![]() If you have a piece that you believe might be of interest or could enhance our department’s holdings, please email with a photo and brief description of your object, including its history of ownership. The Costume Institute relies on the generosity of collectors, designers, and the public to expand its collection. ![]() The combined collections now constitute the largest and most comprehensive costume collection in the world, offering an unrivaled timeline of Western fashion history. It includes the definitive collection of Charles James material, as well as the world's foremost holdings of American fashion from the late nineteenth to the mid-twentieth century. 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. All five exhibitions were curated by Bolton. Previous Costume Institute exhibitions among The Met's most attended include Alexander McQueen: Savage Beauty China: Through the Looking Glass Manus x Machina: Fashion in an Age of Technology and Camp: Notes on Fashion. Heavenly Bodies attracted more than 1.65 million visitors to The Met Fifth Avenue and The Met Cloisters, making it The Met's most visited exhibition. Recent thematic exhibitions have included AngloMania: Tradition and Transgression in British Fashion (2006) Superheroes: Fashion and Fantasy (2008) The Model as Muse: Embodying Fashion (2009) American Woman: Fashioning a National Identity (2010) Schiaparelli and Prada: Impossible Conversations (2012) PUNK: Chaos to Couture (2013) China: Through the Looking Glass (2015) Manus x Machina: Fashion in an Age of Technology (2016) Heavenly Bodies: Fashion and the Catholic Imagination (2018) and Camp: Notes on Fashion (2019). Recent monographic exhibitions have included Chanel (2005), Poiret: King of Fashion (2007), Alexander McQueen: Savage Beauty (2011), Charles James: Beyond Fashion (2014), and Rei Kawakubo/Comme des Garçons: Art of the In-Between (2017). The Costume Institute organizes one or two special exhibitions each year. Bolton became curator in charge, and in March 2018, upon the endowment of the postion, he was named the Wendy Yu Curator in Charge. Koda, who had previously departed from the Museum, rejoined The Met in 2000 as curator in charge, hiring Andrew Bolton in 2002. Martin's tenure culminated in Rock Style, the last exhibition before his death in 1999. 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. ![]() ![]() 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 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 Costume Institute began as the Museum of Costume Art, an independent entity formed in 1937 and led by Neighborhood Playhouse founder Irene Lewisohn.
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