Killer Heels: The Art of the High-Heeled Shoe
10|09|2014 > 15|02|2015
Killer Heels explores fashion's most provocative accessory. 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.
As fashion statement, fetish object, instrument of power, and outlet of artistic expression for both the designer and the wearer, throughout the ages the high-heeled shoe has gone through many shifts in style and symbolism. Deadly sharp stilettos, architecturally inspired wedges and platforms, and a number of artfully crafted shoes that defy categorization are featured among the more than 160 historical and contemporary heels on loan from designers, from the renowned Brooklyn Museum costume collection housed at the Metropolitan Museum of Art, and from the Bata Shoe Museum.
Designers and design houses represented in Killer Heels include Manolo Blahnik, Chanel, Salvatore Ferragamo, Zaha Hadid by United Nude, Iris van Herpen by United Nude, Christian Louboutin, Alexander McQueen, André Perugia, Prada, Elsa Schiaparelli, Winde Rienstra, Noritaka Tatehana, Vivienne Westwood, and Pietro Yantorny.
Presented alongside the objects in the exhibition are six specially commissioned short films inspired by high heels. The filmmakers are Ghada Amer and Reza Farkhondeh, Zach Gold, Steven Klein, Nick Knight, Marilyn Minter, and Rashaad Newsome.
200 Eastern Parkway
Brooklyn, New York 11238-6052
Fashion Victims - The Pleasures and Perils of Dress in the 19th Century
18|06|2014 > 30|06|2016
In the 19th century, the beautiful outfits fashioned by seamstresses and shoemakers supplied the privileged with enviable ensembles. Swathed from head to toe in expensive garments and shod in delicate footwear, fashion‐forward women graced the boulevards and the ballrooms with their colourful presence—a pleasure to
behold for painters, poets, and passersby who saw them. Their tailored male companions cut equally refined figures in their black coats, spotless white linens, lustrous top hats and shiny boots. Yet, presenting an elegant exterior was not without its perils for both the makers and wearers of fashion.
This exhibition explores a wide variety of pleasures and perils associated with fashion from head to toe. In addition to highlighting exquisite examples of footwear and
clothing from the 19th century, the exhibition also explores many of the often untold stories related to fashion and its production. Included in the exhibition are the dangers of dresses and shoes dyed arsenic green, the plight of mad hatters and mercury poisoning as well as the effects of constricting corsets and impossibly
narrow footwear. The exhibition also looks at shifts in the making of fashion from independent craft to fragmented labour completed in garrets or on factory floors. The move from traditional shoemaking to factory‐made footwear is also emphasized as is the role of those workers who were integral to the presentation of the fashionable figure from the seamstress to the shoeshine boy.
"Embedded in each artifact in this exhibition are multiple stories about 19th century fashion. From the challenges faced by those who produced fashionable dress to the risks taken by those who wore it, this exhibition will provide thought provoking insights into what it means to be a fashion victim," says Elizabeth Semmelhack, Senior Curator, Bata Shoe Museum. "This unique look at 19th century dress includes important pieces from the Museum's collection and is a must‐see for anyone curious about the history and evolution of this ever‐changing industry."
Bata Shoe Museum
327 Bloor St. West
University of Toronto - St. George Campus
Toronto - ON 5S 1W7
Fashion Follows Form - Designs for Sitting
21|06|2014 > 25|01|2015
Fashion Follows Form: Designs for Sitting invites you to think critically about the relationship between function and fashion in our daily lives. The history of western fashion is a sequence of changing shapes that often favours form over function and comfort. IZAdaptive (2009-present), by Canadian designer Izzy Camilleri, is a revolutionary line of fashionable and functional clothing for the growing demographic of men and women who use wheelchairs. The exhibit contextualizes these innovative garments within Camilleri's oeuvre and historical 18th-19th century fashions also designed for a seated, L-shaped frame.
