Review: What exactly is camp? Hard to define, but it does involve feathers.
“Camp: Notes on Fashion” at the Metropolitan Museum of Art’s Costume Institute runs through Sept. 8. By Robin Givhan Robin Givhan Fashion critic Email Bio Follow Fashion critic May 10 at 9:00 AM The most challenging aspect of “Camp: Notes on Fashion,” the spring exhibition at the Metropolitan Museum of Art’s Costume Institute, will probably be getting folks comfortable with the idea that a single concept can have multiple, fluid, imprecise definitions.
Camp is so many things that the author Susan Sontag, in an effort to explain it in her “Notes on ‘Camp’ ” from 1964, offers 58 bullet points on it. Her essay serves as the foundational document for the exhibition, which runs through Sept. 8. Camp is not costume, although costumes can certainly be camp. So many gala guests failed to make this distinction. Katy Perry’s chandelier dress was arguably a costume, even though it was designed by Jeremy Scott for Moschino. His entire collected oeuvre — at Moschino and at his own label — is the epitome of camp and features prominently in the exhibit. Camp should have a gloss of high glamour even though it may be undergirded by mass culture.
There are sparkling costumes worn by Cher and Liberace, as well as a float of a dress by Scott that looks like a human-size TV dinner — featuring meatloaf as the main course. Of the contemporary designers included, most are men. Women, perhaps, are less enamored of camp. Or, they are simply underrepresented — as is often the case. The outré expressions of style from the realm of rap are also missing.
Today, camp may mostly be an expression of fun, but it’s hard not to consider the difficult route to getting to that freedom. To look at a Thom Browne black tuxedo with a white wedding dress affixed to its back sets your mind spinning through the history of same-sex marriage and LGBTQ rights.
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