THE FIRST MONDAY IN MAY Review

Photo courtesy of Magnolia Pictures.

Is fashion art? That question is raised in the documentary THE FIRST MONDAY IN MAY. Actually, director Andrew Rossi’s documentary focuses less on that philosophical debate that on the preparations for Metropolitan Museum of Art’s 2015 art exhibition “China: Through the Looking Glass” and the gala party that opened would mark its debut. The exhibit, curated by Andrew Bolton, represented a first-time collaboration between the New York museum’s Chinese art collection and gallery, in the museum’s main upper level and part of its mainstream fine art holdings, and the museum’s Costume Institute, considered by traditionalists as decorative arts rather than fine art, and housed in the museum’s lower level. The exhibit was the Costume Institute’s annual event, but the first time it had teamed with any fine art section and moved into the main level. It will also be the Costume Institute’s largest ever exhibit, three times larger than previously, honoring the influence of Chinese art on Western fashions.

“China: Through the Looking Glass” was the Costume Institute’s best-attended exhibits, featuring the work of both iconic Western and contemporary Chinese designers, all Chinese-inspired designs.

Rossi also directed PAGE ONE: INSIDE THE NEW YORK TIMES, and has a nice touch for this kind of behind the scenes documentary, giving the viewer a feeling of being part of the process. The documentary’s title refers to the date of the gala party that debuts the Costume Institute’s annual fashion exhibit, a major fund-raising event that takes place on the first Monday in May. The star-studded event, filled with celebrities from film, music as well as fashion, is a fashion extravaganza organized by Anna Wintour, the iconic editor-in-chief of Vogue and long-time chair of the gala. The beautiful and famous invited include George Clooney, Rihanna, Anne Hathaway, Kate Hudson, Julianne Moore, Jennifer Lawrence, Gong Li, Lady Gaga, and Michael Bloomberg, as well as fashion’s biggest names. Since the event is about fashion, the celebrities attend in lavish attire inspired by the exhibit’s theme – giving a red carpet experience to top the Oscars. The annual gala is a sought-after ticket for a night of dining, art and entertainment, which raises large sums to benefit the Metropolitan Museum of Art.

The film follows both Wintour and Bolton over eight months as they prepare their portions of the exhibit’s opening – the party and the exhibit. Both are fascinating processes, moving independently towards the same opening date in May.

The film opens with the discussion of whether fashion can be considered art. Certainly costume design is part of the art of theater and film – costumes are part of the “art direction” of a film – and the beauty of such works can be undeniable. But the film focuses primarily on the world of hate couture, fashions to be worn, on the runway if not always on the street. It is a different kind of theater but is it fine art? The film explores the definition of “art,” from the 19th century, or traditional, definition of fine art as painting, drawing and sculpture, while forms like furniture and fashion are considered decorative or practical arts. That definition began to shift in the 20th century but as the film makes clear even some of the biggest names of fashion still do not consider their work fine art. Curator Bolton sees it differently and worked hard for the collaboration with the Chinese art exhibit.

As the time of the exhibit grows close, the documentary shifts from the philosophical discussion to focus on more practical matters, although cultural clashes still loom. One challenge of the exhibit is finding balance between the Chinese art already in the gallery, and Chinese-inspired fashions to be displayed. The organizers must find a pathway to showing off the clothes without reducing the Chinese art to “wallpaper” backdrop. Another challenge is cultural sensitivity, as many of the Western designs were influenced by Hollywood’s depiction of China and its culture rather than directly by Chinese art and culture itself, a lens that can raise questions of racism or colonialism. Bolton wisely brought in Chinese director Wong Kar-wai as a consultant and participant. The director’s films. like “In The Mood For Love.” exhibit a strong visual style and use of costumes that have directly inspired some designers/ A visit to China is included in Bolton’s research but Wong’s Chinese perspective and cultural insights surely helped more.

The documentary follows all these strong personalities and all the moving parts on the two tracks of preparing for the party and for the installation itself. There is a ticking-clock urgency and it builds to a crescendo as time runs short, with lighting technicians and builders hurrying to finish hours before the opening and party. Along the way, we get behind-the-scenes views of the brilliant, colorful, fantastical fashions, the art works, and the details of how it all comes together.

THE FIRST MONDAY IN MAY is an intriguing, entertaining documentary about how this big event came together, whether one is interested in art, Chinese culture, fashion or celebrities.

THE FIRST MONDAY IN MAY OPENS FRIDAY, APRIL 22nd
AT LANDMARK’S PLAZA FRONTENAC CINEMA

OVERALL RATING:  3  1/2 OUT OF 5 STARS