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.
Don't forget! Interesting stuff happening on a specific date on the calendar below this is just filler text to get the idea across.
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 Fashion Studies Alliance was curious to know more about our community’s experiences as fashion studies educators, both within dedicated fashion programs, and especially, outside of them. We sought to question current practices and discuss how educators address and/or incorporate fashion into their teaching. Our goal was to work through existing challenges and propose active strategies to resolve them.
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.
Wedged between the Roaring Twenties and Dior’s New Look of 1949, the 1930s is quite often a decade eclipsed in popular fashion history. Now the subject of the Fashion and Textile Museum’s exhibition, Night & Day: 1930s Fashion and Photographs is the museum’s unofficial sequel to its 2017 exhibition, 1920s Jazz Age: Fashion and Photographs.
Charles James, the late, great, twentieth-century couturier, truly was an unreasonable man. But while Michèle Gerber Klein’s biography conveys its titular point well, it is not necessarily the book’s main takeaway.
An extension of the way Études muses on the significance of banal objects and cultural phenomena when they are taken out of context, When Études Become Form is a phenomenological study of Études itself, incorporating interviews with collaborative artists and process-intensive works which expound on the nature of close study.
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.”
Set in my traditional fashion exhibition viewing ways, I declined to try on any of the pieces on view. However, I found myself reaching out to touch the garments on the racks, examining the screen-printed sweatshirts as I would while shopping.
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.
André’s belief in fashion as a transformative experience led him to a passion for Vogue magazine. Its pages exposed him to the aspirational world of couture, education, and high culture. Speaking to his interest, André declares, “You can be aristocratic without being born into an aristocratic family.”