This week’s post is a bit of a cheat, since I will be discussing an exhibition that closed over a month ago. But the exhibition was so wonderful, despite being small and tucked in amongst LACMA’s South Asian and Middle Eastern permanent displays, that it absolutely deserves a mention even if it is no longer open.
Back in September when I visited the Los Angeles County Museum of Art (LACMA) to see both Kimono for a Modern Age and Art Deco Textiles (both of which I reviewed here at Worn Through), I noticed Princely Traditions and Colonial Pursuits in India on the list of exhibitions currently on display. Having done my master’s thesis (dissertation in the UK) on the influence of India on British dress and society, I knew I had to stop in at the exhibition before I left the museum that day.
Landscape with the Taj Mahal, circa 1800-1825
India, Uttar Pradesh, Awadh, Lucknow
Opaque watercolor on paper
Sheet: 15 3/4 x 24 in. (40.0 x 60.96 cm); Image: 14 x 22 in. (35.56 x 55.88 cm)
Los Angeles County Museum of Art, Purchased with funds provided by The Smart Family Foundation through the generosity of Mr. and Mrs. Edgar G. Richards (M.86.123)
Photo © 2014 Museum Associates/ LACMA
For my master’s research I was focused on Britain itself, and what the returning nabobs and nabobinas — as they were derisively referred to — brought with them and how it affected their society. LACMA’s exhibition focused on what they collected and commissioned while they were in India, the prologue to my own research, if you will. So needless to say I found the exhibition absolutely fascinating. I learned that many artists and artisans who had previously worked for Indian princes, now offered their services and products to the British colonists, “adjusting their practices to suit the taste of their new patrons.” There was also the influence of European artists who came with the merchants and government officials, as can be seen in the two paintings above: they introduced new genres and aesthetic styles to India.
LACMA does not ignore the fact that many of these officials and merchants were only temporarily posted to India, and also explores the demand for Indian luxury items created by not only Britain’s having this new colony, but more definitely by those returning from India with their collections of Indian art and household goods. One intriguing detail I noted was that the names of the Indian artists were far more often known than those of the European painters. I found myself wondering if India didn’t respect the arts and thus the artists more than Europe did during the eighteenth and nineteenth centuries.
Attributed to Dana Bhati Maharao Ram Singh (r. 1827-66) Enjoys a Dance Performance, circa 1850 India, Rajasthan, Kota Opaque watercolor and ink on paper 17 x 21 1/4 in. (43.18 x 53.9 cm) Los Angeles County Museum of Art, Gift of Paul F. Walter (M.77.154.22) Photo © 2014 Museum Associates/ LACMA
Pair of Lorikeets on Broken Branches, Folio from an album commissioned by Sir Elijah and Lady Impey, 1780
India, West Bengal, Kolkata (Calcutta)
Opaque watercolor and ink on paper
Image: 20 x 29 in. (50.8 x 73.66 cm); Sheet: 25 x 37 1/4 in. (63.5 x 94.62 cm)
Los Angeles County Museum of Art, Purchased with funds provided by Christian Humann (M.72.36.1)
Photo © 2014 Museum Associates/ LACMA
As I have said the exhibition was small, and tucked away amongst the South Asian and Middle Eastern permanent displays. However, it was very rich and the museum managed to communicate much through the use of objects from across museum departments. There were paintings, sculptures, architectural pieces, and, of course, fabric.
Designs from the Adina Mosque, Pandua, West Bengal, 1812
India, West Bengal, Purroah (?)
Opaque watercolor and ink on paper
Image: 21 1/4 x 17 9/16 in. (54 x 44.6 cm); Sheet: 21 7/16 x 17 15/16 in. (54.5 x 45.6 cm)
Los Angeles County Museum of Art, Indian Art Special Purpose Fund (AC1993.74.1)
Photo © 2014 Museum Associates/ LACMA
India, Coromandel Coast for the European market
Cotton plain weave, painted and dyed
124 1/2 × 89 in. (316.23 × 226.06 cm)
Los Angeles County Museum of Art, Gift of the Costume Council in memory of Mary Hunt Kahlenberg (M.2012.73)
Photo © 2014 Museum Associates/ LACMA
This is something I have noted before that LACMA does extremely well: integrate various objects to create context without using often-limited wall text. By placing the objects with other pieces – albeit of a different medium – that they would have been seen with originally, the exhibition gives visitors a better impression of what the “whole picture,” as it were, was for this particular aesthetic movement or trend. It also creates an ambiance that is sometimes lost when an exhibition focuses only on one element. That is not to say that focusing on one element, era, or designer is a bad thing — I would never have been able to appreciate the beauty and artistry of Balenciaga had I seen his work “in context” as it were, whereas seeing it in an exhibition devoted only to him at the de Young museum gave me an understanding of his technique and genius. But it does strike at the heart of museum exhibitions: what are they trying to communicate? And how often then succeed at communicating that message through objects and their arrangement.