Royal Ontario Museum
100 Queen's Park
Toronto, Ontario M5S 2C6
Hollywood Glamour - Fashion and Jewelry from the Silver Screen
14|09|2014 > 08|03|2015
Ready for a close-up? See sparklers and gowns from Hollywood's Golden Age
"Hollywood Glamour: Fashion and Jewelry from the Silver Screen" presents designer gowns and exquisite jewelry from the 1930s and '40s—the most glamorous years of Hollywood film. The exhibition focuses on the iconic style of sultry starlets of the period, including Gloria Swanson, Anna May Wong, Greta Garbo, Marlene Dietrich, Mae West, and Joan Crawford. Hollywood style in this era was a blend of on- and off-screen fashion and accessories, including dramatic costumes created for the screen by famous designers such as Adrian, Travis Banton, and Chanel and dazzling jewelry from makers of the era like Trabert & Hoeffer-Mauboussin and Paul Flato. Along with eye-catching gowns once worn by famous figures and the sparkling jewels that contributed to their allure from the MFA and private collections, photography by Edward Steichen along with period photographs, film stills, and film clips capture the style of the silver screen era. Enjoy a glimpse of Hollywood in the Golden Age of glamour.
Museum of Fine Arts
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts 02115-5523
Dance and Fashion
13|09|2014 > 03|01|2015
Dance and Fashion explores the relationship between two great embodied art forms: dance and fashion. Dance has utilized a wide variety of costumes, including contemporary fashions, to identify different characters, but there are also certain iconic styles, which represent a dance more abstractly. Tutus and pointe shoes, for example, are integral to the image and movements of the ballerina, just as leotards and tights are associated with the modern dancer.
Traditionally, dance costumes were created by dancers (such as Martha Graham), artists (such as Léon Bakst), and costume designers (such as Karinska). But in recent years, fashion designers have increasingly been invited to create dance costumes. For example, Yves Saint Laurent and Valentino designed for the ballet and Rei Kawakubo of Comme des Garçons provided costumes for Merce Cunningham. Fashion designers have also been inspired by the dance. Christian Dior loved the tutus of Romantic ballerinas, while the shoe designer Christian Louboutin has transformed pointe shoes into fetishistic high heels. The focus of this exhibition, organized by Valerie Steele, is on ballet and modern dance, but other dance forms, such as tango, flamenco, and stepping are featured.
Faking It: Originals, Copies, and Counterfeits
02|12|2014 > 25|04|2015
Authenticity and copyright protection against knock offs are two of the most debated topics in fashion today. Faking It: Originals, Copies, and Counterfeits investigates the history of both authorized and unauthorized copying, as well as the various factors that have led to grey areas in authenticity.
The exhibition opens with two identical suits from 1966—an original by Gabrielle "Coco" Chanel and a licensed copy—alongside a video featuring side-by-side comparisons of the suits. Faking It then continues chronologically, beginning with a 1903 purple velvet evening dress by Charles Frederick Worth accompanied by a detail photo of his signed label, which authenticated his creations. However, the demand for his brand created a market for copyists.
Couturiers such as Madeleine Vionnet implemented various initiatives to stop knock offs of her designs, such as marking her label with her thumbprint in order to authenticate each creation. Unfortunately, this did not entirely discourage copying, as can be seen in an unauthorized reproduction of her "Little Horses" dress from 1924. Likewise, in an effort to battle unauthorized copying during the 1930s, the Fashion Originators' Guild of America registered fashion designers' work. An example of a black fringe evening dress with the registered label and sketch is included in Faking It.
From its inception, the Chambre Syndicale de la Haute Couture struggled with maintaining the exclusivity of haute couture, while promoting it through press coverage and licensed copies. When the couture industry began to re-stabilize after World War II, the struggle intensified. The high demand for Christian Dior's famed 1947 collection led to many unauthorized copies of his silhouette. Faking It uses a Nettie Rosenstein dress from that same year to illustrate such copying.
