Search

The article reviews the "Karl Lagerfeld: A Line of Beauty" exhibition, held at the Metropolitan Museum of Art in New York City, U.S., from May 5 to July 16, 2023, which highlights the iconic designer's unique sketching methodology.

The article reviews the "Finding Refuge in Fashion: Minh Ta" held at MTG Hawke's Bay Museum in Napier, New Zealand, which highlights Minh Ta's journey from refugee to prominent fashion designer in New Zealand.

The article "Sleeping Beauties: Reawakening Fashion" reviews an exhibition at the Costume Institute, Metropolitan Museum of Art, focusing on conservation, embodiment, and preservation in fashion. The exhibition offers a sensorial experience through soundscapes, visual projections, and recreated smells, inviting visitors to engage with the garments in new ways. By showcasing fragile garments in a flat display, the exhibition prompts contemplation on the ephemeral nature of fashion and the role of conservation in preserving its materiality. The exhibition also explores themes of nature and cycles, presenting a complex and immersive journey through the natural world. [Extracted from the article]

The Fashion City exhibition at the London Museum Docklands explores the impact of Jewish Londoners on global fashion. The exhibition showcases the stories, lives, and products of famous and forgotten Jewish designers, highlighting London's development as a fashion capital through the lens of immigration. The exhibition is divided into sections that depict the experiences of Jewish immigrants, the development of the fashion sector in London's East End, and the role of Jewish entrepreneurs in fashion retail. It also explores the broader history of immigration in London and the involvement of other migrant communities in the fashion industry. The exhibition is well-researched and curated, providing a comprehensive understanding of the Jewish community's contribution to London's fashion scene. [Extracted from the article]

The article discusses the need for museums to reframe fashion and textiles in order to create culturally engaging and socially relevant experiences for visitors. It emphasizes the importance of inclusivity, diversity, and equity in museum practices, including the collection, curation, and display of fashion and textiles. The article explores themes such as inclusive curation, decolonization, cultural appropriation, and community-centered approaches to exhibition and conservation. It also highlights the significance of challenging traditional standards and practices in fashion museology to foster a more inclusive and representative understanding of global fashion histories. [Extracted from the article]

The Fashion and Textile Museum in London recently held an exhibition called "The Biba Story, 1964–1975," which explored the impact of the iconic London boutique, Biba. The exhibition showcased the Art Deco-inspired style of Biba, with its gold and black logo, curvy framed cut-outs, and dusty purple wall color. Visitors to the exhibition shared personal connections and memories of Biba, making it a nostalgic experience. The exhibition traced the history of Biba, from its beginnings as a direct-to-consumer mail-order business to its brick-and-mortar stores and eventual closure due to financial difficulties. The exhibition featured clothing, textiles, makeup, and even food products associated with the Biba brand. It highlighted the accessibility and affordability of Biba's fashion, as well as its influence on the London fashion scene and its association with famous musicians, actors, and models. The exhibition successfully captured the ephemeral nature of Biba and celebrated its lasting impact on fashion and lifestyle brands. [Extracted from the article]

This article argues that fashion curation in Latin America must be redesigned in order to disseminate the complex histories of fashion in the region, which are inherently tinted with forms of systemic oppression that stem from European invasions and colonialism. It begins with two recent case studies from Colombia before moving onto a brief overview of the development of fashion curation in Latin America, which highlights the dominance of Eurocentric views of fashion in exhibitions throughout the region. To move beyond these limited narratives, the article ends by offering some initial ideas to redirect future curatorial practices and strategies based on contemporary and critical approaches that engage with decolonial scholarship around fashion in Latin America. [ABSTRACT FROM AUTHOR]

