Gardenista
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dbm wrong year
Celebrity fashion thread - Lifestyles of the rich and famous.
- Thread starter gregjrichards
- Start date
rosemadderlake
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I loved Kylie’s look. And Kendall’s too. The lavender and tangerine combo really worked... imo. They both had the glam going, big time.
Gardenista
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Yes and the workmanship in Kylie's Versace gown was amazing. Loved watching that and wished they did a video for Kendall too.
rosemadderlake
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I thought Donatella looked amazing.
And, J-Lo always looks fabulous, but I thought she and Lady GaGa were predictable, stayed in their same fashion lane...
Gardenista
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Yup, J-Lo seemed pretty campy to me, but nothing exciting. I'm glad you brought up Donatella because I forgot about her and I thought she had one of the best looks of the night.
flute4peace
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Did anyone else have trouble following the “camp” theme? It clearly means something different in Hollywood than it does in my small farmertown mid-usa. 
rosemadderlake
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What does it mean to be camp?
Here’s an academic article, the references to “camp” which dates way back in art and literature.
But here’s my take—
The theme is hard to grasp, imo, because of its evolving references...
Many thought Mozart was ”camp”, a genius whose musical theater and style was over the top, irreverent and groundbreaking.
Some modern references to “camp”, the artifice, the extravagant, the boundary pushing, the humorous can be seen in David Bowie, Madonna, Prince, Ru Paul...
Marylyn Monroe had a daring and campy side.
Mae West was total “camp”.
In art, pop style like Warhol or Lichtenstein come to mind.
In film, John Waters...
In all male schools, men dressing as women for comedic theater is very “camp”, a tradition still carried on today decades after accepting women.
Drag Queen shows are camp.
NYC underground 60’s - 80’s was camp.
In fashion, Jean Paul Gaultier, Alexander McQueen, Betsy Johnson, Victor & Rolfe, and the fabulous Fiorucci from the 80’s come to mind.
This was a particularly challenging theme for the Met Ball this year, I think, because “camp” is both mainstream, street fashion and hair, and the Hollywood vamp of over the top extravagance.
—Very few at this year’s ball made the cut in interpretation but the ones that did were great.
—jmo
Here’s an academic article, the references to “camp” which dates way back in art and literature.
But here’s my take—
The theme is hard to grasp, imo, because of its evolving references...
Many thought Mozart was ”camp”, a genius whose musical theater and style was over the top, irreverent and groundbreaking.
Some modern references to “camp”, the artifice, the extravagant, the boundary pushing, the humorous can be seen in David Bowie, Madonna, Prince, Ru Paul...
Marylyn Monroe had a daring and campy side.
Mae West was total “camp”.
In art, pop style like Warhol or Lichtenstein come to mind.
In film, John Waters...
In all male schools, men dressing as women for comedic theater is very “camp”, a tradition still carried on today decades after accepting women.
Drag Queen shows are camp.
NYC underground 60’s - 80’s was camp.
In fashion, Jean Paul Gaultier, Alexander McQueen, Betsy Johnson, Victor & Rolfe, and the fabulous Fiorucci from the 80’s come to mind.
This was a particularly challenging theme for the Met Ball this year, I think, because “camp” is both mainstream, street fashion and hair, and the Hollywood vamp of over the top extravagance.
—Very few at this year’s ball made the cut in interpretation but the ones that did were great.
—jmo
Last edited:
Keine Engel
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Gardenista
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Keine Engel
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Thank you for this
Now the whole 'dress' thing makes a lot more sense & fun!
(I take back what I said about Jared^)
(Still ♡ him )
)WOW She's looking great!
rosemadderlake
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Keine Engel, it is FUN!
You know we have so many award shows, lord knows why, but this is different.
The Met gala started as a midnight party... in the late ‘40’s.
Plus, the location... it’s the Metropolitan Museum of Art.
Aahhhh!!
You know we have so many award shows, lord knows why, but this is different.
The Met gala started as a midnight party... in the late ‘40’s.
Plus, the location... it’s the Metropolitan Museum of Art.
Aahhhh!!
Keine Engel
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It sure does seem different
I've heard of the Met Gala before but had no idea what it's held for specifically.
I can see that the whole dress 'theme' gives it that extra special touch
I think it's a great idea!
