大都會藝術博物館（The Metropolitan Museum of Art，The Met）宣布，將於 2026 年春季於服裝學院（The Costume Institute）舉辦《Costume Art》展覽，為毗鄰博物館大廳、面積近 12,000 平方英尺的新建 Condé M. Nast Galleries 展廳揭開序幕。
策展人 Andrew Bolton 表示：「這對服裝學院而言是一個極其重要的時刻。這不僅為我們部門帶來變革，更廣泛地看，我認為它對時尚界而言也具有變革性，因為像 The Met 這樣規模的藝術博物館，正將時尚置於一個核心位置。」
為了紀念這一重要時刻，Bolton 將展覽探討的焦點放在「著裝的人體（the dressed body）在博物館龐大館藏中的核心地位」，將 The Met 館藏中橫跨 5,000 年的繪畫、雕塑及其他藝術品，以及來自服裝學院的歷史與當代服飾並置展現。
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The Naked Body: Adam and Eve, Albrecht Dürer (German, 1471– 1528), 1504; Fletcher Fund, 1919 (19.73.1). Photo © The Metropolitan Museum of Art
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Ensemble, Walter Van Beirendonck (Belgian, born 1957), spring/summer 2009; Purchase, Friends of The Costume Institute Gifts, 2020 (2020.45a–d). Photo: Anna-Marie Kellen © The Metropolitan Museum of Art
The Naked Body: Adam and Eve, Albrecht Dürer (German, 1471– 1528), 1504; Fletcher Fund, 1919 (19.73.1). Photo © The Metropolitan Museum of Art
Ensemble, Walter Van Beirendonck (Belgian, born 1957), spring/summer 2009; Purchase, Friends of The Costume Institute Gifts, 2020 (2020.45a–d). Photo: Anna-Marie Kellen © The Metropolitan Museum of Art
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The Reclaimed Body: La Poupeé, Hans Bellmer (German, born Poland, 1902–1975), ca. 1936; Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.333). © 2025 Artists Rights Society (ARS), New York. Image courtesy of The Metropolitan Museum of Art
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Ensemble, Rei Kawakubo (Japanese, born 1942) for Comme des Garçons (Japanese, founded 1969), fall/winter 2017–18; Purchase, Funds from various donors, by exchange, 2018
(2018.23a). Photo" Anna-Marie Kellen © The Metropolitan Museum of Art
The Reclaimed Body: La Poupeé, Hans Bellmer (German, born Poland, 1902–1975), ca. 1936; Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.333). © 2025 Artists Rights Society (ARS), New York. Image courtesy of The Metropolitan Museum of Art
Ensemble, Rei Kawakubo (Japanese, born 1942) for Comme des Garçons (Japanese, founded 1969), fall/winter 2017–18; Purchase, Funds from various donors, by exchange, 2018
(2018.23a). Photo" Anna-Marie Kellen © The Metropolitan Museum of Art
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Bolton 解釋：「連結每個策展部門、博物館內每個展廳的，正是時尚，或者應該說，被衣服包裹的人體。它是貫穿整個博物館的共同主線，這個頓悟也是本次展覽的初衷：我知道我們常被視為博物館的『繼子』，但事實上，每個展廳的核心都圍繞着被衣服包裹的人體。即使是裸體，也從來不是赤裸無物的，它總是承載着文化價值與思想。」
盼傳遞時尚的重要性：「時裝應被視為與藝術處於同一平面」
雖然服裝學院曾舉辦如《Heavenly Bodies: Fashion and the Catholic Imagination》這類創下 The Met 歷史參觀人數紀錄的時尚展覽（166萬人次），但藝術與時尚之間的分界線依然頑固地存在。Bolton 認為，這種等級觀念之所以持續，正是因為服裝與身體的連結，他解釋：「時尚被接納為一種藝術形式的時候，實際上是跟從藝術世界的標準。這種接納的前提是對身體的否定、摒棄，以及基於『美學應該脫離肉體與利益的沉思』。」
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The Anatomical Body: Plate 33 in Govard Bidloo, Ontleading des menschlyken Lichaems, Abraham Blooteling (Dutch, 1640–1690) and Pieter van Gunst (Dutch, 1659–1724) After Gerard de Lairesse (Dutch, 1641–1711), 1728; Gift of Lincoln Kirstein, 1952 (52.546.5). Photo: Mark Morosse © The Metropolitan Museum of Art
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“Corset Anatomia” ensemble, Renata Buzzo (Brazilian, born 1986), spring/summer 2025;
