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“Tilda Swinton – Ongoing” is the title of a curated exhibition at Amsterdam’s Eye Filmmuseum, which will run Sept. 28, 2025-Feb. 8, 2026, allowing visitors to explore multihyphenate Tilda Swinton and some of her close collaborators.

THR can exclusively unveil a teaser video for the exhibition below.

“A unique and personal exhibition that centers on Swinton’s creative collaborations … will showcase new and existing work by eight artistic partners and close friends: Pedro Almodóvar, Luca Guadagnino, Joanna Hogg, Derek Jarman, Jim Jarmusch, Olivier Saillard, Tim Walker, and Apichatpong Weerasethakul,” says the museum, highlighting: “This marks the first time that Eye Filmmuseum has devoted such extensive attention to the creative influence of a performer.”

Swinton herself earlier this year described the exhibition as an opportunity “to reflect on the mechanics of my working practice over the past 40 years. And to come to rest on the – ever-present – bedrock and battery of the close fellowships I found from the very first and continue to rely upon to this day.”

She added: “In focusing attention on profoundly enriching creative relationships in my life, we share the narratives and atmospheres that inspire us: we offer new work, especially commissioned for the Eye exhibition, as the most recent gestures borne out of various companionable conversations that keep me curious, engaged, and nourished.”

The exhibition will also present a “contextual program” featuring the Scottish performer, artist, and fashion icon Swinton in conversation with “the artistic collaborators who have contributed new work to the exhibition. Complementing these live events, Eye will screen 40 films from Swinton’s body of work in its cinemas, alongside retrospectives dedicated to Joanna Hogg and Derek Jarman.”

So what can audiences expect from “Tilda Swinton – Ongoing”?

Guadagnino is creating “a new, intimate portrait of Tilda Swinton in the form of a short film and a sculpture,” according to Eye. “Together with childhood friend and filmmaker Joanna Hogg, Swinton will present Flat 19, a multimedia reconstruction of her 1980s London apartment and an exploration of memory, space, and personal history.”

Almodóvar will present his short film The Human Voice (2020), starring Swinton, in an installation format for the first time, according to the Eye team. Plus, “with a new edit, image treatment, and soundtrack, filmmaker Jim Jarmusch will transform existing footage from his absurdist zombie film The Dead Don’t Die (2019) into an entirely new installation.”

Together with the fashion historian Olivier Saillard, Swinton will also stage what is described as “a multi-day performance that brings a special wardrobe to life: garments from her personal collection, film costumes, red carpet dresses and family heirlooms.” They are also co-developing a special display of these pieces as part of the exhibition.

Meanwhile, photographer Tim Walker has visited Swinton at her family home for a photo series about “her connection to her forebears and continuity of place,” while Weerasethakul also visited Swinton at her home to create “an intriguing, meditative installation in which the presence of spirit and atmosphere becomes palpable.”

Finally, Swinton will pay tribute “to one of her greatest inspirations, filmmaker Derek Jarman (1942–1994), with whom she made a total of nine films,” says the museum. “A segment from The Last of England (1987) will be shown as an installation, alongside personal objects from Swinton related to their shared time and collaboration, as well as never-before-seen Super 8 footage, featuring Swinton as performer.”

The video teaser for “Tilda Swinton – Ongoing” at Amsterdam’s Eye features Swinton in various situations and outfits of different colors, but always full of the magnetism she is known for. Check out the teaser below.

Every time a young Melody Barnett attended church, she was awestruck. Something about the congregation’s elegant headwear always caught her eye. The women would often wear these extravagant, floral hats or don a more subtle pillbox style. And Barnett, owner of Hollywood rental house Palace Costume, remembers being entirely entranced.

“I would sit and just look,” Barnett says. “That’s one of the few things I remember about church, just looking at all the hats.”

This fashion-leaning fascination, she says, is a part of her heritage. Coming from a lineage of collectors, the 83-year-old has dedicated her life to the clothes of the past. For nearly 50 years, Palace Costume, a space open exclusively by appointment to stylists and costume designers, has offered a wearable fashion archive dating back to the 1880s. It’s become a one-stop shop for striking inspiration and embracing a timeless sense of glamour.

Since Palace Costume’s inception, Barnett’s clothing has appeared in classic films such as “Chinatown,” “Bonnie and Clyde,” “The Godfather,” and more recent Oscar winners like “La La Land” and “Everything Everywhere All at Once.” Beyond the silver screen, Beyoncé wore heart-shaped, reflective underwear on the cover of “Texas Hold ‘Em,” Chappell Roan sported a sequined marching band leotard for the “Hot to Go!” music video, and dangly, yellow earrings completed Billie Eilish’s look in the “What Was I Made For?” video — all pieces pulled from Palace.

