CFP: Critical Costume 2015

Helsinki, Finland, March 25-27, 2015
Aalto University, School of Arts, Design and Architecture

What does it mean to study costume in the 21st century?

Early theoretical discourse on costume (Hollander 1975/1993; Wilson 1985/2013; Gaines 1990) underlines the active interrelation between costume, body and character by arguing that “costume assimilates bodily signifiers into character, but body as a whole engulfs the dress” (Gaines 1990: 193).

In the 21st century, costume practices are now encountered through a multitude of different media: from film and theatre to virtual environments and mediated platforms. Mediation has become a prevalent principle of contemporary life and culture. Yet, the role of the costumed body and of how bodily practices are ‘read’ within and explored through these contexts remains a central question of 21st century artistic scholarship and practice.

Costume is still a relatively new and emerging research area. However, the study of costume has significantly grown in profile in recent years as a subject worthy of focused academic study, as evident within the growing number of international scholarly publications on costume and the costumed body in the last decade. Most recently, special issues of academic journals, such as Canadian Theatre Review (2012) and Scene (2014, forthcoming), have addressed the agency of costume in live performance as well as in film and other media. In that regard, Critical Costume 2015 is the second event conceived under the banner of Critical Costume, following a research project initiated by Dr. Rachel Hann and Sidsel Bech at Edge Hill University (UK) in 2013 (see www.criticalcostume.com). The overall aim of the Critical Costume events is to offer a platform for new academic thinking and design practices around the study of costume: with costume conceived as a means of critically interrogating the body in/as performance.

Therefore, Critical Costume 2015 invites contributions from scholars and practitioners that seek to ad-dress the implications of research processes, new technologies and media for the study and practice of costuming today and in history.

While we welcome all proposals on the subject of costume, Critical Costume 2015 is particularly interested in contributions from practitioners and scholars that investigate the following:

a) Methodologies for researching costume in live performance, film and media: this includes practice-based approaches, new technologies as a tool for costume research, as well as historical, sociological, ethnographic, anthropological or other cultural perspectives in studying costume practices.

b) Media and mediated costume, and new design practices: costume in media and media in costume; these include digital costume, wearable technology, interactivity, latest technology and special effects, and the dramaturgical implications of interpreting screen-mediated or projected costume.

c) Costume practices and performances that examine the performative qualities of material (whether physical or virtual), body, flesh, and design.

The event includes
- an exhibition of artistic work and artistic research,
- a conference comprised of academic presentations on current research in the field of costume and performance,
- Flash Talks – short presentations by artists, and
- film and media screenings.

In that regard, we invite all interested parties to submit their proposals stating which presentation format you wish to be considered for:

• 20min paper presentation (title and 300-word abstract)
• Flash Talk presentations (title and 200-word summary)
• Exhibition or Installation work – physical or mediated object (title and 200-word description)

Note: We welcome applications to present in more than one format.
The event language is English.

Deadline for the submission of proposals: 20 October 2014
Please submit your proposals online: HERE

Critical Costume 2015 is curated by Professor Sofia Pantouvaki and hosted by the Costume in Focus research group, based at Aalto University School of Arts, Design and Architecture.

Important dates:
Deadline for the submission of proposals: 20 October 2014
Notification of acceptance: 25 November 2014
Event dates: 25-27 March 2015

For more information, please contact: Prof. Sofia Pantouvaki, email: sofia.pantouvaki@aalto.fi
Twitter: @CriticalCostume

Comments

On Teaching Fashion: Interactive Engagement Lab

 

I generally teach fashion design studio courses where my student number around 18-20. This is Ideal. I like to get to know my students, their process, their names and aspirations. In the fall each year I teach a foundation lecture course that focuses on Sustainability in the Fashion Industry. My classes are large and switching from the intimacy a studio course provides to a lecture format has always been extremely difficult and painful for me. With a large class it is hard to get to know each student.

If my goal is to assist each student personally in, essentially getting a job, this is a dubious task. I have felt so deflated in the past after teaching my large lecture courses; I have discussed this in previous posts. My fall lecture course is a three-hour lecture of 40 students. Three hours? Yes! I have to say, though, three weeks into teaching that it is going swimmingly. I have structured the course in a way that saves me from going completely crazed.

