See The Costume Institute for information about The Costume Institute’s projects and exhibitions, or see Special Exhibitions for information about all of the current and upcoming exhibitions at The Metropolitan Museum of Art.

Rodarte (American, founded 2005). Evening Dress, fall/winter 2006–7. Pale yellow silk chiffon and white silk satin with accordion pleating and self-fabric applied panels and rosettes. Gift of Christine Suppes, 2007 (2007.381).

Rodarte is the label of the Mulleavy sisters, Kate and Laura. In the two years since establishing their design house, the sisters have developed a devout following among fashion connoisseurs. (more…)

Madame Grès (French, 1903–1993). Dress, 1971. White hand-pleated silk jersey. Gift of Thomas L. Kempner, 2006 (2006.420.6).

Alix Grès was a designer of diverse tastes, but one whose work always reflected her fascination with the complexities of a garment’s cut and structure. She was most widely known for her finely pleated silk jersey dresses (more…)

John Galliano (British, born Gibraltar, 1960) for Christian Dior (French, founded 1947). Dress, spring/summer 2003. Red silk tulle with crocodile appliqué. Gift of Christian Dior Couture, 2003 (2003.438).

John Galliano’s conflations of diverse cultures and historic periods are the most fevered and unexpected of any contemporary designer. (more…)

Tao Kurihara (Japanese, b. 1973) for tao Comme des Garçons (Japanese, founded 2005). Ensemble, spring/summer 2007. Ivory silk knit; white paper; natural cotton canvas. Gift of Comme des Garçons, 2007 (2007.382.2a–f).

Tao Kurihara, like John Galliano and Alexander McQueen, is a graduate of the prestigious fashion program of Central Saint Martins in London. She was mentored at Commes des Garçons (more…)

Coat and Waistcoat, ca. 1730. Probably British. Coat: red wool broadcloth with gilt thread and sequin embroidery; waistcoat: white silk satin with gilt thread and sequin embroidery. Isabel Shults Fund, 2004 (2004.411a, b).

In the eighteenth century men’s formal and court attire expressed, in forms only slightly less constrained than the womenswear of the period, a lavishness that was notable for the elegance of its finish (more…)

Rei Kawakubo (Japanese, b. 1942) for Comme des Garçons (Japanese, founded 1969). Ensemble, fall/winter 2007–8. White Lycra blend jersey; black synthetic velvet; white faux leather and white rubber. Gift of Comme des Garçons, 2007 (2007.382.1a–e).

Rei Kawakubo’s fall/winter 2007–8 collection took the surrealist strategies of unexpected distortions of scale and uncanny displacements. The ambience was set for a show of sweetness and innocence, (more…)

Maniatis Bottier (French, founded 1920). Boots, 1920s. Left: Black leather, gold leather trim, and black twined cotton laces. Alfred Z. Solomon-Janet A. Sloane Endowment Fund, 2007 (2007.56a, b). Right: Red leather with black leather trim. Alfred Z. Solomon-Janet A. Sloane Endowment Fund, 2007 (2007.57a, b).

Maniatis, who was born in Greece, provided customized footwear for the likes of Cary Grant and Jean Gabin from his Paris shop in the ninth arrondissement. His location, near the Pigalle red-light district, perhaps helps to explain the design of these boots. (more…)

Jean Paul Gaultier (French, b. 1952). Evening Dress, spring/summer 2001. Pink silk satin, pink silk tulle overlay with pink seed-bead embroidery, and pink silk ribbon laces. Purchase, Catharine Breyer Van Bomel Foundation Gift, and funds from various donors, 2001 (2001.455.2a–e).

Jean Paul Gaultier began as a free-spirited designer of prêt-a-porter collections, famed for the often louche references in his designs to Bettie Page waist-cinches and girdles, the mariner’s sweater via “Querelle” and the Marseille waterfront, (more…)

French Dress (Robe à la Française), ca. 1775. Pink ribbed silk with white linear silk vine motif and multicolored silk floral brocade with passementerie and scalloped fly fringe trim. Isabel Shults Fund, 2005 (2005.61a, b).

This gown first came to the Museum’s attention when it was lent for the exhibition “Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century.” Set among The Costume Institute’s most lavish court gowns in a vignette representing a ladies’ “withdrawing room,” this dress stood out because of its exceptional brilliance and the freshness of its color. (more…)