This is what I love about LACMA — and many other museums, it was just that this particular exhibition brought the idea home — the work and effort that goes into the exhibitions behind the scenes to make the exhibition and its message seem effortless, whether it is about a single topic, or trying to create as close to the full picture as possible. So much of ‘Domestic Affairs’ focuses on a single topic — whether it is modern kimono or fashion during World War I – it was lovely this time around to focus instead on an entire group of people. And a group of people with whom I discovered I was only half familiar. I thought I was a bit of an expert on the nabobs and nabobinas, but LACMA’s Princely Traditions revealed that I was familiar with only half their lives and opened a new avenue of research to me. Which is exactly what museum exhibitions are supposed to do.
Principal Monuments of India, Including the Taj Mahal, circa 1850
Opaque watercolor on ivory, mounted in an ebony frame
6 3/4 x 7 x 1/2 in. (17.145 x 17.78 x 1.27 cm)
Los Angeles County Museum of Art, Gift of Albert G. Wassenich (34.13.965)
Photo © 2014 Museum Associates/ LACMA
Did any of you see Princely Traditions? What did you think? Are there any exhibitions that have made you stop and appreciate the art of exhibition creation, lately? Do you feel integrated exhibitions are less successful than those with a sole focus, or more? Are there any small museums or exhibitions that didn’t get the press they should have? Please share your thoughts in the comments below. And as always, if you have an announcement or know of an event or exhibition that you want featured here, please either comment below or email me.
Opening image caption: Arthur William Devis Manre Royale d’Aubusson The Hon. William Monson and His Wife, Ann Debonnaire, circa 1786 England 40 1/2 x 51 1/2 in. (102.87 x 130.81 cm) Los Angeles County Museum of Art, Gift of Hearst Magazines (47.29.16) Photo © 2014 Museum Associates/ LACMA
Among the many things that I am preparing for with the approach of the holiday season is how I’m going to work various fashion exhibitions into my schedule.
Obviously, those exhibitions outside of California are impossible for me, but hopefully they will be possible for many of you.
Most exciting for next week is Fern Mallis’s conversation with Valentino at 92Y in New York City. Tickets are currently sold out, but there is a wait list available for Mallis’s November 18 program with the legendary designer. This is in addition to the Death Becomes Her having opened in the last couple weeks at the Metropolitan Museum of Art (Jill discussed her visit to the exhibition in her post, yesterday), and Killer Heels still open at the Brooklyn Museum.At the Museum at FIT, while Exposed: A History of Lingerie is closing, their special exhibition, Dance & Fashion will remain open until January 3.
As I was informed by Jon in a comment on my last exhibition round up, there is another exciting exhibition on the east coast examining Marjorie Merriweather Post’s Cartier collection at the Hillwood Estate. Cartier: Marjorie Merriweather Post’s Dazzling Gems has been open since June, but will not close until December 31.
In the Midwest, Chicago Styled: Fashioning the Magnificent Mileopens November 15 at the Chicago History Museum. It looks to be a truly fascinating exploration of the local fashion industry and the people who both worked in and utilized it, based upon the amazing blogposts that have led up to the exhibition’s opening.
In Des Moines, Halston & Warhol: Silver & Suede will be open at the Des Moines Art Center until January 18.
Here in California, Hollywood Costumeopened a month ago and will be up until March just across the street from the Los Angeles County Museum of Art. Also in Los Angeles, the Fowler Museum at UCLA has three textile exhibitions on display: Bearing Witness: Embroidery as History in Post-Apartheid South Africaup through December 7; Textiles of Timor: Island in the Woven Sea up through January 4; and Yards of Style: African-Print Cloths of Ghanaopen through December 14.
In San Francisco, not directly related to fashion — but indirectly since his V magazine photo shoot — Ai Weiwei’s @Largeis currently on display on Alcatraz Island; at the de Young Museum, Keith Haring: The Political Line while not actually involving clothing or textiles offers visitors a chance to see some of the original drawings used by Vivienne Westwood in her 1983 collaboration with the artist. At the Legion of Honor, Houghton Hall: Portrait of an English Country Houseis open until January 18. I will be writing my review of it in early December.
Opening January 31 at the de Young is Embodiment: Masterworks of African Figurative Sculpturewhich will be a wonderful opportunity to explore bodily depiction from approximately 110 different cultural groups. It may be a wee bit early to get excited about March openings, but I must confess I am eagerly awaiting the arrival of Botticelli to Braque: Masterpieces from the National Galleries of Scotland opening on March 7 and featuring not only Henry Raeburn’s Reverend Robert Walker Skating on Duddingston Loch, but his portrait of Colonel Alastair Ranaldson Macdonell of Glengarry in full Scottish military regalia which inspired my master’s ‘virtual exhibition’ on tartan and Scottish dress. Even more exciting is the arrival of High Style: The Brooklyn Museum Costume Collection at the Legion of Honor on March 14.
What exhibitions are you making time for this winter? Are there any exhibitions you want to share with Worn Through readers? If so, feel free to either email me or to share your thoughts in the comments!
