Costume Institute Gala 2006 - Anglomania

[seeing_double]

Linda E. looks AMAZING!

 

[seeing_double]

could someone post pics of the guy in Dior Homme.

 

[MissMagAddict]

source: telegraph uk

Eclectic, electric – the Brits take Manhattan by storm
(Filed: 03/05/2006)


At the New York Metropolitan Museum of Art's Costume Institute Gala on Monday night, the glam-ometer went off the scale.

Kate Moss made a low-key entrance in a Burberry tux-jacket and leather drainpipesThe party, to launch its "AngloMania: Tradition and Transgression in British Fashion" exhibition was a heady blend of the wild, the weird and the wonderful. And outrageous behaviour was topped by even more outrageous clothes.

'You Brits have the guts. No protocol, no rules. It's eclectic, electric. I love it,' screamed actress Kim Basinger, shortly after Johnny Rotten hadraced up the museum's red-carpeted steps, screaming like a banshee and dressed in an assortment of his old Sex Pistols stage clothes.

'This is crazier than the after-Oscars party,' said one photographer, fiendishly snapping away as guests arrived: Jennifer Lopez dressed in Versace, Barbara Bush, Lauren Bush and Liv Tyler, who wore Calvin Klein. Drew Barrymore, Elizabeth Hurley and Donatella Versace followed, and, hot on their heels, Linda Evangelista, dressed in candy-pink ruffles by Yves Saint Laurent. Anna Wintour, editor-in-chief of American Vogue, wore a stunning embroidered Dior couture evening coat and beaded gown, and her daughter, our columnist, Bee Shaffer, chose Chanel couture.

Rose Marie Bravo, honorary chairman and chief executive of Burberry - which sponsored the exhibition - led the band wearing her label, which included Stella Tennant and Sienna Miller in a gold sequinned mini-dress.

Kate Moss, who has just finished shooting the new Versace campaign, made a more low-key entrance, her mixture of Burberry tux-jacket and black leather drainpipes betraying her rock-chick leanings.

It was the British designers that feature in the exhibition who really waved the flag. Alexander McQueen arrived with Sarah Jessica Parker - he in full Scottish regalia, she in a bustier-crinoline in matching McQueen tartan.
John Galliano, with Charlize Theron as his arm candy, could have strolled straight from one of the exhibition's romantic tableaux. He wore an old admiral's jacket from a New York flea market, a polka-dot waistcoat and sequinned jeans with a battered top-hat. Theron wore a magnificent blood-red taffeta Dior couture gown.

Vivienne Westwood wore one of her signature crinolinesVivenne Westwood chose one of her signature crinolines with a faded Union Jack entwined in the skirt; her husband, Andreas Kronthaler, a tattered gold lace kilt. Stella McCartney, in a bespoke cream suit, escorted Scarlett Johansson, who was wearing one of McCartney’s creations: a black sequinned dress with a monster-print on the back.

Matthew Williamson wore a distressed velvet maharajah’s jacket, given to him by Jade Jagger, and he dressed his partner, Erin O’Connor, in a beaded chiffon gown decorated with roses. Victoria Beckham, with Elton John's partner David Furnish, showed off a retro look in a red, strapless, ballerina-length gown by Roland Mouret.

American designers embraced the Anglomania theme, too. Zac Posen tracked down a vintage "Pearly King" jacket. And Diane Von Furstenberg's studio had run up a one-shouldered Union Flag chiffon gown.

Margherita Missoni, who is about to make her stage debut in Genet's The Maids, in New York, was ravishing in a silver sequinned slink from her mother, Angelina Missoni's, latest collection, of course.
Inside the museum, the domed Great Hall had been transformed into an English garden with apple trees, daffodils, hyacinths and narcissi, and the grand staircase had metamorphosed into a rolling Scottish hillside with trees, heather and moss. Dinner, which was served under wisteria vines in the Engelhard Court, featured smoked Scottish salmon and lamb pie with spring vegetables.

Before pudding, guests were asked to move to the Temple of Dendur where we watched Liam Mower – one of the three rotating leads in Elton John's Billy Elliot, perform the 'Electricity' scene from the hit musical.

