Go rollin' on the river with Tina Turner's micro-minidress. Find your material girl coming a little closer with Madonna's bustier and garters. Let the rock style and fantasy of stage become part your musical reality. All this by taking the time machine through rock history via "Rock Style," an exhibition of rock stars' costumes on view through March 19, 2000, at The Costume Institute of The Metropolitan Museum of Art.

From Elvis Presley's gold suit gaudily studded with rhinestones, to the Beatles' colorful marching band costumes for the front cover of the "St. Pepper's Lonely Hearts Club Band" album, to a psychedelic flashback of the 1960s with Donovan, Hendrix and Joplin style, to 1970s Stevie Nicks' ultra-fem witchy woman attire, to Bono's holographic "Mirrorball Man" outfit, to finally TLC's superheroine/rollerblader queen/sexpot flare this exhibit captures the incredible, individual visual personalities behind the music and voices. It also evokes the essence of what makes a sex symbol/music idol. The music, vocals and lyrics, of course, are at the heart of this creation. Beyond that, the spirits behind the music express themselves further with their style and apparel. We are mesmerized by the whole presence of an idol--musical and visual.

The exhibition was divided into four rooms. One room focused especially on the 1960s, the hippie flower child era galore highlighting Jimi Hendrix, Janis Joplin and Jim Morrison among their peers. A second room underscored the fantasy aspects of a rock idol's apparel. David Bowie especially stood out here as he was one of the first rock performers to collaborate with fashion designers for his shows and videos. As his character Ziggy Stardust he could take full creative license to depart from the ordinary world. A third room emphasized the heavy metal, hardcore, S&M and grunge: black leather, razor blades, metal studs, buckles and belts, faux leopard skins, tiger skins, snake skins, camouflage and, of course, torn denim. The final room encompassed various expressions of the pure beauty, glamour, elegance and sexiness of the star--the style of Diana Ross, the Supremes, Aretha Franklin, Tina Turner, Grace Jones and James Brown with his blue-sequined tuxedo jacket that he can feeeeel good in. Throughout the exhibit, various rock/pop/soul recordings were played and monitors displayed numerous music videos.

So stepping back into the world of psychedelia, Haight-Ashbury, San Francisco, love and peace man, and some LSD Jimi Hendrix' trademark black felt hat from 1967 was featured along with the orange floral silk shirt and black silk satin pants. Also, on display was his jacket of polychrome blue-green-red striped wool twill, trimmed with gold buttons, in which he performed "Purple Haze" on TV. In this room one could also find the memorable, seductive black leather pants and a blue corduroy tunic jacket worn by Jim Morrison of The Doors in 1968. Morrison established the tight black leather pants and long, unkempt hair look that was copied by many performers later in rock history, even into the heavy metal and grunge age.

Imagine what it was like to be at the Newport Pop Festival in Rhode Island, 1968, watching Janis Joplin screech with that gravel-grating voice in a black velvet minidress and black lace tights with her long pink/magenta/purple feathery headdress waving all about her. Linda Gravenites designed the dress; Joplin herself did the fancy beadwork on the breasts. Also, featured was Joplin's ivory silk shawl embroidered with pink flowers. Joplin was known for combining thrift shop finds with contemporary late '60s styles.

The hippies went wild, of course, over their flowers and embroidery, and we can't forget tie-dyed items. John Sebastian of The Lovin' Spoonful had his tie-dyed cape, shirt and pants designed by Annie Thomas from 1969 displayed. Donovan's Victorian, triangular, black silk velvet cape with finely embroidered flowers was also featured. The flower-power dress worn by Mama Cass from The Mamas and the Papas sported big yellow and orange flower and sun images in applique on a long white dress. A giant Virgo symbol was also depicted on the front of the dress, reminding us that it was the "Age of Aquarius" and that there was increased interest in alternative philosophies such as astrology during this time. The Moroccan, Asian and Middle Eastern caftans of Donovan and Michelle Phillips of The Mamas and the Papas also revealed the interest in and influence of the alternative Eastern philosophies and fashion in that era. Just meditate on it, man.

Stevie Nicks' unique ultra-fem, long, flowing, mystery woman attire ushered the show into the 1970s. From 1977 an ensemble of black silk chiffon and silk panne velvet designed by Margi Kent with a black leotard designed by Repetto and ballet shoes were Nicks' logo pictured on the cover of Fleetwood Mac's "Rumours" album. She was well-known for performing the hit "Rhiannon" in this outfit. After being suspected of involvement in witchcraft due to her black attire, she switched to wearing what she called her "Easter egg outfits" to quell such rumors. Such a dress of long, pink, flowing silk chiffon and velvet decorated with shiny thread and sequins from 1986 was also designed by Margi Kent. Nicks wore this with high-heeled pink suede boots that came to the knee.

