The Metropolitan Museum of Art has announced that John Galliano will be the subject of its landmark spring 2027 Costume Institute exhibition, John Galliano: Horizons, with the annual Met Gala set to celebrate the acclaimed British designer’s influence on fashion while also confronting the controversy that reshaped his career.

Galliano becomes just the third living designer to receive a solo exhibition at The Met, following Yves Saint Laurent in 1983 and Rei Kawakubo of Comme des Garçons in 2017.

Opening in spring 2027, the exhibition marks the first major museum retrospective to examine the full breadth of Galliano’s four-decade career, bringing together garments, accessories, sketches, research books, archival materials and toiles that trace his creative evolution from his celebrated 1984 Central Saint Martins graduation collection through his tenures at Givenchy, Christian Dior and Maison Margiela.

Drawing extensively from The Costume Institute’s collection – the largest holding of Galliano’s work in the world – the exhibition culminates with his widely acclaimed Spring/Summer 2024 Maison Margiela Artisanal collection, hailed by many critics as one of the defining couture presentations of the decade.

Beyond celebrating Galliano’s creative achievements, the exhibition will also directly examine the racist, antisemitic and anti-Asian remarks that led to his dismissal from Christian Dior and his namesake label in 2011, as well as his conviction by a Paris court for public insults based on race, religion, ethnicity or origin. Organizers say the exhibition will explore the relationship between artistic achievement and ethical accountability, rather than presenting a traditional narrative of downfall and redemption.

“John Galliano has exerted a profound influence on fashion over the past four decades,” said Max Hollein, The Met’s Marina Kellen French Director and CEO. “His work brings historical inquiry, artistic imagination, theatrical expression, and technical experimentation into dynamic relation. Drawing upon the depth of The Costume Institute’s scholarship and the breadth of The Met’s collections, John Galliano: Horizons will offer an expansive examination of his creative practice while attending closely to the historical, cultural, and ethical circumstances through which his work is understood.”

The exhibition is curated by Andrew Bolton, Curator in Charge of The Costume Institute, who has long chronicled Galliano’s career through scholarship and previous exhibitions.

“Every Galliano collection begins as a journey among things separated by time, place, or medium: portrait and posture, silhouette and story, memory and material,” Bolton said. “Horizons approaches fashion as a form of cartography, mapping not territories but affinities, tensions, and transformations. It traces how images become ideas, ideas become material, and material becomes emotion. Yet a horizon reveals not only what lies before us, but also where we stand.”

He added that the exhibition will examine “both how Galliano has remapped the world through fashion and how his conduct, its consequences, and changing cultural values have reshaped our understanding of his work.”

The exhibition will unfold across three thematic sections. The opening movement, “Bearings,” presents a chronological overview of Galliano’s career while directly addressing the events surrounding his 2010 and 2011 conduct, his dismissal from Dior, his treatment for substance addiction and the continuing evolution of his public legacy.

The second gallery, “Horizons,” explores the designer’s enduring inspirations—from history and geography to art, performance and storytelling—revealing how disparate cultural references are transformed into richly imaginative collections.

The final section, “Atlas of Transformation,” offers an unprecedented look inside Galliano’s creative process through original research books, sketches, fittings, toiles and finished garments, illustrating how concepts evolve into some of fashion’s most celebrated designs.

The exhibition has been organized by Bolton with the assistance of Costume Institute staff Stephanie Kramer and Emily Mushaben, with exhibition design by 1009.

As is tradition, John Galliano: Horizons will serve as the centerpiece of the 2027 Met Gala, where the fashion industry’s biggest names are expected to interpret the exhibition’s themes on the museum’s iconic steps. The gala’s official dress code, co-chairs and host committee will be announced at a later date.

The announcement follows a string of recent Costume Institute exhibitions spotlighting influential designers and fashion movements, but John Galliano: Horizons is poised to become one of the museum’s most closely watched exhibitions for its willingness to examine both extraordinary artistic innovation and the enduring questions surrounding legacy, accountability and cultural memory.

