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(indistinct shouting
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from photographers)
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(indistinct shouting)
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Photographer:
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Hold that right there, please.
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(indistinct shouting continues)
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Anna Wintour: The Met stairs,
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you know,
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that famous red carpet,
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has grown in spectacle
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over the years.
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It's a kind of theater.
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(man speaks indistinctly)
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Fashion can create a dream,
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create a fantasy.
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But there might be some
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questions about
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whether fashion belongs
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in a museum like the Met.
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Photographer 2: Rihanna!
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(indistinct shouting continues)
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(elevator dings)
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Some people have a very 19th
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century idea of what art is.
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There are people
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within the museum
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who still dismiss fashion.
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Thomas Campbell: When I
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started off as a curator,
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art was considered to be
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painting, architecture
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and sculpture.
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Anything outside of that
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was decorative arts and,
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quite frankly,
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looked down on.
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Costume and fashion being
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one example of that.
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Wintour: The museum is
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its own little world,
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its own little city.
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Some more old-fashioned
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traditionalists
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are used to things being done
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in a certain way and
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maybe a Costume Institute
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makes them a bit uncomfortable.
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Harold Koda: Physically,
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the Costume Institute is
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subterranean.
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And so the psychology of it
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has always been that
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we were in the north sector...
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in a basement.
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It was not seen, really,
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as an art area.
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(indistinct conversation)
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Andrew Bolton:
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Fashion is still considered
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more in the female domain
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than something like painting.
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I think that's the reason
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why some people
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are quick to dismiss
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fashion as art.
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Koda: Fashion seemed
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frivolous and trivial
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to the 19th century attitudes
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about fine art.
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But it's laden with concepts,
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aesthetic principals,
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the most refined techniques...
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Everything that we subject
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the criteria of art to.
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We're about clothing
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as art works.
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Wintour: It's rare to find
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someone so creative,
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that they can change the way
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you look at an art form.
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But McQueen definitely did.
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Newsreader: Our top story:
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Alexander McQueen
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has been found dead
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apparently committing suicide
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at his London flat.
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Newsreader 2: Brilliant
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and controversial
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fashion designer...
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Newsreader 3: The bad boy of
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British fashion died an icon.
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An inspirational designer
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who helped transform
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the fashion industry.
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Newsreader 4: They were shutting
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down his shops today,
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and there were people fleeing
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his shops crying.
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(bagpipes playing)
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(cameras clicking)
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Campbell:
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It was the immediate aftermath
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of McQueen's suicide...
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Andrew came to me and said that
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he had been thinking about
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an exhibition.
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Tom was reluctant initially.
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He felt it was a bit ghoulish.
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There needed to be some time
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before we did an exhibition
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of McQueen.
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Wintour:
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A lot of people felt that
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an exhibition may not be
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appropriate so soon after he,
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he died in such
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an awful way,
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but Andrew is a real visionary,
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and our job is to help him
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execute his creative genius.
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Campbell:
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The combination of the objects,
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the very theatrical
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mise-en-scène,
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the sound...
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(sound of rushing air)
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There was an immersive
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component to the exhibition
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that took it to a new level.
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The degree to which the show
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became a phenomenon...
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None of us
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were prepared for that.
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People queuing around
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the museum.
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It hasn't happened
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for many years.
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Wintour:
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It touched a chord in people
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that I'd never seen before.
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Campbell: It redefined
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exhibition-making in museums.
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Bolton: "Savage Beauty"
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was the turning point
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in terms of how art critics
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began to view fashion,
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and the first time they did
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begin to see it as an art form.
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When you're confronted
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by genius,
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it speaks to everybody.
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McQueen was one of the most
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provocative designers,
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but I always saw this
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incredible beauty
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about his work
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and this deep romance.
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He always tried to tap into
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this juncture between
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beauty and ugliness and terror.
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And he had that ability
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to use clothes to move you.
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The McQueen show has become
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a little bit
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of an albatross in a way...
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A millstone around my neck.
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Because it's the show
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that every show that
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I've done subsequently
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is measured against.
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Invariably the reviews
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in The New York Times...
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"Not as good as
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the McQueen show."
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And it's sort of...
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disappointing to read that
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in print
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because every show
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has its own momentum.
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I remember being at school,
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and we had a career adviser.
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They went
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around the class saying,
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you know,
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"What's your ideal job?"
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And I said
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my ideal job would be
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curator in the
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Costume Institute of the Met.
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And I was about 17.
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It really was
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a dream come true.
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I was just so seduced
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by the romance
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of getting lost
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in the museum and
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finding objects that
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you weren't expecting.
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But my overwhelming emotion was
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just being intimidated by
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the museum and the curators.
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I felt a bit of a fraud as well,
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to be honest.
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I felt as if I was gonna get
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found out really quickly
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that I wasn't actually
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meant to be doing the job.
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I still feel a bit like that.
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This show that we're currently
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curating is called
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"China:
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Through the Looking Glass."
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It's a collaboration between
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the Costume Institute
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and the
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Department of Asian Art.
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We want to show how
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Western fashion designers
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look to China for inspiration.
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There is this ongoing dialogue
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between the East and the West.
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And fashion is easier
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to understand
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than language itself.
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Every show I do
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is quite personal
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and I'm so tired of hearing how
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McQueen is the most successful
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show we've ever done.
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It would be nice if China
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was able
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to knock it off its pedestal.
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Bolton: It's like the
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Great Wall of China.
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(Wintour chuckles)
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- Let's start at the beginning
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- Wintour: Wow!
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- Wintour:
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- It's huge. Yeah.
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Bolton: We have a
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whole section based on
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blue and white porcelain.
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Starting with a really early one
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from Molyneux from the 20s.
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- And then Sarah's from...
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- Wintour: They were amazing.
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Bolton: This is Guo Pei,
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a Chinese designer.
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Cavalli, Karl, Rodarte...
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That leads into
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St. Laurent's Chinese collection
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- and his Opium scent.
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- Okay.
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We're borrowing one of those
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from the St. Laurent archive.
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But the big presence really
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is John's Chinese collection
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for Dior.
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Oh, wow!
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Look at the fullness.
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Love his tailoring.
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Bolton: Galliano is a designer
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who is difficult to unpack.
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Because he's collaging
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all these ideas
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into a particular collection.
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He's taken the idea of
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the 18th Century panier,
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which is normally at the side
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of the gown,
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and twisted it around
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so its frontal.
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He's doing so many references
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to the Bowery, the Queen Mother.
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Eighteenth century,
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Peking opera, Kabuki.
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He's an amazing storyteller
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on the level of
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fantasy and romance.
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So I wanted to interview John
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because he looks at China
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constantly for inspiration.
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What surprised me was how
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consistent China was as
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an inspiration in your work
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and I just wanted to find out,
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why China?
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I think it was
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that sense of mystery and...
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...danger, but only danger that
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you've got that feeling
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through portrayals
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from Hollywood.
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There's mixtures of Chinese
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opera, geisha
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and the Queen Mother...
297
00:13:13,502 --> 00:13:17,172
I don't think I set out to
298
00:13:13,502 --> 00:13:17,172
recreate China.
299
00:13:17,506 --> 00:13:20,509
As you can see,
300
00:13:17,506 --> 00:13:20,509
I certainly didn't achieve it.
301
00:13:21,843 --> 00:13:23,554
So, it was a fantasized...
302
00:13:24,596 --> 00:13:26,348
...vision of China.
303
00:13:31,603 --> 00:13:34,356
A fictional character develops,
304
00:13:35,982 --> 00:13:37,984
and I kinda, like,
305
00:13:35,982 --> 00:13:37,984
start living it,
306
00:13:38,026 --> 00:13:39,194
breathing it.
307
00:13:40,779 --> 00:13:44,115
Paint the picture who she is,
308
00:13:40,779 --> 00:13:44,115
how she looks by candle light.
309
00:13:44,157 --> 00:13:46,868
Can you smell that
310
00:13:44,157 --> 00:13:46,868
powdery lipstick?
311
00:13:51,749 --> 00:13:55,252
I like to express my emotion
312
00:13:51,749 --> 00:13:55,252
through the cut.
313
00:13:56,169 --> 00:13:57,629
Each time you cut a fabric,
314
00:13:57,671 --> 00:14:00,507
it's a different
315
00:13:57,671 --> 00:14:00,507
relationship you have to it.
316
00:14:00,549 --> 00:14:03,510
It can be like
317
00:14:00,549 --> 00:14:03,510
mercurial liquid oil.
318
00:14:04,177 --> 00:14:06,930
Or like licorice.
319
00:14:08,599 --> 00:14:11,602
The creative process
320
00:14:08,599 --> 00:14:11,602
is my meditation.
321
00:14:13,437 --> 00:14:16,147
Playing with textures
322
00:14:13,437 --> 00:14:16,147
and shapes and volumes...
323
00:14:16,981 --> 00:14:19,234
That's something that I love.
324
00:14:21,737 --> 00:14:23,071
And because of that,
325
00:14:23,530 --> 00:14:27,534
I am able to
326
00:14:23,530 --> 00:14:27,534
to even think about
327
00:14:27,576 --> 00:14:32,372
going back into an industry
328
00:14:27,576 --> 00:14:32,372
where I've become an outcast.
329
00:14:34,165 --> 00:14:38,670
That fantasy world that
330
00:14:34,165 --> 00:14:38,670
I create is an escape for me.
331
00:14:39,296 --> 00:14:41,506
(indistinct chatter)
332
00:14:53,727 --> 00:14:55,395
Bolton: John weaves these
333
00:14:55,895 --> 00:14:57,939
very personal
334
00:14:58,440 --> 00:15:02,277
and seemingly bizarre narratives
335
00:14:58,440 --> 00:15:02,277
into his fashion.
336
00:15:06,239 --> 00:15:09,033
It's quite easy to dismiss
337
00:15:06,239 --> 00:15:09,033
fashion designer's
338
00:15:09,075 --> 00:15:11,077
engagement with China,
339
00:15:11,119 --> 00:15:13,246
as being inauthentic.
340
00:15:16,500 --> 00:15:19,586
But I want to focus on these
341
00:15:16,500 --> 00:15:19,586
works of art that are
342
00:15:19,628 --> 00:15:23,674
extraordinary examples of
343
00:15:19,628 --> 00:15:23,674
a designer's imagination.
344
00:15:25,801 --> 00:15:28,261
You think about someone
345
00:15:25,801 --> 00:15:28,261
like Saint Laurent...
346
00:15:28,804 --> 00:15:32,140
He absolutely changed
347
00:15:28,804 --> 00:15:32,140
the course of fashion history.
348
00:15:46,655 --> 00:15:49,741
There's about 2,000 pieces
349
00:15:46,655 --> 00:15:49,741
in total haute couture?
350
00:15:49,783 --> 00:15:51,242
I think it's more.
351
00:15:51,576 --> 00:15:54,120
- Between 5,000 and 6,000.
352
00:15:51,576 --> 00:15:54,120
- Six thousand.
353
00:16:01,211 --> 00:16:03,213
- So beautiful...
354
00:16:01,211 --> 00:16:03,213
- It's a Mondrian.
355
00:16:03,254 --> 00:16:04,464
You've got so many of them.
356
00:16:04,506 --> 00:16:07,008
Yeah, we have different
357
00:16:04,506 --> 00:16:07,008
versions.
358
00:16:07,050 --> 00:16:08,259
Bolton: The Mondrian dress,
359
00:16:09,636 --> 00:16:10,721
with the idea of lining up
360
00:16:09,636 --> 00:16:10,721
the stripes.
361
00:16:10,762 --> 00:16:12,222
It's such tour de force,
362
00:16:10,762 --> 00:16:12,222
isn't it?
363
00:16:12,556 --> 00:16:13,932
Bolton: It looks very easy.
364
00:16:14,265 --> 00:16:15,975
It's such a complicated thing
365
00:16:14,265 --> 00:16:15,975
to achieve.
366
00:16:16,017 --> 00:16:17,352
It's so radical.
367
00:16:18,812 --> 00:16:20,480
Do you have the '71?
368
00:16:20,522 --> 00:16:22,858
- Seventy-one fur, yeah!
369
00:16:20,522 --> 00:16:22,858
- You do.
370
00:16:22,900 --> 00:16:24,067
Yeah. Okay.
371
00:16:25,694 --> 00:16:27,111
Bolton: The craftsmanship that
372
00:16:25,694 --> 00:16:27,111
went Saint Laurent's clothes,
373
00:16:27,153 --> 00:16:29,656
his usage of embroidery,
374
00:16:27,153 --> 00:16:29,656
the element of camp...
375
00:16:29,698 --> 00:16:30,657
It's iconic.
376
00:16:32,075 --> 00:16:33,243
Bolton: They are unquestionably
377
00:16:32,075 --> 00:16:33,243
works of art.
378
00:16:33,284 --> 00:16:35,704
Oh, my goodness,
379
00:16:33,284 --> 00:16:35,704
I haven't seen that before.
380
00:16:35,746 --> 00:16:36,996
It's very modern.
381
00:16:37,038 --> 00:16:38,456
Unbelievable.
382
00:16:39,624 --> 00:16:42,377
Bolton: I see so much
383
00:16:39,624 --> 00:16:42,377
magic still in fashion.
384
00:16:44,128 --> 00:16:45,881
It's just overwhelming.
385
00:16:45,923 --> 00:16:47,215
A dream come true.
386
00:16:48,884 --> 00:16:50,093
(chuckles)
387
00:16:54,681 --> 00:16:57,058
Bolton: I grew up in
388
00:16:54,681 --> 00:16:57,058
a small town in England.
389
00:16:58,727 --> 00:17:03,732
And the only access
390
00:16:58,727 --> 00:17:03,732
I had to fashion were
391
00:17:03,774 --> 00:17:06,401
star magazines,
392
00:17:03,774 --> 00:17:06,401
emerging in the 80s.
393
00:17:09,613 --> 00:17:11,281
I just missed
394
00:17:09,613 --> 00:17:11,281
the punk movement.
395
00:17:11,322 --> 00:17:13,867
The first movement that
396
00:17:11,322 --> 00:17:13,867
I really engaged with
397
00:17:13,909 --> 00:17:15,076
was New Romanticism.
398
00:17:16,411 --> 00:17:18,580
Which was all about
399
00:17:16,411 --> 00:17:18,580
gender blurring.
400
00:17:24,753 --> 00:17:27,046
I remember seeing people
401
00:17:24,753 --> 00:17:27,046
on the streets
402
00:17:27,088 --> 00:17:28,381
thinking how they looked like
403
00:17:28,423 --> 00:17:30,258
they'd arrived
404
00:17:28,423 --> 00:17:30,258
from another planet.
405
00:17:32,928 --> 00:17:34,596
But also how brave they were.
406
00:17:36,807 --> 00:17:41,269
I was so impressed by the power
407
00:17:36,807 --> 00:17:41,269
of fashion
408
00:17:41,311 --> 00:17:44,397
to confront gender
409
00:17:41,311 --> 00:17:44,397
and sexuality.
410
00:17:47,358 --> 00:17:49,444
That's never left me, anyway.
411
00:17:50,862 --> 00:17:54,240
You're still that little kid
412
00:17:50,862 --> 00:17:54,240
from Lancashire who...
413
00:17:54,950 --> 00:17:56,785
...is totally in awe.
414
00:18:12,091 --> 00:18:15,012
Ah, Lawrence,
415
00:18:12,091 --> 00:18:15,012
where is Singh, please?
416
00:18:15,637 --> 00:18:18,181
- Lawrence:
417
00:18:15,637 --> 00:18:18,181
- Okay.
418
00:18:32,153 --> 00:18:34,197
Wintour:
419
00:18:32,153 --> 00:18:34,197
The Costume Institute and Vogue
420
00:18:34,238 --> 00:18:35,782
have a long history together.
421
00:18:37,450 --> 00:18:40,119
Diana Vreeland actually ran it
422
00:18:37,450 --> 00:18:40,119
after she left Vogue.
423
00:18:40,495 --> 00:18:42,455
Please don't stand there!
424
00:18:43,957 --> 00:18:46,626
Wintour: We have one major party
425
00:18:43,957 --> 00:18:46,626
every year
426
00:18:47,002 --> 00:18:50,505
to raise funds for
427
00:18:47,002 --> 00:18:50,505
the Costume Institute.
428
00:18:51,130 --> 00:18:52,465
The party supports
429
00:18:52,507 --> 00:18:56,720
our operating budget
430
00:18:52,507 --> 00:18:56,720
for the entire year.
431
00:18:57,971 --> 00:19:01,432
Koda: The Met Gala
432
00:18:57,971 --> 00:19:01,432
was the invention of
433
00:19:01,474 --> 00:19:04,268
this small group of
434
00:19:01,474 --> 00:19:04,268
fashion professionals.
435
00:19:05,228 --> 00:19:06,688
It was relatively small,
436
00:19:06,730 --> 00:19:08,857
but the department itself
437
00:19:06,730 --> 00:19:08,857
was very small.
438
00:19:09,858 --> 00:19:11,735
Bolton: Anna's taking it
439
00:19:09,858 --> 00:19:11,735
to a different level,
440
00:19:11,776 --> 00:19:15,238
in terms of the money that
441
00:19:11,776 --> 00:19:15,238
she's raised over the years.
442
00:19:15,279 --> 00:19:18,199
$120 million
443
00:19:15,279 --> 00:19:18,199
for our department alone.
444
00:19:18,783 --> 00:19:20,827
Michelle Obama:
445
00:19:18,783 --> 00:19:20,827
Thanks to Anna's contributions,
446
00:19:20,869 --> 00:19:22,662
the exhibits at
447
00:19:20,869 --> 00:19:22,662
the Costume Institute
448
00:19:22,704 --> 00:19:26,249
have drawn hundreds
449
00:19:22,704 --> 00:19:26,249
of thousands of visitors
450
00:19:26,290 --> 00:19:28,668
to this great American museum.
451
00:19:28,710 --> 00:19:30,670
(applause)
452
00:19:38,803 --> 00:19:41,389
Since Anna Wintour has
453
00:19:38,803 --> 00:19:41,389
taken over the Met ball,
454
00:19:41,765 --> 00:19:45,769
it has become the Super Bowl of
455
00:19:41,765 --> 00:19:45,769
social fashion events.
456
00:19:46,394 --> 00:19:47,604
It starts with months
457
00:19:46,394 --> 00:19:47,604
of preparations,
458
00:19:47,645 --> 00:19:49,147
not just for the exhibit,
459
00:19:49,188 --> 00:19:51,399
but for the actual Met Gala.
460
00:19:52,984 --> 00:19:56,362
Woman: We're starting to plan
461
00:19:52,984 --> 00:19:56,362
for the gala,
462
00:19:56,404 --> 00:19:58,615
starting to organize
463
00:19:56,404 --> 00:19:58,615
with everything.
464
00:19:58,656 --> 00:20:00,533
Do we want to talk
465
00:19:58,656 --> 00:20:00,533
about guest count right now?
466
00:20:00,575 --> 00:20:03,536
I think we should keep
467
00:20:00,575 --> 00:20:03,536
the number as low
468
00:20:03,578 --> 00:20:04,829
as we possibly can.
469
00:20:04,871 --> 00:20:05,580
We were 608 last year.
470
00:20:06,623 --> 00:20:07,498
Okay,
471
00:20:06,623 --> 00:20:07,498
we're gonna start with 500.
472
00:20:07,540 --> 00:20:09,126
- Five hundred.
473
00:20:07,540 --> 00:20:09,126
- Five hundred.
474
00:20:09,167 --> 00:20:10,376
Five hundred.
475
00:20:11,795 --> 00:20:12,545
And everybody is cutting
476
00:20:11,795 --> 00:20:12,545
their numbers, right, Harold?
477
00:20:13,964 --> 00:20:15,590
- Do we need to talk about it?
478
00:20:13,964 --> 00:20:15,590
- Yeah, we're trying.
479
00:20:15,924 --> 00:20:18,176
There is the issue of
480
00:20:15,924 --> 00:20:18,176
our partnership with
481
00:20:18,217 --> 00:20:19,803
the Chinese Department...
482
00:20:20,178 --> 00:20:21,429
That's another...
483
00:20:21,471 --> 00:20:23,347
We really have to keep
484
00:20:21,471 --> 00:20:23,347
the numbers down
485
00:20:23,389 --> 00:20:24,849
and also the free seats.
