The First Monday in May | |
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Directed by | Andrew Rossi |
Produced by |
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Music by | |
Distributed by | Magnolia Pictures |
Release date |
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Running time | 90 minutes |
Country | United States |
The First Monday in May is a 2016 documentary film directed by Andrew Rossi. [1] [2] The film follows the creation of the Metropolitan Museum of Art's most attended fashion exhibit in history: the 2015 art exhibition China: Through the Looking Glass by curator Andrew Bolton at New York's Metropolitan Museum of Art. [1] [3] [4]
The documentary was produced by Fabiola Beracasa Beckman, Dawn Ostroff and Sylvana Ward Durrett and distributed by Magnolia Pictures. [5]
The First Monday in May chronicles a year's worth of preparations for the Chinese-inspired fashion exhibit China: Through the Looking Glass and the gala which accompanied the exhibit. [5] [6] The exhibit featured 150 garments from 40 designers. [7] Andrew Bolton, the chief curator at the Costume Institute, conceptualizes and designs the Metropolitan Museum of Art Gala with Anna Wintour. [2] The Met Gala, the Costume Institute's annual event, is a multimillion-dollar fundraiser. [1] The film also depicts Wintour's daily life and questions fashion as art. [8] [9] As of 2016 [update] , China: Through the Looking Glass is the most visited exhibit in the Costume Institute's history and one of the most visited exhibitions in the entire history of the Metropolitan Museum of Art. [1] [7]
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The First Monday in May was first shown on April 13, 2016, as the opening film of the 2016 Tribeca Film Festival. [2] [3] [10]
The First Monday in May was received mostly positively by critics, though some noted that the documentary expressed little criticism for its subjects, and was more focused on merely displaying the spectacle of the event. Review aggregator website Rotten Tomatoes reports an approval rating of 77% based on 60 reviews, with the site's critics' consensus reading: "[The] First Monday in May may not resonate far beyond its target demographic, but for fashion aficionados, it should prove utterly absorbing." [11] The film received a lower rating from Metacritic of 57 (mixed or average), based on 19 reviews. [12]
Writing in The Guardian , film critic Peter Bradshaw gave the film two out of five stars, writing that the documentary was "glossy, but frankly somewhat saucer-eyed", and that despite the admirable "star power" brought by the documentary's subjects, "there is obviously a huge amount of status envy going on; the film does not care to break that down too thoroughly, save for a single witnessed wisecrack about poor old Josh Hartnett." Bradshaw also noted that John Galliano's "recent disgrace" was only fleetingly alluded to, and treated with some degree of denial. [13] The film was reviewed more positively in The Observer by critic Wendy Ide, who gave the film four out of five stars, writing that Wintour's presence was "compelling". [14]
The film was also given two stars by critic Mark Dujisk, who also noted that the film's introduction of "the debate about fashion's status as Art in the documentary's opening scenes" was soon moved past, and though returned to later in the film, remained unsatisfactory: "Later, Rossi returns to the dispute in a bit more detail (mostly by juxtaposing interviews with fashion designers who are of opposing opinions on the subject), but by that point, it doesn't matter. The movie has answered the question for itself, and it has moved on to its real purpose: to offer an inside look at the creation of the Costume Institute's 2015 exhibit about fashions inspired by Chinese culture." [15] Time Out magazine awarded the movie four out of five stars, rated "Recommended", with critic Kate Lloyd opining that though the access granted by the documentary to the event was "captivating", the film's most compelling aspect was the exhibition being put together itself, rather than questions posed in the film's introduction about the place of fashion and celebrity in a museum: "The clothes [Bolton]'s picking are beautiful, but the majority of them are by white Western designers who openly admit to being inspired by movies and a fantasy of [China's] women, thus appropriating its culture." Lloyd also noted that both Bolton and Wintour were shown being challenged by journalists and the exhibition's collaborators - both majority Chinese - for "playing into orientalism and stereotyping", and concluded that "whether Rossi knows it or not, this is one of the most compelling discussions of appropriation and the ignorance of the fashion world in ages." [16]
Writing in IndieWire, journalist Kimber Myers commented that: ""The First Monday in May" also tries to answer accusations of vapidity in the fashion world by addressing a large number of issues, including cultural sensitivity, Orientalism and feminism. It's a sometimes ambitious offering, but it never really fully explores the topics it raises...Like a gown that has one too many decorative elements, "The First Monday in May" has just a little too much going on in its exploration of the Met Gala and the Costume Institute. Though it delves into a number of topics beyond fashion, it refrains from breaking through the glossy surface." Myers commented on a "particularly telling scene" wherein a Chinese journalist queried how the country would be presented in the exhibit, which both Wintour and Bolton "awkwardly [attempted] to answer", and pointed out in particular the "constant emphasis on how the exhibit is a "fantasized vision of China," which is supposed to explain why most of the designs shown are from American and European designers". However, more positively, Myers lauded Wintour's depiction in the film as a celebrated feminist trailblazer, "who wouldn't be as criticized for her ambition and demeanor if she were a man." [17]
Patricia Field is an American costume designer, stylist, and fashion designer working in New York City.
Peter Lindbergh was a German fashion photographer and film director.