The second hour of my lecture is, what I call, an active engagement lab. The structure is experimental. I am providing hour-long demonstrations that are active in that students move around. The lectures are tactile and always involve a component of touch. Finally, I have had the students create a tumblr site to capture our weekly activities. Personally, I am delighted by the outcomes.

dschool

My students are engaged and excited. The energy generated by the labs are contagious and influence the energy levels of student interaction before and after. The lab is a free hour of experimentation and I would like to share our activities here, maybe you will be inspired to embed a lab activity similar to mine in your own courses? Personally, the idea of the three-hour lecture is painful to me. As a learner I do not do well in a situation where I am sitting and listening to a professor. Our lab is a free space of experimentation, where I can try experimental activities. On either side of the lab I give a more traditional lecture with quizzes and activities so my student goal outcomes can be assessed.

The Lab

 

grants

Each week I offer an activity concurrent with our readings that tease out the material in a more hands on way. I teach a lecture on four pillars of sustainability so the content relates to the environmental, social and labor, consumption and body image aspects. During our first week, I challenged students to define sustainability.

They were then paired in groups to define the term in relation to the key areas listed above. During the second week, I handed out images of women roughly my students’ age. Below the image of the woman her name was printed. The students were given the task of uncovering her story, and then they were asked to reflect and imagine sitting and talking to the woman, on a plane, in an effort to inspire empathy.

Hashra Khatun

Hashra Katun

The exercise was called “an exercise in empathy”. In our third week we, after researching as a group “workplace ethics” developed a “fashion worker manifesto” geared at college fashion workers: fashion interns, design assistants, buying assistants and sales associates. I offered up a series of manifesto statements:

  1. I believe…..
  2. I want to live in a world where…
  3. If there is one thing I know
  4. The fourth was a wild card, some piece of lived advise……

You can find the student blog here. It is very much in progress and I cannot promise correct edits or spelling at this point in the semester. If you can take in the idea of a free form lab experience and how that might push your student to do or think differently, that is what I hope my post this week inspires.

The tumblr can be found here: http://210lab.tumblr.com/manifsto

Please look back during the semester as we will be adding to it. The site will be proofread and optimized in December.

Do you use free form activities or capture actions via blogs in your class. How do you do it? What are your outcomes? I would love to hear from you! Happy Teaching!

(all images sourced online)

Comments

Domestic Affairs: Kimono for a Modern Age at LACMA

Group 1 M2012_130_1

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.

M2012_130_5  Group 1 M2013_40

 

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.

Group 1 M2012_130_9  Group 1 M2013_49_1

 

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?

Group 1 M2013_58_4  M2013_58_2

 

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.

Comments

CFP: Kentucky Foreign Language Conference

Kentucky Foreign Language Conference

Modern Bodies: Corporeality in Spanish Silver Age Literature and Culture

 April 23-25, 2015

The advent of modernity and the processes of modernization in early twentieth-century Spain, during the so-called Silver Age (1900-1936), radically changed the existing representations of the human body.  The advancement of science and technology, the rise and consolidation of disciplines like sexology, eugenics, and psychology, growing urbanization, the emergence of feminist debates, the appearance of new literary genres and movements, the development of mass culture, or the arrival of foreign fashion and ideas are some of the factors that contributed to the rethinking and reshaping of the body.

This panel seeks papers that analyze corporeality from different perspectives and disciplines. We welcome contributions on the following topics:

  • Naked bodies: nudism, naturism, erotic artifacts
  • Athletic bodies: sports and leisure
  • Sexed bodies: sexology, medicine, sex reform
  • Visual bodies: photography, film, art
  • Queer bodies
  • Technology and the body
  • The body and avant-garde literature and art
  • Racialized bodies

Please send a 250-word abstract in English or Spanish to Jeffrey Zamostny (jzamostn@westga.edu) and Itziar Rodríguez de Rivera (ir224@cornell.edu) before October 15, 2014.

Comments

Seeking New Interns

Worn Through is still looking for 1 – 2 new interns to start as early as September or October and preferably work with us for the entire 2014-15 school year.

We are particularly looking for people who are comfortable with Twitter, academic journal articles, and those who want to help with finding and posting CFPs, interesting videos, doing research with contributors, and other tidbits our readers would enjoy.

We need someone who checks email daily and can be fairly quick in response time, although this is the type of position where you can do many of your tasks in chunks (such as pre-posting weeks’ worth of CFPs). Therefore we can work with your workplace or school schedule as long as you are a good email communicator. The ideal candidates are involved in the research/academic/history & culture side of apparel studies and want to continue in those fields. Although someone in marketing/trend research or similar may be great too.