486
00:20:25,266 --> 00:20:28,686
There must be another way
487
00:20:25,266 --> 00:20:28,686
that we can accommodate people.
488
00:20:30,480 --> 00:20:31,648
You'll figure it out.
489
00:20:33,024 --> 00:20:37,946
Anna is meticulously
490
00:20:33,024 --> 00:20:37,946
vetting every single thing,
491
00:20:37,988 --> 00:20:40,949
from the napkins, to the forks,
492
00:20:37,988 --> 00:20:40,949
to the lighting...
493
00:20:42,117 --> 00:20:44,410
The detail of the flowers,
494
00:20:42,117 --> 00:20:44,410
the detail of the ushers,
495
00:20:44,452 --> 00:20:45,578
the way they're dressed.
496
00:20:46,830 --> 00:20:48,081
Everything has been vetted
497
00:20:46,830 --> 00:20:48,081
by her for months
498
00:20:48,123 --> 00:20:49,582
and weeks and months and weeks.
499
00:20:49,624 --> 00:20:54,129
Okay, is there going to be
500
00:20:49,624 --> 00:20:54,129
somebody literally here?
501
00:20:54,171 --> 00:20:55,463
We have two people here.
502
00:20:55,505 --> 00:20:57,007
Will there be
503
00:20:55,505 --> 00:20:57,007
someone there too?
504
00:20:57,048 --> 00:21:00,051
Yes, we have
505
00:20:57,048 --> 00:21:00,051
literally an army up here.
506
00:21:00,093 --> 00:21:02,929
It's a full battle squad.
507
00:21:05,807 --> 00:21:07,475
André Leon Talley:
508
00:21:05,807 --> 00:21:07,475
She has her legions,
509
00:21:07,517 --> 00:21:09,769
her generals,
510
00:21:07,517 --> 00:21:09,769
who work at Vogue.
511
00:21:09,811 --> 00:21:13,314
Hi, girls, the plan today
512
00:21:09,811 --> 00:21:13,314
is just to walk through
513
00:21:13,356 --> 00:21:15,608
the path that our guests
514
00:21:13,356 --> 00:21:15,608
are gonna be taking,
515
00:21:15,942 --> 00:21:18,528
and also to place you
516
00:21:15,942 --> 00:21:18,528
in your positions.
517
00:21:18,569 --> 00:21:20,155
So if you could make
518
00:21:18,569 --> 00:21:20,155
your way up the stairs,
519
00:21:20,197 --> 00:21:21,739
just stagger yourselves, girls.
520
00:21:21,781 --> 00:21:23,992
Please scatter a few steps up.
521
00:21:26,577 --> 00:21:28,454
Talley:
522
00:21:26,577 --> 00:21:28,454
Now, the Met is a place
523
00:21:28,496 --> 00:21:31,166
that you consider
524
00:21:28,496 --> 00:21:31,166
very, very correct.
525
00:21:31,582 --> 00:21:33,251
Very formal.
526
00:21:33,292 --> 00:21:35,336
Anna has taken that
527
00:21:33,292 --> 00:21:35,336
out of the Met.
528
00:21:37,421 --> 00:21:38,673
Photographer: Happy!
529
00:21:56,440 --> 00:21:57,817
Sylvana Ward Durrett:
530
00:21:56,440 --> 00:21:57,817
We have Dave Franco,
531
00:21:57,859 --> 00:21:59,485
and then who's the other one
532
00:21:57,859 --> 00:21:59,485
you were saying?
533
00:21:59,527 --> 00:22:01,154
Josh Hartnett.
534
00:22:01,196 --> 00:22:03,156
What has he done lately?
535
00:22:01,196 --> 00:22:03,156
Nothing.
536
00:22:03,573 --> 00:22:04,949
You guys are set.
537
00:22:04,991 --> 00:22:07,785
You have great
538
00:22:04,991 --> 00:22:07,785
carpet material right now.
539
00:22:09,120 --> 00:22:10,580
Yeah, you have Kendall!
540
00:22:12,916 --> 00:22:17,420
Michael Kors has
541
00:22:12,916 --> 00:22:17,420
Liz Banks and Kate Hudson.
542
00:22:17,461 --> 00:22:19,380
Prada has Emily Blunt.
543
00:22:19,756 --> 00:22:22,133
Ralph has Anne Hathaway.
544
00:22:22,175 --> 00:22:24,219
Versace has JLo.
545
00:22:24,635 --> 00:22:28,181
Beyoncé, Kim and Kanye,
546
00:22:28,598 --> 00:22:31,726
Rihanna, Kara,
547
00:22:32,435 --> 00:22:33,519
Amber Heard,
548
00:22:33,561 --> 00:22:35,188
Chastain, Julianne Moore...
549
00:22:35,230 --> 00:22:38,399
All of those people are us,
550
00:22:35,230 --> 00:22:38,399
I believe, right?
551
00:22:38,441 --> 00:22:39,692
Woman: Yes.
552
00:22:40,151 --> 00:22:41,319
They want to come?
553
00:22:41,360 --> 00:22:43,154
- We're not completely sure yet.
554
00:22:41,360 --> 00:22:43,154
- Okay.
555
00:22:43,196 --> 00:22:45,907
Baz Luhrmann: As an icon,
556
00:22:43,196 --> 00:22:45,907
Anna is very unique.
557
00:22:46,449 --> 00:22:48,451
On the face of it,
558
00:22:46,449 --> 00:22:48,451
she's the editor
559
00:22:48,492 --> 00:22:51,454
of a very powerful
560
00:22:48,492 --> 00:22:51,454
American-based magazine.
561
00:22:52,496 --> 00:22:57,752
She's the artistic director
562
00:22:52,496 --> 00:22:57,752
of a whole stable of magazines.
563
00:22:58,711 --> 00:23:03,591
But that is not really the
564
00:22:58,711 --> 00:23:03,591
power of Anna Wintour.
565
00:23:05,969 --> 00:23:08,554
Anna's gift
566
00:23:05,969 --> 00:23:08,554
is bringing culture,
567
00:23:08,596 --> 00:23:10,723
both high and low,
568
00:23:11,308 --> 00:23:12,683
to cross-fertilize.
569
00:23:13,310 --> 00:23:14,727
- Hi, guys!
570
00:23:13,310 --> 00:23:14,727
- Hey, Anna!
571
00:23:14,769 --> 00:23:16,520
- You ready?
572
00:23:14,769 --> 00:23:16,520
- Totally.
573
00:23:16,562 --> 00:23:18,439
Okay, let's see the walk.
574
00:23:20,066 --> 00:23:24,570
The Met Gala is a celebration of
575
00:23:20,066 --> 00:23:24,570
a multi-cultural moment.
576
00:23:25,280 --> 00:23:28,283
Pop and fine art mix in
577
00:23:25,280 --> 00:23:28,283
the Metropolitan Museum.
578
00:23:29,200 --> 00:23:31,577
Luhrmann: You can have an
579
00:23:29,200 --> 00:23:31,577
acting icon next to
580
00:23:31,619 --> 00:23:34,122
a musical icon,
581
00:23:31,619 --> 00:23:34,122
next to a political icon.
582
00:23:34,705 --> 00:23:37,083
It's like a giant aquarium
583
00:23:34,705 --> 00:23:37,083
on that night.
584
00:23:38,251 --> 00:23:41,171
Durrett: A lot of thought goes
585
00:23:38,251 --> 00:23:41,171
into who sits next to who.
586
00:23:41,629 --> 00:23:43,298
If they sat next to each other
587
00:23:41,629 --> 00:23:43,298
last year.
588
00:23:43,340 --> 00:23:45,675
If they sat next to each other
589
00:23:43,340 --> 00:23:45,675
at other events.
590
00:23:46,050 --> 00:23:48,803
So much goes into it.
591
00:23:46,050 --> 00:23:48,803
It's shocking.
592
00:23:49,470 --> 00:23:51,389
A lot of power-brokering.
593
00:23:51,722 --> 00:23:54,684
Alex has six seats,
594
00:23:51,722 --> 00:23:54,684
he's bringing
595
00:23:54,725 --> 00:23:56,978
Gaga, Miley, Zoe.
596
00:23:57,478 --> 00:23:58,896
Here's Tory.
597
00:23:58,938 --> 00:23:59,772
Durrett: Ah-hah.
598
00:24:00,773 --> 00:24:02,025
She's looking for
599
00:24:00,773 --> 00:24:02,025
one other guy.
600
00:24:02,359 --> 00:24:05,320
And then Ricardo is
601
00:24:02,359 --> 00:24:05,320
down here with Jessica,
602
00:24:05,362 --> 00:24:07,989
Julianne and Beyoncé.
603
00:24:08,365 --> 00:24:09,532
So that's that.
604
00:24:10,950 --> 00:24:13,286
What Anna has done is
605
00:24:10,950 --> 00:24:13,286
understood that high fashion,
606
00:24:13,328 --> 00:24:17,665
I mean, the most extraordinary
607
00:24:13,328 --> 00:24:17,665
expression of this medium,
608
00:24:18,082 --> 00:24:21,127
when it's paired
609
00:24:18,082 --> 00:24:21,127
with celebrity,
610
00:24:21,169 --> 00:24:23,171
becomes something
611
00:24:21,169 --> 00:24:23,171
bigger than both.
612
00:24:24,797 --> 00:24:27,508
And that is
613
00:24:24,797 --> 00:24:27,508
what happens on the red carpet.
614
00:24:28,509 --> 00:24:32,347
When you see Rihanna
615
00:24:28,509 --> 00:24:32,347
in a couture gown,
616
00:24:32,763 --> 00:24:34,265
it's transcendent.
617
00:24:35,558 --> 00:24:38,477
Talley:
618
00:24:35,558 --> 00:24:38,477
Each celebrity has been chosen
619
00:24:38,519 --> 00:24:41,272
to wear a gown by designers.
620
00:24:41,605 --> 00:24:43,024
It's like assignments.
621
00:24:43,900 --> 00:24:45,735
The Met, for me, means a lot.
622
00:24:45,776 --> 00:24:47,486
It's the only red carpet I do.
623
00:24:48,196 --> 00:24:50,823
Riccardo Tisci: Each designer
624
00:24:48,196 --> 00:24:50,823
brings his own muse.
625
00:24:51,324 --> 00:24:54,369
A singer, a friend,
626
00:24:51,324 --> 00:24:54,369
a model, an actress.
627
00:24:54,994 --> 00:24:58,539
You bring the person that most
628
00:24:54,994 --> 00:24:58,539
represents your aesthetic.
629
00:24:59,790 --> 00:25:02,585
Koda: That attention all accrues
630
00:25:02,626 --> 00:25:04,962
to the reputation
631
00:25:02,626 --> 00:25:04,962
of the museum.
632
00:25:06,839 --> 00:25:08,383
I thought he wasn't coming.
633
00:25:08,425 --> 00:25:10,551
I know, but then he decided
634
00:25:08,425 --> 00:25:10,551
he wanted to come.
635
00:25:10,885 --> 00:25:13,763
Okay. Can he not be on his
636
00:25:10,885 --> 00:25:13,763
cell phone the entire time then?
637
00:25:13,804 --> 00:25:15,890
- Mm-hmmm.
638
00:25:13,804 --> 00:25:15,890
- Maybe send him that message.
639
00:25:16,391 --> 00:25:17,808
Loud and clear.
640
00:25:17,850 --> 00:25:20,186
- Who's that?
641
00:25:17,850 --> 00:25:20,186
- These are the two H&M people.
642
00:25:21,020 --> 00:25:23,064
Wintour:
643
00:25:21,020 --> 00:25:23,064
We shouldn't bury this table.
644
00:25:23,564 --> 00:25:24,899
Seriously.
645
00:25:25,483 --> 00:25:27,485
- Yes.
646
00:25:25,483 --> 00:25:27,485
- That's not fair.
647
00:25:27,526 --> 00:25:29,028
- Okay.
648
00:25:27,526 --> 00:25:29,028
- Okay?
649
00:25:29,570 --> 00:25:31,322
And then who are these people?
650
00:25:31,364 --> 00:25:34,575
Those are people who
651
00:25:31,364 --> 00:25:34,575
I'm hoping will go away.
652
00:25:37,370 --> 00:25:38,621
Okay.
653
00:26:00,477 --> 00:26:02,895
The exhibition, "China through
654
00:26:00,477 --> 00:26:02,895
the Looking Glass,"
655
00:26:02,937 --> 00:26:04,814
will present
656
00:26:02,937 --> 00:26:04,814
an image of China
657
00:26:04,855 --> 00:26:06,983
that is a fabulous invention.
658
00:26:07,650 --> 00:26:09,360
Often film is the first lens
659
00:26:09,402 --> 00:26:12,405
through Western designers
660
00:26:09,402 --> 00:26:12,405
encounter Chinese imagery.
661
00:26:13,656 --> 00:26:16,700
And the exhibition will explore
662
00:26:13,656 --> 00:26:16,700
the impact of movies
663
00:26:16,742 --> 00:26:18,661
in shaping their fantasies.
664
00:26:26,710 --> 00:26:30,714
The film perhaps that's had the
665
00:26:26,710 --> 00:26:30,714
greatest influence on designers,
666
00:26:30,756 --> 00:26:33,176
is Wong Kar Wai's
667
00:26:30,756 --> 00:26:33,176
In the Mood for Love.
668
00:26:36,137 --> 00:26:38,473
No one has made the chi-pao
669
00:26:36,137 --> 00:26:38,473
look quite as beautiful
670
00:26:38,515 --> 00:26:40,766
on screen as Wong Kar Wai.
671
00:26:44,728 --> 00:26:46,147
In the Mood for Love,
672
00:26:46,189 --> 00:26:49,275
I would see it many times
673
00:26:46,189 --> 00:26:49,275
and I love it.
674
00:26:49,984 --> 00:26:53,988
It was like a truly,
675
00:26:49,984 --> 00:26:53,988
like, beautiful gesture.
676
00:26:54,030 --> 00:26:55,948
The colors were fantastic.
677
00:26:56,491 --> 00:26:59,618
It's after that that I did
678
00:26:56,491 --> 00:26:59,618
my Chinese collection.
679
00:26:59,660 --> 00:27:02,038
I think is must be like
680
00:26:59,660 --> 00:27:02,038
one year after.
681
00:27:05,333 --> 00:27:07,751
It's good even not
682
00:27:05,333 --> 00:27:07,751
to go to the country!
683
00:27:08,169 --> 00:27:10,338
It's better, I think,
684
00:27:08,169 --> 00:27:10,338
like to see through a book,
685
00:27:10,380 --> 00:27:13,216
or to see all movie,
686
00:27:10,380 --> 00:27:13,216
on the souvenir you have.
687
00:27:14,592 --> 00:27:16,553
Bolton: We thought Kar Wai was
688
00:27:14,592 --> 00:27:16,553
the right choice
689
00:27:16,594 --> 00:27:19,847
to be the artistic director
690
00:27:16,594 --> 00:27:19,847
of the exhibition.
691
00:27:21,849 --> 00:27:23,351
Bolton: We're working on
692
00:27:21,849 --> 00:27:23,351
the exhibition
693
00:27:23,393 --> 00:27:24,810
design concepts still.
694
00:27:24,852 --> 00:27:26,770
We're having the films
695
00:27:24,852 --> 00:27:26,770
be the filter
696
00:27:26,812 --> 00:27:30,483
between the art objects
697
00:27:26,812 --> 00:27:30,483
and the high fashions.
698
00:27:30,525 --> 00:27:31,984
Sometimes directly related,
699
00:27:32,026 --> 00:27:34,862
and sometimes more of
700
00:27:32,026 --> 00:27:34,862
a metaphorical device.
701
00:27:37,407 --> 00:27:40,577
I would love the films
702
00:27:37,407 --> 00:27:40,577
to be projected,
703
00:27:40,618 --> 00:27:43,079
so that they're almost these
704
00:27:40,618 --> 00:27:43,079
spectral figures
705
00:27:43,120 --> 00:27:44,539
throughout the show.
706
00:27:46,123 --> 00:27:49,210
Because I don't think this show
707
00:27:46,123 --> 00:27:49,210
will have a linear narrative.
708
00:27:49,710 --> 00:27:53,339
Now the structure of the show
709
00:27:49,710 --> 00:27:53,339
is more like a Chinese garden.
710
00:27:53,381 --> 00:27:57,718
You have an entrance,
711
00:27:53,381 --> 00:27:57,718
but then you're free to walk.
712
00:27:57,760 --> 00:27:59,220
That's a really good point.
713
00:27:59,845 --> 00:28:02,515
Kar Wai:
714
00:27:59,845 --> 00:28:02,515
So, I would use this medium
715
00:28:02,557 --> 00:28:06,852
to create a continuity
716
00:28:02,557 --> 00:28:06,852
and, also, the expression.
717
00:28:12,316 --> 00:28:14,527
Bolton: There's two venues
718
00:28:12,316 --> 00:28:14,527
for the exhibition.
719
00:28:14,569 --> 00:28:16,613
We have
720
00:28:14,569 --> 00:28:16,613
the Costume Institute galleries
721
00:28:16,654 --> 00:28:17,947
in the basement of the museum,
722
00:28:17,988 --> 00:28:20,032
and then we also have
723
00:28:17,988 --> 00:28:20,032
the Chinese galleries
724
00:28:20,074 --> 00:28:21,742
on the second floor.
725
00:28:23,578 --> 00:28:24,912
The Chinese galleries
726
00:28:24,954 --> 00:28:26,038
themselves weren't designed
727
00:28:24,954 --> 00:28:26,038
for costumes,
728
00:28:27,373 --> 00:28:28,874
they were designed for
729
00:28:27,373 --> 00:28:28,874
flat works of art.
730
00:28:28,916 --> 00:28:30,751
So incorporating costume
731
00:28:28,916 --> 00:28:30,751
within them
732
00:28:30,793 --> 00:28:33,087
is challenging,
733
00:28:30,793 --> 00:28:33,087
to say the least!
734
00:28:33,921 --> 00:28:35,423
Mike Hearn: We have over
735
00:28:33,921 --> 00:28:35,423
50 galleries
736
00:28:35,465 --> 00:28:36,924
of Asian art at the Met,
737
00:28:38,551 --> 00:28:39,594
so it's probably the most
738
00:28:38,551 --> 00:28:39,594
comprehensive collection
739
00:28:39,636 --> 00:28:40,719
of Asian art anywhere.
740
00:28:42,305 --> 00:28:44,807
There are bigger collections of
741
00:28:42,305 --> 00:28:44,807
Chinese art in China obviously.
742
00:28:44,848 --> 00:28:48,269
There's better collections of
743
00:28:44,848 --> 00:28:48,269
Cambodian art in Cambodia.
744
00:28:48,603 --> 00:28:50,313
But we do a pretty good job.
745
00:28:52,690 --> 00:28:56,611
What I want to do is
746
00:28:52,690 --> 00:28:56,611
do these 20-foot plexi-rods of
747
00:28:56,653 --> 00:29:00,072
different sizes of that
748
00:28:56,653 --> 00:29:00,072
naturally bend and light them.
749
00:29:00,114 --> 00:29:01,658
So this is the first room
750
00:29:00,114 --> 00:29:01,658
that you see.
751
00:29:01,699 --> 00:29:03,284
Yes, bamboo forest.
752
00:29:03,326 --> 00:29:06,496
The bamboo platform comes
753
00:29:03,326 --> 00:29:06,496
all the way out here,
754
00:29:06,537 --> 00:29:07,705
then it turns.
755
00:29:07,955 --> 00:29:09,415
The height of the bamboo
756
00:29:07,955 --> 00:29:09,415
goes just underneath
757
00:29:09,457 --> 00:29:11,792
- the Arthur Sackler...
758
00:29:09,457 --> 00:29:11,792
- Bolton: Gallery.
759
00:29:12,502 --> 00:29:14,170
Nathan Crowley:
760
00:29:12,502 --> 00:29:14,170
As you walk to the great
761
00:29:14,211 --> 00:29:15,713
early Buddha sculpture hall,
762
00:29:15,754 --> 00:29:18,716
you are transported
763
00:29:15,754 --> 00:29:18,716
into another world.
764
00:29:19,175 --> 00:29:22,886
We tried to show Chinese art
765
00:29:19,175 --> 00:29:22,886
from the perspective
766
00:29:22,928 --> 00:29:24,972
of the Chinese themselves.