*The Metropolitan Museum of Art is where the 'Night at the Museum' films are set??
rosemadderlake
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It is...
Whether it’s the red or pink stairs it is The Met.
Everyone goes into the museum... for the party.
And has a good time.
Eta: the stairs is just the beginning...
Whether it’s the red or pink stairs it is The Met.
Everyone goes into the museum... for the party.
And has a good time.
Eta: the stairs is just the beginning...
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flute4peace
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Boy does she ever! Very classy!Thank you for this
Now the whole 'dress' thing makes a lot more sense & fun!
(I take back what I said about Jared^)
(Still ♡ himWOW She's looking great!
Gardenista
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Keine Engel
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"On Monday evening at the Chopard Trophee dinner, the actress fainted without warning and fell off her chair, according to Variety. Sister Dakota and actor Colin Firth quickly leaped into action and helped the young star to her feet. "
Or maybe it was the thought of...
eating food wearing it!
flute4peace
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When we were re-making my wedding dress, I would faint nearly every time we put it on. And it wasn't even that tight!! We just figured I'd do it at the wedding too but I didn't. A week later, I put it back on for pictures and yep - out cold."On Monday evening at the Chopard Trophee dinner, the actress fainted without warning and fell off her chair, according to Variety. Sister Dakota and actor Colin Firth quickly leaped into action and helped the young star to her feet. "
Or maybe it was the thought of...
eating food wearing it!
I'm not usually big on the gown bodices that look like they're too-small undergarments, but I do like this dress.
Elley Mae
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Ok I’ll say it. Celine Dion looks like chit. There was a time before her husbands death that she looked ok, but damn she does not look good now, like a skeleton is what I see. Sad
Celine Dion risks wardrobe malfunction, nasty fall while out in revealing mesh dress in Paris
Celine Dion risks wardrobe malfunction, nasty fall while out in revealing mesh dress in Paris
Celine Dion risks wardrobe malfunction, nasty fall while out in revealing mesh dress in Paris
Celine Dion risks wardrobe malfunction, nasty fall while out in revealing mesh dress in Paris
flute4peace
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Oh my, she doesn't look healthy at all. I know she's got a naturally thin frame, but those pictures are concerning.
rosemadderlake
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The Metropolitan Museum of Art’s Costume Institute Announces Its 2020 Theme: About Time: Fashion and Duration
Nicole PhelpsNovember 7, 2019
Surreal, David Bailey, 1980Photo: Courtesy of The Metropolitan Museum of Art, Photo © David Bailey
The year 2020 is a milestone for the Metropolitan Museum of Art. The New York institution will celebrate its 150th anniversary with a series of exhibitions, many of which will put the spotlight on masterworks in its collections, as well as new acquisitions made as part of the 2020 Collections Initiative in honor of the anniversary. In keeping with the year’s theme, today the Met announced that the Costume Institute’s spring exhibition will showcase a century-and-a-half of fashion history culled from its archive and presented along a “disruptive” timeline. “About Time: Fashion and Duration,” says Andrew Bolton, Wendy Yu Curator in Charge of the Costume Institute, takes a “nuanced and open-ended” approach. “It’s a reimagining of fashion history that’s fragmented, discontinuous, and heterogeneous.”
Bolton found inspiration for the exhibition in the 1992 Sally Potter film Orlando, which was based on the time-traveling Virginia Woolf novel of the same name. “There’s a wonderful scene,” he says, “in which Tilda Swinton enters the maze in an 18th-century woman’s robe à la Francaise, and as she runs through it, her clothes change to mid-19th-century dress, and she reemerges in 1850s England. That’s where the original idea came from.”
Virginia Woolf acts as the show’s “ghost narrator,” with quotes from her time-based books including Orlando, Mrs. Dalloway, and To the Lighthouse appearing throughout the exhibition, not unlike how Susan Sontag’s quotes guided viewers through this year’s Camp: Notes on Fashion show. The philosopher Henri Bergson, whose concept of la durée—time that flows, accumulates, and is indivisible—also provided some of the show’s framework. In addition, Michael Cunningham, whose novel The Hours, a postmodernist reading of Mrs. Dalloway, won the 1999 Pulitzer Prize, will contribute a short story to the exhibition’s catalogue. “What I like about Woolf’s version of time is the idea of a continuum,” Bolton says. “There’s no beginning, middle, or end. It’s one big fat middle. I always felt the same about fashion. Fashion is the present.”