'This is incredible. Why can't we do it in London?' wondered high-street mogul Philip Green, as he surveyed the astonishing scene of the glam and the gorgeous munching strawberry and cream tarts, swigging champagne and Old Speckled Hen beer, and a few sneaking furtive cigarettes behind the statuary.

 

[Jennika]

found a pic of simon and yasmin le bon...from getty

what a cute photo... they look so happy. and she hasn't aged a DAY!

 

[seeing_double]

I think I have to give best dressed to Gemma Ward

 

[Crea]

could someone post pics of the guy in Dior Homme.

Stuart Townsend was the only one in Dior Homme right?
Here's one of him posted earlier:

More Charlize
*do not quote photos*

Ditto to what oolie coco said, thanks for this thread and all the photos everyone!

 

[Miss Dalloway]

Could someone post pictuers of celebritites hanging out together from the inside party!I love seeing pictures of the strangest celebs together!

 

[pg_graffitti]

i loved alot of the outfits that people wore to this event, but every time i check some website they always have something bad to say about sarah jessica parker or chloe sevigny, who i thought were well dressed.

 

[christina126]

Finally found one of Tinsley (wireimage)

 

[masquerade]

Ladies of the Gala: Sluttyienna


Filed Under: Fashion Smashion > Siena Miller
It hurts to say this, but Sienna Miller looked kinda cute at the Met benefit last night, though we're not exactly sold on the leggings. And, we're not reallly feeling the hair or the fake tan. Plus, that purse has gots to go! Come to think of it, she looks like sh*t, as usual.

http://www.perezhilton.com/index.php?page=3

wow, that knocked perez up a few notches in my book

if you want to read other critiques of the clothing, http://www.gofugyourself.com is one of my favorites

 

[VickyInStyle]

Sorry but I think its hilarious how Sienna shows up really trying hard and looks a site and Kate turns up looking as tho she doesn't give a fug and she just looks great.

I love the cut of Charlize's dress the colour just doesn't do it for me.

LOVED Scarlett and Stella, equally gorgeous.

Victoria Beckham = tragic, go home.

And i give props to SJP she is always an innovator for style and it was the Anglomania COSTUME Gala, other people were just boring with no sense of flair or thier own style.

 

[MissMagAddict]

from gawkerstalker

Was biking in the W. Village around 6 p.m. Monday when I spotted a line of black Mercedes outside Sarah Jessica Parker’s brownstone. I stood there & watched as SJP came out teetering on heels & dressed in a spectacular tartan evening dress. She was stunning. Her assistant trailed after & said, “Do you want your corsage?” SJP said ‘No, but you know what I do need?’ and turned around and ran back inside, holding her dress with one hand, evening bag in another — veerrrryyyy ‘Sex & the City’. The female chauffeur & I smiled at each other & I said, “I feel like I’m on a TV show!” Chauffeur nodded & said, “I know!” Turns out she was going to the Costume Ball. Saw pics of the event. She looked much better in person.

 

[Odette]

My favs


Charlize Theron, I don't usually like her but she was stunning. This is isn't an award show or a party,it's a Costume Gala and that's the point of it.

http://s2.supload.com/free/67m.jpg/view/


Ginnifer Look great


Selma Blair,she was so Chanel and I love that look on her.


Angela in Ferretti was classy



getty images/hollywoodbest

 

[KhaoticKharma]

I like all the people of the people who decided to actually go costume-y, it is very befitting of an event like this!

 

[softgrey]

merged...

 

[porcelaindream]

Angela pics here..


from Celebrity City

 

[cygnenoir]

OK, maybe this is just me.

But if you were going to be attending the Costume Institute Ball that celebrates the Anglomania exhibition, wouldn't you go out of your way to wear a British designer??

I mean, unless you are Donatella, have a contract with a house, or attending the event with your date Zak Posen. Even Anna Wintour's daughter wore Chanel!

I know that if I were attending I would pull out all the stops and get some vintage McQueen or Westwood!

 

[MissMagAddict]

review of the exhibit from nytimes.com

May 5, 2006
Design Review
That Imperial Punk

It turns out we'll always have England. Or at least Englishness. Or perhaps the reverberating Englishness of certain sartorial innovations. The empire is long gone, but the tiny island nation exerts an out-of-proportion influence on fashion as art, provocation, self-expression and social commentary.

