The Met's 'Camp: Notes on Fashion' Doesn't Define Camp — and That's the Point

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The Met's 'Camp: Notes on Fashion' Doesn't Define Camp — and That's the Point
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See the Costume Institute's highly anticipated landmark exhibit before it opens to the public on Thursday:

The Costume Institute's landmark exhibit, which arrives annually on the first Monday in May , is always a highly anticipated event at The Metropolitan Museum of Art. This year's "Camp: Notes on Fashion" is particularly exciting, especially in the Capital-F fashion department.

"Camp: Notes on Fashion" begins with "Beau Ideal," an early 19th-century concept that describes the "perfect model of male beauty, often exemplified by classical statuary." A bronze sculpture of Belvedere Antinous from circa 1630, attributed to Petro Tacca, serves as an example, in addition to Hermes and Ganymede.

By 1909, "camp" first entered a dictionary from J. Redding Ware titled Passing English of the Victorian Era: A Dictionary of Heteredox English, Slang, and Phrase. The word as a noun is linked with Oscar Wilde, who's stereotypically described as an "effeminate aristocrat." Portraits of the famous — and notably dapper — poet and playwright are shown alongside similar designer looks, such as a couture jacket and waistcoat made from black silk velvet by Yves Saint Laurent.

A selection of Sontag's bullet points exemplified with artistic works, historic objects and fashion garments, such as #25: "The hallmark of Camp is the spirit of extravagance. Camp is a woman walking around in a dress made of three million feathers." A 1966 portrait of Cecil Beaton is placed next to a 1965 Balenciaga haute couture piece made up of pink ostrich feathers, tulle and satin.

There's also Burberry's rainbow-colored faux shearling cape, Viktor & Rolf's "Less Is More" couture dress and a slew of Jean Paul Gaultier pieces. There are far too many memorable examples to name here — you'll just have to witness this delightful exhibit yourself.

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