The Clock, Sarah Moon, 1999Photo: Courtesy of The Metropolitan Museum of Art, Photo © Sarah Moon
It’s human nature to compartmentalize, to, as Bolton says, “look back at history with homogenous eyes.” Indeed, in a video clip shown at Karl Lagerfeld’s memorial in June, Lagerfeld said: “Clothes are the first thing you think of when you imagine an era—you think of pannier dresses when you say the 18th century, before architecture or anything else.” Bolton’s mission with About Timeis to challenge and complicate this tendency, and to get us to think differently about fashion history. To do so, he will divide the 160 women’s garments in the exhibition into two sections or “timescales.” The first is a linear timeline of black looks. “It’s a very rational, regulated chronology of fashion from 1870 to 2020, the timescale of modernity,” Bolton explains. The second grouping presents what the curator describes as counter-chronologies, mostly in white ensembles, though there is also likely to be bursts of color in places. “You can see them as folds in time,” he says.
In a press release, Max Hollein, director of the Met, elaborated on the concept: “This exhibition will consider the ephemeral nature of fashion, employing flashbacks and fast-forwards to reveal how it can be both linear and cyclical.” Bolton will highlight a variety of “folds in time.” They could include comparisons between two designers of different eras, like Alaïa and Vionnet or Poiret and Galliano. “Or it might be juxtapositions between two designers from a certain period who were competitive, and one survived and one didn’t,” like “Chanel and Patou in the ’20s and Rei Kawakubo and Georgina Godley in the ’80s.”
It’s useful to think of these “counter-chronologies” or “folds” as connections. Bolton makes them across shape, motif, material, pattern, technique, and decoration. Among his favorites: the relationship between a black silk faille princess-line dress from the late 1870s and an Alexander McQueen “bumster” skirt from 1995. “Over the years, McQueen continually worked with this elongated silhouette—the princess line basically—and I’ve always felt that the bumster was the most radical version of the way he achieved it.” He continues: “What the dual timelines try to unravel is that tension in fashion between change and endurance, and transience and permanence. Ultimately, I think it advocates for a slowing down of fashion.”
The exhibition, which will be presented in the Met Fifth Avenue’s Iris and B. Gerald Cantor Exhibition Hall, will be made possible by Louis Vuitton. Bolton is working with Es Devlin, the visual artist and stage designer, on the exhibition design. “I’ve long admired her work and wanted to collaborate with her,” he says. “This theme seemed most suitable for her, she’s done several of what she calls mirror mazes and she often refers to the complexity of time with her design process.” The cochairs for the gala on Monday, May 4, will be Nicolas Ghesquière, Lin-Manuel Miranda, Meryl Streep, Emma Stone, and Anna Wintour.
About Time: Fashion and Duration will be on view at the Costume Institute from May 7 through September 7, 2020.
The Metropolitan Museum of Art’s Costume Institute Announces Its 2020 Theme: About Time: Fashion and Duration
—
Posting this year’s Met Gala Theme, Gala is Monday May 4th, 2020.
Also, looking forward to Oscar fashions this Sunday.
So many award shows, but I thought the BAFTA awards were the best dressed so far this season.
Nicole PhelpsNovember 7, 2019
Surreal, David Bailey, 1980Photo: Courtesy of The Metropolitan Museum of Art, Photo © David Bailey
The year 2020 is a milestone for the Metropolitan Museum of Art. The New York institution will celebrate its 150th anniversary with a series of exhibitions, many of which will put the spotlight on masterworks in its collections, as well as new acquisitions made as part of the 2020 Collections Initiative in honor of the anniversary. In keeping with the year’s theme, today the Met announced that the Costume Institute’s spring exhibition will showcase a century-and-a-half of fashion history culled from its archive and presented along a “disruptive” timeline. “About Time: Fashion and Duration,” says Andrew Bolton, Wendy Yu Curator in Charge of the Costume Institute, takes a “nuanced and open-ended” approach. “It’s a reimagining of fashion history that’s fragmented, discontinuous, and heterogeneous.”