During the 1950s, couturiers relied heavily on department stores that would purchase couture garments for the purpose of producing licensed copies. The exhibition features more than ten examples of various authorized couture copies from department stores around the world.
Chanel once said, "Fashion should slip out of your hands. The very idea of protecting the seasonal arts is childish. One should not bother to protect that which dies the minute it is born." Chanel's tweed suits were so recognizable, she saw copies of her designs as a form of publicity. A selection of six Chanel originals and copies from the 1960s to the 1980s will be featured. The 1990s ushered in the era of logo mania and the mass production of counterfeit goods. A special display case in Faking It places authentic designer bags next to their corresponding counterfeits. Examples will include bags from Louis Vuitton, Gucci, Chanel, and the CFDA x eBay anti-counterfeit campaign, "You Can't Fake Fashion," along with shoes by Christian Louboutin. A video will showcase detailed photos that illustrate how to spot a counterfeit.
At his fall 2007 runway show, Yohji Yamamoto debuted a newly created "YY" logo that was featured prominently on a number of garments and pieces of luggage. The logo was remarkably identical to the familiar Louis Vuitton monogram, and some audience members thought it was referencing Vuitton's origins as a designer of luxury luggage. Was Yamamoto mocking the French brand? Was he making a comment about consumerism? Or was he applauding the power of a venerable luxury brand? No lawsuits resulted from Yohji Yamamoto's new logo, but it did flirt with crossing the line of trademark infringement. More recently, Los Angeles designer Brian Lichtenberg created a witty interpretation of the Hermes logo with his "Homies" collection (an entire "Homies" ensemble is featured in Faking It). Fashion lawyers are still debating whether this is a case of trademark infringement or protected speech as legitimate parody.
The exhibition concludes with a video featuring exclusive interviews with select fashion, law, and government insiders providing their views on the current state of protection for fashion designers against copyists and fast fashion knock offs.
Yves Saint Laurent + Halston: Fashioning the 70s
06|02|2015 > 18|04|2015
Yves Saint Laurent and Halston were the most famous and influential fashion designers of the 1970s. Drawing inspiration from menswear, foreign cultures, and historical periods, Saint Laurent and Halston crafted a new, chic, and modern way of dressing that became synonymous with the sexy and glamorous lifestyle of the decade. While they and their designs are recognizable to fashion enthusiasts and monographic books and exhibitions on each designer abound, Yves Saint Laurent + Halston: Fashioning the 70s will be the first exhibition to juxtapose and analyze their contributions to fashion at the height of their careers, as well as how they came to exemplify this singular, dynamic era in fashion history.
All of the nearly 100 objects on view within the exhibition will be drawn exclusively from the Museum at FIT's permanent collection. With such narrow parameters—two designers and one museum collection—the exhibition is decidedly not a survey of 1970s fashion, nor is it a retrospective of each designer's work. Instead, it is a curatorial exploration, a re-evaluation of Saint Laurent and Halston set within the larger cultural landscape of the dreamy, indolent, sexy 1970s.
Special Exhibitions Gallery
Lauren Bacall - The Look
03|03|2015 > 04|04|2015
Lauren Bacall: The Look is a celebration of the film and theater star's unique style in which Bacall's own garments take the spotlight. The exhibition will also explore Bacall's personal relationships with several of the fashion designers who dressed her.
Lauren Bacall's effortless style combined elegance and simplicity. Students in the Fashion and Textile Studies: History, Theory, Museum Practice MA program in FIT's School of Graduate Studies have collaborated with The Museum at FIT to present approximately 12 items from a collection of 700 that Bacall donated to the museum in 22 gifts, between 1968 and 1986. The Look will include work by designers Marc Bohan, Pierre Cardin, Norman Norell, Yves Saint Laurent, and Emanuel Ungaro, focusing on pieces from the 1960s and 1970s. A selection of pieces in the Bacall collection can be viewed in the Museum's online collections.