The Fairfax Avenue storefront is surrounded by a kind of mystical energy. Tucked between a modern apartment complex and a wellness center, it’s easy to drive by and never notice the atypical castle facade, complete with fairy tale-esque murals of animal-faced figures, sheet ghosts and stone walls.

Inside, the charm continues. Behind the front desk, pathways resembling that of a labyrinth lead shoppers throughout the store’s four floors. Depending on which way you turn, you may end up in the jewelry room, where brightly colored costume bangles, heavy metal silver chokers and gold chains are piled high inside of glass cases, or in the prom dress section where the aisles are suffocated by petticoats. With over half a million items in Barnett’s inventory, the collection appears to be endless. Around each twist and turn, there’s a room solely for holiday wear, a walk-in devoted to fur coats, and several hallways lined with laundry baskets of purses and dress shoes waiting to be picked through.

On an early July morning, camera lights, additional racks of designer clothing and a team of creatives squeezed into the organized but cluttered space to formulate Barnett’s own moment of glamour. Her kitchen space, complete with brightly colored dishware and ceramic food replicas, was swiftly transformed into a makeshift vanity space where she sat to get a full face of makeup and her hair braided. Barnett was hesitant, at first, in front of the camera — asking photographer Tyler Matthew Oyer where to put her hands and whether she should smile.

But as the day went on and she traded a leather Fendi trench coat for a multicolored Loewe one, Barnett’s eyes started to light up differently. The rolling ladders meant to reach the highest hanging garments became her stage. Lingering hats and sunglasses became impromptu props. She began to lean into her carefully curated emporium as the vivacious backdrop it is.

It also helped that Barnett was in the hands of those she trusted. Erik Ziemba, who’s been coming to Palace Costume for the last decade, styled the shoot. He calls the space “the ultimate glam dress-up room” and mentions the whispers he hears of major fashion houses stopping by Palace to gather inspiration.

“It’s the fashion library,” Ziemba says. “People [like Barnett and her business partner, Lee Ramstead], who really understand periods, silhouettes and fabrics, are true fashion historians and it’s extremely important that these people who are so well-versed in knowledge and costuming are involved in the process.”

Palace covers everything people have worn over 125 years and the collection continues to grow.

“I keep it up to date every year,” Barnett says. “It doesn’t have to be vintage. I have a whole section that dates from 2001 to 2025. I’m not stopping anytime soon. Sometimes it’s even easier to collect when people are still wearing it instead of waiting and it gets more expensive.”

Barnett credits her large family with helping her build out the stock, specifically the children’s section. As she walks between the floor-to-ceiling clothing racks, she points out her high school graduation dress (a strappy, red and white polka dot sundress), old coveralls she used to wear and some of her son’s clothing.

Every time Shelley Barnett, Melody’s daughter, comes to Palace, she’s taken back to her childhood. From a young age, she remembers her mother and grandmother both having “incredible senses of style.” They would often all dig through estate sales and antique stores, with Shelley helping pick out which vintage clothes to purchase. Nowadays, she gravitates most toward the children’s section, where her baby clothes and old Halloween costumes are available to rent.

“My mom is such a passionate person. Being able to watch her just build this business through the years and have it be what she loves means so much,” says Shelley, 56, who lives on a ranch in Wildomar where she boards horses. “We all look up to her so much. She’s very family-oriented — she’d never miss a party. But when she’s at Palace, she runs circles around us all. She doesn’t stop. That’s her element.”

Carousel horses and toy planes fill the children’s floor airspace. Each staircase is a maximalist’s dream as almost every inch of the wall is lined with displayed garments, framed memorabilia and an illustrated edition of “The Timeline of World Costume.” Inside of her Hawaii room, where Barnett boasts having some of the first-ever rayon Hawaiian shirts, there’s even a closet stockpiled with tiki souvenirs, photos of Elvis Presley and decorative masks.

“My whole focus is being eclectic. I like mixing things. I don’t want just one set look. I want to combine it,” says Barnett. “My mother and grandmother were more classic than I am. I’ve always been an eccentric person.”

Her favorite pieces are the ones she’s sourced from all over the world. As she flips through the racks, she remarks about a past romantic partner she traveled with and how most of these pieces will “never be made ever again.” Though her collection delves into the luxury end of fashion — with archival Moschino and Yves Saint Laurent at her fingertips — she says, “I don’t base anything off what it’s worth.”

