is there a record of previous celebrity donations to the met costume institute? i would honestly doubt she would make a donation. she may even be paid for her appearance...
2013 Costume Institute Exhibit : "PUNK: Chaos To Couture"
- Thread starter Melancholybaby
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is there a record of previous celebrity donations to the met costume institute? i would honestly doubt she would make a donation. she may even be paid for her appearance...
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Clothes for Heroes
Paul Cook, late 1970s
Photograph © Dennis Morris - all rights reserved
Comme des Garçons (Japanese, founded 1969), spring/summer 2006
Photograph by Catwalking
John Lydon, 1976
Photograph by Ray Stevenson/Rex USA
Junya Watanabe (Japanese, born 1961), fall/winter 2006–7
Photograph by Catwalking
metmuseum.org
Paul Cook, late 1970s
Photograph © Dennis Morris - all rights reserved
Comme des Garçons (Japanese, founded 1969), spring/summer 2006
Photograph by Catwalking
John Lydon, 1976
Photograph by Ray Stevenson/Rex USA
Junya Watanabe (Japanese, born 1961), fall/winter 2006–7
Photograph by Catwalking
metmuseum.org
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softgrey
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D.I.Y. Hardware
John Lydon, 1976
Photograph by Ray Stevenson/Rex USA
Gianni Versace (Italian, founded 1978), spring/summer 1994 Vogue Paris, February 1994
Photograph © Satoshi Saïkusa
Joe Strummer, late 1970s
Photograph Pennie Smith
Riccardo Tisci (Italian, born 1974) for House of Givenchy (French, founded 1952), spring/summer 2008
Vogue Italia, March 2008
Photograph ©Glen Luchford, art partner
D.I.Y. Bricolage
Gary Wilson, 1977
Photograph Roberta Bayley
Maison Martin Margiela (founded 1988), spring/summer 2011
Photograph Nathalie Sanchez for Maison Martin Margiela
D.I.Y. Graffiti and Agitprop
Patti Smith, late 1970s
Photograph by Caroline c**n, Camera Press
Ann Demeulemeester (Belgian, born 1959), spring/summer 2000
Photograph by Catwalking
Joe Strummer, 1977
Photograph by Ray Stevenson/Rex USA
Helmut Lang (Austrian, born 1956), fall/winter 2003–4
Photograph by Catwalking
metmuseum.org
John Lydon, 1976
Photograph by Ray Stevenson/Rex USA
Gianni Versace (Italian, founded 1978), spring/summer 1994 Vogue Paris, February 1994
Photograph © Satoshi Saïkusa
Joe Strummer, late 1970s
Photograph Pennie Smith
Riccardo Tisci (Italian, born 1974) for House of Givenchy (French, founded 1952), spring/summer 2008
Vogue Italia, March 2008
Photograph ©Glen Luchford, art partner
D.I.Y. Bricolage
Gary Wilson, 1977
Photograph Roberta Bayley
Maison Martin Margiela (founded 1988), spring/summer 2011
Photograph Nathalie Sanchez for Maison Martin Margiela
D.I.Y. Graffiti and Agitprop
Patti Smith, late 1970s
Photograph by Caroline c**n, Camera Press
Ann Demeulemeester (Belgian, born 1959), spring/summer 2000
Photograph by Catwalking
Joe Strummer, 1977
Photograph by Ray Stevenson/Rex USA
Helmut Lang (Austrian, born 1956), fall/winter 2003–4
Photograph by Catwalking
metmuseum.org
softgrey
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D.I.Y. Destroy
Sid Vicious, 1977
Photograph Dennis Morris - all rights reserved
Karl Lagerfeld (French, born Hamburg, 1938) for House of Chanel (French, founded 1913)
Vogue, March 2011
Photograph by David Sims / art partner
John Lydon, 1976
Photograph by Richard Young/Rex USA
Rei Kawakubo (Japanese, born 1942) for Comme des Garçons (Japanese, founded 1969), 1982
Photograph by Peter Lindbergh
Jordan, 1977
Photograph from Rex USA
Rodarte (American, founded 2005)
Vogue, July 2008
Photograph by David Sims
Richard Hell, late 1970s
Photograph © Kate Simon
Hussein Chalayan (British, born Cyprus, 1970), spring/summer 2003