767
00:29:25,014 --> 00:29:26,599
It's not Disneyland.
768
00:29:27,057 --> 00:29:29,686
I'm gonna put a
769
00:29:27,057 --> 00:29:29,686
14-foot wide platform
770
00:29:29,727 --> 00:29:31,103
by 12-foot platform here.
771
00:29:31,145 --> 00:29:32,605
Cover this with a grey mirror.
772
00:29:32,647 --> 00:29:34,524
I think Mike thought it might
773
00:29:32,647 --> 00:29:34,524
look a bit too Disney.
774
00:29:34,565 --> 00:29:37,360
We're gonna have panels anyway.
775
00:29:34,565 --> 00:29:37,360
I think we just make them.
776
00:29:39,654 --> 00:29:41,614
Bolton: The curators in
777
00:29:39,654 --> 00:29:41,614
the Asian Art Department
778
00:29:41,656 --> 00:29:42,823
were worried about
779
00:29:44,408 --> 00:29:45,075
some of the topics
780
00:29:44,408 --> 00:29:45,075
the exhibition was addressing.
781
00:29:46,452 --> 00:29:49,497
It opens up debates
782
00:29:46,452 --> 00:29:49,497
about colonialism,
783
00:29:49,955 --> 00:29:51,290
Orientalism,
784
00:29:51,332 --> 00:29:54,877
which could be interpreted
785
00:29:51,332 --> 00:29:54,877
as being racist.
786
00:29:55,586 --> 00:29:56,754
Hearn: For the West,
787
00:29:58,255 --> 00:29:59,006
it didn't matter
788
00:29:58,255 --> 00:29:59,006
whether we're talking about
789
00:29:59,048 --> 00:29:59,882
China, Japan, Korea.
790
00:30:01,592 --> 00:30:03,636
All of that was somehow
791
00:30:01,592 --> 00:30:03,636
lumped together as "Oriental."
792
00:30:04,345 --> 00:30:07,306
And I think there's still
793
00:30:04,345 --> 00:30:07,306
a really strong sense
794
00:30:07,348 --> 00:30:09,975
that China has been
795
00:30:07,348 --> 00:30:09,975
taken advantage of,
796
00:30:10,017 --> 00:30:12,895
maybe misunderstood,
797
00:30:10,017 --> 00:30:12,895
by the West.
798
00:30:22,697 --> 00:30:24,281
Isn't this place marvelous?
799
00:30:24,907 --> 00:30:26,283
Look at those faces.
800
00:30:26,325 --> 00:30:28,077
Hindu, Chinese, Portuguese,
801
00:30:28,118 --> 00:30:29,828
Filipinos, Russians,
802
00:30:28,118 --> 00:30:29,828
Malaya.
803
00:30:29,870 --> 00:30:31,581
I didn't think such
804
00:30:29,870 --> 00:30:31,581
a place existed
805
00:30:31,622 --> 00:30:33,332
except in my own imagination.
806
00:30:34,333 --> 00:30:36,711
Bolton: So many designers
807
00:30:34,333 --> 00:30:36,711
reference China
808
00:30:36,753 --> 00:30:39,129
through the films of the 30s.
809
00:30:41,131 --> 00:30:43,342
It's the China
810
00:30:41,131 --> 00:30:43,342
that is the stereotype.
811
00:30:44,719 --> 00:30:47,513
And I want to sort of
812
00:30:44,719 --> 00:30:47,513
deconstruct those stereotypes.
813
00:30:47,555 --> 00:30:52,351
And tease out some of the
814
00:30:47,555 --> 00:30:52,351
complexities and the dangers,
815
00:30:53,561 --> 00:30:56,063
but also the romance of them,
816
00:30:53,561 --> 00:30:56,063
as well.
817
00:30:59,149 --> 00:31:02,528
Anna May Wong was
818
00:30:59,149 --> 00:31:02,528
a Hollywood starlet
819
00:31:02,570 --> 00:31:04,572
in the 30s and 40s,
820
00:31:04,614 --> 00:31:06,115
who was fated to play
821
00:31:06,156 --> 00:31:08,492
stereotypes of
822
00:31:06,156 --> 00:31:08,492
the Chinese woman.
823
00:31:10,578 --> 00:31:13,038
And it's either
824
00:31:10,578 --> 00:31:13,038
the Lotus Blossom,
825
00:31:14,331 --> 00:31:15,416
or the Dragon Lady,
826
00:31:17,000 --> 00:31:18,628
which is basically
827
00:31:17,000 --> 00:31:18,628
an Orientalized femme fatale.
828
00:31:18,669 --> 00:31:20,337
Don't do anything foolish.
829
00:31:20,379 --> 00:31:24,091
The Dragon Lady is a figure
830
00:31:20,379 --> 00:31:24,091
who projects our fears
831
00:31:24,133 --> 00:31:26,510
and desires and
832
00:31:24,133 --> 00:31:26,510
anxieties onto you.
833
00:31:28,262 --> 00:31:30,389
She is quasi-matriarchal,
834
00:31:30,431 --> 00:31:33,392
she is financially independent,
835
00:31:30,431 --> 00:31:33,392
she's sexually liberated.
836
00:31:34,435 --> 00:31:37,688
She in a way lends herself
837
00:31:34,435 --> 00:31:37,688
to a feminist interpretation...
838
00:31:38,981 --> 00:31:41,651
...because the Dragon Lady
839
00:31:38,981 --> 00:31:41,651
has become a way to represent
840
00:31:41,692 --> 00:31:42,860
any powerful woman.
841
00:31:44,445 --> 00:31:46,572
I though the gentleman in the
842
00:31:44,445 --> 00:31:46,572
black night gown was the boss.
843
00:31:46,614 --> 00:31:48,783
Who, Money Bags?
844
00:31:46,614 --> 00:31:48,783
He's an errand boy.
845
00:31:49,325 --> 00:31:51,452
The real boss is
846
00:31:49,325 --> 00:31:51,452
a remarkable lady,
847
00:31:51,494 --> 00:31:54,413
the most cold-blooded
848
00:31:51,494 --> 00:31:54,413
dragon you will ever meet.
849
00:31:54,455 --> 00:31:58,125
She'll devour you like a cat
850
00:31:54,455 --> 00:31:58,125
swallows a mouse.
851
00:32:11,972 --> 00:32:13,140
I've never seen
852
00:32:11,972 --> 00:32:13,140
anything like it.
853
00:32:13,182 --> 00:32:15,058
You walk in and this
854
00:32:13,182 --> 00:32:15,058
is what you see?
855
00:32:15,100 --> 00:32:16,560
It's not possible.
856
00:32:16,977 --> 00:32:18,395
This is the reception area?
857
00:32:18,437 --> 00:32:19,563
Man: This is when you walk in...
858
00:32:19,605 --> 00:32:20,356
The racks?
859
00:32:20,397 --> 00:32:22,107
I need to look at a plan.
860
00:32:22,149 --> 00:32:26,111
This is not what you want to see
861
00:32:22,149 --> 00:32:26,111
when people walk in.
862
00:32:26,153 --> 00:32:28,947
Okay, so this has to go. Xavier,
863
00:32:26,153 --> 00:32:28,947
are you listening to me?
864
00:32:28,989 --> 00:32:30,199
- Yes.
865
00:32:28,989 --> 00:32:30,199
- Okay.
866
00:32:30,240 --> 00:32:31,950
All this furniture here
867
00:32:30,240 --> 00:32:31,950
should go.
868
00:32:31,992 --> 00:32:33,243
Get rid of all that.
869
00:32:33,536 --> 00:32:35,454
It has to look like an area
870
00:32:33,536 --> 00:32:35,454
that you walk into.
871
00:32:35,496 --> 00:32:37,289
- That it's professional.
872
00:32:35,496 --> 00:32:37,289
- Yes.
873
00:32:37,331 --> 00:32:40,668
Not like a second-hand
874
00:32:37,331 --> 00:32:40,668
vintage store.
875
00:32:41,836 --> 00:32:43,754
No, no, no,
876
00:32:41,836 --> 00:32:43,754
in the closet.
877
00:32:45,297 --> 00:32:47,466
What about the lobby furniture?
878
00:32:47,508 --> 00:32:49,259
I didn't even look at that.
879
00:32:49,301 --> 00:32:51,428
This is making me feel
880
00:32:49,301 --> 00:32:51,428
violently ill.
881
00:32:51,470 --> 00:32:53,514
Take the whole thing out.
882
00:32:51,470 --> 00:32:53,514
It's horrible.
883
00:32:53,556 --> 00:32:55,224
It's just gonna give people
884
00:32:53,556 --> 00:32:55,224
a headache.
885
00:32:55,265 --> 00:32:57,434
Are we able to soften it
886
00:32:55,265 --> 00:32:57,434
a little bit so it's not...
887
00:32:57,476 --> 00:32:59,102
So it doesn't look like a disco.
888
00:33:02,022 --> 00:33:04,441
(indistinct speech)
889
00:33:05,025 --> 00:33:08,070
Let me say something about
890
00:33:05,025 --> 00:33:08,070
the Dragon Lady image.
891
00:33:08,946 --> 00:33:10,489
Anna has a public image.
892
00:33:10,531 --> 00:33:12,241
Hi, thank you for joining us.
893
00:33:12,282 --> 00:33:14,284
Anna Wintour, welcome to CNN.
894
00:33:14,326 --> 00:33:16,245
Luhrmann: A lot of that is
895
00:33:14,326 --> 00:33:16,245
absolutely true,
896
00:33:16,286 --> 00:33:19,957
but I do think that if
897
00:33:16,286 --> 00:33:19,957
Anna was a man,
898
00:33:20,332 --> 00:33:23,502
there might be
899
00:33:20,332 --> 00:33:23,502
less focus on that.
900
00:33:23,544 --> 00:33:25,880
Because of your success
901
00:33:23,544 --> 00:33:25,880
and your determination,
902
00:33:25,922 --> 00:33:28,507
you've earned a reputation of
903
00:33:25,922 --> 00:33:28,507
being intimidating.
904
00:33:28,549 --> 00:33:29,800
Is that unfair?
905
00:33:31,385 --> 00:33:33,763
Um, I think I'm decisive,
906
00:33:33,804 --> 00:33:35,472
and I like to get
907
00:33:33,804 --> 00:33:35,472
things done quickly,
908
00:33:35,806 --> 00:33:38,183
so if that comes across
909
00:33:35,806 --> 00:33:38,183
as intimidation,
910
00:33:38,225 --> 00:33:39,393
I'm sorry to hear it.
911
00:33:40,686 --> 00:33:42,646
There are so many
912
00:33:40,686 --> 00:33:42,646
different stereotypes and...
913
00:33:43,606 --> 00:33:44,648
I...
914
00:33:45,274 --> 00:33:48,318
...think if one is bothered
915
00:33:45,274 --> 00:33:48,318
by it,
916
00:33:48,986 --> 00:33:53,198
...it's a little bit fruitless
917
00:33:48,986 --> 00:33:53,198
because it's out there.
918
00:33:53,240 --> 00:33:54,658
Inevitably, I have to ask you
919
00:33:54,700 --> 00:33:56,577
just one question about
920
00:33:54,700 --> 00:33:56,577
Devil Wears Prada.
921
00:33:56,619 --> 00:33:58,454
A former assistant
922
00:33:56,619 --> 00:33:58,454
wrote the book,
923
00:33:58,495 --> 00:33:59,997
later turned into a movie.
924
00:34:00,372 --> 00:34:03,125
Do you feel that that
925
00:34:00,372 --> 00:34:03,125
was a breach of trust?
926
00:34:04,543 --> 00:34:06,044
Ah, well...
927
00:34:06,378 --> 00:34:07,755
It's part of life.
928
00:34:08,380 --> 00:34:09,882
Stereotypes always
929
00:34:08,380 --> 00:34:09,882
are going to exist,
930
00:34:09,924 --> 00:34:11,801
is what you do with them,
931
00:34:09,924 --> 00:34:11,801
what you make of them.
932
00:34:11,842 --> 00:34:14,344
I think that she brought
933
00:34:11,842 --> 00:34:14,344
attention to fashion,
934
00:34:14,386 --> 00:34:17,389
in a way... You can look at
935
00:34:14,386 --> 00:34:17,389
it in a negative way,
936
00:34:17,431 --> 00:34:18,766
or in a positive way.
937
00:34:18,808 --> 00:34:20,977
I choose to look at it
938
00:34:18,808 --> 00:34:20,977
in a positive way.
939
00:34:21,018 --> 00:34:24,104
In some ways, I think
940
00:34:21,018 --> 00:34:24,104
I should be grateful to her.
941
00:34:24,521 --> 00:34:27,608
Luhrmann: I've seen her recently
942
00:34:24,521 --> 00:34:27,608
play herself,
943
00:34:27,650 --> 00:34:30,945
and she plays the person
944
00:34:27,650 --> 00:34:30,945
everyone thinks she is.
945
00:34:32,154 --> 00:34:35,449
But it's a character.
946
00:34:32,154 --> 00:34:35,449
It's kind of her "work armor."
947
00:34:36,492 --> 00:34:39,495
(indistinct conversations)
948
00:34:40,454 --> 00:34:42,957
Man: There's an updated
949
00:34:40,454 --> 00:34:42,957
decor concept.
950
00:34:43,457 --> 00:34:46,627
We've floralized
951
00:34:43,457 --> 00:34:46,627
quite a lot of the design.
952
00:34:47,336 --> 00:34:49,546
This is one idea.
953
00:34:50,464 --> 00:34:52,508
And now this is the other.
954
00:34:52,549 --> 00:34:54,426
That might be a bit much
955
00:34:52,549 --> 00:34:54,426
for the carpet.
956
00:34:54,468 --> 00:34:56,386
I think that we can...
957
00:34:56,428 --> 00:34:57,680
- Tone it down.
958
00:34:56,428 --> 00:34:57,680
- Exactly.
959
00:34:59,097 --> 00:35:00,641
That's a lot of flowers.
960
00:34:59,097 --> 00:35:00,641
What are the flowers underneath?
961
00:35:01,517 --> 00:35:03,769
- Looks like wisteria.
962
00:35:01,517 --> 00:35:03,769
- It's wisteria, yes.
963
00:35:03,811 --> 00:35:05,145
Wisteria and bamboo.
964
00:35:05,187 --> 00:35:07,189
What about pale lilac rather...?
965
00:35:07,230 --> 00:35:08,565
We can do pale.
966
00:35:08,607 --> 00:35:10,233
Cause I think pale
967
00:35:08,607 --> 00:35:10,233
would look prettier
968
00:35:10,275 --> 00:35:11,986
with the blue
969
00:35:10,275 --> 00:35:11,986
than that dark color.
970
00:35:12,028 --> 00:35:14,404
- I don't like that combination.
971
00:35:12,028 --> 00:35:14,404
- With this color.
972
00:35:14,446 --> 00:35:16,073
- But pale.
973
00:35:14,446 --> 00:35:16,073
- Yes.
974
00:35:16,114 --> 00:35:18,826
- We can go back to this.
975
00:35:16,114 --> 00:35:18,826
- Yeah, we'll talk about it.
976
00:35:20,494 --> 00:35:22,204
- Temple of Dendur...
977
00:35:20,494 --> 00:35:22,204
- Wow...
978
00:35:22,245 --> 00:35:23,413
Don't know about that.
979
00:35:23,455 --> 00:35:24,790
Man: What aren't you sure of?
980
00:35:24,832 --> 00:35:27,376
I don't see how you can compete
981
00:35:24,832 --> 00:35:27,376
with the temple.
982
00:35:27,417 --> 00:35:29,336
Whatever you put there
983
00:35:27,417 --> 00:35:29,336
is gonna look fake.
984
00:35:29,670 --> 00:35:31,296
Man:
985
00:35:29,670 --> 00:35:31,296
There's very little we can do.
986
00:35:31,338 --> 00:35:33,215
This is gonna look like
987
00:35:31,338 --> 00:35:33,215
a Chinese restaurant.
988
00:35:34,717 --> 00:35:36,635
I just don't see how
989
00:35:34,717 --> 00:35:36,635
you can compete with that.
990
00:35:36,677 --> 00:35:38,595
- Yeah, no.
991
00:35:36,677 --> 00:35:38,595
- I mean it's, well...
992
00:35:38,929 --> 00:35:40,806
If it was at night,
993
00:35:38,929 --> 00:35:40,806
you have more of a chance.
994
00:35:40,848 --> 00:35:41,807
Yeah.
995
00:35:43,017 --> 00:35:44,560
So my advice is,
996
00:35:43,017 --> 00:35:44,560
I would keep to the bridge,
997
00:35:44,601 --> 00:35:46,520
- I'd definitely do the lilies.
998
00:35:44,601 --> 00:35:46,520
- Bolton: The lilies.
999
00:35:46,562 --> 00:35:49,857
And some decoration and then
1000
00:35:46,562 --> 00:35:49,857
some Chinese-type furniture.
1001
00:35:50,691 --> 00:35:51,817
Okay, thank you.
1002
00:36:04,121 --> 00:36:06,707
Bolton: We haven't yet finalized
1003
00:36:04,121 --> 00:36:06,707
the design of the exhibition.
1004
00:36:07,041 --> 00:36:09,292
We're end of December
1005
00:36:07,041 --> 00:36:09,292
at the moment,
1006
00:36:09,334 --> 00:36:11,503
so that's pretty late,
1007
00:36:09,334 --> 00:36:11,503
in fact, it's very late.
1008
00:36:14,965 --> 00:36:16,508
Campbell:
1009
00:36:14,965 --> 00:36:16,508
One of the big challenges
1010
00:36:16,550 --> 00:36:18,552
is the short time period
1011
00:36:16,550 --> 00:36:18,552
in which
1012
00:36:18,594 --> 00:36:20,679
we are pulling
1013
00:36:18,594 --> 00:36:20,679
the exhibition together.
1014
00:36:21,097 --> 00:36:23,891
It's the largest costume
1015
00:36:21,097 --> 00:36:23,891
exhibition we've ever done.
1016
00:36:25,601 --> 00:36:27,519
I really want the pace
1017
00:36:25,601 --> 00:36:27,519
to change
1018
00:36:27,561 --> 00:36:29,312
when you go through,
1019
00:36:27,561 --> 00:36:29,312
so I like the fact that
1020
00:36:29,354 --> 00:36:31,690
this is quieter
1021
00:36:29,354 --> 00:36:31,690
and more reflective.
1022
00:36:31,732 --> 00:36:32,775
And here,
1023
00:36:34,192 --> 00:36:35,778
- it's just sensory overload.
1024
00:36:34,192 --> 00:36:35,778
- It's just a drawing.
1025
00:36:35,819 --> 00:36:36,653
Bolton:
1026
00:36:35,819 --> 00:36:36,653
It's proving difficult,
1027
00:36:38,155 --> 00:36:40,699
not just because of the size
1028
00:36:38,155 --> 00:36:40,699
and scope of the exhibition,
1029
00:36:41,075 --> 00:36:43,410
but there's a lot of
1030
00:36:41,075 --> 00:36:43,410
conceptual challenges
1031
00:36:43,452 --> 00:36:44,870
and political hurdles.
1032
00:36:45,203 --> 00:36:47,915
(speaking Chinese)
1033
00:36:47,957 --> 00:36:49,541
Bolton: They're constantly being
1034
00:36:47,957 --> 00:36:49,541
brought up
1035
00:36:49,583 --> 00:36:51,168
by the Asian Art Department.
1036
00:36:51,209 --> 00:36:52,419
Probably this one...
1037
00:36:53,754 --> 00:36:54,880
Hearn: What is key for
1038
00:36:53,754 --> 00:36:54,880
the success of all of this
1039
00:36:54,922 --> 00:36:56,715
is that there is some
1040
00:36:54,922 --> 00:36:56,715
conversation with
1041
00:36:56,757 --> 00:37:00,510
the Chinese works of art, so
1042
00:36:56,757 --> 00:37:00,510
that it is not just wallpaper.