North American dress and textile museums have long been rooted in colonial ideals due to the long-standing perpetuation of Eurocentrism as superior to all other ways of knowing. The fashion and textile art exhibition Material Resistance: Social Justice and Empowerment Narratives Told Through Cloth (2022), curated by graduate students, contested these colonial traditions and instead centered the stories, lived experiences, and empowerment of marginalized communities. The exhibition featured social justice-focused textile works of five artists and three community organizations. The curatorial team explored methods to re-envision how curators can center social justice and empowerment within fashion and textile exhibitions through innovative approaches, building upon previous curatorial scholarship that values collaboration and combines tenets of post-critical museology, intersectionality, and self-determination. By prioritizing the voices of the show's artists and community members, being intentional about the curatorial selection and accessibility, providing opportunities for community engagement, and practicing repatriation, we provide an example of curatorial practice centering the people, not the system that has often disenfranchised them. [ABSTRACT FROM AUTHOR]

The exhibition Lee Alexander McQueen: Mind, Mythos, Muse (2022) reexamined the British fashion designer's oeuvre by contextualizing select Alexander McQueen designs within art history. Juxtaposing permanent collection works that spanned media, eras, and cultures with McQueen's fashions, curators explored the cyclical nature of inspiration against the backdrop of appropriation in art history. As evidenced in his powerful collections, McQueen's artistic process ranged from thoughtful research and examination to Eurocentric revisions that were both critical of and at times complicit in the legacies of colonialism. This analysis of McQueen's artistic intent and process initially sought to uncover new frameworks for understanding the designer; however, the thematic conversations between encyclopedic objects also yielded new and unexpected insights for the museum's non-dress and textile art collections. Investigating McQueen's fashion collections through a broader art-historical lens enabled significant and mutually beneficial dialogues between both dress and non-dress art historians. [ABSTRACT FROM AUTHOR]

The purpose of this research was to understand students' experiences viewing a digital narrated video tour of a physical fashion exhibition and evaluate its effectiveness using the constructivist learning perspective as it applies to museum learning. Formally written responses to an open-ended qualitative survey from 62 students were analyzed using a transcendental phenomenological approach. The digital tour offered an effective online object-based learning experience that enhanced students' understanding of the impact of cultural influences on fashion changes and helped them identify changes in fashion design. The digital tour was also engaging and allowed students to construct their own knowledge and take something meaningful from the exhibition, which contributed to its effectiveness. Best practices for designing digital tours of physical fashion exhibitions were developed and included fostering multisensory engagement, providing viewers' time for observation and reflection, and including multiple views and close-ups of garments. [ABSTRACT FROM AUTHOR]

The article discusses the Fashion City exhibition at the London Museum Docklands, which explores the influence of Jewish fashion makers on global style. The exhibition is divided into two sections, representing the East End and the West End of London. The immersive experience includes displays of fashion objects, photographs, documents, oral histories, and videos. The exhibition highlights the history of migration, the garment industry, and the individuals behind each garment. It aims to contribute to the call for slow fashion by emphasizing the people involved in the production of clothing. [Extracted from the article]

The article reviews the exhibition "Africa Fashion" at the Victoria & Albert Museum in London from July 2, 2022, to April 16, 2023, and at the Brooklyn Museum in New York from June 23 to October 22, 2023, including a celebration of African historical and contemporary fashion.

Fashion exists at the intersection of art, culture, and commerce, serving as a specific form of cultural industry and embodying a complexity that can be both fascinating and overwhelming. This article explores the main theoretical connections between the notions of fashion, mass art, and art, highlighting eight significant challenges within the grey zones of these three concepts. These eight challenging issues are: authenticity and lack of authenticity (1); popularity and unpopularity (2); market determination (3); mass production (4); democratization and availability (5); standardization and uniformization (6); cultural effect (7); and style and taste (8). In the second half of the article, I provide contemporary fashion examples (tabi shoes, the Barbie phenomenon, the Sleeping Beauties: Reawakening Fashion exhibition) that underscore the inherent complexity of these eight issues. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the exhibition "Iris van Herpen: Sculpting the Senses" at the Musée des Arts Décoratifs in Paris. The exhibition showcases the work of Dutch designer Iris van Herpen, who is known for her innovative use of technology in fashion design. The exhibition explores themes such as anatomy, astronomy, and the natural world, and features a range of dynamic and visually striking designs. The exhibition also includes collaborations with contemporary artists and displays the designer's pieces alongside other exhibits to provide context and insight into her work. Overall, the exhibition highlights van Herpen's position at the forefront of the intersection between fashion, art, and science. [Extracted from the article]

