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   The Met
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      Explore how fashion shapes identity, culture, and politics through The Met collection
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             Perspectives Magazine
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           Welcome to
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            <em>
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              Perspectives
             </a>
            </em>
           </strong>
           , The Met's online magazine. In our inaugural newsletter, we've gathered articles that reveal fashion's role in shaping and reflecting culture. Here, fashion is a site of artistic experimentation, a vehicle for political agency, and a powerful mode of personal expression.
           <br/>
           <br/>
           Look for monthly dispatches on art history framed through our collection and exhibitions, and
           <strong>
            <a style="color:#000000;">
             browse the online magazine
            </a>
           </strong>
           for inspiration in the meantime.
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           <strong>
            Fashion and politics
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           <font style="color:#6e6e6e; font-size:14px;">
            Man Ray (American, 1890–1976).
            <em>
             Adrienne Fidelin
            </em>
            , 1937. Contact sheets (detail) for the series
            <em>
             Mode au Congo
            </em>
            . Gelatin silver prints. Private collection © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2022.
           </font>
           <br/>
           <br/>
           In 1974, The Met's Costume Institute received a bequest of
           <a style="color:#000000;">
            <strong>
             47 prestige caps and headdresses
            </strong>
           </a>
           from Central Africa's Congo River basin. Before their arrival at the Museum, the hats circulated among the Surrealists in Paris and later sparked a revolution in Western hat design. Scholar
           <strong>
            <a style="color:#000000;">
             Wendy A. Grossman
            </a>
           </strong>
           traces the history of this exceptional headwear through the story of
           <strong>
            <a style="color:#000000;">
             Adrienne Fidelin
            </a>
           </strong>
           , a Guadeloupean dancer who became the first Black model featured in a major American fashion magazine when
           <strong>
            Man Ray
           </strong>
           photographed her for
           <em>
            Harper's Bazaar
           </em>
           in 1937.
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           <font style="color:#6e6e6e; font-size:14px;">
            Anna May Wong wearing a
            <a style="color:#6e6e6e;">
             <strong>
              Travis Banton evening dress
             </strong>
            </a>
            in a publicity photograph for
            <em>
             Limehouse Blues
            </em>
            , 1934.
           </font>
           <br/>
           <br/>
           Fashion has also been a mode of resistance for Hollywood stars like
           <a style="color:#000000;">
            <strong>
             Anna May Wong
            </strong>
           </a>
           , who used glamour to empower herself as the first Chinese American film star in Hollywood's studio system. For a performer like
           <a style="color:#000000;">
            <strong>
             Joyce Bryant
            </strong>
           </a>
           , a costume was like armor. Her understudied creative collaboration with designer
           <strong>
            Zelda Wynn Valdes
           </strong>
           broke boundaries in the 1950s, outfitting Bryant for the stage in spaces that did not typically welcome Black performers. And in the
           <a style="color:#000000;">
            <strong>
             Harlem Renaissance
            </strong>
           </a>
           , fashion was not only a way to express personal style and values but also to define a modern vision of Blackness.
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            A map of hidden paints in Jacques-Louis David's
            <a style="color:#6e6e6e;">
             <strong>
              portrait
             </strong>
            </a>
            of the Lavoisiers (1788).
           </font>
           <br/>
           <br/>
           The politicization of fashion continues in the present. Contemporary designers like
           <a style="color:#000000;">
            <strong>
             Thebe Magugu
            </strong>
           </a>
           and
           <a style="color:#000000;">
            <strong>
             Amber-Dawn Bear Robe
            </strong>
           </a>
           contemplate the aesthetic legacies of colonialism while dreaming up innovative collections that respectfully incorporate and expand traditional forms. Fashion can also reveal social hierarchies and shifting schemes of power. A recent study of
           <a style="color:#000000;">
            <strong>
             Jacques-Louis David's 1788 double portrait of the Lavoisiers
            </strong>
           </a>
           uncovered that the painting had originally depicted the French couple in high-end fashion that was later painted out—on the eve of the French Revolution—in favor of a modest presentation of the couple as scientists.
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           <strong>
            Collection spotlight
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           Explore this Mexica
           <strong>
            <a style="color:#000000;">
             serpent labret
            </a>
           </strong>
           (1325–1521 CE) and
           <strong>
            <a style="color:#000000;">
             other gold adornments from the ancient Americas
            </a>
           </strong>
           in The Met collection.
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           <strong>
            Dive deeper
           </strong>
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                  <strong>
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                    Conserving Iris van Herpen
                   </a>
                  </strong>
                  <br/>
                  Go behind the scenes as conservators treat two unconventional dresses by Iris van Herpen.
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                    Watch now →
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                     Pahari School painters used iridescent beetles in miniature paintings to create shimmering inlays.
