The Met Celebrates Charles James, A Design Legend
By: Â Hope Wilkos, Writer/Blogger
The press line seemed to stretch for miles as we all anxiously awaited what was surely to be one of the most memorable afternoons in May. It was all taking place in the fashionable setting of the Metropolitan Museum of Art.  Mother Nature seemed to understand the importance as well, giving us seasonable temperatures and warm rays of sunshine overpowering the clouds.
We were all here on the steps of the Metropolitan Museum of Art to celebrate the genius of ‘Charles James: Beyond Fashion.‘ This was a remembrance of a truly genuine and creative designer of his time, a role model and mentor to those that followed in his footsteps designing couture fashion.
Entering the darkened hallways of the museum and making our way down the steps to one of the areas where the exhibition was held, I could only gasp in awe at the beauty of each of these gorgeous gowns specially designed for ladies of stature and sophistication. Â Beneath each of the finely formed fabrics and the crinolines was a sensational story waiting to be told. Â Charles James had a very successful couturier career from 1906-1978. Â Here in this newest exhibition, his life of fashion design will unfold for all to witness for themselves from May 8 – August 10, 2014. Attendees will meaningfully explore his total design process, the use of sculptural, scientific and mathematical approaches to construct revolutionary ball gowns and his innovative tailoring skills.
With over 65 of James’ finest designs on display, the exhibition is shown in the new Anna Wintour Costume Center and the  museum’s exhibition galleries on the first floor. The main gallery shines a dramatic light on some of the most exquisite gowns of all time.  They include the “Clover Leaf”, “Butterfly”, “Tree” and “Swan.”
“Charles James was a wildly idiosyncratic, emotionally fraught fashion genius, who was also committed to teaching, “said Harold Koda, Curator in Charge of The Costume Institute. “He dreamt that his lifetime of personal creative evolution and the continuous metamorphosis of his designs would be preserved as a study resource for students. In our renovated galleries, we will fulfill his goal and illuminate his design process as a synthesis of dressmaking, art, math and science.”
Programmed light projectors with pan/tilt heads and robotic boom arms direct the visitor’s eye to the area of the gown the digital content explores. Analytical animations, text, x-rays, and vintage images tell the story of each gown’s intricate construction and history. Mirrored walls tagged with James’s quotes create an infinity repeat surrounding the sea of silk and velvet.
Those with a love of the work of Charles James are given an opportunity to see jewelry maquettes, scrapbooks, and accessories–including hats representing James’s early work as a milliner–and other materials from his personal and design archives. A white satin eiderdown evening jacket, widely regarded as the first puffer coat, sits in the center of the room.
A book, Charles James: Beyond Fashion, by Harold Koda and Jan Glier Reeder with a preface by Ralph Rucci and contributions by Costume Institute Conservators Sarah Scaturro and Glenn Petersen, accompanies the exhibition. This publication is illustrated with new photography of James designs, including details highlighting the materials, construction, and conservation of the pieces, as well as rarely seen vintage photographs from the designer’s archive. Published by The Metropolitan Museum of Art, the $50 catalogue (hardcover only) has 264 pages and 330 color illustrations. It is distributed by Yale University Press.
There is much more that is going on as part of this tantalizing tribute to the designer.  Public programs presented in conjunction with the exhibition include a Sunday at the Met on June 22 focusing on the seductive appeal of Charles James’s creations; a three-session studio workshop on draping, darting, fitting, and creating movement with cloth beginning May 3; a Drop-in Drawing focusing on drapery in ancient sculpture on July 18; and artist demonstrations and workshops with fashion design professionals on July 26. There will also be an exhibition-related workshop for visitors who are blind or partially sighted on June 12. For more information, please visit metmuseum.org/events.
This fashion exhibition was made possible by AERIN and additional support was provided by Condé Nast.
The excitement didn’t end when the afternoon came to a glorious end.  This was just the beginning of the festivities.  With this exhibition, it also marked the opening of the new Anna Wintour Costume Center with expansive areas to hold fashion exhibitions going forward and an atmosphere conducive to some of the most outstanding fashion history to be displayed for the public. There was a two-year renovation that took place and a complete reconfiguration that led up to these final moments.  The Center incorporates major technological, structural, and mechanical upgrades to allow for maximum design flexibility and the future growth of the department. “When visitors enter the Anna Wintour Costume Center and its Lizzie and Jonathan Tisch Gallery, they will see a more open space with the flexibility to be completely transformed for future exhibitions,†said Thomas P. Campbell, Director and CEO of the Met. “Gone is the fixed vitrine design; we now have a totally malleable gallery giving us unlimited possibilities for creative interpretation.â€
As the sun began to go down, the Red Carpet began to fill with some of the most prestigious celebrities, all eager to make a fashion statement.  It is customary to hold the big Met Gala on the first Monday in May of each year.  It coincides with the opening of the new fashion exhibition, and this year, with the opening of the new Anna Wintour Costume Center space.  The evening’s Chair was Aerin Lauder.  Co-Chairs were Bradley Cooper, Oscar de la Renta, Sarah Jessica Parker, Lizzie and Jonathan Tisch, and Anna Wintour. The décor for the 2014 Costume Institute Gala Benefit was produced by Raul Avila for the eighth consecutive year.  This gala event is The Costume Institute’s main source of annual funding for exhibitions, acquisitions and capital improvements. It is always a glorious event that so many New Yorkers look forward to.
The crowd went wild as the stars arrived in gorgeous gowns by some of the highly respected designers of our era.  Emilio Pucci on Leighton Meester, Dolce & Gabbana on Kate Upton, Michael Kors on Zoe Saldana and Lily Aldridge, Marc Jacobs on Dita Von Teese and Amanda Peet, Rodarte on Shailene Woodley, Oscar de la Renta on Claire Danes, Karlie Kloss and Ivanka Trump, Valentino on Kate Mara, Tommy Hilfiger on Zoey Deschanel and Lake Bell, Gucci on Blake Lively, Balenciaga on Kristen Wiig and Gisele Bundchen, Givenchy on Naomi Campbell, Stella McCartney attending in person with her designs shown on Cara Delevingne and Kate Bosworth, Vera Wang on Joan Smalls.  Special moments were made with all-star couples such as John Legend and Chrissy Teigen, Jay-Z and Beyonce and Kim and Kanye.  The belle of the ball had to be Sarah Jessica Parker herself in a magnificent gown meant to compliment her position as co-chair of the evening festivities. The merriment continued into the early morning hours as after-parties rang out throughout the city.
The fashions, the exhibition, the smiles of the stars are all symbolic on this special day in the month of May that comes round every year. Now it is time for all the fashion lovers to see for themselves the beauty of Charles James and all that he contributed to fashion during his time.
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