Going into the world of fantasy David Bowie leads us--from his "Thin White Duke" look of 1976 with black vest and pants and long white shirt, to his silver metallic net clown costume of 1980 worn in the "Ashes to Ashes" video and designed by Natasha Korniloff with a hat created by Gretchen Fenston, and then to his 1987 chest-revealing jacket and pants of gold leather complete with plexiglass, mylar and leather gold wings attached on the back, all designed by Diana Mosley. This last costume referred to the concept of metamorphosis. Bowie, indeed, has been able to metamorphose through time and styles perhaps better than any other rock performer. His next look will always be unpredictable and imaginative. There is never just one David Bowie style. Also, featured in the exhibit were his 1972 jumpsuit of red, black and cream painted leather, designed by Kansai Yamamoto, that he wore when performing as "Ziggy Stardust." Another "Stardust" costume from 1972 of a black and white quilted vinyl jumpsuit with exaggerated pants flared out to the sides, worn with red vinyl boots, was also designed by Kansai Yamamoto. Don't forget he's British--his long, deliberately torn, Union Jack jacket from 1996-97 was also in the show. He was inspired by a jacket of a similar ilk worn by The Who's Pete Townshend from the 1960s.

Mick Jagger of The Rolling Stones also used such political symbols as part of his apparel. A giant red, white and blue silk cape from 1981, designed by Giorgio de Sant'Angelo, with the American flag depicted on one-half and the British Union Jack on the other half was sported by Jagger in performances during the height of the Reagan-Thatcher era. Jagger was into thrusting his sexuality all over with tight, chest-exposing, velvet jumpsuits by Ossie Clark and American-style baseball-football costumes designed by Antony Price. These outfits really allowed him to move that body and dance and jump all over the stage. What's amazing though, seeing his costumes close-up, is how does such a mythic figure fit into such a tiny outfit? Our idols in real life are much smaller than they appear in performance.

Among other performers who are into indulging fantasy, Bono of U2 had a suit made of blue plastic disks designed by Wild and Lethal Trash in 1997-98 in the exhibit. Most interesting was his "Mirrorball Man" costume--jacket, pants, cowboy hat and umbrella made of silvery, opalescent holographic fabric designed by Joe Casely-Hayford, the hat by Stephen Jones. The outfit was based on a combination of two American stereotypes of the TV evangelist and the "electric cowboy." Bono also had a suit of gold leather and glitter boots which he wore with a red shirt and devil horns in the show, again designed by Joe Casely-Hayford.

Busta Rhymes performed in a stunning ankle-length outfit of floral-patterned gold lace lined with scarlet twill with matching shoes. It was designed in 1998 by Rasheed Booth and Busta himself. Prince's 1984 coat of shiny Lurex worn on the cover of the "Purple Rain" album was also displayed along with his high-heeled, thigh-high, black suede boots with a silk, damask and suede vest and pants decorated with large white buttons placed at random. In 1998 TLC wore sexy, black vinyl and rubber superheroine/rollerblade queen costumes with flashing red lights designed by Julianne Mijares complete with ultra-high platform shoes. Many rock stars have worn the ultra-high platform shoes or high-heeled boots. It's a sexual trademark.

Some performers opted for a more Las Vegas style glitz, such as Elvis, Cher and Elton John. In 1957 Elvis wore a gold suit with silver and rhinestone trim and matching gold shoes designed by Nudie the Taylor of Los Angeles. Also, a white jumpsuit and matching cape decorated with gold and multicolored faux jewels were on exhibit and a black suit with similar jewel-work and amply revealed chest. Both Cher and Elton John often wore outfits designed by Bob Mackie, Cher with turquoise ostrich feathers, faux jewels and little mirrors and plenty of waistline and cleavage exposed. She also had a black Lycra jumpsuit with holes cut into the fabric so one could view various Cher parts. Elton John dressed in a silver-sequined Statue of Liberty costume--again the American theme.

Some outfits, by contrast, were more down-to-earth and emphasized a connection to the experience of the common people. Bruce Springsteen with his tight jeans and flannel shirt was the king of this look. He epitomized the average American man. Whereas, Angus Young, lead guitarist of AC/DC always wore his English schoolboy outfit complete with shorts, cap and little white socks. Young's image was the quintessence of the rebellious English schoolboy gone wild. His costume appeared in very dark, burgundy velvet in the show.

On to heavy metal, hardcore and grunge world we go There has always been the fantasy of rock hero/heroine as a really, really bad boy/bad girl or alter ego. It's the same sort of sexual appeal of Dracula or the Werewolf that have always captivated audiences. Perhaps it's a dark, angry, visceral, often hidden part of ourselves that we wish we could act out, so the performers express it for us, and we can vicariously enjoy the thrill. The four Kiss black monster/space demon costumes with metal and silver trim and full, exaggerated black and white makeup were prominently displayed. Judas Priest's black leather and metal studs, Lou Reed's black leather and snakeskin, and Alice Cooper's leather bondage, faux leopard skin and thigh-high boot looks were all featured. Cooper had also sported a "Flames and Whips" outfit. Steve Tyler of Aerosmith offered an alternative with his dark pink satin suit, chest revealed (again), with accompanying long pink scarves all designed by Teresa Tyler. Men definitely still predominate on the metal scene.