Worn Through is a volunteer network of individuals who work as thriving museums, schools and doing independent research projects of all sorts, so this is a strong networking and professional experience opportunity for a student or new graduate. Many of our interns move onto nice jobs and/or become contributors here at Worn Through. Internships are unpaid, however we have worked it out with schools in the past to do any paperwork needed to get credit if that is an option for you. Also note we have 30-40,000 hits per month and almost 1000 Facebook fans so your efforts will be visible to the public and your hard work recognized. Also upon a strong job we are happy to write letters of recommendation.

Please email Dr. Monica Sklar with your CV and brief cover letter by September 30. Goal start date is October 15, October 31 at the latest.

Comments

A Postcard from Abroad: Autumnal Activities in London

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 MuseumWomen 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 livesWomen 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

Comments

CFP: Popular Culture Assn./American Culture Assn. Annual Conference

Popular Culture Association & American Culture Association (PCA/ACA)

Fashion, Style, Appearance, Consumption & Design

April 1 – 4, 2015 National Conference – New Orleans, LA 

Fashion, Style, Appearance, Consumption & Design is concerned with all areas and aspects of style, fashion, clothing, design, and related trends, as well as appearances and consumption using and/or including

  • historical sources
  • manufacturing,
  • aesthetics
  • marketing
  • branding
  • merchandising
  • retailing
  • psychological/ sociological aspects of dress
  • body image
  • cultural identities
  • any areas relating to purchasing, shopping, and the methods consumers construct identity.

 The deadline for online abstract proposal of papers will be November 1, 2014.

Submissions can only be submitted via the site http://ncp.pcaaca.org/. Select a Subject Area, enter your proposal’s title and input a clearly defined abstract of your scholarship of no more than 250 words and a short 50-word bio (please review in the database your name, university, abstract title and abstract for spelling & grammar). Submit only one proposal to one area.

Papers from all methods and disciplines are welcome! Innovative and new research, scholarship and creative works in the areas of fashion, design, the body and consumerism are encouraged!

Comments

On Teaching Fashion: Auditing Courses

The fall semester has begun and I have a request from a student to audit one of my apparel design courses. This means that I don’t have to track attendance or grade any projects from this student. But since they are in my classroom, I still feel obligated to help them and answer questions since most of our design classes involve project based work.

Woman in the Field photographed by Stella Haus Films

Woman in the Field photographed by Stella Haus

My past experience with students wanting to audit my courses have been mixed. I once had a student who wanted to learn fashion draping, was not an apparel design degree-seeking student, so this student asked to audit the course. This student was punctual, never missed a class, took notes, and even helped the other students if they had a question. She was an asset to my classroom and I enjoyed having her. However, this is not my usual experience with the auditing process. I often have a student that wants to audit my beginning sewing course. Those students will begin the course and then disappear after a couple weeks and I will never see them again. Sometimes they will return towards the end of the semester and ask for help to catch-up with the other students. I can’t seem to predict if an audit will be a positive or negative experience. The pressure a student will feel based on a financial investment or achieving grades that will have an effect on your future drives them to attend classes and turn projects in on time. Students that are auditing don’t have the same pressure.

Non-students have also asked to sit in on my courses. I usually direct them to officially enroll in our university and then audit the class. In my project-based classroom, I don’t want to reduce my time spent with our paying, degree-seeking students to help someone who is not paying. However, I did read about the increase of senior citizens attending college courses and would open my classroom to them. There are programs in some universities, including mine, that encourage senior citizens, aged 65 and up, to audit courses. In some universities, they are still required to be officially enrolled but are exempted from paying tuition up to a certain number of credit hours. In other universities, they can just contact the school and choose which course they want to attend and sit in on a class. A recent article about seniors auditing courses included the following figures: “About 300 seniors take at least one course each semester and that number has grown by about 25 students each term in recent years.” The NY Times also had a great article about seniors auditing courses and how they are given opportunities to socialize, engage their mind and to share their personal experience. In the article, a senior named Judith Sherman, who took a religion class at a notable university and was able to contribute in a big way. The article states: “This non-Jewish professor was really struggling to connect these privileged students to the Holocaust — and I was sitting there silently,” she recalled. She soon revealed her wartime nightmare to her professor, who invited her to lecture the class. She said her star turn at the lectern “was kind of a freeing experience.” She adds :“I felt as if I was no longer the only guardian of all these memories.” A senior person can have a big impact in the classroom by sharing their years of experience. Inviting seniors to audit courses in the apparel design field would be a joy for me. Not only will they have historical garment and fabric knowledge, they may have sewing experience as well.