Fashion Institute of Technology
Seventh Avenue at 27 Street
New York City 10001-5992
Death Becomes Her - A Century of Mourning Attire
21|10|2014 > 01|02|2015
This Costume Institute exhibition will explore the aesthetic development and cultural implications of mourning fashions of the nineteenth and early twentieth centuries. Approximately thirty ensembles, many of which are being exhibited for the first time, will reveal the impact of high-fashion standards on the sartorial dictates of bereavement rituals as they evolved over a century.
The thematic exhibition will be organized chronologically and feature mourning dress from 1815 to 1915, primarily from The Costume Institute's collection, including mourning gowns worn by Queen Victoria and Queen Alexandra. The calendar of bereavement's evolution and cultural implications will be illuminated through women's clothing and accessories, showing the progression of appropriate fabrics from mourning crape to corded silks, and the later introduction of color with shades of gray and mauve.
Chinese Whispers: Tales of the East in Art, Film, and Fashion
07|05|2015 > 16|08|2015
This exhibition, presented in the Museum's Chinese Galleries and Anna Wintour Costume Center, will explore how China has fueled the creative imagination for centuries, resulting in layers of cultural translations, retranslations, and mistranslations. High fashion will be juxtaposed with Chinese costumes, paintings, porcelains, and other art, as well as Chinese films, to reveal ongoing dialogues between East and West, past and present.
From the earliest period of European contact with China in the sixteenth century, the West has been enchanted with enigmatic objects and imagery from the East, providing inspiration for fashion designers from Paul Poiret to Yves Saint Laurent. In an intricate process of translation and mistranslation similar to the game of "Telephone"—which the British call "Chinese Whispers"—designers conjoin disparate stylistic references into a pastiche of Chinese aesthetic and cultural traditions.
The exhibition will feature more than one hundred examples of haute couture and avant-garde ready-to-wear alongside Chinese art. Filmic representations of China will be incorporated throughout to reveal how our visions of China are framed by narratives that draw upon popular culture, and also to recognize the importance of cinema as a medium through which to understand the richness of Chinese history.
Metropolitan Museum of Art
Costume Institute - Anna Wintour Galleries
1000 Fifth Avenue
New York, NY 10028-0198
Unraveling Identity: Our Textiles, Our Stories
21|03|2015 > 24|08|2015
The largest exhibition in Textile Museum history, Unraveling Identity will unite textiles from across cultures to explore expressions of individual, cultural, political, and social identity throughout the ages.
Throughout time and around the world, clothing, adornments, and other fabrics have articulated self and status—from ethnicity and occupation to religious belief.
Featuring more than one hundred pieces that span 3,000 years and five continents, this exhibition will showcase The Textile Museum's world-renowned historic collections and key loans of contemporary art textiles and fashion.
China: Through the Lens of John Thomson (1868–1872)
In the second half of the nineteenth century, Scottish photographer and travel writer John Thomson took four journeys across China. His photographs capture scenes and people from all walks of life—ministers, high officials, wealthy traders, street vendors, brides, boat women, monks, and soldiers—providing a lasting record of nineteenth-century China's landscapes, architecture, communities, and customs. This exhibition, organized by the George Washington University and The Textile Museum, presents a stunning selection of Thomson's photographs displayed alongside contemporaneous pieces from The Textile Museum's collection of Qing-Dynasty textiles and accessories. The colorful textiles will help bring Thomson's powerful black-and-white images to life.
The Textile Museum was established in 1925 by collector and connoisseur George Hewitt Myers to expand public knowledge and appreciation—locally, nationally, and internationally—of the artistic merits and cultural importance of the world's textiles through scholarship, exhibitions, and educational programs.
Today, its collections of more than 19,000 textiles and related objects represent five millennia and six continents, including cultures from the Middle East, Asia, Africa, and the indigenous peoples of the Americas. The 20,000-volume Arthur D. Jenkins Library of Textile Arts is one of the world's foremost resources for the study of textiles. Scroll through the galleries below to learn more about The Textile Museum collections.
