Camp  : Notes sur la mode   

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella_X9A9921

_Jeremy Scott for House of Moschino, Budweiser cape and McDonald’s ensemble (autumn/winter 2014–15)_

These pieces prove that camp often merges with irony, humor and parody.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella_X9A0014

_Thom Browne, wedding ensemble (spring/summer 2018)_

The exhibit’s “Gender Without Genitals” section includes a men’s tuxedo with a white draped skirt, evoking a modern dandy look.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella_X9A0005

_Jeremy Scott, “prosciutto” dress (spring/summer 2011); Christian Lacroix, dress (late 1990s)_

Scott’s dress represents how camp made its way onto contemporary runways, while Lacroix’s piece reflects a milder form of the camp aesthetic.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella_X9A0023

_Burberry, rainbow-colored synthetic shearling cape (autumn/winter 2018–19)_

This cape combines high fashion with bright colors and patterns that show off camp’s playfulness.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella_X9A9811

_Erdem Moralioglu, silk taffeta dresses (2019)_

These ruffled pieces pay homage to “sisters” Fanny (Frederic Park) and Stella (Ernest Boulton), two Victorian drag dressers who were arrested in 1870—and acquitted the following year—for unlawful sexual relations.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella_X9A9872

_Andy Warhol,_ Tomato from Campbell’s Soup I _(1968); Campbell’s Soup Company, “Souper” dress (1966­–67)_

Pop art, mass production and fashion meet in Warhol’s paper shift.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella_X9A9918

_Jeremy Scott for House of Moschino, synthetic dress (spring/summer 2018)_

Made with purple ostrich feathers and paper butterflies, this dress epitomizes deliberate camp.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella__X9A9956

_Vivienne Westwood, ensemble (1987–88); John Galliano, ensemble (1984/2018)_ 

Galliano mixes tailored men’s clothing with exaggerated accessories to blur the lines of traditionally gendered fashions; Westwood exaggerates femininity.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella_X9A9965

_Marjan Pejoski, dress (autumn/winter 2000–2001)_

The so-called swan dress was made famous in 2001 when Björk wore it to the Oscars. It also evokes the ballet _Swan Lake,_ which Sontag calls part of the “canon of camp” in her essay.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella_X9A9979

_Michael Travis, ensemble (1982)_

Once worn by Liberace, this white tailored jacket is embroidered with thousands of beads, pearls and crystals.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella-X9A9983

_Manish Arora, carousel dress (spring/summer 2009)_

This piece combines defining elements of camp: extravagance, contrivance and playfulness.

Camp-on-Fashion-Metropolitan-Museum-of-Art-Manhattan-NYC-Photo-Brittany-Petronella

_Undercover, ensemble (spring/summer 2018); Walter Van Beirendonck, ensemble (autumn/winter 2001–2); Comme des Garçons, coat (spring/summer 2018)_

Part of the exhibit’s “A Second Childhood” section, the blue Undercover dresses evoke the horror film _The Shining_, while the pantsuit and frock nod to camp’s childlike side.

Camp: Notes on Fashion   

L’exposition du Met Costume Institute explore les origines du camp. 