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           A fresh chapter for fashion at The Met has begun. Explore the newly opened Condé M. Nast Galleries, a nearly 12,000-square-foot space at the heart of the Museum.
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           For more information on the exhibitions, including sponsorship credits, visit
           <em>
            <a style="color:#A0A0A0;">
             Alexander McQueen: Savage Beauty
            </a>
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           and
           <em>
            <a style="color:#A0A0A0;">
             Costume Art
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           .
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           Your support allows the Museum to collect, conserve, and present  5,000 years of world art.
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           Images: Man Ray (American, 1890–1976).
           <em>
            Adrienne Fidelin
           </em>
           , 1937. Contact sheets for the series
           <em>
            Mode au Congo
           </em>
           . Gelatin silver prints. Private collection © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2022. | Fidelin wears: Pende artist.
           <a style="color:#A0A0A0;">
            Prestige headdress
           </a>
           , ca. 1850–1920. Democratic Republic of the Congo. Raffia palm fiber, cowrie shells, 7 1/2 × 9 in. (19.1 × 22.9 cm). The Metropolitan Museum of Art, New York, Gift of Lilly Daché, 1974 (1974.83.3); and
           <a style="color:#A0A0A0;">
            Royal Headdress (Shody)
           </a>
           , 19th–20th century. Democratic Republic of the Congo, Kuba. Raffia palm fiber, glass beads, cowries, 3 x 7 x 9 7/8 in. (7.6 x 17.8 x 25.1 cm). The Metropolitan Museum of Art, New York, Gift of Lilly Daché, 1974 (1974.83.33). | Anna May Wong in a publicity photograph for
           <em>
            Limehouse Blues
           </em>
           , 1934. | Wong wears: Travis Banton (American, 1894–1958).
           <a style="color:#A0A0A0;">
            Evening dress
           </a>
           , ca. 1934. Black silk charmeuse embroidered with gold and silver sequins. Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Anna May Wong, 1956 (2009.300.1507). | An MA-XRF of Jacques-Louis David's
           <a style="color:#A0A0A0;">
            <em>
             Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836)
            </em>
           </a>
           (1788). From Centeno, Silvia A., Dorothy Mahon, Federico Carò, and David Pullins. “Discovering the evolution of Jacques-Louis David's portrait of Antoine-Laurent and Marie-Anne Pierrette Paulze Lavoisier.”
           <a style="color:#A0A0A0;">
            <em>
             Heritage Science 9
            </em>
           </a>
           , no. 84 (2021). | Mexica artist(s).
           <a style="color:#A0A0A0;">
            Serpent labret with articulated tongue
           </a>
           , 1300–1521 CE. Gold, 2 5/8 x 1 3/4 x 2 5/8 in. (6.67 x 4.45 x 6.67 cm). The Metropolitan Museum of Art, New York, Purchase, 2015 Benefit Fund and Lila Acheson Wallace Gift, 2016 (2016.64). | Iris van Herpen (Dutch, b. 1984).
           <a style="color:#A0A0A0;">
            Dress
           </a>
           , fall/winter 2013–14. Plastic (polyurethane), cotton, metal (iron filings). The Metropolitan Museum of Art, New York, Purchase, Friends of The Costume Institute Gifts, 2016 (2016.13). | Iris van Herpen (Dutch, b. 1984) and Cedric Laquieze (Dutch).
           <a style="color:#A0A0A0;">
            Dress
           </a>
           , fall/winter 2023–24. Silicone, cotton, bone, metal, synthetic, glass. The Metropolitan Museum of Art, New York, Purchase, Friends of The Costume Institute Gifts, 2016 (2016.14). | Devidasa of Nurpur (active ca. 1680–1720).
           <a style="color:#A0A0A0;">
            <em>
             A Courtesan and Her Lover Estranged by a Quarrel
            </em>
            : Page from a Rasamanjari series
           </a>
           (detail), 1694–95. Opaque watercolor, ink, silver, gold, and beetle-wing cases on paper, 8 5/8 x 12 3/4in. (21.9 x 32.4cm). The Metropolitan Museum of Art, New York, Bequest of Cora Timken Burnett, 1956 (57.51.14). | Written by Amé Bourdon (French, 1636/38–1706). Engraved by Daniel Le Bossu (French, active 1671–78).
           <em>
            Nouvelles tables anatomiques
           </em>
           (detail), 1678. Engraving, 21 5⁄8 in. (55 cm). Bibliotheque interuniversitaire de sante, Paris. Courtesy Internet Archive; Alexander McQueen (British, founded 1992). Sarah Burton (British, born 1974).
           <em>
            Dress
           </em>
           (detail), spring/summer 2024. Beige silk georgette embroidered with red silk and red silk-and-metal thread in the forms of internal organs and veins and trimmed with red glass beads and red viscose fringe. Courtesy Alexander McQueen.| Left: Pregnant Body; Right: Corpulent Body, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art
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