Dazed and Confused, March 2003, Photograph by Eric Nehr
metmuseum.org
Sid Vicious, 1977
Photograph Dennis Morris - all rights reserved
Karl Lagerfeld (French, born Hamburg, 1938) for House of Chanel (French, founded 1913)
Vogue, March 2011
Photograph by David Sims / art partner
John Lydon, 1976
Photograph by Richard Young/Rex USA
Rei Kawakubo (Japanese, born 1942) for Comme des Garçons (Japanese, founded 1969), 1982
Photograph by Peter Lindbergh
Jordan, 1977
Photograph from Rex USA
Rodarte (American, founded 2005)
Vogue, July 2008
Photograph by David Sims
Richard Hell, late 1970s
Photograph © Kate Simon
Hussein Chalayan (British, born Cyprus, 1970), spring/summer 2003
Dazed and Confused, March 2003, Photograph by Eric Nehr
metmuseum.org
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full designer list
Designers in the exhibition will include Miguel Adrover, Thom Browne, Christopher Bailey (Burberry), Hussein Chalayan, Francisco Costa (Calvin Klein), Christophe Decarnin (Balmain), Ann Demeulemeester, Dior, Domenico Dolce and Stefano Gabbana (Dolce and Gabbana), John Galliano, Nicolas Ghesquière (Balenciaga), Katharine Hamnett, Viktor Horsting and Rolf Snoeren (Viktor & Rolf), Christopher Kane, Rei Kawakubo (Comme des Garçons), Karl Lagerfeld (Chanel), Helmut Lang, Martin Margiela, Malcolm McLaren, Alexander McQueen, Franco Moschino and Rossella Jardini (Moschino), Kate and Laura Mulleavy (Rodarte), Miuccia Prada, Gareth Pugh, Zandra Rhodes, Hedi Slimane (Saint Laurent), Stephen Sprouse, Jun Takahashi (Undercover), Joseph Thimister, Riccardo Tisci (Givenchy), Gianni Versace, Junya Watanabe, Yohji Yamamoto, and Vivienne Westwood.
Designers in the exhibition will include Miguel Adrover, Thom Browne, Christopher Bailey (Burberry), Hussein Chalayan, Francisco Costa (Calvin Klein), Christophe Decarnin (Balmain), Ann Demeulemeester, Dior, Domenico Dolce and Stefano Gabbana (Dolce and Gabbana), John Galliano, Nicolas Ghesquière (Balenciaga), Katharine Hamnett, Viktor Horsting and Rolf Snoeren (Viktor & Rolf), Christopher Kane, Rei Kawakubo (Comme des Garçons), Karl Lagerfeld (Chanel), Helmut Lang, Martin Margiela, Malcolm McLaren, Alexander McQueen, Franco Moschino and Rossella Jardini (Moschino), Kate and Laura Mulleavy (Rodarte), Miuccia Prada, Gareth Pugh, Zandra Rhodes, Hedi Slimane (Saint Laurent), Stephen Sprouse, Jun Takahashi (Undercover), Joseph Thimister, Riccardo Tisci (Givenchy), Gianni Versace, Junya Watanabe, Yohji Yamamoto, and Vivienne Westwood.
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the book
A book, Punk: Chaos to Couture, by Andrew Bolton, with an introduction by Jon Savage, and prefaces by Richard Hell and John Lydon (a.k.a. Johnny Rotten of the Sex Pistols), will accompany the exhibition. This publication will be illustrated with photographs of vintage punks and high fashion. Published by The Metropolitan Museum of Art, the $45 catalogue (hard cover only) will be distributed worldwide by Yale University Press.
A book, Punk: Chaos to Couture, by Andrew Bolton, with an introduction by Jon Savage, and prefaces by Richard Hell and John Lydon (a.k.a. Johnny Rotten of the Sex Pistols), will accompany the exhibition. This publication will be illustrated with photographs of vintage punks and high fashion. Published by The Metropolitan Museum of Art, the $45 catalogue (hard cover only) will be distributed worldwide by Yale University Press.
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it hasn't opened yet...
gala May 6th
opens May 9th
if you go to the website you can watch a video of the curator discussing how they organised the sections and why...
it's good, but a bit fashion geek-y...
i guess you could say the curator is the ultimate fashion nerd....
