The Costume Institute's collection of more than 35,000 costumes and accessories represents five continents and seven centuries of fashionable dress, regional costumes, and accessories for men, women, and children, from the fifteenth century to the present.
The redesigned Costume Institute space red bodycon dresses dresses 2017 reopened in May 2014, after a two-year renovation as the Anna Wintour Costume Center with the exhibition Charles James: Beyond Fashion. The complex includes the Lizzie and Jonathan Tisch Gallery, the main showcase space with a flexible design that lends itself to frequent transformation with the latest video, sound, and wireless technology. The Center also includes the Carl and Iris Barrel Apfel Gallery to orient visitors to The Costume Institute's exhibitions. Behind the scenes is 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.
What's On View
The Costume Institute organizes two exhibitions annually; due to the sensitive nature of textiles, the collection is not on permanent public view. However, two fashion-focused tours are available year round: "Fashion in Art," a tour led by Costume Institute docents that discusses costume history within the context of the Museum's collections of armor, textiles, paintings, sculpture, and decorative arts; and "Costume: The Art of Dress," a recorded Audio Guide narrated by the actress Sarah Jessica Parker that highlights historical costume throughout the Museum's galleries.
The Costume Institute Collection, usually accessible to students, scholars, and designers by appointment, is currently closed while objects are being moved into the recently renovated Anna Wintour Costume Center. Regrettably, no appointments can be accepted until the process is complete. Researchers can continue to search the holdings of The Costume Institute Collection to access images and information regarding these objects. For further information, please contact.
History of the Department
The Costume Institute began as the Museum of Costume Art, an independent entity formed in 1937 and led by Neighborhood Playhouse founder Irene Lewisohn. In 1946, with the financial support of the fashion industry, the Museum of Costume Art merged with The Metropolitan Museum of Art as The Costume Institute, and in 1959 became a curatorial department. The legendary fashion arbiter Diana Vreeland, who served as special consultant from 1972 until her death in 1989, created a memorable suite of exhibitions, including The World of Balenciaga (1973), The Glory of Russian Costume (1976), and Vanity Fair (1977), galvanizing audiences and setting the standard for costume exhibitions globally.
In 1989, Richard Martin took the helm, with the support of Harold Koda, and began a rotating cycle of thematic exhibitions including Infra-Apparel, Waist Not, The Four Seasons, and Cubism and Fashion. Martin's tenure culminated in Rock Style, the last exhibition before his death in 1999. Mr. Koda, who had previously departed from the Museum, rejoined The Met in 2000 as Curator in Charge, hiring Andrew Bolton in 2002. Upon Mr. Koda's retirement in January 2016, Mr. Bolton became Curator in Charge.
Recent thematic exhibitions have included Superheroes: Fashion and Fantasy (2008), and PUNK: Chaos to Couture (2013), and China: Through the Looking Glass (2015). Recent monographic exhibitions have included Chanel (2005), Poiret: King of Fashion (2007), and Alexander McQueen: Savage Beauty (2011).
In January 2009, the Brooklyn Museum transferred its renowned costume collection to The Costume Institute, where it is known as the Brooklyn Museum Costume Collection at The Metropolitan Museum of Art. It includes the definitive collection of Charles James material, as well as the world's foremost holdings of American fashion from the late 19th to the mid-20th century. The combined collections now constitute the largest and most comprehensive costume collection in the world, offering an unrivaled timeline of Western fashion history.
The fashion industry funds the work of The Costume Institute, including its exhibitions, acquisitions, and capital improvements. Each May, the annual Gala Benefit, its primary fund-raising event, celebrates the opening of the spring exhibition. Under the leadership of Trustee Anna Wintour (Artistic Director of Condé Nast and Editor-in-Chief of Vogue), who has been co-chair since 1995 (excluding 1996 and 1998), the gala has become one of the most visible and successful charity events, drawing attendees from the fashion, film, society, business, and music industries. The brainchild of publicity doyenne Eleanor Lambert, the benefit was introduced in 1948 as a midnight supper and dubbed "The Party of the Year." Co-chairs in past years included Jacqueline Kennedy Onassis (1977–1978) and Patricia Taylor Buckley (1979–1995).
In 2002, the Museum established the Friends of The Costume Institute, a group that supports the department's exhibition, acquisition, conservation, and publication programs. In promoting a more profound historical and theoretical understanding of costume, these programs advance fashion as an art form and encourage the study of fashion as a serious academic discipline.
The addition of The Costume Institute's records to the Collection Database was made possible in part by The John and Annamaria Phillips Foundation and Jane Hays Butler, Paul D. Schurgot Foundation.
View all artworks within The Costume Institute (34,084)
By Paul Lukas, on January 17th, 2017.