1043
00:37:01,929 --> 00:37:04,222
I think bringing
1044
00:37:01,929 --> 00:37:04,222
Western fashion
1045
00:37:04,264 --> 00:37:06,142
into the Chinese galleries
1046
00:37:06,558 --> 00:37:09,103
could be perceived as
1047
00:37:06,558 --> 00:37:09,103
a misinterpretation of
1048
00:37:09,145 --> 00:37:12,564
who the Chinese are,
1049
00:37:09,145 --> 00:37:12,564
what Chinese culture is about.
1050
00:37:12,606 --> 00:37:14,858
- (elevator dings)
1051
00:37:12,606 --> 00:37:14,858
- (indistinct speech)
1052
00:37:20,530 --> 00:37:23,909
This area is fashion
1053
00:37:20,530 --> 00:37:23,909
inspired by Imperial China.
1054
00:37:24,409 --> 00:37:25,661
So the idea is
1055
00:37:25,911 --> 00:37:28,288
the Chinese objects will be
1056
00:37:25,911 --> 00:37:28,288
in the perimeters
1057
00:37:28,330 --> 00:37:29,790
in the cases and
1058
00:37:28,330 --> 00:37:29,790
the fashion's in the middle,
1059
00:37:29,832 --> 00:37:32,250
that's the constant
1060
00:37:29,832 --> 00:37:32,250
you can see throughout.
1061
00:37:32,626 --> 00:37:35,545
We put a color theme
1062
00:37:32,626 --> 00:37:35,545
to each of these rooms
1063
00:37:35,587 --> 00:37:38,507
by using a light source
1064
00:37:35,587 --> 00:37:38,507
around those objects.
1065
00:37:38,548 --> 00:37:41,301
So we go from blue
1066
00:37:38,548 --> 00:37:41,301
probably to gold
1067
00:37:41,343 --> 00:37:43,720
and over to red.
1068
00:37:43,762 --> 00:37:46,264
The different light
1069
00:37:43,762 --> 00:37:46,264
colors the rooms.
1070
00:37:46,306 --> 00:37:48,517
Is that a bit rainbow?
1071
00:37:49,852 --> 00:37:50,769
Maybe...
1072
00:37:52,188 --> 00:37:52,896
Bolton: You don't want to be
1073
00:37:52,188 --> 00:37:52,896
fighting with the objects.
1074
00:37:54,481 --> 00:37:55,816
It'd be nice if it was a very
1075
00:37:54,481 --> 00:37:55,816
subtle glow because otherwise,
1076
00:37:55,858 --> 00:37:57,776
your eyes are being dilated
1077
00:37:55,858 --> 00:37:57,776
by the light in the--
1078
00:37:57,818 --> 00:37:59,820
You don't want it to look
1079
00:37:57,818 --> 00:37:59,820
like an amusement park.
1080
00:37:59,862 --> 00:38:00,946
Yeah.
1081
00:38:02,656 --> 00:38:03,699
All right, let's go on.
1082
00:38:04,033 --> 00:38:06,785
So now we go
1083
00:38:04,033 --> 00:38:06,785
into the bamboo forest,
1084
00:38:06,827 --> 00:38:09,621
so we moved on and become
1085
00:38:06,827 --> 00:38:09,621
a little more surreal,
1086
00:38:09,663 --> 00:38:11,748
by using lit plexi-rod.
1087
00:38:12,249 --> 00:38:15,169
It transfers the light
1088
00:38:12,249 --> 00:38:15,169
all the way through the rod.
1089
00:38:15,627 --> 00:38:17,629
I'm hoping over 20 foot
1090
00:38:18,214 --> 00:38:20,090
it would still maintain
1091
00:38:18,214 --> 00:38:20,090
a lot of that light.
1092
00:38:20,507 --> 00:38:21,717
Bolton: That's great.
1093
00:38:22,425 --> 00:38:23,677
And you're okay, Mike?
1094
00:38:25,095 --> 00:38:27,014
What we want to be careful about
1095
00:38:25,095 --> 00:38:27,014
is just making sure that
1096
00:38:27,056 --> 00:38:30,350
between the costumes
1097
00:38:27,056 --> 00:38:30,350
and the bamboo forest,
1098
00:38:30,767 --> 00:38:33,729
that we don't completely
1099
00:38:30,767 --> 00:38:33,729
obscure the sculptures there.
1100
00:38:34,354 --> 00:38:36,065
My goal is just
1101
00:38:34,354 --> 00:38:36,065
to make sure that
1102
00:38:36,106 --> 00:38:37,941
the Chinese objects
1103
00:38:36,106 --> 00:38:37,941
really look their best,
1104
00:38:37,983 --> 00:38:40,527
and that they aren't
1105
00:38:37,983 --> 00:38:40,527
overshadowed or
1106
00:38:41,070 --> 00:38:43,488
demeaned by whatever
1107
00:38:41,070 --> 00:38:43,488
we do design-wise.
1108
00:38:43,530 --> 00:38:45,615
But obviously for the run
1109
00:38:43,530 --> 00:38:45,615
of this exhibition,
1110
00:38:45,657 --> 00:38:47,826
those objects are
1111
00:38:45,657 --> 00:38:47,826
going to be not...
1112
00:38:47,868 --> 00:38:49,786
They're gonna be
1113
00:38:47,868 --> 00:38:49,786
less accessible.
1114
00:38:50,453 --> 00:38:53,040
But there's plenty of other
1115
00:38:50,453 --> 00:38:53,040
things for people to see.
1116
00:38:53,874 --> 00:38:56,585
I generally like the idea,
1117
00:38:53,874 --> 00:38:56,585
but I just want to
1118
00:38:56,626 --> 00:38:59,671
exercise as much discretion
1119
00:38:56,626 --> 00:38:59,671
as possible,
1120
00:38:59,713 --> 00:39:01,798
so that nobody comes around
1121
00:38:59,713 --> 00:39:01,798
and just says
1122
00:39:01,840 --> 00:39:05,677
we're using Chinese art
1123
00:39:01,840 --> 00:39:05,677
as just a stage prop.
1124
00:39:07,888 --> 00:39:09,514
In the architectural drawings,
1125
00:39:09,556 --> 00:39:11,892
I created all these sight lines
1126
00:39:09,556 --> 00:39:11,892
to the artwork.
1127
00:39:12,559 --> 00:39:14,728
I think there's 700 rods.
1128
00:39:16,272 --> 00:39:17,522
Do you think we need that many?
1129
00:39:17,981 --> 00:39:20,442
Yeah, I think we might need to
1130
00:39:17,981 --> 00:39:20,442
go to a thousand.
1131
00:39:21,277 --> 00:39:23,779
Well, yeah, but it takes
1132
00:39:21,277 --> 00:39:23,779
a lot to fill a room,
1133
00:39:23,820 --> 00:39:25,864
and your room is enormous.
1134
00:39:25,906 --> 00:39:29,576
At first, I thought
1135
00:39:25,906 --> 00:39:29,576
we'd need 3,000 so...
1136
00:39:31,661 --> 00:39:34,164
Which seems like a lot,
1137
00:39:31,661 --> 00:39:34,164
but it's not.
1138
00:39:40,129 --> 00:39:42,839
Are these tablecloths all
1139
00:39:40,129 --> 00:39:42,839
going to be different colors?
1140
00:39:42,881 --> 00:39:44,883
Yes, so these tablecloths
1141
00:39:42,881 --> 00:39:44,883
are going to be
1142
00:39:44,925 --> 00:39:48,428
- the colors of the cushions.
1143
00:39:44,925 --> 00:39:48,428
- Yeah, I like those colors.
1144
00:39:51,140 --> 00:39:52,390
- Yeah.
1145
00:39:51,140 --> 00:39:52,390
- Oh...
1146
00:39:52,432 --> 00:39:53,809
- (doorbell rings)
1147
00:39:52,432 --> 00:39:53,809
- Okay.
1148
00:39:54,810 --> 00:39:56,686
- How are you?
1149
00:39:54,810 --> 00:39:56,686
- Hello.
1150
00:39:57,437 --> 00:39:58,438
- Hi.
1151
00:39:57,437 --> 00:39:58,438
- Hi.
1152
00:39:58,855 --> 00:40:00,774
- So much to talk about.
1153
00:39:58,855 --> 00:40:00,774
- I know.
1154
00:40:00,816 --> 00:40:03,944
Can I ask this question?
1155
00:40:00,816 --> 00:40:03,944
How "Chinesey" like...?
1156
00:40:04,361 --> 00:40:05,570
We can show you.
1157
00:40:06,905 --> 00:40:08,490
Like, how chinoiserie is it?
1158
00:40:06,905 --> 00:40:08,490
Is the whole thing?
1159
00:40:08,531 --> 00:40:10,117
Let me show you a rendering.
1160
00:40:10,159 --> 00:40:11,576
Wintour:
1161
00:40:10,159 --> 00:40:11,576
What do you think about this,
1162
00:40:11,618 --> 00:40:12,953
as you walk up the steps?
1163
00:40:14,997 --> 00:40:16,832
Raul Àvila:
1164
00:40:14,997 --> 00:40:16,832
Dragons when people arrive.
1165
00:40:17,207 --> 00:40:18,458
So that's why...
1166
00:40:20,002 --> 00:40:20,961
It's more like an entrance,
1167
00:40:20,002 --> 00:40:20,961
like, "Hey, you're in China."
1168
00:40:21,461 --> 00:40:23,588
Dragons might be
1169
00:40:21,461 --> 00:40:23,588
a bit too obvious.
1170
00:40:23,630 --> 00:40:24,923
Can I say this?
1171
00:40:24,965 --> 00:40:26,758
I think it's
1172
00:40:24,965 --> 00:40:26,758
fantastically strong,
1173
00:40:26,800 --> 00:40:28,093
and I think it should be strong.
1174
00:40:26,800 --> 00:40:28,093
Right?
1175
00:40:28,135 --> 00:40:30,553
But the reason
1176
00:40:28,135 --> 00:40:30,553
I'm slightly reticent is,
1177
00:40:30,595 --> 00:40:32,764
in terms of the crowd coming,
1178
00:40:32,806 --> 00:40:37,144
how much
1179
00:40:32,806 --> 00:40:37,144
classical Chinese imagery
1180
00:40:37,186 --> 00:40:38,728
do you think they expect?
1181
00:40:38,770 --> 00:40:40,605
What they're gonna see
1182
00:40:38,770 --> 00:40:40,605
when they walk in.
1183
00:40:40,647 --> 00:40:42,983
When you go inside the
1184
00:40:40,647 --> 00:40:42,983
great hall, you see this.
1185
00:40:43,817 --> 00:40:46,903
Now that I think is
1186
00:40:43,817 --> 00:40:46,903
unassailably beautiful.
1187
00:40:46,945 --> 00:40:50,573
They say "China" without saying
1188
00:40:46,945 --> 00:40:50,573
"Chinese theme park."
1189
00:40:50,615 --> 00:40:52,409
I think the double dragons
1190
00:40:50,615 --> 00:40:52,409
at the front
1191
00:40:52,450 --> 00:40:54,119
belong to another show.
1192
00:40:54,744 --> 00:40:57,455
Right?
1193
00:40:54,744 --> 00:40:57,455
And by the way,
1194
00:40:57,873 --> 00:41:00,709
the water slide at the end
1195
00:40:57,873 --> 00:41:00,709
of it is awesome, right?
1196
00:41:00,750 --> 00:41:02,211
- Okay?
1197
00:41:00,750 --> 00:41:02,211
- (laughter)
1198
00:41:04,004 --> 00:41:06,215
Is this based
1199
00:41:04,004 --> 00:41:06,215
on a Chinese something?
1200
00:41:07,465 --> 00:41:10,552
Anna, it's the "something" part
1201
00:41:07,465 --> 00:41:10,552
than I'm worried about.
1202
00:41:13,763 --> 00:41:17,142
The complexity of the subject
1203
00:41:13,763 --> 00:41:17,142
matter itself requires
1204
00:41:17,184 --> 00:41:19,853
delicate handling
1205
00:41:17,184 --> 00:41:19,853
so we're not misunderstood.
1206
00:41:21,855 --> 00:41:24,566
We're working around
1207
00:41:21,855 --> 00:41:24,566
the main mine fields.
1208
00:41:25,608 --> 00:41:27,069
How many pieces in
1209
00:41:25,608 --> 00:41:27,069
the exhibition?
1210
00:41:27,403 --> 00:41:29,863
You already got everything
1211
00:41:27,403 --> 00:41:29,863
you want to borrow from China?
1212
00:41:29,905 --> 00:41:31,656
We're just waiting to hear
1213
00:41:29,905 --> 00:41:31,656
from the Imperial Palace.
1214
00:41:32,324 --> 00:41:33,992
It would be ideal
1215
00:41:32,324 --> 00:41:33,992
to get a Mao suit
1216
00:41:34,034 --> 00:41:37,413
worn from one of
1217
00:41:34,034 --> 00:41:37,413
the Communist Party members
1218
00:41:37,454 --> 00:41:38,663
during the Cultural Revolution.
1219
00:41:39,998 --> 00:41:41,541
But, I think, politically,
1220
00:41:39,998 --> 00:41:41,541
I think it's difficult.
1221
00:41:41,583 --> 00:41:47,256
Mao is an icon, and so there's
1222
00:41:41,583 --> 00:41:47,256
a limit to what our Chinese
1223
00:41:47,881 --> 00:41:51,427
friends will tolerate in terms
1224
00:41:47,881 --> 00:41:51,427
of how Mao is treated.
1225
00:41:52,052 --> 00:41:54,054
- It has to be respectful.
1226
00:41:52,052 --> 00:41:54,054
- I think so.
1227
00:41:55,555 --> 00:41:57,933
Of course, something is probably
1228
00:41:55,555 --> 00:41:57,933
going to blow up at any moment.
1229
00:42:10,904 --> 00:42:13,907
The building with all the flags
1230
00:42:10,904 --> 00:42:13,907
is the National Museum.
1231
00:42:14,741 --> 00:42:16,826
Then the one on
1232
00:42:14,741 --> 00:42:16,826
the other side of the flag
1233
00:42:16,868 --> 00:42:18,745
is the Great Hall of the People.
1234
00:42:20,830 --> 00:42:22,707
And this is the entrance to
1235
00:42:20,830 --> 00:42:22,707
The Forbidden City.
1236
00:42:22,749 --> 00:42:24,251
So you'll see the Mao portrait.
1237
00:42:32,592 --> 00:42:33,802
It's incredible.
1238
00:42:35,178 --> 00:42:37,555
On display next to me is a dress
1239
00:42:35,178 --> 00:42:37,555
by Roberto Cavalli,
1240
00:42:37,597 --> 00:42:40,809
whose colors and motifs
1241
00:42:37,597 --> 00:42:40,809
pay obvious homage
1242
00:42:40,850 --> 00:42:42,560
to Chinese
1243
00:42:40,850 --> 00:42:42,560
blue and white porcelain.
1244
00:42:43,103 --> 00:42:46,898
Fashion is about ideas.
1245
00:42:43,103 --> 00:42:46,898
The way we live.
1246
00:42:46,940 --> 00:42:48,775
(indistinct conversation)
1247
00:42:49,567 --> 00:42:51,945
Campbell: Guys, you really have
1248
00:42:49,567 --> 00:42:51,945
your work cut out.
1249
00:42:52,612 --> 00:42:54,781
Our aim is to beat
1250
00:42:52,612 --> 00:42:54,781
McQueen numbers.
1251
00:42:57,867 --> 00:42:59,244
Bolton: "China,
1252
00:42:57,867 --> 00:42:59,244
Through the Looking Glass,"
1253
00:43:00,870 --> 00:43:02,247
I think it's going to be
1254
00:43:00,870 --> 00:43:02,247
inevitably controversial.
1255
00:43:03,957 --> 00:43:05,334
There's going to be dissenters.
1256
00:43:06,835 --> 00:43:08,128
But I'm not afraid of
1257
00:43:06,835 --> 00:43:08,128
controversy.
1258
00:43:09,963 --> 00:43:11,047
And I think the show should be
1259
00:43:09,963 --> 00:43:11,047
controversial and provocative.
1260
00:43:12,632 --> 00:43:14,050
- Hi!
1261
00:43:12,632 --> 00:43:14,050
- Hey...
1262
00:43:14,092 --> 00:43:15,844
- Good to see you again.
1263
00:43:14,092 --> 00:43:15,844
- Good to see you.
1264
00:43:17,429 --> 00:43:19,722
Bolton: So here is where
1265
00:43:17,429 --> 00:43:19,722
I'm thinking about putting Mao,
1266
00:43:19,764 --> 00:43:21,475
the Buddha gallery.
1267
00:43:22,142 --> 00:43:24,269
It's the only space I can think
1268
00:43:22,142 --> 00:43:24,269
about putting him.
1269
00:43:25,103 --> 00:43:29,107
I think if we can have
1270
00:43:25,103 --> 00:43:29,107
the Mao jacket sculpture here,
1271
00:43:29,149 --> 00:43:31,276
that would be the centerpiece,
1272
00:43:32,110 --> 00:43:33,945
focusing on the idea of
1273
00:43:32,110 --> 00:43:33,945
changing nature
1274
00:43:34,321 --> 00:43:36,823
of deities within China and
1275
00:43:34,321 --> 00:43:36,823
the idea of monumentality...
1276
00:43:36,865 --> 00:43:39,493
You'd be able to take out
1277
00:43:36,865 --> 00:43:39,493
all these Buddhas here?
1278
00:43:40,160 --> 00:43:41,828
We'd keep the Buddhas in.
1279
00:43:42,829 --> 00:43:45,248
And you put Mao with
1280
00:43:42,829 --> 00:43:45,248
all these Buddhas?
1281
00:43:45,290 --> 00:43:46,333
Yeah.
1282
00:43:48,168 --> 00:43:51,380
I think it makes sense
1283
00:43:48,168 --> 00:43:51,380
intellectually because of
1284
00:43:51,713 --> 00:43:53,631
the deification of Mao in China.
1285
00:43:54,632 --> 00:43:57,344
I think it would be surprising
1286
00:43:54,632 --> 00:43:57,344
to have Mao in that space.
1287
00:43:59,888 --> 00:44:01,348
And it makes sense.
1288
00:44:08,897 --> 00:44:10,648
You have some hesitancy
1289
00:44:08,897 --> 00:44:10,648
still, Kar Wai,
1290
00:44:10,690 --> 00:44:11,816
about the Buddhist gallery.
1291
00:44:11,858 --> 00:44:13,151
- Yeah.
1292
00:44:11,858 --> 00:44:13,151
- You still feel it.
1293
00:44:13,193 --> 00:44:15,945
You still feel Mao
1294
00:44:13,193 --> 00:44:15,945
might not work there?
1295
00:44:16,821 --> 00:44:18,907
Because I think it will be...
1296
00:44:19,949 --> 00:44:23,745
First of all, it will be
1297
00:44:19,949 --> 00:44:23,745
an insult, too sensitive
1298
00:44:23,786 --> 00:44:26,081
for like, not the government,
1299
00:44:26,540 --> 00:44:29,418
besides that, it's the Chinese
1300
00:44:26,540 --> 00:44:29,418
and also the Buddhists.
1301
00:44:31,794 --> 00:44:32,921
And I'm thinking...
1302
00:44:33,171 --> 00:44:34,464
Is it nice to get
1303
00:44:33,171 --> 00:44:34,464
some controversy though?
1304
00:44:34,881 --> 00:44:36,883
Maybe not the way that you want.
1305
00:44:36,925 --> 00:44:38,968
Not in this particular context.
1306
00:44:39,386 --> 00:44:41,137
Why don't we just put it
1307
00:44:41,471 --> 00:44:44,974
just before you walk into
1308
00:44:41,471 --> 00:44:44,974
this big Buddhist hall.
1309
00:44:45,016 --> 00:44:46,851
You have this Mao section.
1310
00:44:47,227 --> 00:44:49,145
- Nice idea, actually.
1311
00:44:47,227 --> 00:44:49,145
- Yeah.
1312
00:44:51,398 --> 00:44:52,399
There's a lot to see.
1313
00:44:54,025 --> 00:44:55,485
The material is so rich.
1314
00:44:56,570 --> 00:44:59,781
But try not to make
1315
00:44:56,570 --> 00:44:59,781
the show too busy.
1316
00:45:01,824 --> 00:45:03,910
Because seeing too much
1317
00:45:01,824 --> 00:45:03,910
is seeing nothing.
1318
00:45:09,583 --> 00:45:12,419
I think we are all looking
1319
00:45:09,583 --> 00:45:12,419
forward to this exhibition.