Pietra Brettkelly is a New Zealand filmmaker, known for her documentaries. She is a documentary filmmaker submitted three times for Oscar consideration, a member of The Academy of Motion Pictures Arts and Sciences, and was recently named an Arts Laureate of New Zealand. Her films have premiered in five of the world's top six film festivals – Sundance, Toronto, Venice, Berlin and Tribeca Film Festivals – and have garnered many awards. She is known for her independent, risk-taking style, which has taken her to many different countries. She approaches her subjects' lives with a "quiet" demeanor and "non-judgmental" attitude, allowing her to capture and document real stories.
Andrew Rossi is an American filmmaker, known for directing and writing The Andy Warhol Diaries (2022).
The Met Gala or Met Ball, formally called the Costume Institute Gala or the Costume Institute Benefit, is an annual fundraising gala held for the benefit of the Metropolitan Museum of Art's Costume Institute in New York City. The Met Gala is popularly regarded as the world's most prestigious and glamorous fashion event and social gathering and is known as "fashion's biggest night"; an invitation is highly sought after. Personalities who are perceived to be culturally relevant to contemporary society amongst various professional spheres, including fashion, film, television, music, theater, business, sports, social media, and politics, are invited to attend the Met Gala, organized by the fashion magazine Vogue.
Alexander McQueen: Savage Beauty was an art exhibition held in 2011 at the Metropolitan Museum of Art featuring clothing created by British fashion designer Alexander McQueen, as well as accessories created for his runway shows. The exhibit was extremely popular in New York City and resulted in what was then record attendance for the museum. The curators were Andrew Bolton and Harold Koda.
PUNK: Chaos to Couture is a 2013 non-fiction book by Andrew Bolton, with an introduction by Andrew Bolton, an introduction by Jon Savage, and prefaces by Richard Hell and John Lydon, the "catalog of the exhibition held at the Metropolitan Museum of Art, New York, May 9 - August 14, 2013'.
The Anna Wintour Costume Center is a wing of the Metropolitan Museum of Art main building in Manhattan that houses the collection of the Costume Institute, a curatorial department of the museum focused on fashion and costume design. The center is named after Anna Wintour, the longtime editor-in-chief of Vogue, Chief Content Officer of Condé Nast, and chair of the museum's annual Met Gala since 1995. It was endowed by Lizzie and Jonathan Tisch. As of August 2017, the chief curator is Andrew Bolton.
Fabiola Beracasa Beckman is a film and television producer, philanthropist and socialite. She was born in Caracas, Venezuela. Beracasa Beckman is co-owner of The Hole Gallery, an art gallery in New York City.
China: Through the Looking Glass was a fashion and art exhibition held from May 7 through August 16, 2015, at the Metropolitan Museum of Art focusing on the impact of Chinese design on Western fashion over the centuries. It was curated by Andrew Bolton with support from Harold Koda). Nathan Crowley was responsible for production design.
Andrew John Bolton is a British museum curator and current head curator of the Anna Wintour Costume Center at the Metropolitan Museum of Art in New York City.
Bryan Sarkinen is an American cinematographer, best known for shooting documentaries such as The First Monday in May (2016).
Harold Koda is an American fashion scholar, curator, and the former curator-in-chief of the Anna Wintour Costume Center at the Metropolitan Museum of Art.
Sylvana Ward Durrett was director of special projects at Vogue, responsible for organising the Met Gala for eight years, and is co-founder and CEO of Maisonette.
Drum & Lace is an electronic trip-hop composer from Florence, Italy. Formed in 2013, their music is written, scored, recorded, and produced by Sofia Hultquist. Hultquist is best known for co-composing the soundtrack to The First Monday in May with Ian Hultquist, and for composition and sound design in fashion, film, and media.
Wendy Yu is a Chinese heiress, investor, patron of the arts, and philanthropist. She is the founder of Yu Holdings and the first Asian contributor to Vogue.
Camp: Notes on Fashion was the 2019 high fashion art exhibition of the Anna Wintour Costume Center, a wing of the Metropolitan Museum of Art in New York that houses the collection of the Costume Institute.
Heavenly Bodies: Fashion and the Catholic Imagination was the 2018 high fashion art exhibition of the Anna Wintour Costume Center, a wing of the Metropolitan Museum of Art (MMA) which houses the collection of the Costume Institute.
In America: A Lexicon of Fashion was a 2021–2022 high fashion art exhibition of the Anna Wintour Costume Center, a wing of the Metropolitan Museum of Art (MMA), which houses the collection of the Costume Institute. Approximately 100 men’s and women’s ensembles by a diverse range of designers from the 1940s to the present are featured. Along with ensembles, various dresses, sweaters, jackets, jumpsuits, bodysuits, coats, smocks, capes, quilts, and a flag were showcased as part of the exhibit. Enclosed in scrimmed cases that represent three-dimensional "patches" of a quilt, they are organized into 12 sections that explore defining emotional qualities: Nostalgia, Belonging, Delight, Joy, Wonder, Affinity, Confidence, Strength, Desire, Assurance, Comfort, and Consciousness.
In America: An Anthology of Fashion is the 2022 high fashion art exhibition of the Anna Wintour Costume Center, a wing of the Metropolitan Museum of Art (MMA) which houses the collection of the Costume Institute. It is the piece of a two-part exhibit that explores fashion in the United States. This exhibit highlights stylistic narratives and histories of the American Wing Period. Each immersive period rooms reflect America from the 1700s to the 1970s and captures men's and women's fashion. The rooms also display America's domestic life and the influences of cultures, politics, and style at each period.