Opening image from the website for Hillwood’s Cartier: Marjorie Merriweather Post’s Dazzling Gem
Last month I was able to take a long overdue vacation and view many wonderful exhibitions along the way, as well as attend and present at the 4th annual Fashion Now & Then conference at LIM College, which I’ll discuss in next month’s post.
One thread that that ran through my gallery observations was a heightened awareness of sound incorporated into the exhibition experience. Obviously, the visual sense is privileged in the gallery setting–both for object presentation and preservation. Touch is a strong urge among gallery goers–especially when sumptuous fabrics or iconic garments are involved–and this audience longing for a real, tangible connection with the object is often overlooked, and of course must be controlled for conservation reasons. There have been some inventive ways to incorporate the sense of touch into exhibition experiences, such as the inclusion of half-scale, touchable models of Charles James gowns at the Charles James: Genius Reconstructed exhibition at the Chicago History Museum in 2011.
Sound can also be an effective tool in enriching sensory experience, establishing context, and creating a certain mood. Upon my visit to Death Becomes Her: A Century of Mourning Attire at the Metropolitan Museum of Art, I became very aware of the use of sound, which suffused and spilled over beyond the exhibition space. Before a single ensemble was glimpsed, the strains of Gabriel Faure’s Requiem, Op. 48 could be heard as one descended the steps into the galleries. Only the exhibition title was in view at this stage, placed in a cameo shape encroached upon by a painted weeping willow, referencing both mourning jewelry and embroidered memorial paintings of the 19th century.
Death Becomes Her exhibition entrance
Photo by the author
The music did not detract from the setting, but added to the physical and metaphorical weight of the clothing that women (and men, also represented through a few examples) wore through the mandatory stages of mourning. The music also seemed to affect the audience mood and conversation. People spoke in hushed tones or not at all, as though they were attending a funeral or other somber memorial event. (I should say that I attended the exhibition in the middle of the week, when there were less crowds than on the weekend—with a crowded gallery, the music may be muted and not have the same effect).
Another interesting use of sound in the galleries could be found in the exhibition, Kimono: A Modern History, also at the Metropolitan Museum of Art. A fountain by Isamu Noguchi could be heard near a display of 19th century fireman’s jackets–fascinating garments that I did not expect to see in an exhibition on kimono. The flowing water certainly evoked the calm of the Japanese home, palace, or garden where kimono were worn, but could also be a tangibly audible reference to the function and use of the fireman’s jacket. Before fighting a fire, the jacket would be turned inside out with the decorated side against the body, and would then be soaked in water for added protection.
Installation view of 19th century fireman’s jackets, Kimono: A Modern History
Photo by the author
A museum that may seem an unlikely subject in a discussion of costume exhibitions is the National Baseball Hall of Fame, but it is filled with numerous textile-based items--uniforms and other fascinating artifacts of the luminaries of baseball’s past.
Installation view of women’s 1940s uniforms,
National Baseball Hall of Fame
Photo by the author
Filling the galleries were audio interviews with players, music that may have been heard during the early 19th century days of the game or from the Caribbean islands from which so many great players have hailed. These auditory pieces added by the museum were augmented by the lively banter of the audience themselves–reminiscenes of games past, memories of experiences in the stadium, the sound of “whooaaa”s by young baseball fans in awe. This in itself is also part of the exhibition experience.
How have you experienced sound in an exhibition? Are there creative ways you have heard it used?
This weekend ended the Palais Galliera’s glamorous exhibition dedicated to the 1950s fashion in France. We often think that because we know all about the New Look, the Bar ensemble imagined by Christian Dior in 1947, we know everything about the 1950s fashion. Yet this display demonstrates how versatile the stylistic silhouettes proposed by the designers of the decade were.
Within its splendid 19th century palace, the museum decided to privilege a simple modernist scenography that would moderate the extravagance of the architecture and emphasize the garments displayed. The exhibitions follows a thematic thread built on the typical wardrobe of an elegant Parisian of those days who would change several times a day to assume her social and fashionable obligations: we thus explore daywear, evening wear (within a ballroom-like presentation), leisure garments and cocktail dresses with a few accessory and undergarment hints. About 100 objects illustrate the abundance of styles, cuts and adornments that for most reveal how Parisian Haute Couture optimistically gained respectability and glory again after World War II while others announce a subtle fashion and social revolution, one that would burst in the 1960s.
The first thing you think of when observing all the garments displayed is how imprisoned the feminine body was during the 1950s, how male designers, led by Christian Dior’s iconic and scandalous ample New Look (influenced by Jacques Fath), fantasized a luxurious nostalgic silhouette with heavy layering of material, rich adornments and girdled hips. Most 1950s wealthy women dressed to seduce and entertain not to work, they wear Haute Couture designs alongside Tupperware products in the pages of the magazines hung on the walls of the Palais Galliera. The masculine and liberated image of women established during the war was erased for a more conservative archetype enhanced by the structural undergarments displayed within the exhibition on walls as abstract art works.