1320
00:45:12,461 --> 00:45:14,254
But also have
1321
00:45:12,461 --> 00:45:14,254
a lot of questions.
1322
00:45:14,921 --> 00:45:16,381
From the little we can gather,
1323
00:45:16,423 --> 00:45:18,550
it seems like there's a lot of
1324
00:45:16,423 --> 00:45:18,550
symbols about dragons
1325
00:45:18,592 --> 00:45:21,219
and Ming vases.
1326
00:45:18,592 --> 00:45:21,219
Why is that?
1327
00:45:21,261 --> 00:45:23,513
And anything else,
1328
00:45:21,261 --> 00:45:23,513
because I, honestly,
1329
00:45:23,555 --> 00:45:25,307
I don't want to see
1330
00:45:23,555 --> 00:45:25,307
another Ming vase.
1331
00:45:25,348 --> 00:45:27,100
I love blue and
1332
00:45:25,348 --> 00:45:27,100
white porcelain so
1333
00:45:27,142 --> 00:45:29,227
I'm happy to see it
1334
00:45:27,142 --> 00:45:29,227
in the exhibition.
1335
00:45:29,269 --> 00:45:31,605
I think a lot of
1336
00:45:29,269 --> 00:45:31,605
people's questions will be
1337
00:45:31,647 --> 00:45:35,692
it seems like the more
1338
00:45:31,647 --> 00:45:35,692
contemporary version of China.
1339
00:45:35,733 --> 00:45:38,236
It's not really included
1340
00:45:35,733 --> 00:45:38,236
in this kind of
1341
00:45:38,570 --> 00:45:40,071
imagery, repertoire...
1342
00:45:40,113 --> 00:45:41,281
It's not,
1343
00:45:40,113 --> 00:45:41,281
you're absolutely right.
1344
00:45:42,658 --> 00:45:44,284
That's not the focus
1345
00:45:42,658 --> 00:45:44,284
of the exhibition, modern China.
1346
00:45:44,326 --> 00:45:46,953
- It's very much on the history.
1347
00:45:44,326 --> 00:45:46,953
- Reporter: Yes.
1348
00:45:47,287 --> 00:45:49,498
You mention a lot
1349
00:45:47,287 --> 00:45:49,498
about fantasies,
1350
00:45:49,539 --> 00:45:52,250
but fantasy always entails
1351
00:45:52,292 --> 00:45:53,751
misconstrued,
1352
00:45:54,127 --> 00:45:56,296
misinterpretation, reality...
1353
00:45:56,338 --> 00:45:58,131
So how the Western
1354
00:45:56,338 --> 00:45:58,131
perceive Chinese
1355
00:45:58,173 --> 00:46:00,091
and how Chinese perceive
1356
00:45:58,173 --> 00:46:00,091
their own culture
1357
00:46:00,133 --> 00:46:03,428
will be quite different,
1358
00:46:00,133 --> 00:46:03,428
from what I gather.
1359
00:46:03,470 --> 00:46:06,097
Were you questioning the idea
1360
00:46:03,470 --> 00:46:06,097
of fantasy and fashion?
1361
00:46:06,139 --> 00:46:08,558
I think if we don't have
1362
00:46:06,139 --> 00:46:08,558
fantasy in fashion,
1363
00:46:08,600 --> 00:46:10,185
then fashion will never change.
1364
00:46:10,226 --> 00:46:13,313
Of course, we all will love to
1365
00:46:10,226 --> 00:46:13,313
embrace fantasy in fashion,
1366
00:46:13,355 --> 00:46:17,400
but fantasy is
1367
00:46:13,355 --> 00:46:17,400
very likely to also entail
1368
00:46:17,442 --> 00:46:19,444
misinterpretations
1369
00:46:17,442 --> 00:46:19,444
or misconceptions.
1370
00:46:19,777 --> 00:46:22,531
So, as a curator, you must
1371
00:46:19,777 --> 00:46:22,531
have thought about that.
1372
00:46:22,572 --> 00:46:25,534
Yeah, but I think, as Anna says,
1373
00:46:22,572 --> 00:46:25,534
all fashion tells stories.
1374
00:46:25,575 --> 00:46:27,910
Every item in the exhibition
1375
00:46:25,575 --> 00:46:27,910
tells its own story.
1376
00:46:28,328 --> 00:46:30,079
All you're seeing in
1377
00:46:28,328 --> 00:46:30,079
the exhibition
1378
00:46:30,121 --> 00:46:33,124
are designers celebrating
1379
00:46:30,121 --> 00:46:33,124
actually Chinese culture.
1380
00:46:33,583 --> 00:46:37,045
We're also including the work
1381
00:46:33,583 --> 00:46:37,045
of several Chinese designers,
1382
00:46:37,086 --> 00:46:39,130
like Guo Pei and Laurence Yu.
1383
00:46:39,506 --> 00:46:44,135
Chinese designers also gravitate
1384
00:46:39,506 --> 00:46:44,135
towards the same sort of symbols
1385
00:46:44,177 --> 00:46:46,012
as Western designers.
1386
00:46:46,054 --> 00:46:47,972
It's not exclusively about
1387
00:46:48,014 --> 00:46:50,600
the West appropriating
1388
00:46:48,014 --> 00:46:50,600
Chinese symbols.
1389
00:46:51,184 --> 00:46:53,061
- Thank you.
1390
00:46:51,184 --> 00:46:53,061
- Bolton: Thank you.
1391
00:47:00,026 --> 00:47:02,237
I think she was really
1392
00:47:00,026 --> 00:47:02,237
politicizing it.
1393
00:47:02,278 --> 00:47:04,197
...the idea of the West just
1394
00:47:02,278 --> 00:47:04,197
plundering
1395
00:47:04,239 --> 00:47:05,865
the East for inspiration.
1396
00:47:06,408 --> 00:47:08,451
Or the fact that
1397
00:47:06,408 --> 00:47:08,451
it's all about the past.
1398
00:47:08,493 --> 00:47:11,705
Yes. She just wants everything
1399
00:47:08,493 --> 00:47:11,705
to start in 1949
1400
00:47:11,747 --> 00:47:13,540
- Woman: Are you good to start?
1401
00:47:11,747 --> 00:47:13,540
- (chuckles) Yes.
1402
00:47:26,553 --> 00:47:28,555
(speaks Chinese)
1403
00:47:26,553 --> 00:47:28,555
China went through
1404
00:47:28,597 --> 00:47:33,476
a unique period in its history.
1405
00:47:33,893 --> 00:47:36,563
During this period of history,
1406
00:47:36,605 --> 00:47:40,525
many Chinese destroyed
1407
00:47:36,605 --> 00:47:40,525
their own tradition.
1408
00:47:41,150 --> 00:47:45,154
But I feel today, it's changing.
1409
00:47:47,365 --> 00:47:53,329
I want to integrate
1410
00:47:47,365 --> 00:47:53,329
traditional Chinese culture
1411
00:47:53,371 --> 00:47:57,125
with modern aesthetics.
1412
00:47:59,628 --> 00:48:04,424
Eastern and Western cultures
1413
00:47:59,628 --> 00:48:04,424
collide together.
1414
00:48:08,762 --> 00:48:13,349
We want to find the wisdom
1415
00:48:08,762 --> 00:48:13,349
left by our ancestors.
1416
00:48:16,269 --> 00:48:20,732
So now, I am using my skills
1417
00:48:20,774 --> 00:48:24,026
to create something
1418
00:48:20,774 --> 00:48:24,026
for the nation.
1419
00:48:25,695 --> 00:48:30,992
As if I were making a
1420
00:48:25,695 --> 00:48:30,992
wedding dress for my country
1421
00:48:31,785 --> 00:48:34,287
with love in my heart.
1422
00:48:47,300 --> 00:48:49,511
How's the Guo Pei piece?
1423
00:48:50,470 --> 00:48:52,722
- Is it heavy?
1424
00:48:50,470 --> 00:48:52,722
- Very heavy.
1425
00:48:55,099 --> 00:48:57,059
Bolton:
1426
00:48:55,099 --> 00:48:57,059
Beijing seems like a dream now.
1427
00:48:58,728 --> 00:49:00,271
I was panic-stricken
1428
00:48:58,728 --> 00:49:00,271
when I came back
1429
00:49:00,313 --> 00:49:02,023
about how much work
1430
00:49:00,313 --> 00:49:02,023
we have to do.
1431
00:49:04,150 --> 00:49:06,862
Such a crisis point in terms
1432
00:49:04,150 --> 00:49:06,862
of concerns
1433
00:49:06,903 --> 00:49:10,490
about possible responses
1434
00:49:06,903 --> 00:49:10,490
to the exhibition worldwide.
1435
00:49:11,491 --> 00:49:15,953
All the Chinese, in the last
1436
00:49:11,491 --> 00:49:15,953
few hundred years,
1437
00:49:15,995 --> 00:49:17,831
we were always
1438
00:49:15,995 --> 00:49:17,831
looking backward,
1439
00:49:17,873 --> 00:49:20,208
we forget progress,
1440
00:49:20,249 --> 00:49:21,835
modernization.
1441
00:49:21,877 --> 00:49:24,045
So the new generation of Chinese
1442
00:49:24,086 --> 00:49:25,672
have benefitted
1443
00:49:24,086 --> 00:49:25,672
from modernization.
1444
00:49:26,923 --> 00:49:29,217
They were afraid
1445
00:49:26,923 --> 00:49:29,217
your exhibition
1446
00:49:29,258 --> 00:49:31,928
is too much only the past.
1447
00:49:32,303 --> 00:49:34,180
A lot of Chinese,
1448
00:49:32,303 --> 00:49:34,180
they're wondering
1449
00:49:34,222 --> 00:49:37,308
why all this dragon rope,
1450
00:49:34,222 --> 00:49:37,308
the beautiful coating,
1451
00:49:37,350 --> 00:49:39,268
not Chinese modern things...
1452
00:49:39,310 --> 00:49:42,313
Modern film, modern art...
1453
00:49:42,355 --> 00:49:45,400
How would you represent
1454
00:49:42,355 --> 00:49:45,400
through fashion, modern China?
1455
00:49:45,441 --> 00:49:47,569
How would you represent that?
1456
00:49:49,111 --> 00:49:51,865
The show is also posing
1457
00:49:49,111 --> 00:49:51,865
questions like,
1458
00:49:52,281 --> 00:49:55,034
what is the contemporary
1459
00:49:52,281 --> 00:49:55,034
Chinese aesthetic?
1460
00:49:55,702 --> 00:49:58,037
Because there's none
1461
00:49:55,702 --> 00:49:58,037
at this point.
1462
00:49:58,371 --> 00:49:59,664
Not yet.
1463
00:49:58,371 --> 00:49:59,664
In the making.
1464
00:49:59,706 --> 00:50:01,499
- So this is in the making?
1465
00:49:59,706 --> 00:50:01,499
- Yeah.
1466
00:50:01,541 --> 00:50:05,002
So, in a way, looking back
1467
00:50:01,541 --> 00:50:05,002
doesn't mean you are nostalgic.
1468
00:50:05,044 --> 00:50:08,256
I think
1469
00:50:05,044 --> 00:50:08,256
the only way to move forward
1470
00:50:08,297 --> 00:50:10,717
is not to forget
1471
00:50:08,297 --> 00:50:10,717
about your past.
1472
00:50:11,133 --> 00:50:12,510
We confront the idea
1473
00:50:12,552 --> 00:50:15,555
of the orientalist
1474
00:50:12,552 --> 00:50:15,555
stereotyping of China.
1475
00:50:15,889 --> 00:50:17,933
Particularly through
1476
00:50:15,889 --> 00:50:17,933
the character, Anna May Wong.
1477
00:50:18,266 --> 00:50:21,352
But also talk about
1478
00:50:18,266 --> 00:50:21,352
the genuine reciprocity
1479
00:50:21,394 --> 00:50:22,729
between China and the West.
1480
00:50:29,569 --> 00:50:32,572
We've just got approval
1481
00:50:29,569 --> 00:50:32,572
to start building.
1482
00:50:34,407 --> 00:50:37,744
So we're on a super-tight
1483
00:50:34,407 --> 00:50:37,744
time frame.
1484
00:50:47,169 --> 00:50:48,755
(chuckling)
1485
00:50:49,798 --> 00:50:51,215
Incredible.
1486
00:50:51,257 --> 00:50:52,508
Incredible.
1487
00:50:53,927 --> 00:50:55,470
I think the objects
1488
00:50:53,927 --> 00:50:55,470
that we've chosen
1489
00:50:55,511 --> 00:50:58,431
are really compelling,
1490
00:50:55,511 --> 00:50:58,431
really seductive,
1491
00:50:59,098 --> 00:51:02,894
and once you overlay them
1492
00:50:59,098 --> 00:51:02,894
with the curatorial narrative,
1493
00:51:03,603 --> 00:51:04,854
it could be extraordinary.
1494
00:51:16,115 --> 00:51:17,617
- Andrew.
1495
00:51:16,115 --> 00:51:17,617
- Hey, Mike, how are you?
1496
00:51:18,117 --> 00:51:20,411
My biggest concern, Andrew,
1497
00:51:18,117 --> 00:51:20,411
frankly,
1498
00:51:20,453 --> 00:51:22,622
is just to make sure that people
1499
00:51:22,956 --> 00:51:27,126
don't find the intensity
1500
00:51:22,956 --> 00:51:27,126
of the installation,
1501
00:51:27,168 --> 00:51:28,711
and the kind of...
1502
00:51:30,797 --> 00:51:37,136
Shall we say the imposition of
1503
00:51:30,797 --> 00:51:37,136
the design
1504
00:51:37,804 --> 00:51:39,096
so powerful,
1505
00:51:39,138 --> 00:51:42,600
that it overshadows
1506
00:51:39,138 --> 00:51:42,600
the intellectual content.
1507
00:51:42,976 --> 00:51:44,894
I think what happens with this
1508
00:51:44,936 --> 00:51:50,441
is it diminishes the focus on
1509
00:51:44,936 --> 00:51:50,441
the intellectual content,
1510
00:51:50,483 --> 00:51:54,529
and it just raises the level of,
1511
00:51:50,483 --> 00:51:54,529
well, this is all about...
1512
00:51:56,072 --> 00:51:57,448
...creating a sense of hype,
1513
00:51:57,490 --> 00:52:01,160
which is different from
1514
00:52:02,078 --> 00:52:04,831
what your goals are,
1515
00:52:02,078 --> 00:52:04,831
and what my goals are.
1516
00:52:09,544 --> 00:52:11,671
Bolton: It's a little bit
1517
00:52:09,544 --> 00:52:11,671
frustrating because
1518
00:52:12,088 --> 00:52:15,633
sometimes there's not an
1519
00:52:12,088 --> 00:52:15,633
overall understanding
1520
00:52:16,175 --> 00:52:17,719
of the narrative of the show,
1521
00:52:17,760 --> 00:52:21,806
but also the complexity
1522
00:52:17,760 --> 00:52:21,806
from the design prospective.
1523
00:52:22,181 --> 00:52:23,808
So it's just...
1524
00:52:24,475 --> 00:52:26,519
Yeah, a bit frustrating.
1525
00:52:30,982 --> 00:52:35,403
I try not to listen too much
1526
00:52:30,982 --> 00:52:35,403
to other people in terms of
1527
00:52:35,444 --> 00:52:36,946
what they expect
1528
00:52:35,444 --> 00:52:36,946
the show to be
1529
00:52:36,988 --> 00:52:39,699
and to try and trust
1530
00:52:36,988 --> 00:52:39,699
my own judgment.
1531
00:52:42,994 --> 00:52:47,707
Many people have a superficial
1532
00:52:42,994 --> 00:52:47,707
understanding of fashion.
1533
00:52:50,209 --> 00:52:54,463
People underestimate the power
1534
00:52:50,209 --> 00:52:54,463
of clothes to tell stories,
1535
00:52:54,505 --> 00:52:55,965
or to speak to people.
1536
00:53:00,636 --> 00:53:02,513
There is the perennial debate
1537
00:53:02,555 --> 00:53:06,475
about whether or not
1538
00:53:02,555 --> 00:53:06,475
fashion can ever be art.
1539
00:53:08,978 --> 00:53:12,356
It has, in some instances,
1540
00:53:08,978 --> 00:53:12,356
to do with intention,
1541
00:53:12,982 --> 00:53:15,568
that when a designer is
1542
00:53:12,982 --> 00:53:15,568
creating something,
1543
00:53:15,610 --> 00:53:17,779
they think they're creating
1544
00:53:15,610 --> 00:53:17,779
an art work.
1545
00:53:18,988 --> 00:53:22,283
Most designers, however,
1546
00:53:18,988 --> 00:53:22,283
don't approach it that way.
1547
00:53:22,324 --> 00:53:24,869
I never, never, never dreamed
1548
00:53:24,911 --> 00:53:28,873
that my clothes should be
1549
00:53:24,911 --> 00:53:28,873
in a museum.
1550
00:53:28,915 --> 00:53:31,667
I think that fashion is
1551
00:53:28,915 --> 00:53:31,667
supposed to represent
1552
00:53:31,709 --> 00:53:33,628
what's happening in society,
1553
00:53:33,669 --> 00:53:35,671
politically, economically...
1554
00:53:35,713 --> 00:53:37,214
The clothes have to live.
1555
00:53:37,548 --> 00:53:39,550
It's a little boring,
1556
00:53:37,548 --> 00:53:39,550
that designers
1557
00:53:40,259 --> 00:53:43,138
say they are artists, especially
1558
00:53:40,259 --> 00:53:43,138
when they say it themselves,
1559
00:53:43,179 --> 00:53:46,348
thinking, "You're an artist,
1560
00:53:43,179 --> 00:53:46,348
one should not be on a runway,
1561
00:53:46,390 --> 00:53:47,892
but one should be
1562
00:53:46,390 --> 00:53:47,892
in a gallery."
1563
00:53:47,934 --> 00:53:49,226
So go to a gallery.
1564
00:53:49,268 --> 00:53:50,979
What we do is applied art.
1565
00:53:51,020 --> 00:53:53,355
Chanel never said that
1566
00:53:51,020 --> 00:53:53,355
she was an artist.
1567
00:53:53,397 --> 00:53:54,607
She was a dress-maker.
1568
00:53:54,649 --> 00:53:56,358
Madame Vionnet was a dressmaker.
1569
00:53:56,400 --> 00:53:57,610
Madame Lanvin was a dressmaker.
1570
00:53:57,902 --> 00:54:00,529
They wanted to dress
1571
00:53:57,902 --> 00:54:00,529
a certain kind of society.
1572
00:54:00,571 --> 00:54:01,823
They were happy and flattered
1573
00:54:01,864 --> 00:54:03,491
when those women bought
1574
00:54:01,864 --> 00:54:03,491
those dresses.
1575
00:54:04,200 --> 00:54:07,162
Koda: Of course,
1576
00:54:04,200 --> 00:54:07,162
not all fashion is art.
1577
00:54:07,495 --> 00:54:08,830
It's not.
1578
00:54:09,330 --> 00:54:12,416
Some of it is
1579
00:54:09,330 --> 00:54:12,416
purely commercial.
1580
00:54:12,959 --> 00:54:16,545
But we still struggle
1581
00:54:12,959 --> 00:54:16,545
at the Costume Institute,
1582
00:54:16,587 --> 00:54:17,922
because as Americans,
1583
00:54:17,964 --> 00:54:20,633
there's a kind of
1584
00:54:17,964 --> 00:54:20,633
puritanical tradition.
1585
00:54:20,675 --> 00:54:22,927
And we hate the notion
1586
00:54:22,969 --> 00:54:27,306
that there might be commerce
1587
00:54:22,969 --> 00:54:27,306
associated with anything,
1588
00:54:27,348 --> 00:54:29,100
because somehow that
1589
00:54:27,348 --> 00:54:29,100
makes it less pure.
1590
00:54:30,351 --> 00:54:35,023
But as the definitions of art
1591
00:54:30,351 --> 00:54:35,023
have become more elastic,
1592
00:54:35,523 --> 00:54:38,359
you know, post-Dada,
1593
00:54:35,523 --> 00:54:38,359
post-Warhol,
1594
00:54:38,400 --> 00:54:43,322
we're no longer bound by
1595
00:54:38,400 --> 00:54:43,322
the 19th century categories
1596
00:54:43,364 --> 00:54:45,700
of fine versus applied art.