The George Washington University Museum
The Textile Museum
701 21st Street, NW
Washington, DC 20052
Entangled: Fiber to Felt to Fashion
08|05|2014 > 15|02|2015
"Entangled: Fiber to Felt to Fashion," an invitational exhibit highlighting felted materials, will run from May 8, 2014, to Feb. 15, 2015, at the Kent State University Museum's Higbee Gallery. "Entangled" is co-curated by Dr. Sherry Schofield, current associate director of Kent State's Fashion School, and Missouri-based artist Sharon Kilfoyle.
The show features over two dozen felted and nuno felted pieces by 14 artists from across the U.S. and Canada. The artists represented include both Kilfoyle and Schofield, along with several Kent State artists: associate professor Dr. Kim Hahn of the Fashion School, and, from the School of Art, faculty member Dena Gershon, undergraduate student Kerie Johannes and alumnus Thomas Horst.
Nuno felting differs from traditional felting in that the wool (or other fiber) is felted onto a substrate of different material, such as silk or nylon, resulting in lighter, more fluid texture.
The Great War - Women and Fashion in a World at War
24|07|2014 > 05|07|2015
From 1914 until 1918, the world faced war on a scale never before seen. In addition to the loss of millions of lives, this period saw tremendous technological, social and political upheaval. These profound changes led to a transformation in the way women dressed. Increasingly called to work and contribute in numerous ways to the war effort, women made great strides towards equality.
Gone were the cumbersome petticoats and rigid whalebone corsets and in their place were slim, clean lines and serviceable suits. This exhibition explores the changes in women's lives during the first quarter of the twentieth century, through a careful look at how they dressed.
The "Fashion Timeline" showcases the Kent State University Museum's world-class collection of historic fashions. Encompassing two centuries of fashion history, this exhibition is designed to show the evolution of styles and silhouettes while contextualizing the pieces with relevant political, technological and cultural developments.
The first gallery spans the late-eighteenth and early-nineteenth centuries. This was a period of revolutionary change that can clearly be seen reflected in the fashions. The American and French Revolutions radically changed the political landscapes while the industrial revolution transformed how goods, particularly clothing and textiles, were made. The luxury and rococo excesses of the eighteenth century gave way to the romanticism and neoclassicism of the early nineteenth century. The next room includes the second half of the nineteenth century to the dawn of World War I. Synthetic dyes opened up a world of color and the sewing machine facilitated the application of yards of ruffles, pleats, and fringe. The upholstered, heavy styles of the Victorian era eventually gave way to Edwardian froth and lace. The final room finishes the timeline with fashions of the early twentieth century. While it may have been a period of world wars and depression, fashions also reflected the heydays of jazz and swing, the boldness of Art Deco, and the endless possibilities of technology from plastics to rockets.
Pleating is one of the most basic fabric treatments as it serves to create three-dimensional clothing out of two-dimensional cloth. Folds and draping occur naturally when cloth is wrapped around the body. As tailored clothing developed in the West, these folds were stitched down, creating pleats. Pleats can also be produced through heat treatment of fabric to form intentional, lasting creases.
Box, inverted, kick, knife, sunburst, accordion, cartridge, tuck...
This exhibition highlights many of the countless variations of pleating. The pieces on exhibit span more than two hundred years of fashion history and are organized by type of pleat and technique rather than chronologically or geographically. Masterpieces by Mariano Fortuny, Mme. Grès, Issey Miyake, and Christian Dior are exhibited alongside folk costumes and intricate 18th- and 19th-century
Kent State University Museum
515 Hilltop Drive (corner of E. Main and S. Lincoln Streets)
Kent, Ohio 44242-0001
from The Helen Larson Historic Fashion Collection
Accessories from The Helen Larson Historic Fashion Collection is one of two current exhibits drawn from Helen Larson's exceptional private collection. Surveying footwear, fans, gloves, purses, and hats, these objects demonstrate Helen Larson's acquisition prowess and appreciation of fashion history. From a pair of 1860s men's floral Berlin woolwork slippers to a 1930s crimson reptile skin handbag, the importance of adornment is not lost on the viewer of this visually striking installation.
