“Camp: Notes on Fashion,” now on exhibit at the MET – 1000 Fifth Avenue, New York City, is a showcase of eccentric fashion items, dating back to the 17th century. This lavish presentation of some 250 objects, is the subject of this year’s Metropolitan Museum of Art’s, Costume Institute yearly extravaganza. “Camp: Notes on Fashion,” exposes a concept that was popularized by the New York gay cultural scene of the decadent 1970s. The word “camp” was used as the cover for extreme, over-the-top extravagance in clothing design, style, and attitude.
CAMP EXHIBIT AT THE METNO JUDGEMENT
The antics of camp were further enhanced by the `Drag’ culture, knowing that way back in the day it was a thing, centuries ago that male aristocrats, donned wigs and flamboyant forms of dress. Some even indulged in cross-dressing and were referred to as “aristocratic sissys.” A strong connection to the exhibition is also made to Susan Sontag’s 1964 essay – “Notes on Camp” in which the writer explained; “Camp is above all, a mode of enjoyment, of appreciation – not judgement….in the end, the ultimate purpose of camp is to put a smile on your face and a warm glow in our hearts.”
HISTORY
The Costume Institute’s exhibition of `Camp’ gives a historical perspective of the subject with several items from centuries ago. It opens with a gallery featuring old letters, drawings, and portraits of 17th and 18th-century images that encompass Camp. There is art from Versailles, including the royal court of Louis XIV and Louis XV of France. The historic theme progressed in adjoining galleries where more recent items of camp took center stage. A huge bee-hive dress stood beside the elaborate Thierry Mugler `petal dress’ made popular when worn by superstar Cardi B. at a recent award show. This is displayed in the same themed gallery as an unusual dress in the shape and style of a wedding cake by designer Christian LaCroix.
CAMP EXHIBIT AT THE MET
POPULAR DESIGNERS
Cross-dressing, gender-bending, irony, humor, and theatricality are all brought out in full effect at this significant exhibition. Like the non-binary garments from designers Marc Jacobs and Jeremy Scott. In the final gallery, a double tier of glass showcases, house a slew of extravagant creations from popular designers like Viktor+ Rolf, Thom Browne, Karl Lagerfeld, Gucci, Erdem, Chanel, and Maison Margiela, to name a few. Extravagance in the form of an exotic 3-headed, pink flamingo headpiece from designer Stephen Jones is an eye-catcher in this gallery. Camp offers many stand-out pieces, but, worthy of note is the luxurious faux-fur coat in the LGBTQ colors reminiscent of the Biblical character David and his Coat of Many Colors. A dazzling silver gown a la Cher, from designer Bob Mackie as well as the crystal-encrusted suit from Liberace.
MANY THINGS
As Max Hollein, Director of the Metropolitan Museum of Art stated; “We’re experiencing a resurgence of camp not only just in fashion, but in culture in general,” Camp: Notes on Fashion covers all the bases, so much so that the Wall Street Journal touted the exhibition as – “A high-ceilinged, own the rainbow extravaganza.” Camp has many layers, as the gay kids would say “Honey, it’s many things.” Andrew Bolton, the curator of the Costume Institute, summed it up perfectly – “You leave the exhibition still thinking of what camp is.”
This exhibition is made possible by Gucci. Additional support provided by Conde’ Nast. “Camp: Notes on Fashion” runs through September 8, 2019.