1597
00:54:48,244 --> 00:54:53,666
We never give up on this idea
1598
00:54:48,244 --> 00:54:53,666
that something transcendent
1599
00:54:54,333 --> 00:54:56,293
can be expressed in that same
1600
00:54:56,335 --> 00:54:58,504
very prosaic thing
1601
00:54:56,335 --> 00:54:58,504
that you wear.
1602
00:55:00,673 --> 00:55:02,967
Bolton: I would certainly
1603
00:55:00,673 --> 00:55:02,967
classify Lagerfeld
1604
00:55:03,009 --> 00:55:05,511
as an artist, even though
1605
00:55:03,009 --> 00:55:05,511
he always refutes it.
1606
00:55:07,096 --> 00:55:08,931
The application
1607
00:55:07,096 --> 00:55:08,931
of his embroideries,
1608
00:55:09,515 --> 00:55:11,059
it's an artistic expression.
1609
00:55:11,100 --> 00:55:12,601
(indistinct conversation)
1610
00:55:12,643 --> 00:55:15,063
When you discover someone
1611
00:55:12,643 --> 00:55:15,063
like John Galliano,
1612
00:55:15,104 --> 00:55:18,941
you really are in the presence
1613
00:55:15,104 --> 00:55:18,941
of a true artistic genius.
1614
00:55:19,525 --> 00:55:20,568
This is strange.
1615
00:55:21,777 --> 00:55:22,444
This is like seeing a child you
1616
00:55:21,777 --> 00:55:22,444
haven't seen
1617
00:55:22,486 --> 00:55:24,280
for a very long time.
1618
00:55:25,198 --> 00:55:27,449
Some of those stitches
1619
00:55:25,198 --> 00:55:27,449
you're not allowed to do anymore
1620
00:55:27,491 --> 00:55:29,035
because they'll turn you blind.
1621
00:55:29,702 --> 00:55:31,829
It's not for me to say
1622
00:55:29,702 --> 00:55:31,829
it's art or not,
1623
00:55:31,871 --> 00:55:33,748
but, certainly, the way
1624
00:55:31,871 --> 00:55:33,748
we apply some things
1625
00:55:33,789 --> 00:55:35,124
and the inspiration we took...
1626
00:55:37,501 --> 00:55:39,879
We did some wonderful things.
1627
00:55:40,296 --> 00:55:41,714
Wonderful things.
1628
00:55:46,177 --> 00:55:49,680
Koda: There is something about
1629
00:55:46,177 --> 00:55:49,680
the human impulse
1630
00:55:49,722 --> 00:55:52,850
to communicate and express.
1631
00:55:57,605 --> 00:56:00,608
An encyclopedic museum
1632
00:55:57,605 --> 00:56:00,608
like the Met
1633
00:56:00,649 --> 00:56:03,569
attempts to gather together
1634
00:56:03,903 --> 00:56:07,282
the most extraordinary
1635
00:56:03,903 --> 00:56:07,282
manifestations
1636
00:56:07,323 --> 00:56:08,699
of those impulses.
1637
00:56:25,091 --> 00:56:26,842
Keith, it's Sylvana.
1638
00:56:25,091 --> 00:56:26,842
Can you give me a call back?
1639
00:56:26,884 --> 00:56:29,637
I just want to talk about
1640
00:56:26,884 --> 00:56:29,637
Rihanna's budget. Call me. Bye.
1641
00:56:32,640 --> 00:56:34,350
So, Rihanna...
1642
00:56:35,184 --> 00:56:37,519
- Keith: (over phone) Yeah.
1643
00:56:35,184 --> 00:56:37,519
- We can't lose her, right?
1644
00:56:37,561 --> 00:56:41,774
So, is it just that she has
1645
00:56:37,561 --> 00:56:41,774
a larger crew than Kanye did?
1646
00:56:41,816 --> 00:56:45,444
She has a massive team
1647
00:56:41,816 --> 00:56:45,444
that she travels with,
1648
00:56:45,486 --> 00:56:46,904
and that's how she rolls.
1649
00:56:48,906 --> 00:56:50,616
Originally, the budget was
1650
00:56:48,906 --> 00:56:50,616
over (bleep) hundred thousand.
1651
00:56:50,658 --> 00:56:53,244
I told not to even send it
1652
00:56:50,658 --> 00:56:53,244
to me until they worked on it,
1653
00:56:53,286 --> 00:56:55,746
because it was a non-starter,
1654
00:56:53,286 --> 00:56:55,746
so they went back,
1655
00:56:55,788 --> 00:56:57,123
and they sent me a budget
1656
00:56:58,707 --> 00:57:00,209
that lowered it (bleep)
1657
00:56:58,707 --> 00:57:00,209
hundred thousand.
1658
00:57:00,251 --> 00:57:01,627
And I said, you know,
1659
00:57:00,251 --> 00:57:01,627
this is a charity so...
1660
00:57:01,669 --> 00:57:03,879
She's expensive, period.
1661
00:57:03,921 --> 00:57:08,009
We knew it, we just didn't
1662
00:57:03,921 --> 00:57:08,009
realize how expensive.
1663
00:57:08,343 --> 00:57:10,886
So, I think talk to Anna
1664
00:57:08,343 --> 00:57:10,886
and see,
1665
00:57:10,928 --> 00:57:13,472
you know, if she can
1666
00:57:10,928 --> 00:57:13,472
set that gentle note,
1667
00:57:13,889 --> 00:57:16,100
thanking them,
1668
00:57:13,889 --> 00:57:16,100
but at the same time...
1669
00:57:16,142 --> 00:57:18,144
- Gentle nudge.
1670
00:57:16,142 --> 00:57:18,144
- Anything you can do.
1671
00:57:18,477 --> 00:57:19,645
Yeah.
1672
00:57:21,438 --> 00:57:23,482
I'm breaking out
1673
00:57:21,438 --> 00:57:23,482
in hives right now.
1674
00:57:25,276 --> 00:57:26,777
(phone ringing)
1675
00:57:26,819 --> 00:57:27,945
Hi.
1676
00:57:29,280 --> 00:57:31,615
Okay, I don't know what to say.
1677
00:57:29,280 --> 00:57:31,615
I have no answer.
1678
00:57:31,657 --> 00:57:33,617
She is one of the biggest acts
1679
00:57:31,657 --> 00:57:33,617
in the world.
1680
00:57:33,659 --> 00:57:36,745
It's about twice as much
1681
00:57:33,659 --> 00:57:36,745
as any performer we've ever had.
1682
00:57:37,496 --> 00:57:41,625
They're not interested in making
1683
00:57:37,496 --> 00:57:41,625
it come down any further.
1684
00:57:41,667 --> 00:57:43,085
They feel that
1685
00:57:41,667 --> 00:57:43,085
they've done a lot.
1686
00:57:43,669 --> 00:57:46,839
So it's gonna take
1687
00:57:43,669 --> 00:57:46,839
a higher level ask...
1688
00:57:47,631 --> 00:57:49,050
You know, from you.
1689
00:57:50,343 --> 00:57:51,677
(chuckles)
1690
00:57:52,511 --> 00:57:55,014
Yes, that would be perfect.
1691
00:58:01,396 --> 00:58:03,814
Luhrmann: We live for
1692
00:58:01,396 --> 00:58:03,814
a cultural experience,
1693
00:58:03,856 --> 00:58:04,899
to feel like we're not alone,
1694
00:58:06,192 --> 00:58:07,484
to learn something
1695
00:58:06,192 --> 00:58:07,484
about ourselves,
1696
00:58:07,526 --> 00:58:09,362
to revel in the human journey.
1697
00:58:10,196 --> 00:58:12,990
But of course, there's glamour,
1698
00:58:10,196 --> 00:58:12,990
and of course there's...
1699
00:58:13,032 --> 00:58:15,034
"What are the parties like?"
1700
00:58:13,032 --> 00:58:15,034
And there's gossip.
1701
00:58:16,911 --> 00:58:21,165
But if it takes a little bit of
1702
00:58:16,911 --> 00:58:21,165
Rihanna dancing on the tabletop
1703
00:58:21,207 --> 00:58:23,542
to get the attention,
1704
00:58:21,207 --> 00:58:23,542
then so be it.
1705
00:58:24,460 --> 00:58:26,879
And then Jennifer Lawrence
1706
00:58:24,460 --> 00:58:26,879
comes up and speaks,
1707
00:58:26,921 --> 00:58:28,423
Guong Lee speaks,
1708
00:58:28,464 --> 00:58:31,133
and then Jennifer Lawrence says,
1709
00:58:28,464 --> 00:58:31,133
"Ladies and gentlemen...
1710
00:58:31,592 --> 00:58:32,885
...Rihanna."
1711
00:58:34,220 --> 00:58:37,056
Wintour:
1712
00:58:34,220 --> 00:58:37,056
In the world that we work in,
1713
00:58:37,848 --> 00:58:40,684
you need the mixture of art
1714
00:58:37,848 --> 00:58:40,684
and commerce.
1715
00:58:40,726 --> 00:58:41,977
You need both.
1716
00:58:43,479 --> 00:58:44,772
Too much of one or the other
1717
00:58:43,479 --> 00:58:44,772
would not work.
1718
00:58:44,813 --> 00:58:46,523
They have to exist...
1719
00:58:46,565 --> 00:58:47,649
hand-in-hand.
1720
00:58:48,067 --> 00:58:50,569
If you could say one brief thing
1721
00:58:50,611 --> 00:58:52,447
about two cultures
1722
00:58:50,611 --> 00:58:52,447
coming together.
1723
00:58:52,488 --> 00:58:53,655
That's what I want to say again.
1724
00:58:53,697 --> 00:58:55,199
I want to say thank you.
1725
00:58:55,241 --> 00:58:56,492
- Two cultures.
1726
00:58:55,241 --> 00:58:56,492
- Yeah.
1727
00:58:56,533 --> 00:58:57,826
You're gonna be incredible.
1728
00:58:58,160 --> 00:58:59,203
Beautiful.
1729
00:59:00,829 --> 00:59:02,123
I can't wait.
1730
00:59:02,457 --> 00:59:03,707
I feel better now.
1731
00:59:03,749 --> 00:59:05,584
No, no, no.
1732
00:59:03,749 --> 00:59:05,584
It's gonna be amazing.
1733
00:59:20,475 --> 00:59:22,435
It's always so calm up here.
1734
00:59:22,477 --> 00:59:24,270
That's because nothing's
1735
00:59:22,477 --> 00:59:24,270
going in.
1736
00:59:26,772 --> 00:59:28,274
Wow, it's a lot of work.
1737
00:59:30,734 --> 00:59:34,405
Bolton: So we can't install
1738
00:59:30,734 --> 00:59:34,405
until the lights arrive, okay?
1739
00:59:34,447 --> 00:59:35,823
The lights are one week late.
1740
00:59:35,864 --> 00:59:37,950
Why are they late?
1741
00:59:35,864 --> 00:59:37,950
Because they're not ready?
1742
00:59:38,284 --> 00:59:40,661
I don't know.
1743
00:59:38,284 --> 00:59:40,661
It's beyond me why.
1744
00:59:42,830 --> 00:59:47,042
We're already eight days late
1745
00:59:42,830 --> 00:59:47,042
on the panels delivery,
1746
00:59:47,084 --> 00:59:48,585
according to the schedule.
1747
00:59:48,627 --> 00:59:49,878
We just did the math,
1748
00:59:50,129 --> 00:59:53,466
at this rate, we're talking
1749
00:59:50,129 --> 00:59:53,466
about 6.8 days...
1750
00:59:53,508 --> 00:59:54,758
Middle of next week.
1751
00:59:54,800 --> 00:59:58,053
And obviously that doesn't work.
1752
00:59:58,095 --> 01:00:00,973
We gotta be realistic,
1753
00:59:58,095 --> 01:00:00,973
that we know what we're doing.
1754
01:00:01,516 --> 01:00:02,808
We're out of time.
1755
01:00:03,892 --> 01:00:06,354
How much overlap is there
1756
01:00:03,892 --> 01:00:06,354
between building
1757
01:00:06,395 --> 01:00:08,189
and art installation?
1758
01:00:08,230 --> 01:00:09,357
There can't be any.
1759
01:00:09,857 --> 01:00:11,442
So you've got ten days.
1760
01:00:11,484 --> 01:00:14,320
It's flat out now until we open.
1761
01:00:22,703 --> 01:00:25,456
Bolton: We just underestimated
1762
01:00:22,703 --> 01:00:25,456
the scale of the show.
1763
01:00:26,415 --> 01:00:29,210
It's like putting three shows
1764
01:00:26,415 --> 01:00:29,210
on at the same time.
1765
01:00:32,796 --> 01:00:36,800
I, unfortunately, have a very
1766
01:00:32,796 --> 01:00:36,800
organic approach to curating,
1767
01:00:36,842 --> 01:00:40,762
so I tend to change things
1768
01:00:36,842 --> 01:00:40,762
as I go along.
1769
01:00:45,476 --> 01:00:47,395
This time around,
1770
01:00:45,476 --> 01:00:47,395
we're driving everyone crazy.
1771
01:00:48,229 --> 01:00:51,190
And what is the plan for the
1772
01:00:48,229 --> 01:00:51,190
show in terms of lighting?
1773
01:00:51,690 --> 01:00:55,944
Tomorrow, can we start working
1774
01:00:51,690 --> 01:00:55,944
on these two galleries?
1775
01:00:56,612 --> 01:00:59,073
Whenever we can get to
1776
01:00:56,612 --> 01:00:59,073
something, we do it.
1777
01:00:59,407 --> 01:01:01,409
- That's...
1778
01:00:59,407 --> 01:01:01,409
- Who is going to tell you when?
1779
01:01:01,450 --> 01:01:04,912
We walk around and
1780
01:01:01,450 --> 01:01:04,912
around and around and we look,
1781
01:01:04,953 --> 01:01:07,831
and we say, "We can do that."
1782
01:01:04,953 --> 01:01:07,831
And we go and do that.
1783
01:01:07,873 --> 01:01:10,667
- But we have like 15 galleries.
1784
01:01:07,873 --> 01:01:10,667
- Clint Coller: I know.
1785
01:01:10,709 --> 01:01:12,211
It's a huge space.
1786
01:01:12,253 --> 01:01:16,424
We need them to absolutely
1787
01:01:12,253 --> 01:01:16,424
place the mannequins.
1788
01:01:16,882 --> 01:01:19,009
- This is...
1789
01:01:16,882 --> 01:01:19,009
- This is something that...
1790
01:01:19,051 --> 01:01:21,178
We have to talk to Andrew
1791
01:01:19,051 --> 01:01:21,178
about this.
1792
01:01:21,220 --> 01:01:22,221
Right.
1793
01:01:24,765 --> 01:01:26,141
Kar Wai: Andrew...
1794
01:01:26,183 --> 01:01:28,060
- Meet five minutes with me.
1795
01:01:26,183 --> 01:01:28,060
- Bolton: Okay.
1796
01:01:28,102 --> 01:01:31,355
At some point, I just need you
1797
01:01:28,102 --> 01:01:31,355
to give me mannequins.
1798
01:01:31,397 --> 01:01:33,732
- Mm-hmm.
1799
01:01:31,397 --> 01:01:33,732
- Because without the dresses,
1800
01:01:33,774 --> 01:01:37,111
and that's fine,
1801
01:01:33,774 --> 01:01:37,111
but you have to tell me,
1802
01:01:37,152 --> 01:01:40,322
which directions
1803
01:01:37,152 --> 01:01:40,322
the mannequins are facing.
1804
01:01:40,364 --> 01:01:41,823
- Mm-hmm. Okay.
1805
01:01:40,364 --> 01:01:41,823
- Can you do that?
1806
01:01:41,865 --> 01:01:43,075
Yeah.
1807
01:01:47,246 --> 01:01:50,124
The schedule that they
1808
01:01:47,246 --> 01:01:50,124
let us know today,
1809
01:01:50,165 --> 01:01:52,084
it means we have, basically,
1810
01:01:52,126 --> 01:01:54,169
two days to install
1811
01:01:52,126 --> 01:01:54,169
the whole exhibition.
1812
01:02:05,097 --> 01:02:07,891
We only have a
1813
01:02:05,097 --> 01:02:07,891
rehearsal for the temple?
1814
01:02:07,933 --> 01:02:09,477
Worse-case scenario, yeah.
1815
01:02:09,518 --> 01:02:11,103
Monday, you don't have
1816
01:02:09,518 --> 01:02:11,103
any rehearsal?
1817
01:02:11,145 --> 01:02:12,104
No.
1818
01:02:13,522 --> 01:02:14,315
There's no time on Monday,
1819
01:02:13,522 --> 01:02:14,315
we have to do that Sunday.
1820
01:02:14,356 --> 01:02:15,357
The temple's open on Sunday.
1821
01:02:15,399 --> 01:02:17,734
You're kidding,
1822
01:02:15,399 --> 01:02:17,734
that's not possible.
1823
01:02:17,776 --> 01:02:19,027
- Why?
1824
01:02:17,776 --> 01:02:19,027
- Why?
1825
01:02:20,529 --> 01:02:21,530
Because we need to rehearse.
1826
01:02:20,529 --> 01:02:21,530
He needs to be with Rihanna.
1827
01:02:21,572 --> 01:02:22,864
We have a lot to do.
1828
01:02:24,950 --> 01:02:26,201
We should close it.
1829
01:02:27,744 --> 01:02:29,079
It just means that from the
1830
01:02:27,744 --> 01:02:29,079
general public's point of view,
1831
01:02:29,121 --> 01:02:30,498
there is absolutely
1832
01:02:29,121 --> 01:02:30,498
no access
1833
01:02:30,539 --> 01:02:32,916
to the entire
1834
01:02:30,539 --> 01:02:32,916
north end of the building...
1835
01:02:32,958 --> 01:02:35,002
That's the...
1836
01:02:32,958 --> 01:02:35,002
That's... All the...
1837
01:02:35,043 --> 01:02:36,504
They'll come back next week.
1838
01:02:37,963 --> 01:02:39,256
Please, otherwise, it's just...
1839
01:02:40,675 --> 01:02:42,259
Raul is going to have to be up
1840
01:02:40,675 --> 01:02:42,259
three nights in a row.
1841
01:02:43,760 --> 01:02:44,970
- It's not human.
1842
01:02:43,760 --> 01:02:44,970
- (laughter)
1843
01:02:45,012 --> 01:02:47,139
Okay, the public will come back.
1844
01:02:47,682 --> 01:02:50,142
- All right, anything else?
1845
01:02:47,682 --> 01:02:50,142
- No, I think we've covered it.
1846
01:03:03,864 --> 01:03:04,990
It was Anna's
1847
01:03:03,864 --> 01:03:04,990
understanding that,
1848
01:03:05,032 --> 01:03:06,867
if he was paying the balance,
1849
01:03:06,908 --> 01:03:08,285
we weren't going
1850
01:03:06,908 --> 01:03:08,285
to add those seats.
1851
01:03:08,744 --> 01:03:10,287
Obviously it's more money
1852
01:03:08,744 --> 01:03:10,287
for the museum,
1853
01:03:12,122 --> 01:03:13,999
but the problem is we want to
1854
01:03:12,122 --> 01:03:13,999
keep this an intimate setting
1855
01:03:14,041 --> 01:03:15,834
because that's why
1856
01:03:14,041 --> 01:03:15,834
people come to this.
1857
01:03:16,502 --> 01:03:17,878
We're extremely appreciative,
1858
01:03:16,502 --> 01:03:17,878
I just...
1859
01:03:19,463 --> 01:03:21,340
I... I don't know what to do,
1860
01:03:19,463 --> 01:03:21,340
We just don't have the seats.
1861
01:03:21,882 --> 01:03:24,510
Wintour: Okay, I could swap
1862
01:03:21,882 --> 01:03:24,510
Baz with Harpers.
1863
01:03:26,762 --> 01:03:27,971
And where is Harvey?
1864
01:03:28,013 --> 01:03:29,515
Harvey's right here.
1865
01:03:29,848 --> 01:03:31,308
He won't like that.