This is perhaps only right: it was in Georgian England of the 1790's where Beau Brummel, the first famous dandy, became a confidant of the future George IV on the basis of nothing more than distinctive tailoring, smooth manners, verbal wit and new levels of personal hygiene. It was in barely pre-Thatcher-era England of the 1970's where punk rockers established the substantially less fastidious tradition of the bondage suit, the Mohawk and, most lastingly, the incendiary T-shirt.

These twin rebellions are among the inspirations for "AngloMania: Tradition and Transgression in British Fashion," the most recent offering from the Metropolitan Museum of Art's Costume Institute with assists from European sculpture and decorative arts department.

Organized by Andrew Bolton, the institute's associate curator, with support from Harold Koda, its curator in charge, and the decorative arts curators Ian Wardropper and Daniëlle O. Kisluk-Grosheide, it is a fabulous, confusing romp. It crams 65 mannequins into the Met's normally serene English Period rooms with effects — and sound effects — that are alternately lavish and helter-skelter, stunning and cacophonous, seductive and annoying.

The show feels like hurriedly buried treasure, full of partly exposed, partly explained riches. Its shortcomings include dim lighting, disappointingly brief, poorly placed labels and overcrowding that makes it hard to see the garments either as wholes or in detail.

Still, "AngloMania" is light-years ahead of the institute's first foray into the Met's period rooms, "Dangerous Liaisons," which Mr. Koda and Mr. Bolton organized in 2004. Pairing 18th-century garments and interiors while using suggestively posed mannequins, its like-unto-like consistency soon felt monotonous. It had one idea. "AngloMania" has more ideas than it knows what to do with.

The thesis here is that Brummel rubbed together the sticks of tradition and transgression in a new way, igniting sparks for future rebellions. He codified dandyism's impeccable understatement, replacing lace, embroidery, wigs and knee breeches with (clean) white linen, short hair, plain, exquisitely tailored jackets and, above all, trousers.

It was the beginning of the man's suit as we know it — that staple of modern dress for both sexes — and also of the democratization of taste. Class was shown to be fluid, a matter less of bloodlines than choice of attitude and attire. This point is elaborated in Ian Buruma's supple essay in the show's soon-to-be-published catalog.

Since then, the interplay of tradition and transgression has been aided and abetted by some wonderfully malleable British conventions: royal raiment, Scottish tartans, hunting pinks, Savile Row tailoring, the trench coat and mourning black, the latter institutionalized by Queen Victoria's prolonged grieving for Prince Albert. Stylistic hybridization received a big boost from Vivienne Westwood, who with Malcolm McLaren, manager of the Sex Pistols, fused elements of the suit, worker's clothes, the straitjacket and tartans into punk's aggressive tribal attire.

Mr. Bolton anoints Ms. Westwood as a founder of postmodern deconstruction whose innovations are being built on by current British fashion stars like John Galliano and Alexander McQueen. Also on hand are Hussein Chalayan and, just barely, Stella McCartney, represented by a single, all-white tuxedo.

The show proceeds in a series of theatrical tableaux without quite coming together. Each room mixes periods, classes and sensibilities and of course, tradition and transgression. A "Garden Party" in the pale yellow Kirlington Park Room (1748) overflows with mannequins wearing early-18th-century gowns of ravishing Spitalfields silks. The fabric's brocaded flower patterns are reiterated by orchid-shaped hats from 2000 by Philip Treacy and intruded upon by the monochrome form of a topiary dress from 2000-1 by Mr. Chalayan.

Next, the broad Cassiobury Park staircase (circa 1677-80) affords an upstairs-downstairs moment: the riches of a Victorian court dress with an 11-foot train of voided velvet lilies contrast with the haute couture rags of three more Chalayan dresses. Pieced together from thrift-shop finds and worn by housemaids, they amount to Eliza Doolittle chic.

Nearby, Queen Victoria in mourning joins two mannequins in fashionable black evening gowns by Mr. McQueen around a massively canopied state bed from Hampton Court whose current occupant is a dandy in tartan pants. To either side, smaller displays focus on Ms. Westwood's adaptation of Elizabeth I's panniered silhouette — in breathtaking blue-silver silk whose printed chinoiserie suggests hand-painted wallpaper — and her radical truncation of Elizabeth II's Coronation ensemble, reduced here to a red velvet mini-pouf and a tweed crown.