...
gala May 6th
opens May 9th
if you go to the website you can watch a video of the curator discussing how they organised the sections and why...
it's good, but a bit fashion geek-y...
i guess you could say the curator is the ultimate fashion nerd....
...
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link to video...
http://www.metmuseum.org/exhibitions/listings/2013/punk/video
http://www.metmuseum.org/exhibitions/listings/2013/punk/video
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transcript of the curator doing a podcast about the show
metmuseum.org
Andrew Bolton:
I'm Andrew Bolton and I'm a curator in The Costume Institute at The Metropolitan Museum of Art. And I'm curating the exhibition PUNK: Chaos to Couture, on view from May 9 to August 11, 2013.
One of the main reasons for staging an exhibition on punk is to explore the huge impact punk has had on high fashion, on couture, and directional ready-to-wear. I think in the last thirty-five years punk has had perhaps one of the largest impacts on fashion, in terms of its aesthetic. And the exhibition explores the impact of punk on high fashion, focusing primarily on the aesthetic of do-it-yourself, which was a major tenet of punk music and punk fashion in the seventies.
The show will start with an exploration of the origins of punk and looking at the differences and interchanges between New York punk and London punk. It's generally accepted that punk as a music phenomenon began in New York, primarily with bands that played at CBGBs and Max's Kansas City—bands like Television, Patti Smith, Blondie. It was more of an artistic and intellectual underpinning to punk in New York, whereas punk in London was more based on a political and economic response to the cultural climate.
So the show almost begins as a tale of two cities, the crosspollination of ideas and aesthetics between New York and London. And the bridge between these two cities is 430 King's Road, which was a shop that was owned by Malcolm McLaren and Vivienne Westwood, who are the two individuals that codified the aesthetic of punk that we know today.
When designers look to punk for inspiration, a lot of them look to the works of Vivienne Westwood and Malcolm McLaren, with various clothing: bondage suit, T-shirts with provocative images and provocative statements, and the parachute shirt, the mohair sweater. These were objects that were inspired by both the New York scene but also the streets of London, particularly the Bromley contingent, who are a group of individuals who had a big impact on the aesthetic of punk.
Punk had an impact on high fashion as early as 1977, through Zandra Rhodes's conceptual chic collection. And she really was the first designer to look at the aesthetic of punk and create a new language for the catwalk.
In terms of high fashion, I think that the legacy of punk is really the aesthetic of do-it-yourself, which was a major aspect to punk music and punk fashion in the 1970s. And the exhibition will be divided into galleries that show different manifestations of the aesthetic of do-it-yourself, such as the hardware that's associated with punk clothing such as safety pins, studs, zippers—which is an aspect of punk that I think most designers look to—the formal aspects of punk.
Designers also look to the idea of rips and tears, clothing that was torn both deliberately or sometimes out of necessity. And designers would look to these particular phenomena and, in a way, morphed it into another idea of punk, which is deconstructionism, la mode destroy.
Other aspects of the aesthetic of do-it-yourself, which I think designers look towards, is the idea of graffiti or slogans, particularly popularized by the British band The Clash. And I think that the idea of looking to trash culture, or consumer culture, for objects—for found objects—and incorporating them into your clothes, which was anti-capitalism but also a political statement to the economic climate of the 1970s.
What's interesting about punk, particularly when it comes to the hardware, is how designers such as Karl Lagerfeld—designers who are associated with the couture, Balenciaga, Balmain—have looked to punk and replaced the traditional embroideries of the couture, such as feathers or paillettes, with zippers or with studs, with safety pins. One of the most well-known examples of the co-option of the punk aesthetic in high fashion is Gianni Versace's safety-pin dress that was most famously worn by Liz Hurley, and that will be included in the exhibition.
I think what's interesting about the relationship between punk and high fashion or couture is the fact that both really rely on hand-crafted skills for the aesthetic. So in a way punk clothing is haute couture—usually only one person in the world would be wearing a jacket that was self-customized by the individual. Even though the aesthetic is often widely different between haute couture and punk, the ethos behind it is very similar.
So throughout the exhibition there will be original punk garments from the 1970s, primarily designed by Vivienne Westwood and Malcolm McLaren, juxtaposed with high-fashion examples to create this tension, but also this ongoing relationship between the aesthetic of punk then and the aesthetic of punk today.
