The complex now includes the Lizzie and Jonathan Tisch Gallery, a main showcase space with a flexible design that lends itself to frequent transformation with a comprehensive video, sound, and wireless system, and the Carl and Iris Barrel Apfel Gallery, an orientation space for The Costume Institute’s exhibitions and holdings. Additionally, Andrew Bolton, Curator (formerly of the Victoria and Albert Museum, London), has contributed his fresh voice with exhibitions such as Blithe Spirit: The Windsor Set (2002), Bravehearts: Men in Skirts (2003), and Alexander McQueen: Savage Beauty (2010).Īfter a two-year renovation, the redesigned Costume Institute space opened in 2014 as the newly designated Anna Wintour Costume Center. In 2000, Harold Koda arrived to lead the Institute as Curator in Charge with exhibitions that have continued to break new ground including: Charles James: Beyond Fashion (2014), Dangerous Liaisons: Fashion and Furniture in the 18th Century (2004) Goddess (2003) and Extreme Beauty: The Body Transformed (2002). In addition, there have been monographic exhibitions such as Madame Grès (1994), Christian Dior (1996), and Gianni Versace (1997). These have included: Infra-Apparel (1993), which examined the role of undergarments and clothing’s propensity to disclose its underlying structure Orientalism: Visions of the East in Western Dress (1994) and Haute Couture (1995). The Costume Institute continued to present exhibitions that achieved the defining stature of the earlier Vreeland shows in developing analytical ideas about fashion from the Institute’s collections. Diana Vreeland, who served as Special Consultant from 1972 until her death in 1989, created a spectacular suite of costume exhibitions-including The World of Balenciaga (1973), Romantic and Glamorous Hollywood Design (1974), The Glory of Russian Costume (1976), and Vanity Fair (1977)-that galvanized audiences and set the international standard for the opulent exhibition of costume, chiefly based on loan items. The Costume Institute became a department in 1959. In 1946, The Museum of Costume Art merged with The Metropolitan Museum of Art, and funds were raised within the fashion industry to support it.
Led by Neighborhood Playhouse founder Irene Lewisohn, The Museum of Costume Art benefited from gifts from Irene Lewisohn and her sister Alice Lewisohn Crowley and from theatrical designers Aline Bernstein and Lee Simonson, among others. The matrix of The Costume Institute was established with The Museum of Costume Art, an independent entity formed in 1937. The Costume Institute houses a collection of more than 35,000 costumes and accessories spanning five continents and just as many centuries, arguably the greatest such collection in the world.
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