Pierre Balmain, « Antonia », evening dress, spring-summer 1954
Collection Palais Galliera
Yet alongside those romantic corollas, we observe the voluminous and sculptural garments of Cristobal Balenciaga who still inspire many contemporary designers while Gabrielle Chanel’s tailored suits announce the androgynous silhouettes of the following decade. Yes, the Chanel garments of the exhibition clearly stand out. The designer who had stopped her fashion career decided to triumphantly return in 1954 and do what she had already done in her beginnings: fight against archaism and help women build their emancipation with the help of fashion. She despised the hindering silhouettes of the male authorities and created her very own scandal with her sleek ensembles that provoked a cleavage in the middle of the decade.
Installation View: Evening Wear
Although the 1950s decade surely embodies the peak of French Haute Couture, the couturiers of the period help draw the early foundation of ready-to-wear. The exhibition makes it clear that, alongside various social factors of course, the success of Haute Couture worldwide, gave birth to ready-to-wear. The baby boomers of the decade and their youthful tastes are not represented within the display but we can’t help but note how the section dedicated to leisurewear announces teenage fashion and the 1960s ready-to-wear. Led by influential cultural figures such as Brigitte Bardot, young women favor light coton, beach dresses, ballerina shoes, naive prints…that provide the body with unrestricted, dynamic and graceful moves. Those looser designs serve as and experimental platform to the up-coming 1960s wear.
Finally, just as the exhibition’s span begins with the revolutionary look of Christian Dior’s 1947 collection, it symbolically ends with the appointment of the young Yves Saint Laurent as Artistic Director of the Christian Dior house in 1957. Although at Christian Dior, he pursues his master’s opulent style, we know how promptly he would become the emblem of feminine emancipation and ready-to-wear in the 1960s.
Installation View: Day Wear
The Palais Galliera exhibition was a strongly didactic display that not only diffused eye-candy but also proposed an innovative lecture of the decade’s fashion, far from clichés and easy assumptions and raised an undeniable debate: What do you think? 1950s fashion: revolutionary or archaic?
Exhibition Catalogue: Bosc, Alexandra. Les années 50: La Mode en France 1947-1957. Paris: Paris Musées, 2014.
Between the ages of about three and five my absolute favorite film was Singin’ In The Rain. To this day I will still watch the ‘Moses Supposes’ segment to cheer myself up at the end of a bad day. I have sometimes wondered if this is not the subconscious origin of my adoration for all things art deco. So, needless to say when I saw the original costume sketches for Debbie Reynolds in Singin’ In The Rain amongst the hundreds of sketches at FIDM Museum’s Designing Hollywood: Sketches from the Christian Esquevin Collection, it elevated an already astounding exhibition to one of my personal, all-time favorites.
Christian Esquevin (exhibition guest curator) at the opening of Designing Hollywood: Sketches from the Christian Esquevin Collection
Featuring rare Hollywood costume sketches from the collection of author Christian Esquevin (Adrian: Silver Screen to Custom Label), FIDM Museum supplemented the beautiful sketches with pieces from their own collection including costumes, Photoplay magazines, and a rare, unfinished pattern for an unknown Katherine Hepburn film. These additions elegantly contextualized the sketches by showing the costumes from conception through fitting to finished garment, but also by placing the stars and what they wore in the surrounding social context of Hollywood’s golden age.
Metro-Goldwyn-Mayer Unknown Film (1950s) Designer: Unknown Actor: Debbie Reynolds (b. 1932) Wool broadcloth, plaid silk twill & silk faille Hollywood Costume Collection, Recreation & Parks, City of Los Angeles FIDM Museum L88.1.11AB
Historical Epic Diane (Metro-Goldwyn-Mayer, 1956) Designer: Walter Plunkett (1902-1982) Actor: Marisa Pavan (b. 1932) as “Catherine de Medici” Silk velvet, silk satin, silk chiffon, ermine, faux pearls & rhinestones Gift of Maria Cole FIDM Museum Collection 2005.845.6AB/C
Installation view of Designing Hollywood: Sketches from the Christian Esquevin Collection
Cotton muslin pattern pieces created for a costume worn by Katharine Hepburn, RKO Radio Pictures, 1930s.
However, the real star of the exhibition remained the sketches from Mr. Esquevin’s collection. FIDM masterfully integrated these pieces from their own collection without overwhelming or upstaging the actual sketches. They instead emphasized the various sketches: period costumes across from a collection of period film costume sketches, etc.
Mr. Esquevin’s collection is nothing short of exquisite. I confess to being very surprised at the detail and beauty of many of the sketches. I have always loved fashion illustration — but this exhibition fully revealed the difference between fashion and costuming illustration. Fashion illustration is quick, simple, capturing shape and colour more than detail. The sketches in this exhibition were amazingly detailed, and yet each sketch is uniquely the designers’ own. Without having any prior knowledge of the subject, by the end I could identify an Edith Head sketch purely by her drawing style, before looking at the film name or the tombstone.
