COSTUME ART _ VOGUE / THE MET / / MEEZ / MeMoMu  

/.../ “And we want to make sure that it’s understood that fashion is a fantastic form of art.”

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Vogue

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Inside the 2026 Met Exhibition: Costume Art | Vogue 

144,010 views /5.05.2026, 17:31 / May 4, 2026

“Fashion is very much an art form not in spite of the body, but because of it,” says Andrew Bolton, OBE, curator in charge of the Costume Institute. And this year’s exhibition, “Costume Art,” seeks not just to address this tantalizingly complex issue, but to explore it in all its many facets. The central thesis is as simple as it is thrilling: pair existing artworks with corresponding garments or accessories and let your synapses fire. The very layout of the show—broken into sections that move from Biblical nudity to the au courant idea of body diversity to the ways in which we’ve long used clothes not merely to adorn but to subvert and distort the body—indicates just how richly drawn this subject is and why it’s mesmerized artists since time immemorial. Sinéad Burke, CEO of Tilting the Lens, emphasizes how this exhibit highlights bodies that have traditionally been overlooked, and as someone with a physical disability, she is among those featured. Her body has been memorialized in the exhibition as a custom mannequin, alongside model and musician Aariana Rose Philip, transforming their presence into a lasting part of the narrative around representation, fashion, and identity. Additionally, this exhibition will be the first in the costume department’s new home, the Conde M. Nast Galleries. Once relegated to a modest 4,500-square-foot space in the museum’s basement, the department will now take flight in a grand, 12,000-square-foot display room on the ground floor, just off the central Great Hall. It is, says Max Hollein, the museum’s director, a symbol of how important clothing has become to The Met’s mission in exploring the many facets of art in the modern age. “We collect paintings, sculptures, textiles, arms and armor, but especially all the fashion,” he says. “And we want to make sure that it’s understood that fashion is a fantastic form of art.” Featuring testimonials from Misty Copeland, Alex Consani, Gwendoline Christie, Aimee Mullins, Sinéad Burke, Aariana Rose Philip and more. Director: Nina Ljeti Directors of Photography: Michael Lopez, Henry Gill Editor: Evan Allan Senior Producer: Bety Dereje Producer: Rashida Josiah Associate Producers: Anisa Kennar, Justine Ramirez, Lea Donenberg Camera Operator: Chanthila Phaophanit  Assistant Camera: Kahdeem Prosper Jefferson, Gordan Wong Gaffers: Billy Voermann, Mary Kalecinska Swing: Alex Frischman Audio: Mariya Chulichkova, Joanna Hunt  Set Designers: Ilana Portney, Dana Keren Production Assistants: Quinton Johnson, Myles Haywood Runners: Edie Chesters, Rachel Ademidun Groomer for Andrew Bolton: Shin Arima Makeup Artist for Sinéad Burke and Alex Consani: Ai Yokomizo Hairstylist for Sinéad Burke and Alex Consani: Sonny Molina Makeup Artist for Misty Copeland: Victor Henao Hairstylist for Misty Copeland: Nai'vasha Grace Makeup Artist for Aariana Philip: Meadow Soleil Cloud Makeup Artist for Gwendoline Christie: Daniel Kolaric Hairstylist for Gwendoline Christie: Joe Kelly Hair & Makeup Artist for Aimee Mullins: Stèfan Jemeel Production Coordinator: Tanía Jones Production Manager: Kristen Helmick Senior Production Manager: Venita Singh-Warner Line Producer: Natasha Soto-Albors Assistant Editors: Andy Morell, Fynn Lithgow Senior Motion Graphics Designer: Samuel Fuller Post Production Coordinator: Holly Frew Supervising Editor: Kameron Key Post Production Supervisor: Alexa Deutsch Entertainment Director: Sergio Kletnoy Global Talent Casting Directors: Ignacio Murillo, Morgan Senesi Executive Producer: Rahel Gebreyes Senior Director, Digital Video: Romy van den Broeke Senior Director, Programming: Linda Gittleson VP, Video Programming: Thespena Guatieri Florist: London Blooming Haus Photography By Paul Westlake Images Courtesy of The Metropolitan Museum of Art Special Thanks: The Metropolitan Museum of Art Still haven’t subscribed to Vogue on YouTube? ►► http://bit.ly/vogueyoutubesub Get the best of Vogue delivered right in your inbox ►► https://bit.ly/3xAZyQg Subscribe to the magazine ►► http://vogue.com/subscribe_yt Download the Vogue App ►► https://apps.apple.com/us/app/vogue-r... Check out 'The Run-Through with Vogue' podcast ►► https://swap.fm/l/vogue-trt-youtube Vogue YouTube Channels: British Vogue:    / @britishvogue   Vogue Taiwan:    / @voguetvtaiwan   Vogue France:    / @voguefrance   Vogue India:    / @vogueindia   Vogue Japan:    / @voguejapan   Vogue México y Latinoamérica:    / @voguemexicoylatinoamerica   Vogue Germany:    / @voguegermany   Vogue Italia:    / @vogueitalia   Vogue Spain:    / @voguespain   ABOUT VOGUE Vogue is the authority on fashion news, culture trends, beauty coverage, videos, celebrity style, and fashion week updates.

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https://www.smithsonianmag.com/smart-news/ahead-of-the-2026-met-gala-the-metropolitan-museum-of-art-introduced-new-mannequins-with-diverse-body-types-inspired-by-real-people-180988670/?utm_medium=distribution&utm_source=pushly&utm_campaign=editorial 

Ahead of the 2026 Met Gala, the Metropolitan Museum of Art Introduced New Mannequins With Diverse Body Types Inspired by Real People

The new “Costume Art” exhibition pairs artworks with garments, some of them displayed on custom mannequins constructed through 3D printing

Mary Randolph | Correspondent

May 4, 2026 6:16 p.m.  

Walking into the sea of mannequins that fill the Metropolitan Museum of Art’s new “Costume Art” exhibition, you will see some tall, thin, willowy bodies typical of storefronts. But you’ll also see larger bodies, pregnant bodies, trans bodies and bodies with disabilities—all with mirrors for faces to reflect the experience back to the visitor. 

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Nine models served as the basis for 18 mannequins, and another seven structures weren’t based on real people but do aim to reflect underrepresented experiences in fashion, like the pregnant body. Other mannequins throughout the exhibition show body types more commonly featured in fashion and art, and Bolton tells Jocelyn Noveck for the Associated Press that the exhibition is not trying to “reject what came before.”

“We’re using it as an opportunity to add new voices and new silhouettes and new presences,” he says. “The figures don’t deny the past, but in a way, I suppose they complete the picture.” 

After “Costume Art” finishes its run in January 2027, the mannequins will be added to the museum’s permanent collection for future uses. In this cultural moment, Stark tells the Times, this exhibition’s message matters.