Courtesy Renata Buzzo. Photo: Anna-Marie Kellen © The Metropolitan Museum of Art
The Anatomical Body: Plate 33 in Govard Bidloo, Ontleading des menschlyken Lichaems, Abraham Blooteling (Dutch, 1640–1690) and Pieter van Gunst (Dutch, 1659–1724) After Gerard de Lairesse (Dutch, 1641–1711), 1728; Gift of Lincoln Kirstein, 1952 (52.546.5). Photo: Mark Morosse © The Metropolitan Museum of Art
“Corset Anatomia” ensemble, Renata Buzzo (Brazilian, born 1986), spring/summer 2025;
Courtesy Renata Buzzo. Photo: Anna-Marie Kellen © The Metropolitan Museum of Art
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The Pregnant Body: Eleanor, Harry Callahan (American, 1912–1999), 1949; Gift of Joyce and Robert Menschel, 1991 (1991.1304). © The Estate of Harry Callahan; Courtesy Pace/MacGill Gallery, New York. Image courtesy of The Metropolitan Museum of Art
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“Pregnancy” dress, Georgina Godley (British, born 1955), fall/winter 1986–87, edition 2025; Purchase, Anthony Gould Fund, 2025. Photo: Anna-Marie Kellen © The Metropolitan Museum of Art
The Pregnant Body: Eleanor, Harry Callahan (American, 1912–1999), 1949; Gift of Joyce and Robert Menschel, 1991 (1991.1304). © The Estate of Harry Callahan; Courtesy Pace/MacGill Gallery, New York. Image courtesy of The Metropolitan Museum of Art
“Pregnancy” dress, Georgina Godley (British, born 1955), fall/winter 1986–87, edition 2025; Purchase, Anthony Gould Fund, 2025. Photo: Anna-Marie Kellen © The Metropolitan Museum of Art
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Bolton 承認，傳統上服裝學院的展覽強調服裝的視覺吸引力，讓模特兒隱匿於服裝之後或之下。他為《Costume Art》提出的大膽構想，就是堅持身體的重要性，或者說「我們的身體與我們所穿衣物之間不可分割的聯繫」。他堅持，時尚實際上「比藝術更具優勢，因為它關乎個人的、具體的生活體驗」。
這次展覽圍繞一系列不同主題的身體類型，大致分為三類：藝術中無所不在的身體，如古典作品的身體與裸體；其他較常被忽略的身體類型，如衰老、懷孕的身體；以及更具普世性的身體，如解剖學上的身體。相較於時尚產業本身常推崇的骨感模特兒，和狹窄的身體尺寸範圍，Bolton 採用一種更為廣闊的觀點，他解釋：「這個想法希望將身體重新納入關於藝術與時尚的討論中，並且擁抱身體，而非將其移除，以此將時尚提升為藝術形式。」
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The Classical Body: Terracotta statuette of Nike, the personification of victory, Greek, late 5th century BCE; Rogers Fund, 1907 (07.286.23). Photo © The Metropolitan Museum of Art
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“Delphos” gown, Adèle Henriette Elisabeth Nigrin Fortuny (French, 1877–1965) and Mariano Fortuny y Madrazo (Spanish, 1871–1949) for Fortuny (Italian, founded 1906), 1920s; Gift of Estate of Lillian Gish, 1995 (1995.28.6a). Photo" Anna-Marie Kellen © The Metropolitan Museum of Art
The Classical Body: Terracotta statuette of Nike, the personification of victory, Greek, late 5th century BCE; Rogers Fund, 1907 (07.286.23). Photo © The Metropolitan Museum of Art
“Delphos” gown, Adèle Henriette Elisabeth Nigrin Fortuny (French, 1877–1965) and Mariano Fortuny y Madrazo (Spanish, 1871–1949) for Fortuny (Italian, founded 1906), 1920s; Gift of Estate of Lillian Gish, 1995 (1995.28.6a). Photo" Anna-Marie Kellen © The Metropolitan Museum of Art
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“Bustle” muslin, Charles James (American, born Great Britain, 1906–1978), 1947; Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Millicent Huttleston Rogers, 1949 (2009.300.752). Photo" Anna-Marie Kellen © The Metropolitan Museum of Art
