician Aariana Rose Philip, transforming their presence into a lasting part of the narrative around representation, fashion, and identity.
Additionally, this exhibition will be the first in the costume department’s new home, the Conde M. Nast Galleries. Once relegated to a modest 4,500-square-foot space in the museum’s basement, the department will now take flight in a grand, 12,000-square-foot display room on the ground floor, just off the central Great Hall. It is, says Max Hollein, the museum’s director, a symbol of how important clothing has become to The Met’s mission in exploring the many facets of art in the modern age. “We collect paintings, sculptures, textiles, arms and armor, but especially all the fashion,” he says. “And we want to make sure that it’s understood that fashion is a fantastic form of art.”
Featuring testimonials from Misty Copeland, Alex Consani, Gwendoline Christie, Aimee Mullins, Sinéad Burke, Aariana Rose Philip and more.
Director: Nina Ljeti
Directors of Photography: Michael Lopez, Henry Gill
Editor: Evan Allan
Senior Producer: Bety Dereje
Producer: Rashida Josiah
Associate Producers: Anisa Kennar, Justine Ramirez, Lea Donenberg
Camera Operator: Chanthila Phaophanit
Assistant Camera: Kahdeem Prosper Jefferson, Gordan Wong
Gaffers: Billy Voermann, Mary Kalecinska
Swing: Alex Frischman
Audio: Mariya Chulichkova, Joanna Hunt
Set Designers: Ilana Portney, Dana Keren
Production Assistants: Quinton Johnson, Myles Haywood
Runners: Edie Chesters, Rachel Ademidun
Groomer for Andrew Bolton: Shin Arima
Makeup Artist for Sinéad Burke and Alex Consani: Ai Yokomizo
Hairstylist for Sinéad Burke and Alex Consani: Sonny Molina
Makeup Artist for Misty Copeland: Victor Henao
Hairstylist for Misty Copeland: Nai’vasha Grace
Makeup Artist for Aariana Philip: Meadow Soleil Cloud
Makeup Artist for Gwendoline Christie: Daniel Kolaric
Hairstylist for Gwendoline Christie: Joe Kelly
Hair & Makeup Artist for Aimee Mullins: Stèfan Jemeel
Production Coordinator: Tanía Jones
Production Manager: Kristen Helmick
Senior Production Manager: Venita Singh-Warner
Line Producer: Natasha Soto-Albors
Assistant Editors: Andy Morell, Fynn Lithgow
Senior Motion Graphics Designer: Samuel Fuller
Post Production Coordinator: Holly Frew
Supervising Editor: Kameron Key
Post Production Supervisor: Alexa Deutsch
Entertainment Director: Sergio Kletnoy
Global Talent Casting Directors: Ignacio Murillo, Morgan Senesi
Executive Producer: Rahel Gebreyes
Senior Director, Digital Video: Romy van den Broeke
Senior Director, Programming: Linda Gittleson
VP, Video Programming: Thespena Guatieri
Florist: London Blooming Haus
Photography By Paul Westlake
Images Courtesy of The Metropolitan Museum of Art
Special Thanks: The Metropolitan Museum of Art
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Mateus Machado Fotografia
July 28, 2020 at 4:00 pm
First
Varron Lagman
July 28, 2020 at 4:02 pm
Second
leechneon
July 28, 2020 at 4:02 pm
Second
MANISH CHOUDHARY FITNESS
July 28, 2020 at 4:03 pm
It’s crazy
The 88.888 subs with no video
July 28, 2020 at 4:04 pm
Mmmmm a good question
LeBeautiful
July 28, 2020 at 4:05 pm
one day we’ll probably witness an Oscar winning film which recorded with all blur
PMG
July 28, 2020 at 4:06 pm
Good video but this script is hilarious
Guido Anselmi
July 28, 2020 at 6:08 pm
That’s usually the case with these reverse filmschool videos. I think (hope) that’s intentional.
Pedro Juan
July 28, 2020 at 4:07 pm
a lot of these changes would actually be made by a director or cinematographer, but ok
egyptiansushi
July 28, 2020 at 4:27 pm
the decision is made, but it takes a camera operator to perform those decisions. If the director was just making those decisions without a camera operator, no one would be there to make it happen (is the point)
DamnFineCupOfCoffee
July 28, 2020 at 4:09 pm
Who’s vanity fair’s target audience again..?
Potential Side Effects
July 28, 2020 at 4:28 pm
In this case: film students.
G_J_C 95
July 28, 2020 at 4:29 pm
So the lawyer had superhuman strength all along?? He could of escaped when ever he wanted to.
Alex -Wilky- Wilson
July 28, 2020 at 6:46 pm
Could have
JaredLav
July 28, 2020 at 4:30 pm
So… y’all short staffed or something and you’re trying to convert your audience into employees? Because I need a job so hmu
Hussein Zbib
July 28, 2020 at 6:39 pm
+1
Bambang Maulana
July 28, 2020 at 4:38 pm
I love this kinda type of content
juno
July 28, 2020 at 4:57 pm
the drama-
Braveheart_Fox
July 28, 2020 at 5:23 pm
I hate “whip pan” just cut it!
Christoph Blumentopf
July 28, 2020 at 5:31 pm
if that’s what a camera operator does, what does a director of photography do?
Herman Von Petri
July 28, 2020 at 5:55 pm
The director, cinematographer (or DP) may make the decision of what to do, but it’s the camera operator that has to actually perform the actions with the camera.
Guido Anselmi
July 28, 2020 at 6:08 pm
The director and cinematographer are actually the ones making these decisions. The camera operator just “performs” that decision (but often the DP does that as well.)
bobunitone
July 28, 2020 at 6:29 pm
To add on to what others are saying, some DP’s operate their camera as well. Rodger Deakins and Robert Richardson operate.
Alex -Wilky- Wilson
July 28, 2020 at 6:46 pm
Directs the photography, probably.
billygowhoop
July 28, 2020 at 5:47 pm
It’s amazing how all this super expensive stuff that has a very subtle effect on the way a movie looks but also makes a massive difference in how we perceive its quality.
SIMON BOI
July 28, 2020 at 6:12 pm
Are we all just going to ignore the “Slap my face and call me Charlie” part hahahahha ????
Alex -Wilky- Wilson
July 28, 2020 at 6:47 pm
Aka every student film
Nathan Ngumi
July 28, 2020 at 7:04 pm
Very interesting how much a camera can bring out of a scene!
blu
July 28, 2020 at 7:04 pm
Another one of these? Guess you could say it’s a
_Cinematic_ Universe
Roman Kalaur
July 28, 2020 at 7:28 pm
Smells like Tarantino!