The article discusses an exhibition called "Moda Hoy! Latin American and Latinx Fashion Design Today" at the Museum at Fashion Institute of Technology in New York. The exhibition aims to showcase the diversity and complexity of Latinx and Latin American fashion design through established designers. It is organized thematically into categories such as art, sustainability, Indigenous heritage, gender, politics, popular culture, and craftsmanship. However, the article suggests that the exhibition overlooks the significance of tropicalism and the sociological aspects of Latin culture, race, class, and colonial legacies. It also raises questions about the representation of Indigenous, Black, Caribbean, and diasporic fashion designers. The article calls for ongoing efforts to diversify fashion archives and decenter fashion narratives from an antiracist perspective. [Extracted from the article]

Review of: Rakuten Fashion Week Tokyo, Fall/Winter 2023, Tokyo, 13–18 March 2023 [ABSTRACT FROM AUTHOR]

Review of: Resistencia y Libertá: Exhibición DEL traje DE Bomba desde el siglo XVII hasta el presente ('Resistance and freedom: Exhibition of the Bomba dress from the seventeenth century to today'), curated by Milteri Tucker Concepción, Museo Casa Blanca, Old San Juan, Puerto Rico, 4–25 June 2023 [ABSTRACT FROM AUTHOR]

The article critically observes the fashion exhibition Fashioning Masculinities: The Art of Menswear (Victoria & Albert Museum, London, March 19 - November 6, 2022) in order to weave an in-depth analysis of the evolutions of menswear through the concepts of self-fashioning and historical rereadings. The aim is to reveal the dynamics between curation, clothing, and the temporality of fashion within the V&A exhibition, and to demonstrate how the practice of self-fashioning fuelles historical rereadings and the proliferation of definitions of masculinity. Supported by a heterogeneous theoretical framework, the expanded reading of the exhibition finally demonstrates how the practice of self-fashioning acts as a tool for fashion curating in reflecting on gender definitions.

The article examines a fashion exhibition at a heritage museum on a historic site in terms of fashion museology. Fashion museology, which has emerged from the growing phenomenon of exhibiting fashion in museums, advocates the visual representation and holistic atmosphere of the curatorial space that determines the on-site audience experience. This article focuses on how the interrelation between fashionable clothing, the bodies of the audience, and the heritage space constructs a hybrid space in which bodily movement articulates the displayed clothing. We consider the heritage space to be a performative event and explore how heritage museums can harness and make practical use of the affective interrelationship within the designed museum space in terms of the quality of the fashion exhibition experience. Museum audiences are situated in and moved around by the curated spatial environment, which is a space with cultural residuals and historical inheritance, where the bodily encounter with the displayed clothing occurs. The investigation of this interaction via case studies sheds light on the overlooked haptic experience and spatial storytelling in fashion exhibitions. The site-specific interaction at the heritage space mediates the body in multiple ways. Such curated bodily movement acts as a narration that imbues the clothing on display with meanings. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses articles in the issue on topics including tribute to Yanny Split; reviews of significant textile and fashion exhibitions across New Zealand; and the deep analysis of textile practices.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The jacket on the right is in navy blue velvet, with rounded notched lapels edged in cotton piping, and features a barrel cuff. The left hand jacket is in grey cotton with a thick red pinstripe, peak lapels and a fish tail cuff. Keywords: Menswear; dandy; peacock revolution; Carnaby Street; 1960s EN Menswear dandy peacock revolution Carnaby Street 1960s 745 751 7 10/31/23 20230701 NES 230701 Arriving at Pickford's House in Derby, the grand Georgian town house is perhaps a little grander than its neighbors, but nevertheless sits in a terrace of stately red-brick properties, with sensible large windows and smart black railings. [Extracted from the article]