Location: FIDM Museum: 919 South Grand Avenue, Los Angeles, CA 90015
The Donald and Joan Damask Collection
26|06|2014 > verlengd tot 14|02|2015
International Inspiration: The Donald and Joan Damask Collection contains highlights of an outstanding design collection donated to the FIDM Museum in the summer of 2013.
Residents of Newport Beach, CA, Donald and Joan Damask have devoted their lives to creating and collecting outstanding design. Their professional lives have focused on luxury marketing and fashion; their collecting vision serves as inspiration for this work and resonates with their shared personal aesthetic. Included in their gift are over 75 pieces of vintage clothing and world dress; seminal photographs by high-fashion photographers Willy Maywald (1907–85) and Horst P. Horst (1906–99); over 80 photographs, sketches, and books by artist-aesthete Cecil Beaton (1904–80), and theatrical designs by Erté (1892–1990).
Location: FIDM Gallery Orange County, 17590 Gillette Avenue, Irvine, CA 92614
By appointment only! Contact Jim Nemmert at 949.851.6200
10|02|2015 > 25|04|2015
Ladies and gentlemen living in 18th-century Europe dressed opulently. The designing, producing, and wearing of fashion was elevated to an art form. Luxurious silks, handmade laces, and precious metal trimmings were de rigueur for those aligned with royal courts and attending state theatres. In this exhibition are displayed lavish garments and accessories spanning the century, including a rare "Figaro" costume worn by an actor portraying the rascal servant in Beaumarchais's famed opera trilogy. The stories of this character's hijinks undermining his aristocratic employer sparked revolutionary tensions with real life rulers, who tried unsuccessfully to ban the popular productions.
Location: FIDM Larson Gallery, 919 S. Grand Ave, Los Angeles, CA 90015 (gratis toegang)
23rd Annual Art of Motion Picture Costume Design Exhibition
10|02|2015 > 25|04|2015
Costumes from selected films of 2014 will be displayed in this annual exhibition of cinematic costume design. Highlighted in the exhibition will be the previous year's Academy Award® winner for Best Costume Design, The Great Gatsby, designed by Catherine Martin.
Location: FIDM Museum, 919 S. Grand Ave, Los Angeles, CA 90015 (gratis toegang)
What would you wear to meet a president, a princess or The King?
This exhibition features ten clothes encounters – stories exploring the clothing worn or created by a diverse range of Australians, from different eras and walks of life, in response to significant political, creative and social encounters in their lives.
Drawn from the Powerhouse Museum collection, this exhibition is a reminder that the fashion and dress choices we make reflect our aspirations and identity, and more broadly form part of a society's cultural expression. Clothes can define a moment in time.
Fashion speaks about us, for us and to us. It communicates social changes and social cohesion: it is a system of representation which inhabits the world of dreams, ideas and aspirations yet simultaneously embodies the material nature of history.
Powerhouse Museum of Science and Design
500 Harris Street, Ultimo, Sydney
Bunka Gakuen Costume Museum holds four exhibitions each year on the theme: "Understanding the Culture of the World and Japan through Clothing". Each exhibition displays a variety of cultures through garments in an easy to understand manner. The museum continues to improve its garment collection and exhibitions and also strives to deepen people's understanding through gallery talks, lectures and exhibition pamphlets. The museum conducts research and exhibitions with other museums and art galleries in Japan and abroad, and also provides information which can be of use to the wider society.
The collection at Bunka Gakuen Costume Museum consists of items that were obtained by its affiliate organization – Bunka Gakuen (established in 1923) – with the intention of enriching education on the westernization of clothing. Initially, the collection mainly consisted of European dresses, early Japanese western style clothing, and kimonos. After the Second World War, the museum received garments from East and South East Asia which were obtained before the war by an organization affiliated with the Japanese army. This formed the basis of the museum's traditional ethnic clothing collection. From 1970s-1990s the museum actively sought to expand its collection to include garments from a variety of different regions.