One example is a sweater that was created by Malcolm McLaren, a mohair sweater with a loose knit, a garment that has inspired many designers—Jean Paul Gaultier, Rodarte, Alexander McQueen. The designers in the exhibition are primarily directional—couture designers or ready-to-wear. People like Karl Lagerfeld, Riccardo Tisci, Alexander McQueen, and now Sarah Burton for McQueen, Comme des Garçons, Junya Watanabe. It's interesting how different designers have used the language of punk for different purposes, and it's usually to create new ideals of beauty or new definitions of fashionability.
Once you walk through the exhibition, hopefully you'll realize how punk has had such an explosive effect, both on the music styles and fashion today, but also an approach to culture in general.
The exhibition is made possible by Moda Operandi and additional support is provided by Condé Nast.
metmuseum.org
Andrew Bolton:
I'm Andrew Bolton and I'm a curator in The Costume Institute at The Metropolitan Museum of Art. And I'm curating the exhibition PUNK: Chaos to Couture, on view from May 9 to August 11, 2013.
One of the main reasons for staging an exhibition on punk is to explore the huge impact punk has had on high fashion, on couture, and directional ready-to-wear. I think in the last thirty-five years punk has had perhaps one of the largest impacts on fashion, in terms of its aesthetic. And the exhibition explores the impact of punk on high fashion, focusing primarily on the aesthetic of do-it-yourself, which was a major tenet of punk music and punk fashion in the seventies.
The show will start with an exploration of the origins of punk and looking at the differences and interchanges between New York punk and London punk. It's generally accepted that punk as a music phenomenon began in New York, primarily with bands that played at CBGBs and Max's Kansas City—bands like Television, Patti Smith, Blondie. It was more of an artistic and intellectual underpinning to punk in New York, whereas punk in London was more based on a political and economic response to the cultural climate.
So the show almost begins as a tale of two cities, the crosspollination of ideas and aesthetics between New York and London. And the bridge between these two cities is 430 King's Road, which was a shop that was owned by Malcolm McLaren and Vivienne Westwood, who are the two individuals that codified the aesthetic of punk that we know today.
When designers look to punk for inspiration, a lot of them look to the works of Vivienne Westwood and Malcolm McLaren, with various clothing: bondage suit, T-shirts with provocative images and provocative statements, and the parachute shirt, the mohair sweater. These were objects that were inspired by both the New York scene but also the streets of London, particularly the Bromley contingent, who are a group of individuals who had a big impact on the aesthetic of punk.
Punk had an impact on high fashion as early as 1977, through Zandra Rhodes's conceptual chic collection. And she really was the first designer to look at the aesthetic of punk and create a new language for the catwalk.
In terms of high fashion, I think that the legacy of punk is really the aesthetic of do-it-yourself, which was a major aspect to punk music and punk fashion in the 1970s. And the exhibition will be divided into galleries that show different manifestations of the aesthetic of do-it-yourself, such as the hardware that's associated with punk clothing such as safety pins, studs, zippers—which is an aspect of punk that I think most designers look to—the formal aspects of punk.
Designers also look to the idea of rips and tears, clothing that was torn both deliberately or sometimes out of necessity. And designers would look to these particular phenomena and, in a way, morphed it into another idea of punk, which is deconstructionism, la mode destroy.
Other aspects of the aesthetic of do-it-yourself, which I think designers look towards, is the idea of graffiti or slogans, particularly popularized by the British band The Clash. And I think that the idea of looking to trash culture, or consumer culture, for objects—for found objects—and incorporating them into your clothes, which was anti-capitalism but also a political statement to the economic climate of the 1970s.
What's interesting about punk, particularly when it comes to the hardware, is how designers such as Karl Lagerfeld—designers who are associated with the couture, Balenciaga, Balmain—have looked to punk and replaced the traditional embroideries of the couture, such as feathers or paillettes, with zippers or with studs, with safety pins. One of the most well-known examples of the co-option of the punk aesthetic in high fashion is Gianni Versace's safety-pin dress that was most famously worn by Liz Hurley, and that will be included in the exhibition.
I think what's interesting about the relationship between punk and high fashion or couture is the fact that both really rely on hand-crafted skills for the aesthetic. So in a way punk clothing is haute couture—usually only one person in the world would be wearing a jacket that was self-customized by the individual. Even though the aesthetic is often widely different between haute couture and punk, the ethos behind it is very similar.