Quotes from the garment owners at the foot of each mannequin added a dimension rarely seen in a fashion exhibition: they were the almost-hidden gem of the show. Keywords: fashion exhibition; fashion design; Australian fashion; Carla Zampatti EN fashion exhibition fashion design Australian fashion Carla Zampatti 737 744 8 10/31/23 20230701 NES 230701 Among Australian brands, few would be unfamiliar with the name Carla Zampatti, who passed away suddenly in April 2021 after 56 years leading her eponymous brand. Fashion design, fashion exhibition, Carla Zampatti, Australian fashion. [Extracted from the article]

Copyright of Journal of Architectural Sciences & Applications (JASA) is the property of Journal of Architectural Sciences & Applications and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Writing in the comprehensive PICASSO/CHANEL exhibition catalogue, Juan Gutiérrez credits Chanel's work as a "constant reappropriation of types and forms that fell outside the boundaries of elegance" (Gutiérrez [1], 48). Ballet, cubism, mannequin, sportswear, theater Keywords: ballet; cubism; mannequin; sportswear; theater EN ballet cubism mannequin sportswear theater 603 611 9 09/11/23 20230501 NES 230501 PICASSO/CHANEL focuses on work both produced from 1910 to 1930. [Extracted from the article]

Visitors with fashion knowledge could also wish that the display was further informed by recent research in fashion studies from critical wardrobe studies to approaches that center on decoloniality and fashion. Fashion exhibition, Norwegian fashion, fashion history, museum collection, contemporary fashion, museology Keywords: Fashion exhibition; museum collection; Norwegian fashion; fashion history; contemporary fashion; museology EN Fashion exhibition museum collection Norwegian fashion fashion history contemporary fashion museology 473 482 10 07/10/23 20230401 NES 230401 Permanent fashion displays are notoriously difficult to put together. [Extracted from the article]

By entering small rooms to watch a Lagos fashion week show, or to hear about a designer's inspiration, affords the visitor a multi-sensory aesthetic and epistemic experience. Africa Fashion exhibition, curated by Checinska, Christine V&A Museum, South Kensington, London, 2 July 2022 - 16 April 2023. It is not only a long overdue effort in decolonialism by the V&A, but also a beautifully curated exhibition on a par with the shows of Western designers the museum has presented. [Extracted from the article]

Bill Belew continued to draw on Elvis's identity and interests alongside contemporary fashion to devise ensembles for him that worked authentically and visually, culminating in his most iconic visual representation: the white bedazzled jumpsuit. Though I was born after Elvis had died, he still loomed large over my life - literally - in the form of an oversized framed portrait at my grandmother's house. The white jumpsuit seemed to distill the trends of the decade into a motif that was particular and favorable for the personality of Elvis. Following the segment, I Singer Presents... Elvis i , later known as the '68 Comeback Special, Belew and Elvis forged a lifelong collaboration. [Extracted from the article]

Gracing the cover of the exhibition catalog, it speaks to the turbulent social context for the exhibition's production and reception. Keywords: Garmenting; contemporary art; fashion exhibition; performance art; identity EN Garmenting contemporary art fashion exhibition performance art identity 305 310 6 05/05/23 20230301 NES 230301 Visitors to fashion exhibitions have come to expect a spectacle. Garmenting, contemporary art, fashion exhibition, performance art, identity. [Extracted from the article]