Ben-Hur: A Tale of the Christ (Metro-Goldwyn-Mayer, 1925) Designer: Harold Grieve (1901-1993) Actor: Ramon Navarro (1899-1968) as “Ben-Hur” Pencil, watercolor & gouache on paper L2014.2.7
The exhibition space is small, and yet the exhibition itself is not
Easter Parade (Metro-Goldwyn-Mayer , 1948) Designer: Irene [Irene Lentz Gibbons] (1900-1962) Actor: Unknown Watercolor & gouache on paper L2014.2.33
. FIDM masterfully used the space to flow well and to display so many sketches without overwhelming the visitors. Sketches are grouped to emphasize different aspects of costume design throughout Hollywood, whether it is an emphasis on the period or genre film throughout the history of film, or to examine the studios, or particular designers. This breaks up the collection into segments that are easier to take in, while also giving a more complete picture of what costuming for Hollywood is and entails.
Installation view of Designing Hollywood: Sketches from the Christian Esquevin Collection
Installation view of Designing Hollywood: Sketches from the Christian Esquevin Collection
The other great point of this exhibition is that each of these sketches — whatever it became, whoever drew it, wore it, or commissioned it – is a work of art in and of itself. I attended the exhibition with only a mild curiosity, and left with a new admiration of costuming for the art it is. And with a new perspective on at least one film I have loved all my life.
Designing Hollywood: Sketches from the Christian Esquevin Collection will be on display at the FIDM Museum main campus until December 20, 2014. It is definitely worth the visit.
Have you been to Designing Hollywood? What did you think? Do you have anything to share on the subject of costuming, or sketches? Please feel free to share your thoughts in the comments below. As always, if you have an event or exhibition you would like covered, feel free to share it in the comments or to email me.
Opening image caption: Installation view of Designing Hollywood: Sketches from the Christian Esquevin Collection
I have a confession to make: I am a sucker for pretty much all things art deco. I endured Baz Luhrman’s ‘interesting’ interpretation of The Great Gatsby largely because of the design aesthetic (okay it wasn’t that bad). So, when I found out that the Los Angeles County Museum of Art (LACMA) was doing a small exhibition just on art deco textiles, I made sure to go there even before the Kimono for a Modern Age or Treasures of Korea exhibitions I had originally headed south to see. Art Deco Textiles unexpectedly was a great precursor for Kimono because both exhibitions tapped the same inspiration sources in many ways.
The exhibition is small, and tucked away amidst the rest of the museum’s modern art collection of the same time period. Using one of the smaller galleries to showcase several lengths of fabric, placing the exhibition where they did masterfully put the textiles within the greater art and design context in a way that no amount of wall text could. With so many museums dedicating space in their museums to, and thus isolating, their textile and dress collections it does feel like we are losing some of the context. LACMA’s integrating multiple textile and dress displays within other aspects of the museum collection, as well as utilizing special exhibition and specialty display spaces is one of the many ways in which LACMA continues to raise the bar.
That is not to say the wall text was inadequate. It was phenomenal in explaining the Bauhaus school, its influence, and the evolution, début, and proliferation of the art deco style from 1926 throughout the 1930s succinctly and in the context of each of the pieces displayed. No mean feat.
The pieces and the wall texts not only placed the pieces within the artistic Zeitgeist of the time period, caught as it was between the two world wars and aimed to appeal to the “lost generation,” but also showed how art deco textiles were unique and original in their own right. The wall text in particular discussed the design process of each textile, and even gave the names to the now-lost designers.
Art Deco Textiles is both a fantastic introduction to the art deco movement and the textiles it produced, and a great exhibition for those who are familiar with the period. Small, but excellent, Art Deco Textiles is definitely worth the detour if you’re at LACMA.
Have you seen Art Deco Textiles? What did you think? Do you have an opinion on integration versus isolation? Art deco? Feel free to share your thoughts in the comments below. Feel free to share any upcoming local exhibitions or events in your area there as well, or to email me the details.
Let’s set the record straight right now: I’m a huge fan of Dries Van Noten’s work. He’s the designer that makes me proclaim how much I wish I was very rich to be able to buy all his collections, you thus imagine how impartial such a groupie may be when it comes to consider the exhibition celebrating the designer at Paris’ Arts Décoratifs. Yet no fear I intend to be entirely unbiased but let me tell you, this is probably the most beautiful display I have seen for years…
The title of the exhibition is to be taken literally. It is no traditional retrospective but a journey within the fertile grounds of Dries Van Noten’s imagination and how he assimilates diverse materials to fuel his creativity. The display is arranged in various themes, not genuinely in a chronological order even though it does begin with a few pieces from his Antwerp graduation show, in 1981 and ends on his Spring-Smmer 2014 collection. We enter the exhibition through a dark room entirely covered by diverse names and titles such as ‘Grease’, ‘Iggy Pop’, ‘Superman’, ‘Diana Ross’ or ‘Like a Virgin’ that all evoke how versatile the designers’ inspirations are. The different ensembles are arranged as inspirational boards with an eclectic juxtaposition that sometimes clearly justify the design of a garment but also raise inquisitive questions.