She brings over a beaded, floral skirt she got as a teenager from Mexico in the 1950s. Next, she pulls down some of her favorite Eastern European dresses, with traditional embroidery, from countries such as Hungary and Poland. She also points out her extensive African section, which features heavy, hand-beaded neckpieces and Kente cloth dresses — some of which were worn in “Black Panther.”

Her grandmother, who ignited the family’s collector gene, had an array of antique Tiffany lamps and sophisticated coats, and ran a clothing shop of her own. Meanwhile, Barnett’s mother made her children’s clothes and worked in a military shop, where Barnett first found a love for thrifting.

The Palace Costume collection began sometime in her late 20s. She was living in Laguna Beach when she stumbled upon a box of Victorian dresses at a local swap meet. At the time, her neighbor Robert Becker owned an antique store in L.A. and had told Barnett that people in the city “were just beginning to sell vintage clothing.”

“We got into vintage, right when it began to be a big thing,” says Barnett, who shares that at the time, people weren’t looking to the past for inspiration just yet. The duo then set off to create one of the first vintage stores on Melrose Avenue, called the Crystal Palace, which stood where the Pacific Design Center does today.

Before settling into the current Fairfax storefront, they sold vintage at a few other locations on Melrose. Fortuitously, one of the spots was across the street from Wolfgang Puck’s career-launching restaurant, Ma Maison. With Barnett’s extravagant window displays, she lured the dining crowd over and began to build a celebrity clientele from there.

As costume designers made their rounds, shopping for period pieces, they continually told Barnett that she should be renting instead of selling.

“I thought that was a good idea. During filming, you aren’t wearing it every day. It’s just for a certain scene. I figured we could help restore and maintain the collection,” says Barnett. Then, in the late ‘70s, she bought the Fairfax location, and Ramstead, a fellow antiquarian, offered to help run the business.

To this day, Ramstead prides himself on doing everything and knowing everyone in the business. Commanding the front desk with a long, swinging ponytail and a belt buckle which reads “Lee,” he juggles the ringing phone, points confused customers in the right direction and helps manage the inventory.

“I have watched it grow. Now we’re bursting at the seams out of here,” says Ramstead as he checks out a costume designer shopping for the upcoming season of “Abbott Elementary.” “I mean, I’m 73. I could retire if I didn’t like my job. But I feel very protective of this place. Somebody has to watch over it.”

Image’s fashion director at large, Keyla Marquez, considers Ramstead to be the gatekeeper of the priceless collection. Whenever anyone calls to make an appointment at Palace, they are greeted with a comprehensive list of questions: What’s the project? Who will wear the clothes? Who do you work with, and have you worked with Palace before?

“This place is just so special, and the clothes are so important. Not everyone respects clothes the way that these clothes should be respected,” says Marquez. “If someone pulls something and they ruin it or don’t return it, that’s it. It’s lost for all of us. No one has the ability to pull it anymore.”

On one of the compounded building’s top floors, Barnett lives a portion of her week in a tightly packed apartment space (she splits the remainder of her week living at her different SoCal properties, which she hopes to turn into event spaces). Across from her waterbed, she has a research library, complete with a swiveling ladder, full of fashion books. Her living room walls are lined with old-timey lace-up heels that she says were only ever worn by Bette Midler, as she was the only actor with feet small enough to wear them.

Though the area is designated as her private quarters, there’s not a clear separation between her work and her life. There are clothing racks, filled with leather jackets and neon bras, in the middle of the room. Boxes and bags with items to be sorted designate a clear walking path, and the extra bedrooms are deemed the lingerie section, which dates back to the Victorian era.

Lynn McQuown, an employee who has worked with Palace since 1992, thinks of the collection as a living work of art.

“It’s one person’s life’s work. She’s an artist, not a corporation. She’s built it up entirely from a box of Victorian clothes. She worked 20-hour days for decades and decades,” McQuown says.

And Barnett shows no signs of slowing down. Whenever she’s at the shop, she’ll settle into a spot that needs organizing and work through the items herself. She browses estate sales and swap meets in search of hidden gems. She’s still brainstorming ways on how to improve Palace and expand the collection. She dreams of repatterning some of her oldest, most fragile pieces and reproducing them, giving them a new life.

“My family will continue the business and continue to hire competent people to run it. I have no plans to quit, because I enjoy it. I love it, especially the acquisition part,” Barnett says. “I intend to work till I’m 100.”

Editorial rigor is something that is so important with making art.