Rod Stewart's tiger print knit jumpsuit was in the show. Also, emphasizing the animality theme, were Keith Richards' faux tiger fur coat by Fletcher Joyce and zebra stripe silk shirt with black jeans by Tommy Hilfiger. David Byrne's hot pink, faux fur suit was sported. Stephen Sprouse designed a unique outfit for Guns N' Roses of a red plaid kilt with red shorts. They went perfectly with the guitar. Also, Michael Jackson had a black wool suit with tons of extra buckles for decor.

The exhibit wouldn't be complete without Courtney Love's ultra-Seattle grunge look, baggie pants draped over the hips, torn shirt and well-revealed waistline. She often liked to wear slips, just slips, in performance. Remember the razor blades and safety pins of the punks and new wavers? Too bad they couldn't include some of the hairstyles in the show, but the long silver evening dress of 2000 razor blades worn by Deborah Harry of Blondie, designed by Michael Schmidt, was exhibited and also Harry's camouflage suit by Stephen Sprouse. Devo's Tyvek suit and red plastic hat from 1977 were also included and the Puff Daddy rapper look.

Madonna has explored various looks, but almost all with some overtly sexual theme. Jean Paul Gaultier designed a number of her outfits, such as her corset of gold quilted fabric with pointy breasts from 1990, her black pinstripe suit with pink-white satin bodice exposed under the jacket and a red satin kimono-based dress from 1999 with much cleavage revealed. Also, Madonna's ivory tulle and lace ensemble from 1984 designed by Maripol for the "Like a Virgin" tour was a centerpiece with a frisky short and low-cut bridal dress complete with a "Boy Toy" belt. However, none of her early Catholic girl with a cross and lacey undergarment outfits were present.

Finally, the realm of just glamour, elegance and sexy style ... Tina Turner has legs and she wants you to know that and make sure you don't miss them. Go girl. Several micro-mini dresses were on display: a dress of gray chiffon with a flowery pattern and decorated with rhinestones designed by Giorgio Armani from 1999, another dress of silver-tone mesh with rhinestones and black lace trim designed by Gianni Versace, and an ivory net dress with mirror-like stones scattered all over made by C.D. Greene in 1997. If one was going to have a huge comeback, these are the kinds of dresses to do it in. Purportedly, Turner wanted Versace to design an even shorter version of his dress for her live performances. Go girl.

A slick white suit with long white fur coat and hat worn by Grace Jones in 1980 and designed by Issey Miyake were in this section of the exhibition. Miyake also created a breastplate of gray fiberglass for Jones. Also, part of the elaborate outfit designed by Keith Haring and worn by Jones were on display.

Another kimono-styled dress of light blue silk brocade with a long floral pattern, designed by Alexander McQueen in 1997, also revealed cleavage when worn by Bjork. Evidently, Bjork wore her kimono dress before Madonna wore hers. Well, Madonna is known for taking other people's ideas and capitalizing off of them, like vogueing and the whole idea of the Madonna, mother of Jesus, so often depicted and idolized throughout art history. Bjork went for an ultra-fem look in 1995 with a full-skirted dress of gray and black printed organza designed by Commes des Garcon's.

In the glamour and elegance section, of course, there was a purple sequined and feathered full-length evening dress from 1978 worn by Diana Ross. Also, The Supremes' three pale pink and floral-design beaded gowns that appeared on "The Ed Sullivan Show" in 1966, and Aretha Franklin's light turquoise silk chiffon, lightly rhinestoned, full-length evening gown with matching feather stole from 1990 were featured. Last but not least amongst these women was Mary J. Blige's leopard-print silk chiffon ensemble with a brown fur, a matching veil over her head and dark sunglasses, all styled by Derek Khan for an utter movie star look. Dolce & Gabbana designed the dress, Maximilian the fur and Yves Saint Laurent the sunglasses.

Not just the women had that elegance and style--James Brown's blue-sequined tuxedo jacket with blue wool pants from 1967 were regally featured. Also, shown were Marvin Gaye's military-styled jacket of white moire faille with gold braid trim from 1982, Smokey Robinson's gold and bronze metallic brocade tunic from 1972, Stevie Wonder's "African American" entitled suit with African beads and colors adorning, and finally Ray Charles' 1960 jacket of ikat silk with dark red, maroon and silver-gray stripes designed by Parkview Clothes.

"Rock Style" definitely was an exhibit with which to indulge one's rock 'n' roll fantasies and bring them a little closer to reality. Not to mention it's a beautiful retrospective and salute to the recent icons who have shaped our times.