Clothes are transitive things in the slavery archive: Serving simultaneously as modes of identification for recapture and as critical expressions of identity and self-making.
Don't forget! Interesting stuff happening on a specific date on the calendar below this is just filler text to get the idea across.
All tagged Curating
Clothes are transitive things in the slavery archive: Serving simultaneously as modes of identification for recapture and as critical expressions of identity and self-making.
Appropriately situated in Chicago, Abloh’s base (or close enough, as his hometown is actually Rockford, west of Chicago), Virgil Abloh: “Figures of Speech” geographically positioned the ever-moving designer, his legacy and his work in a stationary institution meant for art.
Jay Jaxon was not only the first American to head a Parisian couture house, but also the first black person to do so. Curiously, however, Jaxon’s name is often left out of the annals of fashion history. A recent exhibition at the Queens Library shines light on this often-overlooked figure.
More frequently than one might imagine, multiple fashion exhibitions on similar topics pop up around the same time. While it is not unusual for trends in fashion exhibitions to occur, it is somewhat unusual for two museums in the same city to be running concurrent exhibitions on almost the exact same subject.
Passer-By tackled an issue with which consumers come into contact every day: the multitude of ways that clothing can be displayed through artistic, kitschy, and historical contexts, and how this changes the way the clothing is interpreted.
Fashion is a powerful medium that permits the display of narrative by both its producers and consumers, and can be used to study our society, reading the past and present to try to imagine the future. But is there a difference between men and women in the use of fashion to communicate thoughts and express ideas?
A reimagined version of the exhibition originally staged at the Musée des Arts Décoratifs in Paris, the V&A Museum takes museum visitors on a journey through Dior, both the man and the house.
The retrospective of over 45 years of Broadhead’s art is said to be the first collection that Lethaby has ever let take over their entire space. For them, it’s a celebration of a career that began with, and now retires in, the influence of jewelry.
The exhibition comprises 300 objects and spans a comprehensive timescale, from the 1600s to the present day. Arranged chronologically across two floors, the first part of the exhibition charts the relationship between fashion and industrialization, highlighting the use of nature both as a source of inspiration and exploitation.
Based on the exhibition of 2016 at the National Gallery of Victoria in Melbourne and curated by Thierry-Maxime Loriot, Viktor & Rolf: Fashion Artists 25 Years investigates the duo’s conception of “wearable art.”
The exhibition argues that a singular DNA weaves its way through these two branches of Margiela’s creative career, reconciling the apparent disjuncture between Margiela’s identity as a rebel against the fashion system and a designer for one of French fashion’s most patrimonial houses.
Visible structures and assemblages like ladders and plastic coverings litter the exhibition route, and remind the visitor of the exhibition’s temporariness; it is a place in transition and pregnant with possibility.
Fashion Space Gallery at London College of Fashion (January 20-April 22, 2017)
The Museum at the Fashion Institute of Technology (February 10-April 15, 2017)