The first alcove mingles his early designs with that of his fellow Antwerp comrades such as Raf Simon and Ann Demeulemeester alongside 1980s glamorous pieces imagines by Gianni Versace and Yohji Yamamoto’s minimalist outfits, the whole beside posters and magazine covers of the trendy celebrities of the decade.
The following themes look at Gold, Butterflies, Graphic, Bollywood or Foppish and establish conversations between Dries Van Noten’s creations, historical garments selected within the museum’s archives and art works. Thus an Elsa Schiaparelli butterfly dress meets a Damien Hirst majestic collage, lamé Chanel and Thierry Mugler ensembles are assembled alongside a 1909 embroidered costume from the Balkans while a New Look silhouette contrasts with an Yves Klein sculpture and a Vasarely painting merges with a photography of Serge Gainsbourg. Such diverse personalities as Cecil Beaton, David Bowie and Jean Cocteau are united as the dandy-like inspirations of the Belgian designer’s androgynous and edgy masculine wear – the combination of counterculture and chic gives birth to Dries Van Noten’s recognizable silhouettes made of layering, prints, flamboyant Baroque and bohemian cool.
The second floor diffuses a more dramatic feel, with a highly visual and colorful mise-en-scène: flowered wall paper from ceiling to floor that ultimately brings us into an enchanted garden and an exotic environment. Here, it’s all about flowers – he who loves gardening -Indian luxuriance and Mexican gothic, something of an Alice in Wonderland travels the world…
Despite being a wonderful occasion of discovering such diverse art works and garments, the display is also a fabulous way of understanding the creative process of the designer. And here, it’s no caricatural nor explicit inspiration in the idea of ‘I saw flowers so I put flowers on the skirt’, it’s more about how Dries Van Noten’s garments are based on subtle references and how the flourishing inspirations he surrounds himself with can lead to a cut, a print or simply a purpose as the designer clearly states on the walls of the exhibition: ‘The starting point of a collection can either be very literal or abstract. A painting, a certain colour, a thought, a gesture, a smell, a flower, anything really. What matters to me is the journey from the first flash of inspiration to the final destination, the individual garments, the collection.’
When we observe Dries Van Noten’s garments on catwalks or within boutique displays, one thing clearly comes to mind: these clothes are wearable and lack the sense of spectacle that would have suited more the grounds of a museum exhibition. Yet that’s how the scenography is such a success as it nonetheless proposes a dramatic atmosphere with its spectacular alcoves that resonate with Renaissance ‘cabinets de curiosités’.
There is a strong form of modesty in Dries Van Noten’s choice to not only attract the attention on his work but also on the many creations of the artists and designers he admires. Although the display doesn’t focus on the sole work of the designer, it invites us within his very intimacy, his mind. When we leave the exhibition, we can’t help but think that more than an exposition about Dries Van Noten the designer, we have just discovered Dries Van Noten, the man.
More information: here
It continues to be an exciting Fall for fashion exhibitions and events.
Closing soon is the Museum at FIT’s Exposed: A History of Lingerie exhibition on November 15.
Patrick Kelly: Runway of Love is still open at The Philadelphia Museum of Art, which doesn’t close until December 7.
If you missed your chance to see the Downton Abbey season four costumes at the FIDM Museum in Los Angeles, the costumes from seasons one through three are still on display at the Winterthur Museum in Delaware until January 4, 2015.
To lead the new events and exhibitions opening or happening in the next few months, 92y (92nd Y Street)‘s regular series of Fashion Icons with Fern Mallis on October 9 will feature Fern Mallis in conversation with Teri Agins.
In Milwaukee, the Jewish Museum of Milwaukee has opened an exhibition in time for the High Holy Days, Stitching History from the Holocaust, September 14, 2014 – February 28, 2015. The exhibition, which was featured in the New York Times recently, celebrates the memory and work of a dressmaker in Prague who could not make it out of the city in time. The opening image is one of Hedy Strnad’s designs on display in the exhibition and is taken from the exhibition website.
At the Des Moines Art Center, an exhibition examining the creativity and friendship between Andy Warhol and Roy Halston Frowick, Halston and Warhol: Silver and Suede, opened on September 19, and will be up until January 18, 2015.
At The Metropolitan Museum of Art, Kimono: A Modern History opened last week and will be up until January 4, 2015. The exhibition examines the kimono from the eighteenth century to the present day. And of course, the Costume Institute will be opening its first autumn exhibition in seven years, Death Becomes Her: A Century of Mourning Attire on October 21.
As previously mentioned, the Chicago History Museum will be opening Chicago Styled: Fashioning the Royal Mile on November 15.
And at the Denver Art Museum, Brilliant: Cartier in the 20th Century, will be opening on November 16.