The show will be on view at The Met Fifth Avenue from May 9, 2027 through January 9, 2028.

It looks like Tom Holland’s spoiler of yore — teasing Spider-Man in space for Avengers: Infinity War (2018) alongside the Guardians of the Galaxy (2014) cast — can take on new meaning with the post-credit scene at the end of Spider-Man: Brand New Day.

There is just one short snippet after all of the credits have rolled in the movie, so be prepared to settle in all the way until the songs in the film are listed.

The bookend of the film shows Ned’s (Jacob Batalon) Spider-Man tracker app interface with a voice alerting the user to a new location for the webslinger. The mask icon that denotes Spidey’s location on a pixelated GPS map, that looks like older videogames, pinpoints the superhero somewhere in space.

The playful post-credit bit is followed by Marvel’s signature text declaring that Spider-Man will return, but not naming which title he will appear in next. Avengers: Doomsday, coming December 18, 2026, could include him if viewers consider the post-credits scene from Thunderbolts* which also teases the arrival of other superheroes in space.

That teaser hinted at the meeting of the New Avengers and The Fantastic Four after Yelena Belova’s (Florence Pugh) iPad runs a threat scan of outer space and alerts her of an unidentified craft, an extradimensional ship, entering the orbit of Earth-616. Viewers of Fantastic Four: The First Steps will recall that the film is set on Earth-828, and the spaceship in the Thunderbolts* post-credit scene looks awfully familiar, so it seems that the quartet will join forces with Avengers and New Avengers, or, jokingly, knockoff Avengerz. The projectile rotates to show it’s blue-backed number four emblazoned on the side.

Furthermore, one post-credit scene of Fantastic Four: The First Steps (2025) teases Dr. Victor von Doom (Robert Downey Jr.) meeting Franklin, Sue Storm (Vanessa Kirby) and Reed Richards’ (Pedro Pascal) baby. This interaction was prefaced by “Four Years Later” in the signature Marvel post-credit text. Sue leaves the couch where she is reading to Franklin to get another book for him, and she returns to see the toddler touching an unmasked Doom’s face, but from an angle that only shows his hooded silhouette, holding the silver mask he usually dons.

Back to the Thunderbolts* post-credit scene, a dynamic similar to Captain America: Civil War (2016) could be developing because Yelena, Buckey Barnes (Sebastian Stan), John Walker (Wyatt Russell), Ava Starr aka Ghost (Hannah John-Kamen) and Alexei Shostakov (David Harbour) are lamenting how the new Captain America Sam Wilson (Anthony Mackie) is filing for copyright of the name, Avengers vs. their squad, the New Avengers.

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Such a divide won’t likely be helpful with Dr. Doom’s entrance into the MCU because certain characters in the comics decide to back him or fight against him.

Holland is not currently listed in the cast of Avengers: Doomsday (2026), so it’s not clear if that will be his return, or if he could be making an appearance in Avengers: Secret Wars (2027). The ending of Spider-Man: Brand New Day raises several questions as to how Holland’s Peter Parker could get past Dr. Strange’s (Benedict Cumberbatch) memory spell because he introduces himself to Ned in the corner shop he stops by for May’s (Marisa Tomei) flowers. They then perform their secret handshake as if Ned has not lost his memory of his best friend. MJ (Zendaya) had let slip that Spider-Man’s real name was Peter after Ned had met the masked wall-crawler, and she herself slowly came around to the idea that she used to know the superhero.

As for Sadie Sink’s Jean Grey, the telepath saves Peter’s life after he sacrifices himself for her and takes one of Frank Castle’s (Jon Bernthal) bullets in a near-fatal wound. She can be seen heading out on a bus, possibly to Xavier’s School for Gifted Youngsters in upstate New York to be mentored by Professor X (Patrick Stewart). All of this raises more questions about Marvel’s X-Men film in the works with director Jake Schreier and writers Joanna Calo (The Bear) and Lee Sung Jin (Beef).

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