1866
01:03:32,809 --> 01:03:35,145
Can we put somebody
1867
01:03:32,809 --> 01:03:35,145
better here
1868
01:03:35,187 --> 01:03:37,523
and move them there?
1869
01:03:35,187 --> 01:03:37,523
It doesn't have to be Harvey.
1870
01:03:37,856 --> 01:03:39,400
I think Anne Hathaway
1871
01:03:37,856 --> 01:03:39,400
should be here.
1872
01:03:41,235 --> 01:03:43,362
We're struggling to make
1873
01:03:41,235 --> 01:03:43,362
this work right now.
1874
01:03:43,696 --> 01:03:46,156
We still have three people that
1875
01:03:43,696 --> 01:03:46,156
don't have seats at the moment.
1876
01:03:47,824 --> 01:03:49,410
Can we block off the middle part
1877
01:03:49,451 --> 01:03:52,204
and in here, just make
1878
01:03:49,451 --> 01:03:52,204
a little hole here?
1879
01:03:54,373 --> 01:03:56,375
Because if we do something
1880
01:03:54,373 --> 01:03:56,375
in between these two pillars,
1881
01:03:56,417 --> 01:03:57,959
this is what
1882
01:03:56,417 --> 01:03:57,959
they're concerned about.
1883
01:03:58,001 --> 01:03:59,795
This is not art.
1884
01:03:58,001 --> 01:03:59,795
This is a pillar.
1885
01:03:59,836 --> 01:04:01,046
Oh no, it is Tiffany.
1886
01:04:02,423 --> 01:04:03,882
- Those are the Tiffany pillars.
1887
01:04:02,423 --> 01:04:03,882
- Expensive pillars.
1888
01:04:04,841 --> 01:04:06,677
Wintour: We're trying to work
1889
01:04:04,841 --> 01:04:06,677
with you guys.
1890
01:04:06,719 --> 01:04:09,846
You told us what we were trying
1891
01:04:06,719 --> 01:04:09,846
to do here was first possible
1892
01:04:09,888 --> 01:04:11,557
then it's not possible.
1893
01:04:11,599 --> 01:04:13,016
And then we move the tables.
1894
01:04:13,058 --> 01:04:14,059
Woman: You have to understand...
1895
01:04:15,603 --> 01:04:17,104
You are basically scrubbing
1896
01:04:15,603 --> 01:04:17,104
Engelhardt Court of all the art.
1897
01:04:17,145 --> 01:04:19,565
Wintour: Yes... But this is not
1898
01:04:17,145 --> 01:04:19,565
actually about that tonight.
1899
01:04:19,607 --> 01:04:21,776
It's actually about raising
1900
01:04:19,607 --> 01:04:21,776
money for the museum,
1901
01:04:21,817 --> 01:04:23,068
which we have done.
1902
01:05:02,190 --> 01:05:04,359
Nathan?
1903
01:05:02,190 --> 01:05:04,359
Do the lights work?
1904
01:05:04,943 --> 01:05:07,070
We'll know
1905
01:05:04,943 --> 01:05:07,070
in the next two hours.
1906
01:05:07,112 --> 01:05:08,447
What happens if they don't?
1907
01:05:11,575 --> 01:05:12,576
Yes, that's better.
1908
01:05:13,243 --> 01:05:15,120
Once you see those together...
1909
01:05:15,746 --> 01:05:17,038
Incredible.
1910
01:05:32,304 --> 01:05:35,432
We'll be finished, you know,
1911
01:05:32,304 --> 01:05:35,432
in the next hour.
1912
01:05:35,474 --> 01:05:37,309
Okay, you'll be finished by
1913
01:05:35,474 --> 01:05:37,309
the end of the day though?
1914
01:05:37,351 --> 01:05:40,312
I mean, we'll finish by...
1915
01:05:37,351 --> 01:05:40,312
Before we leave tonight.
1916
01:06:40,121 --> 01:06:41,707
(indistinct speech
1917
01:06:40,121 --> 01:06:41,707
in background)
1918
01:06:43,667 --> 01:06:45,669
Okay, okay, okay.
1919
01:06:46,962 --> 01:06:48,296
Talley: The dress is beautiful.
1920
01:06:48,338 --> 01:06:50,298
- It's so beautiful.
1921
01:06:48,338 --> 01:06:50,298
- The dress fits.
1922
01:06:50,340 --> 01:06:51,884
- It fits?
1923
01:06:50,340 --> 01:06:51,884
- It fits.
1924
01:06:52,217 --> 01:06:54,010
Maybe too tight here.
1925
01:06:54,052 --> 01:06:56,054
Yeah, that's what
1926
01:06:54,052 --> 01:06:56,054
I was thinking, maybe...
1927
01:06:57,264 --> 01:06:58,766
Here, I'll deal with that.
1928
01:07:05,689 --> 01:07:07,274
Talley:
1929
01:07:05,689 --> 01:07:07,274
The color is superb on you.
1930
01:07:07,775 --> 01:07:09,443
And what do you think of
1931
01:07:07,775 --> 01:07:09,443
the bracelet?
1932
01:07:10,903 --> 01:07:12,237
Mom only like diamonds.
1933
01:07:16,366 --> 01:07:18,410
Talley: So now you should walk.
1934
01:07:16,366 --> 01:07:18,410
Walk out of the room.
1935
01:07:21,997 --> 01:07:23,290
Excellent!
1936
01:07:23,331 --> 01:07:25,125
Sexy and soigné.
1937
01:07:28,295 --> 01:07:29,755
It's very beautiful.
1938
01:07:33,258 --> 01:07:34,676
A superb dress.
1939
01:07:42,309 --> 01:07:44,436
Luhrmann:
1940
01:07:42,309 --> 01:07:44,436
Anna is kinda beyond legacy.
1941
01:07:45,270 --> 01:07:46,521
I mean, she's got a legacy.
1942
01:07:46,563 --> 01:07:49,024
She could disappear
1943
01:07:46,563 --> 01:07:49,024
to Alaska now
1944
01:07:49,065 --> 01:07:50,233
and never be seen again,
1945
01:07:50,484 --> 01:07:51,735
dressed as Nanook of the North,
1946
01:07:50,484 --> 01:07:51,735
or something,
1947
01:07:51,777 --> 01:07:53,654
and, you know,
1948
01:07:51,777 --> 01:07:53,654
she's got a legacy.
1949
01:07:53,695 --> 01:07:55,489
She sent me
1950
01:07:53,695 --> 01:07:55,489
the fitting pictures...
1951
01:07:55,530 --> 01:07:58,366
Luhrmann:
1952
01:07:55,530 --> 01:07:58,366
She's a big business entity.
1953
01:07:59,242 --> 01:08:03,914
But the whole idea
1954
01:07:59,242 --> 01:08:03,914
with the Met Gala...
1955
01:08:04,957 --> 01:08:07,459
it's not a
1956
01:08:04,957 --> 01:08:07,459
commercial consideration.
1957
01:08:07,501 --> 01:08:10,211
It's a cultural consideration.
1958
01:08:11,839 --> 01:08:15,091
I don't pretend to be
1959
01:08:11,839 --> 01:08:15,091
a fashion historian,
1960
01:08:15,592 --> 01:08:18,720
but I think
1961
01:08:15,592 --> 01:08:18,720
fashion should be recognized
1962
01:08:20,221 --> 01:08:22,599
when you see how
1963
01:08:22,641 --> 01:08:25,519
it touches people
1964
01:08:22,641 --> 01:08:25,519
and moves people.
1965
01:08:26,020 --> 01:08:28,313
I mean, what more
1966
01:08:26,020 --> 01:08:28,313
can you ask from art?
1967
01:09:28,540 --> 01:09:30,250
- My God.
1968
01:09:28,540 --> 01:09:30,250
- (gasping)
1969
01:09:30,291 --> 01:09:31,459
Oh, my God.
1970
01:09:31,793 --> 01:09:33,378
She's gonna die,
1971
01:09:31,793 --> 01:09:33,378
has she seen it?
1972
01:09:33,420 --> 01:09:35,589
Man: No she hasn't been
1973
01:09:33,420 --> 01:09:35,589
here yet.
1974
01:09:35,630 --> 01:09:36,840
My God...
1975
01:09:36,882 --> 01:09:38,174
(chuckling)
1976
01:09:38,216 --> 01:09:39,676
We did it!
1977
01:09:39,718 --> 01:09:40,844
I'm gonna cry.
1978
01:09:45,099 --> 01:09:47,350
Unbelievable!
1979
01:09:50,186 --> 01:09:51,897
Wintour:
1980
01:09:50,186 --> 01:09:51,897
Does this go to the top?
1981
01:09:51,939 --> 01:09:53,565
Unbelievable.
1982
01:09:54,232 --> 01:09:55,650
Best one ever.
1983
01:09:58,028 --> 01:09:59,404
How many roses?
1984
01:09:59,863 --> 01:10:01,239
250,000.
1985
01:10:01,823 --> 01:10:02,908
(laughs)
1986
01:10:03,867 --> 01:10:05,160
(applause)
1987
01:10:05,535 --> 01:10:06,912
(clears throat)
1988
01:10:07,746 --> 01:10:08,830
Good morning.
1989
01:10:09,247 --> 01:10:11,166
"China:
1990
01:10:09,247 --> 01:10:11,166
Through the Looking Glass"
1991
01:10:11,207 --> 01:10:14,920
is almost three times the size
1992
01:10:11,207 --> 01:10:14,920
of our usual spring shows.
1993
01:10:15,921 --> 01:10:20,050
In total, there are over
1994
01:10:15,921 --> 01:10:20,050
150 costumes and accessories,
1995
01:10:20,092 --> 01:10:21,551
and over 40 designers.
1996
01:10:21,593 --> 01:10:23,470
- (indistinct speech)
1997
01:10:21,593 --> 01:10:23,470
- (cameras clicking)
1998
01:10:25,597 --> 01:10:27,057
What a relief that's over with.
1999
01:10:27,099 --> 01:10:28,475
- Yeah, but...
2000
01:10:27,099 --> 01:10:28,475
- (smashing)
2001
01:10:29,768 --> 01:10:31,269
(giggling)
2002
01:10:31,311 --> 01:10:32,896
Is that good luck?
2003
01:10:33,647 --> 01:10:35,231
- It wasn't a mirror.
2004
01:10:33,647 --> 01:10:35,231
- I'm sure it is.
2005
01:10:35,273 --> 01:10:37,400
Special kudos to Andrew
2006
01:10:35,273 --> 01:10:37,400
for surviving.
2007
01:10:37,442 --> 01:10:39,778
It works so beautifully
2008
01:10:37,442 --> 01:10:39,778
in the galleries.
2009
01:10:39,820 --> 01:10:40,654
It really does.
2010
01:10:41,696 --> 01:10:42,781
I couldn't agree more.
2011
01:10:41,696 --> 01:10:42,781
I'm thrilled.
2012
01:10:43,406 --> 01:10:44,658
I love you.
2013
01:10:45,033 --> 01:10:46,326
Was the speech ok?
2014
01:10:46,367 --> 01:10:47,577
Really good. Yeah.
2015
01:10:47,619 --> 01:10:49,704
Did I sound like
2016
01:10:47,619 --> 01:10:49,704
the Queen of England?
2017
01:10:49,746 --> 01:10:52,332
No!
2018
01:10:49,746 --> 01:10:52,332
(mocking laughter)
2019
01:10:55,002 --> 01:10:56,336
I'll see you later.
2020
01:10:56,377 --> 01:10:57,838
Probably about two-ish.
2021
01:11:06,221 --> 01:11:08,932
So this is H&M.
2022
01:11:06,221 --> 01:11:08,932
This is Veronica.
2023
01:11:08,974 --> 01:11:10,142
Vivienne.
2024
01:11:10,184 --> 01:11:11,434
And this is Cartier.
2025
01:11:11,476 --> 01:11:12,686
That's the best solution,
2026
01:11:14,021 --> 01:11:14,938
and then the small one is
2027
01:11:14,021 --> 01:11:14,938
in the middle, right?
2028
01:11:14,980 --> 01:11:16,314
Okay, right.
2029
01:11:16,356 --> 01:11:18,441
- Yeah.
2030
01:11:16,356 --> 01:11:18,441
- Let's move this in a bit.
2031
01:11:18,483 --> 01:11:20,902
Yes.
2032
01:11:18,483 --> 01:11:20,902
This is such a bad table, but
2033
01:11:21,486 --> 01:11:23,197
someone's gotta take
2034
01:11:21,486 --> 01:11:23,197
this table.
2035
01:11:23,571 --> 01:11:24,990
But no celeb, right?
2036
01:11:25,032 --> 01:11:26,908
Chloe Sevigny, Solange Knowles.
2037
01:11:26,950 --> 01:11:27,993
Oh.
2038
01:11:28,994 --> 01:11:30,537
But they'll talk to who?
2039
01:11:31,163 --> 01:11:32,706
Odell Beckham.
2040
01:11:33,540 --> 01:11:35,209
Durrett: It's tight,
2041
01:11:33,540 --> 01:11:35,209
but it's always tight.
2042
01:11:35,250 --> 01:11:36,835
Wintour:
2043
01:11:35,250 --> 01:11:36,835
These are fun people, right?
2044
01:11:36,877 --> 01:11:38,045
It's fine.
2045
01:11:38,086 --> 01:11:40,130
Yeah.
2046
01:11:38,086 --> 01:11:40,130
This is fine.
2047
01:11:40,172 --> 01:11:41,631
(laughing)
2048
01:11:41,673 --> 01:11:44,051
He's like, "What are you
2049
01:11:41,673 --> 01:11:44,051
talking about? What happened?"
2050
01:11:45,510 --> 01:11:48,222
What is this?
2051
01:11:45,510 --> 01:11:48,222
Nylon?
2052
01:11:48,263 --> 01:11:49,931
- Durrett: No
2053
01:11:48,263 --> 01:11:49,931
- Silk.
2054
01:11:50,765 --> 01:11:52,684
- Pure silk.
2055
01:11:50,765 --> 01:11:52,684
- Made in China.
2056
01:11:58,857 --> 01:12:01,026
(cheering)
2057
01:12:08,116 --> 01:12:09,617
Alright, George, let's do this.
2058
01:12:09,659 --> 01:12:11,494
Let's get this thing going.
2059
01:12:33,016 --> 01:12:34,559
What the fuck is this?
2060
01:12:58,750 --> 01:13:00,794
The other leg.
2061
01:12:58,750 --> 01:13:00,794
Let's see the legs.
2062
01:13:00,835 --> 01:13:02,087
- (chuckles)
2063
01:13:00,835 --> 01:13:02,087
- Thank you, darling.
2064
01:13:02,545 --> 01:13:04,798
(cheering)
2065
01:13:09,594 --> 01:13:11,138
Talley: Come over here, baby,
2066
01:13:09,594 --> 01:13:11,138
come to me.
2067
01:13:11,179 --> 01:13:13,014
Only you can wear
2068
01:13:11,179 --> 01:13:13,014
a dress like this.
2069
01:13:13,556 --> 01:13:14,891
The body rocks.
2070
01:13:14,933 --> 01:13:16,643
What do you do
2071
01:13:14,933 --> 01:13:16,643
to keep the body rocking?
2072
01:13:17,018 --> 01:13:17,936
What do you do?
2073
01:13:19,437 --> 01:13:21,022
Are you getting good pictures
2074
01:13:19,437 --> 01:13:21,022
of the dress and everything?
2075
01:13:36,412 --> 01:13:38,290
Chloe Malle: I was worried
2076
01:13:36,412 --> 01:13:38,290
people would take
2077
01:13:38,332 --> 01:13:40,792
Chinese-inspired and do
2078
01:13:38,332 --> 01:13:40,792
something wildly offensive
2079
01:13:40,834 --> 01:13:42,710
and actually people
2080
01:13:40,834 --> 01:13:42,710
have been very creative
2081
01:13:42,752 --> 01:13:44,712
and done some
2082
01:13:42,752 --> 01:13:44,712
really beautiful things.
2083
01:13:44,754 --> 01:13:46,464
Some major headwear.
2084
01:13:57,142 --> 01:13:59,560
(cheering)
2085
01:14:00,854 --> 01:14:02,356
Do you all love Chinese food?
2086
01:14:02,397 --> 01:14:03,606
I do.
2087
01:14:05,108 --> 01:14:05,859
- He doesn't. What do you like?
2088
01:14:05,108 --> 01:14:05,859
- No, I love Chinese food.
2089
01:14:05,900 --> 01:14:07,152
What's your favorite dish?
2090
01:14:07,527 --> 01:14:09,196
I like fried chicken wings
2091
01:14:09,737 --> 01:14:12,282
and General Tso's chicken
2092
01:14:09,737 --> 01:14:12,282
with some shrimp,
2093
01:14:12,324 --> 01:14:13,574
and chicken fried rice.
2094
01:14:13,825 --> 01:14:14,993
- I know you work for Vogue...
2095
01:14:13,825 --> 01:14:14,993
- (laughs)
2096
01:14:16,370 --> 01:14:18,496
He works for Vogue,
2097
01:14:16,370 --> 01:14:18,496
but you better tell the truth.
2098
01:14:21,624 --> 01:14:23,293
Anne Hathaway is heaven.
2099
01:14:23,335 --> 01:14:24,460
Looks so good, yeah.
2100
01:14:25,879 --> 01:14:27,714
Amanda Seyfried and Justin Long
2101
01:14:25,879 --> 01:14:27,714
look adorable together.
2102
01:14:27,755 --> 01:14:30,300
She's in custom Givency couture.
2103
01:14:30,342 --> 01:14:31,676
(screams)
2104
01:14:41,519 --> 01:14:42,687
Cher? I want Cher.
2105
01:14:42,729 --> 01:14:44,398
Someone help me!
2106
01:14:44,898 --> 01:14:46,191
Could you help me?
2107
01:14:46,524 --> 01:14:48,151
Come on here, baby.
2108
01:14:46,524 --> 01:14:48,151
Come to me.
2109
01:14:49,861 --> 01:14:51,529
Why did you let that happen?
2110
01:14:51,571 --> 01:14:54,949
Can someone go tell Sally that
2111
01:14:51,571 --> 01:14:54,949
the Clooneys did not stop?
2112
01:14:55,283 --> 01:14:56,534
Go tell her now.
2113
01:14:56,576 --> 01:14:57,744
You know the Clooneys
2114
01:14:56,576 --> 01:14:57,744
didn't stop.
2115
01:14:57,785 --> 01:14:58,745
So let Anna know that.
2116
01:14:59,120 --> 01:15:00,872
George said hello
2117
01:14:59,120 --> 01:15:00,872
but Mrs. Clooney
2118
01:15:00,914 --> 01:15:02,498
did not stop
2119
01:15:00,914 --> 01:15:02,498
in her Galliano dress,
2120
01:15:02,540 --> 01:15:03,666
I told Sally.
2121
01:15:03,708 --> 01:15:05,293
We got Justin Bieber, OK?
2122
01:15:12,550 --> 01:15:14,219
Sale bête! Sale bête!
2123
01:15:14,594 --> 01:15:16,596
Darling, wow!
2124
01:15:17,013 --> 01:15:18,223
How does it feel to be
2125
01:15:18,265 --> 01:15:20,725
one of the 100
2126
01:15:18,265 --> 01:15:20,725
most influential persons
2127
01:15:20,767 --> 01:15:22,185
- in Time magazine?
2128
01:15:20,767 --> 01:15:22,185
- Oh, thank you.
2129
01:15:22,227 --> 01:15:23,603
That is so brilliant.
2130
01:15:23,644 --> 01:15:25,063
I think it's so great
2131
01:15:25,105 --> 01:15:26,981
the way you're supporting
2132
01:15:25,105 --> 01:15:26,981
your step-father.
2133
01:15:27,023 --> 01:15:29,525
- Of course.
2134
01:15:27,023 --> 01:15:29,525
- It's really beautiful.
2135
01:15:29,567 --> 01:15:31,236
- It's really important.
2136
01:15:29,567 --> 01:15:31,236
- It really is.
2137
01:15:31,278 --> 01:15:33,405
We're here with dresses,
2138
01:15:31,278 --> 01:15:33,405
but, listen, after all...
2139
01:15:33,447 --> 01:15:34,739
(inaudible)
2140
01:15:46,960 --> 01:15:48,253
Hi, Pat!
