Heavenly Bodies attracted more than 1.65 million visitors to The Met Fifth Avenue and The Met Cloisters, making it The Met's most visited exhibition. Recent thematic exhibitions have included AngloMania: Tradition and Transgression in British Fashion (2006) Superheroes: Fashion and Fantasy (2008) The Model as Muse: Embodying Fashion (2009) American Woman: Fashioning a National Identity (2010) Schiaparelli and Prada: Impossible Conversations (2012) PUNK: Chaos to Couture (2013) China: Through the Looking Glass (2015) Manus x Machina: Fashion in an Age of Technology (2016) Heavenly Bodies: Fashion and the Catholic Imagination (2018) and Camp: Notes on Fashion (2019). Recent monographic exhibitions have included Chanel (2005), Poiret: King of Fashion (2007), Alexander McQueen: Savage Beauty (2011), Charles James: Beyond Fashion (2014), and Rei Kawakubo/Comme des Garçons: Art of the In-Between (2017). The Costume Institute organizes one or two special exhibitions each year. Bolton became curator in charge, and in March 2018, upon the endowment of the postion, he was named the Wendy Yu Curator in Charge. Koda, who had previously departed from the Museum, rejoined The Met in 2000 as curator in charge, hiring Andrew Bolton in 2002. Martin's tenure culminated in Rock Style, the last exhibition before his death in 1999. In 1989, Richard Martin took the helm, with the support of Harold Koda, and began a rotating cycle of thematic exhibitions including Infra-Apparel, Waist Not, The Four Seasons, and Cubism and Fashion. The legendary fashion arbiter Diana Vreeland, who served as special consultant from 1972 until her death in 1989, created a memorable suite of exhibitions, including The World of Balenciaga (1973), The Glory of Russian Costume (1976), and Vanity Fair (1977), galvanizing audiences and setting the standard for costume exhibitions globally. In 1946, with the financial support of the fashion industry, the Museum of Costume Art merged with The Metropolitan Museum of Art as The Costume Institute, and in 1959 became a curatorial department. Though recognized by all Vietnamese as a selfless patriot, Chau left behind him an ideological and organizational vacuum which the communists did not fail to exploit after World War II.The Costume Institute began as the Museum of Costume Art, an independent entity formed in 1937 and led by Neighborhood Playhouse founder Irene Lewisohn. His failure had significant consequences. Finally, he was more a romantic than a Lenin-style revolutionary-prone to desperate acts and to quick discouragement, too impatient to undertake the painstaking work necessary to build a strongly disciplined organization. Failing to see the importance of mass support, he did not attempt to win the active allegiance of the Vietnamese peasantry. He failed to formulate a cohesive ideological position, shifting from traditionalism, to a Meiji-style constitutional monarch, and then to republicanism. A careful analysis of his activities and his major writings indicates that Chau's failure is related to his own weaknesses as a revolutionary leader. Yet he failed to leave behind him a disciplined and well-organized party with broad support throughout the country. Phan Boi Chau was the recognized leader of the Vietnamese struggle for independence during the first quarter of the twentieth century.
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