The Met’s Andrew Bolton Explains the Ins and Outs of ‘Camp’
The Costume Institute’s new show features an array of designers old and new to spotlight the many interpretations of camp.
The Costume Institute’s new show features an array of designers old and new to spotlight the many interpretations of camp.
Manish Arora’s spring 2009 polychrome silk-synthetic plain weave top with a carousel skirt adorned with orange crystals, polychrome paillettes, seed beads, cotton-and-metal thread and vinyl appliqué.
“Is it too much?” was a question that chief curator in charge Andrew Bolton asked in making selections for the show.
Erdem Moralioğlu paid tribute to Frederick “Fanny” Park’s and Ernest “Stella” Boulton’s “drag wardrobe” in his spring 2019 collection.
In the 20th century, the sailor emerged as a figure of camp queerdom and homoerotic desire. Jean Paul Gaultier’s white and navy silk jersey with pants embroidered with blue paillettes.
A Cristóbal Balenciaga evening ensemble from fall 1961 and a fall 2018 one from Jeremy Scott for Moschino embroidered with purple ostrich feathers, and polychrome printed feather and paper butterflies.
Examples off camp were also evident in over-the-top headpieces.
Camp is “ideas, held in a special playful way,” according to Susan Sontag.
Viktor & Rolf’s pink synthetic tulle appliquéd with off-white, yellow and green synthetic tulle dress from spring 2019 haute couture.
A resort 2018 dress from Gucci with a trompe l’oeil drapery motif (far right), and Karl Lagerfeld’s interpretation of the effect.
A fall 1990 dress from Moschino by Franco Moschino is featured in the area that references Versailles as a sort of “camp Eden.”
The over-the-top creations of Tomo Koizumi qualify as camp. Here, one of the two designs from his fall 2019 collection that are featured in the show.