If you have been to any of these exhibitions, or know of other exhibits and events worth sharing, feel free to share you experiences and suggestions in the comments. You can also email me your events for a future Domestic Affairs column.
I have eagerly anticipated the Los Angeles County Museum of Art’s (LACMA) Kimono for a Modern Age exhibition for over a year. I started out as a Japanese language and culture scholar, and while my research focuses since I entered the field of dress history have drifted westward, I still have a love for and fascination with Japan and Korea. I had also become very interested in the type of kimono this exhibition explores – meisen — through a paper of my own delivered at the CSA Western Region symposium in 2012, which I reiterated in a post for Worn Through.
As mentioned on Unframed, the LACMA blog, the kimono in many ways symbolizes Japan itself. However, people have a very distinct impression of what kimono should look like — a stereotype, if you will — which this exhibition challenges and challenges well.
Instead of small, delicate patterns we are accustomed to in kimono fabric, meisen kimono popular between the end of the Meiji period (1868 – 1912), through the Taisho (1912 – 1926), and up to the post-war period of the Showa period (1926 – 1989) had large, bold patterns in bright colors. In my previous post, I discussed the methods of creating the most distinctive feature of meisen: the ikat-imitation effect of stencil-dyeing the warp and weft threads before the fabric is woven. The other distinguishing feature is that much of the meisen designs can be seen as borrowing from art and artistic movements in the West at the same time that Japan was influencing these same Art Nouveau and Art Deco movements, as well as modernizing their own traditions such as screen painting and calligraphy (examples below).
Now that we’ve gone over how meisen are unexpected, let’s examine this particular exhibition, which features of 30 kimono spanning the period from approximately 1920 to 1960.
The exhibition is located in LACMA’s pavilion of Japanese Art, and is brilliantly laid out to take full advantage of the unusual exhibition space, the permanent Japanese art collection, and the other exhibition in the pavilion, Zuan: Japanese Design Books. The pavilion’s layout requires that visitors take an elevator to the top — where they can see both the permanent collection and Zuan off to the right — and then perambulate down various ramps to the display spaces on each floor to make their way to the basement and then up the elevator again to the ground floor. The space is designed to compliment Japanese art which traditionally was created with the intent of inspiring contemplation rather than intense emotion or awe. In many ways the pavilion also mimics an Indian stupa, which became the pagoda in the far east, encouraging walking in a circular or spiral pattern as a form of moving meditation. This enables the visitor to take in each of the ten or so displays of three kimono each, in a calm, contemplative manner similar to the way in which you are encouraged to appreciate the traditional arts in Japan.
It worked very, very well. The slow pace that the building’s ramps encouraged and the pause at each landing allowed me to see subtle similarities of patterning I otherwise might not have noticed had the display been set up in the usual single-floor manner of fashion and dress exhibitions. The open-plan layout, with clear, perspex railings so you could see through to the next level below you, also leant a sense of anticipation to the exhibition as you could see glimpses of kimono to come, and compare the patterning to those you were currently appreciating.
What I appreciated most about this particular exhibition was the emphasis on re-interpretations of traditional Japanese art and kimono patterns in meisen, instead of the usual focus on cross-cultural references. For example, in the blue kimono above you could interpret the design as simply “polka dots” on a blue background, but thanks to the well-written tombstones that accompanied each kimono, it was revealed that multi-coloured dots had long been used in kimono as well as paintings to emphasize sun- or moon-dappled dew drops and had specific symbolism within Japanese art.
This is indeed how the exhibition starts, with three kimono featuring three very different uses of an enlarged, traditional arrow patterning. Each kimono is in a different color scheme, each reinterprets this symbol of samurai status in a new way, sometimes emphasizing it with palm fronds that were connected with sixteenth-century warlord, Oda Nobunaga, sometimes simply using the pattern in bold red, yellow, and gray colors. This also adds more layers to the meisen of both overt and subversive political messages.
For example, the “star-patterned” kimono at the beginning of the post also resembles the Japanese war flag of the rising sun with red rays. This kimono was made around 1940 and so while not as overt as some “propaganda” kimono of the same time period is a piece that might have been gotten away with post-war during the occupation. Another kimono from the 1950s or 1960s later on in the exhibition seems to depict a city scene at dawn, but while the sun isn’t visible the red rays associated with the war flag are seen beyond the mountains. Was this a quiet protest against American occupation, or a decree of loyalty even in the midst of defeat?
I have often wondered if there were or weren’t political elements to meisen kimono. The height of their popularity coming in midst of patriotic and nationalistic fervor in the lead of to the second World War, while taking much of their inspiration from Western art movements is full of contradictions. On the one hand, the military industrial complex (bakufu) was very keen on adopting Western ways as a way of defeating both the West and Japan’s neighbors in battle. On the other hand, were the wearers of these kimono making political statements against war through their clothing? If so, is it not possible that those who had different political leanings might not do the same with their meisen?
