Photo Diary: Behind the Scenes at Diana Vreeland After Diana Vreeland

It’s not every week that one finds oneself in close physical contact with Fortuny delphos dresses, Balenciaga masterworks, Cecil Beaton drawings, YSL Mondrian dresses, a Schiaparelli hat, and Ballets Russes costumes by Matisse and Bakst.

Dresses by Balenciaga await their place in the exhibition showcases.

Last week, those were merely the icing on the cake of my experience working to mount and install the Diana Vreeland After Diana Vreeland exhibition curated by Judith Clark and Maria Luisa Frisa at the Palazzo Fortuny Museum in Venice. I served the project as curatorial assistant along with Gabriele Monti.

Overview of the second floor gallery, 72 hours before opening.

In addition to the immense pleasure I could not help but take in handling treasures of costume and fashion, I was astonishingly pleased and inspired to be working alongside such a phenomenally talented, dedicated and wonderfully warm team. To all new friends and colleagues from Venice and abroad, I send my appreciation and very warmest respect and thanks.

The worktable of hair genius Angelo Seminara, and his wondrous team, who crafted the masterworks of wigmaking for the exhibition.

In addition to the exhibition, a conference on fashion curating was held jointly by the IUAV University of Venice (whose MA students were an absolute joy, with immense talent and energy), the London College of Fashion and the Centre for Fashion Studies (Stockholm University).

Display of archive material relating to Diana Vreeland's life and career, at the Diana Vreeland After Diana Vreeland exhibition

The conference brought together prominent voices in the field of fashion and museums, to reflect upon Diana Vreeland’s legacy, and the past and future of fashion curating as a discipline. I’ll be reporting on the conference next week, but for the present am proud to share my photographs from behind-the-scenes at Diana Vreeland After Diana Vreeland.

Chanel metallic crepe dress, Cecilia Matteucci Collection, Wig by Angelo Seminara.

Leon Bakst Ballets Russes Costume, Judith Clark Costume Collection Archive, mounted by Jenna Rossi-Camus.

The Belle Epoque and Balenciaga. Wig by Angelo Seminara, dress collection of MArtin Kamer, Velvet coat, Balenciaga Museum.

Display of Missoni and Pucci ensembles, alongside the calico upholstered horse, masterminded and crafted by the MA Fashion students at IUAV who assisted on the project.

Garments pictured from collection of Martin Kamer.

Exhibition view, March 9, 2012

And, do also check out the exhibition publication, available from April 15, 2012. It is a gorgeous and well-thought out document of Vreeland’s work, and the work of the exhibition’s team.

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1 Comment

  • Mellissa March 19, 2012 12.38 pm

    Thanks so much for sharing these wonderful photos! It must have been such a fun and engaging exhibition to work on. I’m also so glad to hear that you attended the related conference, and am very much looking forward to hearing your reflections on the event!


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