You can make all the art you want, but if you dilute it by putting out a bunch of crappy art, it’ll take history forever to sort through it all and find the little gems. Better that you sort through it. You don’t want to leave it to the paws of history.

Could you say something more about the importance of the South to your work and your career?

Actually, it was probably a drag on my career, if you think about it. It’s not the place to be from, if you have ambitions to be an artist.

Yet look at you.

And look at all the others. Look at Jasper Johns and look at Rauschenberg and look at Cy Twombly and look at the writers, the dozens and dozens of great writers. But it’s a hard hurdle to get over, I think, being Appalachian or being Southern.

You never made an effort to move to New York. That wasn’t something you felt was necessary. If you think about Jasper, and if you think about Bob and Twombly, they all left the South.

But Eggleston didn’t. He used the South as his subject matter. It’s a foreign country for most people, so it’s exotic in that way, and it offers a lot of inspiration.

Have you ever thought of doing something completely different?

Well, I am doing digital color. That’s about as different as you can get. Bless their hearts, I asked Leica to give me one of those digital cameras that I can put my 1946 lens on. It’s a Leica lens, but it has lots of anomalies and it handles the light differently than a modern lens. And I just love it. And they gave me a camera, which was extremely sweet of them, and I’m having a blast.

Does it opens doors for you?

Yeah—I think in a completely different way. And there’s a freedom to it that you don’t have with film, because film is expensive. It’s like $12 a sheet. But digital, it’s free.

Did the iPhone do anything for you?

I use it, but people are always surprised—they say, “Don’t you take tons of pictures of your grandchildren?” And I think I might’ve taken one.

There’s an art to the way Yumi Shin, Bergdorf Goodman’s chief merchandising officer, dresses. She plays with form like a painter at the easel—each layer deliberate, each accent exacting, and always with a personal flourish. Her signature strokes? A swoop of fabric curled over her shoulder, wind-swept hair tucked into a collar, a jaunty brooch pinned to a jacket lapel, a bold cuff worn over a sleeve.

Yumi, who has close to three decades of experience to her name—prior to joining Bergdorf Goodman seven years ago, she worked at Barney’s, Prada, and Saks Fifth Avenue—credits this alchemical approach to a handful of formative experiences. Her imagination was initially stirred during college as an art history student. Then came her first Comme Des Garçons show, which awakened “a new way of thinking and seeing fashion, as a form of creative expression rather than just clothing.” During her Barney’s days, early access and exposure to designers in their prime (Dries Van Noten, Prada, CDG, to name a few) gave her the freedom to experiment with shape and proportion. “Barney’s was my most creative time,” Yumi says of her six years there, then, “when I joined Prada, I learned how to build a wardrobe and incorporate investment pieces.” A soft spot for outerwear bloomed, and she became hooked on collecting coats and jackets (a passion that’s yet to be sated). When she moved on to Saks, where the dress code skewed more corporate, she found self-assurance in pieces from Sacai, mixed downtown edge with uptown polish. Towards the end of her tenure, she discovered Phoebe Philo, whose collections helped solidify her sense of style. Her clothes are “the definition of timeless,” she says of the quiet confidence Philo’s designs instill in her.

New York City might be home base for Yumi, but the always-on-the-go nature of her job means that when she’s not in a boardroom meeting, she’s at market appointments, nurturing relationships with new designers, or attending events, mingling with old and new friends. During Fashion Month, long days previewing collections stretch into weeks of international travel. To ensure her wardrobe works as hard as she does, Yumi says she prioritizes “comfort just as much as style”—and her go-to pieces thread the delicate balance of being creative and office-appropriate. She relies on staples from Phoebe Philo, The Row, and Prada to dress for a schedule that is objectively more 9-to-9 than it is 9-to-5, injecting a burst of joy into her looks with playful, personality-driven accessories. Yumi shows us how she does it, below.

Wear and Repeat

A proud outfit repeater, Yumi tells me she’s worn this pale yellow skirt from The Row all summer. The lace trim adds a feminine touch, and when she’s not dressing it up with heels (pictured are her current favorites, a suede, caramel-hued pair from Phoebe Philo), she says she likes to style it with an oversized T-shirt and flats. To contrast the femininity, here, she opted for a lightweight chore coat that adds rugged cool. “The barn jacket is thin enough that you can wear it as a blazer in the office.” For a cheeky wink, encouraged by her friend and photographer of this shoot, Tommy Ton, she strung a bounty of Loewe berries to her new Phoebe belt.

Something Old, Something New, Something Borrowed, Something Blue

Photo: Courtesy of Tommy Ton