I consider exhibitions that not only teach you something, but encourage you to re-evaluate perceptions of a particular art form and to ask questions to be the absolute best. Through the display, layout, grouping of various kimono, and informative tombstones, LACMA did just that.
They did not altogether ignore the Western influence, either. On many pieces, such as the third kimono featured in this review, they referenced not only the traditional art of screen paintings of landscapes, but the works of Impressionists and modern painters in the LACMA collection such as Matisse or Cezanne that might equally have influenced the design.
My only critique would be that all the kimono were displayed as you see in the images, none were mounted on mannequins. This however is a critique I have often of all kimono exhibitions, not LACMA in particular. I fully understand that this is the traditional method for displaying kimono in Japan, where they are admired as individual works of art in their own right; I also deeply admire LACMA’s conservation department turning to Japanese tradition when they were looking for new methods to store their kimono collection. However, since my personal fascination is with how such pieces were worn and who they were worn by, I would have loved to see at least one kimono dressed on a mannequin. Though I understand there might be conservation issues with displaying kimono this way.
This however, did not in any way diminish the exhibition. The display, use of the pavilion — even the touch of displaying one of the design books in Zuan on the pages the showed kimono designs — were magnificent. All of which combined to challenge perceptions of not only kimono, but perceptions I had about meisen kimono.
Kimono for a Modern Age will be on display in the pavilion for Japanese art at LACMA until October 12, 2014.
As always, if you have any thoughts, contributions, or want to notify me of an exhibition or events in your area please feel free to leave them in the comments, or to email me.
This is the time of year when academic life goes up a gear as we begin our teaching and learning programmes, embrace a new cohort of students and welcome back the older ones. It is also a time of great pressure and the weight of the so many ‘to do’ lists can become unbearable! So, between running around like a maniac and wanting to stick my head in the ground, I am taking this opportunity to mention some autumn activities worth noting.
There would seem to be a buzz for f20th century fashion photography exhibitions this winter as we see two retrospectives open at the V&A and Somerset House. The former features Horst. The Photographer of Style and is on until 4 January. Featuring many unseen prints and restored colour photographs, the exhibition explores the prolific work of Horst P. Horst, the photographer whose work redefined fashion photography during the 1930s and 1940s. Covering a later period but no less esteemed fashion photographer, Somerset House hosts Guy Bourdin: Image Maker from 27 November until 15 March 2015. Showing over 100 works, spanning his 40 year long career, the exhibition is curated by Alistair O’Neill with Shelly Verthime and will also include the entire ‘Walking Legs’ series, his iconic campaign commissioned by Charles Jourdan in 1979 (and from which the above image is taken from).
An intriguing exhibition at Sotherbys S/2 Gallery entitled Stitched Up caught my eye and is open until the end of September. This small display of pieces by contemporary artists working in the medium of textiles claims to show the historical relationship between contemporary art and textiles since the 1980s as well as shine a torch on the breadth of practices seen today. I think this is worth a visit in order to see how textiles as an artistic medium has developed in the last 30 years, something that has yet to be done on a larger scale in the bigger design museums.
Staying with the art and fashion theme, I noticed there is an exhibition at the Saatchi Gallery featuring a ‘psychological’ portrait of Coco Chanel by Sam Taylor-Wood, the director of the much hyped film Fifty Shades of Grey and Turner Prize nominee. Taylor-Wood presents 34 photographs that capture the interior of Chanel’s private apartment in Paris, which has been preserved since her death over 40 years ago. The exhibition, called Second Floor, has been curated to coincide with London Fashion Week.
I’m excited to see an exhibition on dress and identity starting soon at the Design Museum. Women Fashion Power opens on the 29 October until 26 April 2015 and offers us insights into how influential women have used dress to define and embellish their status. Featuring 25 women and spanning over 150 years of fashion history, the exhibition features outfits and personal style stories from figures involved in fashion and music to politics and economics.
This also reminds me of a new book by Sheila Heti, Heidi Julavits and Leanne Shapton which focuses on how women choose to dress as an integral aspect of their daily lived lives. Women in Clothes seems to promote itself as a philosophical ponderance on what it means to get dressed, presented as a stream of dialogues rather than a set of rules. I have yet to read it but understand that this is a take on fashion and dress that draws upon the conversations started in publications such as Worn Magazine, where clothes are rarely about fashion and almost always about stories relating to who we were, are and could be. If you have read the book, it would be great to hear from you. I am very interested to know what you think about this emerging interest in clothes as identity narratives; in the ‘getting dressed’ process might offer fashion and dress scholars new material to consider and reflect upon.
Lastly, I am excited to say that later this week I will visit the V&A’s Clothworkers Centre for the Study and Conservation of Textiles and Fashion for the first time – it’s taken me a year to get an appointment! I hope to share my experience at a later date but for now, it’s back to crazy running around!
Photo credit: Guy Bourdin, Charles Jourdan advertisement (1979) Accessed at http://uk.phaidon.com/agenda/photography/picture-galleries/2010/august/16/fashion-photography-guy-bourdin/?idx=12&idx=12