On the avenue today before The Metropolitan Museum of Art, it is frosty, with a selection of clothing that reflects the weather—pedestrians are hastening by with scarves and tweed coats drawn to their chins. But soon the rush of passing garments will change. In the spring, when the trees of Central Park grow fragrant and the asphalt warms, people wearing dresses in soft fabrics will pass scatterings of tourists out on the museum steps. At the start of May, a red carpet will draw up the staircase, and guests dressed for the Met Gala will catch camera flashes on their way inside. By tradition, that will be high fashion’s brightest moment, when an outfit and a personality bring each other most entirely to life. Then the attendees will enter the museum, where, most years, they would tour an exhibition of historic dresses whose wearers are long vanished, and whose fabrics are now frozen in place.
“It’s something we always struggle with—that, once a garment comes into the museum, a lot of the sensorial experiences that we take for granted with clothing are lost,” Andrew Bolton, the curator in charge at the Costume Institute, explains this morning, over tea, in a dimly lit conference room inside The Met. Photographs of more than 50 clothing items are pinned to the wall. “The positive part of it is that we’re custodians of the clothing, here to take care of it in perpetuity,” he goes on. “But that involves very specific conditions: You can’t touch it, you can’t smell it, it can’t be worn. And you can’t hear it.”
この記事は Vogue US の May 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
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この記事は Vogue US の May 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
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Canvas the City - Martha Diamond captured the brisk energy of Manhattan.
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It was late in the summer in Los Angeles, with all the dry heat and burnished sunlight that implies, and Billie Eilish was sitting in a dark room, busy changing her mind. The singer was halfway through editing the music video she had directed for “Birds of a Feather,” her latest astronomically successful hit song (nearly 1 billion streams) off her latest astronomically successful hit album (nearly 4 billion streams at the time), when she encountered a problem: She realized she hated it. Well, not hated. “I was like, this ain’t it,” she says.
Coming Up Rosy - The new blush isn't just for the cheek. Coco Mellors feels the flush.
If the eyes are the window to the soul, then our cheeks are the back door. What other part of the body so readily reveals our hidden emotions? Embarrassment, exuberance, delight, desire, all instantly communicated with a rush of blood. It's no wonder that blush has been a mainstay of makeup bags for decades: Ancient Egyptians used ground ochre to heighten their color; Queen Elizabeth I dabbed her cheeks with red dye and mercuric sulfide (which, combined with the vinegar and lead concoction she used to achieve her ivory pallor, is believed to have given her blood poisoning); flappers applied blush in dramatic circles to achieve a doll-like complexion, even adding it to their knees to draw attention to their shorter hemlines
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A story of survival on a whaling ship sets sail on Broadway. Robert Sullivan meets the crew behind the rousing folk musical Swept Away.
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Harlem's National Black Theatre has been a storied arts institution in need of support. A soaring new home is shaping its future.
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Simon Porte Jacquemus, much like his label, resonates with the sunny, breezy French South-but behind the good life, as Nathan Heller discovers, is a laser focus and a shoulder-to-the-wheel work ethic.