A room devoted to the hunt is dominated — filled actually — by life-size fiberglass horses and dogs on a platform evoking a massive great-hall table. Mannequins on horseback tower overhead, casting viewers as simple country folk. Christopher Bailey's 2006 dress in lilac silk faille for Burberry, the exhibition's chief sponsor, grandiosely merges trench coat with queenly riding habit: its spreading train, lined in red, all but obscures the horse.

Mr. Galliano exaggerates traditional riding garb with droopy coat and breeches and ridiculously elongated shoes. The ensemble is a three-dimensional caricature reminiscent of Hogarth's shambling bumpkins. Behind it, a portrait by Joshua Reynolds of Capt. George K. H. Coussmaker from around 1782 reasserts the proper proportions.

The punk insult of Ms. Westwood's and Mr. McLaren's Seditionairies line of 1976-78 forms the saucy centerpiece of "The Gentlemen's Club" in the Lansdowne Dining Room of 1766-69. The imposing Mohawks and headgear are by Stephen Jones, and in the case of a large Union Jack Mohawk, by Julien d'Ys. It crowns a mannequin wearing the famous, if rather ordinary-looking tartan jacket that Ms. Westwood made for Johnny Rotten (John Lydon), the lead Pistol, according to his design. Mr. Lydon has provided the show's podcast: a ranting, surprisingly tender diatribe that salutes both the monarchy and anarchy, or as he puts it "monanarchy."

The surrounding display includes an evening dress once worn by the Duke of Windsor, and 13 mannequins in bespoke suits made especially for them. They are intriguing but hard to see, and fewer of them might have left room for an ensemble from Brummel's period.

The show's pièce de résistance is the Hunt Ball, which centers on extravagant evening gowns by Mr. Galliano, Mr. McQueen and Ms. Westwood and towering nylon wigs by Mr. d'Ys. The billowing garments pile on the fabrics and historical references to dizzying effect: hoops, bustles, crinolines, lace, tulle, striped silk. The exception is a gown in lilac silk duchesse satin by Ms. Westwood. Its free-form lines evoke Dior's New Look of the late 1940's and the work of Charles James, but its feats of draping and sculptural abstraction go far beyond mere quotation.

It finds common cause with a black ball gown by Mr. Galliano that has Robert Adam's great orange-on-orange tapestry room from Croome Court (1771) to itself, and, nearby, a white silk-satin evening gown with coiling black-velvet decoration suggestive of wrought iron. It is an 1898-1900 design by Charles Frederick Worth, the Englishman who founded the dominant Paris fashion house of the late 19th century.

Frustratingly, the exhibition suggests more than it delivers: you leave wanting to know more about Ms. Westwood's development; the evolution of the man's suit and the artistry of Savile Row tailoring; and punk fashion's relationship to its deviating predecessors, the hippies and the mods.

Nonetheless "AngloMania" is itself an act of transgression. It symbolizes the Costume Institute's desire to break free of its small basement galleries beneath the Egyptian wing. It has stinted on mechanics like placement, lighting and labeling, hallmarks of previous shows in the basement, but it is great to see such an ambitious movable feast of fashion above stairs.

"AngloMania: Tradition and Transgression in British Fashion" is at the Metropolitan Museum of Art, Fifth Avenue at 82nd Street, through Sept. 4. (212) 535-7710.

 

[Odette]

Sienna's super similiar outifts...not saying they copied or all that crap again, just that the outfits rang a bell.

I can't find a larger version of this one.
gettyimages.com
trendin.patzzi.com

 

[christina126]

OK, maybe this is just me.

But if you were going to be attending the Costume Institute Ball that celebrates the Anglomania exhibition, wouldn't you go out of your way to wear a British designer??

I mean, unless you are Donatella, have a contract with a house, or attending the event with your date Zak Posen. Even Anna Wintour's daughter wore Chanel!

I know that if I were attending I would pull out all the stops and get some vintage McQueen or Westwood!

I know what you mean. But thats what I was saying before when Chanel/Karl Lagerfeld was honored a few years back and not as many people wore Chanel like you would expect. Many celebs just went there in w/e the think looks best b/c they know its a highly publicized event. I def. wish more celebs paid attn to the themes and dressed more 'costumey'. Next year right