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Renée Zellweger has spent more than two decades fooling audiences into forgetting that she is, in fact, far from frazzled (or English). In reality, the former British Vogue cover star is more Louboutin than layered knits. True to from, Renée arrived at the Leicester Square statue unveiling looking far removed from her fictional counterpart, opting for sleek tailoring with nary a frumpy floral in sight. Joined by author Helen Fielding, as well as her Mad About the Boy co-stars Sally Phillips, Chiwetel Ejiofor and Leo Woodall, she proved that the spirit of Bridget lives on – if not in Zellweger’s undeniably sleek red-carpet wardrobe, then in London’s new statue. Fashion is coming out of the basement at the Metropolitan Museum of Art. Announced today, Costume Art, the spring 2026 exhibition at the Costume Institute, will mark the inauguration of the nearly 12,000-square-foot Condé M Nast Galleries, adjacent to The Met’s Great Hall. “It’s a huge moment for the Costume Institute,” says curator in charge Andrew Bolton. “It will be transformative for our department, but I also think it’s going to be transformative to fashion more generally – the fact that an art museum like The Met is actually giving a central location to fashion.”Read Reflect Repeat Daily Scripture With Tim Wildsmith Premium Shirt
To mark the momentous occasion, Bolton has conceived an exhibition that addresses “the centrality of the dressed body in the museum’s vast collection,” by pairing paintings, sculptures and other objects spanning the 5,000 years of art represented in The Met, alongside historical and contemporary garments from the Costume Institute. “What connects every curatorial department and what connects every single gallery in the museum is fashion, or the dressed body,” Bolton says. “It’s the common thread throughout the whole museum, which is really what the initial idea for the exhibition was, this epiphany: I know that we’ve often been seen as the stepchild, but, in fact, the dressed body is front and centre in every gallery you come across. Even the nude is never naked,” he continues. “It’s always inscribed with cultural values and ideas.”
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