Today, the museum seeks to create a comprehensive and systematic collection which includes garments from a variety of regions including Japan, Asia, Europe, Africa, and Latin America.
Bunka Gakuen Costume Museum
Shinjuku Bunka Quint Bldg., 3-22-7 Yoyogi
Shibuya-ku, Tokyo 151-8529, Japan
Chicago Styled - Fashioning the Magnificent Mile
15|11|2014 > 16|08|2015
Long before North Michigan Avenue was known as the Magnificent Mile, it was called Pine Street. With the completion of the Michigan Avenue Bridge in 1920, North Michigan Avenue quickly became a desired location for high-end shops. Real estate developer Arthur Rubloff, an early champion of North Michigan Avenue credited with coining the moniker "Magnificent Mile," envisioned it as "the nucleus of a Greater Chicago."
Chicago Styled features more than twenty ensembles from the Museum's costume collection to tell the story of the growth of this landmark district. The garments hail from a wide range of retailers: independent boutiques; high-end designer shops; and luxury department stores. The clothes and the buildings on the Mag Mile were considered cutting-edge and innovative and had a symbiotic relationship. As more upscale retailers flocked to the area, developers built impressive structures fit to house them—the John Hancock Center was the area's first example of a large-scale, mixed-use building, and Water Tower Place was one of the nation's first and largest vertical malls.
Set against a shifting cityscape, pieces by noted designers such as Norman Norell, Adolfo, Christian Lacroix, Yohji Yamamoto, and Chanel evoke memories of the Mag Mile and the stylish people who shopped there.
Chicago History Museum
1601 N. Clark St.
Chicago, IL 60614
25|10|2014 > 15|02|2015
Fashion Icons will paint a unique picture of Parisian style within the context of contemporary fashion design since 1947 when the couturier Christian Dior re-launched haute couture with his New Look. From that time fashion design blossomed with the lavish splendour of the 1950s, the futurist dynamism of the 1960s, the inspired emancipation of the 1970s, the unbridled excess of the 1980s, and the pure minimalism of the 1990s, all inspiring today's composite portrait of the 21st century.
Over 90 emblematic haute couture garments created by the world's leading fashion designers will be drawn from the most comprehensive collection of French fashion in the world, the Musée des Arts Décoratifs and curated by the museum's 20th and 21st Centuries Fashion and Textile Collection Chief Curator, Pamela Golbin.
'The works selected for this exhibition perfectly illustrate the style of each of the mythical couturiers behind this history of luxury and sumptuousness. Spectacular designs by Cristobal Balenciaga, Gabrielle Chanel and Yves Saint Laurent follow one another in this chronological review, revealing the universality of fashion viewed as a history of art and beauty.' - Pamela Golbin
Internationally renowned, Pamela Golbin has curated ground-breaking exhibitions worldwide including Louis Vuitton – Marc Jacobs, Madeleine Vionnet: Puriste de la mode and Valentino Retrospective: Past/Present/Future.
Pamela Golbin will be joined on this project by acclaimed French designer and architect Christian Biecher, who will realise the design of the exhibition.
Fashion Icons has been organised by Musée des Arts Décoratifs, Paris in association with Art Exhibitions Australia and the Art Gallery of South Australia.
Lace: The Art of Adornment
Lace: The Art of Adornment draws on the Gallery's collection of bobbin and needle laces spanning over four hundred years. A fashionable and expensive European commodity, the status afforded to lace on garments also ensured its frequent representation in historical portraiture.
The history and rich patterns of lace continue to fascinate and have resonated with contemporary Australian fashion designers and artists whose responses are presented in a variety of media.
Lace, portraiture and new creative visions come together in this unique exhibition coinciding with the 16th World Lace Congress, held in Australia for the first time.
Art Gallery of South Australia
Adelaide SA 5000