Comments

Seeking 2 New Interns — Deadline Extended

Worn Through is still looking for 1 – 2 new interns to start as early as September or October and preferably work with us for the entire 2014-15 school year.

We are particularly looking for people who are comfortable with Twitter, academic journal articles, and those who want to help with finding and posting CFPs, interesting videos, doing research with contributors, and other tidbits our readers would enjoy.

We need someone who checks email daily and can be fairly quick in response time, although this is the type of position where you can do many of your tasks in chunks (such as pre-posting weeks’ worth of CFPs). Therefore we can work with your workplace or school schedule as long as you are a good email communicator. The ideal candidates are involved in the research/academic/history & culture side of apparel studies and want to continue in those fields. Although someone in marketing/trend research or similar may be great too.

Worn Through is a volunteer network of individuals who work as thriving museums, schools and doing independent research projects of all sorts, so this is a strong networking and professional experience opportunity for a student or new graduate. Many of our interns move onto nice jobs and/or become contributors here at Worn Through. Internships are unpaid, however we have worked it out with schools in the past to do any paperwork needed to get credit if that is an option for you. Also note we have 30-40,000 hits per month and almost 1000 Facebook fans so your efforts will be visible to the public and your hard work recognized. Also upon a strong job we are happy to write letters of recommendation.

Please email Dr. Monica Sklar with your CV and brief cover letter by September 30. Goal start date is October 15, October 31 at the latest.

Comments

Domestic Affairs: Fall Fashion Exhibition Line-up

Django Unchained, 2012, Courtesy of Visiona Romantica, Inc., The Weinstein Company, Columbia Pictures & The Motion Picture Academy

Django Unchained, 2012, Courtesy of Visiona Romantica, Inc., The Weinstein Company, Columbia Pictures & The Motion Picture Academy

Rather unusually for fashion exhibitions, it’s going to be a busy autumn.

For the first time in seven years, The Metropolitan Museum‘s Costume Institute is opening a fall exhibition on October 21, 2014 (Press Preview, October 20). Death Becomes Her: A Century of Mourning Attire will be open through February 1, 2015 and “will explore the aesthetic development and cultural implications of mourning fashions of the 19th and early 20th centuries.”

Also in New York, Killer Heels: The Art of the High-Heeled Shoe opens today, September 10, at The Brooklyn Museum. “From the high platform chopines of sixteenth-century Italy to the glamorous stilettos on today’s runways and red carpets, the exhibition looks at the high-heeled shoe’s rich and varied history and its enduring place in our popular imagination.” The exhibition will be open until February 15, 2015.

Opening November 15, 2014, Chicago Styled: Fashioning the Magnificent Mile will be on view until August 16,2015 at the Chicago History Museum.

Here in California, the FIDM Museum‘s 8th Annual Outstanding Art of Television Costume Design exhibition is entering its final weeks, closing on September 20. Their other exhibitions, International Inspiration: The Donald and Joan Damask Collection at the Orange County campus, and the Designing Hollywood: Sketches from the Christian Esquevin Collection at the main campus downtown will be up until November 1.

At the Los Angeles County Museum of Art (LACMA), in addition to their Kimono for  Modern Age exhibition which is up until October 19, 2014, Art Deco Textiles is also up and will be on display until February 22, 2015.

The Academy of Motion Picture Arts and Sciences is presenting the exhibition, Hollywood Costume, at the Wilshire May Company building in Los Angeles – the future site of the Academy Museum of Motion Pictures. The building is right next door to LACMA. The exhibition will be the final showing of the Victoria & Albert’s Hollywood Costume, but expanded to include costumes from The Hunger Games and Django Unchained. The exhibition will be on view from October 4, 2014 until March 2, 2015.

It is also symposium season! Three regions of the Costume Society of America will be holding their annual symposia in the next few weeks. Starting with the Midwestern Region on September 26 & 27, followed by the Northeastern Region on September 28. The Western Region‘s symposium — where I will be giving a paper, myself — will be happening October 10 through 12. Be sure to follow the links to see the schedules and paper topics for each one.

As always, if there is an exhibition or event happening in your area or your institution that you think Worn Through readers should know about be sure to let me know either in the comments or by emailing me!

Comments