So throughout the exhibition there will be original punk garments from the 1970s, primarily designed by Vivienne Westwood and Malcolm McLaren, juxtaposed with high-fashion examples to create this tension, but also this ongoing relationship between the aesthetic of punk then and the aesthetic of punk today.
One example is a sweater that was created by Malcolm McLaren, a mohair sweater with a loose knit, a garment that has inspired many designers—Jean Paul Gaultier, Rodarte, Alexander McQueen. The designers in the exhibition are primarily directional—couture designers or ready-to-wear. People like Karl Lagerfeld, Riccardo Tisci, Alexander McQueen, and now Sarah Burton for McQueen, Comme des Garçons, Junya Watanabe. It's interesting how different designers have used the language of punk for different purposes, and it's usually to create new ideals of beauty or new definitions of fashionability.
Once you walk through the exhibition, hopefully you'll realize how punk has had such an explosive effect, both on the music styles and fashion today, but also an approach to culture in general.
The exhibition is made possible by Moda Operandi and additional support is provided by Condé Nast.
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softgrey
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it will be quite difficult to show any sort of designer fashion from the actual era...
because it WAS largely DIY...
viv and malcolm organized it into a product line...
and katherine hamnett did a lot with her politically charged slogan t-shirts
and they say zhandra rhodes did a bunch of stuff (like stuff for david bowie) but - tbh- i never got any of her influence here in nyc...
still...
seems like they've tried to honor the true essence of punk and show how it has influenced and affected fashion designers, both wittingly and unwittingly...
we shall see...
because it WAS largely DIY...
viv and malcolm organized it into a product line...
and katherine hamnett did a lot with her politically charged slogan t-shirts
and they say zhandra rhodes did a bunch of stuff (like stuff for david bowie) but - tbh- i never got any of her influence here in nyc...
still...
seems like they've tried to honor the true essence of punk and show how it has influenced and affected fashion designers, both wittingly and unwittingly...
we shall see...
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softgrey
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also
regarding the chair people,
lauren santo domingo from moda operandi (moda operandi is paying for the show)
ricardo tisci from givenchy (givenchy is paying for the party)
anna wintour from vogue (conde nast is paying for everything)
beyonce---to get press coverage to the mainstream media and the average person who may come to see the show (and pay to get in and make money for the museum), obviously...
regarding the chair people,
lauren santo domingo from moda operandi (moda operandi is paying for the show)
ricardo tisci from givenchy (givenchy is paying for the party)
anna wintour from vogue (conde nast is paying for everything)
beyonce---to get press coverage to the mainstream media and the average person who may come to see the show (and pay to get in and make money for the museum), obviously...
oh may 6th...derr! 
i just noticed on the designer list you provided that thimister will be part of this as well. i wonder which era though? there's definitely stuff they can take from his early years with the burned hems or the bloody and battered comeback collection. too bad they didn't get jurgi persoons because a lot of his stuff would fit simply because it had that DIY affect. same for susan cianciolo.
i just noticed on the designer list you provided that thimister will be part of this as well. i wonder which era though? there's definitely stuff they can take from his early years with the burned hems or the bloody and battered comeback collection. too bad they didn't get jurgi persoons because a lot of his stuff would fit simply because it had that DIY affect. same for susan cianciolo.
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i'm glad vivienne westwood is finally getting serious recognition for all of her influence over so many aspects of our modern pop culture...
i'm glad thimister is there too...
my guess is that it will be something from a more recent collection, just because the reference is so blatant and easy to understand for the average person who may not know about fashion or about punk aethetics...
your other ideas are interesting...
might be fun to have people post some visuals from contemporary or recent collections which they see as 'punk-inspired' ...
given the outline of the show...
how would tFS members curate the exhibit???
which looks would you put into which sections...?!
B)...
...
i'm glad thimister is there too...
my guess is that it will be something from a more recent collection, just because the reference is so blatant and easy to understand for the average person who may not know about fashion or about punk aethetics...
your other ideas are interesting...
might be fun to have people post some visuals from contemporary or recent collections which they see as 'punk-inspired' ...
given the outline of the show...
how would tFS members curate the exhibit???
which looks would you put into which sections...?!
B)...
...
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heelscatchfire
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The invitation..
Facebook / Coco Rocha
Facebook / Coco Rocha
TREVOFASHIONISTO
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invitation looks like a student project imo
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