Bolton found inspiration for the exhibition in the 1992 Sally Potter film Orlando, which was based on the time-traveling Virginia Woolf novel of the same name. “There’s a wonderful scene,” he says, “in which Tilda Swinton enters the maze in an 18th-century woman’s robe à la Francaise, and as she runs through it, her clothes change to mid-19th-century dress, and she reemerges in 1850s England. That’s where the original idea came from.”
Virginia Woolf acts as the show’s “ghost narrator,” with quotes from her time-based books including Orlando, Mrs. Dalloway, and To the Lighthouse appearing throughout the exhibition, not unlike how Susan Sontag’s quotes guided viewers through this year’s Camp: Notes on Fashion show. The philosopher Henri Bergson, whose concept of la durée—time that flows, accumulates, and is indivisible—also provided some of the show’s framework. In addition, Michael Cunningham, whose novel The Hours, a postmodernist reading of Mrs. Dalloway, won the 1999 Pulitzer Prize, will contribute a short story to the exhibition’s catalogue. “What I like about Woolf’s version of time is the idea of a continuum,” Bolton says. “There’s no beginning, middle, or end. It’s one big fat middle. I always felt the same about fashion. Fashion is the present.”
The Clock, Sarah Moon, 1999Photo: Courtesy of The Metropolitan Museum of Art, Photo © Sarah Moon
It’s human nature to compartmentalize, to, as Bolton says, “look back at history with homogenous eyes.” Indeed, in a video clip shown at Karl Lagerfeld’s memorial in June, Lagerfeld said: “Clothes are the first thing you think of when you imagine an era—you think of pannier dresses when you say the 18th century, before architecture or anything else.” Bolton’s mission with About Timeis to challenge and complicate this tendency, and to get us to think differently about fashion history. To do so, he will divide the 160 women’s garments in the exhibition into two sections or “timescales.” The first is a linear timeline of black looks. “It’s a very rational, regulated chronology of fashion from 1870 to 2020, the timescale of modernity,” Bolton explains. The second grouping presents what the curator describes as counter-chronologies, mostly in white ensembles, though there is also likely to be bursts of color in places. “You can see them as folds in time,” he says.
In a press release, Max Hollein, director of the Met, elaborated on the concept: “This exhibition will consider the ephemeral nature of fashion, employing flashbacks and fast-forwards to reveal how it can be both linear and cyclical.” Bolton will highlight a variety of “folds in time.” They could include comparisons between two designers of different eras, like Alaïa and Vionnet or Poiret and Galliano. “Or it might be juxtapositions between two designers from a certain period who were competitive, and one survived and one didn’t,” like “Chanel and Patou in the ’20s and Rei Kawakubo and Georgina Godley in the ’80s.”
It’s useful to think of these “counter-chronologies” or “folds” as connections. Bolton makes them across shape, motif, material, pattern, technique, and decoration. Among his favorites: the relationship between a black silk faille princess-line dress from the late 1870s and an Alexander McQueen “bumster” skirt from 1995. “Over the years, McQueen continually worked with this elongated silhouette—the princess line basically—and I’ve always felt that the bumster was the most radical version of the way he achieved it.” He continues: “What the dual timelines try to unravel is that tension in fashion between change and endurance, and transience and permanence. Ultimately, I think it advocates for a slowing down of fashion.”
The exhibition, which will be presented in the Met Fifth Avenue’s Iris and B. Gerald Cantor Exhibition Hall, will be made possible by Louis Vuitton. Bolton is working with Es Devlin, the visual artist and stage designer, on the exhibition design. “I’ve long admired her work and wanted to collaborate with her,” he says. “This theme seemed most suitable for her, she’s done several of what she calls mirror mazes and she often refers to the complexity of time with her design process.” The cochairs for the gala on Monday, May 4, will be Nicolas Ghesquière, Lin-Manuel Miranda, Meryl Streep, Emma Stone, and Anna Wintour.
About Time: Fashion and Duration will be on view at the Costume Institute from May 7 through September 7, 2020.
The Metropolitan Museum of Art’s Costume Institute Announces Its 2020 Theme: About Time: Fashion and Duration
—
Posting this year’s Met Gala Theme, Gala is Monday May 4th, 2020.
Also, looking forward to Oscar fashions this Sunday.
So many award shows, but I thought the BAFTA awards were the best dressed so far this season.