Chintz was especially sought after for Dutch regional costume, as is highlighted by one of the very first exhibits, an eighteenth-century chintz modesty piece or I kraplap i , which was used to cover the low necklines. There are few fabrics that appeal to the imagination as much as chintz. The exhibition lays bare the striking resemblance of both fashion and interior chintz textiles by combining the two; the wall coverings are made of a chintz with small motifs, which was generally reserved for clothing. [Extracted from the article]

Copyright of aDResearch ESIC: International Journal of Communication Research / Revista Internacional de Investigación en Comunicación is the property of ESIC Business & Marketing School and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The document is a letter from the editor of the journal Dress, introducing the 50.2 issue. The editor expresses their excitement about assuming the role of Principal Editor and their commitment to maintaining the journal's high-quality scholarship. They aim to increase the readership of Dress and bring in new voices and diverse perspectives. The editor also announces the addition of new scholars to the Editorial Board and the streamlining of the submission and peer review process. The current issue focuses on the theme of reframing fashion in museums, with articles and exhibition reviews exploring innovative approaches to displaying fashion in museum settings. The editor encourages readers to engage with the articles and consider submitting their own work to future issues of Dress. [Extracted from the article]

Sew Me a Quilt. Tell You a Story. was a performative conversation between Sequoia Barnes and Carol Tulloch that took place at the Fruitmarket Gallery, Edinburgh (25 April 2019). It was in response to the exhibition Senga Nengudi (16 March–26 May 2019), notably her work Ceremony for Freeway Frets (1979) and the RSVP series. These feature costume and textiles associated with Black bodies which Barnes argues lean on the concept of fashioning – establishing design, making and aesthetic codes engineered by and superimposed onto marginalized people – a theme that Barnes explores in her research practice. For Tulloch these works reflect styling – the construction of self through the assemblage of garments, accessories, hairstyles and beauty regimes that may, or may not, be 'in fashion' at the time of use. To style one's body is part of everyday life, which is agency and a form of self-telling. 'Fashioning' and 'styling' are different, yet equally valid, approaches to thinking about making the self. In this article we will discuss how exploration of the concepts Black fashioning and Black styling informed the performance Sew Me a Quilt. Tell You a Story. through two women hand-stitching a quilt, a joint act that is a longstanding signifier of Black women's making traditions, storytelling and communal experience. As two Black women who are culturally and generationally different – Barnes is African American and Tulloch is Black British – our shared diasporic connections to quilt-making engendered our pursuit of authorship and agency through making in the otherwise privileged space of the 'white cube gallery'. Additionally, the article will discuss how this performative conversation blurred the lines between making and performance, materiality and lived experiences as well as how our performative exchange of knowledge – academic, cultural and political – created something that went beyond the usual experience of visiting a gallery to 'look at art' to seeing and listening. The original idea for the performance, instigated by Barnes, was for her and Tulloch to talk while hand-stitching an unfinished quilt, which Tulloch began in 2010, in front of an audience they were not to engage with. The intention was to hold space for the audience to enable listening. In practice, the performative conversation also held space for: different kinds of conversations and listening; emotional experiences and healing; and consideration of how Tulloch and Barnes fashion/style their own identities through memories as they stitched towards completing a quilt as a form of remembrance. [ABSTRACT FROM AUTHOR]

So much for my reflection on the lexical part of the exhibition, which leads me to the second (first, respectively) part of the exhibition title - I In America i . On the occasion of its 75th anniversary, the Costume Institute at the Metropolitan Museum of Art organized a comprehensive program of exhibitions celebrating and revisiting American fashion. The selection of garments presented to the public in the exhibition was very broad, style-wise, time-wise and inspiration-wise, the overall austerity and fragmentation of the exhibition partially obscured important contexts. Despite the fact that the exhibition featured garments and brands that actively espouse the aforementioned sources and values, be it Rihanna, Neil Grotzinger, Rudi Gernreich, and others, it was far from clear from the chosen narrative that these are the starting points and values that are so defining, particularly for the American fashion world. [Extracted from the article]