2141
01:15:53,007 --> 01:15:55,593
♪ We gonna party tonight ♪
2142
01:15:55,635 --> 01:15:58,388
♪ We gonna turn up tonight ♪
2143
01:15:58,430 --> 01:15:59,889
♪ Oh, yeah ♪
2144
01:16:00,556 --> 01:16:02,058
♪ Oh, yeah ♪
2145
01:16:02,517 --> 01:16:03,768
♪ Oh, yeah ♪
2146
01:16:05,103 --> 01:16:07,897
Michael Kors:
2147
01:16:05,103 --> 01:16:07,897
The exhibit is this way.
2148
01:16:08,231 --> 01:16:11,192
Do you know how crazy I'd look
2149
01:16:08,231 --> 01:16:11,192
in a head piece like that?
2150
01:16:12,610 --> 01:16:15,155
You could pull
2151
01:16:12,610 --> 01:16:15,155
any head piece off.
2152
01:16:19,284 --> 01:16:20,994
Anna May Wong.
2153
01:16:21,619 --> 01:16:24,664
The first Asian movie star.
2154
01:16:30,504 --> 01:16:31,879
Wow!
2155
01:16:31,921 --> 01:16:33,298
That's Dior,
2156
01:16:31,921 --> 01:16:33,298
that's John's (Galliano).
2157
01:16:33,340 --> 01:16:35,800
Hudson: I want to wear that
2158
01:16:33,340 --> 01:16:35,800
in my bedroom.
2159
01:16:37,344 --> 01:16:38,553
So good to see you.
2160
01:16:38,594 --> 01:16:40,263
Thank you for your flowers.
2161
01:16:43,224 --> 01:16:44,309
How's business?
2162
01:16:51,649 --> 01:16:53,776
- This was my dress, that one.
2163
01:16:51,649 --> 01:16:53,776
- Wow.
2164
01:16:53,818 --> 01:16:56,112
It's the white one.
2165
01:16:53,818 --> 01:16:56,112
It was a wedding dress.
2166
01:16:57,780 --> 01:16:59,657
That must be an old one.
2167
01:16:59,991 --> 01:17:01,993
1925, something like that...
2168
01:17:02,369 --> 01:17:04,954
- 1924.
2169
01:17:02,369 --> 01:17:04,954
- 1924, even earlier, yeah.
2170
01:17:06,873 --> 01:17:08,500
In 1925, it was smaller.
2171
01:17:08,542 --> 01:17:11,961
Not so big volume as there,
2172
01:17:08,542 --> 01:17:11,961
but it was short already.
2173
01:17:12,504 --> 01:17:13,629
You're so smart.
2174
01:17:13,671 --> 01:17:14,881
History, I know it.
2175
01:17:14,922 --> 01:17:17,217
- The history of fashion.
2176
01:17:14,922 --> 01:17:17,217
- Wow!
2177
01:17:18,176 --> 01:17:19,219
(inaudible)
2178
01:17:22,680 --> 01:17:24,516
That is Alexander McQueen.
2179
01:17:24,558 --> 01:17:26,518
They do a lot of work in wood.
2180
01:17:26,893 --> 01:17:29,312
That is also McQueen,
2181
01:17:26,893 --> 01:17:29,312
the bolero.
2182
01:17:31,398 --> 01:17:35,610
That could be McQueen,
2183
01:17:31,398 --> 01:17:35,610
I'm not sure.
2184
01:17:35,693 --> 01:17:39,030
It's Alexander McQueen,
2185
01:17:35,693 --> 01:17:39,030
for Givenchy.
2186
01:17:39,364 --> 01:17:42,242
It's nice mix with
2187
01:17:39,364 --> 01:17:42,242
all these things from China.
2188
01:17:42,283 --> 01:17:43,701
It's beautiful.
2189
01:17:44,827 --> 01:17:48,039
I love the Chinese inspiration.
2190
01:17:50,166 --> 01:17:51,209
Wow!
2191
01:17:57,715 --> 01:17:58,716
Man: What's the dress?
2192
01:17:59,050 --> 01:18:01,219
Did you get my message?
2193
01:18:07,016 --> 01:18:08,893
Justin Bieber: How do you think
2194
01:18:07,016 --> 01:18:08,893
that would look on me?
2195
01:18:12,813 --> 01:18:15,775
- Alicia Keys: Wow!
2196
01:18:12,813 --> 01:18:15,775
- Gaultier: Voilà, that's mine.
2197
01:18:18,653 --> 01:18:20,029
Man: Wow, this exhibit...
2198
01:18:20,071 --> 01:18:22,240
Your mood changes
2199
01:18:20,071 --> 01:18:22,240
from room to room.
2200
01:18:22,282 --> 01:18:23,783
It's remarkable.
2201
01:18:24,742 --> 01:18:26,160
Keys: Wow!
2202
01:18:26,202 --> 01:18:28,329
Gaultier: Oh, the porcelain.
2203
01:18:28,371 --> 01:18:29,997
Keys: Wow, look at this!
2204
01:18:34,252 --> 01:18:37,338
Gaultier: That's Galliano
2205
01:18:34,252 --> 01:18:37,338
for Dior, I think, no?
2206
01:18:37,672 --> 01:18:39,215
Keys: Guo Pei....
2207
01:18:41,842 --> 01:18:44,095
- So gorgeous!
2208
01:18:41,842 --> 01:18:44,095
- Oh, my God!
2209
01:18:44,720 --> 01:18:46,264
Oh, my God!
2210
01:18:47,098 --> 01:18:50,059
This room is a dream!
2211
01:18:51,144 --> 01:18:53,938
All the celadon but
2212
01:18:51,144 --> 01:18:53,938
with the black lacquer.
2213
01:18:53,980 --> 01:18:55,856
And look at these shapes.
2214
01:18:57,651 --> 01:18:59,402
Like when people say,
2215
01:18:57,651 --> 01:18:59,402
"You couldn't walk in it."
2216
01:18:59,444 --> 01:19:01,571
Who cares?
2217
01:18:59,444 --> 01:19:01,571
It's that beautiful.
2218
01:19:01,613 --> 01:19:02,989
Kate Hudson: I know!
2219
01:19:07,619 --> 01:19:10,246
(indistinct shouting)
2220
01:19:16,461 --> 01:19:20,923
♪ (Nat King Cole
2221
01:19:16,461 --> 01:19:20,923
"Stardust" plays) ♪
2222
01:19:37,982 --> 01:19:39,609
Talley: Oh, I love a girl
2223
01:19:39,651 --> 01:19:42,945
from humble beginnings
2224
01:19:39,651 --> 01:19:42,945
who becomes a big star.
2225
01:19:44,197 --> 01:19:46,866
It's like the American Dream,
2226
01:19:44,197 --> 01:19:46,866
that's how you do it.
2227
01:19:48,159 --> 01:19:50,786
And just keep going with it.
2228
01:19:51,120 --> 01:19:53,289
I want more train
2229
01:19:51,120 --> 01:19:53,289
and more train!
2230
01:19:53,331 --> 01:19:54,290
I want drama!
2231
01:19:55,416 --> 01:19:56,501
I want five people
2232
01:19:55,416 --> 01:19:56,501
picking up my thing!
2233
01:19:59,128 --> 01:20:01,047
This is the black Frozen!
2234
01:20:03,090 --> 01:20:05,218
This is the queen of the night!
2235
01:20:06,594 --> 01:20:08,971
♪ (Nat King Cole
2236
01:20:06,594 --> 01:20:08,971
"Stardust" continues) ♪
2237
01:20:12,475 --> 01:20:13,851
Queen of the night.
2238
01:20:13,893 --> 01:20:16,937
Breaking up is not enough,
2239
01:20:13,893 --> 01:20:16,937
it's not enough.
2240
01:20:16,979 --> 01:20:18,398
- Beautiful!
2241
01:20:16,979 --> 01:20:18,398
- Thank you.
2242
01:20:18,732 --> 01:20:20,441
This moment, this fantasy!
2243
01:20:20,483 --> 01:20:21,735
It was made by Guo Pei.
2244
01:20:21,776 --> 01:20:23,695
It took two years to make this.
2245
01:20:23,737 --> 01:20:24,862
And let me just say...
2246
01:20:24,904 --> 01:20:26,656
You are wearing it
2247
01:20:24,904 --> 01:20:26,656
so beautifully.
2248
01:20:26,698 --> 01:20:27,823
You are so inspiring...
2249
01:20:27,865 --> 01:20:29,033
- Thank you.
2250
01:20:27,865 --> 01:20:29,033
- ...to so many people.
2251
01:20:29,534 --> 01:20:31,160
- Good night.
2252
01:20:29,534 --> 01:20:31,160
- Vocal rest.
2253
01:20:31,202 --> 01:20:33,162
Big night! Can't wait
2254
01:20:31,202 --> 01:20:33,162
to see you on stage!
2255
01:20:33,204 --> 01:20:34,997
- Thank you.
2256
01:20:33,204 --> 01:20:34,997
- Oh, it's got a pink lining.
2257
01:20:35,039 --> 01:20:36,374
Did you get the pink lining?
2258
01:20:37,584 --> 01:20:40,253
♪ (Nat King Cole
2259
01:20:37,584 --> 01:20:40,253
"Stardust" continues) ♪
2260
01:20:51,514 --> 01:20:54,601
I need to mainline
2261
01:20:51,514 --> 01:20:54,601
pinot grigio to my arm.
2262
01:20:54,642 --> 01:20:55,893
Have a Scotch.
2263
01:20:55,935 --> 01:20:58,396
Scotch in a glass? How classy.
2264
01:21:33,473 --> 01:21:34,140
Oh my God,
2265
01:21:35,558 --> 01:21:36,643
I'm gonna be all by my lonesome
2266
01:21:35,558 --> 01:21:36,643
just like high school.
2267
01:21:37,852 --> 01:21:40,062
You can sit with us,
2268
01:21:37,852 --> 01:21:40,062
sit with us if you want.
2269
01:21:43,941 --> 01:21:46,611
- Oh, my God!
2270
01:21:43,941 --> 01:21:46,611
- Oh, my God!
2271
01:21:47,570 --> 01:21:50,573
(gong sounds)
2272
01:21:51,324 --> 01:21:53,451
Campbell: Could I have your
2273
01:21:51,324 --> 01:21:53,451
attention for a moment, please?
2274
01:21:54,702 --> 01:21:58,456
The true star of this evening
2275
01:21:54,702 --> 01:21:58,456
is Andrew Bolton.
2276
01:21:58,790 --> 01:22:00,708
(cheering and applause)
2277
01:22:07,841 --> 01:22:09,133
Hello.
2278
01:22:12,303 --> 01:22:14,096
Bill Cunningham: Hello Andrew,
2279
01:22:12,303 --> 01:22:14,096
it's quite the success.
2280
01:22:14,138 --> 01:22:15,431
Hey! Thank you, Bill.
2281
01:22:15,473 --> 01:22:19,018
It's such a contemplative space,
2282
01:22:15,473 --> 01:22:19,018
it's very...
2283
01:22:19,059 --> 01:22:20,269
- Brilliant.
2284
01:22:19,059 --> 01:22:20,269
- Quiet.
2285
01:22:20,311 --> 01:22:21,896
When I think
2286
01:22:20,311 --> 01:22:21,896
how they allowed this...
2287
01:22:22,313 --> 01:22:23,898
Poor Mrs. Vreeland.
2288
01:22:23,939 --> 01:22:27,902
They killed her with exhibition,
2289
01:22:23,939 --> 01:22:27,902
keeping it downstairs.
2290
01:22:28,444 --> 01:22:29,779
The Asian Art Department
2291
01:22:28,444 --> 01:22:29,779
has been
2292
01:22:29,821 --> 01:22:31,698
incredibly generous with us.
2293
01:22:31,739 --> 01:22:33,115
They have, yeah.
2294
01:22:33,157 --> 01:22:34,659
Twenty years late.
2295
01:22:36,661 --> 01:22:38,538
What's up, Met Ball?
2296
01:22:38,579 --> 01:22:40,331
(cheering)
2297
01:22:40,790 --> 01:22:44,627
Isn't it amazing how fashion
2298
01:22:40,790 --> 01:22:44,627
can bring two cultures together?
2299
01:22:44,669 --> 01:22:47,505
(cheering and applause)
2300
01:22:48,673 --> 01:22:51,050
I wanna give a round of applause
2301
01:22:48,673 --> 01:22:51,050
to everybody here tonight.
2302
01:22:51,091 --> 01:22:54,220
Anna Wintour, thank you so much
2303
01:22:51,091 --> 01:22:54,220
for having me.
2304
01:22:56,890 --> 01:22:58,307
Everybody ready to party?
2305
01:22:59,517 --> 01:23:04,271
♪ (sings
2306
01:22:59,517 --> 01:23:04,271
"Bitch Better Have My Money") ♪
2307
01:23:50,276 --> 01:23:52,236
(applause fades out)
2308
01:23:52,820 --> 01:23:56,699
♪ ("Wild is the Wind"
2309
01:23:52,820 --> 01:23:56,699
by Cat Power plays) ♪
2310
01:28:02,778 --> 01:28:04,989
"Are you both there?
2311
01:28:02,778 --> 01:28:04,989
I'll be around 6:45,
2312
01:28:05,031 --> 01:28:07,491
Do I need to pick anything up?
2313
01:28:05,031 --> 01:28:07,491
I'm gonna say..."
2314
01:28:07,533 --> 01:28:09,451
- Starbucks.
2315
01:28:07,533 --> 01:28:09,451
- "Yes.
2316
01:28:10,161 --> 01:28:13,039
Big box of Starbucks."
2317
01:28:13,497 --> 01:28:15,499
Everybody looks shockingly
2318
01:28:13,497 --> 01:28:15,499
good this year.
2319
01:28:15,541 --> 01:28:17,334
Yeah, Chloe Sevigny
2320
01:28:15,541 --> 01:28:17,334
looked amazing.
2321
01:28:18,669 --> 01:28:21,296
- Spike Lee, he looks great!
2322
01:28:18,669 --> 01:28:21,296
- I know.
2323
01:28:22,256 --> 01:28:24,550
You gonna just die
2324
01:28:22,256 --> 01:28:24,550
over what Rihanna wore.
2325
01:28:24,591 --> 01:28:26,510
Martin Hoops:
2326
01:28:24,591 --> 01:28:26,510
I can't wait to see it.
2327
01:28:28,387 --> 01:28:29,889
- Oh, my God.
2328
01:28:28,387 --> 01:28:29,889
- Boom!
2329
01:28:30,223 --> 01:28:31,765
That is excellent!
2330
01:28:31,807 --> 01:28:33,600
It's like a Disney movie.
2331
01:28:33,642 --> 01:28:36,103
Every single one of them.
2332
01:28:33,642 --> 01:28:36,103
Boom.
2333
01:28:37,271 --> 01:28:38,480
Yeah, she should be the cover.
2334
01:28:38,522 --> 01:28:40,482
Yes.
2335
01:28:38,522 --> 01:28:40,482
Look at her body guard.
2336
01:28:40,524 --> 01:28:41,734
Where? This guy?
2337
01:28:41,775 --> 01:28:43,694
He's brilliant.
2338
01:28:41,775 --> 01:28:43,694
He's holding her purse!
2339
01:28:44,195 --> 01:28:46,405
I would hold her purse, too.
2340
01:28:44,195 --> 01:28:46,405
I would hold it all night.
2341
01:28:46,446 --> 01:28:47,990
Malle: Oh, my God!
2342
01:28:50,243 --> 01:28:52,286
Hoops: Do you see any
2343
01:28:50,243 --> 01:28:52,286
resemblance, David,
2344
01:28:52,327 --> 01:28:53,537
between me and Clooney?
2345
01:28:53,579 --> 01:28:55,330
So he went bow tie-less.
2346
01:28:55,372 --> 01:28:58,458
That's what studs
2347
01:28:55,372 --> 01:28:58,458
like this do, David.
2348
01:28:58,500 --> 01:29:00,627
Me and George,
2349
01:28:58,500 --> 01:29:00,627
we know what we're doing.
2350
01:29:00,669 --> 01:29:02,337
Malle: That's cool.
2351
01:29:00,669 --> 01:29:02,337
Actually that is good.
2352
01:29:02,379 --> 01:29:03,547
Hoops: This is good.
2353
01:29:03,589 --> 01:29:04,965
Now you got her
2354
01:29:03,589 --> 01:29:04,965
in a gothic room,
2355
01:29:05,007 --> 01:29:06,508
medieval gothic.
2356
01:29:06,550 --> 01:29:08,010
Ecclesiastical...
2357
01:29:08,052 --> 01:29:09,511
(indistinct)
2358
01:29:09,553 --> 01:29:10,888
Am I being banned?
2359
01:29:11,222 --> 01:29:12,514
Go back to your room.
2360
01:29:12,556 --> 01:29:14,725
- Getting close.
2361
01:29:12,556 --> 01:29:14,725
- Go back to my room!
2362
01:29:15,559 --> 01:29:17,603
- We'll do this.
2363
01:29:15,559 --> 01:29:17,603
- Malle: That's nice.
2364
01:29:18,437 --> 01:29:19,688
- Spread.
2365
01:29:18,437 --> 01:29:19,688
- Right.
2366
01:29:19,730 --> 01:29:21,774
- And then the last two.
2367
01:29:19,730 --> 01:29:21,774
- Great.
2368
01:29:24,443 --> 01:29:26,028
Hoops: I think it actually looks
2369
01:29:24,443 --> 01:29:26,028
really good.
2370
01:29:26,070 --> 01:29:27,404
Malle: Yeah, I do too.
2371
01:29:37,414 --> 01:29:39,792
I will bet everybody lunch here,
2372
01:29:39,833 --> 01:29:41,710
that when I lay out
2373
01:29:39,833 --> 01:29:41,710
that pomegranate,
2374
01:29:41,752 --> 01:29:43,796
she's gonna say,
2375
01:29:41,752 --> 01:29:43,796
"Oh, this is nice."
2376
01:29:44,797 --> 01:29:45,714
Yeah.
2377
01:29:45,756 --> 01:29:47,633
Okay, Martin, let's do this.
2378
01:29:48,675 --> 01:29:50,385
The pomegranates...
2379
01:29:50,427 --> 01:29:51,845
just perfect.
2380
01:29:52,179 --> 01:29:53,639
- Martin loves pomegranates.
2381
01:29:52,179 --> 01:29:53,639
- Yeah.
2382
01:29:53,680 --> 01:29:55,390
Me and AW have
2383
01:29:55,432 --> 01:29:57,768
a similar wavelength
2384
01:29:55,432 --> 01:29:57,768
in our brains.
2385
01:29:57,810 --> 01:30:00,604
She goes, you know,
2386
01:29:57,810 --> 01:30:00,604
"Big stars like Derek Jeter."
2387
01:30:00,938 --> 01:30:03,816
I said Jeter! I'm like,
2388
01:30:00,938 --> 01:30:03,816
of course, he's the captain!
2389
01:30:03,857 --> 01:30:05,734
I said he should get
2390
01:30:03,857 --> 01:30:05,734
a cover line. The captain?
2391
01:30:05,776 --> 01:30:07,820
I think that's almost
2392
01:30:05,776 --> 01:30:07,820
on the same par...
2393
01:30:08,195 --> 01:30:11,740
I told you, me and Anna have
2394
01:30:08,195 --> 01:30:11,740
same brain, the same brain.
2395
01:30:11,782 --> 01:30:14,534
Cher, Derek Jeter. I mean,
2396
01:30:11,782 --> 01:30:14,534
you gotta sell this thing.
2397
01:30:14,576 --> 01:30:16,703
This is not
2398
01:30:14,576 --> 01:30:16,703
a niche magazine, you know.
2399
01:30:16,745 --> 01:30:18,247
We gotta get the names
2400
01:30:16,745 --> 01:30:18,247
on there!
2401
01:30:18,622 --> 01:30:19,957
They said they're gonna
2402
01:30:18,622 --> 01:30:19,957
film the Met,
2403
01:30:21,458 --> 01:30:22,626
but it's not about the Met,
2404
01:30:21,458 --> 01:30:22,626
it's about this, right here.
2405
01:30:22,668 --> 01:30:24,419
This is going to be
2406
01:30:22,668 --> 01:30:24,419
the whole documentary.
2407
01:30:24,461 --> 01:30:25,963
That's it. Done.
177787
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