“Bustle” muslin, Charles James (American, born Great Britain, 1906–1978), 1947; Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Millicent Huttleston Rogers, 1949 (2009.300.752). Photo" Anna-Marie Kellen © The Metropolitan Museum of Art
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The Abstract Body: Impression of Amélie de Montfort, Jean- Baptiste Carpeaux (French, 1827–1875), ca. 1867–69; Purchase, Friends of European Sculpture and Decorative Arts Gifts, 1989 (1989.289.2). Photo © The Metropolitan Museum of Art
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Evening dress, Mon. Vignon (French, ca. 1850-1910), 1875–78; Gift of Mary Pierrepont Beckwith, 1969 (C.I69.14.12a, b). Photo: Anna-Marie Kellen © The Metropolitan Museum of Art
The Abstract Body: Impression of Amélie de Montfort, Jean- Baptiste Carpeaux (French, 1827–1875), ca. 1867–69; Purchase, Friends of European Sculpture and Decorative Arts Gifts, 1989 (1989.289.2). Photo © The Metropolitan Museum of Art
Evening dress, Mon. Vignon (French, ca. 1850-1910), 1875–78; Gift of Mary Pierrepont Beckwith, 1969 (C.I69.14.12a, b). Photo: Anna-Marie Kellen © The Metropolitan Museum of Art
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解析藏在佈置、標題的巧思
本次展覽由位於布魯克林的 Peterson Rich Office 的 Miriam Peterson 和 Nathan Rich 設計，旨在透過佈置方式突顯時尚的地位。在 Condé M. Nast Galleries 展廳的高天花板房間內（亦有一個低天花板房間），服裝將展示於 6 英尺高的基座上，藝術品則會嵌入這些基座之中。Bolton 說：「當你走進去時，你的視線會立即向上看，並會先看到服裝。」
藝術家 Samar Hejazi 也帶來有力的設計，他特別為模特兒製作了鏡面的頭部，Bolton 說道：「我一直想嘗試縮短觀者與模特兒之間的距離。臉部是鏡子的模特兒，而你看到的是你自己。這部分是為了讓人反思，所觀看的身體有着怎樣的生活經驗，同時也反映你自身的生活經驗，促進觀眾的同理心與慈悲心。」此外，博物館將以真實身體為藍本展示服裝：「當你穿過展覽時，你會看到它們挑戰傳統規範，反過來呈現更多樣化的美。」
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The Mortal Body: Kyōsai sketchbook (Kyōsai manga) 暁斎漫画, Kawanabe Kyōsai 河鍋暁斎 (Japanese, 1831–1889), Meiji period (1868–1912), 1881 (Meiji 14); Purchase, Mary and James G. Wallach Foundation Gift, 2013 (2013.765). Photo © The Metropolitan Museum of Art
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Ensemble, Riccardo Tisci (Italian, born 1974) for House of Givenchy (French, founded 1952), fall/winter 2010–11, haute couture; Courtesy Givenchy. Photo © The Metropolitan Museum of Art
The Mortal Body: Kyōsai sketchbook (Kyōsai manga) 暁斎漫画, Kawanabe Kyōsai 河鍋暁斎 (Japanese, 1831–1889), Meiji period (1868–1912), 1881 (Meiji 14); Purchase, Mary and James G. Wallach Foundation Gift, 2013 (2013.765). Photo © The Metropolitan Museum of Art
Ensemble, Riccardo Tisci (Italian, born 1974) for House of Givenchy (French, founded 1952), fall/winter 2010–11, haute couture; Courtesy Givenchy. Photo © The Metropolitan Museum of Art
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《Costume Art》是 Bolton 首個沒有設想副標題的展覽，展覽名稱的簡潔性強化了其目標：時裝應被視為與藝術處於同一平面。事實上，就在兩週前，這個展覽名稱確實還有一個冒號和副標題。Bolton 解釋：「這個決定經過了非常、非常謹慎的思考。但後來我們把它拿掉了，就像脫掉緊身胸衣（Corset）一樣。」他接著說：「我想，這正是它應有的樣子。它大膽、強而有力，是一份意向的聲明。」他如此形容，這個目標「不是要創造一個新的等級制度，而是要解散那種等級制度」，並聚焦於藝術品與身體的平等。
「服裝藝術」展覽由 Jeff Bezos 和 Lauren Sánchez Bezos 擔任主要贊助人，並獲得 Saint Laurent 和 Condé Nast 贊助。展覽將於 2026 年 5 月 10 日開放至 2027 年 1 月 10 日，而開幕前將於 2026 年 5 月 4 日舉行大都會藝術博物館慈善晚宴（Met Gala），該晚宴將繼續為服裝學院的活動提供主要資金來源。
